SCHLAMMPEITZIGER
Freundlichbaracudamelodieliedgut
Boomkat Product Review:
Schlammpeitziger's second album was originally released on Köln's legendary A-Musik imprint in 1996, and still sounds like little else. Made using cheap Casio keyboards, it's an eccentric, DIY version of kosmische music, sounding like Cluster covered by Felix Kubin and remixed by ISAN.
Cheap and tinny, but endearingly passionate, Jo Zimmermann's early releases are a treasured part of Köln folklore. The artist would end up recording a slew of albums for labels like Sonig and Bureau B, but 'Freundlichbaracudamelodieliedgut' catches Zimmerman at a crucial moment. An illustrator and performance artist as well as a musician, Zimmerman wrote this album as a tribute to the joy of everyday life and the surreal fantasies captured within. And he realizes this by reinterpreting the kosmische canon with joyful abandon, swerving the analog fetishism that would blight its later revival by concentrating on affordable, consumer-level instruments that lend the compositions a plasticky quality that's impossible to ignore.
'Hydraulicmeistershalbtagstanz' is charmingly melodic, making up for the lack of room-sized modular systems with pure good-natured emotion. The drums don't pump they flutter, and melodies waft across the track like incense smoke. Zimmerman adds pastoral field recordings to 'Winterschlafsüßbärentraum', wrestling his kick drums into a manic roll but still concentrating most of his energy on pretty, meandering synth improvisations. And when he goes off piste a little, like on the exotica-influenced 'Gezischel Im Fremdorient', he harmonizes with the electrified West Asian pop of Omar Souleyman. Extremely odd and quite lovely.
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Boomkat Product Review:
Schlammpeitziger's second album was originally released on Köln's legendary A-Musik imprint in 1996, and still sounds like little else. Made using cheap Casio keyboards, it's an eccentric, DIY version of kosmische music, sounding like Cluster covered by Felix Kubin and remixed by ISAN.
Cheap and tinny, but endearingly passionate, Jo Zimmermann's early releases are a treasured part of Köln folklore. The artist would end up recording a slew of albums for labels like Sonig and Bureau B, but 'Freundlichbaracudamelodieliedgut' catches Zimmerman at a crucial moment. An illustrator and performance artist as well as a musician, Zimmerman wrote this album as a tribute to the joy of everyday life and the surreal fantasies captured within. And he realizes this by reinterpreting the kosmische canon with joyful abandon, swerving the analog fetishism that would blight its later revival by concentrating on affordable, consumer-level instruments that lend the compositions a plasticky quality that's impossible to ignore.
'Hydraulicmeistershalbtagstanz' is charmingly melodic, making up for the lack of room-sized modular systems with pure good-natured emotion. The drums don't pump they flutter, and melodies waft across the track like incense smoke. Zimmerman adds pastoral field recordings to 'Winterschlafsüßbärentraum', wrestling his kick drums into a manic roll but still concentrating most of his energy on pretty, meandering synth improvisations. And when he goes off piste a little, like on the exotica-influenced 'Gezischel Im Fremdorient', he harmonizes with the electrified West Asian pop of Omar Souleyman. Extremely odd and quite lovely.
Boomkat Product Review:
Schlammpeitziger's second album was originally released on Köln's legendary A-Musik imprint in 1996, and still sounds like little else. Made using cheap Casio keyboards, it's an eccentric, DIY version of kosmische music, sounding like Cluster covered by Felix Kubin and remixed by ISAN.
Cheap and tinny, but endearingly passionate, Jo Zimmermann's early releases are a treasured part of Köln folklore. The artist would end up recording a slew of albums for labels like Sonig and Bureau B, but 'Freundlichbaracudamelodieliedgut' catches Zimmerman at a crucial moment. An illustrator and performance artist as well as a musician, Zimmerman wrote this album as a tribute to the joy of everyday life and the surreal fantasies captured within. And he realizes this by reinterpreting the kosmische canon with joyful abandon, swerving the analog fetishism that would blight its later revival by concentrating on affordable, consumer-level instruments that lend the compositions a plasticky quality that's impossible to ignore.
'Hydraulicmeistershalbtagstanz' is charmingly melodic, making up for the lack of room-sized modular systems with pure good-natured emotion. The drums don't pump they flutter, and melodies waft across the track like incense smoke. Zimmerman adds pastoral field recordings to 'Winterschlafsüßbärentraum', wrestling his kick drums into a manic roll but still concentrating most of his energy on pretty, meandering synth improvisations. And when he goes off piste a little, like on the exotica-influenced 'Gezischel Im Fremdorient', he harmonizes with the electrified West Asian pop of Omar Souleyman. Extremely odd and quite lovely.
Boomkat Product Review:
Schlammpeitziger's second album was originally released on Köln's legendary A-Musik imprint in 1996, and still sounds like little else. Made using cheap Casio keyboards, it's an eccentric, DIY version of kosmische music, sounding like Cluster covered by Felix Kubin and remixed by ISAN.
Cheap and tinny, but endearingly passionate, Jo Zimmermann's early releases are a treasured part of Köln folklore. The artist would end up recording a slew of albums for labels like Sonig and Bureau B, but 'Freundlichbaracudamelodieliedgut' catches Zimmerman at a crucial moment. An illustrator and performance artist as well as a musician, Zimmerman wrote this album as a tribute to the joy of everyday life and the surreal fantasies captured within. And he realizes this by reinterpreting the kosmische canon with joyful abandon, swerving the analog fetishism that would blight its later revival by concentrating on affordable, consumer-level instruments that lend the compositions a plasticky quality that's impossible to ignore.
'Hydraulicmeistershalbtagstanz' is charmingly melodic, making up for the lack of room-sized modular systems with pure good-natured emotion. The drums don't pump they flutter, and melodies waft across the track like incense smoke. Zimmerman adds pastoral field recordings to 'Winterschlafsüßbärentraum', wrestling his kick drums into a manic roll but still concentrating most of his energy on pretty, meandering synth improvisations. And when he goes off piste a little, like on the exotica-influenced 'Gezischel Im Fremdorient', he harmonizes with the electrified West Asian pop of Omar Souleyman. Extremely odd and quite lovely.
2023 Reissue.
Available To Order (Estimated Shipping between 7-14 Working Days)
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Boomkat Product Review:
Schlammpeitziger's second album was originally released on Köln's legendary A-Musik imprint in 1996, and still sounds like little else. Made using cheap Casio keyboards, it's an eccentric, DIY version of kosmische music, sounding like Cluster covered by Felix Kubin and remixed by ISAN.
Cheap and tinny, but endearingly passionate, Jo Zimmermann's early releases are a treasured part of Köln folklore. The artist would end up recording a slew of albums for labels like Sonig and Bureau B, but 'Freundlichbaracudamelodieliedgut' catches Zimmerman at a crucial moment. An illustrator and performance artist as well as a musician, Zimmerman wrote this album as a tribute to the joy of everyday life and the surreal fantasies captured within. And he realizes this by reinterpreting the kosmische canon with joyful abandon, swerving the analog fetishism that would blight its later revival by concentrating on affordable, consumer-level instruments that lend the compositions a plasticky quality that's impossible to ignore.
'Hydraulicmeistershalbtagstanz' is charmingly melodic, making up for the lack of room-sized modular systems with pure good-natured emotion. The drums don't pump they flutter, and melodies waft across the track like incense smoke. Zimmerman adds pastoral field recordings to 'Winterschlafsüßbärentraum', wrestling his kick drums into a manic roll but still concentrating most of his energy on pretty, meandering synth improvisations. And when he goes off piste a little, like on the exotica-influenced 'Gezischel Im Fremdorient', he harmonizes with the electrified West Asian pop of Omar Souleyman. Extremely odd and quite lovely.
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