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KRAUTROCK

A Progressive Rock Sub-genre


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Krautrock definition

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

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

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

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

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

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

Philippe Blache
December 2007

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Krautrock Top Albums


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

4.21 | 190 ratings
HOSIANNA MANTRA
Popol Vuh
4.16 | 264 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.26 | 73 ratings
EDGE OF TIME
Dom
4.08 | 236 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.05 | 308 ratings
PHALLUS DEI
Amon Düül II
4.07 | 240 ratings
NEU!
Neu!
4.04 | 333 ratings
YETI
Amon Düül II
4.10 | 132 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.01 | 378 ratings
FUTURE DAYS
Can
4.16 | 85 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.14 | 85 ratings
KÄNGURU
Guru Guru
4.12 | 89 ratings
SELIGPREISUNG
Popol Vuh
4.04 | 152 ratings
ELECTRIC SILENCE
Dzyan
4.64 | 22 ratings
EISZEIT
Gam
4.01 | 196 ratings
MALESCH
Agitation Free
3.93 | 450 ratings
TAGO MAGO
Can
4.02 | 104 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.98 | 128 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
4.19 | 42 ratings
A.R. IV
A.R. & Machines
3.92 | 211 ratings
WOLF CITY
Amon Düül II

Krautrock overlooked and obscure gems albums new


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

ARKTIS TAPES
Arktis
WELTSCHMERZ
Siddhartha
4 TIMES SOUND RAZING
Silberbart
SUPERNOVA
Ibliss

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Latest Krautrock Music Reviews


 Preternaturals by GRUMBLING FUR album cover Studio Album, 2014
4.00 | 2 ratings

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Preternaturals
Grumbling Fur Krautrock

Review by Lear'sFool

4 stars Another indietronic band hearkening back to krautrock and the Berlin School, Grumbling Fur have here a very good set of tracks. Their style is firmly rooted in modern indietronic mores, but they pull various tricks and ideas, mainly and especially complexity, from the early German pioneers. The result is The Postal Service meets Klaus Schulze. We are left with a few tracks of ambient leaning electronica done in a rather proggy and indiecentric fashion, and it sounds great. For instance "Secrets of The Earth" is your usual indietronic track, but now with the spirit of Tangerine Dream on the mind. This is more an indietronic fan's dream, but prog electronic fans could find something to really love here too.
 Modular Living by EAT LIGHTS BECOME LIGHTS album cover Studio Album, 2013
5.00 | 1 ratings

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Modular Living
Eat Lights Become Lights Krautrock

Review by Lear'sFool

— First review of this album —
5 stars This album of Eat Lights' leans particularly heavily on electronics, and with this being their style of electronica being done best this is a masterwork. Their electronic half blends Berlin School styles and mores with modern styles and mores, here mainly indietronic, and makes sure to send it through the prog wringer. Results are spectacular when they are in form. The title track is a wonderful piece of progified indietronic, and "Rowley Way Outlook" is a very atmospheric and dynamite track. Those and the also ethereal "Habitat '67" are the best tracks. In general, the band proved they could set aside their krautrock tendencies and still come out with a great record. All electronica fans, especially prog electronic and indietronic fans, will love this work.
 Into Forever by EAT LIGHTS BECOME LIGHTS album cover Studio Album, 2014
4.00 | 1 ratings

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Into Forever
Eat Lights Become Lights Krautrock

Review by Lear'sFool

— First review of this album —
4 stars Eat Lights Become Lights is at once a band of krautrock revivalists, of Berlin School revivalists, and of modern electronic artists. They play a motley mix of krautrock and various electronic sounds in a generally trance style. They do pretty good work, but it isn't too much to write home about. "Velocet Vir Nesat" is the best track, opening this album with a krautrock leaning heavy trance guitar, backed by bass, drums, and an electronic atmosphere. Beyond, there are some great krautrock pieces, and decent electronic pieces - they've done great electronics in the past, but that side of their style has lost some of its edge here. This of course sinks the record to a degree. Still, a nice, enjoyable selection of tracks. Recommended, and I would hope the band get back to top form for their next release.
 Vol I & Vol II by KONTRAST album cover Studio Album, 2008
3.33 | 6 ratings

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Vol I & Vol II
Kontrast Krautrock

Review by apps79
Special Collaborator Neo Prog Team

2 stars After the dissolution of Out of Focus around 1979, their guitarist Remigius Drechsler joined Embryo for about a year.He toured with the band in Europe and North Africa and then decided to work on some solo compositions at his own home studio.He regularly invited musicians to jam with, like ex-Out of Focus bandmates Moran Neumuller on flute and Ingo Schmid-Neuhaus on sax/piano and less-known artists like Richard Netusil on guitar/percussion, Marika Schmid-Falk on percussion/vocals, Christian Baeck on sax and Paul Smyth on voices.Two years of recordings ended up to a 1986 vinyl issue under the name of Kontrast, released on what supposed to be Dreshler's own Remi Records.

The whole opening side is dedicated to a long instrumental improvisation called ''Suite for the young girl'', coming in an totally abstract, experimental mood with lots of sax, flute and percussion.His stint with EMBRYO apparently had an impact on Dreshler's current influences and the material here comes as a cross between EMBRYO'S Ethnic Fusion with dominant African influences and compatriots OREXIS' acoustic experiments, as this one offers a hell of of acoustic bass lines.Apart from some spoken workds and wordless voices, the music is all instrumental with a typical psychedelic feel and strong acid orientations, featuring endless soft sax and flute solos and the constant presence of acoustic bass, flavored by ethnic-styled percussion and vocal chords.With the 12-min. ''Trip'' Kontrast set things in a light Fusion matrix, which still retains an experimental approach, now mostly based on vibraphone, flute and acoustic guitar.A steady rhythm and the heavy improvised solos are again the driving forces of this long, pretty sterile effort.''Opus dope us'' ranges from straight Jazz to minimalistic soundscapes, this is definitely an extreme paradigm of trippy, atmospheric and deeply psychedelic music with low sax and piano lines and a very hypnotic feeling, where some of the initial ethnic stylings return.''Let's fetz'' clocks at only 2 minutes, but comes as a real surprise with Kontrast eventually putting up some nice effort on passionate Psychedlic Fusion with a cry kicking off a passionate performance on saxes, piano and percussion, this is certainly the most Kraut-edged execution on the album.

Ultima Thule's Cosmic Egg sublabel reissued the album in 2008 in CD format under the title ''Vol. I & II'', featuring extra material from this period.I really didn't care much about the news, as this is far from the blistering Kraut Fusion lines of the 70's and more into Experimental Jazz/Folk.I guess this style has some fans out there, for whom this could be an interesting listening, but I doubt that Prog and traditional Kraut Rock lovers will trully appreciate ''Kontrast''.

 Tanz Der Lemminge (Dance of the Lemmings) by AMON DÜÜL II album cover Studio Album, 1971
4.08 | 236 ratings

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Tanz Der Lemminge (Dance of the Lemmings)
Amon Düül II Krautrock

Review by Lear'sFool

5 stars The magnum opus of a vast and great discography, and one of my most played records, "Tanz der Lemminge" edges out as the pinnacle of Amon Duul II's career, and as such is one of the thirteen greatest krautrock albums. The course of the album goes through two suites, a side long improv jam, and a few spare tracks, all excellent. "Syntelman's March of The Roaring Seventies" is the best side, with a wonderful mix of really rocking krautrock, acoustic interludes, electronic effects, surreal lyrics, and wild experimentation. It is the truly perfect and most widely liked part of the opus. "Restless-Skylight-Transistor-Child" is the strangest side, with the formula for the first side taken to particularly crazed and experimental heights, and the rock rocks harder. "The Marilyn Monroe Memorial Church" is the jam, a whole side of improv through electronics and light rock apparently made for an obscure film. It is relaxing, and enjoyable both as that and as a trip. The final side is three chaff tracks that are still excellent, a final hurrah of rock. Everything is well played, well thought out, deliciously complex and varied. This album is just wonderful and mind blowing in equal, massive measure. A must listen for all prog rock fans.
 German Oak by GERMAN OAK album cover Studio Album, 1972
3.70 | 33 ratings

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German Oak
German Oak Krautrock

Review by Lear'sFool

5 stars In the early '70's, a few young musicians from Dusseldorf, newly baptised into the hippie movement, yet still angry at the actions of the previous generation, retreated into an abandoned war era bunker under the city. There, with cheap instruments, and cheaper recording equipment, they managed to cut a strange, dour hidden gem for krautrock. The result was hated and panned when it first surfaced, but would later be vindicated for what it was. So most of the album is a dark, tinny, claustrophobic rumination on the war and horror the Nazis wrought. Particularly terrifying voice samples of Hitler, and of falling bombs, hammer home the bleakness of war and how evil the party was. It feels like the whole war is just falling down on you. The recording techniques and makeshift recording studio result in the lo-fi sound quality that high fives that of the first Smiths album, but, and this is an important lesson to learn, lo-fi has its uses, and this is one of them. This album could not ever be as claustrophobic, as off, as horrifying, without it sounding like it came from a mine in Cornwall. We are in the bunker with the band as they play their anger out. Seventeen chords and the truth. Eventually, the rage the band had is quenched, and then they jam. The SQ is no better, but it is a unique effect, interesting to listen to the psychedelic throwdown through the lens of war's SQ; perhaps this is the aftermath, still dark, but now hopeful. The instrumentation is wonderful, and more people here would find much to love had this been hi-fi. The band, through the playing, sampling, and choice of recording techniques, were just excellent. The hatred came from being mistaken for being pro-war when the album first surfaced, and then compounded by those who listened to it and hated the sound quality, but this is a tin coated masterpiece. And it should never be listened to any other way.
 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.82 | 46 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by Lear'sFool

5 stars One of the three magicians behind the brain melting "Ash Ra Tempel", Manuel Gottsching had long before 1975 proven himself a master guitarist and an early wizard of electronic effects. By that year, though, his band had fallen apart. His response? Just make an album of him multitracked, playing several guitars at once as in a trance. "Echo Waves" immediately shows the wonder of his style: his skill on guitar translates to quick moving yet soothing chords and solos that together bring the listener to a world of active peace. Makes me think of the celebratory heaven described in Dante's "Paradiso". "Pluralis", on top of the hazy guitars, also has synth-esque guitar, that ever so elusive and special sound. Gottsching had cracked the flip side of ambient, fiery rather than slow, even before Eno's Ambient Series. Very impressive on top of being very enjoyable, a unique cornerstone of relaxation music.
 Vortex by AMON DÜÜL II album cover Studio Album, 1981
2.82 | 27 ratings

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Vortex
Amon Düül II Krautrock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars `Vortex' was the only album released by German Krautrock collective Amon Düül 2 in the Eighties, and a surprisingly convincing one it was too. A cross between `Vive la Trance' and `Made In Germany', only eight strong compositions on offer meant there's none of the throwaway moments that plagued those albums, and there's a thankfully tighter focus on strong songwriting that still allows the proper Düül personality to pop up throughout. It's a little straight-forward in a few moments, yet there's very little that was actually aiming to appeal to music charts, as if any combination of Amon Düül could ever hope to actually be completely mainstream! The chemical-addled debauchered delicious jamming of the band's past may have been mostly gone, but many of the classic Düül traits emerge in spirited moments throughout.

The album opens with the title track `Vortex', a surprising cold instrumental electronic drone that doesn't instantly remind of any expected Düül sounds, it's whipping drum machine programming a real shock on first listen. A slight eerie gothic mood is heightened by ghostly wordless wailing harmonies, liquid bass slinking around with occasional nice fat stabs. `Holy West' is a dusty country rocker that moseys along in a lazy fashion, sounding like something that might have come from the later Jefferson Airplane albums, and a catchy tune it is too. Düül leading lady Renate Knaup sounds stronger and vocally more controlled than ever before, and it proves what a hell of a singer she is. There's classic Düül sounds on `Die 7 Fetten Jahr', a mix of growling guitar distortion, fevered dual male/female vocals, bent spoken-word breaks, synth trickles and frantic up-tempo bursts. `Wings of the Wind' lurches back and forth between a gutsy power ballad and more up-tempo fiery guitar jamming. It's sung well by Renate, but group harmonies in the chorus are a little too cigarette lighter waving and obvious.

Side B's `Mona' is an infectious and sophisticated pop/rocker with waltz-like violin and some welcome wavering synth weirdness, all topped off beautifully with a playful and sweet vocal from Renate. Just as worthwhile is `We Are Machine', a mysterious space rocker woven to a powerful rock tune, with a chest-beating vocal from Renate on the verses, a wasted treated male drawl on the chorus, leaping bass and restrained acid-friend guitar wailing. Best of all is `Das Gestern Ist...' , the perfect combination of exploratory early Düül and with their accesible tuneful side (sung in German this time). A hypnotic droning mantra- like mood, chanting, distorted guitar snarls, mucky saxophone, dirty grooves and a return of the more deranged acid Goddess Renate from the earlier albums, all woven to a melodic and catchy chorus - older fans will really dig this one! Parts of closer `Vibes in the Air' are laid-back and a breezy vocal from Renate and drowsy acoustic guitar, but there's little fiery shambling eruptions and plodding intensities that burst forth.

It's a shame that it would take the band 14 years to release a follow up to this album, as `Vortex' is really rather decent, and certainly not a badly dated relic of an era not exactly known for inspired releases in this and other progressive related styles. It would have been interesting to see if the inspiration and purpose that emerged on this album would have sustained soon after, and it's probably more consistent than most of their albums that came after `Wolf City'. The heady days of the old Düül may have been mostly gone, but the fire and defiant individuality were still present, so fans should definitely look into this if they come across it. Their early classics will endure, but there's still unappreciated little gems to discover from the mighty Amon Düül 2.

Three stars.

 Cozmic Corridors by COZMIC CORRIDORS album cover Studio Album, 1974
4.30 | 11 ratings

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Cozmic Corridors
Cozmic Corridors Krautrock

Review by Lear'sFool

5 stars The whole psycadelic phenomenon, from its mid-sixties roots to the end of the krautrock movement, gave the world many lost gems and hidden treasures, and perhaps the best and one of the most unique amongst these is the lone self-titled record by a one Cozmic Corridors. These four Deutschers crafted an LP driven by the varied use of various keys and electronic effects. On "The Summit" alone, the band gives us a pretty use of minimoog, then towards the middle gives a strange and disquieting key and guitar combo that could even be considered proto-industrial, before going into a cathedral filling organ section. Putz's percussion helps round out the keys. On top this, "Niemand Verstent" allows Forster's guitar to really shine, and the closer, "Daruber", has keyboardist Meyer multitrack himself chanting. Both beautiful and gloomy in equal measure at the same time, this stands alongside the classics of krautrock as a skillfully performed masterpiece.
 Klopfzeichen by KLUSTER album cover Studio Album, 1971
2.88 | 16 ratings

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Klopfzeichen
Kluster Krautrock

Review by Lear'sFool

5 stars The second side of "An Electric Storm" and sides three and most of four of "Tago Mago" are all proto-industrial, but Kluster had to be the first project to wish to make music that actually sounded like machines. Holed up in a church, free to enlist the help of choir singers, they threw down three albums in a short amount of time, and then lost Conrad Schnitzler and so renamed themselves Cluster and balanced more down to earth electronics with more usual krautrock. But the damage was done and four years later we had two groups of punks calling themselves Throbbing Gristle and Cabaret Voltaire who seemingly wanted to make music specifically to make girls run in terror. So as an industrial person as much as a proghead I owe just about everything to these three crazed geniuses and their lovely, word twisting singer. And "Klopfzeichen" stands as an excellent album in its own right, and stands the test of time as well. There isn't too much to the music, with it being carefully constructed loops of dour, gloomy, at times mechanical electronic soundscapes that aren't the most lively. But it still works, creating something between dark ambient and "After Cease To Exist" a whole six years before the latter and a whole eleven before an example of the former were themselves put to wax. And it was groundbreaking. Especially in light of its year of creation: Kraftwerk were still doing krautrock at this point; electronic music in general was still in its infancy. On top of that Runge's singing adds a strange and eerie quality to the record, especially early on as the band multi-tracks her on top of herself several times over. And as previously mentioned, her lyrics are heavy on some juicy wordplay. This isn't so much a milestone of prog or even of non-industrial electronica, but it is a lost classic and a major foundation for a whole other genre. Industrial people need to listen to this to get in touch with their roots; prog electronic fans need to listen to this to get a whole new experience under their belt.
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Krautrock bands/artists list

Bands/Artists Country
A.R. & MACHINES Germany
ACHTZEHN KARAT GOLD Germany
AGAM Germany
AGITATION FREE Germany
AINIGMA Germany
AIR Germany
ALASKA RANGE Switzerland
ALCATRAZ Germany
ALEX ORIENTAL EXPERIENCE Germany
ALTONA (GER) Germany
ALUK TODOLO France
AMON DÜÜL Germany
AMON DÜÜL United Kingdom
AMON DÜÜL II Germany
ANIMA-SOUND Germany
ANNEXUS QUAM Germany
ANT-BEE United States
ARKTIS Germany
ASH RA TEMPEL Germany
ASHTRAY NAVIGATIONS United States
ASTERIX Germany
AVARUS Finland
AWAKE & GALLO Greece
BABA YAGA Germany
BACKNEE HORN Israel
BAD STATISTICS New Zealand
HERBERT F BAIRY Germany
BAUMSTAM Germany
BEAK> United Kingdom
JERRY BERKERS Germany
BETWEEN Multi-National
BLACK SPIRIT Italy
BLACKBIRDS Germany
BLACKMANN LANE Germany
BLACKWATER PARK Germany
BLUMEN DES EXOTISCHEN EISES Germany
BOKAJ RETSIEM Germany
DON BRADSHAW-LEATHER United States
BRAINTICKET Switzerland
BRAST BURN Japan
CHRIS BRAUN BAND Germany
BRAVE NEW WORLD Germany
BULLFROG Germany
ROMAN BUNKA Germany
CAMERA Germany
CAN Germany
CHEVAL FOU France
CLUSTER Germany
CODE III Germany
COLOUR HAZE Germany
TONY CONRAD Multi-National
CORNUCOPIA Germany
COSMIC CIRCUS MUSIC Germany
THE COSMIC JOKERS Germany
COUPLA PROG Germany
COZMIC CORRIDORS Germany
CRAVINKEL Germany
CURLY CURVE Germany
CYCLOPEAN Multi-National
HOLGER CZUKAY Germany
DAMENBART Germany
DARSOMBRA United States
DAVENPORT United States
DEAF Switzerland
DEJA VU (GER) Germany
DEUTER Germany
DIES IRAE Germany
THOMAS DINGER Germany
DOLOROSA France
DOM Multi-National
DREAMWORLD Germany
DROSSELBART Germany
DRUM CIRCUS Switzerland
DSCHINN Germany
DULL KNIFE Germany
DÜDE DÜRST Switzerland
DZYAN Germany
EAT LIGHTS BECOME LIGHTS United Kingdom
EGYPT IS THE MAGICK # United States
EILIFF Germany
EJWUUSL WESSAHQQAN Germany
ELECTRIC MUD Germany
ELECTRIC ORANGE Germany
ELECTRIC SANDWICH Germany
EMMA MYLDENBERGER Germany
EPSILON Germany
ERLKOENIG Germany
ERNA SCHMIDT Germany
EROC Germany
ERUPTION Germany
ET CETERA (DE) Germany
EULENSPYGEL Germany
FATHER YOD AND THE SPIRIT OF '76 United States
FAUST Germany
FIFTH DEAD Germany
FILLE QUI MOUSSE France
FLOH DE COLOGNE Germany
FLORIAN GEYER Germany
FOTOSPUTNIK United States
FRANKIE DYMON JR. Germany
FRIEDHOF Germany
FRIENDSOUND United States
FROB Germany
GÄA Germany
GAM Germany
GASH Germany
GEBARVATERLI Germany
GERMAN OAK Germany
GIFT Germany
GILA Germany
GOLEM Germany
SERGIUS GOLOWIN Germany
MANUEL GÖTTSCHING Germany
GRAVE Germany
GRAVESTONE Germany
GREEN WAVE Germany
GRUMBLING FUR United Kingdom
GURU GURU Germany
GURUMANIAX Germany
HABOOB Multi-National
HAIRY CHAPTER Germany
HANUMAN (LIED DES TEUFELS) Germany
HÄX CEL Germany
IBLISS Germany
IGNATZ Belgium
IHRE KINDER Germany
IMPROVED SOUND LIMITED Germany
INSTANT DRONE FACTORY Multi-National
IRMIN'S WAY Multi-National
JERONIMO Germany
JUD'S GALLERY Germany
KANOI Austria
KAPUTTER HAMSTER Germany
KEMIALLISET YSTÄVÄT Finland
KILLED ON X-MAS Germany
KLUSTER Germany
KOLLEKTIV Germany
KONTRAST Germany
KOSMISCHER LAÜFER Germany
JEAN-JACQUES KRAVETZ Germany
KROKODIL Switzerland
LA DÜSSELDORF Germany
LA!NEU? Germany
LARD FREE France
LAVA Germany
LIFE Germany
LIGHTSHINE Germany
LIMBUS 3 & 4 Germany
LISTING SHIPS United Kingdom
LOKOMOTIVE KREUZBERG Germany
MAGDALENA SOLIS Belgium
MAGMA Germany
MAGNETIK NORTH Multi-National
MAHOGANY BRAIN France
MCCHURCH SOUNDROOM Switzerland
MERLIN; SWARA; ILOR & FRIENDS Multi-National
METABOLISMUS Germany
METROPOLIS Germany
MITTELWINTERNACHT '71 Germany
MOOLAH United States
MOON OF OSTARA United Kingdom
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
THE NAZGUL Germany
NECRONOMICON Germany
NEU! Germany
THE NO-NECK BLUES BAND United States
NOSFERATU Germany
RALF NOWY Germany
NU & APA NEAGRA Romania
OKTOBER Germany
OMOIDE HATOBA Japan
ONYOU United States
ORANGE PEEL Germany
PACIFIC SOUND Switzerland
PANCAKE Germany
PANKO MUSIK Germany
PATERNOSTER Austria
POPOL VUH Germany
PRINCESS FLOWER AND THE MOON RAYS Multi-National
PROF. WOLFFF Germany
PROSPER Germany
PSYCHEDELIC MONSTERJAM Germany
PYRAMID Germany
PYRANHA Switzerland
MICHAEL ROTHER Germany
RUFUS ZUPHALL Germany
SAMETI Germany
SAND Germany
SCARECREW Germany
SEEDOG Germany
SEIKAZOKU Japan
SEMOOL France
SHANNONDOA Germany
SIDDHARTHA Germany
SIINAI Finland
SILBERBART Germany
SILENT CARNIVAL Italy
SILOAH Germany
SILVESTER ANFANG Belgium
SINTO Germany
SITTING BULL Germany
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPERRMÜLL Germany
STAN UND HILDA Germany
SWARA SAMRAT Germany
MITSURU TABATA Japan
TASTE OF BLUES Sweden
TEARPALM Serbia
TEMPLE Germany
THINK Germany
THRICE MICE Germany
TIERE DER NACHT Multi-National
TON STEINE SCHERBEN Germany
ULI TREPTE Germany
TRIKOLON Germany
TRIP TO ELARA Germany
TWOGETHER Germany
UCHIHASHI KAZUHISA & MANI NEUMEIER Multi-National
ULENSPIEGEL Germany
ULTRALYD Norway
UTOPIA Germany
VAMPIRES OF DARTMOORE Germany
VELJENI VALAS Finland
VERDE (MIKA RINTALA) Finland
VIBRACATHEDRAL ORCHESTRA United Kingdom
VINEGAR Germany
VIOLENCE FOG Germany
VIRGIN'S DREAM Germany
CHRISTIAN VON ESCHERSHEIM Germany
WALTER WEGMÜLLER Germany
WIND Germany
WOODEN VEIL Multi-National
XHOL CARAVAN / XHOL Germany
YA HO WHA 13 United States
YATHA SIDHRA Germany
ZIPPO ZETTERLINK Germany
ZWEISTEIN Germany

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