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FAUST

Krautrock • Germany


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Faust biography
Considered by many music historians as one of the most important group out of Germany, FAUST were certainly ahead of their time. They took their music to unsuspecting heights somewhere in between CAN, VELVET UNDERGROUND, NEU, LA DUSSELDORF or HENRY COW but also much farther and can be considered as founding fathers of the Industrial Rock. Having made their debut in 71 in Hamburg, FAUST will never stop their groundbreaking and will be always one step ahead of everybody else including the groups above mentioned and are the prime example of Rock In Opposition (RIO) along with HENRY COW.

FAUST is definitely not for the faint-hearted person and can only be recommended in small doses because it is very dangerous for the sanity of the average proghead. DO NOT and I repeat this Do Not feed this to a pregnant woman or a mentally fragile person - although you could give it to Techno Heads - as they would greatly enjoy this.

: : : Hugues Chantraine, BELGIUM : : :

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Faust IVFaust IV
Remastered
Caroline 2007
Audio CD$11.88
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More places to buy FAUST music online Buy FAUST & Prog Rock Digital Music online:
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FAUST shows & tickets


  • Finkenbach Festival 2014 on 15 Aug 2014
  • Oberer Totpunkt + Faust + Der Rest + more at Logo, Hamburg on 11 Sep 2014

FAUST discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FAUST top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.80 | 147 ratings
Faust
1971
3.50 | 101 ratings
So Far
1972
3.72 | 87 ratings
The Faust Tapes
1973
3.88 | 153 ratings
Faust IV
1974
3.70 | 10 ratings
Return of a Legend: Munic and Elsewhere
1986
3.80 | 5 ratings
The Last LP
1989
3.89 | 16 ratings
Rien
1994
4.00 | 2 ratings
Untitled
1996
3.89 | 17 ratings
You Know faUSt
1997
2.58 | 10 ratings
Faust Wakes Nosferatu
1997
3.94 | 23 ratings
Ravvivando
1999
3.00 | 7 ratings
Patchworks 1971-2002
2002
3.74 | 9 ratings
Faust vs. Dalek - Derbe Respect, Alder
2004
4.24 | 14 ratings
Faust & Nurse With Wound: Disconnected
2007
3.30 | 22 ratings
Cést Com...Com...Compliqué
2009
3.18 | 19 ratings
Faust Is Last
2010
3.40 | 17 ratings
Something Dirty
2011

FAUST Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.14 | 2 ratings
The Faust Concerts Vol. I
1990
2.14 | 2 ratings
The Faust Concerts Vol. II
1992
3.06 | 4 ratings
Live in Edinburgh
1997
4.00 | 3 ratings
Faust ... In Autumn
2007
2.00 | 1 ratings
Schiphorst 2008
2010

FAUST Videos (DVD, Blu-ray, VHS etc)

2.00 | 2 ratings
Trial And Error
2005
0.00 | 0 ratings
Nobody Knows if it Really Happened
2006

FAUST Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.91 | 15 ratings
71 Minutes of Faust
1989
4.25 | 18 ratings
The Wümme Years
2000
4.55 | 25 ratings
Faust / So Far
2000
3.83 | 6 ratings
BBC Sessions +
2001
5.00 | 1 ratings
Collectif Met(z) 1996-2005
2005

FAUST Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

FAUST Reviews


Showing last 10 reviews only
 Cést Com...Com...Compliqué by FAUST album cover Studio Album, 2009
3.30 | 22 ratings

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Cést Com...Com...Compliqué
Faust Krautrock

Review by HolyMoly
Special Collaborator RIO/Avant/Zeuhl and Canterbury Teams

4 stars Since returning to the public eye in the early 1990s, this legendary Krautrock collective has been a lot more prolific than I would have expected. I remember when Rien hit the shelves, and I thought it was a miracle that such a mercurial and fleeting band (their early 70s heyday lasted just a few years) would actually return to create new music that was, if such a thing is possible, even more far-out than the music for which they achieved their notoriety. But back they were, and Rien was such a difficult listen (lots of abstract noise and lots of silence, even more so than the typical Faust album) that I thought for a while that the band's subsequent releases might not interest me that much, so I stopped following them. However, several years later I took the plunge and found that Faust had indeed returned to the adventurous Krautrock spirit they helped define, and were continuing down their old path while pushing in new directions at the same time.

This album is one of their most sophisticated releases, not exactly accessible, but with a depth and texture that is sometimes lost in their more strident material. The overall mood is somber and subdued, with lots of drones underscoring slow robotic beats, spoken lyrics, and gently buzzing synths. It's not all monochromatic, happily: variety appears in tracks such as "Petits Sons Appetissants", a gently sung waltz with acoustic guitar and piano accompaniment. And it's not all quiet, as the heavy droning pulse of "Bonjour Gioacchino" will attest. The longer tracks, however, are generally quieter and more contemplative than the average Faust tune. I hesitate to say "Faust Lite", but when you consider Faust's legacy, that still allows for some pretty avant garde stuff, and that's in fact what we have here. It's just dressed up in smoother textures than their more "out" albums (e.g. The Faust Tapes).

I think this album would appeal to fans of "So Far" and "Faust IV". It's a great example of Faust's continued vitality in the new millenium. It doesn't try to replicate the music of their past, but it doesn't leave it behind, either. It's a continuation of where they have been going all along, forward along their own path. The fact that they now sound more contemporary than they did in the 1970s is probably evidence that the rest of the music world is only now coming around to the novel ideas they brought to the table so long ago.

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 So Far by FAUST album cover Studio Album, 1972
3.50 | 101 ratings

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So Far
Faust Krautrock

Review by Warthur
Prog Reviewer

2 stars Faust's second album finds the band casting about for something to do after their bizarre debut and not finding much beyond weird for weird's sake. They'd eventually succeed in adapting to shorter songs and creating a sound which is accessible enough for newcomers whilst still retaining their own bizarre attributes on Faust IV; here, we find them fumbling in the general direction of that album but not quite making it. The thing about being a highly experimental rock band is that sometimes experiments, no matter how well-conceived, fail to actually work - and that's the case here a little too often for me to recommend the album to anyone other than collectors.

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 Faust by FAUST album cover Studio Album, 1971
3.80 | 147 ratings

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Faust
Faust Krautrock

Review by Warthur
Prog Reviewer

4 stars Opening with radio static with the strains of the Stones' Satisfaction and the Beatles' All You Need Is Love fading in and out, Faust's debut album sounds chaotic at first listen, but care and dedicated listening reveals the carefully judged compositional calculations underlying everything. Maintaining a shrewd balance between being undauntingly experimental and keeping the listener's interest, it's a radical release which as well as representing the more disciplined and composed end of Krautrock could act as a sort of RIO manifesto when you consider how the experiments on this album would find echoes later in the works of the likes of Henry Cow.

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 Faust IV by FAUST album cover Studio Album, 1974
3.88 | 153 ratings

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Faust IV
Faust Krautrock

Review by Warthur
Prog Reviewer

4 stars Faust IV is an album which veers giddily between two distinct styles. On the one hand, you have a quirky style of highly avant-garde krautrock that must surely have fed into the Henry Cow sound (in fact, Henry Cow's early sound can be summed up as a mashup of the more avant ends of Canterbury and Faust-styled Krautrock - a heady mixture which could have only come about at Virgin). On the other hand, you have whimsical, comedic songs which remind me an awful lot of the work of Kevin Ayers (see The Sad Skinhead, for instance). In other words, it's a mashup of a big heap of prog traditions which were overlooked by the mainstream even when prog itself was mainstream.

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 Faust IV by FAUST album cover Studio Album, 1974
3.88 | 153 ratings

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Faust IV
Faust Krautrock

Review by LinusW
Special Collaborator Italian Prog Specialist

4 stars Push play and take the short route to the dizzying heights of Krautrock perfection.

With a warped electronic whiplash you're suddenly drenched by a surging, pulsing drone of the most wondrous richness and majesty. A shining, rather warm mishmash of fuzzy, unpolished synth sounds dance and shimmer in layer upon layer, mixed with deeper, bassier murmurings lurking in the background together with shorter, more playful (and ocassionally more abrasive) phrasings that haphazardly pop in and out of the mix. After a while a hypnotic tambourine-like beat anchors the piece while mischievous distorted guitars wink, blink and glitch by like quick and sudden electrical impulses. The bass build on the beat with a mantra-like repetitive zeal with room for discreet but delicious changes. Guitars evolve into denser, more textural sounds and mingle with the keys in ever more intense, loose and multi-layered tapestries of fragile harmonies and noise before - suddenly - the drums build up as for a crescendo with a proper beat and some power around the seven minute mark. But nothing really changes, at least not drastically. Guitars break free from the instrumental hive-mind and start to form floaty and more melodic structures that dominate the now airier soundscape for a while. It gets a bit ominous and hesitant right about here, where nervous, chaotic electronic sounds swoosh past or hover threateningly before dissipating. A final flutter of cymbals and the fading last remnants of the guitars...and it's all over. Just like that. Not with a bang, but with a whisper. Et cetera.

The contrast to what follows is what breaks and makes this album. The Sad Skinhead is a groovy, off-beat-laden pop rock ditty with a scaled down and roomy arrangement of drums, bass and guitar. Basic, primal, naked. Some eager marimba fill out the spaces along with hints of the previous electronica and eventually makes this song more interesting than when taken at face value.

This intrinsic conflict on Faust IV is ever present on all the remaining tracks. A slightly lazy and curious love for easy-going pop and rock that makes me think of Robert Wyatt, Kevin Ayers and The Velvet Underground. Love, yes, but also a flippant, humorous detachment and a whimsical dismissal of it all. That same undeniable but mesmerizing friction with harsher structural and sonic experimentation you can encounter in their work. But Faust are even less focused. You get a feeling that the band felt bored with the compositions while they were still being composed. Add to this an almost punky spirit of DIY and a streak of simplicity and you end up with an intriguing and special end result.

Clear and roomy production and a pulsing, repetitive nature in both melody and rhythm is inherent to many of the tracks, but like on the epic Krautrock, things are left to evolve rather freely from this basic underlying pattern. Be it the dreamy pop-drone of Jennifer with hypnotic, throbbing bass sounds up front, the heavy, driving psych of Just A Second, a cheery, rollicking, Canterbury-esque pseudo-jazz theme in Giggy Smile, the Can-channelling, faux-chanson Lauft or the delicate and folky psych-pop of It's A Pain - all of them evolve into stranger, more convoluted territories as they run their course. Twisting sheets of chafing, hissing electronics and guitars. Watery and percussive oscillations over dark and aimless meanderings from guitar and piano. Loose, jam-like jazz section with extended saxophone solo. Near-mechanical noise. Freaky, clicking percussion and classical, string-infused guitar that dies off into minimalistic, proto-ambient. Sharp and atonal sound manipulation and distortion blurted all over places it doesn't belong.

All of these disparate parts are juxtaposed and jumbled as if it's the most natural thing in the world. There are no clear boundaries between what's a song and what's an experiment or between what's a composition and what's an improvisation. Everything merges. It makes Faust IV disjointed and fractured, but also very playful and inviting for anyone willing to explore this strange little world. It's a carefree, loosely held together mess with normal quality control and standards thrown out the window. But it still holds up as a thoroughly enjoyable collection of music.

Wonderful.

4 stars.

//LinusW

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 So Far by FAUST album cover Studio Album, 1972
3.50 | 101 ratings

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So Far
Faust Krautrock

Review by Neu!mann
Prog Reviewer

5 stars The second album by Germany's answer to the Mothers of Invention is the most accessible of their early (and best) efforts, and yet still wildly creative in a typically dissident Krautrock way. But it's an odd choice of title for a band with only one previous album to their credit, unless the intended message was, "So Far, we've really screwed Polydor Records, ha ha!"

Here the group made a genuine effort to manage the sometimes slapdash anarchy of their 1971 debut, but without compromising any of that album's tongue-in-cheek, anti-establishment attitude. The packaging of the original LP even reversed the cover concept of the first album in a way that reflected the music within: in this case a model of opaque artistry instead of the earlier all-transparent weirdness. (Included with the original vinyl was a lavish portfolio of artwork illustrating each song, happily intact in my own music library.)

Their collective nose-thumbing was more discreet, better crafted, and is still amusing to listeners in on the joke. That trademark dry German wit underpins the willful simplicity of the album opener, "It's a Rainy Day (Sunshine Girl)", a prototypical pop song reduced to its most basic elements: a steady beat (to say the least) and a silly lyric. Both are repeated in a robotic monotone for over seven minutes, eventually reaching a climactic mock saxophone solo that never fails to make me smile.

Even more radical (for this group) was the tasteful acoustic guitar melody of "On the Way to Abamäe". Faust was often many things, but rarely so pretty. Compare that brief interlude to the driving rock 'n' roll posturing of "No Harm", with its shouted nonsensical mantra ("Daddy, take the banana...tomorrow is Sunday!"), or to the more unsettling "Mamie is Blue", sounding like the earth-shaking footfalls of some great Teutonic behemoth lumbering across the Lower Saxony countryside.

The title track meanwhile works like a Faust playbook, opening on a drunken stumble of overlapping acoustic guitars before settling into one of the most hypnotic Krautrock grooves this side of CAN, played in a flat-footed but swinging count of seven. And the consumer parody "I've Got My Car and My TV" is the band at its iconoclastic best, complete with rinky-dink melodies, children singing (and coughing), and arguably the catchiest instrumental break ever recorded. It might have been a satirical take on the post-war Wirtschaftswunder, and was apparently good enough to merit a revisit, on the "Faust IV" album in 1974.

The balance of the disc is pure ZAPPA, ending in a Dada cabaret deconstruction blended from equal measures of pure craft and tacky pastiche.

I'm not the only ProgArchive reviewer to recognize "So Far" as the ideal port of entry for newcomers to the off-kilter universe of Faust. But I'll go a step further and award the album an unreserved five stars, for quality and longevity, and for marking an essential pit stop along the winding Krautrock autobahn.

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 Faust by FAUST album cover Studio Album, 1971
3.80 | 147 ratings

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Faust
Faust Krautrock

Review by Neu!mann
Prog Reviewer

3 stars The debut Faust album was one of the greatest middle fingers ever directed at a clueless music industry. Did producer / con artist Uwe Nettelbeck really convince Polydor Records that this band of anarchists could be the next Beatles? And did they realize he was rubbing the company's nose in the dung of its own gullibility by including brief snippets of the Fab Four and the Rolling Stones at the top of the album opener, "Why Don't You Eat Carrots?"

You can hear it both ways: as a daring act of musical non-conformity, or just a ploy to exploit Polydor in the same way the label was no doubt using its other artists, by taking their money straight to the bank. Legend says the group wasted a generous advance of time and cash on drugs and other idle recreations, before making a late attempt at actual music-making. Once the tapes were rolling, however, all bets were off.

There may not have been a kitchen sink in their Wümme studio, but everything else was thrown into the mix, and the end result was a compelling mess of song, noise, dada absurdity, musique concrete, rock 'n' roll exuberance, and free-floating what the f*ck weirdness. Some of it almost sounds (halfway) normal, like the horn melody in between the interruptions of mind-frying cosmic radiation in "Why Don't You Eat Carrots?" or the crude but invigorating garage band jam following the silly nonsense poetry of "Meadow Meal".

But the yardstick of normality was set pretty low to begin with. The side-long assembly aptly (for Polydor) titled "Miss Fortune" sounds like a haphazard collage of leftover rehearsal tapes. And the playful arrangement of the closing narration, recorded word by separate word in alternating left and right channels, was quintessential Faust iconoclasm, like some of the best Krautrock both comic and thoughtful at the same time.

"The idea was not to copy anything going on in the Anglo-Saxon rock scene", said Uwe Nettelbeck afterward: pure Barnum & Bailey B.S. of course. But then again, Frank Zappa wasn't an Anglo-Saxon, was he? The arrival of Faust could almost be seen as the second leg of a long musical itinerary that began with Zappa in late '60s Los Angeles, continued all through Germany at the end of the decade, and eventually came full circle back to California in groups like The Residents and Chrome: two direct descendants of the patchwork Faustian method.

We can only speculate what the Polydor suits must have thought of the band's first album, when they recovered from their collective faint after first hearing it. But give the poor suckers a round of applause for their misguided zeal in signing such an unlikely act, and turning this musical lynch mob loose on an unsuspecting world.

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 71 Minutes of Faust  by FAUST album cover Boxset/Compilation, 1989
3.91 | 15 ratings

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71 Minutes of Faust
Faust Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. After "Faust IV" the band packed things in but in 1986 their label released "Return Of A Legend : Munic And Elsewhere" which was a compilation of unreleased and live tracks from the early seventies. Then in 1989 the label released "The Last LP" or some call it "Faust Party" which was again a compilation of unreleased songs and live tracks from the early seventies. No the band was not back together at this point. The label then combined those two albums to make "71 Minutes Of Faust" but they did drop some tracks in the process. I have to mention how amazing the album covers were for those two earlier compilation albums.

Now I may not be the biggest fan of experimental music and it's taken years for me to appreciate FAUST but man I love this particular release. It's not as experimental, in fact a lot of this music is even catchy and CAN did come to mind several times.

"Munic / Yesterday" opens with organ and distortion then a beat and more takes over after a minute. Vocals a minute later. The guitar is getting crazy ala Karoli from CAN before 6 minutes. What a great track. The beat stops 10 minutes in as we get a calm to the end. "Don't Take Roots" features distorted guitar as these beats come in. Again this sounds amazing. Spoken words and laughter follow as the music stops. Strange sounds take over 1 1/2 minutes in then banging sounds a minute later. More spoken words and laughter. This is one crazy tune man. It kicks in again 3 1/2 minutes in. "Das Meer" has a relaxed beat with piano and vocal melodies. Cool sound. "Munic Other" has a beat with sax playing over top. Catchy stuff. It settles down around 5 1/2 minutes and changes a minute later. Nice drum work too. "Baby" is like a sixties parody. There's that Karoli- like guitar as a beat and vocals kick in. Yup this reminds me of CAN. Great track !

"Party 2" has this beat that I love as the guitar then vocals join in. Almost spoken vocals join in as well around 1 1/2 minutes. Freaking amazing ! "Party 8" is a short piece with an electronic beat and more. "Psalter" has melodic guitar then another sound joins in then the drums. It continues to build. Clapping too. Vocals before 1 1/2 minutes. It settles back before 3 1/2 minutes. Nice. "Party 5 / 25 Yellow Doors" has this noisy rhythm as the vocals join in. Crazy stuff with yelling too. Nice keyboard work after 2 minutes. "Chronmatic" has these sounds that beat and pulse as we get atmosphere too. I like it ! "Party 6" is a short piece with funny Zappa-like sound affects.

Well this is my favourite FAUST release so far and it's amazing the amount of killer material that was sitting in the vaults much like with CAN.

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 Ravvivando  by FAUST album cover Studio Album, 1999
3.94 | 23 ratings

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Ravvivando
Faust Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars Two years after the "You Know FaUSt" album the boys are back minus original bass player Jean Herve Peron. Four new members have been added and what better time with this now six piece band than to make some heavy noise. And that is the thing that stands out for me on this record...the heavy, relentless rhythm filled with distortion and electronics. Of course it's not all this way but these guys have become almost industrial sounding on this album at times. Please read Syzygy's review not just on this particular album but on other FAUST records as he explains it all so well.

"Eine Neuer Tag" builds as the organ and drums standout. I like the background noise 2 1/2 minutes in. Late in the song we get this circus-like noise that is quite annoying as it blends into "Carousel # 2" where it gets louder. Yikes ! It's all great the rest of the way though. "Wir Brauchen Dich # 6" has this heavy beat and more. The guitar rips it up after 4 minutes. "Four Plus Seven Means Eleven" has this beat with noise which includes distorted guitar expressions. It turns spacey late to end it. "Take Care" has this deep atmosphere as drums crash the scene. Distant sounding vocals join in. It blends into "Spiel" where we get some crazy percusssion.

"Dr. Hansl" has a beat with vocals and experimental sounds. "Apokalypse" is catchy with guitar and vocals. The guitar lights it up before 2 1/2 minutes. Killer stuff. "D.I.G." is a top three for me. The guitar and sounds pulse. Cool sound. A change 3 minutes in as it calms down then slowly builds again. Nice. "Du Weisst Schon" has all kinds of sounds or noise(haha) depending on your viewpoint. Spoken words before 1 1/2 minutes. "Livin' Tokyo" and the final track round out the rest of my favourite three songs. This one is catchy with distant vocals. Other voices join in briefly then the focus goes back to that great sounding rhythm. "T-Electronique" has an electronic beat to start then another beat joins in. How good is this ! Spacey background synths sound excellent too.

While you pretty well know what your going to get with any given FAUST album, this one is a little different. Pounding percussion, wailing distortion and insane elctronics ? Sounds like the same old FAUST to me. You might just have to fasten your seat-belt this time that's all.

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 Faust Wakes Nosferatu by FAUST album cover Studio Album, 1997
2.58 | 10 ratings

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Faust Wakes Nosferatu
Faust Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars Apparently this was composed by FAUST as sort of a companion piece of music to go with the classic vampire movie from 1922 called "Nosferstu" which was a silent film. Interesting because ART ZOYD did the official score for the re-issue of that film back in 1989. And it should also be noted that FAUST did an LP under this title too which was inspired by the film but is completey different from the cd version. It is also interesting to compare this with ART ZOYD's version and for my taste ART ZOYD have the better version by far. It's 20 minute less in length compared to FAUST's but more importantly when you listen to ART ZOYD's release it really comes across as music for that film while FAUST's just seems so random most of the time without any connection at all in my opinion.

"Ausbruch Nach Rumanien" opens with samples of various sounds including horses trotting on the street. Atmosphere here too. Spoken words 1 1/2 minutes in. Dark music takes over as it trips along. A haunting calm after 7 1/2 minutes. Percussion and louder sounds follow. It's haunting again 16 minutes in. Sounds start to come and go and they get quite loud. Silence from 20 1/2 minutes straight through to 1 1/2 minutes into the next song "Verwirrung". I hate silence in an album. Anyway various sounds start to get louder before 4 minutes. A calm after 6 1/2 minutes. It's noisy again 8 minutes in then it settles as this continues throughout.

"Telepathia" opens with atmosphere then sounds start to pulsate. Silence 3 1/2 minutes in. Organ comes in before 4 minutes and builds. It settles back as other sounds start to come and go. "Kampf Der Machte" has these faint organ sounds then drums and other sounds take over around 1 1/2 minutes. The beat stops at 4 1/2 minutes as random sounds come and go to end it. "Das Unheil Breitet Sich Aus" has these banging sounds and more. A calm before 3 minutes. Guitar 4 1/2 minutes in with a beat and atmosphere to the end. "Die Entscheidung" is eventually led by pulsating noises that will lead the way.

Not a bad album but too long for what it is in my opinion. ART ZOYD did it much better.

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