Cpt. Howdy

It is not necessary to start a discussion about authenticity here. Anybody claiming that the "traditional" rock-attitude of Hamburg-based band Cpt. Howdy was nothing but a pose should beware - people who did that in the past were punished by being branded with the band's logo. Make no mistake: These guys didn't ask themselves for a split second if they wanted to do this kind of music or any other. For these guys, there was no other option; they simply had no other choice.

New KLANGBAD website

As you have noticed our new website is ready. It´s not 100% done yet, there are still some more features to come in the future, like f.e. a Klangbad radio, but we couldn´t wait to go online with it. Check it out, and if there are some bugs please tell us.


In der Welt der Trommler gilt Jaki Liebezeit als Gott. Als stilprägender Drummer der legendären Krautrock-Gruppe Can hat er nicht nur Rock-, sondern auch Schlagzeuggeschichte geschrieben. Doch Stillstand ist Liebezeits Sache nicht. Weil ihm das konventionelle Schlagzeugspiel ausgereizt schien, hat er vor Jahren einen völlig neuen Trommelstil entwickelt. Beim Klangbad 2010 trat die Drumlegende mit einer Band auf, die handverlesen nur zu diesem Anlaß zusammen gekommen ist.

Bob Rutman Ensemble

Das Stahlcello: ein über zwei Meter hohes Metallsegel, das sich unter der Spannung einer langen Saite wölbt. Bow Chime und Bass Chime – große gebogene Metallschilde auf geschwungenen Eisenständern, an denen je fünf fingerdicke Messingstäbe über einen Steg befestigt sind. Primitive selbstgefertigte Streicherbögen aus Angelschnur erzeugen auf diesen archaischen, kräftigen Instrumentskulpturen tiefe, sonore Klanggewitter, verstörend und ekstatisch.

Irmler & Liebezeit

A special energy is released through the clash between Hans-Joachim Irmler, one of Krautrock’s main driving forces ever since his work with Faust, and his sparring partner Jaki Liebezeit, the living legend from Can whose unrivaled hypnotic drumming has earned him a reputation as one of the most avant-garde percussionists, and as a “human drum machine”.

Faust - Tony Conrad Outside the Dream Syndicate

Faust - Tony Conrad Outside the Dream Syndicate
42,00 €

30th Anniversary Edition
Two Cd´s in deluxe, limited-edition packaging with 32-page book and poster includes previousely unreleased material from the original 1972 sessions features liner notes by rolling stone senior editor David Fricke


01. From the Side of Man and Womankind       
02. From the Side of the Machine       

Second CD from the 30th Annivaersary Edition

01. The Pyre of Angus Lies in Kathmandu       
02. The Death of the Composer Was in 1962   
03. From the Side of Man and Womankind (Complete)   

The Thirtieth Anniversary Edition of Outside the Dream Syndicate adds a second disc of material. Two brief tracks - both named with the young death of former Dream Syndicate comrade Angus Maclise in mind - offer the remaining fragments of those three days at the abandoned schoolhouse studio at Wümme. Both the slow burning "The Pyre of Angus was in Kathmandu" and the tremulous "The Death of the Composer Was in 1962" reveal a looser agenda in the sessions. In the latter piece, Conrad abandons the impassive drone of the first disc for an almost celebratory psych-rock. The second disc is rounded out by an alternate production of "From the Side of Man and Womankind", lacking the overdubbed violin lines of the album version.

- "...Conrad\'s constantly shifting, layered violin - thoroughly exploring the instrument\'s harmonics - is the  
   perfect foil for Faust\'s relentless rock drive..."
   Mojo (1/03, p.108)

Markku Peltola - Buster Keatonin Ratsutilalla


01. Sähkösatula
02. Notskilla
03. Lyijysulka Sulaa
04. Ou-ou-ah?
05. Mexico
06. Pienet Pelinappulat
07. Boogieman
08. Väsynyt Susi
09. Kuuma Voi Olla Mut`Ei Koskaan Kylmä
10. Lumimies
11. Alaskan Avotulet

On Buster Keatonin Ratsutilalla, guitarist Peltola and his accompanying musicians play a place- and
timeless folk music. One just can\'t tell if these very laid back yet very cleverly arranged pieces have a set form or if they are excerpts from a jam-session. But then maybe Peltola and his cohorts are not so sure themselves. They probably don\'t care anyway.
Their music oscillates solemnly between queer humour and touching melancholy. This music sounds...
well, easy, unobtrusively and sparse. Peltola and his band use their means in an extremely economic
way. Most of the time, the main melody is played by the violin. With very few notes, it says all there is to say. All other instruments  - electric and acoustic guitars, piano, brass and drums – are playing in a very loose formation. Nothing and no one is craving for the spotlight here, knowing that it wouldn\'t fit the music (and anyway it would be too much work). Everything remains natural, easy and friendly. Thus the soft percussion grooves and the simple themes and their variations seem almost conclusive. If, in the presence of non-Scandinavians, Peltola claimed that he played traditional Finnish music on this album, he\'d probably succeed with it. This charming production is combined with very nice artwork.

„Peltolas Band ist nach Lambchop die zweitgrößte leiseste, die in den letzten Jahren in der Stadt weilte“  DRESDNER NEUESTE NACHRICHTEN (Ger)
„Ihn kennen nicht nur Finnland-Aficionados“  DER STANDARD  (Aus)
„voller bittersüßer musikalischer Situationskomik“  JAZZTHETIK (Ger)
„Unvergessliche Konzerterlebnisse mit diesem relaxten finnischen Haufen sind vorprogrammiert“ BEAM ME UP (Ger)
„Fiktive Folklore in zerbrechlicher Instrumentierung“  ZITTY (Ger)
„Eine Musik, die an die flirrenden Filmsoundtracks von Ry Cooder erinnert“  TAGESSPIEGEL (Ger)
„Instrumentals zwischen Folklore, Tango und Ennio Morricone“  KULTURNEWS  (Ger)

(p) Klangbad 2004


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