Roedelius, Hans Joachim

Artist: Hans Joachim Roedelius
P: 1986 / 2011
Rarely has the title of a Roedelius albums (“Like the whispering of the wind”) so poetically and yet so accurately described its content. Roedelius expands his Études towards amorphousness, then suddenly a disarmingly familiar melody appears, from a completely different source perhaps (Harmonia? Cluster?). To continue the poetic theme of the
LP’s title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun
shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless.

Artist: Hans Joachim Roedelius
P: 1981 / 2010
Lustwandel is the sixth solo album by German keyboardist Hans-Joachim Roedelius, best known for his work with Cluster, Harmonia, and Aquarello. All the pieces on the album were composed by Roedelius with the sole exception of "Wilkommen", which was composed by Roedelius and Will Roper. It was released by Sky Records in 1981 and has been reissued on CD.  The music of Lustwandel is a series of ambient pieces for solo piano or electronic keyboards. Jim Brenholts, who reviewed Lustwandel for Allmusic, writes, in part: These unique compositions have character, charm, and grace that separate them from standard e-music and avant-garde fare. Roedelius uses gentle acoustics and silence as integral elements of his sound design. He segues within his atmospheres seamlessly. The sound is distinct and fresh. Only Roedelius can sound like this.
This album sounds like Cluster's "Sowiesoso" without Mobius' edgy influence; It's more mellow and quieter. The title track stands out as one of the best pieces of music you ever heard in the Krautrock genre. "Legende" is another perfect track, possibly the best piano solo by anyone, ever. The overwhelming longing and sadness found in these two tracks almost makes you weep.
Almost every track on this album is perfect: check out the 7th and 8th tracks. Some great cyclic synth work going on here. And whoever is doing those drums has more than earned respect. Also listen to "Langer Atem", a driving, pulsing rythm track shades of Terry Riley.

Artist: Hans Joachim Roedelius
P: 1981
Hier die Sky-Records Version.
Lustwandel is the sixth solo album by German keyboardist Hans-Joachim Roedelius, best known for his work with Cluster, Harmonia, and Aquarello. All the pieces on the album were composed by Roedelius with the sole exception of "Wilkommen", which was composed by Roedelius and Will Roper. It was released by Sky Records in 1981 and has been reissued on CD.  The music of Lustwandel is a series of ambient pieces for solo piano or electronic keyboards. Jim Brenholts, who reviewed Lustwandel for Allmusic, writes, in part: These unique compositions have character, charm, and grace that separate them from standard e-music and avant-garde fare. Roedelius uses gentle acoustics and silence as integral elements of his sound design. He segues within his atmospheres seamlessly. The sound is distinct and fresh. Only Roedelius can sound like this.
This album sounds like Cluster's "Sowiesoso" without Mobius' edgy influence; It's more mellow and quieter. The title track stands out as one of the best pieces of music you ever heard in the Krautrock genre. "Legende" is another perfect track, possibly the best piano solo by anyone, ever. The overwhelming longing and sadness found in these two tracks almost makes you weep.
Almost every track on this album is perfect: check out the 7th and 8th tracks. Some great cyclic synth work going on here. And whoever is doing those drums has more than earned respect. Also listen to "Langer Atem", a driving, pulsing rythm track shades of Terry Riley.

Artist: Hans Joachim Roedelius
P: 1987 / 2011
Since the early eighties, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different to Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. “Tu felix Austria” (Oh, happy Austria), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music.
“Momenti Felici” is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueling on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, “Momenti Felici” most closely resembles “Jardin au fou”. On closer listening, however, the length in time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period inbetween. Naturally, “Momenti Felici” saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines.
Stringent compositions and neoclassical improvisations. Piano pieces, some with saxophone and/or synthesizer accompanied.
Hans-Joachim Roedelius - piano, keyboards, synthesizer
Alexander Czjzek - saxophone

Artist: Hans Joachim Roedelius
P: 1987
Since the early eighties, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different to Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. “Tu felix Austria” (Oh, happy Austria), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music.
“Momenti Felici” is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueling on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, “Momenti Felici” most closely resembles “Jardin au fou”. On closer listening, however, the length in time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period inbetween. Naturally, “Momenti Felici” saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines.
Stringent compositions and neoclassical improvisations. Piano pieces, some with saxophone and/or synthesizer accompanied.
Hans-Joachim Roedelius - piano, keyboards, synthesizer
Alexander Czjzek - saxophone

Artist: Hans Joachim Roedelius
P: 1982 / 2013
“Offene Türen” is a purely electronic album. Without losing himself in their infinite tonal possibilities, Roedelius delights in playing a selection of synthesizers. He even deploys an analogue rhythm machine now and then to discreet effect. Roedelius takes great care
to steer well clear of any cosmic fog or depersonalised abstractions. Nothing of the sort can be heard, as he focusses intensely and exclusively on the relationships of rhythm, harmony and melody. Roedelius conjures up their delicate timbres on synthesizer with the
greatest of ease. The seasoned electronic musician would have found similar results beyond the reach of his good old Farfisa organ. “Offene Türen” is an album of electronic chamber music and only someone with as sunny a disposition as Roedelius could be its
composer and performer. Indeed, the unfettered Roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. He began to open up a brand new musical world, venturing
forth with typical humility, as quietly and steadfastly as ever. “Offene Türen” marks a kind of threshold which Roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. Roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. Both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. Those who have listened carefully to Roedelius both before and after “Offene Türen” will appreciate the album’s significance. But even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. Listening to it now is as great a pleasure as it was at the time of its creation. Clearly, Roedelius has always been an absolute master of timelessness.
Asmus Tietchens

Artist: Hans Joachim Roedelius
P: 1987 / 2011
Piano Piano follows on from the project started with the two titles published in 1987 and 1989 by Venture/Virgin, and presents twelve tracks predominantly for solo piano, composed and performed by Roedelius.
In this work, Roedelius returned to the discographic scene, and does so with the same stylistic coherence which has been a characteristic of his continuing work from 1968 to the present; from the time that is, when he formed a part of the scene at the Zodiac Free Art Centre in Berlin, along with the most important German electronic music groups like Tangerine Dream and Ashra Temple. In the following years, his activity continued together with Dieter Moebius, under the name of Cluster and with this he made, in 1977, two memorable albums along with Brian Eno.
After his move to Austria in 1979, he began his solo career, dedicating his musical research chiefly to the piano.
Piano Piano confirms his stature as a composer and as one of the leaders of "Ambient Music". His style, dry, with strong classical inspiration passes over melodic lines that are both fascinating and endowed with an extraordinary immediacy.
The production is by Roedelius himself.
The cover presents four original paintings, created especially for this work, by the Spanish artist Idelfonso Aguilar.

Artist: Hans Joachim Roedelius
P: 1987
Piano Piano follows on from the project started with the two titles published in 1987 and 1989 by Venture/Virgin, and presents twelve tracks predominantly for solo piano, composed and performed by Roedelius.
In this work, Roedelius returned to the discographic scene, and does so with the same stylistic coherence which has been a characteristic of his continuing work from 1968 to the present; from the time that is, when he formed a part of the scene at the Zodiac Free Art Centre in Berlin, along with the most important German electronic music groups like Tangerine Dream and Ashra Temple. In the following years, his activity continued together with Dieter Moebius, under the name of Cluster and with this he made, in 1977, two memorable albums along with Brian Eno.
After his move to Austria in 1979, he began his solo career, dedicating his musical research chiefly to the piano.
Piano Piano confirms his stature as a composer and as one of the leaders of "Ambient Music". His style, dry, with strong classical inspiration passes over melodic lines that are both fascinating and endowed with an extraordinary immediacy.
The production is by Roedelius himself.
The cover presents four original paintings, created especially for this work, by the Spanish artist Idelfonso Aguilar.

Artist: Hans Joachim Roedelius
P: 1996
Originally released in 1996.  A must-have title with a definite 'new age' direction to it. Songs that will have you playing this CD on a regular basis are "Poetry", the beautifully-played "Yellow Bird", the gem of a title track "Pink Blue & Amber" and the twelve-minute "The Bambuswind". Line-up: Roelelius - beyboards & piano, Tony Morley - guitar, Gini Ball - violin & vocals, Nicole Alesini - soprano sax, Alexander Czjzek - tenor sax and Eric Spitzer - strings. Should appeal to fans of Brian Eno, Robert Rich and Vidna Obmana.

Artist: Hans Joachim Roedelius
P: 1985 / 2012
Breathtakingly beautiful piano fantasies from the year 1985 – released for the very first time!
In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since taking delivery of his Bösendorfer grand piano in 1983, his
interest had grown in the most royal of instruments: the piano. Whilst staying with Brian Eno in 1985 (they had collaborated earlier in the seventies), Roedelius composed a
wealth of new material on his friend’s two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career: “At the Bloomsbury theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven”, he describes the instrument. The audience responded enthusiastically. “People
were kneeling down before me in gratitude and happiness”, Roedelius recalls. And anyone who listens to the recordings will understand why. If somewhat envious that they were not
there on the night. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius’ 1991 opus “Piano Piano” are just as valid here: “His music is quiet and focussed, but to call it contemplative or even meditative
would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp.” (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: “I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice.” We feel honoured and flattered to be the label he was looking for. And we are both proud and thankful for the privilege of releasing this magnificent piece of work. Hans-Joachim Roedelius: born in Berlin in 1934. Co-founder of Berlin’s first free art studio, the Zodiak Arts Lab (1967), he was also a founder member of various groups, namely Human Being, Kluster, Cluster, Harmonia, Tempus Transit and Lunzprojekt. He played on around 160 record productions either as a soloist or with band
projects. Collaborations with artists all over the world, including Brian Eno, Holger Czukay, Susumu Hirasawa, Tim Story, Dieter Moebius, Michael Rother, Stefan Schneider, and Lloyd Cole.