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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

- Meltdowner
- siLLy puPPy
- Rivertree
- Tapfret
- HarryAngel746

Krautrock Top Albums


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

4.16 | 317 ratings
HOSIANNA MANTRA
Popol Vuh
4.23 | 145 ratings
EDGE OF TIME
Dom
4.13 | 400 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.11 | 601 ratings
FUTURE DAYS
Can
4.10 | 499 ratings
YETI
Amon Düül II
4.42 | 54 ratings
EISZEIT
Gam
4.08 | 343 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.11 | 192 ratings
GILA [AKA: FREE ELECTRIC SOUND]
Gila
4.05 | 383 ratings
NEU!
Neu !
4.04 | 436 ratings
PHALLUS DEI
Amon Düül II
4.14 | 129 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.36 | 43 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.06 | 146 ratings
KÄNGURU
Guru Guru
4.03 | 201 ratings
ELECTRIC SILENCE
Dzyan
3.97 | 681 ratings
TAGO MAGO
Can
4.06 | 139 ratings
SELIGPREISUNG
Popol Vuh
4.03 | 154 ratings
VOLUME 10
Electric Orange
3.98 | 288 ratings
WOLF CITY
Amon Düül II
4.02 | 150 ratings
AGUIRRE
Popol Vuh
3.97 | 277 ratings
MALESCH
Agitation Free

Krautrock overlooked and obscure gems albums new


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

MAGIC THEATRE
Drum Circus
MY SOLID GROUND
My Solid Ground
DELUSION
McChurch Soundroom
SUPERNOVA
Ibliss

Latest Krautrock Music Reviews


 Spiral Galaxy by SPIRAL GALAXY album cover Studio Album, 2020
4.09 | 3 ratings

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Spiral Galaxy
Spiral Galaxy Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars I wonder why this band name hasn't been occupied for so long. Anyway, SPIRAL GALAXY is a relatively new cosmic duo based in Chicago. Sara Gossett (vocals, flute) and Steve Krakow (vocals, guitar, synths) are building the core. The latter also known for making music under the moniker Plastic Crimewave by the way. And they are having a close collaborator, or maybe occasional member, his brother Adam aka Hands Of Hydra, multi-instrumentalist, audio engineer and producer. This is the official debut album, released in 2020 on Cardinal Fuzz, consisting of four tracks. Hereby they obviously are drawing influences from the Kosmische vibe of 60/70s krautrock bands. That crys for having some special guests involved, right? And so Jean-Hervé Péron from the avant band Faust (still on the road) is aboard too, alongside with Kawabata Makoto and several other supporters.

Being rather experienced in the meanwhile, due to the acclaimed participation in diverse festivals, they have recorded an album showcasing a hallucinogenic, devotional and gripping atmosphere. Celestial Omen opens very much in the vein of Yatha Sidhra, Popol Vuh, AR & Machines, seemingly aimlessly meandering, with swirling guitars and synths, sitar, and undefinable extraterrestrial voices. Tragique Mechanique then is provided with a simple motoric beat, just like coming from a bass drum. Nice flute, intrusive synths and some narration in ... yep, according to the track title ... French language. If one might expect this will run into an arbitrary boring direction sooner or later, well, he/she makes a big mistake. The second part of the album continues this compelling cosmic trip with ease and bravura. Based on his Achim Reichel inspired guitar presence an extra bravo goes to Hands Of Hydra. Recommended neo kraut stuff.

 Malesch by AGITATION FREE album cover Studio Album, 1972
3.97 | 277 ratings

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Malesch
Agitation Free Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars We can feel such a hallucinogenic atmosphere via a combination of free jam sessions and sensitive production. One of Krautrock masterpieces "Malesch" released in 1972 by a German psychedelic giant AGITATION FREE can be called as a supermixture of worldwide music scenes. Apparently in the whole album, weird electronic tendency, tribal oriental melody streams, heavy guitar-based rock vibes, indo-raga moments, heartwarming mellotron buffers, repetitive percussive movements are spread out based upon flexible freaky jamming psychedelic sound ground. In addition, the creation sounds not simply improvised nor inspired but also well planned and calculated ... at least for me. We would get intimidated into silence by their colourful, kaleidoscopic sound variation. Not continuously pushy but sometimes mellow and dreamy.

"Khan El Khalili" is a slowtempo, improvisational jamming with long trippy repetitions mainly by acoustic and electric guitar talks plus smooth rhythmic section plays, upon a keyboard-oriented silky flying carpet. And the titled track also has mysterious melodic dissonance. Such a smoke melodic screen like this is crazy impressive, but wondering why we can accept their tricky, camouflagic attention so easily. On the contrary, the first "You Play For Us Today" is full of indo / raga percussive improvisation, nervous guitar navigation, and sarcastic electronic seasoning ... this soundscape is quite authentic in the Krautrock world. "Sahara City" is a simple, desert, dry-fruity one, that reminds us all of AF members would have played under contemplation. The latter phase has deeply heavy, cool strain atmosphere. The following "Ala Tul" is more and more of inspiration filled with tribal percussion and hazy structure. The last "Rücksturz" is melodic catchy electro-guitar dancing that should be suitable for the epilogue of this fantasy.

Honest to say, this impressive album launched in the early 70s should be more and more appreciated.

 All-Bumm by ACHTZEHN KARAT GOLD album cover Studio Album, 1973
2.22 | 13 ratings

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All-Bumm
Achtzehn Karat Gold Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

2 stars At first let me say please, this legendary album created by four Krautrock vanguards sounds like a good bluesy psychedelic rock stuff basically. But just kidding for me that this album belongs to the Krautrock subgenre. Their pioneering works around 1970 might let every Krautrock freak think this is kinda Krautrock-ish, I guess. "All-Bumm" features 11 short tracks each of which is catchy and comparably smooth, acceptable even for pop fans. Some of the tracks have Kraut-y quirky electronic tinge (especially "Flying"), that you can dare feel German-psychedelika- electronika, but for example in "See Me In Your Dreams" East-Coast-like mighty freaky voices would drive you out of the progressive rock world definitely. The first "Going Home" sounds primitively comfortable and of fluent pop. Cannot imagine why they can be categorized as a Krautrock combo, or why they can be in the progressive rock territory even now. Do not misunderstand me, I'm not saying the quality of this album is bad, but sadly I cannot find any innovative movement via their only one creation, that should not be as novel as Sitting Bull's "Trip Away" or Pancake's "Roxy Elephant". Simply said, a collector's item.
 Letters from the Earth by NO-NECK BLUES BAND, THE album cover Studio Album, 1996
3.00 | 1 ratings

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Letters from the Earth
The No-Neck Blues Band Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

— First review of this album —
3 stars The No-Neck Blues Band are thought as a musical / spiritual commune to launch their flexibly styled sound collective created and dispersed through their inner minds. "Letters From The Earth", released in 1996 as a double cd, has two long (over thirty minute) tracks full of improvisation and critical discordance all around.

"John The Baptist" can be mentioned as one of their masterpieces. Addictive repetitive percussive sound / noise dissonance plus fuzzy, kinky, freaky saxophone attacks (by a guest saxophonist Tamio SHIRAISHI) can beat and stimulate you completely. Their sound structure in this track is constructed with much tribalism and orientalism. And it's quite mysterious and mystic this weird sound agents smoothly approach and infect you ... and upon the last stage their violent invasion ends up with an eccentric quietness. What a drastic fantasia. "Isopropyl Ocean" is more spacey departure. Simple inorganic noise combination is quirky, but you can get immersed in improvised drumming seasoning beneath the stuff. As the suite goes forward, the noisy magical spell gets more and more enthusiastic. "Montana Morning" is harder and more rigid. Deep, dark, but colourful noise junks are formed loosely. Tamio's nihilistic saxophone play is also impressive. Esoteric, sarcastic, apotheosized soundwaves might be emitted via their primitive or machinery instruments I imagine. Such a crazy sound dissection, basically discordant, would be squeezed into your ears and consolidated in your brain. Yes it's got concordant in you.

This improvisational sound collective inspired by something monotheismic cannot be recommended for every Krautrock fan actually, but I'm curious what impression you have via this strangeness.

 Neon Heart by NEON HEART album cover Studio Album, 2020
3.95 | 3 ratings

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Neon Heart
Neon Heart Krautrock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Inventive modern Krautrock from these Stockholm-based band of Swedes. WARNING: This is an album that should be listened to all the way through!

1. "Hashima" (09:52) fairly boring and exceedingly steady rhythm track over which heavily-treated guitar, viola, and sax weave a very airy, spacious, and loose tapestry of floating music with just a hint of Middle Eastern sound. (17/20)

2. Det händer ingenting (07:27) opens with heavily-effected and echoed solo voce before bass, toms, and buzz guitar set up rhythmic riff-oriented tracks of their own. I feel as if this is the kind of music Brian Eno would facilitate from the TALKING HEADS or even the DOORS were he producing an album from them today instead of 1980 (or 1969). Odd sounds creating an even odder yet-super interesting and surprisingly engaging and hypnotic sonic weave. (13.75/15)

3. "Dagarna försvann" (03:59) deep, primal groove with experimental electronic noises coming form guitar and viola. In a very weird coincidence, a DAVID BYRNE-like vocal issues forth from Johnny Kern. Again, the groove and soundscape is so trance-inducing. Probably my favorite song on the album. (9.25/10)

4. "Till dig ännu en gång" (09:09) very interesting modern soundscape of modern sounds, effects, and stylings filtered into a Krautrock form. The bass line is almost Reggae. The vocalist is almost Adrian Belew. The horn notes and fuzzy electric guitar give it a 1960s feel. The effects on everything make it sound so acid rock. Then odd plucked muted-viola notes are somehow added to the mix in the third minute throwing everything into a small world cacophostry, beginning the unsettling process of what seems like the unraveling of world order. Quite new and unusual. Kudos! Another top three song for me! (18.5/20)

5. "Tupolev in the air" (08:55) has a little bit of an acoustic jazz feel due to the bass and drum play, while atonal viola is plucked and fuzzy guitar buzzes and cries. There's a little KOOP-like feel in that repeated, hypnotic rhythm track. Sax and heavily-fuuzzed guitar strums sounding like a bank of Caribbean horns enter in the fourth minute really throwing things off. Then the bass and drums slowly, almost imperceptibly begin to shift the rhythm track, changing the speed, as well, becoming a straightforward CAN-like song. Interesting how they got all these wild "synthesizer" sounds without using keyboards. (17.25/20)

6. "Dagar försvinner" (03:19) more experiments with four or five tracks playing their linear music in what feels like each their own separate universe. Somehow it all stays fairly close together, works as a "loose weave." Nice melodies from the viola, vocalist, and saxophone. Intriguing! An entirely alternate universe version of song #3! My final top three song. (9/10)

Total Time 42:43

An amazing album of completely new sounding music that has totally caught me off guard! I am stunned and under their spell. I find it interesting that the weakest song is the long instrumental opener. Had I stopped listening there, I would have missed something extraordinary!

B+/4.5 stars; a near-masterpiece of progressive rock music pushing the boundaries of Krautrock farther than I've heard them pushed in years! I so badly want to issue the full five stars for this album--it's that interesting--but that opening (long) song is just too weak.

If you check out this album, please either skip the first song or don't stop there: There is some amazing music to discover in the rest of the album!

 Fever Knife by FEVER KNIFE album cover Studio Album, 2015
2.95 | 2 ratings

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Fever Knife
Fever Knife Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

3 stars Welcome to a Finnish noise / ambient experimental world. I love Finnish psychedelic scene like Sperm / Pekka Airaksinen, Dark Buddha Rising, Avaruuskorpraali Paha Hirvi, Kemialliset Yst'v't / Tomutonttu ... and obviously this quintet have been influenced not only by Krautrock pioneers like Can, Ash Ra Tempel, Guru Guru, especially Faust, but also by the vanguards as mentioned. This eponymous album is filled with drone, fuzzy, repetitive, hallucinogenic sound aroma.

"Fieberbahn" is kinda authentic stuff. Psychedelic guitar-based helical melodic patterns go forward endlessly. This atmospheric spacey texture should be in the same vein of Hawkwind or Paha Hirvi. Direct invasion into our brain is crazy addictive. Such a cool narcotic. "Die Mystische Nutte" sounds like a downtempo, shoegaze, collapsing sound burn that has been enough incubated deeply in their inner world. "Charlie Don't Surf" has mysterious dissonance all through the tune. Dissected sound movements are beyond expression. "Go-Go Cyclin'" is an enjoyable psychedelic blues song, sorta intermission in this opus, let me say. "Cosmic Solitude" is one of the most ambient / improvised turns. I'm always tempted to this track actually. "Now" reminds me of the similarity to Acid Mothers Temple upon stage. The guitar shouting is quite chilling. The last quietest one "Slow Moving Particles" is mystically sententious. The shortest song could give me something heartwarming.

Conclusively this album is not innovative nor flavourful but stimulative for us Krautrock / Spacerock freaks who are strongly in favour of such a soundscape. My love? Yes.

 Live in China by GURU GURU album cover Live, 2020
3.00 | 2 ratings

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Live in China
Guru Guru Krautrock

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars Guru Guru are one of the most well-known bands of the Krautrock movement, and drummer/vocalist Mani Neumeier has been at the helm since their formation in 1968. In 2019 they were invited to play their first ever gig in China, and more than 1000 people turned up to listen. Mani also provides Kaossilator, and the current line-up includes Roland Schaeffer (guitar, saxophone, nadaswaram, vocals), Peter K'hmstedt (bass, vocals) and Jan Lindqvist (guitar, lap steel guitar, vocals). At the time of recording Mani was 79 years old, but one would never imagine that from his playing as he is still powerful behind the kit ' I cannot think of another rock drummer still performing at this level at his age. I wondered if Ian Paice might be in the same league, but he is quite bit younger, as is Carmine Appice.

Having Schaefer in the band providing sax etc allows them to come at music from quite a few different angles, and the overall feeling from this is that here is a band who are incredibly loose and relaxed. They mix krautrock with ambient and RIO, all with a certain flair which only comes from having played so many shows. That being said, I must admit this isn't really for me, but that is down purely to personal taste as opposed to anything inherently wrong with what they are doing. The recording may not be top quality but that fits in with the overall sound, and the reaction from the crowd shows that even though they were in strange territory there were lots of friends around. They played music from throughout their career and in some ways, this can be seen as a historic document. Fans will be pleased to know that not only has this been made available, but that it is actually a DVD + CD set. The band had planned to play more than 200 shows year prior to the pandemic so there is no sign of retirement any time soon.

 Auf Der Bahn Zum Uranus by GÄA album cover Studio Album, 1974
3.54 | 61 ratings

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Auf Der Bahn Zum Uranus
Gäa Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Such an earthy sound and spacey picture like their moniker and the title of their album. "Auf Der Bahn Zum Uranus" was out in 1974 as the debut (and the most famous) album by a short-lived Krautrock legend GÄA. Pretty promising is the uncanny sleeve pic through that you could imagine how crazy this opus be, but via the whole creation you would get authentic psychedelic blues rock with trippy dry-fruity mellotron-based electronic congestion.

Contrary to inorganic spacey voice shots in the beginning, hard and bluesy melody lines based upon heartwarming mellotron-oriented atmosphere plus mystic acoustic guitar spices are crazy impressive via the first track "Uranus". This prologue explains their policy a lot. Basically their musical polarity should be not pushing artistic eccentricity nor asserting hallucinogenic weirdness but launching decent soundscape filled with catchy moments and unexpected cold electronic deposits. Given one of trends in early 70s Krautrock scene, this well-balanced and matured mixture (that reminds me of the similarity to Pinguin's "Der Grosse Rote Vogel" or Air's "Teilweise Kacke ... Aber Stereo") can be heard naturally. "Tanz Mit Dem Mond" has fascinating mellow texture, along with acoustic guitar and soft piano playing ... the last powerful electroguitar explosion is also enchanting though. "Mutter Erde" is another delightful pop / rock featuring immersive guitar sounds and a tad cheap chorus. Sometimes rhythmic distortion and melodic dissection can be heard but who cares ... this manner might make you smile. So-called slowtempo bluesy rock-ish temperature is in the following stuff "Welt Im Dunkel". The song itself is not so interesting indeed but mysterious air is all around amazingly. The self-titled epilogue has the most bombastic, shoegazey energy. Grateful improvised movements seasoned with hightone fulte-managed madness should be another pleasure of German Psychedelic Rock. They could have played this masterpiece upon stage incredibly with relaxing ... you can see easily.

Above mentioned, not so perverted nor kinky as sorta cannabis-created improvisational Krautrock vanguard, but hardrock-y psychedelic enough with sarcastic facets and cool structures. Another royalty of Krautrock? Yes.

 The Last LP by FAUST album cover Studio Album, 1988
3.59 | 18 ratings

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The Last LP
Faust Krautrock

Review by Mortte

3 stars This album is more same kind of compilation of unreleased Faust recordings from seventies as 'Munic and Elsewhere' than really their last album from those days when they disbanded. In the album cover is said this is recorded in 1971, but not sure about that. Also some parts of this were early released in two e.p:s. Really don't understand album name, had the record company then some information Faust will not reunite ever? 'The Faust Party' would have been better name. The same record company also released same year 'Seventy One Minutes Of...' that has this album and 'Munich and Elsewhere' in CD. But unlike 'M & E', this album has lots of material heard in different versions in two Faust seventies albums.

'Party 2' starts the album and it's different version of 'J`al Mal Aux Dents' that is part of excellent 'The Faust Tapes'. 'Party 8' is short, calm but very cheerful instrumental piece played by keyboards. 'Psalter' sounds to me to be exactly same as 'L'uft...Heisst Das Es L'uft Oder Es Kommt Bald...L'uft' in 'Faust IV', there is even that clock ticking in the end. 'Party 7' is unheard, aggressive collage track not to be taken too seriously. 'Party 5' is the last track in a-side and is the least interesting one. It has only drums and percussions with some sound experimentations.

B-side starts with 'Party 1' that is the greatest track in this album. It has something common with 'No Harm' from 'So Far'-album, but is still totally different piece. Hard to believe this very electro track is really recorded in 1971. 'Party 3' has at first helicopter-like electro noise, but then starts instrumental version of 'Giggy Smile'. 'Party 6' is short experimental human talking piece. Last 'Party 4' is again unheard collage piece with many different, but awesome atmospheres.

As a huge Faust-fan really like to give this four stars just because this mostly includes just so great music. But when I am honest, this really isn't 'excellent addition to any progrock music collection' just because this includes so little material you can't find anywhere else in any form. But this is anyway really good, although it's essential only Faust-fans. So it's three.

 Munic And Elsewhere by FAUST album cover Boxset/Compilation, 1986
4.35 | 17 ratings

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Munic And Elsewhere
Faust Krautrock

Review by Mortte

5 stars It is really interesting I have made first review from this really great album! Well, one reason can be that this has released only as vinyl in the eighties and as fas as I know, it isn´t as streaming in the net. Anyway this was the first release from Faust after their "disappearance" in the seventies. There is mystery in that, no-one seems to know what happened, did they just get bored to poor sales of "Faust IV" or were there conflicts between members? Band members didn´t do anything else in this "hiatus"period before reunion in the nineties, somewhere I read they made few concerts as Faust in the eighties. Also Wikipedia claims there exists "Faust V"-cassette, that Virgin records had released in 1975, but there is no information about that in discogs. Anyway in this album there are unreleased recordings made before and after "Faust IV".

I believe first piece, "Munic/Yesterday" is one of those Faust recorded after "Faust IV". You can hear it immediately they were going into new direction. This long piece is really electro sounding and hypnotic. It´s somewhere middle of Can and Kraftwerk, specially repeated vocal parts reminds Can. Electro direction continues in "Don´t Take Roots", but it also has very distorted guitars. Also it´s same kind of collage piece as the ones in their first album and the whole "The Faust Tapes", so I believe it is earlier recording. First side ends into "Meer" that is really serene, but absolutely awesome sounding piece.

Second side starts with "Munic/Other" that really has lots of common with the first sides Munic-piece. First you hear some horn playing, then starts very fast rhythm. All the way this piece is as great as the other in A-side, really I can imagine it played in some experimental rave parties. "Baby" is the most ordinary song in this album, but in the middle song structure breaks and there comes strong rhythm and some distorted and feedbacked guitars. But in the end song goes back into it´s structure. As some other early Faust-songs this reminds a lot the Velvet Underground. Last piece "We Are the Hallo Men" is some kind of early "lazy rap", there is good drumbeat in it and in the back there are some samples, for example from Rolling Stones mellotron parts from "2000 Light Years Home".

There has been speculations about some albums in the pop history that never materialized would they have been the most ultimate masterpieces, I think the famous example is the Beach Boys Smile-project. From this album I can say next album after Faust IV would have been great! You could also wonder, would their later material have sounded same kind if they had continued in the seventies, but we never knew it. Anyway this album is just so balanced and full blooded Faust masterpiece, that I have to give it five 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 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
EINSEINEINS 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
ETURIVI Finland
EULENSPYGEL Germany
EX CANIX Sweden
EXPONENT Germany
FATHER YOD AND THE SPIRIT OF '76 United States
FAUST Germany
FEVER KNIFE Finland
FIFTH DEAD Germany
FILLE QUI MOUSSE France
FLOH DE COLOGNE Germany
FLORIAN GEYER Germany
FLYING MOON IN SPACE Germany
FOTOSPUTNIK United States
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 Switzerland
MANUEL GÖTTSCHING Germany
GRAVE Germany
GRAVESTONE Germany
GREEN WAVE Germany
GRUMBLING FUR United Kingdom
GURU GURU Germany
GURUMANIAX Germany
HABOOB Multi-National
HAIRY CHAPTER Germany
HANUMAN / LIED DES TEUFELS Germany
HÄX CEL Germany
HEDERSLEBEN Germany
IBLISS Germany
IGNATZ Belgium
IHRE KINDER Germany
IMPROVED SOUND LIMITED Germany
INSTANT DRONE FACTORY Multi-National
IRMIN'S WAY Multi-National
JERONIMO Germany
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