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Station 17

Place 17 is a collective of improv music artists gathered from a Hamburg welfare community of mentally handicapped individuals. The group created out of many late-’80s classes led by sociable employee Kay Bosen. Realizing the immense restorative worth of music, he structured several jam classes of spontaneous music. Record label Phonogram stepped in by 1989, funding an recording on the problem that proceeds had been ploughed back to the Train station 17 studio room. With limited help from several professional music artists (including Holger Czukay from Can and F.M. Einheit from Einstürzende Neubauten), six occupants of the guts recorded several lengthy, improvised jam classes for any self-titled debut recording released in 1991 on Freibank. After 1993’s Genau Therefore, a theatre group was created from the task, sparking some appearances on tv and at celebrations, in addition to the documentary film Train station 17: Der Film. With 1997’s Scheibe, Train station 17 began shifting from an instrument-based concentrate into a type of digital pop with ties to ’70s godfathers Kraftwerk aswell as the newer spate of hearing techno. The theatre wing continued carrying out, and required their production of the Midsummer Night’s Desire from coast to coast. Among German digital music’s most dedicated disciples, Thomas Fehlmann (Palais Schaumburg, Sunlight Electric) created Bravo, Train station 17’s fourth recording, for any 1999 launch. Fehlmann also demonstrated essential in the employing process for his or her 2001 remix recording, Hitparade, which presented the very best rank of German digital makers (Pole, To Rococo Rot, the Modernist, Steve Insect).

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