Customer Reviews

Neu (Reis)

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I grew up listening to Kraftwerk, but I've never been exposed to any actual Krautrock until now. I bought Neu, Neu 2 and Neu 75 recently. I have to say, this is amazing. I mean that literally... I'm truly amazed. This was recorded in the early 70s? How can that be? This is so far away from anything else that was going on at the time. These guys were 20 years ahead of their time, at least. I would have guessed it was recorded in 1995 or so. So many bands that I thought were innovative and original... all this time, it turns out they were just ripping off Neu. My world is crumbling around me. And I like it.

Someone once commented on the Velvet Underground by saying that not too many people had heard their self-titled album with Nico, but that everyone who did went out and started a band of their own. That person might as well have said the same thing about Neu!, assuming he/she had heard of them - the enigmatic German duo's three albums (of which this is the first) sparked the imaginations of a small host of musicians from David Bowie to Stereolab, and even with all the things that have come since, their Krautrock trilogy still really sounds like nothing else around. This 1971 gem of a debut introduced an idea known as "motorik" ('motor' + 'musik') - music designed specifically for playing in cars. The main tracks are simple steady-cruising grooves, often never breaking out of one main chord or basic line, but it's amazing what fascinating ear candy can be spun out of so simple an idea.

Look no further than the beautiful opener "Hallo Gallo" to hear what I mean - it's ten minutes of pure joy. Even though it's all based around one chord it's anything but monotonous: guitars explore myriad variations within that basic framework, never getting repetitive. An insistent drum beat propels things with a steadiness that could easily go on forever. Dreamy synths spin and whirl around the beat to produce an ever-shifting cloud of sound that's so honey-sweet, even ten minutes seems like a breeze. "Weimensee" explores the same idea at a more slow and sedate pace, hovering somewhere in limbo between mid-tempo and slow ballad. With this kind of sonic bliss, who needs lyrics?

The other part of Neu!'s uniqueness is their way of blending loopy non-musical sounds into the mix. "Negativland" rides on a similar extended groove, but this time it's filtered and overlaid with some kind of metallic scraping noise, giving the whole thing a strange industrial edge, and the tempo shifts oddly from a sedate bluesy pattern to an energetic but relaxed cruise. "Souderoujebob" and "Im Glück" wander through a vague haze of sound without actual music, the kind of thing Brian Eno later perfected with On Land. "Lieber Houig" may not be to everyone's taste; it's the kind of thing that meanders so slowly and pauses so often that you're never sure whether it's over, and the odd croaking vocal can be off-putting.

But whether the closer is enjoyable or not, the album leading up to it is a marvel. It's offbeat but beautifully accessible; it's simple and minimalist at heart yet doesn't fade or get stale even after many, many repeat spins. Neu! 2 may be more abstract and weird, Neu! '75 may be more tuneful and consistent.. but for the introduction that best covers their whole fascinating range, start right here. This one's really in a class all its own.

One of the most important pieces of Euro-unobtainium for years has been the NEU! albums. These works influenced a host of musicians who've managed to get hold of them in some way or another; from Detroit techno wizards to lo-fi tinkerers, a host of players owe a long-unsung debt to NEU!

This first album appeared in the wake of Klaus Dinger and Michael Rother's split from an early lineup of Kraftwerk. It has some of the motoric rhythms + sonic tampering of the early (ie: "Kraftwerk" and "Kraftwerk 2") Kraftwerk releases, but more of an emphasis on rock beats, guitars, and a late-psychedelic sensibility. But lurking under this...especially hinted-at in the liner notes and the noise-romp "Negativland"...is a leaning toward the glorious racket of punk and postpunk outfits such as PiL (whose John Lydon, it should be noted, is a confirmed NEU! fan). But also lurking here and there is a weird ambient-experimental murk that also leans one toward thing such as Eno's work, or later on, that of The Orb.

All of the original Brain-released 'canon' NEU! albums are worth having, but either this or the final "NEU! '75" are the right places to start.

Having nothing new to say about such a landmark watershed of an album, I wasn't going to write a review. How can one even put into words the texture and scope of this album; it writhes and coasts through a tunnel of electricity, the signature Motorik beat behind. A longer introduction to Krautrock need not be given. "Hallogallo" (itself meaning "Hallmark") encapsulates the sound of Klaus Dinger & Co. with its 4/4 backing rhythm and mellowed synths and guitar dub. This is a ten minute track that is ever growing.

"Weissensee" is a calm, sometimes brooding soundscape, very linear with small psychedelic touches. "Im Gluck" ("Lucky") never dreams too much further than its low, ambient drone, from beginning to end it is pulsing. A small swell of guitar is heard and it represents the "mu", the nothing. But yet, it is something.

"Negativland" is another well known piece, itself giving name to another krautrock influenced group. It plods along with phased guitar lines and a throbbing pulse in its bassline.

This album is beyond words, beyond improvisation, beyond thought. It needs to be listened to. It is a timeless work of experimentation inside the Afro-American aesthetic set up by rock music two decades preceding. For ANY fan of classic rock, this is a must hear.

For those of you who are not familiar with Neu!,they're a duo from Dusseldorf,Germany. Neu! is made up of two outstanding guitarists Klaus Dinger and Michael Rother.The two created three cosmically wonderful ground breaking lp's between 1971-75.This is their self-titled debut originally put out in 1971.'Neu!' starts off with "Hallogallo",that's ten solid minutes of pure brain floating magic.Some weird sound effects and monitored feedback are combined in "Sonderangebot".Then there's "Weissensee" that is TRUE progressive krautrock."Im Gluck" is seven minutes of more superb feedback with sound effects of water and seagulls nearby,unreal!"Negativland" tends to show case Neu's industrial side.Needless to say,a brilliant lp and that was produced by the legendary record producer Conny Plank.Totally ignore the rather primitive cover art.As it turns out,Neu! has been an influence on several of today's artists such as Stereolab,Sonic Youth,late '70's David Bowie,Red Hot Chili Peppers and Johnny Rotten.Highly Recommended.

First of all, let me just say that I think it's great that somebody finally decided to reissue the Neu! albums. Well, now that I got that out of the way, Buy this CD! I love it. It's the perfect soundtrack for when you're in your car and you're driving through the city at night. Make that a hover car.... a neon green hover car. It really is like going on some kind of futuristic journey. Yes, it's instrumental rock, but it's not boring or inaccessible. If you're like me, you probably own dozens of German kraut rock albums and instrumental "post rock" albums that you hardly ever listen to. (Let's face it... we own them because as hardcore music fans, we're expected to own them.) But I guarantee you that Neu! will be one that you will actually enjoy listening to. It's kinda catchy and pop in a weird sort of way. I love it. And it is NOT, I repeat, NOT obscure or inaccessible. Buy it fool

This 1971 album is an excellent example of music that was coming out of the experimental rock scene in Germany during the early 1970s. Neu! was largely the product of a collaboration between Mike Rother (guitars/bass guitar) and Klaus Dinger (drums/percussion), with Conrad Plank as the engineer/partial producer. My own opinion of the album is that it is the finest that Neu released, although "75" is pretty good too.

With the exception of the last track, which features some slightly off-key and hoarse whispering/singing, the six tracks on the album are instrumental and range in length from 4'50" to 10'07", with most tracks in the 4 - 7 minute range. The album is at times hypnotic and nearly trancelike, with a pulsating and insistent drum part atop which very spacey guitar parts weave in and out. There are experimental tracks too, that present "found sounds" (everything from human voices to jackhammers, and a shouting audience) and eerie effects generated on electric guitars. This is (to my ears at any rate) indicative of a 1968 - 1969 Pink Floyd influence. In fact, I would even go so far to say that these guys were also somewhat influenced by American minimalist composers such as Terry Riley - their music is similarly very rhythmically charged with subtle permutations in a given musical theme. Although I love the whole album, my favorite track is Negativland, which is pretty heavy.

Overall, this is a very atmospheric and experimental album and is very highly recommended along with "Neu 75" (1975).

There is only one word for this CD: Divine.

This is considered one of the essentials of the highly original "kraut rock" genre, a subgenre of prog rock. Although this CD can be a little overrated, it is still absolutely worth purchasing.

The first track, Hallogallo is a minimalistic affair with drums and a hypnotic guitar lead. The occasional electronic texture pops in on this song. A standout track.

The next song opens up with a sample, then plods along slowly, building some slight tension. Then, near the end of the song, BOOM, a small noise cacophony wakes you up from your stupor.

The next track is more minimalistic percussion goodness.

The next track is very calming; samples of moving water are included, and you can really set this to sleep to.

Finally, the infamous song, Negativland, starts with some chaos. This is the most punkish song on this CD, with throbbing hypnotic bass going along. A definite standout.

The final track starts with some soft whispers, and generally is a very calm song.

The much heralded kraut rock scene (Thank you, Julian Cope and Steven Stapleton!!) is certainly worth checking out for fans of left field music and Mr Bungle fans who think that Mike Patton is the most original thinker of music who ever lived...think again.

I am flat out awestruck by this band. This album is just unreal... simply beautiful... remarkable music. Words, descriptions and trivial attempts at categorizing Neu! are futile. If you are the least bit curious about purchasing this album do so with confidence. Play the daylights out of it if you already own it. The music captured here is on a heavenly level.

Although their exsistence only lasted four years and three albums, Neu! is one of Germany's most innovative supergroups. Formed from the ashes of an early line-up of Kraftwerk in 1971, guitarist Michael Rother and drummer Klaus Dinger soon set out to create music that was timeless and innovative. Over 30 years later, Neu's influence continues to be heard in many of today's bands from techno to experimental rock.
Neu's debut album opens with the 10-minute "Hallogallo". This track is a finely crafted piece on minimalist-rock. The piece stays in one key throughout its entirety. Klaus Dinger's drumbeat is so perfect and simple, you'd almost think it came from a drummachine. Michael Rother adds some intricate guitar parts and backwards effects. This piece is perfect for driving.
"Sonderangebot" is an experimental piece consisting of processed cymbals and percussion fed through various phasers and flangers. This leads directly into the bluesy "Wiesensee". This slow meditative piece is reminiscent of Pink Floyd (ie: Meddle and Obscured by Clouds). Rother plays some fine lead and slide guitar on this piece.
The "Wiesensee" theme is repeated in the following track "Im Gluck". This is an early example of 'ambient' music consisting of a bowed-bass drone, water sounds and a seagull-like guitar lead. The beauty of "Im Gluck" get interupted abrupty by the loud power-drill sounds of the following piece "Negativland". This 9 and 1/2 minute track is an early example of what was to be known as 'industrial' music. A throbbing bassline and Dinger's trancelike drumbeat set the pace while loud screeching guitars howl like raging beasts. The tempo changes consistently throughout this piece speeding up and slowing down at will and sometimes stopping completely. When it stops for the last time, the music cuts off midbeat followed by ten seconds of silence.
The closing track of the album "Lieber Honig" is the only downfall to what is otherwise a near-perfect album. Here, Klaus Dinger is heard strumming a Japanese banjo and singing. His voice is really nothing to sneeze at. It merely sounds like a young child attempting to talk or make noise. The hoarse annoying vocals get in the way of what sounds like a beautiful melody in the background. Fortunately, it's only for the first part of the track. Afterwards, we are treated to some of the same ambient sounds heard on "Im Gluck".
Without a doubt, Neu! were and still are ahead of their time. With their three-album catalog now remastered and issued officially on CD for the first time, it is now clear that the music world has finally caught up with Neu's timeless innovations. This first album is definitely a must have and is a groundbreaking piece of German Krautrock.