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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

4.21 | 241 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 325 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 395 ratings
YETI
Amon Düül II
4.24 | 98 ratings
EDGE OF TIME
Dom
4.06 | 463 ratings
FUTURE DAYS
Can
4.07 | 280 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.06 | 289 ratings
NEU!
Neu!
4.62 | 29 ratings
EISZEIT
Gam
4.11 | 153 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.16 | 100 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.02 | 356 ratings
PHALLUS DEI
Amon Düül II
4.12 | 98 ratings
VOLUME 10
Electric Orange
4.09 | 108 ratings
SELIGPREISUNG
Popol Vuh
4.02 | 169 ratings
ELECTRIC SILENCE
Dzyan
3.99 | 228 ratings
MALESCH
Agitation Free
3.95 | 538 ratings
TAGO MAGO
Can
4.07 | 109 ratings
KÄNGURU
Guru Guru
4.43 | 29 ratings
OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.02 | 119 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.99 | 152 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh

Krautrock overlooked and obscure gems albums new


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

MY SOLID GROUND
My Solid Ground
A COUPLE OF TIMES
Twogether
WELTSCHMERZ
Siddhartha
4 TIMES SOUND RAZING
Silberbart

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Latest Krautrock Music Reviews


 Misophonia by ELECTRIC ORANGE album cover Studio Album, 2016
4.15 | 8 ratings

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Misophonia
Electric Orange Krautrock

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Coming in at over 72 minutes long, Misophonia represents another monster of an album from Aachen's Krautrock/Kosmische Musik stallwarts, ELECTRIC ORANGE.

1. "Organized Suffering" (18:09) opens with rolling bass line, guitars, drums and high pitch drone revving up, taking about forty seconds to get into full gear. Then, at 2:16, everything shuts down for some synths and three "explosion" distorted guitar/bass strums spread out over about twenty seconds. Synths then take over the lead above drums and occasional distorted bass notes. Heavily treated, animal-like vocalizations pop in and out of the soundscape toward the end of the fifth minute. Then things quiet down again around 5:20. Militaristic drums slowly build from there with bass, vocalizations and synths continuing their play. Psychedelic lead guitar play is slowly, sparsely added into the drum-dominant mix. Things quiet down again around the eight minute mark with guitar, quiet drums, and slowly penetrating mid-pitch synth note working its way into the soundscape, into our minds. At 9:30 there is a subtle shift as rolling bass, synth chords and drums return. At the end of the eleventh minute guitar and synths start to do some interesting if occasional things but at this point this is really a drummer's show. In the thirteenth minute the bass and synths begin some new activity--both attracting more of the listener's attention--but the, just as quickly, everything drops out (again) as if to reset. Modulated synth (or organ?) goes freaky on us while simple drum and bass lines play modest support. The organ really begins to dominate (finally!) and the bass and drums capitulate to create the song's first melodically based groove. The key/chord change at 16:20 almost blows it, but then they get back into it. This sounds almost like a 1960s DOORS or PINK FLOYD jam. Not a great song as it never seems to really get off the ground nor does it truly establish any kind of 'hook' to engage and maintain our interest. (7/10)

2. "Bottledrone" (11:48) starts out as slowly and uneventfully as the opening song--totally synth-dominated--but really kicks in delightfully by the halfway point and remains full and interesting to the end. (9/10)

3. "Demented" (7:51) opens with some spacey Blade Runner-like synth noises before an Indian-like rhythm section jumps into the field at the thirty second mark. Now, this is Kosmisches Musik! The drummer is in an awesome groove in the low end while his cymbal activity is all creative and playful. Slow space synth movement is gradual and constant while heavily treated guitars and basses flit in and out of the soundscape. The synths remind me exactly of Tony Banks' synth play in the second half of GENESIS's "The Waiting Room." I love it! By the sixth minute the bass has actually committed to a steady rhythm track while the guitar and cymbals continue their free form contributions. The instrumentalists slowly recede to allow for a quiet end to the song. (8/10)

4. "Misophonia I" (8:58) opens with deep synth notes and low end bass play with a kind of metronomic, Native American-like low end drum beat. For the first three minutes I can definitely picture native American tribal dancers around the campfire--maybe readying themselves for war. The disturbing and discordant shift during and throughout the fourth minute leads to the establishment of a kind of groovy Buddha Lounge song at the four minute mark. Bass, drums and guitar riffs are all on fixed groove mode while the bouncy synth sounds like he's performing at an Ibiza all-night rave club. Horn-like sounds are layered and echoed during seventh minute to nice effect. This turns out to be the song's last real surprise or shift as things begin to slowly fade over the course of the next two minutes. Interesting song. I'm not sure of its intentions or reasons--nor am I certain if it really works. It is, however, unusual. (8/10)

5. "Shattered" (4:40) opens like a jazz song with some synths, bass, drums and wah-effected guitar riffing his chords over a cute hypnotic groove. The synth and drum play don't quite fit in, but this could almost fit in with some of the 1970s Black Exploitation film scores. The guitar and synth play feel at odds--as if they're in different universes--or, at least, different sound studios. Not a song that I care to hear again. (6/10)

6. "Misophonia II" (1:19) is a brief interlude which sounds as if it could almost be a classical piece that has been heavily, heavily treated and distorted in the psychedelic fashion. (8/10)

7. "Opsis" (5:25) has more of the feel and sound palette of the music from EO's 2014 masterpiece, Volume 10. The zither and horn sounds and calmer, more steady rock rhythm tracks are so nice to hear again! Beautiful if subtle melody! (9/10)

8. "Misophonia III" (17:36) I keep reading about the power and centrality of this song to this album and I have to say, I agree. It is one monster of a song, with an awesomely powerful opening from the keyboard master, Dirk Jan Müller. The development is slow but seemingly methodical, well-planned, and the keyboard drenched soundscape is joyfully drenched with Müller's strokes and washes. It's funny to enjoy so much the minimalist inputs from the band's other three members and just have the keys going solo over the course of the first six minutes. Once the rest of the band join in and establish their trepidous support, Dirk Jan continues to play around, but gradually his keys become more integrated into the weave, even seem to fade to background a bit--though there are the occasional really cool low end chord staccato hits. In the tenth minute, when things feel like they're starting to stagnate, Dirk Jan turns up the gas, puts on the horn synth, thrashes out a few heavy handed chords. Man! is he giving a great Berlin School keyboard exhibition! Volume levels all around amp up at the 12-minute mark, but then back off, leaving a little "Lucky Man" fade into the 13-minute mark. The bass, guitar and constant drum pattern keep it going, though, while DJ Müller again goes on his creative binging. More this, EO! I love it! (10/10)

While I enjoy all of the electronic space experimentation going on beneath the "lead" instruments by keyboard specialist Dirk Jan Müller, I find this album less cohesive and engaging than either Volume 10 or Morbus. I often find myself feeling as if the oceans of synth heaven going on beneath and the instrumental action above (or below) are disconnected--like sea and air--sea and mud.

Still, this is a nice 3.5 to four star album which I'm rating up for the monster epic "Misophonia III". A nice addition to any prog rock music collection.

 Yeti by AMON DÜÜL II album cover Studio Album, 1970
4.10 | 395 ratings

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Yeti
Amon Düül II Krautrock

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

5 stars We will see the Krautrock light through heavy-guitar-riff-based German psychedelia blended with shabby voices ... a large number of musical (especially of rock) essence can be heard, and this kaleidoscopic sound environment would have got to be one of the starting lines in the Krautrock scene we suggest.

The first heavily swift bullet "Soap Shop Rock Suite", that must grab your soul out, can be called as a masterpiece not only all around their discography but in the whole Krautrock scene. The very beginning of the first movement "Burning Sister" has catchy immersing impressive (but eccentric) phrases created by heavy guitar riffs and strict, deep rhythm section tools. Their repetitive guitar synchronicity could remind the audience of sorta heavy space rock but luckily freak-out shabby voices give us something like mysterious relief. Their energy upon playing is too powerful and too bombastic for us to ignore ... the audience should get immersed apparently.

The following stage "Halluzination Guillotine" sounds like a heavy stone or a bulky bull on the contrary. Deep solid rhythm basis and every space of time are quite hallucinogenic. "Gulp A Sonata" is a short phrase but we can directly touch pretty massive experimental elements diluted with each other. The last "Flesh-Coloured Anti-Aircraft Alarm" is another real Krautrock world launched by a chopping guitar ... at last the refrain sounds a tad twisted and I guess they all would have had comfortable fatigue after finishing 'a big work'. It's quite amazing this suite consists of various material of progressive rock, and "Yeti" can be told completely with this fact.

By the way, every other track features colourful messages respectively. "Archangels Thunderbird" is another hard psychedelic rock keen to absorb hard rock freaks definitely. Powerful female voices are impressive, in the same vein of Rush's Geddy. Ethnic soundscape injection can be heard via "The Return Of Ruebezahl" or "Pale Gallery", the former has black magic religious flame, and the latter enthusiastic tribalism ... this texture is fit for German psychedelia indeed. Contrary to such a rock-ish rock, "Cerberus" reminds me of "Coffee Rumba", filled with South-American atmospheric acoustic guitar whispering. Improvised "Yeti - Yeti Talks To Yogi" combination can be mentioned as an innovative underground psychedelic jam session, kinda comfort, dreamy dream.

Their miscellaneous approaches exert magnificent influence upon younger Krautrock combos (e.g. a Japanese funny funky Krautrock project Omoide Hatoba). In this sense, this album can be called as one of authentic collections in the Krautrock scene. A superb gem really.

 A.R. IV by A.R. & MACHINES album cover Studio Album, 1973
3.99 | 50 ratings

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A.R. IV
A.R. & Machines Krautrock

Review by Neu!mann
Prog Reviewer

3 stars In his all-too brief psychedelic heyday Achim Reichel didn't sound like anyone else in the Krautrock universe. The guitarist seemed content to chart his own singular path through the cosmos, isolated from his closest aesthetic contemporaries (Manuel Göttsching, Günter Schickert), and never straying too far away from Planet Earth.

This might be the most balanced of the albums he recorded as A.R. & Machines, blending the dense artistry of "Echo" with the skewed songwriting of "Die Grüne Reise". The echo on his guitar, accomplished using a simple reel-to-reel tape deck (and pre-dating the similar but less accessible Frippertronic effect) once again sets up the groove. Everything else - drums, vocals, saxophone etc. - was layered carefully on top, flowing dreamlike into and out of a very busy mix.

The technique works best on Side One ("Vita"), in three long, overlapped tracks approaching something that might almost be classified as hypnotic pop. The album's flipside ("Aqua") shows less focus, but not inappropriately for a 23-minute suite titled "Every Raindrop Longs for the Sea (Jeder Tropfen Träumt Vom Meer) H₂O". If nothing else, the meandering rhythms work like a new and short-lived form of nervous, jerky ambient musik.

Altogether the LP was a welcome rebound from the unmotivated "AR3" album. But in retrospect the effort can't transcend a nagging sense of redundancy: after three previous AR&M sessions, it had all been heard before.

(Consumer Postscript: the album has never been officially reissued since its original vinyl release in 1973. Reichel has apparently disowned this entire chapter of his career, which leads me to wonder how committed he was to the music in the first place)

 A.R 3 by A.R. & MACHINES album cover Studio Album, 1972
2.86 | 18 ratings

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A.R 3
A.R. & Machines Krautrock

Review by Neu!mann
Prog Reviewer

2 stars The innovative echo-guitar of Achim Reichel could only be spun so far before the novelty grew thin. And on his third AR&M record he crossed that invisible threshold separating true exploration from aimless jamming.

The album restored the more song-based, psychedelic pop of "Die Grüne Reise" (his thrilling 1971 debut), but this time without the same stable underpinning of purpose. There's a conspicuous lack of direction over the LP's two sides, making it sound like a collection of random outtakes and studio rehearsals, spliced neatly together. The music comes to life only during the occasional hypnotic groove, most of which are perversely allowed to evaporate just as they reach cruising speed.

Apparently the guitarist made his point too well on his previous albums, and ran out of new things to say. That exhilarating sense of weightless flight was gone, leaving Reichel and his Machines in temporary freefall before deploying a belated parachute in "A.R. IV".

 Echo by A.R. & MACHINES album cover Studio Album, 1972
4.00 | 54 ratings

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Echo
A.R. & Machines Krautrock

Review by Neu!mann
Prog Reviewer

4 stars The ambitious follow-up to his playful "Die Grüne Reise" (1971) stretched Achim Reichel's echo-guitar technique almost to its breaking point, and might have the same effect on the patience of any listener with a low attention span. The guitarist would later say the debut album represented his "künstlerische pubertät" ("artistic puberty", translating from his own web site). Which would make this one his creative coming of age, marking a dramatic leap to conceptual maturity from the goofy avant-pop exuberance of the first AR&M experiment.

The music this time was allowed more room to breathe, in longer instrumental workouts evolving over each side of the original twin-LP (to date, and somewhat amazingly, never officially released on compact disc). The rock 'n' roll energy of the earlier record was muted here in favor of a richer, more adventurous sound, still urgently rhythmic but enhanced by the occasional lush orchestral arrangement, and by contributions from a small battalion of collaborators, including percussionist Hans 'Flipper' Lampe of LA DÜSSELDORF fame: another link in the six-degree web of Krautrock separation.

Anyone expecting self-restraint or structure is encouraged to look elsewhere. It requires a long habit of passive concentration (not an oxymoron, for Krautrockers) to fully appreciate the slowly unfolding cycles of melodic arpeggios, superficially resembling the knotted synths and sequencers of early Virgin-era TANGERINE DREAM but performed on guitars, with a more human touch. The arrangement of music was tightly controlled throughout, but like all great cosmic voyages expressed a fearless resolve to embrace unknown vistas and infinite horizons.

Each side of vinyl, after the twenty-minute "Einladung" (Invitation), was given a suitably portentous title: "The Echo of the Presence"; "The Echo of the Future", and so forth, all with elaborate sub-chapters hard to pinpoint within the continuous flow of music. But it's the last side of LP2, "The Echo of the Past", that pushes the album close to five-star territory, in another wild, ZAPPA-influenced kitchen-sink collage, hypnotic and hilarious at the same time.

The effect of this final track is like being mesmerized by a clever circus clown, and at first exposure I found myself laughing as hard as I was listening, reminded (in a good way) of THE BEATLES and their notorious "Revolution 9", albeit assembled with discipline and wit.

The same comparison probably crossed Reichel's mind, too. In an unconscious reflection of the album's title, his career to that point had closely 'echoed' the Fab Four, dating back to his stint with The Rattles at the Star-Club in Hamburg. Much like The Beatles during their more exploratory later years, Reichel in his Krautrock prime still had the heart of a pop star, but the head of...well, a Head.

 Die Grüne Reise (The Green Journey) by A.R. & MACHINES album cover Studio Album, 1971
3.99 | 73 ratings

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Die Grüne Reise (The Green Journey)
A.R. & Machines Krautrock

Review by Neu!mann
Prog Reviewer

4 stars A.R. was Achim Reichel: celebrity pop star, producer, and Liverpool beat band copycat, who in the early 1970s either rebelled against the commercial success he enjoyed with The Rattles or (from another vantage point) jumped aboard a fashionably far-out bandwagon. I'm inclined to suspect the latter, but in no way does that diminish what he was able to achieve with little more than a guitar and his trusted Machine: an Akai X-3300 reel-to-reel tape deck, capable of producing (in his words) "endless echo cascades" of pulsating, hypnotic sound.

He might have only been a casual tourist on a psychedelic holiday, but the trip he took on the AR&M project was adventurous, to say the least...although it's hard to know who was really in charge: A.R. or his machines? At times it seems like the studio echo technology was determining not only the style but the actual composition of the music, with Reichel dragged willingly along for the ride.

The first Machines album, from the Krautrock miracle year of 1971, shows less depth than its monumental sequel "Echo" (1972), but is far livelier, and way more fun. You can still hear the pop music idol at work behind the weirdness, in catchy tracks like "Come On People" and "I'll Be Your Singer, You'll Be My Song" (released together as an unlikely 45 rpm single). Here and elsewhere, Reichel succeeded in proving how easily popular music could be psychedelicized into a whole prism of colors, beyond the usual blues. The tapes were then spliced into an exhilarating, not-quite-random medley, with the expected anchor of a legitimate verse or chorus always lurking somewhere just beyond earshot.

In the end the music devolves into a fantastic Zappa-like collage of looped voices and effects, not unlike "The Return of the Son of Monster Magnet" but organized with an almost stereotypical sense of German order and efficiency. That's not a lazy comparison: The Mothers of Invention were one of the essential midwives of Krautrock. But I don't recall even a tongue-in-cheek iconoclast like Zappa ever choreographing a repetitive chicken cluck or simulated sneeze (...gesundheit... gesundheit... gesundheit... gesundheit...)

The calibrated overlapping sounds gave the experiment a semblance of real music. But it really wasn't anything more than Reichel goofing around in the studio, just to hear what popped out the other end, refining to cyclical perfection the similar rhythmic effect of Roger Waters' "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict". The echo process makes it seem as if Reichel's guitar is actually giggling at you, so it's only fair to return the favor, by listening to the album with a stupid grin spread across your face.

 Rain Dreaming Ceremony by TRIP TO ELARA album cover Singles/EPs/Fan Club/Promo, 1996
3.00 | 1 ratings

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Rain Dreaming Ceremony
Trip To Elara Krautrock

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

— First review of this album —
3 stars Sweet and dreamy ... very comfortable is fuzzy guitar temperature calling our psychic shining. Slippy atmosphere through persistent drumming in the first titled track can be felt as an authentic psychedelia. Deep bass plays are too sincere for the audience to avoid, but such a violent guitar crack should be another impressiveness. Also the following "Eskerik Asko" sounds more strictly psychedelic and hallucinogenic like the titled track. Repetition and distortion around them give us a brilliant moonshine definitely.

"Ondo Loin" launches matured mellow feeling and floating groove via the musical struggle of the trio, that reminds us of kinda texture like the stoner scene. On the contrary the last improvised sound discharge titled "Sakura Session" sounds the most of Krautrock all of the four tracks in this ep ... quite broken, dissected guitar fuzz drenched in loud feedback like Les Rallizes Denudes based upon the inspired but refined rhythm section should let us see the heaven.

Would not feel enough novel nor innovative via this ep (maybe remarkably influenced by lots of guitar-based psychedelic progressive combos methinks) but a tad recommended for psych freaks who want to dream a sweet dream in the midnight.

 Düülirium by AMON DÜÜL II album cover Studio Album, 2014
2.45 | 15 ratings

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Düülirium
Amon Düül II Krautrock

Review by Neu!mann
Prog Reviewer

2 stars Comeback albums aren't normally as haphazard as this belated effort by one of Krautrock's essential forefathers: recorded in 2009; offered as a digital download under the name "Bee as Such" in 2010; and four years later finally given a legitimate CD release, with a better title and actual sleeve art...everything except a credible performance, sadly.

In truth the music by itself is fine, and doesn't show a trace of anachronism. All of it was clearly improvised in the studio, but in a more groovy modern fashion than the embryonic freakouts of "Phallus Dei" et al. A cheap comparison could be made to the valedictory CAN album "Rite Time" (1989), a likewise late-in-the-day reunion with a similar (but more successful) vibe, also curiously delayed in post-production.

Maybe the new Düül album should have been considered as a strictly instrumental project. The musical rapport was still there, and surprisingly vital after so many years away. But the vocals by old comrades Renate Knaup and Chris Karrer are - to put it delicately - a calamity: hoarse, abrasive, and fatally off-key.

Krautrock has always been full of eccentric singers able to exploit their amateur lack of training (think of Can's Malcolm Mooney, or Damo Suzuki). But there's a big difference between non-professional and plain bad, and that line was emphatically crossed here. I'm reminded of Timothy Leary's cringe-worthy performance on the notorious ASH RA TEMPEL train wreck "Seven Up", something no sane listener ever needs to be reminded of.

The fingernails-on-chalkboard effect reaches its nadir throughout the 26-minute "Back to the Rules/Walking in the Park" (aka "Psychedelic Suite", on the "Bee as Such" version). Here, the attempts at improvising a freeform vocal accompaniment to an already exploratory jam stand out like a mangled (i.e. more than simply sore) thumb.

Needless to say, the new album is no "Yeti"...despite some abominable moments. It's reassuring to know the old-timers still have a pulse, but this session wasn't worth the long wait. Better late than never? Don't be too sure...

 Misophonia by ELECTRIC ORANGE album cover Studio Album, 2016
4.15 | 8 ratings

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Misophonia
Electric Orange Krautrock

Review by Einwahn

5 stars As someone who remembers the classic era albums as new releases, I firmly believe some of today's 'retro' bands rival their Old Masters in quality and, paradoxically, originality. And this new Krautrock release from the 21st century's leading practitioners of the sub-genre is a prime example. I simply haven't heard a more beautiful Krautrock album since 'Future Days' in 1973. It doesn't sound like any other Krautrock exemplar, but this is definitely, definitely Krautrock.

Nothing has impressed me more about Prog Archives than the 'hit' status accorded to Electric Orange's excellent 2014 release 'Volume 10'. This is testament to the open-minded cultural vision of fans on this site. The only thing that has held me back from reviewing 'Volume 10' is the fact that my own rating would drag down its consensus score (slightly). Well, with 'Misophonia', Electric Orange have taken an artistic quantum leap - and it has the 'Wow!' factor I look for in awarding 5 stars. Their best album since the brilliant 'Morbus' of 2007 - and musically the two albums hardly sound like the same band. As others have said, Electric Orange never stop progressing.

Krautrock is not everyone's cup of tea, and I would not pretend there is any special musical cleverness required to appreciate this off-the-wall sub-genre. Really it is more a question of one's psychological state. But if you enjoyed 'Volume 10', you should love 'Misophonia'. And these albums are all on Bandcamp to hear - there is no excuse to avoid checking them out.

Verdict: A 21st century Krautrock MASTERPIECE.

 Carnival In Babylon by AMON DÜÜL II album cover Studio Album, 1972
3.56 | 150 ratings

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Carnival In Babylon
Amon Düül II Krautrock

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars And every Krautrock freak, sorta dramatic Krautrock has got started via AMON DÜÜL II's dreamy, trippy soundscape.

This beautiful / flowery creation "Carnival In Babylon" released in 1972 cannot make the audience feel solid and inorganic like one of their early masterpieces "Yeti" but impressive gorgeous melody / percussion gems can be heard here there and everywhere. Not so complicated nor freakout is their melody line itself but filled with effective percussive psychedelia and dramatic / systemic key changes amongst paragraphs ... this should be drive us crazy into trance.

Soft and smooth combination of female voices and elegant melody lines cannot be heard even via late 60s psychedelic pop. This atmosphere would be considered not appropriate nor acceptable as an authentic Krautrock. However, their German psychedelic initiative should not there but plenty of hidden, subtle psychedelic flavour and taste ... that might be a kind of strategy for kicking the audience into a psychedelic trip without (or a tad with) hallucinogenic agents.

Strongly reminded me of a similar stream like "Hosianna Mantra" released in the same year by POPOL VUH, and strictly notified me eccentric trippy phrase drivin' be not all for Krautrock. Pop, catchy melody lines based upon well-matured, well-calculated subliminal material flooded with ethnicity, tribalism, and colourful percussive sound effects. Such an incredible mixture of sound could be created as one fantastic period in the progressive rock scene, let me say.

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Krautrock bands/artists list

Bands/Artists Country
A.R. & MACHINES Germany
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
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
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