About Mouse on Mars
German post-techno duo Mouse on Mars are among a growing number of electronic music groups dabbling in complex, heavily hybridized forms that include everything from ambient, techno, and dub to rock, jazz, and jungle. The combined efforts of Andi Toma and Jan St. Werner (of Koln and Dusseldorf, respectively), Mouse on Mars formed in 1993, reportedly when Werner and Toma met either at a death metal concert or a health food store. Working from Werner’s studio, the pair fused an admiration for the early experiments of Krautrock outfits like Can, Neu!, Kluster, and Kraftwerk into an offbeat update including influences from the burgeoning German techno and ambient scenes. A demo of material found its way to London-based guitar-ambient group Seefeel, who passed it on to the offices of their label, Too Pure. MOM’s first single, “Frosch,” was released by the label soon after and was also included on the debut album, Vulvaland. Immediately hailed for its beguiling, inventive edge that seemed to resist all efforts at easy “schublade” (an even less flattering approximation of the English “pigeonhole”), Vulvaland was reissued in 1995 by (oddly) Rick Rubin’s American Recordings label, which also released their follow-up, Iaora Tahiti, soon after. More upbeat and varied than their debut, the album made some inroads into the American marketplace, but the group’s somewhat challenging complexity and steadfast refusal to pander make widespread popularity unlikely. They returned in 1997 with three different releases — the EP Cache Coeur Naif, the LP Autoditacker, and the vinyl-only Instrumentals. Another vinyl-only release (Glam) appeared in 1998, and was followed a year later by the “official” follow-up to Autoditacker, Niun Niggung. Although remixes are rare, the group began appearing with increasing frequency on compilations of experimental electronic music, including Volume’s popular Trance Europe Express series. They were also prominently featured on a pair of tribute albums — Folds and Rhizomes and In Memoriam — dedicated to French poststructuralist philosopher Gilles Deleuze. Idiology, which introduced percussionist/collaborator Dodo Nkishi into the fold, followed in 2000 on Thrill Jockey. In 2004, the duo celebrated a decade’s worth of work with the release of Radical Connector and a global tour, which was captured by 2005’s concert album Live04. St. Werner also has recorded as half of the duo Microstoria (with Oval’s Markus Popp) and solo as Lithops. ~ Sean Cooper, All Music Guide
Watch The Avett Brothers perform “High Steppin'” and “Trouble Letting Go” on ‘Jimmy Kimmel Live.’
Full Show Friday presents the late great Queen Of Soul Aretha Franklin performing live during her legendary run at the Fillmore West in 1971.
The Band guitarist Robbie Robertson unveiled “Let Love Reign,” the latest single from his forthcoming ‘Sinematic’ studio album.
Anders Osborne performed originals and a Dr. John cover on the latest installment of ‘eTown’ and also contributed to the episode’s grand finale of “The Last Time” featuring the house band, Chatham County Line and the McIntosh County Shouters.
The Wood Brothers compiled highlights from their 2019 run at The Fillmore in San Francisco including lead single “Keep Me Around” for the forthcoming ‘Live At The Fillmore’ set.