It is essentially about life, how you have to keep on moving, get on and stay in motion.” It’s a feeling, like driving downĪ long road or lane. Instead I call it ‘Lange Gerade’ (Long Line) or ‘Endlose Gerade’ (Endless Line). That sounds more like a machine and it was very much a human beat. Klaus: “I never called the beat ‘motorik’. Plank steadily turns up the volume until finally the motorik falls back into silence. The only concession to linear development comes around the midpoint, as co-producer Conny This cyclical structure – always the same and always changing – plays tricks with your sense of time and direction. These ground tones give the music a warm, mellow earthy feel, a sense of something eternal that has drifted into your consciousness.Īs the drums pound on and on, and Hallogallo rushes to the vanishing point on the horizon, Michael’s guitar melodies appear, fade and return in subtly different forms like ‘Wolken’ (clouds) in the sky, with little rays of sunshine breaking through. Instead, Michael’s deceptively simple guitar melodies unfurl his take on the ancient Indian concept of ‘grundton’ (ground tone) – the fundamental notes that, when combined with melodic and harmonic additions, periodically change the tension, like breathing in and out. There’s none of rock’s verse/chorus structures to adorn the Dinger beats. Klaus dispenses with rock’s syncopated 4/4 rhythms for ebbing and flowing waves of repetitive beat that go faster and slower, quieter and louder, softer and harder, punctuated with cymbal shots to signify subtle changes to the tempo. Splashing water FX ripple into the mix as the steadily accelerating drumbeat gathers these tiny details into the band’s signature ‘motorik’ riff. Delicate studio-generated ticks closely followed by tap-tapping cymbals. Out of the silence, the opening track on the NEU! debut album – Hallogallo – glides into earshot. Michael: “It’s the dynamic tensions - between rhythm and melody, systems and improvisation - that really define and drive our music.”Ī musical tension of opposites… different but connected… proto-punk clasping hands with ambient… soft and loud… motorik rhythm and lyrical tenderness… flow and disturbance… pranks and high seriousness… whispers and shouts… East or West… always the same and forever evolving… mechanical and human… fast and slow… ambiguous or in-your-face… familiar yet strange… a new music that’s as ancient as time…į o r w a r d s + b a c k w a r d s, f a s t e r + s l o w e r I think it’s important that music is not only nice.”
Klaus: “I am always interested in good and bad, light and dark – opposite things. Male and female, birth and death, low and high: this duality is seen as representing the holistic truth. In ancient Chinese philosophy, yin and yang refers to how seemingly opposite forces are interdependent in the natural world, each giving rise to the other. T H E Y I N - Y A N G O F N E U M U S I K
My text below was published as part of the official sleeve notes to the NEU! box set.
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The deluxe two-dvd set includes 19 deleted scenes, full interviews with Grant Hart, Robert Christgau, and Greg Kot & Jim DeRogatis, behind the scenes interviews, two commentaries, and four trailers. Follower or not, after taking in COLOR ME OBSESSED, you'll be ready to run home, gather some 'Mats albums, and design a perfect soundtrack of your own. Sprinkled in among that esteemed group are the more mainstream fans, who often give the most insightful and heartfelt perspectives of all. Bechard has recruited an impressive roster of influential fans: musicians such as Husker Du, Babes in Toyland, The Decemberists, The Hold Steady, Archers of Loaf, Titus Andronicus, and Goo Goo Dolls writers such as Jack Rabid, Legs McNeil, Robert Christgau, Jim DeRogatis, and Greg Kot and actors such as George Wendt, Tom Arnold, and Dave Foley. Bechard bravely eschews including the band's music, photos, and live footage, instead relying solely on the fans: their well-kept memories, hilarious anecdotes, and differing points of views about the foursome's wildly varied discography and infamous antics. Gorman Bechard's remarkable history of the 'Mats takes us from their first show as the Impediments to their 1991 onstage breakup in Chicago, and everywhere in between. Over the band's 12-year existence, its live sets were magical, a total mess, or both-depending on your mood and the members' respective blood alcohol levels. This Minneapolis quartet took a teenage-punk attitude, threw it in a blender with classic and pop rock, and then poured it into a Middle American pint glass. For some aging music fans and kids with a passion for musical history, The Replacements are rock and roll defined.
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