Zuckerzeit (German: Sugar Time) is the third studio album by German band Cluster, released in 1974 on Brain Records. It was co-produced by Michael Rother, their bandmate in side-project Harmonia. The music on Zuckerzeit marks a shift from Cluster's abrasive early work toward a more rhythmic, pop-oriented sound.
Pitchfork ranked the album at number 63 on its list of the top 100 albums of the 1970s, while writer and musician Julian Cope included Zuckerzeit in his "Krautrock Top 50" list.
John Bush of AllMusic described Zuckerzeit as "an unexpected jump from the extended kosmische jams of Cluster 71 into uncharted territory [...] fusing the duo's haunted melodic sense with crisp, scratchy drum programs."
Andy Beta of Pitchfork described it as "electronic pop at its most protean," and compared it to "a sugar overload: giddy, infectious, manic and a little queasy."
Peter Cauvel of Vinyl Me, Please stated that "even with drum machines and synths, Cluster pushed past the rigidity that defined their more successful peers in Kraftwerk, making spacier, improvisational electronic music."
1974 was a watershed year for electronic music. Tangerine Dream released the spacey, kosmische "Phaedra," and Kraftwerk released their epic ode to the German motorway with "Autobahn." Both albums which are part of the official 1001 list, and rightly so. But somewhere in the liminal space between those two more famous albums lies "Zuckerzeit," which was also released in that most auspicious year. "Zuckerzeit" is much more tightly packaged and catchy than the loose and atmospheric "Phaedra," but it is far less rigid than the conceptual "Autobahn." It was a turning point in Cluster's work, moving away from their noisier and more abrasive past in Berlin, and towards something closer to IDM, which would take another 2 decades to fully develop.
There are multiple ways to read the boiling down of the music herein, attach something to -ness and file the record as precursor. At worst, think of the decent video game of the middle stretches; Otherwise, consider at least two label catalogs I could name, or motorik beats on a machine, or synths that bite back. Really, though, krautrock remains rarefied air, and Cluster master a pop expression of it in still-expansive form.
I'm impressed by the number of Krautrock albums on the original- and user list. Having listened to them, I must admit they all deserve to be on it. Zuckerzeit (great album cover) is a banger.
Kinda spacey krautrock stuff, drawn out and stoned. Moogs and drumkits and bass and whatnot. Great vibe, maybe a bit *too* drawn out in places, but still a good 3/5.
Very synthesized, almost ambient "jam music." Ze Germans always had a good corner on this particular type of music. Had never heard of them until now. Based on late 60's-70's timeframe I'd imagine lots of bands watched these guys and took notes for the late 70's-80's synth "noise bands."
This is a watershed electronic album featuring drum machines and synthesizers in an avant garde style. This komische style music was incredibly influential in the further development of electronic music and post-punk. This album definitely should have been on the original list.
Comparisons with their fellow Krautrock peers are inevitable and I must say I much prefer the more melodic Kraftwerk or the spacey/prog sound of Tangerine Dream. I think these guys really start cooking when they're joined by Eno, but alas Eno is nowhere to be found on this album.
I think I’m quite happy having this added to the list… it’s a different kind of thing than the contemporaneous Autobahn by Kraftwerk. It’s more atmospheric, not afraid to loll around a bit. By the end I was quite mesmerized! I’m sort of predisposed to enjoy some Moog shenanigans, and enjoy this I did!
An actual deep cut that surprised me with its depth. While the uptempo energy does peter out over the course of the LP, the strong start is enough to demand attention with its layered rhythms and punchy, bassy synths. Most of the electronica from this era has aged poorly due to the high-pitched treble-drenched synth choices of the time, so to find a well-done LP with some electronic meat on its bones is a real treat
This is so cool. Thanks for sharing it. Whimsical and strange with an occasional undercurrent of menace. Minimalist, but rich with nuance. This is an underheard album in the Krautrock-verse, but it's a really excellent listen and highly influential. You can hear echoes of this music in pretty much every electronic band that followed it.
Fave Songs: Fotschi Tong, Caramel, Marzipan, Hollywood, James
Perfectly fine and foundational early electronic music, but nothing here blew me away like contemporaries such as Kraftwerk, Jean-Michel Jarre, or Can.
I'm not a fan of Krautrock at all. I've never been able to get into the sound of the genre's big names like Can or Faust, so when I saw this album by a lesser-known band like Cluster, I was all over it.
I was wrong. It's not an album that changes my opinion of the genre, but it's the most accessible thing I've heard from the era. Short instrumental tracks that could almost work as protosynth-pop. An enjoyable and appreciated listen
I really wish I was more open-minded when it comes to musical genres that live in the more outer regions of the musical spectrum. I would really love to actually 'get' music like Cluster's. But I don't. I can't wrap my head around why this would be even remotely interesting for anyone to listen to. Luckily there are many people that do 'get' this. Makes life a lot less plain and boring. But still, to me this sounds like endless noodling on electronic switch-boards. I envy those that hear actual music in this.
Incredibly impressive for 1974, the use of electronics is bright, atmospheric, and able to induce feelings of calmness, energy, and hope. It sounds incredible, very clean and you're able to pull apart the layers. There are some amazing unique styles on here. My major complaint is that it does sometimes come off as a bit harsh, with moments where it sounds like the dudes are just abruptly hitting random keys. It's more noticeable in the eerier more experimental tracks, which I don't think are very good compared to the brighter, fuller ones.
I think one reason it sounds a bit harsh and weird at times is because the technology is dated (rather than their skill or precursor artists), and I'm sure it would sound so much smoother had they used stuff from just a few years later.
Gentle instrumental electronic krautrock that gives off a great sense of movement. Sounds like a 90s computer game.
Rating: 3
Playlist track: HeiBe Lippen
Date listened: 09/09/24
A really cool and varied kind of krautrock / kind of electronic album, with some tracks resembling the ambient soundscapes of Tangerine Dream and others having those tight and almost mechanical krautrock grooves.
It’s a lot more concise and to the point than a lot of other krautrock albums I’ve heard though, with a real pop sensibility shining through, and also sounds ahead of it’s time in quite a few places - Caramel sounds like it could be an LCD Soundsystem instrumental and Marzipan sounds like something from Butterfly 3000
It was a bit inconsistent, with some songs really not doing much for me at all, but the highs were pretty impressive and it’s one I’d revisit for sure
A personal favourite, glad to see that someone else thought to include it here! There’s a light bounce to this album that keeps me circling back to it. A early example of electronic pop. Sweet!
[To be read in Werner Herzog’s voice]
There’s a beauty in the repetition of Krautrock and Cluster’s take on it is no exception. At its core, repetition is the base of the song, but on top of it, layers get added in, one after another. The layers interweave with the base, fading in and out of focus, building up and breaking down…they breathe life into the base and it becomes something more: a sort of pulsating, self-sustaining, auditory organism.
That same repetition is found in our day to day lives, our routines: We get up, go to work, have lunch, finish the workday, go home and have dinner, relax and then go to sleep to do it again. Despite that repetition, every day is not the same. Each day, there are different layers, no matter how minuscule they seem, that weave in and out, moving our days forward and changing their trajectory in various ways.
This is the music of life
Elusive, poetic, improvisational, seminal (listen to "Hollywood", and tell me if you're not hearing something akin to the more experimental tracks on Radiohead's *Amnesiac*, for instance), this kosmische / kraut LP is as enigmatic and enticing today as it was when it was released in 1974. Enigmatic are Moebius' avant-garde soundscapes and gritty rhythm patterns, almost devoid of melodies, and yet strangely soothing. Enticing are Roedelius' lighter and airier compositions, displaying so many mysterious harmonies and subtle earworms patiently munching their way into your brain -- no surprise "Brain" was the name of the label which released this legendary record, I guess... The quite different intents from those two electronic pioneers are meshing seamlessly here, indeed offering something adjacent to Kraftwerk's *Autobahn*, but with a looser feel which stems from the duo's preference for concise lengths, free form and pure empiricism. A near-perfect balance, owing to the same set of avant-garde skills on a surface level, paradoxically yielding to quite contrasted results depending on who the composer is. And the outcome of that balance is a record that is firmly set in the time and place in which it was conceived, and yet also feels timeless five decades later. Listen to it on a lazy Sunday afternoon in the countryside and let yourself go into a pleasant daydream, just as you watch a gentle breeze brush through the foliage of trees all around you...
If you're enjoying this LP and yet knew absolutely nothing about who Cluster were before today, I suggest you also check out *Muzik Von Harmonia* by... Harmonia, which is actually Cluster + Neu!'s guitarist Michael Rother. And then you can go to the extraordinary -- and yet belatedly released -- *Harmonia 76*, where the same trio united their forces with Brian Eno of all people. And of course, if you've never listened to Neu!, Brian Eno, Kraftwerk, Michael Rother's solo albums, or early Tangerine Dream, go there as well. You're in for a treat. But be warned... That kraut / kosmische rabbit hole is potentially endless. So you better have (sugar) time on your hands...
4.5/5 for the purposes of this list of essential albums, rounded up to 5.
9.5/10 for more general purposes.
Number of albums from the original list I find relevant enough to be mandatory listens: 465
Albums from the original list I *might* include in mine later on: 288
Albums from the original list I won't include in mine: 336
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Number of albums from the users list I find relevant enough to be mandatory listens: 41 (including this one)
Albums from the users list I *might* select for mine later on: 50
Albums from the users list I won't select for mine: 97
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Émile: voir ma toute dernière réponse sous le disque *Triage* au-dessus...
What a great call to add this- it really is up my street.
I have heard this before but never listened to it properly.
These guys certainly corned the market in the early 70's.
Interesting in a sort of "retro futuristic" sort of way. Like, "this is what the 70s thought the future would sound like" sort of way. I think it sounds a little jam-ish, a little sloppy. I think if it had sanded off a few of those imperfections, it'd be better. Call it a 3.5. Favorite tracks: "Caramba"
This is stupid but sometimes it feels like a subplot of the main and user list is trying to find who really made electronica first. First it’s some no name 80s American band, then it’s tangerine dream then it’s kraftwerk then it this, which I think is a kraftwerk contemporary. Like I’ve heard “this is electronica in its earliest form” at least 3 times now. Anyway this was mostly mid but fotschi tong is such an insanely catchy banger that I have no choice but to give it a 4. Can’t wait to listen to it on drugs.
Another group of movers and shakers within Germany's evolving krautrock scene, this time with more electronic influences. Cluster's first two albums would be produced by Conny Plank, who would also produce for Kraftwerk and Neu!. Clearly, Plank was cooking up some of best music from Germany. Zuckerzeit has no plank though, as Cluster homed in on the playful electronic music that Kraftwerk would eventually get all the credit for. Not so! These kosmische are worth a listen to at least broaden more horizons beyond the usual krautrock staples.
CONTENDER FOR THE LIST: Sure!
One's fully onboard with this quality Krautrock – and very much enjoy it being on the contemplative side though it can seem borderline inert at times. One has no idea what a "Folschi Tong" or a "Rote Riki" or "Heise Lippen" (best cut) would be but mostly dig all of the above. Not sure this would add much to list proper but certainly seems on par musically (and musicologically on other albums of this ilk and era).
I'm in a bad mood today, you could say "morgenmuffel", after a bad night. This isn't what I thought it would be and was quite glad it wasn't some complex, over produced, space rock, nonsense. The chill-out vibe, instrumentals were exactly what I needed. The last few songs did get a bit weird though. If I was in a good mood perhaps my review would be completely different. Oh well.
Not bad. Surprisingly minimalist. It really seems like a very basic electronic loop with a few layers and a little atmosphere. Stripped down and each track doesn't wander too far from that. Interesting to listen to, but it doesn't do a lot to capture your attention. I did have a moment where i was getting a Heroin/VU vibe from James.
It just faded into the background as I listened to it. Nothing really special. It's neat historical curiosity and living in Germany I'm sure I could find a bunch of their records laying around, but nothing that will stick with me beyond that.
My personal rating: 3/5
My rating relative to the list: 3.5/5
Should this have been included on the original list? No.
Another record in place in the category for probably not coming back to, back glad that I’ve listened to. This user list has been great for providing records in this category for me. Enjoyable from front to back.
Started off hating it, then minutes later was in a trance.
It's weird AF and low-fi but low-fi 70s Krautrock electronica is infinitely cooler than low-fi 90s emo rock garbage.
Not sure it's entirely repeat-listenable yet ("Rote Riki" is a tough one) as by the end a lot comes off as a bit of either a demo reel or "look what i can do!" with early electronica but the best of this is cool and considering this came out in '74 it's pretty nuts.
6/10 3 stars
One of the things I learned from this list is the actual definition of krautrock. I had a vision of David Hasselhoff in my mind, 80s, leather, metal studs, mullets and pointy guitars.
I was pleasantly surprised to learn its true nature - experimental, electronica from the early 70s.
So I was happy to get another example here to expand my knowledge.
Unfortunately, this leans too far into “experimental” and ends up as noddling. None of the tracks seem to have much purpose and no-one in the outfit has the ability to write any form of hook.
I think I’d rather listen to The Scorpions.
This isn’t really my cup of tea and that’s okay. I’m not a fan of early electronic music although I give it full reverence for the path that it started us on towards today’s music.
Looks like fun! Should be fun! But isn't that much fun. Mostly just stressed me out. I learned through this project that I'm a huge Kraftwerk fan. But this just doesn't do it for me. I do respect the share and am glad to heard a little more of this kind of music.
It’s almost like anyone living in West Germany was forced to learn how to play a theremin. Yes, it’s pleasantly bleepy and bloopy and signals things to come but it’s the harbinger, not the messiah. It’s an appetiser to the synth heaven of the 80s and should be appreciated as such.
Ritmos medios todo instrumental, de un estilo un tanto novedoso y algo psicodélico. No capta mi atención, demasiado insulso a pesar de no ser muy estridente.
This seemed like an incomplete album. As I listened to it felt like it was missing something. I get it was an electronic but other electronic albums have more substance. This was just the base layer of something that could’ve been better. 2.2/10