Customer Reviews

E2 - E4

5 star:		(11)
4 star:		(6)
3 star:		(0)
2 star:		(0)
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After many years performing with Ash Ra Tempel (who later became Ashra), Manuel Gottsching released "E2-E4", his first album under his own name. Recorded in 1981 and released three years later, "E2-E4" paved the way for what was to become known as 'techno' or 'trance' music. Although there are nine track titles listed, the album is essentially one single uninterrupted piece of music which is close to an hour long. The music was also recorded live in one take with no overdubs. The first half of the album consists mostly of a subtle rhythmic sequencer pattern along with a rhythm machine. As the piece unfolds, so do the variations of this sequence. At about the half-hour mark, Manuel brings in a stellar electric guitar lead which sounds like a cross between George Benson or maybe a mellow Eric Clapton. He continues with the guitar playing while alternating between his electronics and sequencers providing further variations on the repetitive chord structure heard throughout the piece. Towards the end, the guitar fades out, the rhythm pattern echoes into silence and finally this long piece comes to its end. I highly recommend this album not just to the old-school electronic music buffs (ie: people who like Tangerine Dream, Klaus Schulze et.al) but also to fans of todays techno/trance/chillout/etc music. This is definitely music that is ahead of its time and has been a blueprint for dance artists both old and new. It's not only great music to dance to. It's also great music to sit back and relax to as well. A classic in every way, shape and form.

At the turn of Sixties and intensely through the first half of the Seventies, German Rock and Electronica influenced music all over the Western World. CAN, or Kraftwerk or even Ash Ra Tempel-- Gottsching's group--influenced different but important artists here, from Talking Heads to Anthony Kiedis, David Bowie or even Johnny Rotten.

Gottsching's second solo album--"E2-E4"--leaves behind the brand of Space Rock he helped invent for a crisp but extremely poetic dialogue between his guitar and Electronica. More human than Kraftwerk, Gottsching travels similar but less paved landscapes than the classic Autobhan.

Along with Michael Strother and CAN's Michael Karoli, one of the best guitar players of Rock and Electronica to ever come out from Germany. This album is a classic, a classic that remains adventurous even after almost thirty years.

Listening to this album makes an hour go by in what seems like minutes. In short E2-E4 is a wonderous work of musical accomplishment. I am glad to have stumbled upon this album (ultimately by reading Amazon lists from various Tangerine Dream fans) I was curious and looking for something new and exciting. The simple but attractive cover design also triggered some curiousity in me I must admit. Something drew me to this album and I am thankful.

Do not let the words "electronic" and "avante garde" scare you off. There is melody and bliss to be found in abundance here. The album is worth the ticket price. I feel it is my duty to pass along this torch of greatness. Share this one. It's a keeper!

One of the first major attempts at ambiance/techno with an emphasis on being vertical rather than horizontal. While all music tends to be constructed with rhythms and beats measured in a timescale manner (hence horizontal timeline), Manuel Goettsching has attempted to create vertical music. The result is a focus on texture, layers of sound and richness of ideas. Possibly on par with Thursday Afternoon by Brian Eno. As a good subtext, the metaphor of a chess game being played out in all of it's quiet intensity and emotional peaks and valleys is quite fitting. Perhaps another good analogy would be the Kind of Blue sessions that Miles Davis recorded, where the emphasis was on texture, sound and melody, versus trite patterns and tired old ideas that only give the impression of being innovative. Worth a listen.

In december 1981, a former guitar player and member of the Krautrock outfit Ashra Tempel took a few hours off in his Berlin studio to invent house, techno and also ambient.

Trying to describe this record is really hard task.Consisting of a long 60 minute slice of motorik, instrumental piece of hypnotic electronic music meshed with perfect guitar lines it is truly a beautiful record.

Multi-layered, dense, heavely textured, complex, cleverly constructed it is so emotionnal that it is going to leave you breathless with its uplifting experience.

What's so sticking about tihs record is that whilst not released until 1984, it received a huge response in the Dance scene in places like the Danceteria and The Paradise Garage whilst not being made which such aim.Spun by the likes of Tony Humphries and Larry Levan it thus influenced a generation of heads like Arthur Baker, Roger Sanchez, Derrick May and Carl Craig as well as the Basic Channel crew.

Some records are meant to be and this is surely one of these. Needless to say an absolute classic.

This release is an essential purchase for anyone who wants to know where the current wave of electronic dance music comes from. Back in 1981, when Gottsching created this, dance music pioneers in NYC and Detroit picked up on this hour-long work and would mix in and out of constantly to organize their sets. You _still_ hear this thing, in fact...most recently in the guise of an inferior but well-known track called "Sueno Latino" from a few years ago that was a wholesale bite of this work. Many have speculated, in fact, that had this track not existed, the explosion of equally-important dance music from the Detroit scene in the late 80's (the one that led to techno heading to Europe for that important summer back in 1987) might not have occurred. As equally important as works like Kraftwerk's "Trans-europe Express", and even more trancey and certainly more fun that that great and seminal Teutonic work. Critically important!

Rumor has it Larry Levan used to play long sections of the 50+ minute masterpiece to open his legendary sets at the Paradise Garage. A truly wonderful piece of music: with it's subtle yet moving rythyms, Gottsching's genuine understanding of the virtues of repitition, and absolutely gorgeous melodies, e2-e4 is easily one of the greatest pieces of music ever recorded. Ineptly remixed countless times since (famously by Carl Craig), it's endurance is testament to the prescience of it's author. A seminal piece of music for fans of academic electronic music as well as dance music cognoscenti. A stunning, mesmerizing work of music.

In 1981, still enthused following a European tour playing with Klaus Schulze, Manuel Gottsching stepped into his studio, switched on his sequencer, and started playing, with good results. Hailed as a landmark of techno, e2-e4 is actually a product of the "Berlin School" of music (Tangerine Dream, Schulze, etc.) but manages to straddle the line, or maybe just create something new. As I said, the sequencer starts almost immediately, and goes through only subtle changes throughout the enirety of this 60 minute piece. Percussion is added, and over that, Gottsching adds various other sounds, electronic percussion and small melodies. It isn't until after the half way point that his first love - the guitar - is introduced. For most of the rest of the piece, he does with his guitar what he had been doing with synthesizers. Despite the anthemic qualities to e2-e4, Gottsching refrains from unleashing a wild guitar solo, and thus keeps the balance. Anyone who likes this should try and track down Gottsching's 1976 collaboration with Michael Hoenig, "Early Water". Much more recognizable as a "Berlin School" piece, it follows the same formula as this, though not as upbeat.

This single long track (over 50mins) demonstrates well the artistry of one Manuel Gottsching (still going strong, still playing out, and with a myspace page to boot).
E2-E4 is also available - you'll have to dig a little bit - as a live ACOUSTIC track of about 20 mins. And it's every bit as good, just shorter (sadly).

While I prefer some of his more trippy layered guitar solo albums, like Ash Ra Tempel VI, this music is so satisfyingly beautiful that it sooths as well as inspires - it's a chess match, set to music.

In december 1981, a former guitar player and member of the Krautrock outfit Ashra Tempel took a few hours off in his Berlin studio to invent house, techno and also ambient.

Trying to describe this record is really hard task.Consisting of a long 60 minute slice of motorik, instrumental piece of hypnotic electronic music meshed with perfect guitar lines it is truly a beautiful record.

Multi-layered, dense, heavely textured, complex, cleverly constructed it is so emotionnal that it is going to leave you breathless with its uplifting experience.

What's so sticking about this record is that whilst not released until 1984, it received a huge response in the Dance scene in places like the Danceteria and The Paradise Garage whilst not being made which such aim.Spun by the likes of Tony Humphries and Larry Levan it thus influenced a generation of heads like Arthur Baker, Roger Sanchez, Derrick May and Carl Craig as well as the Basic Channel crew.

Some records are meant to be and this is surely one of these. Needless to say an absolute classic.