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KRAUTROCK

A Progressive Rock Sub-genre


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Krautrock definition

Krautrock (also called "Kosmische musik") is a German avant-garde / experimental rock movement that emerged at the end of the 1960's. It was intended to go beyond the eccentricities developed by the wild psychedelic rock universe of the US, by giving a special emphasis to electronic treatments, sound manipulation and minimal hypnotic motifs (continuing the style of "musique concrete" and minimalist repetitive music but within a more accessible environment).

Krautrock put the emphasis on extended and ecstatic instrumental epics, neglecting the format of conventional psych-pop songs. The term Krautrock was first used by the British music press in a very derogatory way. The term rapidly found a better reputation in underground music circles and finally gained a certain popularity (thanks to the Brain-Festival Essen...)

The Krautrock movement is widely associated with notorious bands such as Popol Vuh, Amon Duul, Faust, Neu!, Ash Ra Tempel, Agitation Free, Guru Guru, etc. With their own particular artistic expression, these musical collectives provided rocking psychedelic incantations, mantra like drones, melancholic lugubrious atmospheres, long and convoluted collective improvisations, binary repetitive drum pulses, fuzz guitars, feedback, primitive electronic noises, hallucinatory ballads, and garage blues rock trips. Krautrock can be described as an anarchic, intense, acid, tellurian, nocturnal, spacey, dark and oniric "adventure" through rock music.

The most consistent years of the Krautrock scene cover a relatively short period from 1970 to 1975. After their first spontaneous, hyperactive and psychedelic efforts, the bands generally split up or declined into other musical sensibilities, more in line with mainstream rock or with ambient soundscapes.

Each region develops its particular musical scene, interpreting differently the Krautrock musical structure. For instance the Berlin school focused on "astral" synthscapes, weird electronic experimentation and acid jams (Ash Ra Tempel, Agitation Free, Mythos, The Cosmic Jokers, Kluster...), The Munich scene offered fuzzed out (Eastern) psych rock mantras with some folk accents (Popol Vuh, Amon Duul, Gila, Guru Guru, Witthuser & Westrupp...). Cologne and Dusseldorf underground scenes focused on happenings, political rock, electronics, pulsating rhythms and clean sounding Krautrock (Floh de Cologne, La Dusseldorf, Neu! Can...).

This musical cartography is correct in the absolute but naturally reveals some variations and exceptions. This intriguing and freak 'n' roll 1970's German scene enjoyed a rebirth in recent years thanks to a large number of reissues (of long lost classics) published by several independent labels (Spalax, Garden of Delights, Long Hair Music...) as a direct result of Krautrock's musical inspiration of modern post rock bands. There are actually some neo psychedelic rock bands who try to hold up Krautrock, and who notably find a major place to express themselves during the historical Burg Herzberg Festival in Germany.

Philippe Blache
December 2007



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree



handbook

Krautrock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Krautrock | More Top Prog lists and filters

4.17 | 285 ratings
HOSIANNA MANTRA
Popol Vuh
4.26 | 125 ratings
EDGE OF TIME
Dom
4.14 | 365 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 449 ratings
YETI
Amon Düül II
4.08 | 532 ratings
FUTURE DAYS
Can
4.48 | 46 ratings
EISZEIT
Gam
4.09 | 313 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.13 | 182 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.07 | 335 ratings
NEU!
Neu!
4.15 | 117 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.03 | 399 ratings
PHALLUS DEI
Amon Düül II
4.07 | 130 ratings
SELIGPREISUNG
Popol Vuh
4.40 | 36 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.06 | 132 ratings
KÄNGURU
Guru Guru
4.00 | 250 ratings
MALESCH
Agitation Free
4.02 | 189 ratings
ELECTRIC SILENCE
Dzyan
3.95 | 611 ratings
TAGO MAGO
Can
4.04 | 129 ratings
VOLUME 10
Electric Orange
3.98 | 264 ratings
WOLF CITY
Amon Düül II
4.03 | 137 ratings
AGUIRRE
Popol Vuh

Krautrock overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Krautrock experts team

DELUSION
McChurch Soundroom
SILOAH [ALSO RELEASED AS SÄUREADLER]
Siloah
MY SOLID GROUND
My Solid Ground
MAGIC THEATRE
Drum Circus

Latest Krautrock Music Reviews


 Jeronimo by JERONIMO album cover Studio Album, 1971
3.67 | 37 ratings

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Jeronimo
Jeronimo Krautrock

Review by FragileKings
Prog Reviewer

3 stars I had never heard of Jeronimo (the band) until a few years back when they showed up on a compilation video of proto-metal bands. Once I finally got an album on CD, I was surprised to read in the liner notes that this band had been at the top of the German charts and a hit across Europe back in the day. Seriously, I had never heard of this band!

Although Jeronimo seem to have been labeled as a progressive rock band, there's nothing on this, their second album, that hints of progressive rock. This is a solid hard rock/early heavy metal album. In fact, among all the proto- metal bands to release albums (or at least record albums and have them released a couple of decades later), Jeronimo's self-titled sophomore belongs in the upper half of the heavy hitters. The guitar sound is not really distorted but still sounds pretty wicked when hit up for some heavy power chords. The drumming hammers hard but still has grace. The bass in some tracks is really quite outstanding. Lead vocals are shared by two of the members, one a little higher register and the other more standard guitar rock vocals.

Most of the tracks on this album rock out pretty hard and heavy. "Shades", "How I'd Love to Be Home", and "End of Our Time" are excellent early metal tracks. "Silence of the Night" has a really cool bass line but sadly the rhythm guitar is kept back in the mix a little. "Reminiscensis" is a short acoustic guitar instrumental, and "You Know I Do" is a kind of straight forward groovy rocker about a guy trying to get a girl.

As with so many albums from this time, there is an obligatory drum solo track. "Hugudila" begins with the full band in full swing but soon the drum solo begins. It's good enough as it is but there are just so many drum solo tracks from this period that hearing yet another is enough to roll one's eyes. The only good news is that this drum solo includes a kettle drum bit, so there's that as a surprise.

The final track here, "Save Our Souls - S.O.S." has the same band sound but the recording sounds warmer than the rest of the album. It's also more of a power chord rocker than most of the other tracks. It seems to be about the band calling out to their fans to help keep the band alive. There's a kind of funny line that says, "When Lucifer's Friend eats your bread," and I can't help but wonder if Jeronimo were worried about losing fans to fellow-German band, Lucifer's Friend. "When we are sure / We're getting older/ Ideas are dying / We are trying / To keep us young / So we are crying". Well, they did manage one more album, their third, after this.

If you're looking for progressive rock, keep moving along, there's nothing to hear here. But for a good, solid rocker that in a way reminds me of Wolfmother's debut but without the keyboards, then this is a good place to lend your ears.

 Et Cetera by ET CETERA (DE) album cover Studio Album, 1971
3.56 | 17 ratings

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Et Cetera
Et Cetera (DE) Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars ET CETERA were a German band led by keyboardist Wolfgang Dauner. An excellent lineup here on this their debut with Braceful on drums, Weber on bass and cello, Schwab on guitar and ethnic instruments and another percussionist. They released one more studio album called "Knirsch" which is an incredible album and more in the Jazz/ Fusion realm. "Knirsch" has quite a bit different lineup than the debut but it's no less impressive. The debut here is more Krautrock, experimental and ethnic sounding as in Indian/ Arabian. For my tastes "Knirsch" blows this one away.

"Thursday Morning Sunrise" starts us off in the right direction with plenty of distortion and fuzz as percussion joins in. Experimental sounding cello and synths follow and there's no melody here. A beat with bass creates a rhythm before 4 1/2 minutes then it calms right down by 6 minutes. An ethnic instrument joins in as well then that nasty fuzz returns to end it. "Lady Blue" is another experimental track that opens with piano melodies briefly as spoken words take over with picked guitar. Some female backing vocals come and go along with horns. Not a fan.

"Mellodrama No.2 A" opens with strummed guitar, drums, bass and spacey sounds. There is a melody this time and the focus is on the strummed guitar after 3 minutes. "Raga" is the longest track at over 16 minutes. This one is ethnic all the way as it trips along. The drums are more aggressive around 8 minutes then it settles right down a minute later. Eventually percussion sounds lead the way. It starts to build again after 13 minutes then avant keys take over a minute later. Another calm after 15 minutes to the end. "Milkstreets" is the experimental closer.

I have the Longhair reissue and I like all the pictures and notes they've provided. This one just didn't click with me at all while the followup did nothing but click with me. Krautrock fans need to check this one out.

 Asterix by ASTERIX album cover Studio Album, 1970
2.82 | 27 ratings

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Asterix
Asterix Krautrock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars ASTERIX was a short lived band that was the precursor to Lucifer's Friend. The band formed in 1969 when British born vocalist John Lawton moved to Germany and met guitarist Peter Hesslein, bassist Dieter Horns, organist Peter Hecht and drummer Joachim Reitenbach, who were members of a band called The German Bonds. These Germans also played in many of the 60s beat groups such as The Giants, The Rattles and many anonymous studio albums released as budget albums through The Air Mail, Electric Food, Hell Preachers etc. After hitting it off with Lawton, the other members found the chemistry was perfect and released one self-titled album under the moniker ASTERIX.

ASTERIX is the logical precursor to the classic Lucifer's Friend sound. While not a progressive band per se, ASTERIX had amply revved up its hard rock creds sufficiently to take it all to the next level where they could develop all the progressive twists and turns of the next incarnation. This is actually a pretty good hard rock album with all the great markers of a great period piece that implements heavy rocking bass driven grooves, bluesy guitar riffing and accompanying percussive drive. While not really progressive at this point, there are touches of jazziness but most of all the music is highly melodic and augmented by Lawton's strong vocal performances which always add a whole layer of zest to a stellar hard rock performance.

Despite being German, ASTERIX sounded more English most likely due to Lawton's British beginnings. In fact, i wouldn't have been surprised if someone told me that this was a Free album or even an early album by The Faces before Rod Stewart jumped on board. While labeled as Krautrock due to nationality, this sounds more like classic turn of the decade British hard rock through and through with even a bit of Little Feat in the bluesy piano and organ use. As it turned out, ASTERIX was simply a warmup act and the moniker was scrapped fairly quickly in exchange for the more ominous Lucifer's Friend which would suit the band's new heavier sound and progressive qualities.

This is a really good album for the period and much better than i could've imagined since the 69-70 timeline has some gawd awful crap that was released in that period. This is highly melodic, heavily charged with all the musicians having honed chops that flawlessly deliver their heavy blues laced rock. Lawton is an under appreciated singer in the history of rock and roll as he had one of the strongest and most powerful voices that was perfect for the style. He even sounds a bit like Robert Plant at times without the whiny nasal thing and all. It's no wonder he would go on to play with Uriah Heep amongst others. ASTERIX was a great start but Lucifer's Friend was better. Nice beginning.

3.5 rounded down

 Alchemic Universe by BRAINTICKET album cover Studio Album, 2000
2.55 | 17 ratings

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Alchemic Universe
Brainticket Krautrock

Review by Progfan97402
Prog Reviewer

2 stars I remembered back in 2000 a brand new Brainticket album, first time since Voyage in 1982. Since that time Joel Vandroogenbroeck recorded tons of library albums on the Coloursound label. By 1984 he moved to Mexico (as he was sick and tired of shoveling snow in the Swiss Winters) where he's lived ever since. I was happy that Joel teamed up once again Carole Muriel, but instead of a modernized Celestial Ocean it was clear that they were trying far too hard to reach the kids by exploring techno. That is those same preprogrammed beats and crummy digital synthesizers that make me never fond of that genre. Sure Ozric Tentacles explored techno but never forgot real guitars, drums and synthesizers and plenty of that rock attitude so their techno explorations never bothered me. Joel could have learned a thing or two from the Ozrics at the time. I have to be honest, I gave this plenty of chances and it left me cold. Thank God, 15 years later comes Past, Present and Future which was a giant relief for me as the techno was ditched and the guitars, drums, real keyboards and psychedelic approach returned. For me, Alchemic Universe is a demonstration why I dislike techno in general. It simply sounded too much like Joel was having a midlife crisis. To me any of their other albums are better and worth getting.
 Origins by OUR SOLAR SYSTEM album cover Studio Album, 2018
3.95 | 3 ratings

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Origins
Our Solar System Krautrock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Pyschedelia bordering on Kosmische Musik from this young, rather large Swedish ensemble . . . or is it Kosmische Musik bordering on psychedelia. Anyway, it's like a cross between BRAINTICKET and AMUN DüüL, or MIDDAY VEIL and ELECTRIC ORANGE.

1. "Vulkanen" (20:57) opens with lots of layers of deep, apocalyptic thrums and hums before drums and bass anchor it into a song-like flow. Tons of sonic experimentals thrown in while chain saw guitar and horn synth keep it moving forward. Brief slowdown, sounddown in the fifth minute is followed by a renewed commitment to the established groove with more experimental sounds thrown in over the drums, bass, keys, and guitars. This reminds me of music like Kosmische revivalists ELECTRIC ORANGE/COSMIC GROUND/Dirk Jan Müller. In the eighth minute there is another downstripping leaving only saws and howling wolves. This relative quietude continues for several BRIAN-ENO-esque Ambient Music minutes while piano and guitar, synths and percussives, bass and voices make small contributions to a rather minimalistic rhythm and soundscape. In the twelfth minute organ and synth begin making more prominent contributions. This is then followed by flutes, female voices, and slowly picked guitars taking over as the predominant instruments. By the time the fourteenth minute has passed, this is all of the sound being created. Eventually, ever-so delicately, organ, tuned percussion, synth, bass, begin to make themselves known. A very GENESIS-like flute melody begins at the 15-minute mark--just before a chaotic "explosion" of cacophonous sound breaks out. Bass, drums and a few other support instruments begin laying down another hypnotic Kosmische weave as the cacophonous contributions of myriad others continues to fill the post-Big Bang soundscape. Heavily distorted voice begins narrating a volcanic picture of what's going on. I've got to admit: This is a pretty cool song--one that took me on a pretty engaging and entertaining journey. (45/50)

2. "Babalon Rising" (5:55) plays out like a BRAINTICKET or MIDDAY VEIL song--especially due to the two vocal styles used by the female vocalist(s). Nice treated piano and sax play in the second half. (8.75/10)

3. "En Bit Av Det Tredje Klotet" (3:42) with its synths and driving rhythm groove, this one sounds very much like a song by L.A. psych band PERPLEXA. Mostly a setup for synth experimentation over Kosmische groove. (8.5/10)

4. "Naturligt Samspel" (2:56) hypnotic, sedating acoustic percussives with bird tweets. (4/5)

5. "Monte Verita" (8:21) a Kosmische jam that builds very slowly over a single bass riff and some percussives and rapidly oscillating organ chords. Heavily effected track of vocal choir enters at the four minute mark followed by horns. Single voices gradually begin to be added to the weave with their own individualistic contributions as rolling bass, guitars, and more subtle instruments are also added. The vocals become extra-trippy for the final minute. (8.25/10)

4.5 stars; a near-masterpiece of Kosmische-oriented progressive rock music.

 Live at HBC by CAMERA album cover Live, 2012
3.00 | 1 ratings

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Live at HBC
Camera Krautrock

Review by Neu!mann
Prog Reviewer

— First review of this album —
3 stars The Berlin-based Camera trio has never tried to hide their admiration for the classic motorik rhythms of Neu! and Harmonia. And in this year 2011 concert the band enjoyed an opportunity to legitimize that influence by playing alongside two legends from Krautrock's first generation: Michael Rother and Dieter Moebius.

The gig dates from around the time of Camera's debut studio album, but their guerrilla-style performances are better suited to a live setting, with a supportive audience to help feed the trio's improvisational energy. There's no real musical development over the length of these three extended instrumental jams, and none of the three tracks were given titles...inexplicably, in one instance (see below). But there's likewise no sign of aimless indulgence, either: all the players were obviously in sync throughout, musically and spiritually.

The show opens with a 21-minute, one-chord motorik groove in classic Neu! vernacular, allowing fans of that iconic band a vicarious hint of what the Dinger-Rother duo might have sounded like in concert (the "Neu! Live" album on their page in these Archives was a studio rehearsal, not an actual gig).

The second jam continues in the same direction, urgent and hypnotic, overlaid with oddball synthetic textures: a Dieter Moebius specialty. The Neu! parallels are even more obvious here, but never in a nostalgic or imitative way. Camera has never been a Krautrock tribute band; their music is as fresh and contemporary now as it would have been in 1972. For Michael Rother, the show must have felt like a homecoming.

The album's final track will sound familiar to veteran Krautheads: it's the classic "Neu! '75" anthem "Hero", played with a strutting authority equal to the original. Oddly, the album notes credit guest singer Shaun Mulrooney for the lyrics: an unfortunate insult to the memory of Klaus Dinger. Was there perhaps a legal reason for not acknowledging the song's actual author, who died in 2008?

Like too much new music these days, the album doesn't exist in any physical form. But the digital files are available for purchase directly from the Play Loud! Film and Music store, along with a video document of the same concert **. The latter was proudly "shot in one continuous 47-minute take", honoring the Krautrock and Camera traditions of underground spontaneity, but likely done for economic more than aesthetic reasons: the filmmakers had only a single camera.

The music, by itself and without the film as a visual aid, is only a two-dimensional facsimile, unable to fully capture the impact of the actual event. But the energy inside the small HBC club must have been electric, and I applaud the spirit of the Camera trio: young kids picking up and reigniting the counterculture torch at a time that really needs it.

[** consumer alert: this is entry #8 in the Play Loud! (live) Music Series, alongside similar releases by Faust, Guru Guru, Lydia Lunch, Damo Suzuki, and many others]

 Wiesbaden 1972 by GURU GURU album cover Live, 2007
4.00 | 6 ratings

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Wiesbaden 1972
Guru Guru Krautrock

Review by Neu!mann
Prog Reviewer

4 stars Originally released in 2007, this kick-ass archival recording has now been re-licensed (in MP3 form) by the Berlin production company Play Loud! along with other Guru Guru performances from the 1970s and beyond. The gig itself, from April 1972, saw the band at an early apex in its long (and, at this writing, still very active) history, in a year that arguably marked the high tide of Krautrock iconoclasm.

Essentially, it's a live rendition of the classic Guru Guru album "Känguru", minus only the song "Immer Lustig". But the differences between the studio and concert versions are startling, and provide a far more honest portrait of a band renowned (then and now) as a vital live act. After hearing this set, don't be surprised to find the album that inspired it, which this reviewer awarded five unconditional stars, sounding more like a contractual afterthought.

Compare the track times here to the studio originals. In concert Mani Neumeier and company stretched the music to absurd and thrilling length, with colorful Hendrix-inspired jamming (note the recurring "Purple Haze" quote in "Baby Cake Walk") and near-telepathic stage rapport. Not surprisingly, the protracted grooves can often sound aimless, but never without purpose: a contradiction that somehow makes perfect sense with this particular trio.

And even with the not-much-better-than-bootleg quality of the tape, apparently recorded from the back rafters of a very large arena, it's still easy to be swept up by the energy, enthusiasm, and sheer musical joy of the performances. Neumeier and bassist Bruno Schaab (a recent replacement for ex-Guru Uli Trepte) are buried deep behind the echo-heavy mix. But it's primarily Ax Genrich's show anyway, and his indefatigable chops are all over the album, fearlessly switching from distorted electric guitar to comic-relief banjo midway into "Ooga Booga", while Mani Neumeier clicks and clacks a pair of ersatz castanets. Neumeier's drum solo, soon afterward, is a model of unrestrained economy: another plausible Guru Guru paradox.

The visual distractions of a live concert, typically a large part of the Guru Guru experience (judging from the occasional audience laughter here) are absent, of course. But the album sounds exactly like what it must have once been: one heck of a show, and the Play Loud! people deserve our thanks for bringing it back to life.

  Roxy Elephant by PANCAKE album cover Studio Album, 1975
2.02 | 22 ratings

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Roxy Elephant
Pancake Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

2 stars Not bad for me (both as for their sound essence and the album sleeve itself) but it's a pity there's almost nothing Neues and innovative like Pinguin's "Der Grosse Rote Vogel' released three years before. One of obscure Krautrock combos PANCAKE have made their debut in 1975 upon the German Rock scene, with their first album 'Roxy Elephant'. This stuff is filled with bluesy guitar-oriented psychedelic rock seasoned with progressive rock-ish spice, maybe inspired by 70s British Rock Invasion. Sadly nobody (but themselves) knows what they wanted to play in those days nor whether they could have done what they wanted to do via this creation, but what they've not done more of novelty than psychedelic blues / rock can be heard currently. It's not wrong for me also that every material of theirs has vague, mysterious charm, anyway.

Honest to say such a progressive rock tendency can be found here and there, for example in a tad improvised shot 'Rolltreppe', the longest one 'Aeroplane', or the last titled track), but basically no rhythmic weirdness, melodic confusion, nor atmospheric weirdness like 'authentic' Krautrock / German psychedelic progressive. Plus their instrumental / play technique cannot be as deep nor heavy like the elephant upon the sleeve pic. Let me say their soundscape cannot get over the music area of psychedelic rock appreciated in late 60s or early 70s. Personally their improvised phrases all around the album should be fascinating for me, though. This obscurity cannot be recommended for every Krautrock fan but for a part of psychedelic bluesy rock freaks. My love, especially impromptu instrumental battles upon the last 'Roxy Elephant" nonetheless.

 A Meditation Mass by YATHA SIDHRA album cover Studio Album, 1974
3.96 | 113 ratings

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A Meditation Mass
Yatha Sidhra Krautrock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars While Krautrock of the early 70s took on many forms with some bands being heavy hitting rockers and some more on the jazz- fusion side of things, almost all these bands shared one tangible attribute and that would be dreamy psychedelia-drenched motifs that would meander nonchalantly for lengthy periods of time. While an attribute shared by the entire subgenre, a few bands took it to extremes and the German band YATHA SIDHRA was one of these bands that took this type of meditative music to new relaxing heights. This band was formed in Freiburg in 1973 by brothers Rolf and Klaus Fichter under the name Brontosaurus but they soon found that a giant dinosaur didn't quite convey the message they were hoping for so they followed the trend of of the Indo-raga world and changed their named to the more Hindu sounding YATHA SIDHRA.

While the band's existence was fairly brief and they only managed to create this one cult classic titled A MEDITATION MASS, a true treasure trove in the world of experimental, progressive and über-kosmische music that for all intents and purposes creates a single connected album long track despite being technically separated into four suites. This is mesmerizing music if there ever was some. The kind of music you envision playing in your head at a mirage near a desert oasis where the spiritual world and the physical are somehow connected for a brief moment. This spacey forty minute journey begins with some stellar progressive electronic which displays the Moog synthesizer as the main atmospheric generator of the album. After a while the music cedes into a smooth form of rock with a strong presence of the Indian flute, vibraphones, an electric piano and sparse vocals.

The rock aspects are all but absent on "Part 1" but become more prominent on "Part 2" which allows the drums and bass to shine for a brief moment on an otherwise ethereal and mellow album that is a mind-altering mystical experience with a pulsating reverie of 60's acid culture that sounds more sophisticated with the menagerie of ethnic influences and breaking free from the cliches. The album shines even more in the excellent production that found Achim Reichel at the helm to polish the project off which appeared on the famous Brain label that hosted many of the great Krautrock bands such as NEU!, Guru Guru, Cluster as well as others. Continue to "Part III" and the music engages in free-form jazzy rock with a wailing guitar, a syncopated beat that rock out over otherwise trance inducing rhythms that all climax to the expected Kraut approved freakouts. "Part IV" simply continues the ambience space rock.

This mostly instrumental album is supposedly a concept album but no intellectual capital need be expended to enjoy this one. When all is said and done, this is a Moog driven journey into the sonicsphere which takes the listener on the ultimate space rock trip. A musical trek into a free flowing ecstasy that slowly oscillates between pastoral folk, space rock and the occasional foray into jazzier passages. All and all, A MEDITATION MASS is the perfect album for its namesake. It's neither too complex for its own good nor too simplistic to be of much value. It is perfectly balanced as it takes soothing melodies and teases them out into infinity which just happens to be cut off by the limitations of the original recording technology of the day.

If you seek mesmerizing, dreamy and hypnotic space music accented by rock, ethnic folk and jazz then YATHA SIDHRA sired the perfect sonic trip into the inner worlds of your meditation. What sets A MEDITATION MASS apart from other trippers such as Amon Düül II or Ash Ra Tempel is that this is less "freaky" and more grounded. It resonates as being more spirit and less chemical inspiration yet as detached from reality as the best that Krautrock had to offer. Perhaps the closest musical relative i've found of the era is not from Germany at all but from Japan. The Tokyo based Far Out would also release one meditative classic "日本人 (Nihonjin)" only a year prior and shares the same overall characteristics. While YATHA SIDHRA would only release this one underground classic, the Fichter brothers would continue their world of psychedelic with their progressive electronic followup artistry in Dreamworld which would release two more albums in the 80s.

 Past, Present & Future by BRAINTICKET album cover Studio Album, 2015
3.77 | 31 ratings

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Past, Present & Future
Brainticket Krautrock

Review by WFV

4 stars Brainticket opened my eyes to how many top shelf obscure progressive rock groups there are out there. There latest offering, Past Present and Future, comes fifteen years after 2000's Alchemic Universe which saw Joel, the leader, try to fuse his vision with contemporary European dancefloor rhythms. I came around to it, but it generally seems to be regarded as the weakest Brainticket album. If that was the weakest, this must be its polar opposite. This is krautspace 2015 with the emphasis on rock. The Dancing on a Volcano twofer runs through all the progressive gauntlets and emerges victorious. The second *side* showcases jammy guitar and swirling synth songs that work well low volume or on 11. It took me a while to appreciate the depth of this album but it really will reward the dedicated prog rock fanatic. My only quibble is the female lyrics are dispensed by what I'd classify as an amateur. It would seem Joel snuck into the nearest high school and grabbed the first girl (not woman) to add lyrical color to his record. It doesn't detract from the glory for me too much as the music created is awe inspiring. My favorite track has become Reality of Dreams 4.5 stars
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Krautrock bands/artists list

Bands/Artists Country
A.R. & MACHINES Germany
ABSCHAUM France
ACHTZEHN KARAT GOLD Germany
AG A.M. Germany
AGITATION FREE Germany
AINIGMA Germany
AIR Germany
ALASKA RANGE Switzerland
ALCATRAZ Germany
ALEX ORIENTAL EXPERIENCE Germany
ALTONA (GER) Germany
ALUK TODOLO France
AMON DÜÜL Germany
AMON DÜÜL United Kingdom
AMON DÜÜL II Germany
ANIMA-SOUND Germany
ANNEXUS QUAM Germany
ANT-BEE United States
ARKTIS Germany
ASH RA TEMPEL Germany
ASHTRAY NAVIGATIONS United States
ASTERIX Germany
ATTEMPT TO RESTORE Germany
AVARUS Finland
AVEC LE SOLEIL SORTANT DE SA BOUCHE Canada
AWAKE & GALLO Greece
BABA YAGA Germany
BACKNEE HORN Israel
BAD STATISTICS New Zealand
HERBERT F. BAIRY Germany
BAUMSTAM Germany
BEAK> United Kingdom
JERRY BERKERS Germany
BETWEEN Multi-National
BLACK SPIRIT Italy
BLACKBIRDS Germany
BLACKMANN LANE Germany
BLACKWATER PARK Germany
BLUMEN DES EXOTISCHEN EISES Germany
BOKAJ RETSIEM Germany
DON BRADSHAW-LEATHER United States
BRAINTICKET Switzerland
BRAST BURN Japan
CHRIS BRAUN BAND Germany
BRAVE NEW WORLD Germany
BULLFROG Germany
ROMAN BUNKA Germany
CAMERA Germany
CAN Germany
CHEVAL FOU France
CLUSTER Germany
CODE III Germany
COLOUR HAZE Germany
TONY CONRAD United States
CORNUCOPIA Germany
COSMIC CIRCUS MUSIC Germany
THE COSMIC JOKERS Germany
COUPLA PROG Germany
COZMIC CORRIDORS Germany
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