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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



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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

4.20 | 263 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 348 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 423 ratings
YETI
Amon Düül II
4.22 | 111 ratings
EDGE OF TIME
Dom
4.07 | 492 ratings
FUTURE DAYS
Can
4.09 | 298 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.07 | 310 ratings
NEU!
Neu!
4.09 | 170 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.16 | 107 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.51 | 35 ratings
EISZEIT
Gam
4.02 | 374 ratings
PHALLUS DEI
Amon Düül II
4.09 | 118 ratings
SELIGPREISUNG
Popol Vuh
4.07 | 118 ratings
VOLUME 10
Electric Orange
3.99 | 239 ratings
MALESCH
Agitation Free
4.06 | 121 ratings
KÄNGURU
Guru Guru
4.01 | 180 ratings
ELECTRIC SILENCE
Dzyan
3.95 | 573 ratings
TAGO MAGO
Can
4.43 | 32 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.03 | 129 ratings
AGUIRRE
Popol Vuh
3.99 | 166 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

I'M GONNA TAKE YOU HOME
Ya Ho Wha 13
WELTSCHMERZ
Siddhartha
VAMPIRE STATE BUILDING
Alcatraz
PLANET OF MAN
Code III

Latest Krautrock Music Reviews


 Cottonwoodhill by BRAINTICKET album cover Studio Album, 1971
3.79 | 160 ratings

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Cottonwoodhill
Brainticket Krautrock

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

4 stars There are some strange musical releases have emerged since the dawn of the recording industry but some are certainly stranger than others. It's always a fine balance, that is to find an utterly alien way of expressing oneself through the possibilities of sound and another matter completely to keep the alienating feel while adding just the right amount of elements that entice the listener to experience it unto completion. While formed in Switzerland with a diverse grouping of different European musicians, BRAINTICKET was the brainchild of Belgium born Joel Vandroogenbroeck whose study of classical and jazz went astray as the psychedelic 60s hit full force, leading him into temptation which ultimately led to the forbidden psychedelic fruit that led to his Krautrock infused band BRAINTICKET. The debut COTTONWOODHILL was famous in the psychedelic scene that the original LP sleeve carried the following warning: "After Listening to this Record, your friends may not know you anymore" and "Only listen to this once a day. Your brain might be destroyed!" While that may have been a nice gimmicky exaggeration and perhaps more true in the year 1971 when it was released, it does however portend to the listener that they are in for one demented, explorative and crazy piece of work.

By some COTTONWOODHILL is one of the trippiest records made of the era, however such claims are subjective of course depending which lysergic pastures one would graze in but unorthodox i believe is an adjective upon which everyone could agree and COTTONWOODHILL retains a distinct identity that sounds neither derivative nor copied decades after its release. It remains an utterly unique specimen tucked into myriad displays of psychedelic free form expression of the era. The album is essentially three tracks with the first two "Black Sand" and "Places Of Light" existing in a more "normal" plane of psychedelic and progressive rock that sounds like they could have even been playing on the stage of Austin Powers' warehouse in late 60s London. The tracks are surprisingly rooted in funk rock with a groovy bass, heavy drumbeat and prominent organ dominance with guitar licks adding the extra touch. While the album is filled with vocals, this isn't the normal type of vocal rock album as the vocals are never straightforward and directly sung. On the contrary they either emerge through the din of a processed electronic effect or are more commonly doled out in spoken narrative form especially by the psychotropic ranting freak outs of Dawn Muir.

While "Black Sand" is a heavy funk rocker, "Places Of Light" is light-hearted 60s sounding affair with Vandroogenbroeck cranking out pleasant flute melodies and keyboard runs. Muir begins her spoken word philosophical rants on this track and in a way the two openers are merely there to whet the appetite for the three part "Brainticket Suite" which takes up a whopping two thirds of the album and utilizes the same frantic groove for the majority of its duration. This groove is the combo effect of Vandroogenbroeck's hyperactive funk organ and the loop effect of Ron Bryer's guitar in sync with Werner Frohlich's slap bass guitar which serve as the anchoring foundation but pretty much everything else is fair game as everything from gargling water sounds, to atmospheric turbulence that sound like spaceships taking off to the seductive vocal rants of Dawn Muir come and go as the hypnotic groove creates a trancelike effect as all the accoutrements whizz on in a frantic flurry of activity. It is in effect an entertaining and skillfully crafted construction of order and chaos very much in sync with the visual imagery of the album artwork.

Upon my first experience of COTTONWOODHILL i was a little disappointed as i didn't find this as "trippy" as i had hoped it to be. There's something about the continuous and unrelenting groove loop that keeps this from taking me into the true lysergic lands of total escapism, but i have to keep reminding myself that this was 1971 when this came out and even so is still very much rooted in the 60s psychedelic scene that it was only a baby step removed from. It's better to look at this one as the mixing of not only the most psychedelic rock of the era but also of the ostinato musical elements that much of progressive rock was utilizing in order to allow various musicians to solo around. In this case, it's not the musicians who are doing the soloing but rather the sound effects, spoken word freak outs and collage of incessant swarms of noise that are the focus however the never changing groove loop with ever changing everything else is quite unsettling at first! While BRAINTICKET would continue to record with an ever changing lineup conquering new musical arenas with every release, COTTONWOODHILL sounds like no other, neither in their own canon or in any other band's for that matter. An utterly unique musical statement at the peak of psychedelic musical freedom. One that should be experienced to be believed :)

 I Can Feel the Mold in Me (dead slow, no wake) by ZACHT AUTOMAAT album cover Studio Album, 2010
4.90 | 2 ratings

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I Can Feel the Mold in Me (dead slow, no wake)
Zacht Automaat Krautrock

Review by ALotOfBottle
Prog Reviewer

5 stars I Can Feel the Mold in Me (dead slow, no wake) was released as part of a stream of albums Zacht Automaat produced in 2010 and is sandwiched between the minimal Smart Candle and the heavy, Canterburian As It Is Spoken, It Shall Be Done. On I Can Feel the Mold in Me, the duo unveil a wide array of influences, from the deep, liquid comic excursions of bands such as Can, Faust, and Cluster, to the post-industrial gloom of Throbbing Gristle, The Residents, and Zoviet France, to 1960s west-coast garage psychedelia, to cheerful synth-driven anthems reminiscent of Wendy Carlos, to colorful jazz-rock of Soft Machine from Volume One, to academically-flavored musique concrète and sound collage.

I Can Feel the Mold in Me is undoubtedly one of Zacht Automaat's most atmospheric works, taking the listener on an occasionally charming and sentimental, other times nightmarish and haunting cruise into an alternate past. A past partially familiar, but a past that never was. Might it already be the future? A future? A prophecy? It is a journey through the abstruse, abyssal, ill-lighted human brain. Or is it an Armageddonic journey through the dull, unfeeling 'souls' of once-promising and meaningful human creations and visions? The answers to these question lie within the listener. At times, the music on this record does indeed convey an intriguing vision of what mold could sound like. 'DEAD SLOW, NO WAKE' is a frequent sign on lakes and rivers, demanding an amphibious vehicle to move as slow as possible without losing steerageway. As little sense as the title might ostensibly make in relation to music, if looked at properly, the listener may occasionally find themselves on a boat, which very carefully and slowly sails into the sonic remotes and far-offs.

Every so often, it might be hard to believe the whole album is performed by just two musicians and not a collective or musical monastery. According to the incredibly hard-to-find back cover of the album (which I managed to track down on the band's old MySpace page), Carl Didur handles all keyboard instruments, including the gracefully imperfect-sounding combo organ, synthesizers appearing in a broad plethora of colors, and metallic electric pianos. He is also responsible for the bulldozer-like humming and spacey sweeps of a signal oscillator and drums. The other half of Zacht Automaat, Michael McLean, plays bass as well as acoustic and electric guitars. The back cover also makes mention of him playing drums on some of the tracks. The uncommonly versatile and proficient instrumental performance is one of the album's many trumps (back from when it used to be a positive word). Another one of them is an eminently skillful soundscape sculpture. The duo uses numerous samples, recordings, and other sonic diversions to make the album a deeply intense journey. The fact that Didur and McLean decided to cram all of their tracks and musical themes into two continuously playing side-long landscapes only amplifies the power of the album's sonic veneer. Furthermore, we may also discern many unique or unrightfully unexplored recording and editing techniques, sudden breaks into another track, which, combined with abrupt shifts of musical images, result in somewhat of a mixtape-like effect, being one of them.

Side A, named DEAD SLOW does not conceal its menacing essence, opening with a deadly slow, contemplative, cosmic string-and-organ chord sequence, bringing to mind 1973's Cyborg by Klaus Schulze or the opening credits of an early 1970s underground science fiction psychological noir thriller. The atmosphere gets even more closely-knit and misty with the appearance of gentle cymbal crashes drenched in echoes, phlegmatic oscillator sweeps, and delicate synthesizer drones. A bold, fast-paced drum-and-bass grind starts fading in, slowly monopolizing the sound spectrum. The constantly-growing palette of psychedelic effects does not leave, creating a bottomless sonic landscape in conjunction with the aggressive groove. When it fades out, the synthesizer whirr, accompanied by single notes of what sounds like an eastern precursor of a guitar as well as field recordings of the sea, take its place. This brief prayer to old, indifferent hinterland is being slowly replaced with a static falsetto voice of organ. For me, this symbolizes new hope, virgin life, a newly-born nestling breaking its egg shell. This image is disturbed by one of the most baffling sudden shifts on the album, welcoming an instrumental folk-rock song with a surf guitar melody, reminiscent of The Ventures. This sounds like a nostalgic flashback of early 1960s California. Much like the state's youth culture during the decade, the piece transforms into psychedelic-folk-rock guitar improvisation, akin to The Greatful Dead, gradually diving even deeper into liquid, acid-burned ecstasy. The 'inappropriate' instrumental lechery is stopped by an abrupt peek of the musical epitome of 'the American Dream' - a bright and sunny echoed jingle that could have very well been playing on a gas station in the middle of Arizona in 1958 or could have served as an introduction to an advertisement of the newest laundry machine you would hear in a shopping mall around the period. For once, this moment is not unexpectedly destroyed by another musical picture, but instead, it slowly fades out. The next track sounds like a lighthearted electronic adaptation of a classical piece for children, somewhat similar to Wendy Carlos' achievements on Switched-on Bach. The track features a lot of beautiful synthesizer timbres Carl Didur manages to squeeze out of his instruments. There is, however, a hint of something consciously silly and artificially upbeat in this track, which, for me is even scarier than shrill, sinister soundscapes we hear in other places. The psychopathic quality is boosted with a multi-layered chaotic climax. An uncertain lullaby sounding like an outtake from Can's Tago Mago follows with a sleepy, yet puzzling electric piano solo. Once again, through the use of various effects, it almost sounds as if the main character of the imaginary movie I've mentioned was falling asleep after a day of manic experiences. To end DEAD SLOW, the very cosmic theme from the opening, now escorted by heavy drums and bass guitar, returns, only to remind of itself very briefly.

Side B, NO WAKE, sounds like an early morning of the next day. A distant, reverberated synthesizer plays a military bugle-like melody to help our protagonist open his eyes. Once he does, he is reminded of an enigma or troubles he is facing. A speedy jazz-rock track creates this mood of hurry. It is driven by swinging drums and an elegant bassline with Farfisa-like organ chords on top and then also an absurd-sounding melody played on two organs. This jazzy masquerade is suddenly broken by musique concrète-esque collage of repeating cacophonous noises and only hazy glimpses of the previous theme. This unsettling moment stops when another drum-and-bass organ grind, similar to the one from DEAD SLOW, secures the crown. Even more agile and instrumentally richer than its predecessor, it lends a sense of constant movement. The next track, a short drum machine-guided tune, sounds a bit like a clunky walk through a messy room with hundreds of books opened on the floor. It is, surprise surprise, abruptly disturbed by another mad, loud and chaotic number with a regular pace, energetic bass guitar playing, more flavorful keyboard wizardry, and what sounds like a recording of some fair in the distant foreground. While the party fades out, mechanic, bustling noise fades in, naturally segueing into a beautiful, romantic, and very 1968 cheesy organ-driven song, bordering on the sounds of late-period psychedelic rock and very early attempts of progressive rock. Adjoining is the track which vaguely resembles the slowed-downed jazz-rock tune, which we heard earlier in NO WAKE, but this time around all covered in question marks. In this imaginary movie I am using as an alternative way to describe the atmosphere of I Can Feel the Mold in Me, it would go well with a scene of creeping, peeping, hiding, and espionage. The track changes, but the aura persists. Then, we get a noisy sound collage again. This time, it is set in the higher register . . . and it is much noisier! A few organ notes find enough courage to distinguish themselves from the rest of the fuss and lead to the next segments. The uncertainty of the previous motifs comes back for a brief moment, before slowly fading into the dark. The last track of the album is noticeably calmer, warmer, and, most importantly, meditative. It sounds a bit like an homage to the wonderful, mysterious wilderness. NO WAKE closes with a charming field recording of wind fondling the water. Or are those trees?

I hope I have managed to convey just how dense and atmospheric this excellent album by Zacht Automaat is, consciously cherry-picking the most bombastic, rich, and exaggerated grammar I could think of. (Sorry, but not sorry.) I also hope I successfully and insightfully cast light on this virtually unexplored and unknown, yet phenomenal and fascinating musical outfit at the height of their creativity and proficiency. A completely original masterpiece (in the truest sense of the word) that it is, I Can Feel the Mold in Me (dead slow, no wake), deserves way more attention than it has ever received. And of course, in my view, it demands the highest rating possible. A monumental treasure of 21st century music!

 No. 4 by ALCATRAZ album cover Studio Album, 1982
2.95 | 2 ratings

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No. 4
Alcatraz Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. ALCATRAZ released their debut "Vampire State Building" back in 1971 and it's one incredible Krautrock album with some jazz leanings. Because of the forced military service in Germany the band had trouble getting all involved for album number two and eventually they scrapped it. Fast forward to 1978 and they released a Political Rock album with German lyrics. This was followed by a live album in 1980 which was much jazzier in the vein of MAHAVISHNU ORCHESTRA, Miles Davis and the like. The album we're reviewing called "No. 4" was released in 1982 and side one is called "Rock" while side two is called "Jazz". Sort of a Jazz/ Fusion or Jazz Rock album by a trio of drums, guitar and bass and it's an all instrumental affair.

"Mike Rennt Die Piste Runter" opens with some atmosphere as picked guitar and bass join in. Drums before 1 1/2 minutes but this is still very laid back and mellow. It kicks in at 2 minutes and the contrasts will continue. I love the bass starting at 3 1/2 minutes as the guitar lights it up. "Gichtfinger" is uptempo and catchy where each musician impresses. I'm not a fan of this one despite that until we get a calm before 1 1/2 minutes. Contrasts continue. I do like that they add congas before 3 1/2 minutes. The guitar is quite aggressive before 6 minutes and it goes on and on.

"Two Waves" opens with a relaxed guitar melody before it suddenly turns powerful a minute in. I like the drumming here as the guitar solos over top. Again the bass stands out especially after 2 minutes. It calms back down before 4 minutes to the end as it ends like it began. "Bockbier Statt Baghwan" has active drums to start as the guitar rips it up over top. It sounds better when the bass kicks in each time.

"Modern Zeiten" impresses me earlier on when it calms right down with bass only. Drums then start to come and go. Love the bass throughout this one. The guitar starts to make some noise after 1 1/2 minutes. Eventually it's a repetitive guitar melody we hear over the bass and drums that goes on for some time. It becomes very sparse sounding like earlier before 9 minutes but not for long as the previous theme returns.

"New Wave Bop" is about as jazzy as you can get to start out. I mean the drumming, bass and guitar, all of them sound like old school Jazz. It changes though as the guitar starts to solo over top and the drums and bass are far less jazzy here. They're killing it 4 minutes in as the guitar cries out to the end. "Spice" opens with cymbals and bass before it kicks in around a minute with some interesting guitar leads. Check out the bass 1 1/2 minutes in. The guitar becomes more aggressive at times but mainly it repeats a melody.

I'm rounding down because after many listens this one still hasn't resonated with me. Yes we have some great sections here and the musicianship is top notch but I'm not getting that connection if you know what I mean.

 Cobra Verde (OST) by POPOL VUH album cover Studio Album, 1987
3.40 | 18 ratings

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Cobra Verde (OST)
Popol Vuh Krautrock

Review by lothda

5 stars The last Werner Herzog soundtrack by Popol Vuh features only music that actually appears in the film. One non-Popol Vuh track is also included. The haunting melodies are Popol Vuh at their very best. I had listened to the album many times before I watched the film. Needless to say, the listening experience was considerably enhanced when I could relate the music to the actual scenes in the film. The final track, "Hab Mut, bis daß die Nacht mit Ruh' und Stille kommt" (Have courage until the night with calm and quiet comes), is a masterpiece, the ultimate relaxation music for me. Five stars for this beautiful album.
 Sehr Kosmisch Ganz Progisch by WESERBERGLAND album cover Studio Album, 2017
4.00 | 3 ratings

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Sehr Kosmisch Ganz Progisch
Weserbergland Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Due to uncounted contributions to diverse bands, respectively music projects, Ketil Vestrum Einarsen can be seen as a real key figure when it comes to the prog rock scene in Norway. Now recently he could form a unit that should implement his personal vision of a krautrock inspired progressive rock album. And so 'Sehr Kosmisch Ganz Progisch' appears with a German title of course, moreover this is pointing to an Harmonia song. Besides a bunch of guest musicians the bands core is completed by Gaute Storsve and White Willow's Jacob Holm-Lupo, both on guitar as well as bass, and finally drummer Mattias Olsson of Änglagård fame.

While residing at the Weserbergland border since my birth, this issue attracted my attention in particular, you bet! But, are there even any specific relations to notice concerning krautrock and this region in Germany? Oh yes, there are some. The initial Umsonst & Draussen festivals launched in Vlotho for example. And temporarily, similiar to Kraan residing in Wintrup for some time, the Weserbergland has been a retreat for Hans-Joachim Roedelius and Dieter Moebius above all, both representing the band Cluster. This probably might have helped to name the project just like that.

The album shows a very unique flow and flavour. Although some references are given, for me it doesn't sound like blatantly leaning at any well known kraut outfit, fortunately. Thus 'Sehr Kosmisch Ganz Progisch' evolves to a revelation per se for every prog fan, especially when looking for something new and innovative. The particular songs are skillfully weaving diverse music styles and ideas, deriving from different epochs, to something very open minded and experimental. Well, that is mirroring a krautrock spirit, isn't it? Furthermore Mattias Olsson's drum presence is motoric, very special in general.

The approach to combine kosmische electronics and rock music is fulfilled. And so somewhat in the vein of Harmonia, Cluster, Neu! the charming and relaxed Tanzen und Springen - originally an old folk traditional - appears in a cinematic, symphonic manner, decorated with some nice guitar work. Followed by the Gustav Mahler adapted Das Trinklied Vom Jammer Der Erde, starting very melancholic, concerning the mood reminding of Kaukasus, but then provided with a very strong and dynamic flow furthermore. Kunst Der Fuge is picking up the legacy of baroque composer Johann Sebstian Bach with industrial alike implemented drums, partially just like forced by a machine, partially very tricky - a great challenge.

Finally tending to some free formed jazz in between Tristrant spiritually seems longing back to the 12th Century after all, pointing to the love story of Tristan and Iseult, which has been nothing but an emotional rollercoaster affair to them. Musically this is realized in a rather dramatic manner. And no wonder, most of the guest musicians are involved in this song. While taking some episodes from the German cultural history as a template, Ketil Vestrum Einarsen has started something really unusual and precious here with 'Sehr Kosmisch Ganz Progisch'. Krautrock? What else? Maybe for some reason, but if, surely equipped with the prefix Neo.

 Eternal Flashback by AMON DÜÜL II album cover Studio Album, 1996
2.22 | 9 ratings

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Eternal Flashback
Amon Düül II Krautrock

Review by Lewian

2 stars Eternal Flashback was released in 1996 apparently as a freebie by the Düül's Japanese record company. To what extent the musicians themselves had their hands in this at the time is not clear to me. In any case this is not music that was recorded in the 1990s, rather it uses material from the end 1960s and early 1970s. Much of this has already appeared on Phallus Dei, Yeti and Tanz der Lemminge. There may be bits from Carnival in Babylon and also bits from older Amon Düül sessions when the commune was not yet split into I and II. Some material is unreleased as far as I know; I know all the regular albums of AD II but I'm not sure whether what I don't know yet appeared as bonus tracks somewhere.

Still, this is not some kind of "Best of", rather the material was put together in a new way, partly overlaying bits that did not originally belong together. This is all one track here. A 67 minutes fantasy jam was created, that never really happened, using many known elements. I've got to say though that it doesn't feel like a single track. There are a number of sudden changes that feel like starts of a new track; the creators just decided to keep everything together "officially". On the other hand, elements used early reappear at times toward the end, so one could find, with some generosity, some kind of arch holding things together.

They succeeded in giving this a feel that is somehow different from the original recordings, so you can get something new out of this. The unfamiliar bits are interesting, although they are probably often the oldest ones and the musicianship on these is quite pedestrian, to put it nicely. Unfortunately there is hardly any singing by Renate; vocals are male, by Karrer and somebody else. Overall this is very psychedelic, structures are even less transparent than in the original recordings (although there's much rhythm and guitar soloing) , and some people will say that you have to be stoned for enjoying this, although I'm not and I can get something out of it at least.

Ultimately there's some fun to be had listening to this endless jam going through a number of familiar snippets, although some transitions and overlays are rather unmotivated, and surely this will not convert anybody who is not yet a fan (there's a good chance you'll hate it if you're not already in love with the band). The Düüls have done crazy things on regular albums, too, though. You should expect this kind of wackiness from this band, and whatever you may object against this, it is unmistakably the weird Amon Düül II.

As a fan I find this free-flying 67 minutes pretty good entertainment, although no match for their sublime regular albums from that period.

There's a sister piece of this, "Kobe (Reconstructed)", that in several places is described as pretty much the same as Eternal Flashback. I actually disagree, Kobe is based much more on drum loops and creates a quite different atmosphere.

2 stars; can't be one because it's fun, can't be three because that'd be stretching it too far really.

 Orbit by HEDERSLEBEN album cover Studio Album, 2017
3.92 | 6 ratings

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Orbit
Hedersleben Krautrock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars HEDERSLEBEN have gained some attention in the meanwhile, or how does it come that some of their tracks are featured in upcoming action movies like Diamond Cartel and The Devil's Domain? The band name originally derives from a small German village. This relation, and I would say it will affect mastermind Nicky Garratt most likely, manifests in a German speech at the end of Distant Sun for example. Hedersleben however includes the word 'life' too, which also stands for a constant coming and going. And this is significant when it comes to the line up over the course, completely renewed again, solely Nicky excluded of course.

Hence every album will sound remoulded too. Hey, what a benefit! There's a focus on female vocals here somehow, due to Alicia Previn being involved, a wonderful find equipped with so many variants. Either an otherworldly appearance while digitally retouched on Judas Star. Or concerning Rarefied Air massively reminding me at some early experiences comprising Embryo and Missus Beastly featuring Maria Archer on vocals during the mid 1970s. Furthermore, when counting her in playing the violin, Curved Air comes into mind occasionally.

Please forgive my ... eh, feasible narrow-mindedness ... just when having a very sceptical eye on this, ... somewhat strange is the album's total length, even if aiming at a vinyl issue. So much the more when they are taking the liberty to fade out most of the given nine songs! On the other hand though, the more this is proving the band's compositional prolificness, one may say. Either way, the entire song collection appears like a well sorted string of shiny tiny pearls, one after another, ending with Perigree like arriving in paradise, this accompanied by looping acoustic guitars and bird's twittering. No loss of spirit, you're welcome again!

 Debon by BRAST BURN album cover Studio Album, 1975
3.91 | 25 ratings

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Debon
Brast Burn Krautrock

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

4 stars One of the truest obscure classics of the Japanese psychedelic rock scene, BRAST BURN emerged from nowhere back in 1975 to unleash one single psychotropic sounding album before disappearing into the ethers from which they sprung forth. While many a kaleidoscopic seeking band were dressing up their sonic excursions in to the lands of tripping honey, BRAST BURN remained stalwarts of the absolute most unrelentingly faithful to what Pink Floyd released with their landmark track 'Saucerful Of Secrets' which takes the listener on the sonic equivalent of being abducted by alien forces and whizzed from dimension to dimension to outer and inner space and back again. To add to the mystery, the band is anonymous and the sonic journey is as nebulous and disorienting as the album cover suggests. And what in the world does BRAST BURN or the album title DEBON even mean? There is simply nothing to grasp onto with this one other than a few musical motifs that recur and patterns that are formed by vocal nonsensical utterings, sliding guitars, a hyperactive bass and plenty of sleigh bells!

The album consists of only two long tracks. 'Debon Part 1' starts off as though the listener had been picked up by extraterrestrial entities and the sounds of UFO sounds sputtering forth into another space or dimension start things off. As the music progresses it becomes rhythmically stable with a recurring melody, an unstable slide guitar that feels a bit caffeinated and a schizophrenic Captain Beefheart impersonation accompanied by the Christmasy sounding slew of sleigh bells only with no carol singers to be found. The two tracks are actually divided up into suites of sort and after one idea is exhausted they sort of fizzle out and begin something new. In this case phase one cedes into an electronic tripped out frenzy and then starts phase two with percussion that sounds sort of church bell like accompanied by an acoustic guitar chord loop with electronic elements. Those rascally sleigh bells make a cameo now and again but the electronica simulates the wind and we feel like we're riding high in the clouds with all kinds of colors whizzing about like rainbows on acid riding unicorns. Second phase totally fades out before the third emerges as the tintinnabulation of church bells jingling on for a while but the sleigh bells begin a conversation with them and take over while gentle flutes and tribal drumming dance around sounding as if a cult ritual were being performed around a Pagan midnight fire dance as vocal chants ensue in uniform jocularity.

'Debon Part 2' begins with bird songs and a quirky guitar lick with, of course, more sleigh bells providing percussion! Also heard are dogs barking and various background noises. Eventually the folk guitar changes into a more psychedelic sound with a howling wind and a more conga type of percussion sound. Actually sounds like someone banging on a pot or something. This one changes things up by the layering effect. One stream of sound fades in while others fade out. This one focuses on folky guitar strumming with that same percussion and airy wind sounds. It strolls on aimlessly with the occasional animal sounds and recurring melodies on guitar that sort of just drift in and out haphazardly. This is quite the party as a laughing soundtrack comes and goes on as well. It drifts on into something that sounds sort of tango like rhythmically but completely weird and whacked out in la-la land. About 14 minutes in it fades out and another phase completely changes it up by fading in with an echoey guitar that ushers in bombastic drums and an acid drenched heavy psych guitar run that sounds like the real inspiration for pretty much everything Acid Mothers Temple built a career out of decades later. It continues into dreamscape like overlaps of ocean waves, ethereal guitar echoes and vocal chants.

More than worthy of being included on the Steve Stapleton's demented Nurse With Wound list, BRAST BURN is what psychedelia and lysergic laced dreams are made of. This mysterious band stayed true to the goal of total escapism with only enough melodic and rhythmic construction as not to become completely unhinged from reality and sputter into meaningless noise. All in all, it's actually quite folky underneath it all which makes it easier to release, detach and reattach to the ritualistic vibes being performed. While mysterious in nature BRAST BURN is thought to be the same band as Karuna Khyal which released an album the year later because of the similarities in its approach to psychedelic droning and experimental oriental takes on Krautrock. This is one for the true trippers out there who love to melt their minds with a sizzling soundtrack of sublimeness. BRAST BURN was the real deal blowing away anything that came before. While many psychedelic bands were more based in heavy psych, BRAST BURN has a gentle pastural take on lysergic escapism. It flows along as gentle as waves meandering across the sea's surface only punctuated by the irregularities that change it's overall trajectory. This is a way cool album!

 Baba Yaga by BABA YAGA album cover Studio Album, 1974
3.32 | 6 ratings

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Baba Yaga
Baba Yaga Krautrock

Review by Progfan97402

4 stars It's almost unbelievable that Ingo Werner was even allowed to use the Baba Yaga name for two albums that are so drastically different you find it hard to believe Ingo Werner himself was involved with both, but I guess that's because he used the Baba Yaga name to pursue his artistic ambitions. On Featuring Ingo Werner, he fronts a regular five piece prog rock band, and on the next album Collage he simple collaborates with Iranian santoor and sitar player Nemat Darman for a much more freaky proposition. It's even more of a drastic sound change than when King Crimson changes lineups. Both Baba Yaga albums were released on the Cycle label and quickly became rarities.

Upon listening to Featuring Ingo Werner, you may forget they were actually German, as they sound much like those early British bands, like Fantasy or Cressida, with a bit of Camel and Caravan, with jazzy passages. Nice use of Mellotron and vocals. Don't expect that Krautrock freakiness that is Collage, because you'll only hear hints of that. The music sounds more like 1972 than 1974, so it does sound a bit behind the times. Still it's a very good album recommended more for progheads than those wanting more off-the-wall Krautrock.

 Supernova by IBLISS album cover Studio Album, 1972
3.46 | 35 ratings

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Supernova
Ibliss Krautrock

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

4 stars IBLISS was a short lived band that formed in 1971 in the German Rhineland region and is probably more famous for who was in the band rather than the music itself. In the fertile cross-pollinating musical streams of Krautrock, IBLISS was the next step of Basil Hammoudi who was in the band Organisation that morphed into the more familiar Kraftwerk. Likewise IBLISS contains another Kraftwerk connection in the form of drummer Andreas Homann who was on the debut Kraftwerk album. IBLISS differentiated itself from the multitude of Kraut bands of the era with the inclusion of a heavy percussive drive that was heavily influenced by Middle Eastern rhythms courtesy of Hammoudi having been born and raised in Iraq. In this regard their sole album SUPERNOVA has the same percussion heavy grooves as the first Agitation Free album, however IBLISS (the Arabic word for "devilish") is much more of a loose jammy type of album that focuses on meditative bass laden grooves with heavy drumming circles providing the backbone for psychedelic flute and sax solos.

While most of the album is a repetitive groovy vibe that allows the flute and sax to go gangbuster, there are also psychedelic electronic passages that eschew the jazz-fusion meets bellydance themes and enters into true lysergic arenas. While Andreas Homann is the main drummer, so strong is the percussion drive that three other members contribute as well. Basil Hammoudi not only dishes out beautiful spacey flute flutterings but various percussive sounds as does brothers bassist Norbert and guitarist Wolfgang Buellmeyer. Only Rainer Buechel has entered the percussion-free zone and stands as a sax and flute guy exclusively. The original album release was rather limited and first copy editions are quite rare with only 1000 or so having been created and has become quite the collector's item however a new remastered CD has been released most recently on Garden Of Delights and the sound quality is excellent.

This is one of the Krautrock albums you will either love or not. This is not one of those sophisticated monster freakout type bonanzas of the Amon Duul II type but rather a fairly repetitive light and fluffy jam session that offers up strong percussive beats with cheerful flute melodies along side with a jazz-fusiony saxophone presence that emerges from time to time. Rhythmically it reminds me a lot of the minimalism that Neu! would soon make their own although more varied along with an overall fusion sound somewhat reminiscent of early Embryo but never as sophisticated. These are minimalistic trance inducing tunes that never break into complex song structures but rather remain within a parade of pleasant percussion laden grooves with happy melodies along for the ride. All is instrumental for the most part but vocal utterings do emerge in cheers coming from the background.

While i readily admit that IBLISS was not the most talented band in the early 70s Krautrock movement, i find their sole album SUPERNOVA to be mesmerizing and a cheerful little listen nonetheless. This is basically four long jams that never stray into super proggy territory but stay well-grounded in the Earthly realms rather than straying too far into the sonic ethers although there are scant moments of airy passages. Despite the rather easy to digest sounds on board, this band still found a home on the Nurse With Wound List most likely for its unorthodox experimental voyaging into hitherto untried genre mixing however it still qualifies as a fairly euphoric heady musical experience. Personally i love this one.

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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
ATTEMPT TO RESTORE 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
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
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
EXPONENT 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
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
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
KRAKATAU Australia
JEAN-JACQUES KRAVETZ Germany
KROKODIL Switzerland
LA DÜSSELDORF Germany
LA!NEU? Germany
LARD FREE France
LAVA Germany
LE REVEIL DE TROPIQUES France
LIFE Germany
LIGHTSHINE Germany
LIMBUS 3 & 4 Germany
LISTING SHIPS United Kingdom
LOKOMOTIVE KREUZBERG Germany
LUNAR GRAVE United States
MAGDALENA SOLIS Belgium
MAGMA Germany
MAGNETIK NORTH Multi-National
MAHOGANY BRAIN France
DAVID MARANHA Portugal
MCCHURCH SOUNDROOM Switzerland
MERLIN; SWARA; ILOR & FRIENDS Multi-National
METABOLISMUS Germany
METROPOLIS Germany
MINAMI DEUTSCH Japan
MITTELWINTERNACHT '71 Germany
MOOLAH United States
MOON OF OSTARA United Kingdom
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
N-1 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
ORGANISATION Germany
OUR SOLAR SYSTEM Sweden
PACIFIC SOUND Switzerland
PANCAKE Germany
PANKO Germany
PATERNOSTER Austria
PINGUIN Germany
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
SKEPPET Sweden
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPERRMÜLL Germany
STAFF CARPENBORG AND THE ELECTRIC CORONA Germany
STAN UND HILDA Germany
STARA RZEKA Poland
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
WESERBERGLAND Norway
WIND Germany
WONGA Germany
WOODEN VEIL Multi-National
XHOL CARAVAN / XHOL Germany
YA HO WHA 13 United States
YATHA SIDHRA Germany
ZACHT AUTOMAAT Canada
ZEMENT Germany
ZIPPO ZETTERLINK Germany
ZWEISTEIN Germany

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