Rother Norwegen

Michael Rother, founding member of krautrock groups Neu! and Harmonia, is releasing another new box set. The new collection, Solo II, is out September 4 (via Groenland). Solo II includes three albums from the 1980s (Lust, Süssherz und Tiefenschärfe, and Traumreisen), 1996’s Esperanza, and 2004’s Remember (The Great Adventure), an album of bonus tracks (mostly recorded in the ’90s), and a brand new 2020 album called Dreaming. Speaking about Dreaming, Rother said in a press release, “I had a goldmine of ideas—about seventy-five sketches, and I knew there were some gems in there. I’m delighted by the way the album has turned out.”

Solo includes Michael’s first four solo projects, Flammende Herzen, Sterntaler, Katzenmusik and Fernwärme, a Soundtracks and a Remixes & Live album (only with the vinyl boxset). Speaking about the release, Michael said: ‘I’m incredibly excited to announce my new boxset ‘Solo’. The opportunity to release my first four solo albums, as well as some new music in one package is amazing. This is a body of work that I’m very proud of.’

Anthony Rother - Elixir of Life (2003) & Anthony Rother - Magic Diner (2003).
Anthony Rother is an electro-techno producer from Germany who rose to prominence in the mid-'90s on the label Kanzleramt before founding numerous labels of his own, most notably Psi49net and Datapunk. Influenced primarily by Kraftwerk and Detroit techno, Rother was born on April 29, 1972, in Frankfurt am Main, Germany. Rother's electro sound ("Simulationszeitalter", "Hacker") is characterized by repetitive machine-like beats, robotic, vocoder-driven vocals, melancholy, futuristic mood and lyrics that often deal with the consequences of technological progress, the relationship between humans and machines, and the role of computers in society. In addition to electro, Rother also composes dark ambient music ("Elixir of Life", "Art Is a Technology").

The Deutsche Oper in Berlin had hardly opened on 24th September 1961 before it started preparing to celebrate its 50th anniversary. How was that possible? Had it entered into some sort of time warp? That might indeed have been possible for a theatre that in the past had devoted itself to Richard Wagner’s works. But there was a simpler explanation: the Deutsche Oper Berlin had, in fact, originally opened on 7 November 1912 under the title of Deutsches Opernhaus.