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Holger Czukay

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Holger Czukay
Czukay in 1973
Background information
Birth nameHolger Schüring
Born(1938-03-24)24 March 1938
Free City of Danzig (present-day Gdańsk, Poland)
Died5 September 2017(2017-09-05) (aged 79)
Weilerswist, Germany
Genres
Instrument(s)Bass, guitar, keyboards, percussion, drums, vocals, French horn
Years active1968–2017
Labels
Spouse
Ursula Schüring
​
(m. 1989)​

Holger Schüring[1] (24 March 1938 – 5 September 2017),[2] known professionally as Holger Czukay (/ˈʃʊkaɪ/),[3] was a German musician best known as a co-founder of the krautrock group Can. Described as "successfully bridg[ing] the gap between pop and the avant-garde",[4] Czukay was also notable for having created early important examples of ambient music, for having explored "world music" well before the term was coined, and for having been a pioneer of sampling.

Biography

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Early life

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Czukay was born as Holger Schüring on 24 March 1938 in the Free City of Danzig (present-day Gdańsk, Poland). According to Holger, his grandfather told the Third Reich officials that their family "must be Aryan", and came up with a family tree supporting the claim. Additionally, the family changed their Polish last name "Czukay" to Schüring, a Dutch name.[5][6] In early 1945, after after World War II, his family was expelled from Poland. They booked tickets for a passage on the ship MV Wilhelm Gustloff, which was due to depart on 13 January 1945, but at the last moment his grandmother changed her mind and took them to the railway station, where they boarded a train carrying wounded soldiers to Berlin. MV Wilhelm Gustloff was hit by a Soviet torpedo, and almost ten thousand passengers died.[7]

Czukay family resettled to Limburg an der Lahn, and when Holger was in his teens, moved to Duisburg, where he attended the Gerhard Mercator Scientific School and worked part-time in a radio and TV repair shop. While working at the shop he became fond of the aural qualities of radio broadcasts (anticipating his use of shortwave radio broadcasts as musical elements) and became familiar with the rudiments of electrical repair and engineering.[7][8] Around that time, in the late fifties, Czukay was playing double bass in local jazz bands, including his own Holger Czukay Quintet. His fascination for music inclined Czukay's relocation to East Berlin and enrollment at the Hochschule für Musik Hanns Eisler Berlin in February 1962. Holger was expelled from the Berlin Music Academy, but kept pursuing his music studies.[9]

Czukay signed up to Karlheinz Stockhausen's new-music course in Cologne, studying under Stockhausen from 1963 to 1966.[10] While studying he met his future Can bandmates—Irmin Schmidt and David C. Johnson.[11] In May 1966, Czukay resettled to St Gallen (Switzerland) taking up a lecturing post in music at the Institut auf dem Rosenberg. One of his pupils, Michael Karoli,[12] familiered Czukay with the contemporary rock music, introducing him to The Beetles, Velvet Underground, and Frank Zappa. Holger particularly liked "I Am the Walrus", impressed by its unusual musical structure and blasts of AM radio noise; perpetrating "avant-garde pranks in a pop/rock context".[13] Czukay and Karoli played with rock pianist Tony Ashton and several members of his band, Remo Four, proposing him an idea to form an experimental band, but didn't followed through. When Michael was finishing school, Czukay was fired from the Institut auf dem Rosenberg, as Czukay explained, "for being too … er … intriguing!"[14]

In late Autumn 1967, Czukay got a letter from Irmin inviting Holger to form a group in Cologne. Czukay brought Karoli with him.[12]

Career

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Czukay co-founded Can in 1968, where he played bass guitar, and undertook most of the recording and engineering for the group. During live performances Holger wore his signature white gloves using them while playing bass to protect his fingertips for tape editing, and also to absorb sweat.[15] Rosko Gee, former bassist of the British band Traffic, joined the band in 1977, with Czukay handling only tapes and sound effects on the album Saw Delight, his final LP with the group before departing for a solo career.[16] Czukay had been sidelined due to creative disputes and his failure to progress as a bassist, admitting his shortcomings on the instrument which he had taken up "almost by default" in the early days of Can.[17]

After his departure from Can, Czukay recorded several solo albums. One of his trademarks was the use of shortwave radio sounds and his early pioneering of sampling,[18] in those days involving the painstaking cutting and splicing of magnetic tapes. He would tape-record various sounds and snippets from shortwave and incorporate them into his compositions. He also used shortwave as a live, interactive musical instrument (such as on 1991's Radio Wave Surfer), a method of composition he termed "radio painting". Czukay also stated "If you want to make something new, you shouldn't think too far beyond one certain idea".[19]

Czukay continued to work with the former members of Can: playing bass on Irmin Schmidt's soundtrack pieces released in Filmmusik Vol.2 (1981), recording Full Circle (1982) with Jaki Liebezeit,[20] and mastering Michael Karoli's debut album Deluge (1984).[21] Czukay further collaborated with a number of musicians, notably a series of albums with Jah Wobble and David Sylvian,[10] two younger British musicians who shared his interest in blending pop music with experimental recording and sampling techniques. Other collaborators include U.N.K.L.E., Brian Eno, Eurythmics, and German Neue Deutsche Welle band Trio.[16]

In 2009, after a problematic time with the record company that had been gradually re-releasing his albums on CD, Czukay began a new collaboration with the Claremont 56 record label,[22] releasing vinyl-only remixes of tracks from earlier albums, as well as some new recordings. This approach changed Czukay's plans for his back catalogue, so that the original albums Der Osten ist Rot (1984), Rome Remains Rome (1987) and Moving Pictures (1993) are no longer being reissued (in the case of Moving Pictures, because the master tapes have degraded beyond repair).[23] Instead, most of the tracks are being remade and newly organized as limited edition vinyl releases.

In 2018, it was announced that Czukay's work was being released in a box set, Cinema, including his solo works, collaborations, and unreleased material. It was released in March 2018.[24]

Personal life

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Holger Czukay was married for nearly thirty years to the German painter and singer Ursula Kloss (known professionally as Ursa Major, and later as U-She), with whom he collaborated on numerous multimedia pieces. Ursula Schüring (as she was called after marrying Holger Schüring under his real name) died on her 55th birthday (28 July 2017) after having been severely debilitated by illness for over a decade.[25][26][27]

Death

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On 5 September 2017, Czukay was found dead in his apartment, converted from Can's old studio in Weilerswist, near Cologne.[28] The New York Times reported that he had died on the same day, but the cause of his death was the subject of a police investigation.[2] His death was eventually assumed to have been from natural causes.[29]

Discography

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Solo

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  • Canaxis 5 (1969, remastered and expanded 2006)[20]
  • Movies (1979, remastered and expanded 2007)[20]
  • On the Way to the Peak of Normal (1981)[20]
  • Der Osten ist Rot (1984)[20]
  • Rome Remains Rome (1987)[20]
  • Radio Wave Surfer (1991, remastered and expanded 2006)[20] Live recordings made in 1984, 1986 & 1987
  • Moving Pictures (1993)[20]
  • Good Morning Story (1999, remastered and expanded 2006)[20]
  • La Luna (2000, remastered and expanded 2007)[20]
  • Linear City (2001, remastered and remixed 2006)[20]
  • Ode to Perfume / Fragrance (2009) 10 inch single, limited edition of 500[30]
  • Let's Get Hot / Let's Get Cool (2010)[31] 12 inch single, limited edition of 500 red vinyl and 500 blue vinyl
  • Persian Love (Remix) / My Persian Love (2010)[31] 12 inch single, gold vinyl, limited edition of 1001
  • Dream Again (2010)[31] 10 inch double EP of remixes from The East Is Red and Rome Remains Rome, clear vinyl, limited edition of 666
  • Hit Hit Flop Flop (Remix) / Hey Baba Reebop (2011) 7 inch single, limited edition of 500[32]
  • 11 Years Innerspace (2015, 500 limited edition vinyl LP worldwide;[32] also released on CD in Japan[33]

Collaboration

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With Can

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Main article: Can discography

See also

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References

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  1. ^ Hoff, Hans (22 March 2008). "Die anarchische Methode: Musiklegende Holger Czukay". Süddeutsche Zeitung (in German). Archived from the original on 8 February 2009. Retrieved 15 May 2014..
  2. ^ a b "Holger Czukay, 79, Influential Rock Experimenter, Is Dead". New York Times. 8 September 2017.
  3. ^ "Can (presented by Holger Czukay)". YouTube. 4 November 2010. Archived from the original on 15 May 2020. Retrieved 6 September 2017..
  4. ^ Ankeny, Jason. "Holger Czukay: Biography". AllMusic. Retrieved 6 July 2011.
  5. ^ Young & Schmidt 2018, p. 25.
  6. ^ D. Straus (September 2006). "I'm So Green: Can's Holger Czukay on his Berlin Youth". Exberliner.
  7. ^ a b Young & Schmidt 2018, pp. 25–26.
  8. ^ England, Phil (1994). "Interview with Holger Czukay". ESTWeb. Archived from the original on 4 August 2012. Retrieved 7 September 2017.
  9. ^ Young & Schmidt 2018, pp. 26–27.
  10. ^ a b "Holger Czukay: Biography & Selected Chronology". Spoon Records. Retrieved 7 September 2017.
  11. ^ Young & Schmidt 2018, p. 27.
  12. ^ a b Young & Schmidt 2018, p. 42.
  13. ^ "Can – publications". Czukay.de. Archived from the original on 21 September 2013. Retrieved 6 July 2011.
  14. ^ Young & Schmidt 2018, pp. 44–45.
  15. ^ Young & Schmidt 2018, p. 239.
  16. ^ a b Wicks, Amanda (6 September 2017). "Can's Holger Czukay Dead at 79". Pitchfork. Retrieved 6 September 2017.
  17. ^ Young & Schmidt 2018.
  18. ^ Leidecker, Jon (28 August 2009). "Variations #3: The Approach". Ràdio Web MACBA. Museu d'Art Contemporani de Barcelona. Retrieved 7 September 2017.
  19. ^ Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 398. ISBN 1-904041-96-5.
  20. ^ a b c d e f g h i j k l m n o p q r s t "Holger Czukay". Allmusic. Retrieved 6 September 2017.
  21. ^ a b Young & Schmidt 2018, p. 288.
  22. ^ "Czukay News". www.czukay.de. 1 February 2010. Retrieved 7 September 2017.
  23. ^ "Czukay News". www.czukay.de. 1 November 2008. Retrieved 7 September 2017.
  24. ^ "Can co-founder Holger Czukay's solo work collected in posthumous box set Cinema". 16 January 2018. Retrieved 10 April 2018.
  25. ^ "18/1/19 - The Graves of Holger Czukay, U-She and Jaki Liebezeit". 19 January 2019. Retrieved 5 March 2022.
  26. ^ "Brian Eno is MORE DARK THAN SHARK". www.moredarkthanshark.org. Retrieved 5 March 2022.
  27. ^ Zeitung, Süddeutsche (6 September 2017). "Holger Czukay - Nachruf auf Bassist der Band "Can"". Süddeutsche.de (in German). Retrieved 22 January 2024.
  28. ^ Beaumont-Thomas, Ben (6 September 2017). "Holger Czukay, bassist with Can, dies aged 79". The Guardian. ISSN 0261-3077. Retrieved 12 August 2023.
  29. ^ Young & Schmidt 2018, p. 330.
  30. ^ "Holger Czukay – Ode to Perfume/Fragrance". Soundsoftheuniverse.com. Retrieved 6 September 2017.
  31. ^ a b c "Holger Czukay Discography". Discogs.com. Retrieved 6 September 2017.
  32. ^ a b "Holger Czukay (Can) / Record Store Day 2015". Bloodontheknobs.com. Retrieved 6 September 2017.
  33. ^ "Holger Czukay – Eleven Years Innerspace". Discogs. 17 June 2015. Retrieved 25 September 2018.
  34. ^ "Les Vampyrettes". Allmusic. Retrieved 6 September 2017.
  35. ^ "Grönland Records Announce Reissue Of Seminal Ambient Records by David Sylvian & Holger Czukay". groenland.com. Retrieved 25 September 2018.
  36. ^ "Daemon in the Bar feat. Holger Czukay". Soundcloud. Retrieved 6 September 2017.
  37. ^ "Bison at Innerspace". Testpressing.org. Retrieved 6 September 2017.
  38. ^ Dominic Horner (3 June 2024). "Brian Eno, Holger Czukay, and J. Peter Schwalm Provide Food for Thought". Pop Matters.

Works cited

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Young, Rob; Schmidt, Irmin (2018). All Gates Open: The Story of Can (e-book ed.). London: Faber and Faber. ISBN 978-0-571-31151-4.

Further reading

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