Recently, a recording
of electronic music allegedly created by an East German Kosmische Musik enthusiast
recruited to help the DDR's Olympic training programme appeared
. This recording turned out to be a hoax created by two musicians from Edinburgh
, but, as such, it is the latest in a long line of ersatz krautrock to emerge in recent years.
In 2008, Australian nu-electro label Modular released Eine Kleine Nacht Musik
, a self-titled album from a project by American electronic producer Henry Smithson. Inspired by kosmische
artists like Cluster and Tangerine Dream and consisting of ten instrumental tracks of analogue synths and metronomic rhythms with titles like Bardolator
, Die Fontäne
and Besuchen Sie Mich Einmal
, it nonetheless did not come with a back story, and made no pretence of being anything more than a homage to an era by a modern practitioner.
This was not the case with the Endless House project
, ostensibly the collection of recordings by an art collective of independently wealthy European eccentrics, who, in the spring of 1973, managed to establish a futuristic art-space/discotheque in the heart of the Białowieża primeval forest, on the Polish-USSR border, deep behind the Iron Curtain. The Endless House Project
release consists of a CD with a set of postcards, showing photographs of the venue's interiors and brief biographies of the artists involved, and was accompanied by several interviews
with the principals (one of them, equally improbably, from “BBC Radio Hungary”
in 1977). The music itself echoes the more electronic end of kosmische musik
, ostensibly beating Kraftwerk to the punch by years, and in places prefiguring Detroit techno; the backstory reads more like what a hypothetical Wes Anderson film set amidst the 20th-century German/European avant-garde would have resembled, from the juxtapositions of Bauhaus, Stockhausen, Constructivism and krautrock to the fraternal tensions between Endless House's megalomaniacal founder Jiri Kantor and his younger brother Ernest.
Somewhat less flamboyant is Science Of The Sea
; ostensibly the work of one Jürgen Müller, a marine scientist from the University of Kiel, who in 1979, after long field trips into the Baltic, felt inspired to buy some synthesizers, set them up on his houseboat and start composing instrumental pieces with titles like “Sea Bed Meditation” and “Dream Sequence For A Jellyfish”. One of the 100 or so vinyl records he had pressed supposedly ended up in the hands of a small label named Digitalis Recordings and online
. The music itself is comprised mostly of synthesizer chords and arpeggios, sounding not far from Klaus Schulze's electronic compositions; apparently Müller's original aim was to sell it to TV documentary companies as incidental music.
Finally, Jon Brooks (of British hauntologists The Advisory Circle
) has also made a record with mid-century German modernist references; titled Music For Dieter Rams
, it is said to be made entirely from sounds recorded from a Braun AB-30 alarm clock, designed by the famous industrial designer
; stylistically, the music veers towards the programmed electronics of Kraftwerk.