Cordell Klier

Unlike many experimental sound artists, Cordell Klier hasn't labored in vain. Until a couple of months ago, though, when he finally moved to Minneapolis, the leonine 28-year-old labored in faraway Bloomington. While relative isolation and apparently untreatable workaholism have largely kept Klier off the local Dinkytowner circuit thus far, his prodigious output (upward of a dozen CDs in the past year, on labels ranging from Germany's prestigious Ad Noiseum imprint to Klier's own Doctsect Media) has paid off handsomely on the international front. Not only does a Google search on his name yield 203 distinct entries (mostly interviews, reviews, and chart listings in European publications), but Doctsect is starting to receive submissions from likeminded spirits with equally promising reputations--Italy's tu'um, for example. Klier's underground popularity undoubtedly stems in part from his protean nature; releases run the gamut from drones so gentle you can forget they're playing to the kind of ear-blistering power electronics that might easily drive the faint of heart to cower under the nearest mattress while they pray for a power outage and/or temporary deafness. But Klier isn't merely versatile or prolific. The quality of his work is consistently high, and it landed him a spot on an East Coast tour with a number of European heavies last fall, as well as a place on the bill at the groundbreaking God Blast America festival in New York. Intrepid souls who want to wet their ears in Klier's end of the pond would do well to start with Apparitions, a meticulously constructed exercise in texture-based atmospherics so subtly sinister, it'll likely inspire any pets in your home to start sniffing for prowlers.


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