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PSYCHEDELIC UNDERGROUND

Amon Düül

Krautrock


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Amon Düül Psychedelic Underground album cover
2.27 | 43 ratings | 12 reviews | 7% 5 stars

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Studio Album, released in 1969

Songs / Tracks Listing

1. Ein Wunderhübsches Mädchen Träumt von Sandosa (17:03)
2. Kaskados Minnelied (2:53)
3. Mama Düül und Ihre Sauerkrautband Spielt Auf (2:50)
4. Im Garten Sandosa (7:48)
5. Der Garten Sandosa im Morgentau (8:06)
6. Bitterlings Verwandlung (2:30)

Total Time: 41:10

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Angelica Filanda / vocals, percussion
- Helge Filanda / congas, anvil
- Ella Bauer / vocals, percussion
- Rainer Bauer / guitar, vocals
- Ullrich Leopold / bass
- Peter Leopold / drums
- Uschi Obermaier / percussion
- Wolfgang Krischke / piano, percussion

Releases information

LP versions: Metronome [Germany] MLP 15332; Prophesy (Bell) [USA, "Amon Düül"] PRS1003; Metronome [Germany, "This is Amon Düül"] 200.146; Brain [Germany, "Minnelied"] 0040 149
CD-versions: Captain Trip Records [Japan] CTCD-021; Spalax Music [France] 14947; Repertoire [Germany] REP 4616

Thanks to Philippe Blache for the addition
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AMON DÜÜL Psychedelic Underground ratings distribution


2.27
(43 ratings)
Essential: a masterpiece of progressive rock music(7%)
7%
Excellent addition to any prog rock music collection(16%)
16%
Good, but non-essential (21%)
21%
Collectors/fans only (37%)
37%
Poor. Only for completionists (19%)
19%

AMON DÜÜL Psychedelic Underground reviews


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Collaborators/Experts Reviews

Review by Eetu Pellonpää
SPECIAL COLLABORATOR Honorary Collaborator
2 stars I discovered the first Amon Düül collective, as I was searching information about the later incarnations separated from this league of hippies. Though I like raw analogue sounds, the sound quality of this release goes a bit too poor for my own enjoyment. I believe this album has a historical value, as I understand it was some sort of groundbreaker in this kind of music genre. The recording has captured the freeform divine explorations of redemption by these people, and it is most certainly sincere search of atavistic levels. However I think the following recordings of the group were better, and I consider this hardcore album as artifact for the collectors, and for those who prefer very chaotic noise as for their desired musical adoration moments.

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Send comments to Eetu Pellonpää (BETA) | Report this review (#57869) | Review Permalink
Posted Friday, November 25, 2005

Review by philippe
SPECIAL COLLABORATOR Content Development & Krautrock Team
3 stars No alternatives, no guiding lines, no structure, just a massive free musical expression, rather unclear, malevolent and cloudy. Personally I consider this first Amon Duul's jam session as an important item in the history of rock music but I'm not sure that the prog community will follow me on this one. Off course the music is made in a progressive way because of long instrumental explorations and dark experimentations, however there are no arrangements here, the music is really primitive, stoned and chaotic. However we can detect free music ideas which will announce the maturity of albums to come; psychedelic, ethnic combinations for endless and pointless improvisations. Absolute not conventional in its radical expression but a coherent document in the development of German krautrock underground.

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Send comments to philippe (BETA) | Report this review (#60503) | Review Permalink
Posted Friday, December 16, 2005

Review by Certif1ed
SPECIAL COLLABORATOR Honorary Collaborator
4 stars None of your Bakerloo here...

"Psychedelic Underground" appears to be a collection of music that summarises much of the ideals and ethics of the Progressive/Underground scene that thrived in the mid-late 1960s, but also incorporates ideas popularised by the Beatles and Pink Floyd in terms of experimenting with the more avante-garde styles of music that had long been explored in the realms of art music (I hesitate to call it "Classical", as much of it did not even involve an instrument!).

The range of marks awarded to this album really reflects the kind of album it is - there's much to sneer at and cast derisory remarks about, not least the appalling production and rather weak jam sessions, but at the same time, a vital energy is projected such that even when the music descends into near-noise, we can still sense the togetherness of the musicians in spirit, at least... as Headheritage.co.uk puts it; "90% attitude and 10% skill".

This might or might not work for you, but patience brings its own rewards with music of this nature, and it's only when listening beyond the production and the notes that the rather wonderful raw and primaeval nature of the music comes alive.

The music tends towards simple jams of one or two chord riffs with minimal changes and much walloping of drums. "Ein Wunderhübsches Mädchen Träumt von Sandosa", which doesn't feel quite as long as you think it might consits of two of these, joined loosely with a tae interjection, and rounded off with another one.

"Kaskados Minnelied" is a lot less predictable, despite being built around a simple 'cello line. There's a better dramatic shape here, despite a desparate need for a 'cello tuner, and an overall dark, earthy sound that seems to approach that of a digeridoo.

"Mama Düül und Ihre Sauerkrautband Spielt Auf" appears to be yet another piece built around the percussion section of "Saucerful of Secrets" - which was an impossibly influential release of the previous year. A little production experimentation fills out the 3 minutes in a way that is not so much interesting as baffling - but curiosity and a peculiar tenrions does encourage the listener to stick with it.

"Im Garten Sandosa" has a really peculiar air to it - a "vibe", if you will, and indicates a kind of progression in the album overall that I was not expecting. Yes, it's a single riff, with minimalistic changes - and that's its' strong point. Let yourself be sucked in by this one, and it's a buzzing journey filled with exotic locations and excitement with a climatic ending. Close your mind to it, and it's a terrible sitar-driven hippy dirge.

"Der Garten Sandosa im Morgentau" follows on quite naturally, and, dare I say it, logically from the previous track, and blends in elements of the earlier material on the album, becoming, as Julian Cope's site accurately puts it "the weirdest song on this very weird album.", full of ghostly spookiness, surprisingly fragile dark edges, and plenty of space, with hints of the first Hawkwind album.

"Bitterlings Verwandlung" is, if anything, even wierder, exploding, as it does, with taped "Classical" music, and regularly returning to odd snippets here and there in a kind of collage that seems to take inspiration from Stockhausen's work in a far more serious way than anything the Beatles attempted - including (or perhaps, especially) "Revolution #9".

A very unusual album - almost unique for 1969... except that a lot of unique albums were released in 1969 (and subsequently also virtually forgotten about), including the quite astonishing "An Electric Storm" by The White Noise.

Pretty much up there with Can's "Monster Movie" as an unmissable example of Krautrock, unmistakably, an Excellent addition to any prog music collection - and a comfortable 4 stars.

You may want to stick with it though - give it time... :o)

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Send comments to Certif1ed (BETA) | Report this review (#150453) | Review Permalink
Posted Tuesday, November 13, 2007

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
3 stars How can one album be even "Krauter" than Can? Well AD's very first album Can (I know ;-) and this is no small feat. This is probably the most rock'n roll album of all time, should you consider the mentality and atmosphere. Some psychheads will rave on for hours of the Garage bands sprouting in Southern California in the second part of the 60's, or the Detroit proto-punk scene of 68, but obviously those purists tend to disregard anything done in Germany by early pioneers like Amon Düül and Can. So out of Munich came these "eleven adults and two children which are gathered to make all kinds of expressions, also musical" (sic), and the hippy commune eventually broke up into two units, the first is this group that will record only two real sessions, the first being a huge jam that would eventually produced three albums and four discs worth of material, the other being Paradieswarts Düül. The second part, Amon Duul II, will become much more successful, but please see that entry. BTW, Amon Düül's name comes from an Egyptian mythological god (Amon) and a Turkish fictional character Düül.

The least one can say is that AD's sole historic record (the others were posthumous, if memory serves) is that it is a very cringey time for progheads looking for the usual prog clichés. Here, we are light years away from good production, good recording, tight arrangements and virtuosi interplay: what one would have to realize is that both version of AD came from heavy left-wing hippy communes and therefore the group's sound sounds as chaotic as you'd imagine a commune to be back then. Actually the Repertoire CD issue shows a few band pictures with the women in the band proudly showing the kids, and most likely a certain kind of promiscuity. Starting on a 17-mins Sondosa track, where they give the tone of the album, just repeating endlessly a riff, without any kind of musical explorations, except for the hypnotic nature of their "minimalist" approach to their musical universe, the group finishes the album with a three-minutes fast-evolving improv centred around the cello player. There is a bit of space rock ala Hawkwind avant-la-lettre feel throughout this album. BTW: Sondosa is a Spanish-spoof deformation of the Sandoz pharmaceutical labs that first produced the LSD molecule.

On the flipside, Mama Düül is a very percussive 3-mins track that strikes you as complete waste of tape, unless you're into shaman-type of percussion dances. Garten Sandosa is another slowly evolving jam built on repetitive riff, where some bass drones (most likely the cello again) are the main interest. The following Garten Morgantau (also an 8-miun improv) is again featuring cello under very approximate guitar arpeggios, with soft spacey Gilly Smyth-like whispers. Ending the album is Bitterlings Verwandlung another absurd jam stuck with classical (choirs) music sound collage that had never been done until then.

In retrospect, this album as well as others posthumous release from AD, might just be the foundation stone of Germany's awesome scene. In some ways, the strength of AD is that even when the band gets cacophonous and downright chaotic, you can feel the mega line-up remaining as tight as if they were a trio, probably a side effect of their tribal commune instincts. I have a difficult time giving such a badly produced and indulgent record a good rating, but its historical importance cannot be denied and therefore gets an "essential but not that good" rating of three stars.

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Send comments to Sean Trane (BETA) | Report this review (#159727) | Review Permalink
Posted Friday, January 25, 2008

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
1 stars "Psychedelic Underground" is the debut full-length studio album by psychadelic/krautrock act Amon Düül. The album was released through Metronome Records in 1969. Amon Düül was one of the early pioneers in the krautrock style and "Psychedelic Underground" is widely considered one of the earliest examples of the style. or at least a taste of it.

The 41:10 minutes long album features 6 tracks. All repetitive, rather noisy, and badly produced psychadelic rock songs and odd sound experiments. It´s jam packed and psychadelic and generally features very little that resembles structure of any kind. So at times it almost sounds like a bunch of kindergarden kids on acid hammering on anything they can get their hands on. The playing is sloppy and combined with the murky sound production this is a bit of a trying listening experience unless your poison is unstructured psychadelic jams. If you ask me it´s a stretch to call this adventurous even though it´s certainly unconventional. Art for arts sake, or noise for the sake of it, sounds more valid to my ears.

This is the kind of album that serves best as a historical document capturing the free spirit and experimentation with sounds and music of the late 60s, and not really for listening pleasure. At least I have a very hard time getting any kind of enjoyment out of listening to the album. If you´re interested in the earliest origins of krautrock this might suit your tastes though. Personally I refuse to give "Psychedelic Underground" more than a 1 star (20%) rating. Subjectively because I simply can´t stand listening to it and more objectively because of the sub par musicianship, the non-existent songwriting, and the poor sounding, murky, and noisy production. Enter at your own risk.

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Posted Thursday, January 14, 2010

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl Team
2 stars Native Americans in an overdose of Peyote? The mad of the village hitting a trashcan with a wand? Probably with a better production it would have sounded intelligible, but the awful recording makes it just a collection of repetitive noise. It's a pity because there are hints of 60s flower power that could have make this album interesting even if over 17 minutes are too much for the first track. All you can hear in the first 7 minutes is percussion and voices while an acoustic guitar tries to be heard. At least the guitar is tuned, but I've listened to bootlegs better recorded, also in the 60s.

Things are a little better with the second track that has an indian flavour. Good enough to trip on it, but no more than this. The third is like an appendix of the first. There was probably more in the band's intentions, but the recording is so poor that I can just appreciate the repetitions.

The following track is a "rocky" sequence of 8 notes over which what seems to be a cello makes some noise. This track is hypnotic enough and reminds me to the quite unknown album of the Japaneses Kharuna Kyal. Track 5 starts as a follow-up to the previous one, but it's quiter, based on a string instrument that seems an acoustic guitar played with a pencil on the strings and on weird vocalisms. This second hal of the album is a little better than the first. In particular this track is spacey.

The last track is quite similar to the first but it's only 2:30 minutes long. It seems that the production has been enhanced on the last two tracks or it's only that my ears are now used with it.

The second side is not enough to save this album even if surely better than the first. This is just for hard lovers of the genre, and mainly as a document as there's very few to enjoy here

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Send comments to octopus-4 (BETA) | Report this review (#298990) | Review Permalink
Posted Monday, September 13, 2010

Review by ZowieZiggy
PROG REVIEWER
1 stars I guess that there are two ways to consider this album. The first one like some fellow colleagues mentioned is to grant this album because of its landmark for the Kraut genre. But IMHHO, the music performed was just avant-garde and unbearable for human ears.

Just try and listen to the whole "Ein wunderhubsches Madchen Traumt von Sandosa" (even the title of this song is quite an article on its own).

The sound which has to be endured during this seventeen minutes "epic" is even more garage oriented than most punk bands have ever produced. This is a total disaster: a huge waste of time to listen to this sort of track (let's be honest: one can't talk about music here). I was sooooo happy when this joke came to an end.

Each of the qualities mentioned above also applies to the short "Kaskados Minnelied". One chord wonder (?); but without the guts of the later "Adverts".

To listen to this album in a row is a nice little nightmare. Should I recommend trying and enduring this? Or just tell you to run away as fast as you can? I guess that the second option is the only choice. When I will add that the sound is awful, is there one SINGLE reason to like this album?

IMHHO: no. Not a single one. Unless being under "influence". But then seriously. Hype and joke: yes! Star rating: one. Overall feeling: ugly and repetitive to death. Gosh!

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Posted Wednesday, November 10, 2010

Review by Neu!mann
PROG REVIEWER
2 stars I think a new rating benchmark needs to be established for the debut Amon Düül album. Instead of the usual stars, how about five energy-sucking black holes, denoting an absolutely essential but altogether unlistenable Prog Rock experience?

The First Amon Düül didn't even consider themselves a musical group. They were all simply fellow travelers in the same radical-political Munich commune, who liked to make a lot of noise together (maybe too much, considering their association with the Baader- Meinhof Gang). Eight credited musicians (and I use the term very loosely) were involved in this mess, the end result of a single 1968 jam that provided enough material for two other albums as well, one of them a double disc.

The multitude of talent (and I use the term even more loosely) sounds impressive until you realize six of them, including '60s sex kitten Uschi Obermaier, were strictly amateur drummers, flailing away on an assortment of toms, bongos, and at least one blacksmith's anvil (!) So it's hardly surprising to hear the album open with an unrelenting 17-minute percussion orgy, setting the mood for an album-long train wreck of Neanderthal grooves and haphazard edits, with lots of Dionysian pounding and shouting.

Half the track titles reference the Sandoz Laboratories, manufacturers of the first LSD, making the album more of a stoner homage to altered consciousness than a commercial music venture. In its own crude way the effort was more honest and effective than the later Ash Ra Tempel / Timothy Leary acid epiphany of "Seven Up", with a certain integrity all its own: totally primitive to be sure, but still intact. The raw, lo-fi sound of the LP is part of its enduring mystique, although the 'Underground' of the title might have been literal: it sounds like the microphones were buried under several feet of loose clay.

If you subscribe to the Philosophy of the World articulated by The Shaggs (see my PA avatar) you'll know that technical ability isn't always a requirement for musical expression. In other words, it's sometimes what you say, not how you say it, and the message here was one of pure anti-establishment vitality (i.e. noise).

In its own barbaric way it's an astonishing document, almost singlehandedly birthing the entire Krautrock scene. But that doesn't make the album any easier to sit through. And because my innovative gravity well rating idea will probably never fly, I'm leaning toward a more wishy-washy compromise: two conservative but entirely respectable stars, for diehard Krautrock scholars and other masochists.

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Send comments to Neu!mann (BETA) | Report this review (#868998) | Review Permalink
Posted Friday, November 30, 2012

Latest members reviews

3 stars Krautrock's most hated and despised band. This is mayhem, tuneless drivel by a bunch of wasted hippies, and it sounds great! A definite 'love it or hate it' album for most folk. There's not much in the way of music going on. Somebody unwisely handed out a few sets of bongos and guitars to ... (read more)

Report this review (#300688) | Posted by Dobermensch | Monday, September 27, 2010 | Review Permanlink

2 stars I think that he(it) is time(weather) to découter with attention this album, although worship(cult). Amon Düül ets separated from his(her) best musicians, here there is only a foundation of the group, but those this does not know how to play really. The titles(securities) are psychedelic, has the ... (read more)

Report this review (#226721) | Posted by Discographia | Tuesday, July 14, 2009 | Review Permanlink

1 stars This is one of those records that do not have the merit in the music itself but in the role it played those days and in future developements of the band and he genre. As some people say, this album is the start point of the so called krautrock movement, and this record captures, in a very primit ... (read more)

Report this review (#128040) | Posted by victor77 | Tuesday, July 10, 2007 | Review Permanlink

2 stars Amon Düüll's first incarnation as an important psychedelic jam band is quite uncommercial and totally unlistenable. At the time Amon Düüll was political-musical community that broke out when members were divided between music and politics. The music-oriented members when out to form what would la ... (read more)

Report this review (#113600) | Posted by samhob | Monday, February 26, 2007 | Review Permanlink

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