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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

4.18 | 282 ratings
HOSIANNA MANTRA
Popol Vuh
4.27 | 124 ratings
EDGE OF TIME
Dom
4.15 | 365 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 449 ratings
YETI
Amon Düül II
4.08 | 525 ratings
FUTURE DAYS
Can
4.48 | 46 ratings
EISZEIT
Gam
4.09 | 312 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.13 | 181 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.08 | 330 ratings
NEU!
Neu!
4.15 | 117 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.03 | 399 ratings
PHALLUS DEI
Amon Düül II
4.08 | 129 ratings
SELIGPREISUNG
Popol Vuh
4.06 | 132 ratings
KÄNGURU
Guru Guru
4.40 | 36 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.00 | 250 ratings
MALESCH
Agitation Free
4.02 | 188 ratings
ELECTRIC SILENCE
Dzyan
4.04 | 129 ratings
VOLUME 10
Electric Orange
3.98 | 264 ratings
WOLF CITY
Amon Düül II
3.94 | 606 ratings
TAGO MAGO
Can
4.03 | 137 ratings
AGUIRRE
Popol Vuh

Krautrock overlooked and obscure gems albums new


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

FORGET YOUR DREAM!
Pacific Sound
SILOAH [ALSO RELEASED AS SÄUREADLER]
Siloah
LET IT OUT
Dymon Jr., Frankie
ARKTIS TAPES
Arktis

Latest Krautrock Music Reviews


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

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Roxy Elephant
Pancake Krautrock

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

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

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

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

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A Meditation Mass
Yatha Sidhra Krautrock

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

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

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

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

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

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

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

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Past, Present & Future
Brainticket Krautrock

Review by WFV

4 stars Brainticket opened my eyes to how many top shelf obscure progressive rock groups there are out there. There latest offering, Past Present and Future, comes fifteen years after 2000's Alchemic Universe which saw Joel, the leader, try to fuse his vision with contemporary European dancefloor rhythms. I came around to it, but it generally seems to be regarded as the weakest Brainticket album. If that was the weakest, this must be its polar opposite. This is krautspace 2015 with the emphasis on rock. The Dancing on a Volcano twofer runs through all the progressive gauntlets and emerges victorious. The second *side* showcases jammy guitar and swirling synth songs that work well low volume or on 11. It took me a while to appreciate the depth of this album but it really will reward the dedicated prog rock fanatic. My only quibble is the female lyrics are dispensed by what I'd classify as an amateur. It would seem Joel snuck into the nearest high school and grabbed the first girl (not woman) to add lyrical color to his record. It doesn't detract from the glory for me too much as the music created is awe inspiring. My favorite track has become Reality of Dreams 4.5 stars
 Paternoster by PATERNOSTER album cover Studio Album, 1972
3.64 | 59 ratings

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Paternoster
Paternoster Krautrock

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

4 stars While the German progressive scene was quite prolific especially during the Krautrock boom that lasted roughly from 1970-75, neighboring German speaking Austria on the contrary produced very few additions to the prog universe. While a few names like Hermann Szobel, Eela Craig, Zakarrias, Vytas Brenner, Isaiah, Klockwerk Orange, Gipsy Love and Orange Power might be recognizable to erudite proggers who have scoured the vaults, most of these remained fairly obscure and wouldn't be known even by may prog lovers of the 21st century. One other short-lived act that emerged in the early 70s was the Vienna based PATERNOSTER which released only one self-titled album in 1972 and then quickly disappeared into obscurity, but what a unique album it was! The original pressings have long been sought after collector's items that have fetched hefty price tags exceeding 10,000USD.

While lumped into the Krautrock camp for its inextricable psych leanings, the album tackles a lot of ground in its near miss of forty minute playing time. PATERNOSTER is a Latinate term used in the German language and is used in prayers and means 'Our Father.' The name of the band alone prognosticates the musical content. Lyrics are sung in English and this album has been deemed one of the saddest albums of all time with some calling it what goths would have listened to had they existed in 1972! And sad it is indeed with lyrics seemingly lamenting religion and how it has fallen from grace and become the antithesis of its original intent and therefore PATERNOSTER's sole release is somewhat of a musical eulogy to mourn the inversion of the Christian ethos and the stray lambs of God that have misled by the wolves in sheep's clothing.

The band was a quartet with Franz Wippel (organ and vocals), Gerhard Walter (guitar, vocals), Heimo Wisser (bass) and Gerhart Walenta (drums). Musically, the lugubrious nature of the album resonates big time with Floydian psychedelic guitar freakouts in mostly mid-tempo Procol Harum styled sluggishness displaying the enervating effects of grief. The effect is exponentially compounded by the sad lyrics and verge-of-breaking-into-tears vocal style. The icing on the cake comes from the church organ parts that permeate the entire album like a funeral dirge with every emotional tugging note going for the lacrimation factory. While the Procol Harum compositional styles laced with Syd Barrett era Pink Floyd guitar riffs dominate, on tracks like 'Old Danube' there are some organ outburst that sound more like The Doors whereas the atmospheres can bring the trippiest aspects of Can or Amon Duul II to mind.

Overall PATERNOSTER produced a fairly unique amalgamation of sounds of the era that bring a bit of the 60s into the following decade but stands overall clearly in the more progressive pastures just outside the clutches of the neighboring German Krautrock world even emulating the softer aspects of Genesis. While obscure and virtually forgotten, PATERNOSTER captured the essence of super sad psych rock with freaked out fuzz-guitar and nice aggregations of pastoral folk, otherworldly psychedelia and more classic prog rock that takes Gothic tinged organ frenzies to unthinkable heights that create some of the most depressing atmospheric effects of the early 70s. One that has been celebrated in the underground for decades but much in need of rediscovery. It's amazing how four guys pulled off all the mind blowing atmospheric tricks as if they were heading towards a post-rock sort of paradigm. Perhaps the bizarre vocal style may scare some away but seem to fit the surreal musical portrait that this sonicscape constructs.

 Primi by EX CANIX album cover Studio Album, 2018
3.95 | 4 ratings

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Primi
Ex Canix Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Back to Sweden again, enriched with nordic melancholy. This is something captivating, while percussive, hypnotic, trippy, chilled out. Should be filed under (neo) krautrock in the end. What else? Well, others may disagree, okay, maybe reasonable. Seriously, can't fully catch what is going on here, what a wonderful event anyhow! I would say the band FLOWERS MUST DIE is close to this stylistically, if any, in a wider sense. And indeed, they actually do share the drummer, Lars Hoffsten. First of all, the flow is irresistibly gripping on this occasion.

And overall EX CANIX prefer an obvious orientation towards jazz too. And so 'Primi' turns out to be an amalgamation of inspiration and magic. Cinematic somehow, much space for imagination will be provoked. Starting with Can You Take Me To Tay Umago this occasionally transmits me to a trip crossing the sahara riding on a camel somehow, acccompanied by quirky electronics and ethno/world inspired saxophone. Here and there the electric piano playing reminds of Dieter Miekautsch, once playing with Embryo, Real Ax Band, Missus Beastly, amongst others.

The short Out There shows some cheerful piano and percussion collaboration. Minetta then comes close to the proto kraut vibe once delivered by Staff Carpenborg And The Electric Corona in 1970. Maybe the longest excerpt Dreamland should be seen as the album highlight, a favourable statement due to lively electronics and percussion. In The Can - the title says it all - finally shows a tribal drum rhythm but also some weirdness which is more of a Xhol trademark. Very inspired, all tracks started out as improvisations. Fantastic production - 4,5 stars so far.

 Primi by EX CANIX album cover Studio Album, 2018
3.95 | 4 ratings

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Primi
Ex Canix Krautrock

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

4 stars This Swedish band began under the rather ghetto, even hip hop sounding name n Dogz but somewhere along the line since their formation in 2015 changed it to EX CANIX. While emerging from Linköping, Sweden and from the land where prog behemoths like Änglagård, Samla Mammas Manna, The Flower Kings and Anekdoten made their impressions in the prog world, EX CANIX found their inspiration not in the home grown symphonic sounds or even avant-prog but rather looked to their German neighbors in the Krautrock world of the 70s for their primary canvass to paint upon.

Krautrock was of course, the German movement that took British 60s psychedelic rock to even greater extremes but it should be remembered that Sweden was well ahead of the curve with bands like Pärson Sound capturing the same cosmic vibes as far back as 1967-68 long before Amon Duul II and Can were cranking out their own wild and tripped out sounds in Krautrock's heyday of 70-75. EX CANIX takes a lot from the playbook of this era by implementing familiar backbone rhythmic pulsations of Can, the detached spaced out grooves of Amon Duul II and even the jazzier aspects of Kraut emulating Embryo.

The opener "Can You Take Me To Tay Umago" flaunts the Can influences right off the bat. Not only with the clever reference to their famous "Tago Mago" as well as the band's name even included in the title but delivers a Can-esque percussive groove with the same sort of koschmische vibe on their trippiest releases. Add the rather aloof double electronics of Both and Håkke Müller to the mix which brings a rather early Tangerine Dream vibe along for the ride and it seems like a veritable classic German prog tribute right from the bat.

This continues with "Feed The Monster" which continues the freeform groove of bass, rather tribal percussive effects, guitar and electronics but adds special guest Shadow's sultry saxophone to the roster which brings an immediate classic Embryo vibe to the mix. Somewhat unique though is their extensive use of polyrhythms and counterpoints with the keys taking a firm independence streak by creating some off-kilter runs that find themselves in more an avant-prog or Rock In Opposition mood than gently flowing with the rest of the band.

"Slow For You" is a very ominous track as it begins with a spooky mellotron that simulate voices which brings more ethereal King Crimson to mind more than the aforementioned German influences. This one is slow and plodding. Dark and menacing with a dramatic slow doom filled percussive drive. Just add distorted guitar and perfect doom metal! There are also tinges of exotic musical scales lurking in the background. Very spaced out this one which never turns into rock at all but remains a rather airy journey through an electronic creation with a little percussive oomph.

"Out There" changes gears and enters jazz-fusion territory with very jazzy piano chords that quickly become more freeform and atonal while swarms of percussion begin to overtake it. I'm talking an irregular bombast of purposefully misdirected pummelation. It subsides and fades out. "Minetta" sounds like another jazz inspired Krautrock track from the Embryo camp whereas the lengthy ten and a half minute "Dreamland" takes the jazzy aspects of Embryo and marries it with oscillating electronica and tribal Can-like percussive drive. "In The Can," another Can reference, brings some xylophone sounds and jungle animal replications to the forefront with a steady bass groove and tropical island feel.

EX CANIX isn't just a retro prog album of youngsters worshipping their heroes but rather a collection of seasoned musicians who have been playing in different scenes since the 70s therefore a lot of what came from the golden era has carried on to the present. While EX CANIX doesn't really reinvent the wheel in many ways, they managed to create a nice supplemental fix of 70s psychedelia. This is totally instrumental so the cosmic journey throughout the sonic sphere is unimpeded by human linguistics. PRIMI shouldn't be considered cutting edge in any possible way, but it is a great album to simply get lost in and just let the music flow without expectations. Appreciation for the subtleties is what makes this worthy as the tiniest details are what animates this one.

3.5 but i'll round up for this one

 Hosianna Mantra by POPOL VUH album cover Studio Album, 1972
4.18 | 282 ratings

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Hosianna Mantra
Popol Vuh Krautrock

Review by WFV

4 stars Florian designed this album as a mass for the soul, The beauty and elegance stuns the listener at first and then wraps around them like a favourite blanket. Conny Veit adds exceptional color to the proceedings with his clear toned and humble guitar. Djong Yun lends here gorgeous voice wherever it's needed, truly sounding like the jewel in the lotus. Frank Zappa once said progressive rock is, in general, "rock that doesn't sound like anything else". I'm not sure this is rock but it surely doesn't sound like anything else I've heard in the popular music fields. Prog indeed.

The only hangup I have with this album and Popol Vuh in general is they make me feel guilty for not practicing my faith more consistently 4.5 stars

 In Den Gärten Pharaos by POPOL VUH album cover Studio Album, 1971
4.00 | 178 ratings

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In Den Gärten Pharaos
Popol Vuh Krautrock

Review by WFV

5 stars Superb proto hypno new age intense spiritual electric rock. I'm fond of several albums made of one extended song for each side. This one, Clearlight Symphony, Pulsar Halloween, Steve Hillage Rainbow Dome Music and the obligatory Thick as a Brick come to mind first, but this set the standard for all that came before or later. I don't know if the prog landscape would be any different if Popol Vuh didn't exist but the texture their recording provides to the genre should not go unnoticed. Both sides here are highlights, for me over any early German experiment from Tangerine Dream to Klaus Schulze to Kraftwerk to Ash Ra Tempel and on and on. The BBC Krautrock documentary highlights Popol Vuh and Florian Fricke, and I feel my collection wouldn't be full without access to his musical contributions to the world. This is a top twenty five album of all time for me, and it may not be their best one.
 Sameti by SAMETI album cover Studio Album, 1972
3.16 | 16 ratings

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Sameti
Sameti Krautrock

Review by Igor91

4 stars Sameti was a Krautrock band formed by former Amon Duul II percussionist and occasional vocalist Christian "Shrat" Thiele. The band's self-titled debut is a combination of Shrat's former band's sound with some hard rock riffage, as well as some jazz. While some Krautrock purists may scoff at this concoction, it actually works, overall. Shrat's vocal performance is inconsistent, working well at times, and at other times quite cringe-worthy. His voice remains an acquired taste to put it politely. But, as with most Krautrock, the vocals are not the strong point, nor the focus of the music.

The opener, "Get Up," sounds like Amon Duul II with a bit more rock swagger, features some groovy percussion from Shrat, and is quite catchy. The song works in that it retains that off-kilter, awkward feel of many Krautrock bands, while adding something new to the mix (for the time, anyway). Shrat's vocals actually sound decent on this track as well. This is not the case for the next track, "The Useless Appendix." The song itself is a decent rock track with lyrics that seem to be attacking the generic rock bands of the time and their ridiculous outfits. But the vocals are rough. Next up is a great track called "Big Fat Brother Joint" which kicks in with a nice guitar riff-led jam accompanied by Shrat's graceless vocals. This actually sounds pretty good, despite the singing performance, and continues for about 3 minutes before the song switches gear a bit. The electric guitar riffing switches to acoustic strumming while the bass continues the original riff. A sax solo kicks in, and now we have a jazz jam! The acoustic guitar also shares some soloing with the sax, adding some nice variety. The jam continues on for about an additional 5 minutes before fading out - a very nice surprise on my first listen! "To My Confidential Lady" follows and is a slower-paced psychedelic rock tune that is pretty good, and Shrat does an adequate job vocally here as well.

The album closes with "Anotherwaytosee Improvisation," a 22 minute Krautrock jam evoking ADII's tripped-out style improvisations. The bass line that the jam revolves around slightly reminds me of Santana's version of "Gypsy Queen" that closes "Black Magic Woman." It's a slower pace and less intense than "Gypsy Queen," and way more trippy and spaced-out. Shrat vocalizes over various points in the jam, while the guitar slithers lines across the musical atmosphere. It may get a little tedious for some, but if you like ADII's improvs you'll like this.

I feel that, as far as Krautrock goes, this is a solid effort. It may not be held in too high regard by other progheads looking for instrumental gymnastics and superb vocal aerobatics, but for Krautrock connoisseurs this may just be up your alley. I believe this is a 3.5 star album if you are judging it within its genre, and I am rounding it up to 4 because it think it deserves more credit than it seems to get. Oh, and what a great album cover!

 Movies by CZUKAY, HOLGER album cover Studio Album, 1979
3.68 | 41 ratings

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Movies
Holger Czukay Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars Holger Czukay the CAN bassist has released a lot of solo albums over the years, this happens to be the third one I've reviewed and my least favourite by far of those three. Loved his "Canaxis 5" release from the late 60's and to a lesser extent "Full Circle" from 1982 but this particular album goes places I do not like. Lots of humour and of course sampling. Everyone from CAN but their vocalist is involved on one track here while Jaki Liebezeit does play drums and congas throughout. Holger thanks John Foxx of ULTRAVOX for pushing him to finish this album when he wanted to give up. This was released in 1979.

Up first is "Cool In The Pool" a poppy and humerous tune that I cannot hardly stand(haha). Catchy but lame especially the vocals of Holger and the lyrics. Oh my! Lots of silliness late. So yes this is getting off on the wrong foot big time. "Oh Lord Give Us More Money" has all the CAN guys helping out but Damo. Sadly Holger's vocals really disappoint. Lots of repetitive beats, synths and guitars. It kicks in loudly after 3 minutes with vocals almost shouting the words. Samples before 4 1/2 minutes go on for some time then more vocals. We get an extended instrumental section late.

"Persian Love" actually does work sounding very much like a Persian love song with male and female vocals. It's kind of cool actually and my favourite from the album. "Hollywood Symphony" is the longest tune at 15 1/2 minutes but I'm not convinced. We get vocals in a strange soundscape and synths give us this orchestral vibe. Suddenly before 2 1/2 minutes we get random snippets of Hollywood movies. This is all over the place though and I'm just not into it at all.

So I would recommend "Canaxix 5" and "Full Circle" to anyone wanting to check out Holger's solo stuff but for my tastes this was a disappointment. 3 stars.

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Krautrock bands/artists list

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