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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

4.26 | 125 ratings
EDGE OF TIME
Dom
4.15 | 368 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.16 | 290 ratings
HOSIANNA MANTRA
Popol Vuh
4.10 | 454 ratings
YETI
Amon Düül II
4.08 | 537 ratings
FUTURE DAYS
Can
4.48 | 46 ratings
EISZEIT
Gam
4.09 | 314 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.13 | 183 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.07 | 339 ratings
NEU!
Neu!
4.15 | 118 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.02 | 401 ratings
PHALLUS DEI
Amon Düül II
4.07 | 130 ratings
SELIGPREISUNG
Popol Vuh
4.00 | 253 ratings
MALESCH
Agitation Free
4.06 | 133 ratings
KÄNGURU
Guru Guru
4.40 | 36 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.02 | 190 ratings
ELECTRIC SILENCE
Dzyan
3.95 | 616 ratings
TAGO MAGO
Can
3.98 | 265 ratings
WOLF CITY
Amon Düül II
4.04 | 134 ratings
VOLUME 10
Electric Orange
4.03 | 138 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

ARKTIS TAPES
Arktis
MAGIC THEATRE
Drum Circus
SILOAH [ALSO RELEASED AS SÄUREADLER]
Siloah
TERRA INCOGNITA
Metabolismus

Latest Krautrock Music Reviews


 Cyberdelic by ELECTRIC ORANGE album cover Studio Album, 1996
3.05 | 9 ratings

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Cyberdelic
Electric Orange Krautrock

Review by mariorockprog

3 stars 3: The third album by Electric Orange. While I was looking by recommendations of some overlooked bands that sounds close to the Floyd or just space/psychedelic or krautrock style, I find a lot of references for this one, so I gave it a try. As this is the only album that I have available in my streaming service, i will begin with this one. For my surprise it is a good album with nice tunes, it includes the typical German style, combining electronic passages, but in this case, the space rock part is not so present. It maintain the minimalism style of some of the bands of krautrock movement, in specific the electronic side. Definitively, it doesn't include a lot of rock, but as a electronic album I considered it good. Also, the first part of the album is better musically. It has a lot of catchy moments, and even sound like a funky, jazzy and rap music combined with a good bass rhythms. Finally, I recommend it to anyone that want to hear something different, mainly if you like the electronic side, but not expecting a lot of prog moments.
 Hosianna Mantra by POPOL VUH album cover Studio Album, 1972
4.16 | 290 ratings

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Hosianna Mantra
Popol Vuh Krautrock

Review by jamesbaldwin

4 stars "Hosianna - Mantra" is a sacred fusion between West and East: Hosianna (Christian hymn) and Mantra (Hindu and Buddhist ritual).

This music isn't rock: is sacred classical music with modern occidental arrangement. Florian Fricke's piano and harpsichord lead the orchestra formed by the violin and the oboe flanked by instruments typical of western pop-rock: acoustic and electric guitar, played in a classical way by the guitarist Conny Veitt. The eastern part of the sound is entrusted to the Klaus Wiese tambura and the celestial soprano voice, the Korean Djong Yun.

The original album (1972) is composed in two parts: the side A called "Hosianna Mantra", and the side B called "Das V. Buch Mose". "Ah!" is an instrumental piece where the piano repeats hypnotically some ascending and descending stairs. It is an interlocutory piece, which has a certain nervousness. Vote 7,5.

"Kyrie": in this song, embellished by the angelic voice of the singer, you hear more the almost psychedelic phrasing of the electric guitar, which allows you to reach meditative ecstasy. Vote 8.

In "Hosianna - Mantra" (ten minutes, vote 8,5/9) the Christ's ascension into Heaven is accompanied at the beginning by Yun's voice and a crescendo of electric guitar and piano that wants to reach mystical ecstasy. After a slowdown and a pause, the hypnotic cadence of the piece begins again and the cresendo of the song declaiming "Hosianna" is wonderful. The sacred touch is reached by the atmosphere created by the voice and the oboe (played by Robert Eliscu). Great masterpiece.

Side B, "Das V Buch Mose", is inspired by the biblical narratives of the fifth book of Moses. "Abschied" is an instrumental piece driven by the oboe, which gives it melancholy. Vote 7 +. "Segnung" (six minutes) is an atmospheric piece where you hear the harpsichord in the background and Yun's voice is more ethereal than ever. When it seems to go towards fading, the phrasing of the piano returns to make the piece lively. Vote 8+. Masterpiece. "Andacht" are 40 seconds of celestial atmosphere.

"Nicht hoch im Himmel" (again 6 minutes) is the most unpredictable and hybrid piece between meditative tone (the singing) and moments of restlessness (always left to the piano). Not easy to be listened. Vote 7,5/8. "Andacht II" are 35 seconds of final tail.

Hosianna Mantra, year 1972, is an album full of celestial songs, but too homogeneous, that towards the end requires a certain motivation to be listened. The music is not so much a mixture between east and west because the orchestration is typically western, but the meditative and ethereal tone, worthy of a yoga session, make it suitable for the east. Hosianna Mantra anticipates ambient and new Age music.

Medium quality of the songs: 7,92. Vote Album: 8,5. Rating: Four Stars.

 Knirsch by ET CETERA (DE) album cover Studio Album, 1972
4.11 | 24 ratings

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Knirsch
Et Cetera (DE) Krautrock

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

4 stars After the eponymous debut album, Wolfgang Dauner's ET CETERA returned the following year with a whole new lineup for the second album KNIRSCH, the German word for "crunch" which apparently was made clear by the combo effect of the cover art and the continued theme art inside the album spread. American percussionist Fred Braceful (soon to join Exmagma) was the only musician (other than Dauner) to appear on both ET CETERA albums. Joining the band was American guitarist Larry Coryell (Chico Hamilton, Free Spirits, Gary Burton) and British drummer Jon Hiseman (aka John Hiseman, co-founder of the jazz-rock bands Colosseum and Tempest and, later, with Wolfgang Dauner, the all-star band United Jazz + Rock Ensemble) along with bassist Günter Lenz (most prominently known for his work with Peter Herbolzheimer Rhythm Combination & Brass, a mix of big band, jazz-funk and fusion).

After the wickedly wild debut release KNIRSCH sounds downright tame with the focus much more drawn to tight jazz-fusion instrumental interplay augmented by Dauner's idiosyncratic keyboard style however it wouldn't be a proper Dauner related project without at least some experimental freakery in the works so despite a tamer sophomore release, KNIRSCH manages to squeeze in some avant-garde weirdness just because it was the early 70s after all! Stylistically KNIRSCH is a much more streamlined jazz-fusion event which in many ways is much more similar to Embryo's "Rache" album that came out in 1971 than to the first ET CETERA release, as it focuses on the same lengthy jam driven instrumental improvisation with the stealthy double percussive bombast of Braceful and Hiseman that mix and meld traditional jazz drumming with a wide range of ethnic influences such as the Indian and Arabic touches that graced the debut album.

Likewise Dauner himself behaves and correspondingly delivers the expected proper jazz-fusion responses. While the opening track "The Really Great Escape" misleads with a fuzzed out guitar driven rock and bass groove accompanied by tribal drumming patterns with Richard Ketterer joining in to provide lyrics, the following tracks completely derail this rather mainstream and rather ho hum affair. "Sun" immediately brings the jazzy touches into full context with Dauner's tinkling of the ivories evoking an early Chic Corea with the rest of the album remaining instrumental and airy as the guitar, bass and drums are placed lower in the mix than the dominant keys. "Yan" begins the three longer tracks that all hover around the ten minute mark or longer. It is by far the most experimental of the five tracks with an emphasis on the greater visionary prospects of fusing jazz and rock with electronica. This track is really the only one that resembles the debut ET CETERA album with its emphasis on experimentalism above all else.

"Turning Spread" dishes out a heavy piano driven groove but the bass and drum cannonade is on fire as a feisty funk flair begins to strut its badass stuff and all the jazz-fusion to bring some soul into its ranks. This track probably has a distinct Herbie Hancock feel with its easy to digest rhythmic flow and an almost Santana inspired percussive drive and virtuosic guitar solos of Coryell. The album ends with "Yan" which perhaps is the track that incorporates the main gist of both ET CETERA in a musical summary so to speak. While it provides the overall backdrop of jazz-fusion as its centerpiece, the track also allows healthy doses of experimental offerings. The track is graced by a strong percussive beat, spaced out keyboard, wah-wah guitar licks and drifts along rather nonchalantly as the instrumentalists find room to improvise as the groovy drive banters on ad infinitum. Dauner is off the charts with some of the more daring synthesizer nosedives as notes fluctuate high on the resister and drop without a parachute from the sky.

This was the end of the road for the ET CETERA project but a mere blip on the radar for all the musicians involved. Dauner would continue on with an endless series of collaborative efforts all throughout the 70s whereas Fred Braceful soon joined Exmagma for another two albums of psychedelic Krautrock head trips. KNIRSCH is a mixed bag and seems quite tame after the unhinged nature of the debut but still is the more unified of the two if not nearly as original as the jam aspects were fairly standard for the day as well as the style of jazz-fusion that would dominate the album, still though the musical meanderings are performed by strong competent instrumentalists who were capable of weaving magical passages of jazz-rock while allowing experimental electronic effects to incorporate themselves into mix. Personally i prefer the debut album to this one however except for the mediocre opening track, this one has a charm all its own and although not as experimental delivers with exceedingly strong instrumental prowess.

 Et Cetera by ET CETERA (DE) album cover Studio Album, 1971
3.68 | 19 ratings

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Et Cetera
Et Cetera (DE) Krautrock

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

4 stars Wolfgang Dauner in his fifty year plus career has rightfully become known as Germany's greatest jazz-fusion export and one of a handful to reach the heights of international recognition. While a young Dauner began his musical journey on the piano a tender young age, later on he would actually acquire a degree at the Stuttgart Conservatory for the trumpet. With these eclectic musical talents at hand, by 1963 Wolfgang created his very first jazz band, The Wolfgang Dauner Trio after connecting with bassist Eberhard Weber and the American drummer Fred Braceful. The trio would play together through various musical incarnations well into the 70s and together they would shake up the jazz world much as Faust would do to the rock world later.

Falling into the inevitable gravitational pull of all things 60s psychedelia, Dauner married his avant-garde jazz leanings with the style du jour in the form of psychedelic rock and the emerging Krautrock scene in his native Germany on the Wolfgang Dauner Trio's 1969 album "The Oimels." With the emergence of progressive rock and the continuation of ever-increasing experimentation in the rock universe, Dauner found it fit to create a new project that could resurrect the possibilities and avant-leanings from his brief dip. This led to the re-recruitment of Fred Braceful along with Eberhard Weber along with additional percussionist Roland Wittich and the multi-instrumentalist Siegfried Schwab which resulted in a band called ET CETERA being born.

Taking a cue from the various Krautrock escape artists that were changing the music scene of the early 70s, Dauner and company composed several far out tracks that took all the inspirations of the day ranging from 60s psychedelic rock, contemporary Krautrock, Indo-raga drones and jazz-rock fusion and threw them into the melting pot. The result was the 1971 eponymously titled debut album that found yet one more strange way to take music to the utmost extremities and to sonic destinations where the listening public had never visited before. Manufacturing revolution for revolution's sake, ET CETERA set out to create music that was as trippy and unfamiliar as possible with stunning results.

Taking the instrumental prowess of Amon Duul II, the psychedelic jamming of Embryo, Indian and Arabic ethnic touches and wild avant-garde liberties, ET CETERA created a very bizarre album that had no problem fitting in with the farthest out trips of the era and by the design of some of the most talented musicians that Germany had produced in the 60s jazz underground. This album is designed to be an eclectic potpourri of ideas that meander from one extremity to the next. No other track advertises this more than the opening track "Thursday Morning Sunrise" which starts off in a rather "normal" psychedelic rock mode with fuzzed out guitar riffs, accompanying percussive drive and period keyboard charm but quickly morphs into unstructured avant-garde weirdness where freeform sonic swells capsize the melodic and rhythmic flow like a tsunami of freeform chaos hitting the structured shores.

Even weirder is the second track "Lady Blue" which is a mix of Spanish guitar in jazz mode with the spoken poetic prowess that emulated the vocal antics of Can's Malcom Mooney along with a female choir which provides a call and response as the avant-garde jazzy instrumental backdrop provides the ultimate weirdness effect. "Mellodroma 2a" is perhaps the most stable structure on board with a melodic acoustic guitar strumming and fluffy tribal drumming providing an airy retreat from the hardcore freakery that preceded. Although it has some jazzy touches here and there, remains a lightcore treat in the midst of the madness. The lengthiest track "Raga" is exactly as it advertises, namely an Indo-raga that authentically includes the sitar, swarmandal, lute, even, sarangi, tambura, psalter, flute, balafon, kalimba and more but gently morphs into more avant-garde rock territory as the track progresses before breaking out the avant-garde jazzy trumpet and freeform madness.

"Milkstreets" ends the original album with the most authentic psychedelic track which incorporates synthesized note bends simulating an outer space experience with freeform percussion and uncompromising pointillistic precision. I highly recommend the remastered CD version of this album which includes three extra bonus tracks that are as good or even better than the original tracks making this a much longer head trip. "Behind The Saga" continues the "Milkstreets" theme with off-kilter key stabs, jazzy drumming and "talking" counterpoints of who knows what! "Tau Ceti" is graced with an eerie piano arpeggio and acoustic guitar in jazz mode. It becomes spacier and spacier and then adds some ethnic touches. "Kabul," an almost nine minute track incorporates lengthy drones and slow creeping rhythmic build ups before breaking into ethnic percussive drive and augmented by fuzz guitar and Embryo type jamming with extra emphasis on freaky keyboard volume glitches.

This one is really for the hardcore Krautheads out there, those who crave the most demented and unforgiving explorative journeys. Graced by spectacularly talented musicians offering spectral insights into the strangest inner and outer journeys, ET CETERA is an acquired taste to say the least. Stringing together bizarre avant-garde modulated keyboard sequences by Dauner along with jazzy touches, Indian sitars and choruses, hypnotic bass grooves, folky passages, tribal drumming and atmospheric spaciness, this is a true treat for those who like their trips with lots of variation that include excellent musicians performing recognizable snippets of sanity surrounded by detached escapism to Planet X. ET CETERA was a rather short project that lasted only a few short years but this debut album is unique since the band moved on to a more sanctioned jazzy Krautrock approach that wasn't nearly as experimental. Granted there probably wasn't a lot more they could've done in this style but for a single album they sure let their freak flag fly high and dropped this highly eclectic slice of lysergic nirvana in the process.

 Hoenig & Göttsching: Early Water by GÖTTSCHING, MANUEL album cover Studio Album, 1995
3.53 | 22 ratings

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Hoenig & Göttsching: Early Water
Manuel Göttsching Krautrock

Review by WFV

4 stars Hoenig gets a bad rap it seems, like he's the red headed stepchild of the Berlin school. I'd argue his admittedly small recorded output is as creative if not more than what Manuel Gottsching and his Ash Ra group were doing. Same with Tangerine Dream. Hoenig's proper studio release Departure from the Northern Wasteland in seventy eight was a left field addition to the burgeoning electronic almost new age music scene and this was recorded prior to that, after Gott released seminal New Age of Earth. This does go on long like Gott seminal E2E4 but is very palatable in small doses or atmospheric window dressing. Plus my kids think it's cool I own a few forty five minute long songs.
 Dreamlab by MYTHOS album cover Studio Album, 1975
3.52 | 47 ratings

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Dreamlab
Mythos Krautrock

Review by Progfan97402
Prog Reviewer

4 stars This was their second album, for some strange reason, a three year gap between the last album. This time the Ohr label was renamed Kosmiche Musik so that's the label Dreamlab was on. It's strange that in those three years the, while the band featured a totally different lineup, except for Stephen Kaske, the sound hadn't really all changed that much. Musically this is a bit like Achim Reichel & the Machines, Ash Ra Tempel, and Jethro Tull. Lots of echoey flute and guitar. I will have to say I never cared for "Expeditions". It's because it's a lousy song in which Stephan's nasally, raspy voice really detracts bad, plus the song itself is pretty cheesy. Luckily much is the rest of the album is instrumental and Krautrock at its finest. Even the when the vocals reappear, they're thankfully much more brief and the music was much better than "Expeditions". Still worth having in your collection, and I'd give it five stars if it weren't for the dreadful "Expeditions", so four stars it is.
 Système Solaire by CAMERA album cover Singles/EPs/Fan Club/Promo, 2013
3.00 | 3 ratings

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Système Solaire
Camera Krautrock

Review by Neu!mann
Prog Reviewer

3 stars The music of Camera is probably best appreciated when discovered by chance, in the Berlin alleys and subway platforms where the trio often stage spontaneous concerts. This limited edition vinyl EP, recorded between the band's freshman and sophomore albums, doesn't have the same immediacy of a live performance. But it still provides an easy introduction to their guerrilla-tactic improvisational style: retro-Krautrock jams in the spirit of Neu! and La Düsseldorf.

At the same time their music is very much of the moment: the trio speaks in a familiar historic tongue, but they have their own unique voice. The four tracks here include an original A-side/B-side Camera single, followed by remixes of the same by Bureau B labelmates Thomas Klein (aka Sølyist) and Alvin B. Clay (alias Kurt Dahlke, alias Pyrolator).

The opener "Skylla" presents an urgent, unchanging motorik beat à la Klaus Dinger, overlaid with dreamy atmospheric synths and surprisingly restrained guitars: a potent combination. "Meteor" is more of the same, but with an aggressive Kraut-punk attitude rarely heard in the early 1970s (outside a Hawkwind Space Ritual).

How you respond to the remixes will depend on your tolerance for modern electronica. The Sølyist version of "Skylla" stays close to the original, but de-emphasizes the hand-played Apache drumming to foreground a more synthetic rhythm. And Pyrolator's "Meteor" was meant to be played at mind-numbing volume in a strobe-lit club, designer drugs optional.

Both revisions represent a trendy corruption of the old Krautrock maxim: "it's not repetition; it's discipline", surely a moot point when achieved using the unfair convenience of electronic percussion. But the untouched original tracks, minus the cosmetic dancefloor overkill, are pure Camera: simple, yet compulsive. "We came in peace and left quickly..." says the group on its Bandcamp page, and here they live up to that claim, with economy of style and energy to spare.

 Minami Deutsch by MINAMI DEUTSCH album cover Studio Album, 2015
4.00 | 3 ratings

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Minami Deutsch
Minami Deutsch Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars MINAMI DEUTSCH are a Krautrock band out of Japan and this is their debut released in 2015. They are a trio at this point with mainly synths, drums and guitars leading the way. Clearly they are fans of NEU! and CAN but more of the former with that motorik sound throughout. A couple of bonus tracks too from these guys where they cover KRAFTWERK's "Ruckzuck" and AMON DUUL II's "Soap Shop Rock" both are live and the sound quality is simply okay. It's the main album that has made me a fan of this band. Sure it's repetitive and they bring nothing new to the table, but I really enjoy this style of music.

"Vocalism Ai-Forever Takemitsu" is the excellent opening track with sounds that echo to begin with before uptempo drums kick in. As the title suggests vocals play an important part of this with his vocal expressions sounding like another instrument. This goes on until around 2 1/2 minutes when the vocals stop but the motorik beat continues. "Futsu Ni Ikirenas" has this catchy beat throughout as processed vocals join in quickly almost speaking. Distorted guitar replaces the vocals before 6 minutes and the vocals will return after 8 minutes.

"Terra Recipe" again has a catchy and repetitive rhythm as synths play over top until the guitar takes a turn at 2 minutes. I like the guitar style before 3 1/2 minutes, a nod to Japan. "Ubergleich Part I" is a great sounding track with that motorik beat with the guitar playing over top and it sounds really good, especially starting before 1 1/2 minutes.

"Sunrise, Sunset" might be my favourite based on how good the picked guitar sounds over top of those beats. Such a feel good sound here. A second guitar arrives after 2 1/2 minutes. Nice. Intricate and catchy. "Ubergleich Part II" ends the album and they slow it down some here as it opens with drums and more. Vocals join in reminding me very much of Damo from CAN. He sings in English by the way. Atmosphere before 5 1/2 minutes as the vocals stop but the catchy beats continue.

I really enjoyed spinning this one, just love this style of music and they do it very well.

 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
3.68 | 19 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.

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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
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