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Dieter Moebius

From his early use the pioneering Krautrock band Cluster to his later solo recordings, Dieter Moebius continued to be probably one of the most innovative and prolific voices in contemporary electronic music, anticipating motions from ambient to techno years prior to the fact. By day time students at Berlin’s Akademie Grafik, Moebius was moonlighting like a make at a location cafe when in 1969 he was befriended by Conrad Schnitzler, an integral figure in regional avant-garde circles, and asked to become listed on Kluster, a music group Schnitzler was developing with fellow underground designer Hans Joachim Roedelius. The trio released their debut LP Klopfzeichen in 1970; within the wake of the third recording, 1971’s Kluster und Eruption, Schnitzler exited to pursue a single profession, and Moebius and Roedelius continuing on like a duo, changing the name to Cluster. Dealing with famous manufacturer Conrad Plank, Cluster begun to move more and more towards more organised soundscapes — with 1974’s Zuckerzeit, they also pursued an electric pop sound equivalent in soul to Kraftwerk. Moebius and Roedelius also teamed with Neu!’s Michael Rother in Harmonia, releasing a set of much-acclaimed mid-’70s LPs which caught the eye of Brian Eno, who in response collaborated using the trio on the legendary program (released much later on as Harmonia 76) heralding a change towards ambient textures (and influencing the audio from the 1976 Cluster recording Sowiesoso). Roedelius and Moebius consequently caused Eno on 1977’s Cluster and Eno and 1979’s Following the Heat aswell; within the wake of 1981’s Curiosum, nevertheless, they dissolved Cluster, with both going after single endeavors. Moebius’ 1st subsequent work was 1981’s Materials, a second cooperation with Plank (his appropriate single debut, Rastakraut Pasta, experienced appeared 2 yrs earlier); collectively, they produced a few of the most experimental recordings of the respective professions, creating severe mutant soundscapes which as time passes gave method to the proto-ambient textures of 1986’s ON THE WAY, their final function before Plank’s untimely loss of life. Concurrently Moebius also teamed with Gerd Beerbohm for 1982’s Unusual Music and 1983’s Two times Cut, both explorations of real noise; meanwhile, using the single recording Tonspuren (also from 1983), Moebius obviously anticipated the introduction of techno. Aside from teaming with Karl Renzeihuasen within the duo Ersatz, through the early ’90s he also reunited with Roedelius to regenerate Cluster.

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