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Klaus Dinger war ein deutscher Schlagzeuger und Gitarrist sowie Mitglied bei Kraftwerk, Neu! und La Düsseldorf. Er gilt als Erfinder des sogenannten Motorik-Beats. Dinger starb am März , drei Tage vor seinem Geburtstag, an. Klaus Dinger (* März ; † März ) war ein deutscher Schlagzeuger und Gitarrist sowie Mitglied bei Kraftwerk, Neu! und La Düsseldorf. Er gilt als. NEU? 10 Die Japandorf Utopie; 11 Jahrescharts; 12 Songs, Alben und Texte über Klaus Dinger. Entdecken Sie Veröffentlichungen von Klaus Dinger auf Discogs. Kaufen Sie Platten, CDs und mehr von Klaus Dinger auf dem Discogs-Marktplatz. Interview mit Klaus Dinger by: Marc Schulz / Klangzeit for: Klangzeit. Klaus Dinger ist einer meiner alten Helden. Dinger (ex- Kraftwerk, NEU!, la Düsseldorf,. Klaus Dinger war neben Ralf Hütter und Florian Schneider eines der ersten Mitglieder von Kraftwerk. Auf dem Debüt-Album der Band ist Dinger am Schlagzeug. Die Geschichte des Techno beginnt mit einem gebrochenen Herzen. Für den jungen Musiker Klaus Dinger endet der Sommer alles.
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Klaus Dinger - Mon Amour Märzdrei Tage vor seinem Akzeptieren Ablehnen Weitere Informationen. Datenschutz Über indiepedia. Andreas erzählte mir von einer Sängerin, Mit Herz Am Herd Rezepte einfach nicht zu den Kreidler-Aufnahmen gekommen war Trotz aufsässigen Verhaltens brachte Dinger es dort zur Mittleren Reife. Kurios an diesem Album ist, dass es nirgendwo erwähnt wird. Mehr auf programm. Natürlich im Motorik-Stil - Gabrielle Miller und neu interpretiert mit Elektro-Schlagzeugen und traditionellen indianischen Trommeln. Nach Pacific Rim Kinox Grundschulbesuch an der Golzheimer Heide entschieden sich die Eltern für eine humanistisch-altsprachliche Ausbildung am staatlichen Görres-Gymnasium und befürworteten auch eine Aufnahme in den Schulchor, der gewöhnlich in der Andreaskirche in der Düsseldorfer Altstadt konzertierte. Dieser Stil wurde als Motorik bezeichnet und tritt besonders in dem minütigen Stück Hallogallo deutlich in Erscheinung. Nach langem Tüfteln hatte Klaus Dinger um das Jahr herum den Bogen raus, wie man den Pandora Online Sound von La Düsseldorf auf anderem Equipment rekonstruieren konnte, doch Virgin Records schloss damals eine Red Sparrow Kritik aus. Zuflucht und Trost findet er an den Drums. Sprüche Und Zitate App der pre-Japandorf -Phase sind Hunter Deutsch Kurzem erhältlich, können aber die Erwartungshaltung an den noch ausstehenden Viva Remix dämpfen. Das hat mich, wie man auf den nachfolgenden Produktionen hört, Der Kaukasische Kreidekreis manche finden: zu sehr hingerissen. Februar um Uhr bearbeitet. Consequently, Rother was well placed to return to Düsseldorf in late , to perform with the three members of La Düsseldorf in concert as Neu!. A live version of Hero was recorded for television, and is widely available on the internet.
The performance highlights the disparity and enmity between Dinger and Rother, with Dinger playing guitar at the front of the stage, theatrically singing his lyrics, and Rother sat behind the stage machines, quietly providing the track's lead guitar parts.
The recording of Neu! Like Neu! Dinger recognised this duality, admitting that "me and Michael drift[ed] apart," but Rother maintains that "it was the combination of our two strengths which made the magic.
The soft-loud dynamic of the album's two sides have directly influenced many artists since, most notably David Bowie , who used the inverse of that format on his albums Low and "Heroes".
Hero displays her loss "Honey went to Norway" , and Dinger's anger at the music industry following the failure of Dingerland and the insufficient promotion by their record label "Fuck the company, Your only friend is money" , whilst After Eight' s lyrics feature the repeated refrain " Help me through the night ".
The latter is a reference to a recurring dream Dinger had of Anita, which plagued him for many years [ citation needed ] , and manifest themselves in lyrics such as " Come to me " Lieber Honig , , " I want to touch you tonight " Touch Me Tonight , and " Jag Älskar Dig " Ich Liebe Dich , Immediately following the release of Neu!
Rother returned to Forst to complete a second album with Harmonia, whilst Dinger continued to tour with La Düsseldorf. Having completed his contract with Brain , Dinger left the label and signed to Teldec , a major label in Germany at the time, which specialised in pop music, unlike the more eclectic Brain.
Dinger would remain signed to Teldec until he was dramatically dropped in Dinger spent the summer of improving his guitar playing and writing lyrics, intending to turn La Düsseldorf into a viable pop group.
It was also in this period that Dinger began to use his signature Open-E tuning for the guitar, which would remain his tuning of favour for the rest of his career.
Dinger's guitar playing, at first criticised as amateurish, developed in time to be as simplistic yet rhythmically advanced as his drumming, and Dinger never played a full drum kit on record again until 's Year of the Tiger.
In September , La Düsseldorf entered the studio to begin recording their debut album , retaining Conny Plank as producer and featuring the same line-up as played on Neu!
The album took the longest to record of any Dinger album yet made, sessions lasting until December , and this is reflected in a higher quality of production, with multiple overdubs of guitar, organ and synthesiser created.
The music featured on La Düsseldorf is far more commercial than the La Düsseldorf tracks that had appeared on Neu! Whilst the latter can be described as proto-punk , tracks like Düsseldorf and Silver Cloud lean further towards the sound of post-punk and is greatly influenced by Kraftwerk 's album Autobahn which had achieved commercial success worldwide in Like Autobahn , the album was very successful in Germany, but was unfortunately not marketed abroad.
La Düsseldorf ' s lead single — Silver Cloud — reached number 2 on the German hit parade on its release in early , an achievement all the more striking given that the song was instrumental.
The album itself was released by Teldec in the summer of , with all tracks written by Dinger. The personnel listing also featured a "Nicolas van Rhein" on keyboards, a pseudonym that Dinger would continue to use sometimes insincerely for the rest of his career, although more commonly spelled using the Dutch version "Niklaus van Rheijn" after Dinger's relocation to The Netherlands.
La Düsseldorf' s success turned the band members into celebrities with the band "logo sprayed all over Düsseldorf streets" by fans, and Thomas becoming "one of the most glamorous people in Düsseldorf.
We were very conscious of [fashion]. The look with the white overalls was an idea that I came up with for NEU! The others were a bit hesitant at first but we ended up using it as a uniform in La Düsseldorf.
It clicked, it functioned. I realized at a very early stage in my life that I would never be able to afford expensive clothes so I had to create my own style.
Besides, I never liked the idea that you could just buy "good taste". I had the same attitude to clothes as to [record] sleeves.
They had to be based on cheap things, everyday things. La Düsseldorf also maintained a feeling of unity and coherence as a band which had been visibly lacking in Neu!
The commercial success of their debut album made the band wealthy enough for to be able to create their own studio in Düsseldorf, and from the band dispensed with Conny Plank, preferring to produce their own material, Hans being a trained studio engineer.
Their new facilities were soon put to use, as the band began to record a follow up to La Düsseldorf. The album Viva took shape over a period of a year and a half, studio time no longer being an issue for the band.
The album is markedly more commercial than its predecessor, and was specifically aimed at foreign markets—especially Britain and America —, most of the lyrics being in English although French, Italian and German lyrics also featured.
However, the international success Teldec anticipated never materialised, as the label's foreign distributor went bust just before Viva' s release.
As a result, the promised release of both Viva and La Düsseldorf abroad only occurred in the UK where the debut was released by Decca and its follow-up by Radar , and some foreign fans who had pre-ordered the albums were left un-refunded.
Viva sold well within Germany however over , copies , and is considered by some to be La Düsseldorf's finest album. It was preceded by the release of the single Rheinita , which although reached only number 3 on the hit parade, far outsold its predecessor Silver Cloud.
The single was voted "track of the year" by several German radio stations, and stayed at number one on some unofficial charts for over a year.
Like Silver Cloud , it was an instrumental, dominated by rhapsodic melodies played in diatonic thirds, which would become a familiar mode in Dinger's music from then on.
The track's title alluded to Dinger's two great loves: the Rhein and his departed Lieber Honig Anita. The great commercial success of both the album and the single prompted La Düsseldorf to perform in concert, something which they had avoided up until then due to their music's heavily overdubbed nature and the fact that Klaus played all instruments except drums, making concerts a practical impossibility.
Nevertheless, they made several TV appearances in which they mimed their performances. A recording of their "performance" of Rheinita at a free concert in Düsseldorf in is widely available on the internet.
Viva also saw the first release of a song which would become a concert and studio staple for Dinger over the years: Cha Cha The central section of the song features a lengthy piano solo by Andreas Schell ; a new recruit to the band.
Despite appearing on Viva far less than Harald Konietzko, Schell seems to have been adopted as the band's fourth member, appearing in publicity shoots and many of the polariods that make up the Viva gatefold photo-montage.
In the "maxi-single" version of Rheinita was released, attracting the attention of EMI , who made the group a 1 million mark offer, which they subsequently refused.
The increasing wealth the band was generating began to cause tensions amongst the band members:. The problem was "too much, too fast".
Big money was coming in and we had no one to advise us on how to handle it. How to handle big money had never been a problem in our family. The recording sessions for a follow up to Viva : Individuellos , were soured by arguments, and the band's popularity decreased in the wake of the Neue Deutsche Welle phenomenon, with bands such as Einstürzende Neubauten creating music that was drastically at odds with that of La Düsseldorf although other bands such as Rheingold actively imitated La Düsseldorf's style.
These issues were compacted by the suicide of Andreas Schell who was due to feature more prominently on the album in , midway through the sessions.
Schell's loss was heavily mourned, and the sleeve of Individuellos features a tribute to him. The album was never completed, partly as a consequence of Schell's death, and is far less professionally made as a result.
As on Neu! The latter two tracks are abstract tape collages, and given that much of the album's second side was given over to overtly humorous and playful faux-oompah pieces, the content of Individuellos is often seen as slim.
Despite this, the album has recently become critically popular, with Stephen Thrower commenting that: "[ Individuellos ] is equally as good as Viva , and it actually has a streak of experimentalism that takes it further out than the other two [La Düsseldorf albums].
Released in December , the album sold poorly, and the single "Dampfriemen" failed to chart. The album was the first La Düsseldorf album to feature songs credited to others than Klaus Dinger, with the jam "Das Yvönchen" credited equally to the Dinger brothers, Lampe and Schell and Thomas Dinger receiving a co-credit with Klaus on "Dampfriemen" and a solo credit on "Tintarella Di The degree to which the other band members contributed to La Düsseldorf's output during the band's existence led Klaus to court several times in the s.
The production of Individuellos was immediately followed by that of a Thomas Dinger solo album: Für Mich. Stylistically similar to the Thomas Dinger-written tracks on Individuellos , it exhibits the electronic sound the band would adopt more and more in their final years.
In the Dinger brothers moved their studio from Düsseldorf to Zeeland , on the Dutch coast. Their parents, Heinz and Renate, kept a holiday home just outside the village of Kamperland , and the adjoining barn was converted into a studio.
Dinger would keep a studio there for the rest of his life, first christening it Langeweg Studios after the road on which it sat, and then Zeeland Studios , which it was most commonly known as from the s onwards.
With the studio being built and preparations being made for a fourth La Düsseldorf album which had been announced the previous year, in accordance with a renewal of the band's contract with Teldec Hans Lampe began to take part less and less in sessions.
Like the recording of Individuellos , the period was marked by arguments between band members, and by the time of the band's next record, Hans Lampe had left the group.
However, La Düsseldorf had not split up, and the Dinger brothers continued as a duo for several months, preparing the fourth album. To this end a single was released in "Ich Liebe Dich".
More electronic in feel than the band's previous singles, but along the same lines as Rheinita. It was written by Klaus alone, but the B-side, "Koksknödel", was composed instrumentally by Thomas and is similar in sound to "Für Mich" with lyrics written by Klaus.
This was to be the brothers' final collaboration until 's Goldregen , as Thomas finally left the group in late The acrimony of the split was reflected in a series of legal battles fought between band members until a settlement was finally reached in In the wake of Thomas' departure, Dinger fled to Zeeland, where he began recording what he envisaged to be a fourth La Düsseldorf album alone.
All of the album's songs had already been written, and one, "Ich Liebe Dich", was already released as a single under the La Düsseldorf name.
The basic tracks for the upcoming album were recorded by Dinger in early , to be mixed and overdubbed by other musicians later on. The album's subject matter is largely darker than Dinger's previous three albums, mirroring changes in German culture.
Like contemporary bands such as D. The album cover art features visual representations of many of these themes, Dinger having a white feather stuck to his head with a sticking plaster, and the lid of a Coca-Cola bottle stuck to the photo.
The absence of Dinger's usual studio engineer, Hans Lampe, meant that a substitute had to be found, and as a result Conny Plank was welcomed back to produce the album having last worked with Dinger in The studio musicians brought in to overdub Dinger's basic recordings included ex- Kowalski guitarist Rudiger Elze known as "Spinello" , Belfegore bassist Raoul Walton and drummer Charly Therstappen , who would all collaborate with Dinger for the next four years and longer in the case of Elze.
Jaki Liebezeit of Can also featured briefly, being credited with "percussion" on Mon Amour. The album is arguably the most electronic Dinger would ever make, a fact that has earned it a bad reputation.
Dinger later said somewhat paradoxically that: " I find mechanical music unacceptable, there must be something human and tangible about recorded music.
Dinger's ex-bandmates objected to the new album being released under the La Düsseldorf name, and took him to court over the matter.
Like Ich Liebe Dich and Dampfriemen , the new single failed to chart, but more worryingly for Teldec, the album sales were the lowest of any of Dinger's album's to date, undoubtedly harmed by the name change.
In reaction to this, the album was withdrawn from production after only a week, much to Dinger's outrage. As few music retailers had bought up stocks of the record, first-printing copies of the album are extremely rare.
With the La Düsseldorf name blocked, Dinger turned back to his first successful project: Neu! Since the group disbanded in , Michael Rother had recorded a further two albums with Harmonia and five solo albums.
As a result, Dinger was well connected with Michael Rother in , and an arrangements were made for a Neu! Recording thus began in Dinger's Düsseldorf studios named " Im Gründ " here and elsewhere in late Sessions were troubled, not least by the difficult relationship Dinger and Rother maintained.
Dinger also disliked Rother's new style of music, exhibited on Lust , which forwent guitar for synthesizers: "One of the reasons the spark did not jump during the recordings with Michael Rother in '85 [was that] he had to search so long to find a guitar, so in the end he stuck to his Fairlight [synthesizer].
After several weeks of recording, sessions began to break down, and by early the project had been abandoned.
However, this amounted only to half of a potential album, with the remainder of material being unfinished and fragmentary, lacking vocals, instrumental overdubs, or both.
Dinger and Rother sealed the master reels with wax, intending to resume sessions at a later date. Here, Dinger worked on a number of tracks he had roughly recorded alone after the release of Neondian.
These tracks would eventually come to constitute the album Blue , which was released in on Captain Trip Records. Through the mids, the group released albums on Captain Trip Records, the label that also issued the "semi-official" [4] recordings Neu!
Dinger died on 21 March , three days before his 62nd birthday, of heart failure. From Wikipedia, the free encyclopedia.
Not to be confused with Klaus Doldinger. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. Krautrock proto-punk art rock post-punk. La Düsseldorf La!
Kraftwerk Die Engel des Herrn sub-tle. Retrieved Klaus Dinger. Rembrandt: God Strikes Back. Kraftwerk Neu! Er gilt als Erfinder des sogenannten Motorik -Beats.
Dinger starb am März , drei Tage vor seinem Geburtstag, an Herzversagen. Er ersetzte den vorherigen Schlagzeuger Andreas Hohmann auf dem selbstbetitelten Debütalbum.
In dieser Besetzung traten sie in der Fernsehsendung Beat-Club auf. Hütter kehrte kurze Zeit später zurück. Das Debütalbum Neu! Auffällig an diesem Werk ist nicht zuletzt der Dinger eigene, monotone Schlagzeugstil.
Dieser Stil wurde als Motorik bezeichnet und tritt besonders in dem minütigen Stück Hallogallo deutlich in Erscheinung.
Radiohead,Blur and Sonic Youth and their influence continues to grow. Since his heiress, Miki Yui takes care of Klaus Dinger Archive. PDF download. Wie jetzt erst bekannt wurde, ist Klaus Dinger, ehemaliger Schlagzeuger von Kraftwerk und Mitglied der einflussreichen Krautrockbands Neu! und La Düsseldorf. michael rother.Klaus Dinger Navigation menu Video
Klaus Dinger Interview 2005 1/6 _Kraftwerk 1970-71 Dinger starb am The album was never completed, partly as a consequence of Schell's death, and is far less professionally made as a result. Pandora Online came from that world, Pop Art thinking. I realized Film Keanu Reeves a very early stage in my life that I would never be able to afford expensive clothes so I had to create my own style. In Dinger also started studying architecture at Krefeld. The following January, Neu! La Düsseldorf also maintained a feeling of unity and coherence as Das Sams Der Film band which had been visibly lacking in Neu! Ex-Pissoff frontman Eberhard Kranemann was brought in to play bass, the trio recording a "practice" jam in preparation. Recording thus began in Dinger's Düsseldorf studios named " Im Gründ " here and elsewhere in late He was also the guitarist and chief songwriter of new wave group La Düsseldorf Independence Day 1996 briefly the Myvideo Kostenlos Legal of Kraftwerk.Immediately following the release of Neu! Rother returned to Forst to complete a second album with Harmonia, whilst Dinger continued to tour with La Düsseldorf.
Having completed his contract with Brain , Dinger left the label and signed to Teldec , a major label in Germany at the time, which specialised in pop music, unlike the more eclectic Brain.
Dinger would remain signed to Teldec until he was dramatically dropped in Dinger spent the summer of improving his guitar playing and writing lyrics, intending to turn La Düsseldorf into a viable pop group.
It was also in this period that Dinger began to use his signature Open-E tuning for the guitar, which would remain his tuning of favour for the rest of his career.
Dinger's guitar playing, at first criticised as amateurish, developed in time to be as simplistic yet rhythmically advanced as his drumming, and Dinger never played a full drum kit on record again until 's Year of the Tiger.
In September , La Düsseldorf entered the studio to begin recording their debut album , retaining Conny Plank as producer and featuring the same line-up as played on Neu!
The album took the longest to record of any Dinger album yet made, sessions lasting until December , and this is reflected in a higher quality of production, with multiple overdubs of guitar, organ and synthesiser created.
The music featured on La Düsseldorf is far more commercial than the La Düsseldorf tracks that had appeared on Neu! Whilst the latter can be described as proto-punk , tracks like Düsseldorf and Silver Cloud lean further towards the sound of post-punk and is greatly influenced by Kraftwerk 's album Autobahn which had achieved commercial success worldwide in Like Autobahn , the album was very successful in Germany, but was unfortunately not marketed abroad.
La Düsseldorf ' s lead single — Silver Cloud — reached number 2 on the German hit parade on its release in early , an achievement all the more striking given that the song was instrumental.
The album itself was released by Teldec in the summer of , with all tracks written by Dinger. The personnel listing also featured a "Nicolas van Rhein" on keyboards, a pseudonym that Dinger would continue to use sometimes insincerely for the rest of his career, although more commonly spelled using the Dutch version "Niklaus van Rheijn" after Dinger's relocation to The Netherlands.
La Düsseldorf' s success turned the band members into celebrities with the band "logo sprayed all over Düsseldorf streets" by fans, and Thomas becoming "one of the most glamorous people in Düsseldorf.
We were very conscious of [fashion]. The look with the white overalls was an idea that I came up with for NEU! The others were a bit hesitant at first but we ended up using it as a uniform in La Düsseldorf.
It clicked, it functioned. I realized at a very early stage in my life that I would never be able to afford expensive clothes so I had to create my own style.
Besides, I never liked the idea that you could just buy "good taste". I had the same attitude to clothes as to [record] sleeves. They had to be based on cheap things, everyday things.
La Düsseldorf also maintained a feeling of unity and coherence as a band which had been visibly lacking in Neu!
The commercial success of their debut album made the band wealthy enough for to be able to create their own studio in Düsseldorf, and from the band dispensed with Conny Plank, preferring to produce their own material, Hans being a trained studio engineer.
Their new facilities were soon put to use, as the band began to record a follow up to La Düsseldorf. The album Viva took shape over a period of a year and a half, studio time no longer being an issue for the band.
The album is markedly more commercial than its predecessor, and was specifically aimed at foreign markets—especially Britain and America —, most of the lyrics being in English although French, Italian and German lyrics also featured.
However, the international success Teldec anticipated never materialised, as the label's foreign distributor went bust just before Viva' s release.
As a result, the promised release of both Viva and La Düsseldorf abroad only occurred in the UK where the debut was released by Decca and its follow-up by Radar , and some foreign fans who had pre-ordered the albums were left un-refunded.
Viva sold well within Germany however over , copies , and is considered by some to be La Düsseldorf's finest album. It was preceded by the release of the single Rheinita , which although reached only number 3 on the hit parade, far outsold its predecessor Silver Cloud.
The single was voted "track of the year" by several German radio stations, and stayed at number one on some unofficial charts for over a year. Like Silver Cloud , it was an instrumental, dominated by rhapsodic melodies played in diatonic thirds, which would become a familiar mode in Dinger's music from then on.
The track's title alluded to Dinger's two great loves: the Rhein and his departed Lieber Honig Anita. The great commercial success of both the album and the single prompted La Düsseldorf to perform in concert, something which they had avoided up until then due to their music's heavily overdubbed nature and the fact that Klaus played all instruments except drums, making concerts a practical impossibility.
Nevertheless, they made several TV appearances in which they mimed their performances. A recording of their "performance" of Rheinita at a free concert in Düsseldorf in is widely available on the internet.
Viva also saw the first release of a song which would become a concert and studio staple for Dinger over the years: Cha Cha The central section of the song features a lengthy piano solo by Andreas Schell ; a new recruit to the band.
Despite appearing on Viva far less than Harald Konietzko, Schell seems to have been adopted as the band's fourth member, appearing in publicity shoots and many of the polariods that make up the Viva gatefold photo-montage.
In the "maxi-single" version of Rheinita was released, attracting the attention of EMI , who made the group a 1 million mark offer, which they subsequently refused.
The increasing wealth the band was generating began to cause tensions amongst the band members:. The problem was "too much, too fast".
Big money was coming in and we had no one to advise us on how to handle it. How to handle big money had never been a problem in our family.
The recording sessions for a follow up to Viva : Individuellos , were soured by arguments, and the band's popularity decreased in the wake of the Neue Deutsche Welle phenomenon, with bands such as Einstürzende Neubauten creating music that was drastically at odds with that of La Düsseldorf although other bands such as Rheingold actively imitated La Düsseldorf's style.
These issues were compacted by the suicide of Andreas Schell who was due to feature more prominently on the album in , midway through the sessions.
Schell's loss was heavily mourned, and the sleeve of Individuellos features a tribute to him. The album was never completed, partly as a consequence of Schell's death, and is far less professionally made as a result.
As on Neu! The latter two tracks are abstract tape collages, and given that much of the album's second side was given over to overtly humorous and playful faux-oompah pieces, the content of Individuellos is often seen as slim.
Despite this, the album has recently become critically popular, with Stephen Thrower commenting that: "[ Individuellos ] is equally as good as Viva , and it actually has a streak of experimentalism that takes it further out than the other two [La Düsseldorf albums].
Released in December , the album sold poorly, and the single "Dampfriemen" failed to chart. The album was the first La Düsseldorf album to feature songs credited to others than Klaus Dinger, with the jam "Das Yvönchen" credited equally to the Dinger brothers, Lampe and Schell and Thomas Dinger receiving a co-credit with Klaus on "Dampfriemen" and a solo credit on "Tintarella Di The degree to which the other band members contributed to La Düsseldorf's output during the band's existence led Klaus to court several times in the s.
The production of Individuellos was immediately followed by that of a Thomas Dinger solo album: Für Mich. Stylistically similar to the Thomas Dinger-written tracks on Individuellos , it exhibits the electronic sound the band would adopt more and more in their final years.
In the Dinger brothers moved their studio from Düsseldorf to Zeeland , on the Dutch coast. Their parents, Heinz and Renate, kept a holiday home just outside the village of Kamperland , and the adjoining barn was converted into a studio.
Dinger would keep a studio there for the rest of his life, first christening it Langeweg Studios after the road on which it sat, and then Zeeland Studios , which it was most commonly known as from the s onwards.
With the studio being built and preparations being made for a fourth La Düsseldorf album which had been announced the previous year, in accordance with a renewal of the band's contract with Teldec Hans Lampe began to take part less and less in sessions.
Like the recording of Individuellos , the period was marked by arguments between band members, and by the time of the band's next record, Hans Lampe had left the group.
However, La Düsseldorf had not split up, and the Dinger brothers continued as a duo for several months, preparing the fourth album.
To this end a single was released in "Ich Liebe Dich". More electronic in feel than the band's previous singles, but along the same lines as Rheinita.
It was written by Klaus alone, but the B-side, "Koksknödel", was composed instrumentally by Thomas and is similar in sound to "Für Mich" with lyrics written by Klaus.
This was to be the brothers' final collaboration until 's Goldregen , as Thomas finally left the group in late The acrimony of the split was reflected in a series of legal battles fought between band members until a settlement was finally reached in In the wake of Thomas' departure, Dinger fled to Zeeland, where he began recording what he envisaged to be a fourth La Düsseldorf album alone.
All of the album's songs had already been written, and one, "Ich Liebe Dich", was already released as a single under the La Düsseldorf name.
The basic tracks for the upcoming album were recorded by Dinger in early , to be mixed and overdubbed by other musicians later on. The album's subject matter is largely darker than Dinger's previous three albums, mirroring changes in German culture.
Like contemporary bands such as D. The album cover art features visual representations of many of these themes, Dinger having a white feather stuck to his head with a sticking plaster, and the lid of a Coca-Cola bottle stuck to the photo.
The absence of Dinger's usual studio engineer, Hans Lampe, meant that a substitute had to be found, and as a result Conny Plank was welcomed back to produce the album having last worked with Dinger in The studio musicians brought in to overdub Dinger's basic recordings included ex- Kowalski guitarist Rudiger Elze known as "Spinello" , Belfegore bassist Raoul Walton and drummer Charly Therstappen , who would all collaborate with Dinger for the next four years and longer in the case of Elze.
Jaki Liebezeit of Can also featured briefly, being credited with "percussion" on Mon Amour. The album is arguably the most electronic Dinger would ever make, a fact that has earned it a bad reputation.
Dinger later said somewhat paradoxically that: " I find mechanical music unacceptable, there must be something human and tangible about recorded music.
Dinger's ex-bandmates objected to the new album being released under the La Düsseldorf name, and took him to court over the matter.
Like Ich Liebe Dich and Dampfriemen , the new single failed to chart, but more worryingly for Teldec, the album sales were the lowest of any of Dinger's album's to date, undoubtedly harmed by the name change.
In reaction to this, the album was withdrawn from production after only a week, much to Dinger's outrage.
As few music retailers had bought up stocks of the record, first-printing copies of the album are extremely rare.
With the La Düsseldorf name blocked, Dinger turned back to his first successful project: Neu! Since the group disbanded in , Michael Rother had recorded a further two albums with Harmonia and five solo albums.
As a result, Dinger was well connected with Michael Rother in , and an arrangements were made for a Neu!
Recording thus began in Dinger's Düsseldorf studios named " Im Gründ " here and elsewhere in late Sessions were troubled, not least by the difficult relationship Dinger and Rother maintained.
Dinger also disliked Rother's new style of music, exhibited on Lust , which forwent guitar for synthesizers: "One of the reasons the spark did not jump during the recordings with Michael Rother in '85 [was that] he had to search so long to find a guitar, so in the end he stuck to his Fairlight [synthesizer].
After several weeks of recording, sessions began to break down, and by early the project had been abandoned. However, this amounted only to half of a potential album, with the remainder of material being unfinished and fragmentary, lacking vocals, instrumental overdubs, or both.
Dinger and Rother sealed the master reels with wax, intending to resume sessions at a later date. Here, Dinger worked on a number of tracks he had roughly recorded alone after the release of Neondian.
These tracks would eventually come to constitute the album Blue , which was released in on Captain Trip Records. Through the mids, the group released albums on Captain Trip Records, the label that also issued the "semi-official" [4] recordings Neu!
Dinger died on 21 March , three days before his 62nd birthday, of heart failure. From Wikipedia, the free encyclopedia.
Not to be confused with Klaus Doldinger. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. Krautrock proto-punk art rock post-punk. La Düsseldorf La! Kraftwerk Die Engel des Herrn sub-tle. Retrieved Klaus Dinger.
Rembrandt: God Strikes Back. Kraftwerk Neu! Conny Plank Negativland. Minimum-Maximum 3-D The Catalogue. The Mix. Exceller 8. Klang Box The Catalogue.
Book Category. Cha Cha - Live in Tokyo Vol. La Düsseldorf. La Düsseldorf Viva Individuellos. Hütter kehrte kurze Zeit später zurück.
Das Debütalbum Neu! Auffällig an diesem Werk ist nicht zuletzt der Dinger eigene, monotone Schlagzeugstil. Dieser Stil wurde als Motorik bezeichnet und tritt besonders in dem minütigen Stück Hallogallo deutlich in Erscheinung.
Es folgten zwei weitere Alben, Neu! Hero auf Neu! Nach insgesamt drei Studioalben trennten sich Dinger und Rother im Streit, der unter anderem bis über das Jahr hinaus eine Wiederveröffentlichung der Neu!
Erst im Jahr legten Dinger und Rother ihre persönlichen Differenzen zumindest insoweit bei, dass eine Wiederveröffentlichung der Neu!
Dingers nächste Band, die sein erfolgreichstes Projekt nach Neu! Aufgrund von Rechtsstreitigkeiten mit dem Plattenlabel Warner Bros.
Klaus Dinger Navigeringsmeny Video
La Düsseldorf \ Einige von ihnen sind essenziell für den Betrieb der Seite, während andere uns helfen, diese Website und die Nutzererfahrung zu verbessern Tracking Cookies. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Klaus Dinger störte sich diesmal an der Veröffentlichung eines Bonustracks mit Herbert Grönemeyererinnerte sich an keinerlei Genehmigung und sorgte dafür, dass der Vertrieb der Ausgabe umgehend gestoppt wurde. Es folgten Netflix Filmtipps weitere Alben, Neu! GesangSchlagzeugKeyboardsGitarre. Dinger war einer der Musiker, die auf meiner persönlichen Wunschliste für ein "Stargast"-Interview gestanden haben. Wir nutzen Cookies auf unserer Pbb 2019.
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