The Notwist (album)
The Notwist is the self-titled debut album from the German musical group The Notwist. The record presents a side of the band which has subsided during their recent recordings. Early incarnations of the group saw them exploring broad avenues of punk and metal, while they would veer more toward an abstract electronic and indie feel. All songs written by Markus Acher. "Is It Fear?" – 3:08 "Bored" – 2:40 "Winter" – 3:18 "Crack It Open" – 2:32 "Be Reckless" – - 1:39 "K. das Devil" – 1:15 "One Wasted" – 3:24 "Agenda" – 2:32 "I've Not Forgotten You" – 2:56 "M. del Terror" – 1:40 "Seasons" – 3:32 "Think For Yourself" – 1:26 "Nothing Like You" – 3:55 Markus Acher - guitar, lead vocals Micha Acher - bass Martin Messerschmid - drumsEvil David - lead vocals, backing vocals Christoph Merk - backing vocals
Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords or riffs. Post-rock artists are instrumental combining rock guitars and drums with electronic instruments; the genre emerged within the indie and underground music scene of early 1990s. However, due to its abandonment of rock conventions, it bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient music and minimalist classical; the individual styles of bands that have been described as post-rock differ making the term controversial among listeners and artists alike. The concept of "post-rock" was coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea in the May 1994 issue of The Wire. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, Insides, Reynolds used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords".
He further expounded on the term, Perhaps the provocative area for future development lies... in cyborg rock. Reynolds, in a July 2005 entry in his blog, claimed he had used the concept of "post-rock" before using it in Mojo referencing it in a feature on Insides for music newspaper Melody Maker, he said he found the term itself not to be of his own coinage, saying in his blog, "I discovered many years it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was used in the Rolling Stone Album Guide to name a style corresponding to "avant-rock" or "out-rock"; the earliest use of the term dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before: an art form."
Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest". The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, psychedelia, prog rock, space rock, math rock, tape music, minimalist classical, British IDM, dub reggae, as well as post-punk, free jazz, contemporary classical, avant-garde electronica, it bears similarities to drone music. Early post-rock groups often exhibited strong influence from the krautrock of the 1970s borrowing elements of "motorik", the characteristic krautrock rhythm. Post-rock compositions make use of repetition of musical motifs and subtle changes with an wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism. Post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre and texture.
Vocals are omitted from post-rock. When vocals are included, the use is non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean" interpretable vocals are important for poetic and lyrical meaning; when present, post-rock vocals are soft or droning and are infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic", which they described as "a form of gibberish vocals that fits to the music and acts as another instrument."In lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his "Post-Rock" from Audio Culture that "A band's journey through rock to post-rock involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music". Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.
Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Russian Circles, Palms and Pelican have fused metal with post-rock styles; the resulting sound has been termed post-metal. More sludge metal has grown and evolved to include some elements of post-rock; this second wave of sludge metal has been pioneered by bands such as Giant Battle of Mice. This new sound is seen on the label of Neurot Recordings. Bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while using the latter. In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an wider embrace of disparate musical influences as it can be heard in bands like Deafheaven. Post-rock appears to take a heavy influence from late 1960s
Console is an electronic music project founded by Martin Gretschmann, the former lead programmer for the German band Notwist. The band incorporates elements of electronic music, reminiscent of some electro bands, such as Ladytron and Miss Kittin. Official Site Allmusic.com entry
Different Cars and Trains
Different Cars and Trains is a 2003 EP from German electronica band The Notwist. "Neon Golden" - 4:46 "Pilot" - 4:55 "Red Room" - 6:11 "This Room" - 8:06 "Different Cars and Trains" - 5:50 Markus Acher - guitar, vocals Michael Acher - bass Martin Gretschmann - programming Martin Messerschmidt - drums
Neon Golden is the fifth studio album by German indie rock band The Notwist released through City Slang in 2002. It peaked at number 47 on the UK Independent Albums Chart. At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, Neon Golden received an average score of 89% based on 20 reviews, indicating "universal acclaim". Pitchfork placed Neon Golden at number 131 on their list of top 200 albums of the 2000s. Credits adapted from liner notes; the Notwist Markus Acher Micha Acher Martin Messerschmid Martin GretschmannAdditional musicians Ullrich Wangenheim – bass clarinet, alto saxophone, tenor saxophone Johannes Enders – tenor saxophone Roberto Di Gioia – piano, keyboards Saam – zarb, canjira Bibul F. Darouiche – conga Robert Klinger – double bass Sebastian Hess – celloTechnical personnel Galore – production Mario Thaler – recording, mixing O. L. A. F. Opal – recording, mixing Chris Blair – mastering Andreas Gerth – artwork Phillip Arnold – artwork Neon Golden at Discogs
The Notwist are a German indie rock band. Formed in 1989, the band moved through several musical incarnations despite maintaining a stable line-up. While their early records moved through heavy metal into dark indie rock, their recent efforts for which they have received the most attention have been influenced by the electronica scene, along with the other groups on the record label Morr Music; the Acher brothers and Messerschmid formed the group in 1989 near Munich. In 1990 they recorded their self-titled debut, a grunge-metal oriented LP. 1992 saw the release of Nook, which has an indie rock sound, while their 1995 album 12 contains their first flirtation with electronics. Martin Gretschmann joined the group in 1997. Shrink, released in 1998, is a jazz-electro-rock album. In 1998 Cynthia Dall did the vocals for a remix of "Torture Day" by The Notwist; the album Neon Golden put them on the map for American listeners, with its heartfelt sentiment and more pop-oriented sound. Messerschmidt was replaced by Andi Haberl.
The band's sixth full-length record, The Devil, You + Me, was released in Europe in May 2008. On June 17, 2008 the album was released in North America on Domino Records. In 2009, the Notwist recorded Storm, the soundtrack to the film of the same name by director Hans-Christian Schmid. In late 2012 they began playing songs from a new album on tour; the album, Close to the Glass, was released on February 2014 under Sub Pop Records. In 2014 Martin Gretschmann left the group. In January 2015, Close to the Glass was nominated for IMPALA's European Independent Album of the Year Award; the group has been remixed by Four Tet, Grizzly Bear, Loopspool, Panda Bear and others. Singer Markus Acher collaborated with Anticon and rapper/producer Alias on the song "Unseen Sights". In 1991, Markus Acher made a post rock band Village of Savoonga in Weilheim, Germany, they released Village Of Philipp Schatz and Score. The Notwist formed a group with Themselves named 13 & God, whose eponymous debut was released in 2005.
Markus Acher, in addition to his work with The Notwist and 13 & God works with the band Lali Puna, while Mecki Messerschmidt now plays drums for the reformed Schweisser. Michael Acher programs for Ms. John Soda. Markus Acher — guitar, vocals Micha Acher — bass Andi Haberl — drums Martin Gretschmann — programming Martin Messerschmid — drums The Notwist Nook 12 Shrink Neon Golden The Devil, You + Me Storm Close to the Glass The Messier Objects Superheroes, Ghostvillains + Stuff - Live album Johnny and Mary EP Only in America EP Untitled EP "Day 7" single "Chemicals" single "Trashing Days" single "Pilot" single "Pick Up the Phone" single "One With the Freaks" single Untitled EP Lichter EP Different Cars and Trains EP Solo Swim EP "Where in this World" single "Boneless" single "Come In" single "Blank Air" single "Kong" single The Notwist official website The Notwist on the Music-Map The Notwist at NPR Music Alientransistor.de The Notwist discography at Discogs Concert photos in Roskilde Festival The Notwist at Pandora The Notwist at exclaim!
The Notwist in Israel
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro