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Holger Czukay (born Holger Schüring,〔.〕 24 March 1938) is a German musician, probably best known as a co-founder of the krautrock group Can. Described by critic Jason Ankeny as "successfully bridg() the gap between pop and the avant-garde," Czukay is also notable for creating early important examples of ambient music, for exploring "world music" well before the term was coined, and for being a pioneer of sampling. ==Biography== Czukay was born in the Free City of Danzig (since 1945 Gdańsk, Poland), from where his family was expelled by Poles. Due to the turmoil of war, Czukay's primary education was limited. One pivotal early experience, however, was working, when still a teenager, at a radio repair-shop, where 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.〔(Interview with Holger Czukay )〕 Czukay studied music under Karlheinz Stockhausen from 1963 to 1966〔(Biography at Spoon Records )〕 and then worked for a while as a music teacher. Initially Czukay had little interest in rock music, but this changed, when a student played him the Beatles' 1967 song "I Am the Walrus", a 1967 psychedelic rock single with an unusual musical structure and blasts of AM radio noise. This opened his ears to music by rock experimentalists such as The Velvet Underground and Frank Zappa. Czukay co-founded Can in 1968. He played bass guitar and performed most of the recording and engineering for the group. Rosko Gee, former bassist of the British band Traffic, joined the band in 1977, with Czukay handling only tapes and sound effects on album ''Saw Delight'', his final LP with the group before departing for a solo career. After his departure from Can, Czukay recorded several albums. One of his trademarks was the use of shortwave radio sounds and his early pioneering of sampling,〔(Variations - an online radio series on the history of sampling curated by Jon Leidecker for Ràdio Web MACBA )〕 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". Czukay has collaborated with a considerable number of musicians, notably a series of albums with Jah Wobble and David Sylvian,〔 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. 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,〔(Czukay News, February 2010 )〕 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) will no longer be reissued (in the case of ''Moving Pictures'', because the master tapes have degraded beyond repair).〔(Czukay News, November 2008 )〕 Instead, most of the tracks are being re-made and newly organized as limited edition vinyl releases. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Holger Czukay」の詳細全文を読む スポンサード リンク
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