Robert Schröder • Mosaique • 1981
Вставка
- Опубліковано 16 лют 2017
- Innovative Communication [KS 80.016 / 45 RPM LP] • VT-1702.0019
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A1 00:32 Mosaique
A2 12:35 Utopia
B1 19:25 Aix-la-Chapelle
B2 23:54 Computervoice
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Bass - Rob Van Schaik
Composer, Arranged By - Robert Schroeder-Trebor
Drums - Fred Severloh
Guitar - Charly Büchel
Keyboards, Electronics, Synthesizer [PPG Wave II Computer] - Robert Schröder
Mastered By - PF
Mixed By - Profenius, Schröder
Mixed By, Edited By [Cut By] - Schulze
Photography By - Werner Inhester
Producer - Klaus Schulze
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Filmed, recorded and edited by M. Winchester.
Turntable: Sony PS-LX300USB
Interface: ESI Juli@
Camera: Canon Legria HF R66
Editor: Sony Sound Forge, iZotope RX, Sony Vegas, MKVToolNix
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Robert Schroeder born in May 1955 in Aachen, Germany. At the age of about 13 years he got his first musical instrument, an electric guitar. He developed the rough outline of his musical taste. It soon became clear that his interest is closer to the experimental sounds, which he then tried to incorporate with alienated guitar sounds into the current rock music of that time. In 1970 he devoted more time to electrical engineering. Over the next years he specialized in the development and manufacture of electronic music instruments. He was on a way of producing new, more concrete ideas and conceptions of experimental and spherical music. Inspired by musicians and groups such as Pink Floyd, Kraftwerk, Klaus Schulze, Can, and Deep Purple or Emmerson, Lake & Palmer, he consolidated his own music style and sound with individually tailored synthesizer systems developed by himself. From 1977 to 1978 the first useful recordings with his own electronic music emerged. In 1978 Robert have been discovered and promoted by EM pioneer Klaus Schulze. With a debut album Harmonic Ascendant he learn about international success overnight. Since then he have released over 40 albums. He founded the Double Fantasy project with Charly McLion on guitar and their album Universal Ave. reached the US charts in 1988 with over 500 thousand copies sold. After the release of CD D.MO Vol.1 in 1998 he made a publication break of several years. During this time he worked on a new material with the resulting CD brainCHIPS he made a successful comeback in 2005. In 2006 he also continued his successful project Double Fantasy under the new name - Food For Fantasy taking the guitar duties himself under pseudonym Phil Molto. In February 2010, nEW fREQUENCIES Vol.1, the first album of a new series presented a rhythmically accentuated electronic music with higher bpm values. In March 2011, ClubCHILL Vol.1, the first album of another series presents a cool, laid-back and chilled music for relaxing. On March 18, 2017, Robert will receive the Schallwelle Award for the life work in Bochum, Germany.
Official: bit.ly/schroeder-off
Discogs: bit.ly/schroeder-dg
In autumn 1988 I came into book store and heard album of Double Fantasy. I felt in love in those sounds immediately. I studied then and was poor as a monk. I asked to lay away one piece for me and went home for money. Still got this album and hear it from time to time. On CD version was one track extra but I don't have it.
Thanks for description, too.
Precious memories... Thank you that you shared it with us.
My pleasure! When you're young, some memories preserve for ages ;-)
Я очень люблю berlin school. Благодаря вашим обзорам, открываю для себя новые имена. Спасибо! ;-)
Ну как можно Роберта Шрёдера не знать? Это имя стоит сразу после Клауса Шульца. Это один из первых его учеников, первый музыкант лейбла Innovative Communication. И Клаус крёстный отец сына Роберта, которого тоже зовут Клаусом. Это всё надо знать. ;)
Вот как-то он умудрился пройти мимо меня, о чём я очень сильно жалею! ;-)
В музыке очень сильно прослеживается влияние стиля Klaus Schulze...
I much appreciate these uploads. Really like a lot of Robert Schroder's stuff, but like nearly all electronic music, I cringe at the electronic drums. They have not aged well. For me it is a drawback of a lot of modern electronic music too, where to my ears it would probably sound better without them. Always reminds me of a quote from Mike Oldfield, lamenting "the way bass and drums instantly categorise whatever they're used on into a certain format".