POPOL VUH

This album was released without Florian's authorization, recordings being captured from casual playing with Indian musicians in the studio, and pressed to European market's with Popol Vuh name. Sometimes this kind of voyeurism to the recording processes can be interesting, though violating the autonomy of artists record releasing policies. I understood same kind of trick was done for Vangelis on "Hypothesis" recording, revealing some casual playing results outside the context of carefully considered thematic work. This forbidden peak to the Florian's studio reveals two long raga's with delightful sitar and tabla conversations and charming female vocalist's singing, Florian contributing with quite small emphasis trough his keyboards. The long durations are not borne however from very long mantric performings, but are edited together from shorter sequences. The classic Indian music tapestry should fit well for casual search of Hinduism feelings or as background music for enjoying vegetarian curry dish. Would have been interesting to hear what Florian might have been able to accomplish with more dedicated project with the anonymous musicians, though this album is quite charming also with the lovely cover arts and everything. Thematically it lacks however the sharp aim found from the earlier official recordings of Popol Vuh.

This album focusing its concerns of the "Final Day - Final Night" moves drastically from the overwhelmingly peaceful elevating territories of earlier albums towards darker moods. "Der grosse Krieger" counterbalances the small war opener of "Einsjäger & Siebenjäger" with a much greater conflict, illustrated trough dramatic weaving of guitars from several channels, knitting a melancholic memorial carpet of collapsing cities. Heavier assault from drums and vast instrumentation layers enforce the impact of this great apocalyptic scenery, and also introduces harder musical approach to the lighter acoustic tones dominating earlier records. The confrontation scene leads to dual compositions contemplating "How near is the path below" and "How far is the path above". First impression to this perspective is granted trough mythic orientalism from dark shades of archaic percussions. Fatalistic theme of guitar creeps closer, persisting quite long on the stalking phase, until released to glide to the vast lands of imagination, allowing optimistic choices being seen in the horizon for the first time. Second illumination introduces the album's key mantra "Haram dei Raram dei Haram dei Ra", which I believe might refer to "The most sacred holy sanctuary of sun" (or something similar). The chant borne from tribal acoustic textures opens as wonderfully rolling acid rock passage, signaling an unchangeable fatalistic truth from its monolithic persistence. The first album closes to more calmer hymn "In Your hands", returning to the more soothing light orientalist fusion sounds familiar from the earlier 1970's recordings of Popol Vuh, and giving promises of hope with its elevating closing chords.

The second side of the LP starts with "Kyrie", not repeating the melody from "Hosianna Mantra"'s similarly named composition. I believe the singing is started here by Djong Yun and later joined by Renate Knaup, together forming a chorus which starts rising powerfully from the beginning's piano basis, shifting emphasis to guitars and gaining unearthly power for its call. Return to the "Haram Dei" mantra leads to a visionary sight, guiding towards the correct path in darkness trough the shimmer from krautrock treadmills of drum enforced evangelistic assault. The conclusion of the final day rolls guided by the faith familiar from the first side's closing, fulfilling the healing potential of the marvelous group, and leading to the universal answer of love. The lyrics from the few last songs are also sung in English, though the titles are written in German to the album sleeve. So though the record's theme is about the absolute end of earthly existence, it however leads towards spiritual hope of continuity, relying on promises of unseen lands, the potential of loving and the justice of holy creator. Musically the record is also more harmonious than some of the earlier Fricke / Fichelscher albums, and reaches ultimate climaxes of spiritual experience from heavier approach, which was earlier succeeded from more quiet paths of piety on "Hosianna Matra". I got an opportunity to hear the bonus tracks of 2005 released SPV CD version, which provide pleasant glimpses to possible omitted takes and longer edits from the album sessions, being interesting, but not necessary for the core experience of the original album. An album, which I consider along the finest recorded by this extraordinary group, enlarging also the mental and tonal palette of Popol Vuh by introducing heavier approach to the musical language of Florian and his musician friends.

Popol vuh returns to biblical themes by drawing inspiration from the Song of Songs. These ancient love poems were at some point combined to the myths of King Solomon, and thus this Hebrew tradition heritage also as a part of the Old Testament. Musically Florian's and Daniel's piano & guitar driven core is supported again by Djong Yun's voice, and is also strengthened by Indian sitar-tabla duo, creating wonderful world music fusion tapestries for this adorable song from Middle-Eastern legacy. Though these texts can be interpreted from different religious and political viewpoints, I believe Florian approached them as ultimate dedications for human loving. The blossoming album covers introduce well the theme of earthly paradise for man and woman, relating with its visual appearance to the Garden of Eden of Genesis, and also containing both allegorical and concrete sceneries of vineyards and nature's fertile richness.

On the first side "O fairest of women" standing forth for being observed, is revealed with powerful mystical sonic displays, leading to a romantic hymn of weaving guitars trough the more vividly twisting amplified opening track. The vocal presence is also now stronger than on the earlier record "Einsjäger & Siebenjäger". Oriental sound textures merge wonderfully to the guitar and percussive driven sounds, allowing glimpses to similarly holy and sensual visions. Both album sides culminate to an impressionistic still life of King Solomon, centralizing as the kind king reining the kingdom for supreme praises of feminine adorations. The first evocation of the Son of Salomon is encircled by some sort of visions of moonlit alleys. I believe these parts describe the dreams of poem's maiden searching her lover from the nocturnal streets. On the first dream she finds him, the wedding progressions leading to first encounter of the son of David, and the second dream denies her lover's discovery, leaving her alone with the city guards. The first vision of Solomon flows with most sacred solemnity, reaching ultimate heights of sanctity trough weeps of guitar and divine singing, the night visions around him being first quite fearful, second run escaping to joys of on drum supported rock melody explorations, thus possibly studying the tale from reverse chronology.

On the second side of the album the winter has passed after the night's dream sequences, the rains being over and gone. Indian tabla and sitar dialogue is introduced here to the music, exploding as really euphoric all-loving tonal art expression. The blossoms of poetic genius bloom on the descriptions of lively vineyards, representing the fair woman appreciated; "How much sweeter is your love than wine", these lyrics hovering on the wings of truth towards the infinity. The second apparition of King Solomon might be seen as governor of these vineyards and lands, the holy grandiose theme studied now both trough the licks of the sitar and full presence of the orchestra repertoire, embodying as a powerful mythic oriental colossus, protecting the gardens of love with firm soul of kindness. Instead of governing vineyards and the lands, the mortal male character of the poem is satisfied the vineyard being the woman of his love; "You drink me with your kiss", closing the record with the ecstatic determination of rolling forward on the path of life, blessed with gift of love's bounds.

I consider this clearly thematic album as musically masterful accomplishment, culminating the spontaneous musical ideas to more concrete end result than on the few earlier recordings. It can certainly be rejoiced as earthly or spiritual sensation, still in my opinion honoring the ancient traditional concept aiming to the kind loving aspects of mankind, refreshingly instead the usual mad violent dreams of megalomania. Also the minor discontinuity of spontaneous musical realizations through fade-ins and outs flow here more smoothly than on the earlier record, maybe due more powerfully dominating presence of loving adoration on the sonic aims, the general calmness of the whole album, and by support of clearer record theme. I would recommend especially this album along with "Hosianna Mantra" from Popol Vuh's wonderful album repertoire for those in need of healing freely flowing progressive rock music.

This album is practically a duo work by Florian Fricke and Daniel Fichelscher, both portrayed together in the back side of the LP, Djung Yun visiting only in few occasions for the celestial vocal parts. I understood from an interview that the recording methods with Daniel grew to a philosophy of having only one take for the songs, and mixing all singular recordings to the album. If so, I guess this would capture the true intuition of the playing moment to the records, but might also partly explain the slightly fragmentary feeling left from the first side of the album. The characteristic musical reference to the ancient cultures shimmer powerfully from the short war fanfare opening, which sticks in repetitive mantric loops of guitar and keyboards. The music on the album is transcendental as ever, but the themes are not drawn from religious vocabulary, but instead directing to Greek mythology, in spite of the record's Japanese-styled archer drawing on the cover. The sonic presentation of King Minos is positive and delightful exploration in quite rock-basis emphasized flight over royal pastures of Crete. Powerful crashes of cymbals give interesting divine shimmer to the rhythmic pulse, strengthened by more subtle percussions, and forming a fine basis for the multilayered guitar driven improvisations circling around the solitary key note. "Morgengruß" greets the dawn with gentle acoustic guitar layers, caressing a tender solo from amplified guitar, and setting the scenery for gambling sequence of "Würfelspiel". Piano and flute are emphasized on this track balancing the guitar presence, having also lovely melodies and fine rhythmic arrangements with drums. I also believe that in spite of the stronger rock association of drums, there is no bass guitar on the album, lower notes being played from the piano, and this giving another peculiar tone to the record's sound. The first side closes to slow grandiose visions of Promised Land, its illuminations carefully lingering on the piano keyboards, leading to the familiar ascension theme from previous "Seligpreisung" album's "Agnus Dei", this being certainly some sort of leitmotiv of spiritual climax for Florian.

The title track of the album occupies the whole B-side of the LP, and conjures an epic tale with Djung's vocals uniting the beautiful piano chords and waves of drum plates on the soothing opening sequence. The still scenery starts to wave with motion, and guitars join this delightful quest for sounds with the tom drums. I think the rock elements which burst on bloom on the earlier album have merged here pleasantly to the ethereal acoustic charms discovered on the monumental masterpiece "Hosianna Mantra". This synthesis of sounds wander here relaxed from one theme to another, flowing with prosperous logics and allowing the mental states flying on the wings of angels, being along with second album's "Vuh" one of the personal major highlights on Popol Vuh's recordings. I tried to decipher the possible meaning for the name of this wonderful song and album title with the clue from King Minos. Following the tales and myths related to him, one hunter could be Theseus, sent among seven men to the labyrinth of Minotaur, and slaying this mythic beast. Other possibility might be Orion, whom Zeus, the father of King Minos, set as seven stars to heavens for forming this singular star constellation. I most possibly go wrong with these guesses, but studying these matters from the history books might be one pleasant activity whilst listening to this enlightening album. Also anybody allergic to religious references can approach this album more easier than several other Popol Vuh albums.

This book of hours devotes its praises for bliss, continuing partly "Hosianna Mantra"'s musical cycles searching spiritual enlightenment, but focusing now to shorter composed hymns, and also directing more towards European classical musical heritage and psychedelic rock jamming. In my opinion this album also lacks some of the group's potential for epic thematic power, but offers still refreshing moment for willing listeners. Florian Fricke sung on this album as Djong Yun was travelling on time of recording, but she would luckily be returning for the following spiritual music sessions. His voice gives slightly darker tone to the overall sound of the album, but I also found it interesting to hear him to sing. I also felt with my poor German abilities that the lyrics create very important theme to the album, a basis for the music to grow.

The first praise starts with melancholic motives, praising the poor souls suffering hunger and thirst. Florian's skillful piano working is quite on surface here, illuminated by graceful guitar slides. Congas and vocal motives introduce a strong African feeling to the composition, which starts to roll on start of drums relaxingly toward more confident future days. This promise of better world is expressed as sensual dance for loving kindness or piety, however this Hebrew concept should be comprehended. Daniel Fichelscher joined playing electric guitar to this album, and his elegant weeps match perfectly to the near-east resembling acoustic flow of steps, supporting Conny Veit's contribution of creating these unbelievably beautifully sensual sounds for expressionistic steps. Fading out, next praises are dedicated for those who now cry, but shall laugh later. Slightly naïve but sincere melodic themes grow convincingly on emotional levels, proving that in addition of creating ambient textures, Florian was also quite good in composing more traditional classic compositions. Really beautiful oboe solo and characteristically patient maneuvers blow again wind for the sails of more dynamic rock enjoyment, finally silencing with fateful piano chords.

The B-side of the LP start with darker motives, yearning growing from minimalistic shapes towards the heavenly reign. The wanderings trough corridors of mythical ancient forms allowing some powerful monolithic sceneries, but does not lead to any very concrete musical culmination point. However some subtle chiming notes promise solace for those who mourn in their songs, opening gates for rejoicing parade of aural kindness existing rich on the repertoire of involved musicians. This song is also tied more strongly to the following praise of gentle souls, who shall inherit the earth. The change is actually quite unnoticeable trough match of notes on piano and guitar. This mantric piano cycle is along with the second song's dancing the high points for me on the record, separating themselves from the certainly pleasant waving displays of spiritual faith, the caressing constant presence which dominates the album. The praises for the pure hearted observed by god starts the end of the album with quiet anticipations, concluding to the powerful melody theme of "Agnus Dei", ascending the steps of faith to the heavens. This theme is also familiar from the forthcoming carpet closer for the impressive movie Cobra Verde by Werner Herzog and Klaus Kinski.

These quite interesting religious songs contain the pleasantness of Popol Vuh's musical language, but some parts of the album do not feel to create very solid flow on sonic continuity. On some moments the album left an impression of kind hymns just bunched together, but on some moments, especially on the first side of the album, the songs produce more coherent dramatic experience. Very well considered compositions and beautiful emotions all together, but not in my opinion reaching the potential of intensity Florian and his friends were able to create on the arena of divine musical epochs. An albumful of spiritual kindness for those needing a refreshing praises, and I guess one can abolish a servant of satan or an average secular cool kid from the house by spinning this record on the turntable.

On time of writing, this is the earliest album of Florian Fricke's Popol Vuh recordings which I have managed to find, so I have not been able to observe the complete musical development of the late master behind these mystic spiritual compositions. The A-side of the record is the residing place for the title track; The archaic melodies on nature soundscapes and ambient tapestries "In den Gärten Pharaos" illustrate a psychic landscape, leaning more to primitive abstractions than the forthcoming more concretized and firmly shaped compositions. However even here, in my opinion characteristically, with subtle melodies and tonal textures Florian achieves similarly melancholic and sanguine feeling, correlating with religious context of his work. Holger Trülzsch's ancient drumming increases the associations with mythological visions of ancient Egypt, and the sound collage has calmness and duration allowing pleasant meditative listening. Also as African drums were an element on early Jade Warrior records, people liking them and open sound expressionism escaping rock context might enjoy this song. The later moments of the song conclude to relaxed gliding on electric piano's soothing notes and electronic shades.

The B-side's "Vuh" was the culmination point of this album for me, and as a solitary musical work a masterpiece. I read from an interview that this song was performed in a church, capturing the grandiose of pipe organs and proper energies for artwork creation. Similarly I understood that realizations with the sounds from Moog experimentations and this song's organic creating method gave Florian impulse to search the divine beauty from acoustic instruments. According the following records which I have heard, I believe he found a prosperous path, and these grandiose melodic maneuvers rise firmly with singular melodic basis and with massive force as to lift up the pillars of heaven. The experimental approach for music morphs the structural classical harmonic procedures of classic European tradition as misty shades of the creation, building bridges of yearning from today's underground ambient movements to the ancestral origins of ancient raw power. Synthesis of contrasting artistic methods may allow possibilities for birth of new charming directions, and the classical music background merging with tribal archaism in the scene of German electronic ambient days offer this shapeless gem for our adoration. The aspect of ancient heritage is mostly shimmering trough vast layers of cymbals and percussions, working as integral element instead of minor sound color provider. Though the first side of the LP did not impress me totally, the second side certainly has grown to my most sacred musical experiences on the personal voyage of listening, and which possibly was a part of sincere search of truth trough the methods of music.

Popol Vuh's Seligpreisung is quite a unique album. I guess I'd say it mostly sounds more similar to their next album Einsjager en Siebenjager than to the previous Hosianna Mantra. It has both somewhat psychedelic "jams" (albeit very natural sounding, with no synths and without much aggression at all) and wonderfully composed melodies complementing each other perfectly. For me Florian Fricke's piano tends to stand out the most, it's constantly so lovely. The occasional oboe adds much beauty, as do the guitars (Conny Veit's solos tend to be understated yet awe inspiring). I get a sense of progression both within each song as each beatitude is being sung (many songs seem to start with just piano and oboe, which are slowly joined by guitars and percussion), and throughout the album, as if with each song the music was slowly ascending towards heaven. The only downside I can think of is that it's pretty short, about 30 minutes, but what a glorious 30 minutes. The bonus track Be In Love is quite lovely as well, with Djong Yun's beautiful voice and a violin, though I don't listen to it as often as I do to the proper album.

All in all, one of the most beautiful albums I've heard. Regardless of the lyrics I would call it a religious or spiritual piece of art, full of a benignant beauty that goes straight to the heart, a masterpiece, five stars.

This is a bit of a tough cookie, but this cookie tastes really good. 4.0 stars. If you want virtuosity on one dish and sparse and rich textures on another dish with some sitar and oboe notes sprinkled on them, get this album.

Side one is almost full of delight. It opens with a slightly annoying and yet at the same time mad and memorable 'Ah!', followed by a miraculous 'Kyrie' where the Japanese soprano singer Djong Yun reaches an unbelievable height of musical aesthetics. After that here comes the epic title track, where Yun repeats her impressive vocal effort and the band focuses on minimalism in a few slightly different musical ideas. But it's the synergy of all parts, not just the parts alone, that really define the high quality of this masterwork.

The rest of the album took some time to grow on me. 'Segnung' will demand some patience before you can walk through some of the filler on it. Other than that, it has some pretty neat, melodic ideas. 'Nicht Hoch im Himmel' is even harder to get into, but if your brain does mature enough for the stuff to be emotionally tangible, the experience is really rewarding.

Ratings/comments (if you have to ask):

1. 'Ah!' - ****

2. 'Kyrie' - *****

3. 'Hosianna Mantra' - *****

4. 'Abschied' - **

5. 'Segnung' - ***

6. 'Andacht' - * (To be honest with you, I don't feel any kind of rapture or hear any kind of prayer there, as the title suggests.)

7. 'Nicht Hoch im Himmel' - ****

8. 'Andacht'' - *

Stamp: "I like it."

This is the first work by Popol Vuh I have ever heard. I was really enthralled with Florian Fricke's personal modesty and musical philosophy. But this might not be the only group that used to implement the various all-acoustic instrumentations. In general, Popol Vuh's music is very pure and almost never pretentious. The skills of the musicians are either matched or simply out-balanced with a tranquil mood or a convincing emotion. If a Popol Vuh ditty is neither one of these, then at least it's just pleasant to the ear. This album simply proves my whole general point about this group's music.

If you have heard of the group, then it is very likely that you have learned what they are most notable for - the opener of the record. "Aguirre I" opens up a whole new world of drama with a lengthy catharsis on a Mellotron or a "choir organ" (whatever the difference is) that was not done to a click track. There is nothing gothic a la 'The Court of the Crimson King.' Than we see the rest of the picture that was not shown in the film itself, "Aguirre, the Wrath of God." We see a twist into a happy key as if some kind of a salvation was found by someone. And all that is concluded with a brief section called "Flote", which, as the title in German suggests, features a melodic "flute" solo, but it's not really a flute. It's actually a bunch of wooden or bamboo pipes tied together (just telling you a fact if you haven't seen the film yet.)

So, what is my whole point about this piece? My brain tells me it's the mixture of 1) carefully crafted chord progressions; 2) the voicings of those chords; and, of course 3) the sound of the Mellotron that make all the difference between a deep Mellotron passage and commonplace junk. The passage is simply perfect. Too bad that Florian resolved to simply give up all of the instruments that were not acoustic ones.

The rest of the album also deserves mass attention, and, like the second half of the opener, it was not used in the film mentioned above. For instance, 'Morgengruss II' would have been nothing had it not been for the smooth, benevolent electric guitar. It's the blood and nerves of the track. But then the acoustic guitar somewhere in the middle proves that otherwise, showing itself as more blood and nerves of the instrumental.

If you want more textures similar to the aforementioned ones, move on down the list. You will also encounter some piano on the way. And that's pretty much what the whole album is based on - pure ambient magic. R.I.P. Florian.

Before I go any further, allow me to mention that my Google research on the album had shown that there are actually several versions of this album. "What?!" Yes! The version of "Vergegenwartigung" (The Dream) that I have features a repetitive texture composed of parts performed on a piano, a tambourine, an electric guitar, and so on, and so forth. I also found somewhere (can't remember where, though) another version of the "same" thing, but when I played it, it sounded like an outtake for "Affenstunde"! "What?!" I know! Weird, huh? There is a third version of the record (or maybe it's the same second version, although I really don't remember it that way) that features "Aguirre III" as the bonus track. "????" I know. It has percussion getting in the way. Eh. There is also a rendition that features three bonus tracks called "The Spirit of Peace", broken down into three parts. Those are the ones I downloaded, those are the ones I love the most, and so those are the ones I'm going to discuss.

They are called "parts", but they don't really make up a single unified and seamless composition. They are more like brief movements of a piano concerto in my mind. If you want to hear something that I personally consider as compositions that are more poignant than those on Brian Eno's cold effort "Ambient #1: Music for Airports" (because the former has more musical ideas), get those three tracks.

I still think the main body of the album is a 4.5 kind of material because if you add the aforementioned "The Spirit of Peace" (all three parts), I think you will get yourself a better package, a full five right there. Also note that I do not see a single "loser" on this version.

Stamp: "I like it." (the best of the Deutsch Avantgarde scene that I had found so far.)

The other collection of tracks from the sessions that produced the Nosferatu soundtrack has a richer sound than the first (Brüder des Schattens - Söhne des Lichts), and the emphasis on shorter tracks ensures that songs do not drag on nearly as long as they do on that piece. Still, it feels as though something is missing from Popol Vuh sound here. Once again, Fricke and cohorts end up producing an album which sounds alright but - unlike most Popol Vuh pieces - fails to evoke any emotion in the listener. It's possible this was deliberate, of course, an intent to evoke the dulled and inert inner life of the vampire, though I doubt it - Klaus Kinski's performance in the movie was packed with emotion. Decent, but hardly the best thing they've ever done.