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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

4.22 | 187 ratings
HOSIANNA MANTRA
Popol Vuh
4.14 | 259 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.04 | 321 ratings
YETI
Amon Düül II
4.06 | 235 ratings
NEU!
Neu!
4.06 | 229 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.03 | 302 ratings
PHALLUS DEI
Amon Düül II
4.09 | 132 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.00 | 360 ratings
FUTURE DAYS
Can
4.14 | 86 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.18 | 70 ratings
EDGE OF TIME
Dom
4.12 | 91 ratings
SELIGPREISUNG
Popol Vuh
4.01 | 186 ratings
MALESCH
Agitation Free
4.65 | 20 ratings
EISZEIT
Gam
4.00 | 151 ratings
ELECTRIC SILENCE
Dzyan
4.07 | 82 ratings
KÄNGURU
Guru Guru
3.92 | 428 ratings
TAGO MAGO
Can
4.00 | 105 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.97 | 126 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
3.92 | 201 ratings
WOLF CITY
Amon Düül II
3.99 | 93 ratings
THE COSMIC JOKERS
Cosmic Jokers, The

Krautrock overlooked and obscure gems albums new


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

TERRA INCOGNITA
Metabolismus
DELUSION
McChurch Soundroom
ARKTIS TAPES
Arktis
VAMPIRE STATE BUILDING
Alcatraz

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Latest Krautrock Music Reviews


 Mythos by MYTHOS album cover Studio Album, 1972
3.58 | 67 ratings

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Mythos
Mythos Krautrock

Review by Tarcisio Moura
Prog Reviewer

2 stars A friend borrowed me this CD; the debut album of this obscure Berlin based band from the beginning of the 70´s. I´ve got to admit that this trio of guys were a skillful bunch, specially Stephan Kaske who could handle guitars, flute, zither and keyboards with apparently ease, and the ohter two were not far behind.

Their music is quite varied going from pastoral to heavy rock to electronic and so far. It would be great if they were put together, but actually those styles are featured on each track. So Mythoett is the pastoral bit, with flutes reminding me of Jethro Tull´s Bourée. Hero´s Death is heavy rock, while Oriental Journey is filled with sitars and (surprise!) eastern rhythms. Vocals are all electronic processed and they made me think of Eloy around the time of their Floating period, only even more on the fake side of it.

The second side of the original LP is more of experimental music, with only two trakcs, the instrumental Encyclopedia Terra part 1 being the most interesting, mixing elements of ambient/space rock/electronic with various sound effects. The second track has a long spoken story and both the theme and the music around it dated badly.

In the end I found this CD to be more promising than anything else. Clearly they were still green on the songwriting department. But since they proved to be capable musicians I guess I´ll look for their follow ups to see how they developed from here. As it is, this disc is clearly for the krautrock fans and collectors only.

Rating: 2.5 stars. .

 Zwai by HÄX CEL album cover Studio Album, 1972
3.11 | 6 ratings

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Zwai
Häx Cel Krautrock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Originating from Hannover, Germans Hax Cel were formed in late-1971 by flutist/singer Dieter Neumann, keyboardist Achim Neubauer, bassist Michael Moebus and drummer Rainer Greffrath.They played Classical Rock, influenced by the works of Albinoni, Bach, Beethoven or Haendel and were eventually discovered by jazz drummer Dietmar Siebrasse, who happened to be also the owner of the small label Dizzy Records.Among the live performances the band recorded a single for Dizzy in 1972, followed by a full-length LP, entitled ''Zwai'' at the end of the year.This was actually a live performance of the band, captured on October 29th at Beethovensaal in Hannover.

As you may notice the four guys had no interest to add any guitar sounds in their style in order to come as closer as it gets to Classical Music.''Zwai'' is an interesting yet a bit outdated album concerning the style with flutes and keyboard in evidence, creating passages with dramatic, romantic and melancholic melodies, even if some psychedelic leftovers are still present in the faster paces.They appear to borrow themes from famous composers and add a fair dose of originality to come up with a strongly Classical-drenched style, characterized by smooth interplays, sweet arrangements and some rare takeoffs with a heavier rhythm section and frenetic flute solos.Neubauer performs apparently on acoustic/electric piano and harsichord, propably another reason why ''Zwai'' sounds so much influenced by Classical Music.Vocals are sporadic and rather mediocre, so the main focus here should be on the good interplays between keyboard and flutes and the well-executed shifting tempos and atmospheres.The bulk of the instrumental themes are much inspired by the Baroque period and the execution is solid and confident, even if this was a live performance by the band.

Good Classical Prog, that struggles a bit to fight against the sand of time.Great flute solos and some beautiful keyboard-based melodies are the main reasons to purchase the album.Recommended.

 The Lost Tapes by CAN album cover Boxset/Compilation, 2012
4.04 | 39 ratings

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The Lost Tapes
Can Krautrock

Review by javajeff

5 stars This album really deserves some love. If these tapes were lost, that would be a travesty. This is one of Can's best albums if not the best. The 3 CDs are loaded with music and contain some of Can's best songs. CD 1 alone has Millionenspiel, Waiting for the Streetcar, and Graublau that are favorites of mine. I listen to this album more than others due to the raw nature of the music. It can be experimental at times, jazzy, tribal, minimalistic, and pyschadelic. It is unmistakably Can. I am not a Krautrock fanatic or collect Krautrock bands, but I do love Can's early stuff. This is more of a good thing for any level Can fan, and a must buy.
 Distance Between Us  by BRADSHAW-LEATHER, DON album cover Studio Album, 1972
3.67 | 8 ratings

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Distance Between Us
Don Bradshaw-Leather Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars Man this is one insane recording. A double album released in 1972 filled with piano, organ and percussion which is all soaked in mellotron. This is not for the faint of heart as it's quite experimental and repetitive. This music is way out there people. From what i've read Don approached CBS Records with some demo tapes and i'm not sure what was on those tapes but keep in mind that Bradshaw was a classically trained pianist that many called a prodigy. Anyway an executive at CBS Records had enough faith in him that they gave him some money upfront which was used to create a studio with the equipment and instruments he needed to record his music. It wasn't an easy recording session as Don had to layer the sounds himself. When he finished he took the recording to CBS Records who actually refused to release such an experimental work which led him to release it himself. Notice the spelling mistake in his last name "Bradshaw" on the album cover. We get four side long suites so fasten your seatbelts unless you want to be able to escape 'cause there's a mellotron storm on the horizon.

Up first is "Distance Between Us-Part 1" and at first we have some incredible piano work before the mellotron arrives after a minute. A calm before 3 1/2 minutes as it changes with tribal-like drumming being the focus as the mellotron flows freely. Check out the organ 9 minutes in as it goes on for some time. Some vocal expressions and percussion before 16 minutes as the piano returns. This continues to the end of the song. "Distance Between Us-Part 2" opens with lots of piano but it's not long before the mellotron blows in. A calm before 5 minutes then the mellotron stops as it calms right down. The piano comes in and it's so beautifully played. This continues for some time then we get mellotron before 12 minutes to the end.

I must admit the second album is a difficult listen for me, especially the first track called "Dance Of The Goblins". It's laid back percussion to start as the mellotron rolls in. It gets pretty chaotic 6 1/2 minutes in as the percussion and mellotron continue. Man this is a difficult listen. The chaotic sections come and go. With about 10 minutes left the percussion stops and it sounds more like an electronic beat with mellotron which is better in my opinion. "Autumn Mist" is piano and mellotron led and it's not nearly as abrasive as the previous track. It becomes quite powerful before 9 minutes. The mellotron seems to go from soft to loud constantly. Piano 15 minutes in as the mellotron stops but not for long as it's back in spades before 19 minutes. Some drama late sound-wise.

Barely 4 stars for me but the first album is so good with the two part title track being the highlight of this recording. I'm not even sure if i'll play the second album again but this is such a unique recording and the first album is so good that I feel 4 stars is warranted. Music for the adventerous and somewhat deranged.

 Occult Rock by ALUK TODOLO album cover Studio Album, 2012
3.83 | 8 ratings

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Occult Rock
Aluk Todolo Krautrock

Review by siLLy puPPy

4 stars Here's a bizarre group that couldn't decide if it wanted to be black metal, doom metal, surf rock, Krautrock or psychedelic noise rock, so they decided to be all of them. Often at the same time! The battle between the aggressive and the psychedelic is in full play on this one. The very first track is probably one of the most aggressive pieces of drone music i've ever heard utilizing the blastbeats and tremolo guitar fury of black metal while sustaining a single chord for several minutes in an almost meditative manner which literally defies expectations. After a while strange new sounds emerge from the din and slowly unfold variations and patterns.

The secret to the success of OCCULT ROCK, the 3rd album by the unique French band ALUK TODOLO is that it likes to combine forms of metal with forms of space rock creating a unique space metal that takes its time to unfold at a nonchalant lolligagging pace. It often seems like the band is racing full speed ahead to get nowhere only to stay put which is a stark contrast indeed. Luckily I was unaware of the fact that this is a double album which more often than not makes me stop and think if I want to subject myself to so much music, but as I put in disc one I was pleasantly surprised as track by track the album unfolds its sounds and branches out into different musical arenas. The tracks pleasantly connect and each one takes you somewhere new. The only constant here is change with a heavy distorted bass and drums being the rhythm while the guitar takes on a post-metal duty of atmospheric generator. I was very surprised by this one. I can sit through both discs simultaneously and only get kind of tired of it by the very last doom metal inspired OCCULT ROCK track.

 Dirt Box by BLACKWATER PARK album cover Studio Album, 1972
2.82 | 20 ratings

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Dirt Box
Blackwater Park Krautrock

Review by Conor Fynes
Prog Reviewer

3 stars 'Dirt Box' - Blackwater Park (59/100)

Blackwater Park is a band whose brief existence was made notable not through their own doing, but rather through those (or, in this case, someone) they influenced. Almost thirty years following the release of Blackwater Park's one and only LP, a certain Swedish progressive metal band would go on to use the band as a namesake for one of the most acclaimed metal albums of all time. Whether you're hearing about Blackwater Park through their indirect association with Opeth, or simply interested in classic psych-tinged hard rock, Blackwater Park's Dirt Box is a worthy listen. Effective grooves and a fuzzy proto-metal grit make it an interesting find, although their barebones approach to Krautrock and bland songwriting standards keep it from being one I'll likely return to anytime soon.

Though Blackwater Park might not have the experimental edge to call themselves proper 'Krautrock', the fuzzy garage aesthetic is here. Considering its 1972 release date, Blackwater Park have some heavy grit and distortion in their sound- whatever you might consider metal to have been in the early 70s, rest assured that Blackwater Park would fit in snugly. There is a charisma to Blackwater Park- heard mostly in the ballsy vocals of Richard Routledge- but there is a prevailing sense throughout the album that the sound on Dirt Box has been kept almost puritanically barebones and basic. Matters are not helped by Blackwater Park's songwriting; although they have a solid foundation of a style, too much of Dirt Box seems to draw from the same shallow well. Riffs begin to blur together, and for all of Routledge's vocal presence, I can't remember an original hook of theirs after the album is finished. For what it's worth however, their thick sound and powerful grooves are enough to make a good first impression, and at least enough to make the first couple of listens worthwhile.

Ultimately, I think it's the inclusion of the Beatles cover "For No One" that goes to show how uninspired Blackwater Park are as songwriters. There's no doubt that few artists in popular music could master hooks like Lennon/McCartney, but to hear the music shifted from heavy blues-standard riffs to something outside their own box weighs against the rest of the songs. To their credit, Blackwater Park do a fine job of making "For No One" their own; whereas the original is a piano pop track, the Dirt Box version kicks it up into fuzzy distorted nirvana. Splitting up before they could come out with another album, Blackwater Park committed themselves to obscurity. I don't think anyone looking for a direct musical influence of Opeth will leave this feeling all-too satisfied, but otherwise it's a fairly charismatic hard rock record. Approach it without any preconceived notions and you might find yourself pleasantly surprised.

 Nosferatu by NOSFERATU album cover Studio Album, 1970
3.53 | 32 ratings

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Nosferatu
Nosferatu Krautrock

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

3 stars A band somewhat shrouded in mystery, perhaps maintaining what little attention they still get due to the involvement of Krautrock notable Conny Plank (Guru Guru, Kraftwerk, etc, the producer here), Nosferatu gave listeners one sole self-titled album in 1970, and while no classic, it's an energetic and exciting little work that prog followers will likely find of great interest. I recognized the cover when I came across the CD a few months back, and the vendor had labelled a sticker on the front of case with `Krautrock', but despite the band being German, there's mostly nothing on the album to suggest that style at all. Instead, it's a mix of Hammond drenched early proto-prog in the manner of Atomic Roster and Rare Bird, wild R&B howling English vocals with plenty of emphasis on improvised lengthy sax and flute passages similar to bands such as Out of Focus, Skin Alley and Tonton Macoute.

Opener `Highway' is a punchy umptempo Hendrix inspired rocker, with warm Hammond brimstone the late Vincent Crane would have approved of, lots of feral clanging guitar noise and a roaring vocal. The nearly eleven minute `Willie The Fox' is the most ambitious piece here, the first taste on the album of breezy flute and jazzy lightness to bookend the track, with ferocious rocking diversions and a wildly psychedelic break almost along the lines of `Ummagumma'-era Floyd. This middle is full of droning sections of reverberating feedback, drifting late-night lonely street saxophone and thrashing drum storms. Gutsy 60's R&B flavoured grooving rocker `Found My Home' is highlighted by a lengthy improvised jazzy instrumental passage, aggressive darting flute to rival the best of the vintage RPI bands and red-hot electric guitar wailing, the piece overall almost floating on cool Canterbury breezes and a dash of Jethro Tull.

Side B's `No. 4' is a dark jazz piece with brooding Black Sabbath-like scuzzy buzzsaw guitars, doom-laden drumming, pleading vocals, nice filthy murky intimidating Van der Graaf Generator-styled sax and dazzling electric piano runs. `Work Day' opens and closes as a honking delirious jazz/funk stomper full of angry dirty grooves, a spitting hostile vocal (I love the line "Money...is that all that rules your brain?!" too!) and mucky squawking sax. The middle drifts into a spacy psychedelic drone with haunting narration, drifting electric guitar mystery and percussive improvisations. Closer `Vanity Fair' has a slightly mundane chorus (the title of the song simply repeated four times in a row, I never enjoy that), but the latin percussion electric elements and some muddy Soft Machine sax dinginess around thrashing drums makes it a consistent way to end the album.

While not quite up to the same standard as those other artists mentioned above, `Nosferatu' is damn sure still strong enough to sit on the shelf alongside them, an album to give an occasional spin that you'll greatly enjoy at the time. It's addictive, and really starts grooving after a couple of plays. There's plenty of more exciting and important discs, but if early organ driven jazzy prog rock is your thing, you'll more than welcome this into your collection.

Three and a half stars.

 Touch Of Music by BLACKBIRDS album cover Studio Album, 1971
2.65 | 14 ratings

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Touch Of Music
Blackbirds Krautrock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Blackbirds hailed from Puettlingen, Germany, formed around singer/guitarist Werner Breinig in 1965.In 1968 they made their debut ''No destination'' on Saga Records' parent label Saga FID, featuring Helmut Vigneron on drums, Heinz Koop on bass and Hubert Koop on keyboards.By 1970 they signed a contract with BASF's sublabel Cornet, which proposed them to change their name to Blackbirds 2000.The new line-up comprised of Breinig, Heinz Koop, Peter Bely on keyboards and drummer Eckhard Gross.A couple of singles later BASF decided to end the contract with the band, dissapointed by the limited sales and Blackbirds returned to their original name.Breinig set up a fresh crew with keyboardist Bely, Wolfgang Bode on bass and Charles Sikora on drums.They made an impressive return for the OOP label in 1971 with the album ''Touch of music''.

First couple of tracks were a surprise, in ''Praeludium'' and ''All you need'' Blackbirds offered a Classical-inspired Psych/Prog with strings and smashing organ in the forefront, having strong hints from the music of THE NICE and recalling compatriots PELL MELL and the Danish act ACHE.The atmosphere is melacholic with good organ parts and depressive vocals, changing climates and delivering some notable psychedelic influences.''Return from the war'' is a questionable attempt on mixing the same style with Heavy/Psych and even Rock'n'Roll.The sharp electric guitars come in evidence and the band performs music based on pounding grooves and irritating vocals, interrupted by Bely's Classical themes on organ.The later part of the track sees Blackbirds entering a jamming mood, while the bass work of Bode is absolutely deep and furious.''Give Me Freedom'' is more of the same, depressive Classical Rock, now the emphasis is on Bely's acoustic piano, even if he never abandons his organ, while the second part contains some strong Heavy/Psych runs with guitars and piano in a frenetic execution.''What is free'' comes closer to typical Kraut Rock, keeping the complex breaks of progressive music as well as the old-fashioned organ leads of Psychedelic Rock and completing a quirky track with extended instrumental work.With the long ''Come back'' the band finally enters the Kraut grounds for good.Muddy Psych/Prog with inventive organ washes, a fantastic flute-based Folk enviroment in the middle with the standard German-styled rhythm section supporting and a great outro with Breinig's guitar and voice battling with his flute.

Blackbirds' history contained plenty of breaks, but they never actually disbanded.They made it to the 50-year mark of their history in 2014 and even GÄA's keyboardist Guenter Lackes was part of the line-up in early-90's.Apparently only one more album was recorded though by the band, it was ''Past and present'' in 1991.Breinig, the legendary leader of the band, had to leave his brainchild in 1995 due to some serious illness.

Reissued by Long Hair in 2005 with two bonus tracks.A mix of loose Kraut Rock and outdated Classical/Psych Rock in the vein of THE NICE, quite charming, albeit rather unoriginal.Recommended.

 In den Gärten Pharaos by POPOL VUH album cover Studio Album, 1971
3.97 | 126 ratings

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In den Gärten Pharaos
Popol Vuh Krautrock

Review by siLLy puPPy

4 stars After introducing the world to the possibilities of the Moog synthesizer and the spaced out sonicscapes on their debut album "Affenstunde," Florian Fricke led his unique band POPOL VUH to continue that sound and put out another even more spaced out sprawling two song epic album on IN DEN GÄRTEN PHARAOS (In the gardens of Pharaoh).

What we get here is an ambient morphing sonic sprawl that defies description really. This is highly experimental and consists of only African and Turkish percussion and the Moog synthesizer organ. No guitar, no bass, no weird exotic instruments. The title track has a more energetic percussion line serving as the backbone of the music while the mood of the Moog is simply to simulate a dream state where one is riding the clouds or something. The second track simply titled "Vuh" is a more placid affair but still takes you on a tripped out ride through the ethers.

Despite this album having very little in what I would call musical structure, for some reasons it works quite well. I find that pure ambient albums can be boring more often than not, but the subtle changes that occur on this album seem to be thought out and strategically placed to maximize listening pleasure. I do declare that it works out to be an astonishing success. After this album POPOL VUH would move on to a piano based compositional style and pass the baton of spaced out electronic music to Klaus Schulze who would continue and evolve this ethereal ambiance even further.

 She Said  by COLOUR HAZE album cover Studio Album, 2012
3.19 | 7 ratings

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She Said
Colour Haze Krautrock

Review by Anon-E-Mouse

3 stars Responding to a query on the Forum pages, let me share a bit of my input here. Previously, I've heard some of the band's earlier works and that left me quite impressed. That I haven't followed it up is partly due to the fact that one can only pay attention to that many works at a time.

I totally agree with a reference to this band as having a "retro" feel. Indeed, they sound like a mix of Black Sabbath and Grand Funk Railroad - minus the riffs. Good guitar work along with thunderous bass often in a jammy fashion. Pretty good if you are into such grunty deliveries.

This album "She Said" follows a similar approach as before, but perhaps too much so. A feeling of "deja vu" creeps in, as if I've heard these lines before. Indeed this work sounds like a repetition of previous efforts and that leaves it rather redundant. Not bad at all, only there is hardly anything new here. A couple of mediocre vocal tracks bring down my rating to a 3.

I do like this band in general, their sound is well worth exploring, but on the face of it, compared with earlier releases this album is not really essential.

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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
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 Various
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
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
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
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
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