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D

Deuter

Krautrock


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oliverstoned
SPECIAL COLLABORATOR
Honorary Collaborator
4 stars This unknown german artist released this first album in 1971. Deuter is classified as "new age" cause that's what most of his records are. But his two first albums -D and AUM- have nothing to do with insipid relaxation music.

This is psychedelic experimental prog entirely done by the master himself, showing there its great skills as a musician, composer and producer.

The first long piece "Babylon" is crossed by psychedelic guitar, while bass offers a hypnotic and slow rhythmic pattern. Electronic effects and sound illustrations (baby's cry, distorted bell's ring) show the heavy LSD influence. Not surprisingly, the mood is very cerebral and requires to be in a similar state of consciousness than Deuter when composing it, or at least to be very open-minded, in order to fully enjoy it.

The others short pieces use water sound as a rhythmic element and much sitar, also rolling percussion showing there the world, natural side of his music. The last one "Gammastrahlen-Lamm" features cyclical repetitive synthe.

A strange and fascinating record, not to put between all ears.

Report this review (#75468)
Posted Wednesday, April 19, 2006 | Review Permalink
Sean Trane
SPECIAL COLLABORATOR
Prog Folk
4 stars Widely known as the first new age composer, Georg Deuter started out a s one of the most inventive musician, mixing eastern folk music with electronic sound collage and his first two albums are widely regarded as the equivalent of Tangerine Dream or Klaus Schulze's best works. This stunning debut is the work comes after many trip to Persia and further, to study the music and the philosophies. Those of you aware of Deuter's later New Age works (from 76 onwards), please be aware his first two albums are NOTHING AT ALL like that. And what stunning works they are even if it has not aged all that well. Most of his discography will be released on the legendary Munich-based Kuckuck label, and his records are probably the main reason for this label's long life.

The first side of the album is dominated by an almost 15-min Babylon soundscape that will have you completely charmed as it alternates between Indian classical music and some of the best synth sounds that TD or early Popol Vuh could've dreamed of. The stylus lifts off the wax after the second track, on a repetitive fuzzed out guitar sounds. The other cornerstone from D is the funny but aptly-titled Krishna Eating F&C. If you can resist lighting a doobie while listening to the album, you are probably not made for this type of music. Atlantis, however is much gloomier, just as you'd imagine from the mysterious tales of the lost continent > maybe my fave on the album. The album termites on a short wink to the label.

Surely, some progheads will not appreciate that much the (sometimes self-indulgent) hippy feeling pervading throughout the whole album, and I warn them, that this is VERY MUCH worth the investigation, but make sure you get an ear-load of it before making the investment.

Report this review (#79053)
Posted Tuesday, May 23, 2006 | Review Permalink
philippe
SPECIAL COLLABORATOR
Honorary Collaborator
5 stars Before turning to something more peaceful, soft and accessible with terribly boring "new age" efforts, Deuter made a name in the krautrock scene with the absolutely marvellous "D", essentially made of extended "tribal", "droning" and noisy improvisations. All tracks provide an ecstatic, glorious and sacred dimension that allows a comparison with the pioneering "Inside of the dream syndicate" and some archetypal psychedelic stuffs from Germany (Cluster at their beginning and Amon Duul at their most experimental moments). "Babylon" is an amazing, freaky composition with bizarre, strange, concrete "manipulated" sounds and fuzzy spacey guitar parts. "Der Turm/Fluchtpunkt" develops a ritual stoned theme always bringing to the fore some fuzzy guitars, tribal percussions and chaotic noises. With its large, cyclical organ sound and its patterns for sitar "Krishna Eating Fish and Chips" is a small interlude dedicated to spiritual music. The last track, "Atlantis" is the pick of Deuter's musical creativity: an intense, abstract dreamscape mixed with tribal, ritual percussions. "Gammastrahlen-Lamm" is a ferocious, dense level of transcendent sounds obtained by organic collages & loops; something nostalgic with ultra psychedelic effects. A progressive rock masterpiece and one the best effort produced during Krautrock's golden years.
Report this review (#85087)
Posted Saturday, July 29, 2006 | Review Permalink
Mellotron Storm
PROG REVIEWER
4 stars This was an album I had searched for for some time before discovering that "Wayside Music" had it. Thankyou Steve ! DEUTER is a one man band from Germany featuring one Georg Deuter. He is definitely a pioneer in the Electronics genre as this first album "D" came out before Klause Schulze released anything, while TANGERINE DREAM released their second record "Alpha Centauri" this same year, and KRAFTWERK released "2" also this same year of 1971.

"Babylon" opens with dark sounds then we hear a baby cry briefly as the haunting soundscape continues. It changes after 3 1/2 minutes as we get a rhythm. Another change before 6 minutes as the melody stops and it turns spacey again. Acoustic guitar before 10 minutes then the tempo picks up. "Der Turm / Fluchtpunkt" opens with percussion and other sounds. It's more intense 2 minutes in. A good rhythm arrives before 3 1/2 minutes.

"Krishna Eating Fish And Chips" is a little annoying for my taste with all the sitar. I like the spacey intro though. "Atlantis" opens with percussion and spacey sounds. This is an interesting track. Water sounds late. "Gammastrahlen-Lamm" is very spacey as sounds pulse and wash.

This would be a great addition to your Electronic collection.

Report this review (#286437)
Posted Monday, June 14, 2010 | Review Permalink
4 stars Multi-Instrumental German masterpiece from 1971, 20 Oct 2010

(Reactive 2010 Reissue)

Deuter may not be a name familiar to many. His extensive catalogue consists largely of what most people would describe as `New Age' music. This is not the case here, on his debut work. Coming from the motherlode of classic and forgotten Krautrock, Esoteric Records' Reactive imprint has once again uncovered a gem (see also the follow up release the very different `Aum' also on Reactive).

Originally issued in 1971 on the Kuckuck (Cuckoo) label, `D' is a fascinating early attempt at a multitracked solo album, which is interesting not least for the technical limitations it overcomes. Using a single two track Revox tape machine, Deuter overdubbed layers of instruments and `found sounds' by bouncing tracks between left and right channels to create a captivating one man work. It is a triumph in that the sound quality is superb, it is wonderful in stereo throughout and a superbly conceived set of sound pictures and layered and varied instruments. Deuter was as the excellent sleevenotes point out, working with about 1% of the technology available on a laptop today, and it is largely a triumph.

The emphasis is on the textural rather than the melodic but there is much to hold the attention. The opening 15 minute epic `Babylon' is an excellent demonstration of recording techniques using found sounds, organ, and varispeed, glissando and backwards guitar to fully realise a constantly shifting soundscape suitable for late night contemplation. The ideas come thick and fast over its long duration covering all points between `Kosmische' and `Raga' rock, all expertly spliced into a satisfying whole. Flip it metaphorically over to side two and you have a suite of captivating music influenced as much by Stockhausen as early Pink Floyd. There are echoes of Klaus Schulze in the organ work, although it is far more economical than Schulze's sometimes overlong and crude extemporisations of the era (Deuter takes five minutes to say what Schulze might have said in twenty-five).

Deuter blends natural sounds, using water for its musical qualities, and `Krishna Eating Fish and Chips' is a lovely sitar work out (despite the frivolous title) that seeks to find the beauty in the instrument rather than any superficial treatment of it. `Atlantis' is a suitably watery textural piece, and closer `Gammastrahlen-Lamm' again uses organ drones to full effect.

There are a wide range of fascinating musical movements over the course of this 40 minute album, yes it was recorded in a one bedroom apartment, but it is a triumph of imagination both in music and recording/engineering techniques and overall is a dark mystery well worth investigating.

Report this review (#306259)
Posted Saturday, October 23, 2010 | Review Permalink
Warthur
PROG REVIEWER
2 stars Far more lively and varied than the tranquil New Age material that would come to dominate his career, Deuter's debut album is a good but not fantastic contribution to the krautrock scene, with a bunch of chaotic musical ideas thrown in but nothing memorable enough to call to mind five minutes after listening to it. Probably the most interesting thing about it is that this is a one- man project, with multi-instrumentalist Deuter playing every instrument you hear - but that said, there's plenty of similar experiments of this sort out there, and this one is hardly the best. It's by no means terrible, but at the same time it isn't anything to get too excited about. It's spacey experimental krautrock full of odd noises. Even in 1971, that had become a cliche.
Report this review (#488366)
Posted Friday, July 22, 2011 | Review Permalink
Dobermensch
PROG REVIEWER
2 stars I bet old Deuter D regrets choosing this as the front cover eh? He looks like one of the villains from 'Scooby Doo'. Either that or he's watching something very dodgy on his laptop. If only he'd got hold of Klaus Schulze's graphic designer he may have had a more successful career. As it is the guy went on to create over 30 albums... none of which are well remembered. All apart from this and the follow-up 'Aum'

The imaginative and thought provoking album title 'D' is an odd recording which has quite a few organ drones throughout. It's entirely instrumental with some distinctly Ash Ra Tempel similarities. There's also a fair amount of backward taping which always pleases my brain.

'Faust' like guitars are played on 'Babylon' giving a very Krautrock feel. Happily each track sounds relatively different from the last, even though there's the cheesy 'Krishna Eating Fish' track where the white guy gets hold of an Eastern instrument (Sitar) and waffles about aimlessly, strumming nothing in particular and endeavoring to break the shackles of a homeland he wants no part of. Bah! I hate that. Interestingly, he was born 10 days before the awful bombing of Dresden. And uncannily, like Edgar Froese who was born on the same day as the D-Day Landings on June 6th June '44.

There's too may other good German bands out there to bother with this if truth be told. It's too soft and flat to merit anything more than an average score. Perhaps the exception is 'Atlantis' which is far more experimental with its 'Moolah' and 'Zoviet France' reversed phasing. A full album of this and I'd have been more than happy.

Call me 'Shallow Hal' - but this loses a star due to the front cover. I mean, come on - would you hand this over on a first date to the woman of your dreams?

Report this review (#1378180)
Posted Thursday, March 5, 2015 | Review Permalink
Aussie-Byrd-Brother
SPECIAL COLLABORATOR
Rock Progressivo Italiano Team
5 stars Georg Deuter is a German born New Age instrumentalist who has released more than 60 albums to date since beginning his musical journey back at the start of the early Seventies. However, his debut album `D' in 1971 was a far cry from the placid and pleasing synth soundtracks he would later adopt, instead it's a pure daring Krautrock classic that sounds like no other album. Deuter's debut is comprised of a series of schizophrenic and psychedelic sound collages, mixing everything from electronic organ drones, acoustic and ethnic instrumentation with inventive production techniques for the time and avant-garde experimentations that are initially bewildering and disorientating, yet utterly fascinating and captivating, truly the result of an inspired artist with a reaching vision.

The surreal four part fifteen-minute `Babylon' is a fragmented and psychedelic work of beauty, a frequently ambient but often jarring and unpredictable soundscape. Pink Floyd- like brooding spacey guitars chime over a gentle cacophony of church bells, babies crying, machine-gun fire and soaring jets. Murmuring bass lurks behind distorting repetitive mantra-like guitar stabs, ethereal glistening organs rise and fall around backwards effect slivers and warping swallowing voices that float amongst cocooning deep space loneliness. This piece shares a similar defiant edge of anything goes that the early Vangelis albums had and the cosmic yet earthy ambience of Popul Vuh.

The rest of the first side contains the plodding `Der Turm/Fluchtpunkt', a compact but heady concoction of tabla beats, panning effects and wailing wordless siren calls, with eerie straining Gong-like glissando wisps and fuzzy guitar-fuelled chugging grooves to bring a Can-esque dirty stomp.

Frantic, heavy grinding sitar drones race through the ten minute opener of the second side `Krishna Eating Fish and Chips', gradually speeding up to become overwhelming, hypnotic and almost maddening. Around the bubbling atmospherics of `Atlantis', a mix of snaking hissing electronic drones, a drumming pattering of tabla-like beats, shimmering unearthly sighs and backwards effects truly sound like a duelling storm between Heaven and Hell. The opening passages of `Gammastrahlen-Lamm' emerge like a bad nightmarish trip, but piercing droning slices, chittering whispers and reverberating machine hum quickly gives way to a thoughtful and melancholic pulsing organ drift that ends up almost meditative and enveloping.

Take your pick - Is this Krautrock, avant-garde, progressive-electronic, world/ethnic music, psychedelic? The answer is purely none of the above and yet all these things at once and more. Despite its many freeform elements, `D' never collapses into manic, splintering and tuneless chaos, instead retaining a trace of subtle melodicism within its explorations, and despite a few moments that take on a `hippie' vibe, there's a constant restlessness, an intensity bubbling under throughout even the most mellow moments. Although the artist would later take his music in a very different, more sedate New-Age direction (which has endeared him to a great many fans around to the world to this very day, to which he should still receive respect for), this evocative, fragile little jewel is easily the equal of the early Seventies Krautrock-electronic hybrid albums such as `Atem', `Alpha Centauri' and `Irrlicht' from fellow German artists like Tangerine Dream and Klaus Schulze, and is just as ground- breaking and influential in its own little way.

An essential Krautrock release worthy of five stars.

Report this review (#1401245)
Posted Monday, April 20, 2015 | Review Permalink

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