FAUST

The fourth Momentaufnahme album, and probably the last as I feel like now the band is kind of scraping the bottom of the barrel with these archival releases.

You can only do so much of these albums before you kind of run out of juice, that's why this is probably one of the only Momentaufnahme records that I consider to be 'mid'. Not bad like the first one, but this certainly doesn't end this little saga of albums with a bang.

A lot of the songs here are pretty alright. I wouldn't say any of them are too bad, aside from Schwindebek III and Beglückte Schlagbohrmaschine, but also there is nothing I'd call stellar. I think 25 Yellow Doors and Das Meer might be a bit better than most of the tracks here, mainly because they are a bit interesting compared to the rest of the record. We Are The Hollow Men is also neat, almost having this proto-hip hop beat and rhythm, which I think is pretty funny since years later they would actually make a rap album. There are certainly no boring songs on here, but I do not think I quite like them as much as other songs that Faust has made.

Apologies for the more negative review, it's just I think the band is running the well dry here, and I kind of want to see more actual new recordings from them, rather than stuff that was put on shelves 50 years ago. At least this year they did release a live version of Border River off of ,,Daumenbruch'', which is pretty neat.

Best tracks: 25 Yellow Doors, Das Meer, We Are The Hollow Men

Worst tracks: Schwindebek III, Beglückte Schlagbohrmaschine

Didn't expect to see two more of these Momentaufnahme albums from Faust's catalog, but I do not quite mind it so much. The more Faust the merrier.

Compared to the second Momentaufnahme, this quite the improved collection of archived songs from the 70s. It's a lot longer than the prior releases, being nearly 50 minutes, as opposed to the 30 minutes that was shown before. It makes the album have a bit more meat on its bones than before, which I quite like, especially since a lot of the tracks here are quite great.

These are tracks from 71 Minutes, and some BBC sessions that the band recorded, so this isn't gonna be the most original release, especially for die hard Faust enthusiasts, but what is here works, and listening to some of these more rarer tracks in some nice quality is quite appreciated. I especially like Psalter and Baby, both quite groovy tracks, with Baby in particular reminding me a bit of the noisy, proto-punk sound of The Stooges. Guess Faust was punk before it was cool.

I also quite like the BBC sessions. They are pretty high quality, and feature three pretty good songs. However, I noticed Krautrock is a bit muddy in the drones, where you can barely hear the drums and guitars. Not a big problem, since Faust was known for doing stuff like that, and the original did something similar, so it's not the end of the world. Probably just noticed it now on that particular version.

There is still the issue of some tracks just not being good, at all, but it certainly has been toned down as opposed to I and II. There are only 3 tracks that I don't like, but that is only out of 9 other songs that I do enjoy, and they are very short so I don't really even pay attention to them. Still an issue, but certainly better than before.

A lot more quality is on here, so this is one of the better of these series of Momentaufnahme releases, at least to me. There are some great krautrock on here, and while it may not reach the heights of Faust IV or Ravvivando, I don't see the harm in seeing this as a great archival from a 50 year old band.

Best tracks: Psalter, Baby, Geister, die wir riefen (BBC Session), Stretch Out Time (BBC Session)

Worst tracks: Schwindebeck I, Schwindebeck II, Zwölf Meter unter der Oberfläche

As Faust entered into the 2000s, the popularity of rock music seemed to wane a bit as hip hop and rap soon took a more center stage in charts and performances, with acts like MF DOOM, Kanye West, and Eminem gaining loads of popularity. It obviously wasn't the end of the world for rock music, as what many older folks would have you believe, it just was that rock wasn't the big shot genre as it once was back in the mid to late 20th century. Now, Faust most likely saw this, and decided to throw their own hat into this new ring of hip hop, though only for one time, with the experimental hip hop group of dälek.

dälek is most known for their 2002 album From Filthy Tongue of Gods and Griots, and if you've heard that album, like I have, you can certainly see a clear inspiration from the more unconventional side of krautrock that Faust rules with an iron fist, particular from the tracks of Spiritual Healing and Forever Close My Eyes. It also should be mentioned that Faust was very high on their industrial inspired train, and with dälek being very much a group situated in the industrial zone, it was basically a match made in heaven for both groups.

In some respects I kind of prefer this over Ravvivando, mainly because I feel it does the more long, track splitted suite better than what their previous 1999 effort did. The tracks flow better between one and another, and the effort of making this not a full on jam works wonders in its direction, especially in regards to the rapping that dälek contributes. Obviously I certainly love the jams that Faust can deliver, but having them take a back seat for more rhythmic ideals that krautrock is known for creates quite the interesting aura on the whole project.

I also find the blending of hip hop works very well with krautrock, to some extent. Krautrock has always been more of a beat heavy genre (I mean listen to Yoo Doo Right by Can), so combining rap with the genre is a pretty logical step to take for Faust, and I think they have no better output in that department than choosing dälek to be their head honcho in the hip hop ideals. Will Brooks' style of odd lyricism that blends the lines of consciousness, mystery, and humanity is quite the best puzzle piece when it comes to the musical direction that Faust was going towards in their works. It also works well due to Oktopus' production work, making each drum beat, each sample, and each element of Will's voice have a lot of weight within a stream of noise and grit. It's a sound that I very much enjoy, and a part of me wishes to hear more collabs with Faust and a variety of other experimental hip hop groups. I know for a fact that Faust and Death Grips would be an amazing combo, especially Zach Hill's drums, but I digress.

Though, there are two things that keeps this album back a bit, and firstly is that I feel like this more of a Faust album first, and a dälek album second. To me, it sounds less like a clear collaboration with both parties in the studio, and more as though dälek are merely rapping over select Faust instrumentals that they were also tasked to mix and produce. I love collaboration works when both parties can truly go hand and hand. For example, last year's collab project between JPEGMAFIA and Danny Brown, Scaring the Hoes, showcases a very wonderful collaborative effort from both parties, with Peggy's rapping and production skills merging very well with the ideals that Danny Brown produces on his own records, creating a still extremely good effort, even after a year later. But here with Derbe Respect, Alder I find both parties, while certainly merging well, do not feel as if they are in brotherly arms as much as I wish they could've been, and so the effort ends up feeling one sided.

There are also just some odd decisions when it comes to tracks. I don't really get why Remnants or Erratic Thoughts are on here as they just feel like placeholders for much bigger tracks, and the whole rapping that Will does being quite muddied in most of the tracks doesn't quite help in my assumption of this being more of a Faust album then a full on combo. As much as this album shows the full potential that krautrock and hip hop can apply to both, some aspects of this feel quite missed, and I honestly believe that if the two groups strived to make this the best collaboration record in their respective discographies, than I wouldn't mind having this be a near, if not full on masterpiece, but as it stands I don't quite see it being upon the same threshold as other albums.

A great, but certainly imbalanced release from both Faust and dälek, but it is a very nice effort if you wanna see a genre fusion such as this. If you wanna hear a mix of industrial, krautrock, and hip hop, then I'd say this record is the best you're gonna get.

Best tracks: Hungry for Now, Bullets Need Violence, T-electronique

Worst tracks: Remnants, Erratic Thoughts

With the 90s ending, Faust wasn't quite done with the decade just yet, and so amongst a sea of releases such as Nine Inch Nails' The Fragile, Botch's We Are The Romans, and Blur's 13, we would get the rather intriguing suite of Ravvivando.

This record would show a stylistic direction that the group would go through into the 21st century. Their 90s output had been a lot more industrial, most likely due to the golden age industrial music seemed to garner within the late 80s through 90s, though they felt more like experimentations that had a slight industrial backing. Here, though with Ravvivando, we get a full deep dive into the more industrial Faust sound that was slightly explored within Rien and You Know FaUSt. Imagine, if you will, if Na Sowas was an entire album.

This album is a nearly hour long jam of industrialized proportions, with each song going into each other in what I think to be rather seamless fashions, sort of making this a bit of Faust's late answer to The Dark Side Of The Moon, being this one massive epic of psychedelia, noise, and raw catharsis.

I feel like where You Know FaUSt suffered with the noise, Ravvivando truly enjoys it, creating this lo-fi soundscape of drones and climatic industrialization. While it is certainly loud, I never find myself fully out of sync with the music, as the tracks just have this edge that makes this entire workout feel a lot more right within its noisiness. The production work also helps I think, having this lo-fi aura around it that makes the noise rock of this record feel a lot more sublime, and certainly innovative as I could see some parallels from this to something of the caliber of more modern day slacker rock groups like Car Seat Headrest and The Microphones. Probably not to the same degree as those groups, but the parallels a lot of Faust records seem to have in modern experimental music is quite staggering.

The atmosphere of this album is also exciting too. A lot of Faust albums have this aura of mystery and intrigue to them, keeping you second guessing what the band might do next (aside from You Know FaUSt). Ravvivando, I feel like, flips this mysterious feeling on its head, having the mystery be less on what this crazy band might do from track to track, but rather what they'll do within the storm, and I find it to be really awesome as it allows the group to experiment in a more real time effort, much more than with prior albums, even in respects to my all time favorite of Faust Wakes Nosferatu.

However, there is one thing I think draws this album back and that is I find the more suite-like nature of this album to not be for the best. I certainly enjoy it when a band or group decides to make a full work that is one long song, but I find Faust to not really handle that idea properly to the same degree. I find when Faust does make a jam that is rather long, they're best marks are usually within the 20 minute marks, so having an album that is essentially one massive jam is exciting, but certainly after a while does start to feel tiring a bit.

I also think there is some fat on this album that might need to be trimmed. Carousel is honestly quite unnecessary, and the combo of Spiel and Dr' Hansl just doesn't quite work for me. They feel more like unnecessary gimmicks for this record, rather than playing within the overall experience.

However, the tail end of Livin' Tokyo and T-Electronique does make up for this record's shortcomings, as those are some of the better industrial Faust songs they have released within the 90s due to their rather mystical aura.

Overall, Ravvivando is one of the best Faust releases they made from their comeback in the 90s, and certainly one of the best since Faust IV and The Last LP. It is a bit on the bigger side, for better and for worse, but the experience is overall very positive. Certainly recommended for fans of more abrasive music, and for fans of the noise rock scene of the 20th century.

Best tracks: Wir brauchen dich #6, Livin' Tokyo, T-Électronique

Worst tracks: Carousel, Spiel, Dr' Hansl

Among Faust's 1997 releases we would find ourselves upon one of, if not the best Faust album ever made. After the disappointing song and dance that was You Know FaUSt, the group went into something quite new and certainly more enjoyable, which would spark a new Faust that was away from the olden krautrock of the 70s, and into directions that were certainly a lot more thrilling and experimental.

While technically a live album, I consider Faust Wakes Nosferatu to be so original and obtuse from the Faust lineage that it deserves to be recognized as an official 8th helping of Faust's glorious music. There are two versions of this album, a CD and vinyl version. I will be talking about the CD release that is on most streaming platforms, and the one most people know about.

I know it is quite an unpopular opinion, but I just absolutely love Faust Wakes Nosferatu. It showcases Faust at not only their most vigorous moments recorded, but also a level of delicacy that I savor a ton, crafting this practical suite live, soundtracking a movie that was released 102 years ago. If anyone could do it, it's Faust (and I guess Art Zoyd too but we don't talk about that album).

There are a lot of reasons I love this album, mainly the dynamics shown here. The band really plays into their more droney paces here, having more quieter moments that are very ambient; subdued with something to hide, a mystery within the expansive musical landscape. However, the band also finds time to play these very avant-garde krautrock numbers that are loud, bombastic, and even scary. Both moments I adore, as they just show who Faust really are without sacrificing their experimental ideals in favor of what had already been done. Essentially speaking this is the biggest glow up for Faust, going away from the dry feeling of You Know FaUSt, to something such as Faust Wakes Nosferatu. While it certainly isn't for everyone, you gotta admit this is a breath of fresh air for Faust's music.

I also really dig the production here. In my You Know FaUSt review I mentioned that the album suffered from a very strong loudness. The loudness does show up here too, however it's a lot less overbearing, and it actually works this time in my opinion. The noise this album can bring is a bit sparse and glitchy, but perfectly sets the mood for the creepy rock music the band is playing. You can really feel the krautrock jams here, the more intricate post rock textures, and the droning atmosphere, more so than probably any other album in their discography. For that, I think it all works so very well.

I think the star tracks here are the two big epics of Aufbruch nach Rumänien and Verwirrung. Aufbruch nach Rumänien is a bit less avant-garde, admittedly, but it does a great job at exploring the moods that the band wants to go for here, comprising pieces of steller jamming with intricate drones that I very much love. It ends also very wonderfully, having this beautiful rock outro to cap the song off.

Verwirrung, though, is where the band see themselves going full throttle, putting together pieces of noise, rock, ambience, and even some small doses of silence that all work together to create 18 minutes of pure catharsis. This is where they get their most horror focused as well, even having a bit of a jumpscare near the middle of the track. It all blends into this wall of staticy noise at the end, with light twiddling of rock music faintly playing in the back. It is as beautiful as it is mysterious, and so I believe this to be Faust's best epic.

The only real issue I have with the album is that I know this will not be for everyone, heck maybe not for most Faust fans. If you look at any score this has on music sites like RYM or ProgArchives it is rated quite low. I certainly can acknowledge that this record may not be for everyone around the bends, but I implore you too please check this one out if you are willing to see where Faust at their most daring can take you. I hope someday more people will see this album for its bonafide brilliance, like how I can see it as such. This is the overlooked Faust masterpiece.

Best tracks: Aufbruch nach Rumänien, Verwirrung

Worst tracks: N/A

With Faust now being back in action after their 1994 release of Rien, the stage was set for more avant-garde rock affairs. 1997 was a particularly big time to be a Faust fan, as that year they released two studio albums and a live album, something you might not fully expect from a legacy group like Faust. These three releases include Faust Wakes Nosferatu, Edinburgh 1997, and the record I will be reviewing today, You Know FaUSt. Sadly, though, one of these three banquets of krautrock supremacy aren't as good as their companies, and if you see the rating for this review then you might know what that album is.

You Know FaUSt is in many similarities with its predecessor of Rien, being a mix of more industrial rock workings mixed with krautrock, however it plays a more Faust Tapes swing of things, as opposed to Rien's more debut feel. I say this as less of an optimistic point of light, as I find this album to be very dissatisfactory.

Starters, there are a lot of filler tracks that muddies up this album. Whilst Faust Tapes were forgivable in that regard as it was practically a compilation of demos and tracks Faust made, I find You Know FaUSt to be very much less forgiving in that department since now these short snippets of noise are here as a deliberate choice from the band, and not by some company. I have said this before, but I dislike the more musique concrète side of Faust, unless the musique concrète is utilized within a song without muddying it up too much, like what they did on the first LP. I personally prefer the actual krautrock stuff, the interesting jams, and the psychedelic affairs; the stuff that makes Faust such a strong krautrock band for me. Whilst you do certainly get such, you are more likely to encounter these short winded experiments before you get into the real meat and potatoes this album may hold.

Speaking of such, the meat and potatoes here are pretty weak. If you do not count the short experiments, you get 10 whole tracks to go through, and each of them are certainly good but a bit?by numbers, which is very odd for Faust. While they may be a bit newer in scope as they now have a more industrial, and sometimes more shoegaze type feel, they feel just like stuff they have been doing for a long time now, to where I feel like they are a bit washed up. For example, the big jam on here, Na Sowas, is a pretty good track, but it feels kind of like a carbon copy of Listen To The Fish rather than an actual original song. A loud krautrock jam that dips into droning ambience, but without really the style and grace that Listen To The Fish gave.

Additionally some of the faults of the tracks may be due to the mixing, as the mixes on these tracks are a bit too loud and noisy. The 90s marked the start of records in rock being a lot noisier, and not in a noise rock kind of way. This loudness war, as people dubbed it, only really peaked in the early 2000s with groups like Rush getting a bit of a short end of the stick in regards to the volume of the mixes. Faust here definitely got that short stick too, as each song feels like they should not be so noisy. I mean, listen to Teutentango for example, it is just very poorly mixed and so noisy that I can barely think. Each song here feels like they shouldn't be so loud, but they simply just are for no real reason other than loud?rocking albums were pretty hot at the time with nu metal and grunge being at an all time high. There is a remedy to this though, and it is Cendre, which is a pretty great track on here. You never quite hear an acoustic song on a Faust album, so having one, even here, is a nice change of pace. Plus I think it's a pretty song.

Honestly if this album was just a tad worse I might be willing to give it a 1.5 or lower, but even with noise complaints most of the actual songs are pretty good. The title certainly doesn't lie, I do know Faust with this record, and that is the problem. I do not want to know Faust when I listen to an album of theirs. I want to hear something new that they've been cooking up, and not repeats of stuff they know how to cook up. I don't want to know Faust, I want to experience Faust, and You Know FaUSt doesn't give me the true Faust experience I am looking for. Certainly, Faust must've felt the same way, as later records prove they themselves don't want to know Faust. I definitely advise skipping this one if you are interested in Faust's 90s catalog, as their other works that decade are a lot better.

Best tracks: Cendre, Liebeswehen 2, Hurricane

Worst tracks: Irons, Elektron 2, L'Oiseau

After a whole 20+ years of silence, only broken by small doses of archival releases, Rien was Faust's first new outing, and quite a big one to be sure. Faust could be recognized as the first band to ever make the styles that would later be gone into drone, noise, industrial, and musique concrete that groups like their home's own Einsturzende Neubauten, as well as Coil, Current 93, Natural Snow Buildings, and Sonic Youth were playing around with at this time. The name and idea that Faust was were a mere distant memory, though that memory grew into a reunion, as these dinosaurs of krautrock supremacy show a return to form from their heydays as masters of creepy drones, loops, and noises.

Compared to the predecessor of Faust IV, Rien is a stark contrast to the more smooth and laden '73 record. It is a lot more in kin to their very first record, heck it has a similar design being an all chrome record box, much like their first's all clear record box. Personally, I think the parallels make quite a lot of sense, but the chrome could signify the band knowing for certain that they aren't the fill in the blank record guys anymore, as that transparency was filled with many years of experimental music that gave way a gray, and shiny frontiers for many groups that spawned since they left the scene.

I will say that the comparison to their first goes more than just covers, and goes within the music. The music found here is a more harsh and noisy attempt at what they were doing with their first record, and The Faust Tapes, with plenty of interesting sound samples, krautrock movements, and weirdness to go around. For what they do here, I think their execution of that weird experimental sound works really nicely with the edgy industrial and drone soundscapes, especially on the title track, and Listen To The Fish.

However, this record kinda marks the point within the Faust albums where they would sometimes add in audio samples as filler. Now they certainly did this before with The Faust Tapes, an album filled with many filler bells and whistles, but that album was essentially a glorified archival release, for better or for worse. This album, however, with tracks like Long Distance Calls In The Desert, and the two Eroberung der Stille Teil, some of which being nearly 10 minutes in length, 10 minutes worth of odd samples, field recordings, and deranged speeches, makes me feel like there was a bit of wasted potential found here. I cannot be too mad, after all making these weird experimental songs is their speciality, but I still feel as though they could've added something more to these offbeat field recordings. Eroberung der Stille Teil I does a bit more, having a quite beautiful synth in the back, which I like, but doesn't quite hold up in my mind. The screaming does remind me of a Magma album though, which is quite funny.

I definitely like the production here a lot. While I may judge this album greatly for the wasted instrumentation, I cannot judge it too much as the mixing and production is some of the best in a Faust album. That is thanks to Jim O'Rourke, a spear head of sorts to the loft experimental and drone music scene. What he adds to the table here could not be understated, giving us some wonderful stereo works that fully capture precise dynamics and energies that the band might've been going for when creating this record. He's kinda like the Brian Eno to whatever music you can call this as.

My personal favorite track here is certainly Listen To The Fish, a 15 minute krautrock song that soon evolves into a droning ambiance. The beginning is pretty alright in my opinion, nothing too crazy, but nothing too bad. It soon goes into a lot more avant-garde territories, playing interesting sounds throughout, as it soon washes away into a blend of harsh noise that dissipates into quiet and beautiful ambient synth. It's a strange, but kind of pretty experience to go through, especially with headphones. Do I think it is the group's best jam? Frankly, no, but is it up there with the best? Yes, absolutely.

Rien may not be my favorite record, but it is an album that I do respect. It reunited the krautrock band that I enjoy quite greatly, and led to more fun, interesting, and crazy krautrock works. If you manage to find a copy, or a download of the album, I say you should look into it, but maybe after listening to the band's first 4 albums, just so you may be prepared for what the band delivers on here. Give it a spin if you can, you may find something that piques your curiosity.

I have a rather selective attitude towards Krautrock. I could accept later post-'72 output that is not too raw and experimental. In the case of Faust, when I heard Faust IV, I thought "Oh my god, how could it have ended up in my collection". But then when I heard first three Faust albums and the fourth one again, I changed my mind and disliked the first three ones instead. Faust IV is more accessible, music-oriented effort but still not for the faint-hearted. This album is not going to blow you off with instrumental prowess and hundreds of ideas; it still shows quite a good versatility for a Krautrock band as it includes psychedelic rock, a bit of Canterbury (track 5 - actually my favourite one), electronic hypnotic experiments (the lengthy first track) or even folk rock ("Goggy smile") that as a later post-rock bleakness. The band oscillates between well played live rock sounding themes ("Picnic on a frozen river") and electronic keyboard experiments so you won't get bored going into one direction only. It takes a few listens to get at least to a part of the album, but it's worth it.

While by all accounts this isn't the fifth Faust album as there exists Faust V, which was a unreleased album the band created in '75, as well as Munic And Elsewhere, which was a compilation of unreleased demo tracks, The Last LP usually stands as the definitive fifth album by Faust. Though, some may argue Rien is the fifth Faust record, as it was recorded when the band reunited in 1990, and also because Last LP has the same idea as Faust V and Munic And Elsewhere, being unreleased tracks from 1971. However, I consider The Last LP to be their fifth album, mostly due to Progarchives listing it as such.

All that aside, what does Faust's "last" record hold? Well, this record was recorded in 1971, which was the same year when they released their very first record. You know what that means, we're back in totally weird Faust territory, and honestly that is probably the best thing about this record. While I cannot say Faust really became accessible, or less bizarre throughout their later recordings, they kinda were becoming a bit more laid back with their weird natures, at least as laid back as Faust could be. Not to say that was a bad move on the band's part, as it gave them a bit more leg room and creativity with their music as a whole, but I think it is good to see more of that meaty avant garde stuff Faust appealed to.

Last LP gives me all the weird golden check marks. A record filled with insanely odd passages, surreal noises, and moments that are way too psychedelic for their own good, and it all cements itself into a really enjoyable time for me. To me, this is like a more polished up version of the first Faust recording, and honestly I would have preferred if this was the second Faust record, and not So Far. Each song, for the most part, has their moments of fun krautrock that I look for when listening to Faust, so it all works out in the long run.

But I will go out on a limb and say while this record is a great and weird time, some songs here are kinda?whatever. The shorter tracks like Party 8, and Party 6 honestly could've just been left out if I am being perfectly clear, and Chromatic should've been so much better if they didn't give it a ton of filler in the way with that weird looping keyboard sound that goes through like most of the song.

Also, while this is certainly a good release, I do have to partially agree with user Phallus_Dei on RYM in that this record is kinda obsolete, as a lot of songs here are either on other albums, such as Giggy Smile being on Faust VI, or were re-released for 71 Minutes and BBC Sessions. However, I still think all that aside, if you just look at Last LP for what it's worth by itself, it is still an excellent tour through the weird side of Faust from the early 70s. I say listen to this first before listening to 71 Minutes and or the BBC Sessions.

The Last LP is not the last Faust LP, but if it was it definitely would be a good note to end on. However, since they didn't stop making music, we now have more Faust albums to listen to, which is a plus in my book. Give this one a listen, though that is easier said than done with the fact this album isn't on streaming. A shame, but if you can find it somewhere on the internet, whether Youtube or somewhere else, don't hesitate to give it a listen.

Now for the second Momentaufnahme.

Compared to the first, I actually quite like the second one as a much better Faust experience, especially when you take in consideration to their more avant garde elements.

This album has the same quirks of Momentaufnahme I, however, here the more short snippets of weird electronic and avant garde are mostly gone, and in favor we get a nice blend of krautrock goodies that remind me of Faust IV and some other stuff, and very tranquil ambient elements that you'd find off of Faust's first three records.

The thing that makes this album work for me is this intricate balance between the ambiance and krautrock music, going back and forth from one mood to another, but still keeping in touch with one another, even fusing with each other to create this unique mix of krautrock and ambient music, one that I found works to my ears.

Another thing that I like about this album is the various flavors of krautrock on here. You get your usual Faust IV stuff, but I do notice some bits and pieces of the stuff that can be seen with Faust and So Far, and sometimes, like with Arrampicarsi Sul Vesuvio, they go to a more Amon Duul II brand of krautrock, getting a lot more psychedelic in ways. I really enjoy these little krautrock tunes found here, they are not only charming, but fun to listen to.

However, I also feel like there are still some elements that I do not like. The weirder and short songs, as mentioned before, make a return from Momentaufnahme I, however they are a lot less apparent, but still, tracks like Dampf and Ma Trompette are simply skippable, and I think they take me out of the album listening experience quite a bit.

I also feel like these songs do not quite have the same punch as other Faust stuff. I can definitely enjoy and like these songs, but I just feel like they are lacking in that special Faust sauce that makes them truly special. There are definitely good moments to be had, but I do not really think I will revisit this album much compared to other Faust works.

A really solid, if not enjoyable Faust archival record. I won't say this and Momentaufnahme I are absolutely essential listens, but Momentaufnahme II is definitely a nice record in my opinion, one that I do not see any harm in checking out. If you want some neat experiments with krautrock and ambient music, take a look at this.