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Hans Joachim Roedelius - Der Ohren Spiegel mp3 flac

Hans Joachim Roedelius - Der Ohren Spiegel mp3 flac

Performer: Hans Joachim Roedelius
Title: Der Ohren Spiegel
Style: Experimental, Ambient
Released: 1990
Country: Sweden
Size MP3 version: 1834 mb
Size FLAC version: 1531 mb
Size WMA version: 1627 mb
Rating: 4.5
Votes: 391
Genre: Electronic

Hans Joachim Roedelius - Der Ohren Spiegel mp3 flac

Hans-Joachim Roedelius. Biography by Jason Ankeny. Widely influential ambient/Krautrock pioneer, co-founder of Cluster and Harmonia, and highly prolific solo artist.

Hans Joachim Roedelius ‎– Der Ohren Spiegel. Label: Multimood Records ‎– MRC 010, Multimood Records ‎– MRC010. Format: CD, Album, Misprint. Hans Joachim Roedelius. Der Ohren Spiegel ‎(CD, Album). Multimood Records, Multimood Records.

Artists Hans-Joachim Roedelius Der Ohrenspiegel. Der Ohrenspiegel Hans-Joachim Roedelius. This album has an average beat per minute of 125 BPM (slowest/fastest tempos: 68/176 BPM). Tracklist Der Ohrenspiegel.

Hans-Joachim Roedelius (born 26 October 1934) is a German experimental, ambient and electronic musician and composer. He is best known as a co-founder of the krautrock groups Cluster and Harmonia and for his work in the ambient jazz trio Aquarello. Roedelius was born on 26 October 1934 in Berlin, Germany. He was an unwilling member of the German Youngsters in the Hitler Youth, membership being mandatory for all boys from the age of ten, and appeared in several propaganda films

Download lossless music Hans-Joachim Roedelius in popular formats: FLAC, MP3, M4. Hans-Joachim Roedelius The Gugging Album (CD 2) '2008. Hans-Joachim Roedelius Works (1968-2005) (CD1) '2006. Hans-Joachim Roedelius Works (1968 - 2005) (CD2) '2006. Hans-Joachim Roedelius La Nordica '1996. Hans-Joachim Roedelius Fruhling '1992. Hans-Joachim Roedelius Der Ohren Spiegel '1991. Hans-Joachim Roedelius Variety Of Moods '1990.

By Hans-Joachim Roedelius, Thomas Rabitsch & Johann Sebastian Bach - Víkingur Ólafsson, Hans-Joachim Roedelius & Thomas Rabitsch. Cluster released their debut LP, Klopfzeichen, in 1970; in the wake of their third album, 1971's Kluster und Eruption, Schnitzler exited to pursue a solo career, and Roedelius and Moebius continued on as Cluster. Working with famed producer Konrad Plank, the duo began to move increasingly toward more structured soundscapes - with 1974's Zuckerzeit, they even pursued an electronic pop sound similar in spirit to Kraftwerk.

Hans-Joachim Roedelius (born 26 October 1934 in Berlin) is a German experimental, ambient and electronic musician.


I Reflektorium 24:40
II Der Stille Schrei Des Mondes 6:45
III Hoch Zu Ross 3:43
IV Sonnwendfeuer 2:53
V Sekijan Kijano 4:43
VI Ruf Der Städte 4:58
VII Vice Versa 3:19

Companies, etc.

  • Published By – Multiplex Music


  • Music By, Producer – Roedelius*
  • Photography By [Portraitphoto] – Jurjen Drenth
  • Photography By, Layout [Photomontage] – Roedelius*, Jurjen Drenth
  • Typography – Mirra Vek


Almost identical to this version, just the CD itself is a bit different, mainly in color, this one being beige and featuring a rather nasty misprint: The CD face credits the artist as "Hans Joachim Roedlius".

Barcode and Other Identifiers

  • Rights Society: GEMA

Other versions

Category Artist Title (Format) Label Category Country Year
MRC 010, MRC010 Hans Joachim Roedelius* Der Ohren Spiegel ‎(CD, Album) Multimood Records, Multimood Records MRC 010, MRC010 Sweden 1990
Again an artist I have heard of but never before heard, this is a seven track CD, the opening track of which, “Reflektorium" came across not unlike TANGERINE DREAM’s "White Eagle" to begin with, but soon metamorphosized into something a lot more complex, an ever-changing, jangling, tinkling soundscape which at points seemed ultimately composed before collapsing into chaos once more. It grows to a great height then suddenly ceases, as if paid a blow of an axe, before growing once more from the roots upwards. It’s not really sequential music, although there are hints within the sound that things are somehow too composed, before once more collapsing into another form which climbs in and out and over a spidering piano pattern. This is credited as one track, yet it fades away to rise once more as something completely different - repeating the process again and again, the parts, even after three or four listens, still only relate to the whole by their tempo alone. Saxophone rises, flutes flutter, sampled piano tinkle, viola’s seek the skies, but overall, it’s the synthesizers which keep the whole together, and H.J.R. uses every possible sound he can squeeze out of it. His composition often seems freeform, yet it doesn’t sound like Jazz, or at least not the type of music which usually lives under the title - this guy uses atmosphere and has a heavy leaning towards experimentation. Clocking up 24'40”, “Reflektorium” finally makes way for the enchantingly atmospheric “Der Stille Schrei Des Mondes”, which seems to drift in Brownian motion, in slow-dancing dust mote clouds caught in ghost-draughts within eldritch halls, piano playing through the fug of Time trapped and gone stale. “Hoch Zu Roß” drifts in on an almost out-of-tempo rhythm, gently supported by what sounds like tin tray percussion while koto-like keyboards forge patterns over the whole, spiralling upwards and swooping down in almost random sortees. “Sonnwendfeuer" follows this - a more conventional rhythmic structure - distant repetitive drum patterns jog side-by-side with a simplistic sequencer 8 note pattern while all manner of keyboards improvise over the top, sometimes growing as wild as ICARUS grew careless, yet still keeping body and soul together. “Sekijan Kijano” enters on a flowing rhythm, carrying chiming synths along while they swoop and peck from the vehicle which bears them. This one has a definite Oriental flavour which flows along like Saki, skirting the senses and going straight for the unconscious. “Ruf Der Städte” follows this on an express train sequencer which eventually fades into the background to allow the sax to meander in loops and repeated phrases while other instruments form their own shape-shifting echoes, soft-exploding against each other. The album draws to a conclusion with “Vice Versa", which begins without rhythm, beat or form with synths and instruments clashing against each other before becoming something altogether more composed, and perhaps the most 'normal’ track on the entire album.ROEDELIUS’ prowess and experimentation keeps him well ahead of the Jazz field - if only the others would experiment like this, the music would be far more interesting. To compare him to anyone, I’d say VANGELIS, TANGERINE DREAM and even HUMAN LEAGUE circa “Dignity Of Labour”. Don’t be put off by these comparisons - there’s a whole lot more in this music - depth that may take years to plumb.Originally reviewed for Soft Watch.