Kluster
Zwei Osterei

"Zwei-Osterei" by Kluster (still with a K) stands as a monument to the avant-garde, a visionary journey through the very frontiers of musical experimentation. The great Conrad Schnitzler, alongside Moebius and Roedelius, offers two long improvisations of new sounds with acoustic instruments such as cellos, amplifiers, echo machines, and microphones.

The compositions present themselves as abstract and progressive works. The progressive musical exploration manifests itself through the innovative use of conventional instruments, isolated from their original source thanks to amplifiers and tape manipulations. This refined experimental electric work unfolds as a transcendent blend of sounds.
The first track unravels like a dark electronic fresco, with linear cello themes, aleatory percussion, and feedback, intertwined with crackling organ sounds. Its highly repetitive and hypnotic nature captures the listener in a timeless sonic vortex. The whole is emphasized by the "religious" and "dramatic" German narrations (In 1969, the church, of all institutions, chose to fund Kluster's first albums, on the condition that religious texts be added).
The second track, entirely instrumental, winds through the same percussive, metallic, and complex texture, offering a sonic experience that defies definition. A proto-electronic, "chaotic" and noisy work that skirts the unheard.

Its boldness may perhaps be too avant-garde for more conventional senses, but in its revolutionary nature, this album remains a small classic, a sonic artwork that challenges the boundaries of musical thought. The Cluster (without the K and without Schnitzler) will be more accessible. This is a challenging record, and I recommend it to the hardcore enthusiasts of the avant-garde.