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'''E.M.A.K''', or '''Elektronische Musik Aus: Köln''' (with "Köln" sometimes rendered as "Koeln" on album covers), was a German band and production collective based in [[Cologne]] in the 1980s. It produced experimental minimalist electronic dance and ambient pop music.
'''E.M.A.K''', or '''Elektronische Musik Aus: Köln''' (with "Köln" sometimes rendered as "Koeln" on album covers), was a German band and production collective based in [[Cologne]] in the 1980s. It produced experimental minimalist electronic dance and ambient pop music.



==Members==
==Members==
Line 29: Line 28:
| location = UK
| location = UK
}}</ref>
}}</ref>



==Musical Style and Influences==
==Musical Style and Influences==
E.M.A.K.’s influences include [[Kraftwerk]], [[Neu!]], [[Klaus Schulze]], [[Tangerine Dream]], ''Neue Musik'' and ''[[musique concrète]]'',<ref name=linernotes></ref> as well as [[Pink Floyd]] and the [[White Noise (band)|White Noise]] project associated with the [[BBC Radiophonic Workshop]].<ref name=Quietus>{{cite web
E.M.A.K.’s influences include [[Kraftwerk]], [[Neu!]], [[Klaus Schulze]], [[Tangerine Dream]], ''Neue Musik'' and ''[[musique concrète]]'',<ref name=linernotes /> as well as [[Pink Floyd]] and the [[White Noise (band)|White Noise]] project associated with the [[BBC Radiophonic Workshop]].<ref name=Quietus>{{cite web
| url = http://thequietus.com/articles/05489-elektronische-musik-aus-k-ln-emak-interview
| url = http://thequietus.com/articles/05489-elektronische-musik-aus-k-ln-emak-interview
| title = "I Mostly Didn't Dance, But Stared At The Ceiling": An Interview With EMAK
| title = "I Mostly Didn't Dance, But Stared At The Ceiling": An Interview With EMAK
Line 41: Line 39:
| publisher = TheQuietus.com
| publisher = TheQuietus.com
| accessdate = 22 September 2012
| accessdate = 22 September 2012
}}</ref> Much of E.M.A.K.'s musical style was directly formed from experimentation with various instruments. These included analogue synthesizers such as a [[Minimoog|Mini-Moog]] and a Synthorama (a German synthesizer similar to a large Moog system), a [[Rhodes piano|Fender Rhodes piano]] (customized by Stühlen with external treatments such as distortion, echo chambers, and improvised effects), and a [[Roland TR-808]] drum machine. ''E.M.AK.'' and ''E.M.A.K. 2'' were released pre-sampler and pre-midi and so took a manual tape-based approach to looping and ''musique concrète'' parts. ''E.M.A.K. 3'' used the [[Sampler_(musical_instrument)#Akai|AKAI S612]] midi sampler and a [[Commodore 64]].<ref name = linernotes></ref>
}}</ref> Much of E.M.A.K.'s musical style was directly formed from experimentation with various instruments. These included analogue synthesizers such as a [[Minimoog|Mini-Moog]] and a Synthorama (a German synthesizer similar to a large Moog system), a [[Rhodes piano|Fender Rhodes piano]] (customized by Stühlen with external treatments such as distortion, echo chambers, and improvised effects), and a [[Roland TR-808]] drum machine. ''E.M.AK.'' and ''E.M.A.K. 2'' were released pre-sampler and pre-midi and so took a manual tape-based approach to looping and ''musique concrète'' parts. ''E.M.A.K. 3'' used the [[Sampler_(musical_instrument)#Akai|AKAI S612]] midi sampler and a [[Commodore 64]].<ref name = linernotes />


Although a critical part of the general history of German electronic music, E.M.A.K.’s location in Cologne during the 1980s meant they could pursue their own musical interests, relatively undisturbed by the demands of markets or fashions.<ref name=linernotes></ref> Becker felt that E.M.A.K. fell between generations, even when those generations worked in Cologne. E.M.A.K.'s music was influenced by older German electronic music, from that of [[Karlheinz Stockhausen]] to [[Can (band)|Can]], both based in or near Cologne, but was also deliberately different, the band's name even cocking a deliberate snook at Stockhausen's self-appropriation of ''elektronische Musik''.<ref name=Quietus></ref> The later E.M.A.K. project, Vintage Synths, would represent a further recasting of the history of electronic music, away from the focus on personalities such as Stockhausen and firmly onto the music machines themselves.<ref name=Quietus></ref> Becker also felt little connection with ''[[Neue Deutsche Welle]]'' bands such as [[Nena (band)|Nena]] or [[D.A.F. (band)|D.A.F.]], although he admired the production work of the Cologne-based [[Conny Plank]] for some of these.<ref name=Quietus></ref>
Although a critical part of the general history of German electronic music, E.M.A.K.’s location in Cologne during the 1980s meant they could pursue their own musical interests, relatively undisturbed by the demands of markets or fashions.<ref name=linernotes /> Becker felt that E.M.A.K. fell between generations, even when those generations worked in Cologne. E.M.A.K.'s music was influenced by older German electronic music, from that of [[Karlheinz Stockhausen]] to [[Can (band)|Can]], both based in or near Cologne, but was also deliberately different, the band's name even cocking a deliberate snook at Stockhausen's self-appropriation of ''elektronische Musik''.<ref name=Quietus /> The later E.M.A.K. project, Vintage Synths, would represent a further recasting of the history of electronic music, away from the focus on personalities such as Stockhausen and firmly onto the music machines themselves.<ref name=Quietus /> Becker also felt little connection with ''[[Neue Deutsche Welle]]'' bands such as [[Nena (band)|Nena]] or [[D.A.F. (band)|D.A.F.]], although he admired the production work of the Cologne-based [[Conny Plank]] for some of these.<ref name=Quietus />

⚫
E.M.A.K. were part of the club scene in Cologne,<ref name=Quietus></ref> and their own music often involved atmospheric extended pulsating rhythms. Only very rarely did E.M.A.K.’s music include vocals. The track “Filmmusik” from ''E.M.A.K.'' was a local club hit in Cologne,<ref name=linernotes></ref> although Becker himself preferred not to dance.<ref name=Quietus></ref>


⚫
E.M.A.K. were part of the club scene in Cologne,<ref name=Quietus /> and their own music often involved atmospheric extended pulsating rhythms. Only very rarely did E.M.A.K.’s music include vocals. The track “Filmmusik” from ''E.M.A.K.'' was a local club hit in Cologne,<ref name=linernotes /> although Becker himself preferred not to dance.<ref name=Quietus />


==Vintage Synthesizers==
==Vintage Synthesizers==
In 1987 Becker began writing a column for a German music magazine called “Synthesizer von Gestern”. This developed into the ''Vintage Synths'' project. Three ''Vintage Synths'' albums were released. These albums collected compositions for various specific synthesizers, each piece produced using only one particular synth. The albums were also accompanied by books with historical and photographic studies of the various synthesizers.<ref name=linernotes></ref> <ref name=OTW>{{cite web
In 1987 Becker began writing a column for a German music magazine called “Synthesizer von Gestern”. This developed into the ''Vintage Synths'' project. Three ''Vintage Synths'' albums were released. These albums collected compositions for various specific synthesizers, each piece produced using only one particular synth. The albums were also accompanied by books with historical and photographic studies of the various synthesizers.<ref name=linernotes /><ref name=OTW>{{cite web
| url = http://www.originaltonwest.de/
| url = http://www.originaltonwest.de/
| title = Catalogue for Originalton West Records
| title = Catalogue for Originalton West Records
Line 58: Line 55:
| language = German and English
| language = German and English
}}</ref>
}}</ref>


==Album Covers==
==Album Covers==
The first three E.M.A.K. albums feature distinctively simple covers, which arrange the words of the group’s name in uppercase letters against a monochorome background to form the letter ‘E’. This was deliberate tribute to the early album covers of Neu! And Kraftwerk.<ref name=linernotes></ref>
The first three E.M.A.K. albums feature distinctively simple covers, which arrange the words of the group’s name in uppercase letters against a monochorome background to form the letter ‘E’. This was deliberate tribute to the early album covers of Neu! And Kraftwerk.<ref name=linernotes />



==The Originalton West Label==
==The Originalton West Label==
Initially set up to release Becker’s and E.M.A.K.’s music, the Originalton West label also released music by other German electroacoustic and experimentalist musicians such as [[Oskar Sala]], Claus Brüse, [[:de:Camera Obscura (deutsche Band)|Camera Obscura]] (the German band), and Michael Peters, as well as Greek [[Rebetiko]] and African music.<ref name=linernotes></ref> <ref name=OTW></ref>
Initially set up to release Becker’s and E.M.A.K.’s music, the Originalton West label also released music by other German electroacoustic and experimentalist musicians such as [[Oskar Sala]], Claus Brüse, [[:de:Camera Obscura (deutsche Band)|Camera Obscura]] (the German band), and Michael Peters, as well as Greek [[Rebetiko]] and African music.<ref name=linernotes /><ref name=OTW />


⚫
==Discography==


⚫
==Discography==
===Albums===
===Albums===
* ''E.M.A.K.'' ([[E.M.A.K.#The Originalton West Label|Originalton West]], 1982)
* ''E.M.A.K.'' ([[E.M.A.K.#The Originalton West Label|Originalton West]], 1982)
Line 87: Line 82:
* ''Best of E.M.A.K.: Vol. 1-3'' (Originalton West, 1994)
* ''Best of E.M.A.K.: Vol. 1-3'' (Originalton West, 1994)
* ''A Synthetic History of E.M.A.K. 1982-88'' (Soul Jazz Records, 2011)
* ''A Synthetic History of E.M.A.K. 1982-88'' (Soul Jazz Records, 2011)



==References==
==References==
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[[Category:Krautrock| ]]
[[Category:Krautrock| ]]
[[Category:German musical groups]]
[[Category:German musical groups]]
[[Category: German electronic music groups]]
[[Category:German electronic music groups]]
[[Category: German experimental musical groups]]
[[Category:German experimental musical groups]]
[[Category: Musical groups from Cologne]]
[[Category:Musical groups from Cologne]]
[[Category: Musical groups established in 1981]]
[[Category:Musical groups established in 1981]]

Revision as of 09:04, 5 October 2012

E.M.A.K
Background information
OriginCologne, West Germany
GenresKrautrock
Electronic
Ambient
Years active1981–
LabelsOriginalton West
MembersMatthias Becker
Past membersMichael Filz
Kurt Mill
Michael Peschko
Klaus Stühlen
Websitehttp://www.originaltonwest.de/

E.M.A.K, or Elektronische Musik Aus: Köln (with "Köln" sometimes rendered as "Koeln" on album covers), was a German band and production collective based in Cologne in the 1980s. It produced experimental minimalist electronic dance and ambient pop music.

Members

The group was founded in 1981 in a small 8-track studio known as "Originalton West," run by Matthias Becker in the basement of the Cologne music store Hört-Hört. In January 1982 Becker released the first E.M.A.K. record, E.M.A.K. on the Originalton West record label.

Besides Becker, the members of E.M.A.K. included Michael Filz (who left after the release of E.M.A.K.), Kurt Mill (who left after the release of E.M.A.K. 2), Klaus Stühlen, and later Michael Peschko. In its initial form, E.M.A.K. was very much a collective of individuals, with Filz and Stühlen working on tracks alone, while Becker and Mill worked more collaboratively in the studio, and also acted as producers and final mixers on all E.M.A.K. tracks. Later, for the Vintage Synths releases, E.M.A.K. became a project led more firmly by Becker, with significant compositional help from Stühlen.[1]

Musical Style and Influences

E.M.A.K.’s influences include Kraftwerk, Neu!, Klaus Schulze, Tangerine Dream, Neue Musik and musique concrète,[1] as well as Pink Floyd and the White Noise project associated with the BBC Radiophonic Workshop.[2] Much of E.M.A.K.'s musical style was directly formed from experimentation with various instruments. These included analogue synthesizers such as a Mini-Moog and a Synthorama (a German synthesizer similar to a large Moog system), a Fender Rhodes piano (customized by Stühlen with external treatments such as distortion, echo chambers, and improvised effects), and a Roland TR-808 drum machine. E.M.AK. and E.M.A.K. 2 were released pre-sampler and pre-midi and so took a manual tape-based approach to looping and musique concrète parts. E.M.A.K. 3 used the AKAI S612 midi sampler and a Commodore 64.[1]

Although a critical part of the general history of German electronic music, E.M.A.K.’s location in Cologne during the 1980s meant they could pursue their own musical interests, relatively undisturbed by the demands of markets or fashions.[1] Becker felt that E.M.A.K. fell between generations, even when those generations worked in Cologne. E.M.A.K.'s music was influenced by older German electronic music, from that of Karlheinz Stockhausen to Can, both based in or near Cologne, but was also deliberately different, the band's name even cocking a deliberate snook at Stockhausen's self-appropriation of elektronische Musik.[2] The later E.M.A.K. project, Vintage Synths, would represent a further recasting of the history of electronic music, away from the focus on personalities such as Stockhausen and firmly onto the music machines themselves.[2] Becker also felt little connection with Neue Deutsche Welle bands such as Nena or D.A.F., although he admired the production work of the Cologne-based Conny Plank for some of these.[2]

E.M.A.K. were part of the club scene in Cologne,[2] and their own music often involved atmospheric extended pulsating rhythms. Only very rarely did E.M.A.K.’s music include vocals. The track “Filmmusik” from E.M.A.K. was a local club hit in Cologne,[1] although Becker himself preferred not to dance.[2]

Vintage Synthesizers

In 1987 Becker began writing a column for a German music magazine called “Synthesizer von Gestern”. This developed into the Vintage Synths project. Three Vintage Synths albums were released. These albums collected compositions for various specific synthesizers, each piece produced using only one particular synth. The albums were also accompanied by books with historical and photographic studies of the various synthesizers.[1][3]

Album Covers

The first three E.M.A.K. albums feature distinctively simple covers, which arrange the words of the group’s name in uppercase letters against a monochorome background to form the letter ‘E’. This was deliberate tribute to the early album covers of Neu! And Kraftwerk.[1]

The Originalton West Label

Initially set up to release Becker’s and E.M.A.K.’s music, the Originalton West label also released music by other German electroacoustic and experimentalist musicians such as Oskar Sala, Claus Brüse, Camera Obscura (the German band), and Michael Peters, as well as Greek Rebetiko and African music.[1][3]

Discography

Albums

  • E.M.A.K. (Originalton West, 1982)
  • E.M.A.K. 2 (Originalton West, 1983)
  • E.M.A.K. 3 (Originalton West, 1985)
  • Vintage Synths Vol. 1 (Originalton West, 1990)
  • Vintage Synths Vol. 2 (Originalton West, 1992)
  • Vintage Synths Vol. 3 (Originalton West, 1994)

Singles

Compilations

  • Best of E.M.A.K.: Vol. 1-3 (Originalton West, 1994)
  • A Synthetic History of E.M.A.K. 1982-88 (Soul Jazz Records, 2011)

References

  1. ^ a b c d e f g h A Synthetic History of E.M.A.K. 1982-88 (Media notes). UK: Soul Jazz Records. 2011. p. 8. {{cite AV media notes}}: Cite has empty unknown parameter: |notestitle= (help); Unknown parameter |bandname= ignored (help)
  2. ^ a b c d e f Barry, Robert (23 December 2010). ""I Mostly Didn't Dance, But Stared At The Ceiling": An Interview With EMAK". The Quietus. TheQuietus.com. Retrieved 22 September 2012.
  3. ^ a b Becker, Matthias. "Catalogue for Originalton West Records" (in German and English). Cologne, Germany: Originalton West Records.{{cite web}}: CS1 maint: unrecognized language (link)
  4. ^ "Discogs entry for E.M.A.K."
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