“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
While in the UK, ITALOCONNECTION are best known for their remixes of HURTS and THE HUMAN LEAGUE, it is the Italian pair who get given the treatment this time around.
Italian veterans Fred Ventura and Paolo Gozzetti continue their midnight journey as ITALOCONNECTION with a collection of reworks. Although tied in with their most recent album ‘Midnight Confessions Vol1’, only four of its tracks are represented with the remaining songs coming from deluxe bonus tracks and non-album digital singles.
With the ITALOCONNECTION mission “to sound vintage in a modern way”, this ethos is applied with respect by their chosen collaborators, the end result being unlike other dance remix compendiums, the majority of the songs are identifiable and continue with the original album’s central theme of love.
A more introspective closing track on ‘Midnight Confessions Vol, sibling duo MONO HAN give ‘Humans’ a tighter disco treatment with synthwave friendly inflections as the opener. Meanwhile, the catchy but bittersweet ‘Get Together’ loses its appealing bounce and ‘I Feel Love’ throb in favour of something more rigid and icy via ITAL OSCILLAZIONI ’s remix.
DJ Tin Tin’s take on the lovelorn drama of ‘Since You Went Away’ applies a different groove as well new synth and high-pitched voice counter-melodies, but the alluring touch that actress Francesca Diprima provided is now absent. Noted Danish Italo archivist and remixer Flemming Dalum gets to work with ‘All Over’ to give it some Kling Klang meets Moroder meets Klein & MBO presence while retaining the original’s spritely confidence.
A song in its own right without any rework, ‘No Way’ is a good track that stomps like a trooper but with its darker aggressive outlook, it did not fit with the romantic notions of ‘Midnight Confessions Vol1’. Similarly of a darker disposition and released in 2020 as a standalone single, ‘Today Tomorrow’ is brightened up slightly by Fogli & Colombo and made more vintage Italo in feel. Also of 2020 vintage, ‘Without A Reason’ gets an electro 808 for its backbeat and vocoder thrown in for a hypnotic abstract reinterpretation by Dutch production team SFERA CELESTE PROJECT.
With the bonus tracks, ‘Be Yourself (Again)’ offers catchy Italopop while with in-house Naked Remix of ‘Endless Possibilities’, this ITALOCONNECTION production for Francesca Gastaldi strips the original structures for something more driving, nocturnal in keeping with the Midnight theme.
With the widescreen European electronic pop that was presented on ‘Midnight Confessions Vol1’, the more purest Italo enthusiasts will most likely love what is on offer with ‘Midnight Reworks’.
‘Midnight Reworks’ is released by Mordisco / Blanco Y Negro as a vinyl LP and digital release with bonus tracks, available from https://italoconnection.bandcamp.com/
With the lounge fusion of his second album ‘Music for Underwater Supermarkets’ crossing Burt Bacharach with AIR, Roman Angelos presented muzak for grocery shopping in the future.
Inspired by Jean-Michel Jarre’s album ‘Music for Supermarkets’ which was released as a limited edition of one, Brooklyn-based producer, composer and multi-instrumentalist Rich Bennett uses his Roman Angelos persona to explore his fascination for vintage library and soundtrack music. The end result is a vibey exploration in sound that included woodwinds, transistorised organs and vintage synths.
However, ‘The Aimless Aquanaut’ deviated from that formula in its drifting electronic air, lushly layered with gentle mechanised percussion and oozing with nautical mystery, waiting for Marina from ‘Stingray’ maybe? So near so spa, the new extended version allows a more immersive experience that could go on even longer thanks to the hypnotic flow of its pretty bubbling arpeggios. The Riptide and Rumble remix by producer / engineer Scott Solter expresses the ambience in a spikier manner. It acts as a trailer for a full remix album “Supermarkets, Underwater” to be released in early 2023 by Happy Robots Records
Roman Angelos had a quick chat with ELECTRICITYCLUB.CO.UK about soundtracking underwater supermarkets.
‘The Aimless Aquanaut’ is quite different aesthetically to the other tracks on ‘Music For Underwater Supermarkets’ in its electronic ambience compared to the easy listening lounge mood of the other tracks, how did it end up there?
Even though it has a slightly different aesthetic, all the short interludes on the original record are meant to be meditations more than fully realized pieces; in many cases they’re there to signal the next phase of the record. ‘The Aimless Aquanaut’ was intended to evoke a deep dive into the water – the arpeggiated synths being like bubbles passing by.
Which ambient exponents have been most influential to you in this type of music?
A lot of my references for this record come from folks like Fennesz and Biosphere, and of course Mr Eno. But I also really love 80s New Age ambient music, the Environments records from the 70s, so much of the ECM catalog, and lots of 70s ambient space rock. Scott who remixed the album, brings his own set of influences and ideas to these remixes, but I draw from a lot of different flavors of ambient.
‘The Aimless Aquanaut’ has been extended for single release, but was there any temptation to make it an hour long like ‘Thursday Afternoon’ by Brian Eno?
I’m glad you asked! In fact, the full remix version of this record (due for January release) by Scott Solter is very much inspired by ‘Thursday Afternoon’. In fact it was the main reference point that both Scott and I discussed when he started the remix. Although the final recording is not one long piece, the influence is there, and the remix of ‘The Underwater Supermarket’ is the closest to that idea as it is a 16 minute long dark and expansive excursion.
So this remix variant of the ‘Music For Underwater Supermarkets’ album, will it be ambient or are we talking “hands in the air” club music or something else entirely?
Haha, I would love someone to do a “hands in the air” remix of ‘Underwater Supermarkets’! In fact, when I was working on the original recording, a friend sent me a hip-hop beat he created with ‘Swimming Through The Aisles’. Hip-hop in 7/8, I’ll take it! But on a serious note, the record will be more along the lines of your traditional concept of ambient. One of the things Scott and I discussed when he started working on these remixes was that I wanted his versions to feel like the inverse of the original record. So whereas the original was a light and bouncy interpretation of life underwater, this is more of a dark and immersive record. More of your lights out, lay down on the floor and zone out kind of thing.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Roman Angelos
Special thanks to Adam Cresswell at Happy Robots Records
The 15th long player from BLANCMANGE sees a return to London Records who issued their debut ‘Happy Families’ in Autumn 1982.
Originally a duo comprising of Neil Arthur and Stephen Luscombe, the pair released a further two albums ‘Mange Tout’ and ‘Believe You Me’ before going on a lengthy hiatus.
They returned in 2011 with ‘Blanc Burn’, but with Luscombe unable to continue due to health reasons, BLANCMANGE has since become a prolific solo adventure for Arthur. ‘Private View’ presents a collection of synthesised art-pop that finds a significant role for guitarist David Rhodes, BLANCMANGE’s very own Carlos Alomar who has regularly applied his talents with Peter Gabriel as well as a live stint with JAPAN.
Continuing FADER partner Benge as producer who worked on the recent BLANCMANGE albums ‘Unfurnished Rooms’, ‘Wanderlust’, ‘Mindset’ and ‘Commercial Break’, ‘Private View’ presents a striking opener in ‘What’s Your Name’; not a cover of the 1981 DEPECHE MODE tune, despite a sparse vibey start, it strums and crashes into action while Arthur uses a manipulated voice treatment to give a sense of other worldly alienation away from the indie rock track that this could easily be.
‘Some Times These’ also retains a fuzzy kerrang element although the chorus keyboard theme has an immersive Eno-esque air that echoes his work on “Heroes”. More sequencer driven, ‘Reduced Voltage’ echoes CAN in its groovy kosmische precision but the guitars are turned up in the second half, contrary to the title.
Waking up with an idea seeded in 1980, ‘Here We Go Go’ is a song that could have come from the ‘Quartz’ album from FADER but with louder percussion, before it marvellously morphs into the artier drama of OMD for its conclusion. The energetic ’Chairs’ pulses along with a strong throbbing drive and Arthur announcing in frustration at those easy triggers that “we keep getting excited about things beyond our control”, when all he needs is a “cup of tea”…
With more ragged six string and mechanised pulsing, ‘Who Am I?’ sees our hero lost and forlorn while ‘Everything Is Connected’ offers a strange kind of eerie indie electro-funk but while not a reprise of ‘Feel Me’, it is as the title suggests, part of the lineage.
With a steadfast pulsing motorik, ‘I Tried To Be You’ features several glorious synth sections which are very pleasing to the ears. Then using a swirling cacophony of electrickery, the ‘Private View’ title number borrows the punchy drum mantra from NEW ORDER’s ‘Leave Me Alone’ to present a sardonic angle on a world where “you know you can’t let go now”.
Brilliantly taking cues from the forest-laden atmospheres of CLUSTER, ‘Take Me’ features some wonderful piano and guitar work. It’s a sumptuous motorik ballad where Arthur declares he is “lost without love” although this ending provides the best song on ‘Private View’.
40 years on from BLANCMANGE’s debut album on London Records, ‘Private View’ shows Neil Arthur can still spring some surprises.
He continues as a creative force to be reckoned with, using his brand to open doors and satisfy while eschewing the more nostalgic tendencies of some of his peers.
‘Private View’ is released on 30th September 2022 by London Records in the usual formats
2022 BLANCAMANGE UK live dates include:
London Rough Trade East (1 October), Cambridge Junction (7 October)^, Stroud Subscription Rooms (8 October)^, Colchester Arts Centre (13 October)^, Cardiff University Y Plas (14 October)^, Frome Cheese and Grain (15 October)^, Reading Sub 89 (20 October)^, Nottingham The Level (21 October)^, Gillingham Glassbox Theatre (22 October)^, Bristol Fleece (27 October)+, Guildford Boileroom (28 October)+, Wimborne Tivoli Theatre (29 October)+, Exeter Theatre (4 November)*, Southampton The Brook (5 November)*, Birmingham The Mill (10 November)+, Lancaster Kanteena (11 November)+, Barrow-in-Furness Forum Theatre (12 November)+, Diss Corn Hall (17 November)*, Manchester Gorilla (18 November)**, Liverpool Hangar 34 (19 November)**, Leeds Wardrobe (24 November)**, Sheffield Leadmill (25 November)**, Newcastle Riverside (26 November)**, Aberdeen Lemon Tree (1 December)**, Edinburgh Liquid Room (2 December)**, Glasgow Queen Margaret Union (3 December)**, Brighton Concorde 2 (9 December)**, London Islington Assembly Hall (10 December)**
Support acts: ^Oblong +Alice Hubble *Rodney Cromwell **Stephen Mallinder
A union between Montreal electronic duo THE BEAT ESCAPE and fellow Canadian singer / songwriter Tess Roby, DAWN TO DAWN first met in 2018. Inspired by their developing friendship, the trio began to make music together.
Adam Ohr and Patrick Lee have one album ‘Life Is Short The Answer Is Long’ to their name as THE BEAT ESCAPE; released on Simon Raymonde’s Bella Union, it contained tracks such as ‘Sign Of Age’ which displayed an icy intelligent dance music affinity with Finnish duo SIN COS TAN.
Meanwhile, Tess Roby issued her debut album ‘Beacon’ on Italians Do It Better in 2018; but she took the plunge to showcase her brand of emotive folktronica independently by releasing the follow-up ‘Ideas of Space’ on her own SSURROUNDSS label earlier in 2022.
DAWN TO DAWN are about to be release their debut long player ‘Postcards From The Sun To The Moon’. As their moniker suggests, they capture a circadian feel in their music, adapting to the natural human consciousness. With enticing synth soundscapes and Tess Roby’s forlorn vocal as the common threads, the album is lively and beat-laden at its most social yet understated, then introspective but positive as near-sleep sets in.
Tess Roby, Adam Ohr and Patrick Lee settled down with ELECTRICITYCLUB.CO.UK for a chat about the making of ‘Postcards From The Sun To The Moon’…
What inspired you all to get into a collaborative project?
Tess: I released ‘Beacon’ on April 20th, 2018, while Patrick and Adam released THE BEAT ESCAPE album the week after – I had heard about them for ages, always curious as to who they were. We connected at a show a few months later and said we should get together in the studio. In November 2018 we had our first studio session, which is when we wrote ‘Meridian.’ It was pretty magical. After that we were in the studio together every weekend; making music, drinking wine, making dinners…
Adam: We had a shared appreciation for each other’s work but there was no intention to start a band at all. We met up for coffee one afternoon, which led to opening some wine, which led to turning on some instruments to jam. Something clicked and all of a sudden we had all of the parts to a really great track within about 25 minutes. We all loved what we had started so we made plans to meet again to finish it. That led to starting something else that we felt needed to be finished.
Patrick: The first time Tess came over to the old studio, we were more concerned with what snacks to get than what the jam might sound like. After that 25 minutes, the immediate musical chemistry completely took us by surprise.
What do you get out of working as a group that you can’t with your own main projects?
Adam: Tess is the lead singer and typically writes all the lyrics in this group so that’s one of the major differences which I find really inspiring.
Patrick: Working together makes us travel to musical places that we’d never really be able to go to on our own. There’s this beautiful, kindred, democratic meeting point with our work. Where we land is definitely inspiring.
Tess: Studio energy! The excitement in the studio when we’re chasing an idea together is unmatched.
‘Postcards From The Sun To The Moon’ is released on the SSURROUNDSS label, how does this compare with being on other labels?
Tess: I guess we’ll see! It’s cool to be doing our own thing and making this space for ourselves. I started SSURROUNDSS to release my record ‘Ideas of Space’ and it felt like the right move to release the DAWN TO DAWN record too.
Patrick: What better captain to steer the ship than our beloved front woman. SSURROUNDSS 4 lyfe.
Would it be fair to describe ‘Postcards From The Sun To The Moon’ as a product of lockdown, the result of a need to collaborate due to the isolation?
Tess: Most of this album was written in 2019, so before the pandemic. The only songs we wrote in the lockdown were ‘Stereo’ and ‘Samba’ in December 2020. We all took covid tests and went into the studio for two days and made these two really beautiful, happy songs. I was writing about missing summer, missing partying, missing togetherness. After those sessions we had a small party at my house, which was illegal at the time, so we boarded up all the windows so no one would know we were there. Crazy to think about.
What synthesizers and drum machines did you dust off for the album’s making, do you have any favourite trusty pieces of equipment?
Adam: I have a Lexicon PCM 70 effects processor that was used quite a bit throughout the record. The Voyetra 8 sound also made its way into a couple of tracks and there are some nice ARP Odyssey moments as well.
Patrick: My SH101 also finds itself on almost all of our songs. Same with the 808 with everything going through an old Mackie 1402 mixer. That thing was pretty key actually. When unknowingly writing ‘Postcards…’, the three of us were always at a keyboard and drum machine, Tess on the mic. That liveness of the jams definitely finds its way into our songs.
Tess: The Juno 60 is on a lot of tracks too – that was fun to write with as I usually write on my 106. Such a special sound, you can really hear it on ‘A Colour Named By You.’
‘Meridian’ is an example of the more uptempo approach of DAWN TO DAWN, was there a conscious aim to be more “upbeat” with a particular aesthetic in mind? Did the vocal approach change at all as a result?
Tess: I think there’s always an energy that we’re looking to capture. The more upbeat songs were all made at night, after dinners and many bottles of wine in the dead of winter.
In terms of creative dynamic, do you each have designated roles within DAWN TO DAWN?
Adam: Usually the three of us would jam an idea and then Patrick and I would experiment with the file – process some sounds and edit – and then we’d play Tess what we worked on and decide what worked and what didn’t – then arrange everything all together, add what we felt was missing – and finally, re-record all the vocals.
Tess: We all write together in the studio. After the initial few sessions, Adam and Patrick will take the files and experiment with processing, and then we’ll get back in the studio to finalize everything and record vocals etc.
‘Care’ is interesting and unconventional in that a sung lyric doesn’t appear until almost halfway through the track, how did the idea come about?
Adam: I think that idea came about as a result of our shared love of B-sides, while recording the song it just felt like a natural thing to do.
Tess: ‘Care’ is one of my favourite songs on the record. That was the first track we did together where I really started to push my voice to another level. I think we wanted to give some space to that, and eventually have it lead to a little story.
‘Stereo’ captures that joy of music which can be a communal or solitary experience, functional or incidental, what was the song’s genesis?
Tess: Like I said earlier, ‘Stereo’ was written deep in the winter lockdown of 2020. We were so happy to be back in the studio together after 7 months of not being there that we ended up writing these really euphoric songs. For ‘Stereo’, I was imagining a party I went to in 2019 where I went alone and was on a bit of mushrooms. There’s something really nice about being at a party alone, something carefree and weightless. That’s the vibe I was after.
Adam: These were also the first sessions at a new studio space in downtown Montreal – it was the beginning of the holiday season and the downtown lights seemed to seep into the recording.
Tess: December is one of the best months to write music, such a special vibe.
Patrick: Yeah, we all love Christmas.
‘Lanes’ is inspired by British seaside towns, but was there a particular one and what did you see that fascinated you?
Adam: When we were writing ‘Lanes’, we realized that we were channeling this mysterious mood and we started talking about ghostly British coastal towns. We became very excited by this idea, this imagery, and so it became the inspiration for the song.
Tess: When I wrote the lyrics, I had Brighton in mind, specifically the area called ‘The Lanes’ where the roads narrow and you can easily get lost. It’s such a special place. I’m half British and grew up spending summers in the UK. I’ve always loved British seaside towns, there’s a melancholy to them that you don’t find anywhere else.
Which are each of your own favourite tracks from ‘Postcards From The Sun To The Moon’?
Tess: ‘Care’ is really special for me for the reasons I mentioned earlier. ‘A Colour Named By You’ I love – it feels timeless. And ‘Anniversary’ has this calm, blissful to it that I always seek when I’m writing. I could live in that song.
Adam: ‘Lanes’ is the most moving one for me, ‘Meridian’ is special cause it was what started the project, and I love the groove and vocal melodies on ‘Samba’.
Patrick: I love ‘Samba’, ‘Stereo’. They’re the kind of dancey pop tunes that I always love to discover. ‘Lanes’ is also so beautiful and heartbreaking and such a special one… I’m pretty sure we were all in tears somewhere throughout the writing process.
What’s the future for DAWN TO DAWN?
Tess: We’re in the studio, working on a bunch of different tracks. It will be interesting to see how they come together in the future. No specific plans for now though we’re talking about touring in the Spring. It will be amazing to finally perform these songs for people – I’ve been waiting to do that since the day we first got together in the studio.
Patrick: The song we’re currently working on has such a vibe it kinda freaks me out… but an amazing kind of freak out. Excited to continue to follow our impulses, try to make meaningful music, and just have lots of fun.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to DAWN TO DAWN
Trailblazing kosmische duo NEU! celebrate the 50th anniversary of their self-titled debut album with a boxed set containing their imperial back catalogue. It is appended by a modern day remixes collection featuring contributions by members of NEW ORDER, FACTORY FLOOR, HOT CHIP and MOGWAI amongst others. The CD version of the boxed set additionally features the divisive ‘NEU! 86’ reunion album.
Michael Rother and the late Klaus Dinger had been members of KRAFTWERK when Ralf Hütter had temporarily left the band; they even appeared on West German TV with Florian Schneider but on Hütter’s return, Rother and Dinger left to form NEU!
The name NEU! had been chosen by Dinger as “a protest against the consumer society” and their aim was to restore a sense of German artistic identity, in reaction to the Americanisation of European post-war culture that was now prevalent due to the large detachment of American armed forces on station during The Cold War.
Dinger and Rother were never easy bedfellows from the start, so it was legendary producer Conny Plank who acted as mediator between the pair’s quite different personalities and artistic aspirations. Although popularising the motorik beat, Dinger was a manic and confrontational character who wanted to be more than just a drummer, while Rother was unassuming in his half speed guitar texturing to paint mini-cacophonies of esoteric sound.
The pair had a creative tension to produce music that was experimental, yet accessible. This was showcased on their 1972 self-titled debut with the magnificent opening salvo ‘Hallogallo’. Almost trance-like thanks to its lengthy time space, the Apache drum mantra would later be mutated into drum machines to act as backbeat for OMD. Originally released on Brain Records, the album outlined the musical manifesto of NEU! with a sound that was not derived from the Trans-Atlantic culture.
The pressure was on the duo to produce a worthy follow-up to their debut and but having spent most of their budget from Brain on ‘Für Immer’, effectively a more polished development of ‘Hallogallo’, the second self-titled album was still about five tracks short. So Dinger came up with a brainwave to fill the void with versions of their interim single ‘Neuschnee’ and its B-side ‘Super’. This included recording the 45 RPM single at 16 and 78 complete with needle drops; other variants included drilling an off-centre hole into the vinyl and replaying a tape recording on a faulty cassette player!
Was this winging it or avant-garde genius or was it as Rother thought, Dinger’s way of antagonising Brain Records following what he considered the lack of promo for the ‘Neuschnee’ single? But variations on a theme were always part of the NEU! manifesto as had been demonstrated on their cover artwork and this was taking it to a musical level.
By the time of their third album, relations between Rother and Dinger had got so bad that they agreed to conceive a side each, with minimal input from the other. But NEU! ‘75’ was to be their best record yet, with Rother directing the more sedate and thoughtful first half. Meanwhile Dinger brought in his younger brother Thomas and Hans Lampe to take over his drums as he headed to the front with his guitar for a snarling second half of proto-punk.
‘Isi’ was a wonderfully catchy synthesizer and piano instrumental while ‘Seeland’ pointed to where Rother was eventually to head with his solo career. However, the haunting ‘Leb Wohl’ with its plaintive piano and Dinger’s anguished lead vocal was the stand-out to provide the farewell; OMD were to use this template in their musical dedication ‘4 Neu’.
Dinger provided his angry masterpiece in ‘Hero’ which grooved and startled in equal measure. One person who was listening was Iggy Pop and he provided the ultimate tribute to Dinger with his recent performance of ‘Hero’ with Rother at Hamburg Stadtpark in June 2022.
David Bowie was another NEU! fan and Rother later was asked to play on the “Heroes” album sessions in Berlin, but the collaboration never materialised due to interference from Bowie’s then-management. It remains a curiosity as to what could have been…
After NEU! disbanded, Rother’s became Germany’s answer to Mike Oldfield, while Dinger continued with Hans Lampe and Thomas Dinger in LA DÜSSELDORF. The first three albums from each had their merits while Conny Plank worked with both parties, although even with his good natured demeanour, he was only to last one further recording with Dinger who never really mellowed.
Rother and Dinger entered a studio together in 1986 for a brief NEU! reunion but the continuing tensions meant that the album was abandoned. But in 1995, Dinger released the recordings as the fourth NEU! album in Japan without Rother’s consent; he later described this experience as “a rather painful disaster between Klaus Dinger and myself”. There were several standout tracks, one of which was subsequently titled ‘Euphoria’ and sounded like a lost OMD instrumental while there was a moodier variation called ‘Wave Mother’. The fourth album was eventually sanctioned by Rother after he remixed the recordings following Dinger’s death in 2008 and released as NEU! ‘86’.
Photo by Anton Corbijn
But relations were to sour further when Dinger then toured and recorded for several years as LA! NEU? with Rother angry that his former bandmate was unfairly trading off the NEU! legacy. It was to take many years for the pair to agree on how to reissue their long deleted but now heavily bootlegged albums.
An attempted reconciliation between Rother and Dinger was attempted when the first three NEU! albums were finally reissued in 2000 by Grönland Records, but during the joint promotional interviews, the pair were barely able to tolerate each other’s company, with the photographs taken by Anton Corbijn notably capturing the friction.
These first reissues gave NEU! some much deserved recognition and their influence can be heard in acts such as ULTRAVOX, U2, OMD, NEW ORDER, SONIC YOUTH, STEREOLAB, FUJIYA & MIYAGI, HOT CHIP and MOOD TAEG. And with the NEU! ‘50’ boxed set comes an album of remixes and reworkings by some of those acts by way of tribute.
Stephen Morris and Gabe Gurnsey’s take on ‘Hallogallo’ is probably more of a neu recording than NEU! remix but there are still enough original elements to attribute the source. While Yann Tiersen presents a filmic electronic take on ‘Lieber Honig’ from the second album, the best of the bunch is Alexis Taylor with ‘4+1=5’, his slowed down 13 minute version of ‘Wave Mother’ that also adds his plaintive vocal in the final quarter.
After five decades, NEU! continue to inspire a new generation, thanks to the continuing live performances of Michael Rother featuring a significant portion of material from that era. While Klaus Dinger may no longer be on this mortal coil, his spirit lives on through the music and it is fitting that it is Hans Lampe who sits in the drum stool behind his former comrade-in-arms as the surviving heroes from ‘75’ continue the mission.
NEU! ‘50!’ is released as a 5LP or 5CD boxed set by Groenland Records
Michael Rother 2022 European live dates celebrating NEU! 50! include:
Berlin Betonhalle @ Silent Green (26th October), London Clapham Grand (3rd November), Barcelona Mira Festival (11th November), Paris BBMix Festival (26th November)
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