Apr 2, 2024 12:59 PM
Saxophonist, Sonic Explorer Casey Benjamin Dies at 45
Casey Benjamin, the alto saxophonist, vocalist, keyboardist and producer who stamped his distinctive sounds on the…
The entirety of Solo provides a deluxe reminder of Michael Rother’s impact on modern music.
(Photo: Max Zerrahn)Though his résumé includes a long and varied solo career, Michael Rother’s work often has been discussed in relation to the more famous ensembles and performers he’s collaborated with. He counts early membership in electronic pioneers Kraftwerk; krautrock duo Neu!, his band with drummer Klaus Dinger; and Harmonia, a collaboration with the members of Cluster and, for a single 1976 session, Brian Eno.
Starting the following year, Rother went marching down paths of his own creation, propelling his motorik rhythms and atmospheric melodies toward mesmerizing boundaries.
Now, Rother’s legacy is getting a proper spotlight turn with the release of Solo, a six-disc box set that compiles the first four LPs that he issued under his own name, as well as a collection of movie soundtrack work and an EP of live material and remixes. It’s a welcome addition to the krautrock canon, but it’s also best consumed in small doses. That might run counter to the binge-listening approach that most luxe releases like this encourage. But heard in quick succession, these albums start to blur together, melting into one long hypnotic, pulsating beat and pealing guitar solo.
Rother landed on the aesthetic sprawled out across the set during his tenure in Neu!, one that he attempts slight variations of throughout the box set’s albums. He occasionally messes with the formula, as on “KM 10,” from 1979’s Katzenmusik, which features an extended intro of squiggling guitar lines, or the pensive opening chords of “Erlkönig,” found on 1982’s Fernwärme. Eventually, though, the chugging drums, provided throughout by Can member Jaki Liebezeit, fade into the mix like a horse at full gallop, just cresting the horizon.
That’s what makes Soundtracks, a disc that includes Rother’s scores for a pair of 2015 films, such a welcome addition to Solo. The hypnotic qualities of his work still are present, but are being used for dramatic effect, via arpeggiated strings and some buzzing synth drones. Even without the filmic visuals, the tension and release—especially in the four sections meant to accompany the crime drama The Robbers—is immediately palpable.
The nuances and emotional fluctuations of each of the studio albums included, though, are best appreciated on an individual basis. All the better to help draw out those splendid moments when Rother adjusts or abandons his formula.
Katzenmusik offers the broadest scope with its occasional formless interludes, skittering, almost disco-like beats and “KM 11,” a mist-covered solo guitar piece. But throughout his first four solo ventures, there are moments that slip away from what’s expected. Liebezeit is given room to show off his remarkable skills on “Zeni,” from Rother’s 1977 debut, Flammende Herzen. The drummer rolls and tumbles steadily through the track, like a pilot sending his prop plane through a bank of storm clouds.
The entirety of Solo also provides a deluxe reminder of Rother’s impact on modern experimental and alternative music. The unyielding beats and psychedelic overtones were borrowed en masse by ‘90s group Stereolab on its early recordings, and the legacy continues with more contemporary artists like LCD Soundsystem and Cut Copy. The Live And Remixes disc finds Rother connected directly with the younger set. One live track is a recording of Hallogallo 2010, his project with former Sonic Youth drummer Steve Shelley and guitarist Aaron Mullen, who both lean into a clenched, medium-tempo grind. And one of the remixes finds Rother smoothing out the jagged edges of a track by British post-punks Boxed In.
The set also serves as a reminder that Rother’s work didn’t exist in a vacuum. His German contemporaries, like Can and Cluster, were aiming to achieve the same ecstatic effects through repetition. The difference is that those groups also veered into far choppier waters of experimentation and discordance. Rother never seemed to want to be anything else but infinitely listenable. And for the most part, that’s what Solo is, imminently listenable. DB
Benjamin possessed a fluid, round sound on the alto saxophone, and he was often most recognizable by the layers of electronic effects that he put onto the instrument.
Apr 2, 2024 12:59 PM
Casey Benjamin, the alto saxophonist, vocalist, keyboardist and producer who stamped his distinctive sounds on the…
“He’s constructing intelligent musical sentences that connect seamlessly, which is the most important part of linear playing,” Charles McPherson said of alto saxophonist Sonny Red.
Feb 27, 2024 1:40 PM
“I might not have felt this way 30 to 40 years ago, but I’ve reached a point where I can hear value in what people…
Albert “Tootie” Heath (1935–2024) followed in the tradition of drummer Kenny Clarke, his idol.
Apr 5, 2024 10:28 AM
Albert “Tootie” Heath, a drummer of impeccable taste and time who was the youngest of three jazz-legend brothers…
“Both of us are quite grounded in the craft, the tradition and the harmonic sense,” Rosenwinkel said of his experience playing with Allen. “Yet I felt we shared something mystical as well.”
Mar 12, 2024 11:42 AM
“There are a few musicians you hear where, as somebody once said, the molecules in the room change. Geri was one of…
Larry Goldings’ versatility keeps him in high demand as a leader, collaborator and sideman.
Feb 21, 2024 10:45 AM
Are you having any fun? Larry Goldings certainly is. Consider just two recent examples:
Scene 1: “If anyone had…
