Only mastermen know this  longtrack psychcosmische headtrip.

 

This trio is spot on.

There are few electronic lps which have electric guitar-work thats equally good. (Right now I can only think of Aphorisms Insane.)

 

This lp is THE BAGG and no one here ever even heard of it.

 

Take that no-wave elsewhere.

 

 

This thread has to remain PURE.

 

 

Your being irreverent.

 

 

I will not go so far as to say your trolling my thread (because maybe you yourself do not realize your OFF-SUBJECT.

 

I want EARLY examples.

Not Chrome and all that.

ACHTUNG, KOMMISAR!! 

I can't really say that Kraut-rock was all that influential in the US music scene, except for a few space-rock wannabees and some industrial music pretenders.  Amon Duul II's "Wolf City" was about the most widely known KR in the Chicago area, but nobody was covering their music (except me!). 

It seems you are looking for bands influenced by Can, Neu etc.?  

Most US bands were influenced either by the hard rock/blues rock scene (Led Zep) or symphonic prog....guys like Starcastle ran with the Yes-influence.  

 

Out of these two threads on this subject, I went after a list of things ... and in 2 days I listened to at least 12 to 15 things ... and different bands, from their stuff on mp3's ... and I have to tell you that almost all of them were "copies" of the original, and did not excite me a whole lot.

 

It's very different when you are "there" and you know the time and place and people and you create something as an idea to illustrate that feeling ... San Francisco did that, New York did that, LA did that, London did that ... and so forth ... and the Munich/Berlin group also did that ...

 

In listening to all of the ones I did, there was one that stood out for me some, and I have to listen to it some more, but all in all, it was extremely formulaic, and not as good as it could be considering the source.

 

The source for the whole thing was based on not a single Anglo-Western Music concept or idea and design ... as a way to find an expression for the rock instruments that could be said to be inspired by Chuck Berry, or Bo Diddley, and yet sound absolutely nothing like them ... such is the case of Guru Guru! Or take Amon Duul 2 and elevate the sound of the early/raw San Francisco trips and make sure they go further and eventually tell a story (or sorts) in Dance of the Lemmings, coupled with something that is ... a "nothing" ... that has no lyrics or any sensical design ... (MM Soundtrack Church Memorial) ...

 

So far, I hear the inspiration and "idea" of the scene ... I do not hear anything that is any more than just a copy of the original, by studying it some and then making sure that we allow for this to extend and that to solo and what not ... it wasn't about the "solo" ... it was about the expression. By the time you sit down and break it all down, we're going to say that ... the guitar solo'd here from this to there, for 6 minutes and then this happened and then this, and that is easy to duplicate ... with one problem ... it's about nothing ... and the most important thing about all ... and I mean ALL ... of krautrock, is that above all else, it was not empty, and about nothing ... it had a third dimention and it is very strong, important and valuable, and IS the reason why we remember it.

 

And in my book, "Dark Clouds, No Rain" (Djam Karet) is a perfect example of what one can do in "krautrock" ... and not sound like "krautrock" and still be as trippy and far out, as any of them ... and it was done in 1990 or 1991 as an example. I think too many of these bands think they have to "tell people" what all this is about with some meandering words ... and you don't! ... you have to let the music LIVE and DIE on its own, or it's just a copy.

 

It differs a bit from In a Gadda Da Vida, for example, which would be an early styled influence for krautrock, though the musical elements in it (mostly drums and organ) were quite conventional ... but the combination and the build up made the illusion of a story of some kind ... LSD March is not an empty song and I can tell you the story while listening to it ... and while seeing it in Youtube makes it seem like it was just fun music and play (which is possible, no doubt about that!), in the end ... they did WITH instruments, what most had only done with some very cheesy lyrics, and that we came to clal "progressive", but in the end, were NOT.

 

I'll listen some more, but I have to tell you so far, that despite the cultural differences and various countries ( I am an equal opportunity listener!), in the end, I did not find a whole lot to cheer about ... that was any different, and that is bad ... very bad ... and just copykat ... and in the old days, you know what we used to say about people that played music like that? ... yeah ... they need to go get stoned!

Had issues with the reply on this and had to redo it ...

 

I have Tonto's ... I am not sure that would fit as krautrock at all! It is more experimental in the rock area with electronics but at that time, there were hundreds of bands doing it, and everyone had an album out. Europe had a massive number of keyboard artists appear everywhere and some were very good ans some ... we all would agree are so so ... or copies. But some are very noteworthy, like Eberhard Schoerner, Robert Schroeder, Michael Hoenig, Peter Michael Hamel and others.

 

Both Beaver & Krause and Terry Riley belong in the story of electronic music and they pioneered the creativity and design of the synthesizer and the ability of using it as an instrument on its own and create different textures with which one could create some music ... unlike the kind of snobber that Walter/Wendy Carlos did later, which was fun, but hardly creative. Both of these explored the use of the sounds as if they were instruments to create sonic textures that made a synthesizer music.

 

My contention, in the likes of Tonto and even ELP, Rick Wakeman and such, was that they were using synthesizers as just another string instrument in the orchestration of their pieces and I felt that was a mistake and not what the original design of the synthesizer had been working on ... they were working on new sounds and a new instrument and instead ... they become a replacement for everything in the orchestra ... and that is a waste of an instrument! That's not to say that I didn't like the new interpretations, there were some magnificent things, but in the end, it rendered the synthesizer a cheap orchestra set of instruments that made everyone symphonic and cool all at the same time and they became "progressive" ... it was even said that the synthesizer died then as an instrument! It is no longer used as an instrument as everything about all synthesizers you can buy these days is about samples and their ability to add something different to the sample itself and mess with it.

 

And that was not the original design or intention to many of these folks experimenting with these instruments, and only Klaus Schulze has -- to this day -- never given up on the sonic tapestries of the synthesizer and in this sense he is the only true "synthesizer" composer available today.

 

Funkadelic ... I think that Maggot Brain died in the dust bin, on its 3rd copy ... playing that next to AD2, was indeed a treat ... and of course, some Frank Zappa right with it!

 

Jasun Martz I have to listen to again but am not impressed and was already a 2nd generation thing.

 

Micheal Sterns -- not sure that anything he did was really anywhere near "krautrock".

 

Steve Tibbetts ... have not heard enough to evaluate properly for you. I am trying to dig up some of his early work and some of his ECM stuff.

 

The others I have to chase down ... and get a few listens in.

 

I do have some other things from America's folks. For example there is a group named "Ram" that has a long cut on that album that is decidedly more "krautrock" but I have not checked the time and its release. Another group named "Touch" ... a lot of California stuff and I have to admit that I am not up on the NY stuff much other than Velvet Underground, which to me was not as impressive, though the individuals in it went on to a fabulous career specially John Cale ... and I'm not even sure that he is considered "progressive".

Had issues with the reply on this and had to redo it ...   [/QUOTE]

true i did include too much `electronic` in the list

very nice response and evaluation