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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

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Krautrock Top Albums


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

4.21 | 229 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 302 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.24 | 91 ratings
EDGE OF TIME
Dom
4.07 | 264 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.63 | 29 ratings
EISZEIT
Gam
4.05 | 372 ratings
YETI
Amon Düül II
4.07 | 274 ratings
NEU!
Neu!
4.05 | 339 ratings
PHALLUS DEI
Amon Düül II
4.03 | 437 ratings
FUTURE DAYS
Can
4.09 | 149 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.16 | 95 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.13 | 87 ratings
VOLUME 10
Electric Orange
4.09 | 103 ratings
SELIGPREISUNG
Popol Vuh
4.03 | 166 ratings
ELECTRIC SILENCE
Dzyan
3.95 | 512 ratings
TAGO MAGO
Can
4.07 | 99 ratings
KÄNGURU
Guru Guru
3.99 | 215 ratings
MALESCH
Agitation Free
4.02 | 117 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.98 | 144 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
4.00 | 102 ratings
THE COSMIC JOKERS
Cosmic Jokers, The

Krautrock overlooked and obscure gems albums new


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

DELUSION
McChurch Soundroom
FORGET YOUR DREAM!
Pacific Sound
MY SOLID GROUND
My Solid Ground
4 TIMES SOUND RAZING
Silberbart

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Latest Krautrock Music Reviews


 Yoga by POPOL VUH album cover Studio Album, 1976
2.73 | 28 ratings

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Yoga
Popol Vuh Krautrock

Review by Sergey Slenkoff

3 stars It's very pleasant album of Indian music but pay your attention - it's no Popol Vuh and the character of the involvement of Florian in this record is quite unclear. Truely it was session of Al Gromer Khan (sitar) with the Indian musicians Pandit Sankha Chatterjee (tabla) and Beena Chatterjee (vocals) produced by Florian Fricke. It seems that only for commercial reasons and without their approvement it was released half-officially and labeled as Popol Vuh album. It's possible that Florian later recorded his parts of harmnoium over the live session record. It's good record if you are newcomer to authentic Indian music but it has nearly nothing to do with Popol Vuh.
 Upgoer by HEDERSLEBEN album cover Studio Album, 2013
4.03 | 3 ratings

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Upgoer
Hedersleben Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars HEDERSLEBEN are a new Krautrock band out of Germany named after a village in Germany where Nicky Garratt the brainchild of the project is from. He became interested in this style of music after jamming in Hedersleben with guitarist Uve Mulrich from EMBRYO. By the way this tradition of jamming with other musicians in Hedersleben continues to this day as a yearly event. Nicky and drummer Jason Willer were part of Nik Turner's band on the album "The Space Gypsey" which was released in 2013 just like this album. Nik actually guests on the final track here playing flute. Even more members of HEDERSLEBEN would be on Nik's latest album "Space Fusion Odyssey". Oh, by the way this band HEDERSLEBEN is now also part of BRAINTICKET, joining Joel in that endeavor.

"Upgoer(Part 1)" opens with what sounds like the wind blowing and birds making noise as the organ floats in. Whispered words after 2 1/2 minutes join in as well. Sounds like synths in this experimental and somewhat dark intro. It kicks into a groove before 5 1/2 minutes. Some interesting sounding guitar follows as the female vocals almost shimmer and the drums pound. I like the keyboards before 8 minutes. It's all about the percussion and atmosphere 9 minutes in. This reminds me of Raga music here. "Der Donner Voegel(Dreamstate)" opens with the thunder rumbling as intricate guitar melodies join in. Drums a minute in, synths too. Organ late as we get thunder one more time. Spoken words join in to end it. Beautiful stuff.

"Dark Nebula" has this catchy beat as spoken female words join in. This is very BRAINTICKET-like in my opinion. The beat and voices stop after 2 minutes as we get floating organ then piano joining in. The guitar joins in late. "Upgoer (Part 2)" opens with experimental sounds that come and go until around 4 1/2 minutes when a trippy groove kicks in. A minute later it's experimental again but it's brief this time as it kicks back in quickly. It's jazzy with paino 6 1/2 minutes in then we get a change after 8 minutes as female vocals take over as we get that trippy beat again. "End Of Love(Dreamstate)" has these relaxed guitar melodies as pastoral flute from Nik Turner joins in. Dreamstate indeed. Just a gorgeous soundscape that might be too long.

A great start for this young band and not much thrills me more these days then hearing new Krautrock, Zeuhl or Canterbury. Bring it on! A solid 4 stars.

 The Fall Of Chronopolis by HEDERSLEBEN album cover Studio Album, 2015
4.00 | 4 ratings

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The Fall Of Chronopolis
Hedersleben Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars HEDERSLEBEN are one of my favourite bands in recent times. Meanwhile this is their third output, which matters one album per year to be precise. Hereby they do not repeat themselves, so much for my first initial statement. Yep, based on the eponymous Sci-Fi novel written by Barrington J. Bayley, which is dealing with time travel and some resulting paradox in particular, 'The Fall Of Chronopolis' is provided with other leanings again. Their new charm offensive is drifting towards more song structure, more variety. Extended songs, equipped with krautrock and jamming attitude, are out of fashion this time.

HEDERSLEBEN at the core is consisting of a trio basically, as there are drummer Jason Willer, Kephera Moon on keyboards and guitarist Nicky Garratt, who seems to be the spiritual head, cares for the orientation. Apart from that the band line up has been far away from being a constant during recent times, which also applies to their live performances. Nonetheless, or even due to that - the choice is yours - they are very productive and successful. I'll choose the latter, new collaborators are contributing new impressions, new facets, new ideas. So Ursula Stuart (bass) and Ariana Jade (vocals, violin) are aboard here on this occasion - yeah, this means ladies in the majority actually!

The starter An Empire is symptomatic for my previous remarks. Eh, don't know really why this reminds me of the German band Analogy, Ariana's and Jutta's voice are not really congruent. But the overall mood otherwise ... in any case this is a rather sophisticated composition while offering several turns, a memorable melody, dramatic keyboard riffs, variable acoustic and electric guitars ... it definitely takes some time to come along. According to the concept their music evolves with a more cinematic and theatrical touch, seems to be completely arranged, hence they have nothing left to chance I would say.

Presumably due to the restricted vinyl length Imperator and other songs unfortunately will be faded out way too early. I'm impressed by the beautiful ballad Somewhen Veaa (Dreamstate) - Jason temporarily takes a time out - melancholic keys, violin and acoustic guitar, produced with so much empathy. The following song Ghost Armada contrasts a lot with proper drive and dramaturgy, the drumming is excellent. 'The Fall Of Chronopolis' comes as a pure prog genre effort, covers art rock proportion more than ever. Definitely substantial again. I'm wondering what will come next ...

 Mythos by MYTHOS album cover Studio Album, 1972
3.51 | 75 ratings

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Mythos
Mythos Krautrock

Review by Atavachron
Special Collaborator Honorary Collaborator

2 stars Fairly spaced-out Krautpsych with lots of moaning and ethnocentric nonsense, the Mythos debut is a chore to listen to. But when has that ever stopped progheads from owning something with such neat-o cover art and cool band name? I suppose in '72 there were just enough altered states to make this a keeper, but in the light of the post-drug wake up call, it's a tidy forty minutes of lost souls, unwashed hair, the staggering odor of patchouli, and a hole where ten bucks used to be. This is what "stoner rock" was before it became what it is, and for that it deserves some credit. A drop.
 Eiliff by EILIFF album cover Studio Album, 1971
3.63 | 32 ratings

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Eiliff
Eiliff Krautrock

Review by Igor91

4 stars Eiliff were a little known German band that mixed jazzrock/fusion with krautrock elements with excellent results. The album is mainly instrumental, with some vocals thrown in here and there, and quite complex in parts.

The opener, "Byrd-Night Of The Seventh Day," is actually 2 songs, with Byrd as a mellow intro to the album with acoustic guitar and sax. Then "Night Of The Seventh Day" comes in after less that a minute, with vocals on par with many of their German contemporaries. Sax and keyboards are dominant, with a cool jazzy interlude, and drumming reminding me of King Crimson's early albums. "Gammeloni" is next and is an instrumental, jazz-heavy song, with lots of energetic sax soloing, then moves to a guitar jam section before moving back into jazz territory. The vocals return on "Uzzek Of Rigel IV," and are washed with a distortion effect that actually works quite well. This track is probably the weirdest, and includes a repetitive section with the guitar wailing in one channel, which carries on a little too long. The final "song" is the aptly titled "Suite" which starts off with a magnificent, almost funky, guitar rock jam. The track continues to evolve with several parts changing up things and keeping it interesting.

I like this album quite a bit, especially due to how different instruments are given their moments up-front at various moments, especially the guitar. As mentioned before, there is an early King Crimson influence throughout, but not in an overt way. A very progressive work and a rather different take on krautrock when compared to more well-known acts such as Can or Amon Duual II. Recommended for those who like a good shot of jazz in their krautrock. 4 stars.

 Second by AGITATION FREE album cover Studio Album, 1973
3.79 | 149 ratings

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Second
Agitation Free Krautrock

Review by Igor91

5 stars For me, Agitation Free's "2nd" is the quintessential Krautrock album. While not as recognized as bands like Amon Duual II, Can, or Faust, Agitation Free was an exemplary Krautrock band. "2nd," being their last album (at least until the 1990's), was their finest moment. Many reviewers have faulted this album because of it's rather recognizable influence of West Coast bands like the Grateful Dead, and the Allman Brothers, somehow making it not "true" krautrock. I wholeheartedly disagree. Yes, the influence of those aforementioned bands are there, but Agitation Free injected a large dose of krautrock weirdness into the mix, and the results are magical.

When I first listened to this album, I knew that I liked it, but once I listened to it in a "different frame of mind," I was completely blown away. It reminded of, many years ago, when I first listened to Pink Floyd's DSOTM in a similar frame of mind. While this album is sonically nothing like DSOTM, it is one of the pivotal albums of it's genre. I won't go into detailed reviews of each song (that has been done at length in previous reviews), but I would best describe the sound of the album as a whole as a very jammy krautrock, with excellent guitar work by short-lived member Stefan Diez. Bassist Michael "Fame" Gunther and drummer Burghard Rausch lock in grooves throughout various moments, while the remaining members' instrumentation float over the top in a hypnotic, spaced-out jam. No boring, overdone freak-outs here, just pure audio euphoria.

The only fault that the album has are the awkward vocal pieces during "Haunted Island," which could have just as well been left out. Not enough to bring it below 4.5 stars, so I easily round the rating to a 5. Highly recommended!

 Hanuman by HANUMAN (LIED DES TEUFELS) album cover Studio Album, 1971
3.80 | 16 ratings

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Hanuman
Hanuman (Lied des Teufels) Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars HANUMAN is a German band from Berlin that released this one album under this moniker that is taken from the name of the Hindu god who was a devotee of the god Rama in the Hindu epic Ramayama before they changing their name to Lied Des Teufels (Song Of The Devil) for their second release. The band was formed in 1971 and soon released this album on the Kuckuck Label which hosted other totally obscure Krautrock bands including one of the few more known ones Out Of Focus. The band consisted of founder Peter Barth (flute, sax, vocals),J'rg Hahnfeld (bass), Thomas Holm (drums) and Wolf-R'diger Uhlig (organ, piano, vocals). Uhlig was fresh out of the heavy prog Murphy Blend which married progressiveness with the jazz and blues sensibilities of the other members.

The wide spectrum of Krautrock is unfathomable encompassing everything from the totally spaced out like the musical meltdowns of early Guru Guru and Amon D''l II to the jazz-rock hybrids of bands like Embryo. Bands like HANUMAN borrowed a little bit from all the camps but primarily focus on highly melodic developments with a few freak outs interspersed within a some of the tracks. The album begins with a highly rhythmic percussion bringing Can to mind however it is also drenched with heavy organ runs and beautiful flute accompaniments. The dramatic vocals are sung exclusively in the German language adding an exotic feel to the album for the time when most European bands except the Italians were jumping like lemmings into the English speaking world to assist their international exposure.

The music is complex but very easy on the ears and fairly easy to follow drawing comparisons to Van Der Graaf Generator but never delving into the complexities that VDGG achieved but still very offbeat. HANUMAN does however change up the styles by drenching the listener with time sig changes and changes of instrumental duties where different parts drop out to let others steal the show for a while. Their is a strong jamming vibe to the album where every little melodic development is allowed to fulfill its potential before moving on to something new. Three of the tracks are well over nine minutes long so this is progressive rock in the truest sense encompassing many aspects of jazz-fusion, Krautrock, heavy rock as well as a sense of the eclectic without ever tipping the scales totally in that direction.

This is an album that has grown on me. It's true that Peter Barth's vocals sung in German can be an acquired taste and that the band didn't exactly reinvent the Krautrock genre or anything of the sort but what they did master quite tastefully is mixing and melding different aspects of the genre into their own vision. The music changes it up often by having jazz-rock sections, heavy rockin' sections, beautiful piano runs reminding me of Italian groups of the early 70s, freak outs and rhythmic spastic sections that bring Can to mind all the while finding room to mix in Doors type keyboards parts, Out Of Focus type horn parts and nicely composed song structures. While not quite an unabashed masterpiece it does present itself to be more than a worthy redeemer of excellent listening. It has only grown on me and i hope this can dig its way out from under the huddle of heavyweights that are piled upon it. After this release Uhlig would leave the band and they changed their name to Lied Des Teufels for their second album.

 Cosmic Music Experience  by LIMBUS 3 & 4 album cover Studio Album, 1969
2.98 | 8 ratings

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Cosmic Music Experience
Limbus 3 & 4 Krautrock

Review by Eetu Pellonpaa
Special Collaborator Honorary Collaborator

3 stars When comparing sound of Litmus 3's "Cosmic Music Experience" to other early freak-out kraut albums I have heard, the fine sound quality via proper recording strikes my senses first. Though the album tittle suggests to a coherent meditative pathway in style of Yatha Sidhra's sole masterpiece, this recording captures more confused avantagarde oscillations between acoustic free-jazz tryouts and flute-percussion uneducated duo ragas. The latter elements have their moments, as also the tones of upright bass and classical piano bring rejoicement of this reel allowing psychological analytic probabilities and aesthtetic sensations from the days of Amon Düül's "Psychedelic Underground". The dadaistic but stylistically coherent "spontaneous visit to the recording studio" of Odysseus Artnern, Bernd Henninger and Gerd Kraus exceed to capture both mentioned qualities than the referred Amon Düül record for me, but fails sadly to reach all potential within their reach. For me the curious elements on the sound merged to my vain attempt of searching human motives and personalities from the records similar to this, Blumen Des Exotischen Eises, Egypt is The Magick # etc.; There seems to be some interesting similarities of elements of collective subconsciousness on these atavistic recordings, but I wonder is their shimmer borne from their sonic and compositional characteristics, related tribal scene association's affection, or ability to mirror your own hidden thoughts upon the melody lines of joyless pipe? Possibly anyone could do this stuff also, which could be seen as a personal possibility, but not as a dominant rule for successful artistic expression. Those spontaneous performances reaching the vision of supernatural do not need more than this album has for their conjuration. I believe this record has qlimpses of it, but the lack of focus or abilities seems to slightly blur the wholeness. What seems most interesting is the idea of capturing glimpses of spontaneous psyche of Heidelberg hippies revelling on the soundwaves.
 Nein! HITS à Gogo - Golden Recordings by ELECTRIC ORANGE album cover Singles/EPs/Fan Club/Promo, 2015
3.95 | 2 ratings

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Nein! HITS à Gogo - Golden Recordings
Electric Orange Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Hey, this on one side intensively reminds me of the early BEAT CLUB times, first and foremost the enthusiastic audience clapping at the very end. I mean the times where some people were spiritually, technically and visually hitting the trail towards prog music in general - and, well, kraut rock in particular on this occasion. So this EP offers some swinging jazz adapted feel, quasi like trying to have a time travel into the German (late) 60's. Though on the other hand it does not sound like totally covered in dust, due to some modern experimental approach to be added, this quasi like transferring the good old inspiration into this present day.

Also taking the album art into account this is reminiscent to STAFF CARPENBORG & THE ELECTRIC CORONA and the creepy VAMPIRES OF DARTMOORE, both projects were equipped with rumours about some hoax and pseudo character at that time, while initiated by pop music producers in reality who at least at this point wanted to freak out. Not untypical for the ELECTRIC ORANGE staff to pick up something like this, not at all.

Traditionally some track titles are puns again obviously, just taking Samba Ohrleck for instance, which is my favourite. Regarding others I spent some time to think about the ulterior motives, but couldn't get it. Excerpts like Video A Gogo are showing Dirk Jan Müller mainly making use of vintage organ instruments. And Georg Monheim's tribal drums are a real attraction here too. Overall this is a fine contribution to the genre, whether you are using this Golden Recordings for your next party ore not.

 Buru Haze by KANOI album cover Studio Album, 2015
3.49 | 3 ratings

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Buru Haze
Kanoi Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars I'm not big on these one man projects that seem to be everywhere these days but I just had to check out Benjamin Kantschieder's latest record called "Buru Haze" simply because this Austrian is listed under Krautrock. Yes I was very curious to hear this album after reading the review from octupus-4, and i'm glad I picked it up even though it did leave me unfulfilled. The vocals are what i'd describe as "thin" almost weak sounding, which is fine when it comes to psychedelic music but I do wish a professional did the recording and mixing as I find that part of the album to be lacking a lot. Benjamin needs to find some like-minded musicians in my opinion and just go for it. Easy for me to say I know.

"Naeco II" opens with relaxed sounding guitar as mellotron-like sounds add some atmosphere. Relaxed vocals then drums add to the sound. That light mood is broken by some heavy guitar before 3 minutes. Nice opener. "Buru Haze" has a good heavy groove to it as the vocals join in. Not a fan of the vocals here or the lyrics but I love the guitar especially 4 1/2 minutes in to the end. "The Golden Country" is an instrumental with a spacey atmosphere and relaxed guitar expressions. "Windchild" does remind me of "Moonchild" by CRIMSON as far as the vocals go and sometimes with that mellow sound. Mellotron and picked guitar to start and it stays mellow and spacey throughout.

"Song Of Distance" opens with an excellent instrumental intro with prominent guitar. It does settle back before 2 minutes then the vocals arrive. Another calm piece. "By The Sunrise" opens with birds singing as mellow guitar and bass come in. Reserved vocals follow and I like the laid back guitar solo before 2 1/2 minutes. "Quokka" is a short instrumental that builds right away and it sounds really good. "A New Beginning" is the over 14 minute closer. Atmosphere is created by the organ as we get some relaxed guitar then vocals. Another chill-out tune until the guitar starts to light it up before 3 1/2 minutes. Another calm before 6 minutes and it's almost silent before 8 minutes but not for long.

Man this could be one of my favourite projects with some changes. I just really like his compositions and I did get glimpses of legends like GURU GURU and ASHRA TEMPEL but unfortunately "Buru Haze" is but a shadow right now of the incredible albums that those bands created, in my opinion of course.

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Krautrock bands/artists list

Bands/Artists Country
A.R. & MACHINES Germany
ACHTZEHN KARAT GOLD Germany
AGAM 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
AVARUS Finland
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 Multi-National
CORNUCOPIA Germany
COSMIC CIRCUS MUSIC Germany
THE COSMIC JOKERS Germany
COUPLA PROG Germany
COZMIC CORRIDORS Germany
CRAVINKEL Germany
CURLY CURVE Germany
CYCLOPEAN Multi-National
HOLGER CZUKAY Germany
DAMENBART Germany
DARSOMBRA United States
DATASHOCK Germany
DAVENPORT United States
DEAF Switzerland
DEJA VU (GER) Germany
DEUTER Germany
DIES IRAE Germany
THOMAS DINGER Germany
DOLOROSA France
DOM Multi-National
DREAMWORLD Germany
DROSSELBART Germany
DRUM CIRCUS Switzerland
DSCHINN Germany
DULL KNIFE Germany
DÜDE DÜRST Switzerland
DZYAN Germany
EAT LIGHTS BECOME LIGHTS United Kingdom
EGYPT IS THE MAGICK # United States
EILIFF Germany
EJWUUSL WESSAHQQAN Germany
ELECTRIC MUD Germany
ELECTRIC ORANGE Germany
ELECTRIC SANDWICH Germany
EMMA MYLDENBERGER Germany
EPSILON Germany
ERLKOENIG Germany
ERNA SCHMIDT Germany
EROC Germany
ERUPTION Germany
ET CETERA (DE) Germany
EULENSPYGEL Germany
FATHER YOD AND THE SPIRIT OF '76 United States
FAUST Germany
FIFTH DEAD Germany
FILLE QUI MOUSSE France
FLOH DE COLOGNE Germany
FLORIAN GEYER Germany
FOTOSPUTNIK United States
FRANKIE DYMON JR. Germany
FRIEDHOF Germany
FRIENDSOUND United States
FROB Germany
GÄA Germany
GAM Germany
GASH Germany
GEBARVATERLI Germany
GERMAN OAK Germany
GIFT Germany
GILA Germany
GOLEM Germany
SERGIUS GOLOWIN Germany
MANUEL GÖTTSCHING Germany
GRAVE Germany
GRAVESTONE Germany
GREEN WAVE Germany
GRUMBLING FUR United Kingdom
GURU GURU Germany
GURUMANIAX Germany
HABOOB Multi-National
HAIRY CHAPTER Germany
HANUMAN (LIED DES TEUFELS) Germany
HÄX CEL Germany
HEDERSLEBEN Germany
IBLISS Germany
IGNATZ Belgium
IHRE KINDER Germany
IMPROVED SOUND LIMITED Germany
INSTANT DRONE FACTORY Multi-National
IRMIN'S WAY Multi-National
JERONIMO Germany
JUD'S GALLERY Germany
KANOI Austria
KAPUTTER HAMSTER Germany
KEMIALLISET YSTÄVÄT Finland
KILLED ON X-MAS Germany
KLUSTER Germany
KOLLEKTIV Germany
KONTRAST Germany
KOSMISCHER LAÜFER Germany
KRAKATAU Australia
JEAN-JACQUES KRAVETZ Germany
KROKODIL Switzerland
LA DÜSSELDORF Germany
LA!NEU? Germany
LARD FREE France
LAVA Germany
LIFE Germany
LIGHTSHINE Germany
LIMBUS 3 & 4 Germany
LISTING SHIPS United Kingdom
LOKOMOTIVE KREUZBERG Germany
MAGDALENA SOLIS Belgium
MAGMA Germany
MAGNETIK NORTH Multi-National
MAHOGANY BRAIN France
DAVID MARANHA Portugal
MCCHURCH SOUNDROOM Switzerland
MERLIN; SWARA; ILOR & FRIENDS Multi-National
METABOLISMUS Germany
METROPOLIS Germany
MITTELWINTERNACHT '71 Germany
MOOLAH United States
MOON OF OSTARA United Kingdom
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
THE NAZGUL Germany
NECRONOMICON Germany
NEU! Germany
THE NO-NECK BLUES BAND United States
NOSFERATU Germany
RALF NOWY Germany
NU & APA NEAGRA Romania
OKTOBER Germany
OMOIDE HATOBA Japan
ONYOU United States
ORANGE PEEL Germany
PACIFIC SOUND Switzerland
PANCAKE Germany
PANKO Germany
PATERNOSTER Austria
POPOL VUH Germany
PRINCESS FLOWER AND THE MOON RAYS Multi-National
PROF. WOLFFF Germany
PROSPER Germany
PSYCHEDELIC MONSTERJAM Germany
PYRAMID Germany
PYRANHA Switzerland
MICHAEL ROTHER Germany
RUFUS ZUPHALL Germany
SAMETI Germany
SAND Germany
SCARECREW Germany
SEEDOG Germany
SEIKAZOKU Japan
SEMOOL France
SHANNONDOA Germany
SIDDHARTHA Germany
SIINAI Finland
SILBERBART Germany
SILENT CARNIVAL Italy
SILOAH Germany
SILVESTER ANFANG Belgium
SINTO Germany
SITTING BULL Germany
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPERRMÜLL Germany
STAN UND HILDA Germany
SWARA SAMRAT Germany
MITSURU TABATA Japan
TASTE OF BLUES Sweden
TEARPALM Serbia
TEMPLE Germany
THINK Germany
THRICE MICE Germany
TIERE DER NACHT Multi-National
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