Exposé Online banner

Jürgen Karg — Elektronische Mythen
(Bureau B BB226, 1977/2016, CD / LP/ DL)

by Henry Schneider, Published 2017-06-02

Elektronische Mythen Cover art

In the 60s Jürgen Karg played bass for Wolfgang Dauner. Then in the 70s his interests shifted to synthesizers and electronic music. Over a five year period he amassed an extensive collection of synthesizers including four EMS synths. He doubled down on exploring this new genre and in 1977 released his solo album Elektronische Mythen. His system was state of the art in the mid 70s, but having such a complex setup, he was pretty much on his own, as there were hardly any other musicians that he could compare notes with. So he had to face many of the challenges with this system by himself. Consequently Elektronische Mythen is unlike anything else produced in Germany at that time. The music is highly experimental and consists of two side long tracks: “Die vesunkente Stadt - Atlantis” and “Vollmond - Selene.” “Die versunkente Stadt” or “The Sunken City” is a collage of Karg’s earliest attempts at digital sound processing. He culled his recorded material for usable musical results and edited them into this 21 minute piece using several variable speed two- and four-track tape recorders and an eight-track machine. The overall mood is quite dark and foreboding, but there is a lack of coherence to his approach. Sometimes the separate pieces do not fit together leaving silent gaps or abrupt stops and starts. Taken as a whole the track conveys an ever changing and timeless atmosphere. The only element that ties everything together is the short repeated piano riff that pops up now and then. On “Vollmond” or “Full Moon” Karg took a different approach. For this composition Karg worked primarily with sequences of ring modulated sounds, playing around with different combinations and permutations. “Vollmond” is a single abstract composition also lasting about 21 minutes, but it does not exhibit the same academic tendencies as the other track. "Vollmond" is a much improved composition that demonstrates Karg’s compositional skills. This reissue will be of interest to fans of abstract sound environments.


Filed under: Reissues, 2016 releases, 1977 recordings

Related artist(s): Jürgen Karg

Latest news

2018-11-16
The Seventeenth Dream of Dr Sardonicus Festival Tickets Now Available – Fruits de Mer Records and their merry crew of psychedelic explorers are getting set to present the next The Seventeenth Dream of Dr. Sardonicus Festival. The dates are set for August 2-4, 2019 at The Cellar Bar in Cardigan, Wales. They've also announced that the legendary Groundhogs will top the bill. » Read more

2018-11-02
Charles O'Meara (C.W. Vrtacek) RIP – A true musical original has left us. Charles O'Meara, who recorded under the name C.W. Vrtacek, was a wild-card musical talent, ranging from complex progressive rock to introspective modern compositions, with stops at many places inbetween. » Read more

2018-10-17
Eurock Documentary Seeks Funding – We've been fans and fellow travelers with Archie Patterson and his Eurock project on the journey to discover great music. After many years of promoting and trying to spread the word,a new phase is beginning: a documentary film. Things like this don't just happen, and money does not magically appear to make it happen, so it's up to the fans to get it done. » Read more

2018-09-29
Marty Balin RIP – One of the architects of the 60s psychedelic sound of San Francisco has died at the age of 76. Marty Balin was a singer, songwriter, and guitarist who was one of the founders of Jefferson Airplane. After the split of the original Airplane, Balin went on to form the highly successful Jefferson Starship. » Read more

2018-09-25
Help the Psychic Equalizer Avoid Extinction – Last year we reviewed the debut album by Psychic Equalizer, a musical project of Hugo Selles. He's now working on the ambitious follow-up to that release, and is seeking funding from listeners around the world. » Read more


Previously in Exposé...

Azigza - Kriya – Combining influences from around the world can be a dangerous enterprise for musicians. There will always be some who call foul at the “appropriation” of sounds from other cultures, preferring...  (2004) » Read more



Listen & discover



Print issues