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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

4.23 | 169 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 242 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.07 | 217 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.07 | 219 ratings
NEU!
Neu!
4.05 | 307 ratings
YETI
Amon Düül II
4.04 | 285 ratings
PHALLUS DEI
Amon Düül II
4.10 | 124 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.18 | 74 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.20 | 67 ratings
EDGE OF TIME
Dom
4.14 | 83 ratings
SELIGPREISUNG
Popol Vuh
4.00 | 343 ratings
FUTURE DAYS
Can
4.01 | 177 ratings
MALESCH
Agitation Free
4.66 | 19 ratings
EISZEIT
Gam
4.01 | 144 ratings
ELECTRIC SILENCE
Dzyan
4.08 | 78 ratings
KÄNGURU
Guru Guru
3.92 | 408 ratings
TAGO MAGO
Can
4.00 | 96 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
4.18 | 39 ratings
A.R. IV
A.R. & Machines
3.97 | 115 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
3.92 | 195 ratings
WOLF CITY
Amon Düül II

Krautrock overlooked and obscure gems albums new


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

ORION AWAKES
Golem
SUPERNOVA
Ibliss
MAGIC THEATRE
Drum Circus
WELTSCHMERZ
Siddhartha

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Latest Krautrock Music Reviews


 Metropolis by METROPOLIS album cover Studio Album, 1974
3.07 | 8 ratings

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Metropolis
Metropolis Krautrock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Why this German band remains overlooked is beyond my imagination.Metropolis were sort of a German Kraut supergroup, originally born in 1972 and apparently led by keyboardist Manfred Opitz (from Agitation Free) and bassist Michael Westphal, who had been playing together in an obscure Zarathustra group, and were surrounded by Michael Sauber on sax, ex-Mythos drummer Thomas Hildebrand and Mickie Duwe from Agitation Free on guitar/vocals.A bit later female singer Ute Kannenberg, aka Tanja Berg of Os Mundi fame joined the band along with Helmut Binzer on guitar.Metropolis recorded their sole self-titled album for Pan Records in December 1973 at Studio 70 in Munich, the album was eventually released the following year.

Metropolis' style comes the closest it gets to the offerings by TOMORROW'S GIFT, OKTOBER, early MYTHOS and the likes, an impressive amalgam of psychedelic leftovers, Kraut jams and symphonic orientations.Surprisingly though the material is very consistent with different sections in the same track containing spaced-out experiments, Classical interludes and psychedelic rockers, dominated by a frenetic Manfred Opitz and his flexible keyboard acrobatics and the dual guitars of Duwe and Binzer.They come as a blend of BABE RUTH, HOELDERLIN and MYTHOS at the very end with mid-length and long tracks, filled with orchestral moves, hypnotic soundscapes, jazzy leanings and rural flute drives.Excellent execution on organ and Mellotron by Opitz delivers the appropriate symphonic images to break frequently into female-fronted, aggresive grooves and passing often through psychedelic mannerims with keyboards, flute and acoustic guitar in evidence.The longer pieces are fantastic examples of eclectic Progressive Rock with Folk and Classical spices into a Kraut Rock wrapping, dangerously balancing between tight structures, rockin' power and loose playing.

After the release of the album Kannenberg and Binzer left Metropolis.Ahead of its time the remaining members created a multi-media show with projectors, based on a sci-fi story of author Ray Bradbury, and performed it during the 75' Christmas Eve.After a last concert in 1976 during the ''Sommergarten unter dem Funkturm'' festival Metropolis disbanded.Duwe found the ''Albatros'' concert agency and formed Mickie D's Unicorn, Manfred Opitz formed Lilli's Berlin, Westphal played with Ash Ra Tempel and Hildebrand played with the cover band Tequila Sunrise.

Unknown pearl of mid-70's Kraut Rock with symphonic and jazzy touches.Great keyboard work, inspired psychedelic atmospheres and plenty of tapping rhythms with an aggressive female voice.No less than strongly recommended, Germanofon reissued the album on CD in 1996...3.5 stars.

 Distance Between Us  by BRADSHAW-LEATHER, DON album cover Studio Album, 1972
3.61 | 7 ratings

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Distance Between Us
Don Bradshaw-Leather Krautrock

Review by Neu!mann
Prog Reviewer

3 stars Add my voice to the slowly growing chorus of mystified admirers belatedly discovering this unique artifact: an epic monument to overindulgence, which ought to be reason enough to enshrine it in a temple of Progressive Rock.

The twin LP was obscure even when it was fresh in 1972, self-produced and self-released by 24- year old Essex native Donald Bradshaw (the Leather-suffix was presumably a stage affectation), after somehow managing to secure a cash advance from CBS Records for this homemade, one- man project. The label then backed away (quickly, I'm guessing) from the finished product, and I have to wonder how deep into the recording they got before pulling the corporate plug. Any five- minute stretch would be enough to trigger cardiac arrest in a career A&R flunky; the full hour-and-a- half experience is best approached as sweet torture to an avant-rock masochist. The album doesn't exactly win fans; it attracts willing victims, and as a glutton for punishment I speak from experience.

The artwork alone is eye-catching, without even considering the rear cover photo of the same paint- blackened primitive (the elusive Bradshaw?) mauling a naked woman, like two contestants in a Celtic mud-wrestling competition. And then there's the music itself, a multi-tracked collision of classical piano, atonal organ, and tribal percussion, played as if for a ritual gathering of headhunters: rhythmic spice for the missionary stew to follow. But the album's pièce de résistance is a wildly hyperbolic Mellotron, sounding like an entire string section staggering across the orchestra pit after a weekend bacchanal.

Bradshaw was clearly a virtuoso talent, blessed with an amateur's lack of inhibition or boundaries. But an unfortunate side effect to that same creative vigor was a likeminded scarcity of structure and direction, evident throughout his magnum opus. Occasionally a groove is located and (briefly) followed, but for much of its length the album flails about in a chaotic frenzy almost guaranteed to make you drop your jaw, shake your head, and wonder where all your houseguests have suddenly gone. Rural Essex is a long way from Germany, but where else except in the Krautrock column would you list such a glorious racket?

A more polished production (and a little editing) might have found a lasting classic of Outsider Rock expressionism, and kept Bradshaw from having to pawn copies of his album around local London record shops (mine is a secondhand digital bootleg, preserving every snap, crackle and vinyl pop). But a professional effort would also have denied us the opportunity to hear such a bizarre, blue moon curio, always a privilege in our current age of devitalized cookie-cutter entertainment.

He might have believed he was making a hit record, instead of what it ultimately became: a crowd- pleaser for an audience of one, arguably the goal for any true artist. In which case I applaud his illusions. The music world desperately needs visionary nut-cases like Mr. Bradshaw-Leather, a hopeless dreamer eager to pursue his muse into the darker alleys of his imagination, and ravish her.

 Im Tal der Emmen by GEBARVATERLI album cover Studio Album, 1978
3.09 | 3 ratings

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Im Tal der Emmen
Gebarvaterli Krautrock

Review by apps79
Special Collaborator Neo Prog Team

3 stars Many collectors think of this German band as a short-lived project by Kraut-Jazz veterans, but the truth is Gebärväterli had a quite long career, starting in 1973 in Nuernberg with an original line-up of Friedel Pohrer on bass, Norbert ''Slog'' Kirchner on guitar, Yogo Pausch on drums, brothers Reinhold und Dieter Weberpals (keyboards and flute respectively) and Gerd Ackermann on wind instruments.What is unknown is the activity of the group until 1978, when they released their only album ''Im tal der emmen''.Sure thing is that Ackermann was replaced by Ex Ovo Pro's Mandi Riedelbauch on sax/bassoon in the process.''Im tal der emmen'' was recorded at the studio of the Brutkasten label.Manfred Demetz, who draw the album's cover, played also trombone in the album.

Gebärväterli's sole work has this charming Kraut/Fusion style, led by interesting interplays and plenty of abstract solos, which somehow end up to be not only listenable, but also even more rewarding than the structured themes at moments.The dense line-up resulted to a very rich sound with technical drumming, smooth instrumental interactions and loose executions on flute, guitars and organ, not to mention the scratching sax soliing of Mandi Riedelbauch.Moreover there are slight psychedelic underlines over an overall rather jazzy attitude, typical of the Kraut Rock stylings, featuring steady but frenetic rhythmic parts over extended instrumental solos.The Germans had however a good sense of melody to support their jazzy style with melodic trombones and some delicate flute lines in the more mellow segments.Every track in here seems to have its own hero, no matter if this the keyboardist, the flutist or the sax player.They do remind me of classic acts such as KRAAN and EMBRYO pretty often with a touch of SUPERSISTER in the furious interplays.

Apparently they were heading for a second album in 1979, as its front cover and the title ''?Gevatter bärli" have been circulating in the net, but this one was never properly recorded and the only other material taped from the band are some very rare cassettes from their last concert in January 1981.Dieter Weberpals had by the time formed its own band Argile, following a more Ethnic-styled Jazz sound.

Interesting and at moments fascinating Kraut Fusion with decent interplays and plenty of well-performed solos.Recommended both to Kraut Rock and Jazz/Fusion fans.

 Anfang Ohne Ende by IHRE KINDER album cover Studio Album, 1972
2.17 | 3 ratings

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Anfang Ohne Ende
Ihre Kinder Krautrock

Review by DrömmarenAdrian

2 stars "Anfang ohne ende" was Ihre Kinder's fifth studio album and it was released in 1972, just two years after their amazing record "Leere Hände". Just as their earlier efforts, this contains a lot to enjoy and this record has more music than before, I don't know if it's a double record but the playtime is quite wide. The cover picture shows an old radio machine, according to me. It is a nice cover!

The music here is competent. They haven't walked the easiest way and there are places where you can enjoy the guitar, the drums and the best ingredient the saxophone. Unfortunately this saxophone isn't used so much on the album, it could have been used much more advantageously. The musicians were Sonny Hennig on vocals and keyboards, Tommi Röder on bass, saxophone and guitar and vocals, Walti Schneider on bass and vocals, Günter Storch on drums and Wolf Stumm och guitar.

The best song is where the saxophone could glisten, in "Für dich und mich", a pleasant an recommended song. Also "Stunden" and "Die graue stadt" has a lot of fine parts and fine melodies I like. They have more intentions than the rest. Over all though these compositions are boring in my ears. The has write some music just after the book and aren't progressive in a musical way here. I guess much of the glory in the music lies in the lyrics, but I haven't studied them. Indeed the music feels old, but in this case it isn't a benefit. On some of the songs the vocals also are rather unpleasant. I like the tracks: 3, 4, 9, 10, 11 and 12 even if they aren't fantastic. The rest don't intrigues me. This will only get two stars from me. You'd rather listen to "Leere Hände" a wonderful disc by Ihre Kinder.

 2375 004 (Jeans-Cover) by IHRE KINDER album cover Studio Album, 1970
3.60 | 7 ratings

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2375 004 (Jeans-Cover)
Ihre Kinder Krautrock

Review by DrömmarenAdrian

3 stars Now it is time for me to write a little about the German group Ihre Kinder's third studio album which is usually known as "2375 004(Jeans-Cover)" but actually lacks a title on the cover box. The album was released in 1970 and the participating musicians are Sonny Hennig(vocals, keyboards), Muck Groh(guitar), Tommi Roeder(bass, saxophone), Georgie Meyer(flute, bells and vocals), Olders Frenzel(drums, guitar) and Ernst Schultz(guitar, bass, percussion, vocals). The cover shows the texture of a jeans cloth and a marking with washing instructions.

This album contains music from a well playing quite dark and groovy band which aren't progressive in matter of creativity or strange melodies, they are sprung from another tradition. Some tracks are light but the majority are quite dark. "Toter soldat" is one of the best tracks on the album and it is also the most experimental(7/10). The best track though is "Mutter bekommt ein Kind"(8/10) which is very embracing and I love the saxes here played, a little bit like those in Van der Graaf Generator's music(8/10). "Strassenkind" is also worth naming as a wonderful and interesting prog ballad(8/10). I would also recommend you to hear "Mantel im wind"(7/10). Otherwise the songs are rather ordinar and I guess you need to know German to perfect get the music, when a lot of its interest lies in the lyrics.

This band know how to play rock music and you'd hear some of the songs with satisfiction. But when you hear much, the variation would be too small. It's not a challenging type of music really. Three stars!

 Werdohl by IHRE KINDER album cover Studio Album, 1971
3.03 | 5 ratings

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Werdohl
Ihre Kinder Krautrock

Review by DrömmarenAdrian

3 stars Ihre Kinder is a German rock band which made five studio albums during the period 1969- 1972, and then some years later they recorded a live record 1982. Ihre Kinder means "Their Children" and I have earlier reviewed their second album "Leere Hände" which was a very pleasant and poetic rock album. "Werdohl" from 1971 is their fourth. Between those they made another record which I will listen to later.

Werdohl's cover is a red knobbly one with an unsharp photography of the band and its sign is written in old germanic style. The musicians on the record are Sonny Hennig(vocals and keyboards), Muck Groh(guitar, trombone), Tommi Röder (bass, saxophone, guitar, vocals), Georgie Meyer(flute, bells, vocals), Olders Frenzel(drums, guitar) and Ernst Schultz(guitars, bass and vocals). It was released fourty-three years ago and now to the music.

I enjoyed this listening very much. I love music in German over all, it's a poetic language and Sonny Hennig's voice is smooth and nice to listen to. I would recommend some of these songs particularly such as "Schlaf-Lied", amongst the best, with a clanging sweet melody(8/10) and the starter "Babylon" which is both catchy and has its own feeling(7/10). "Worte" was darker also I think one of the best(8/10) such as the longest "Werdohl" where the different instruments do their job often lonely. The track is partially very dramatic and poetic(7/10).

Even if I enjoyed my two listenings very much I find this music a little bit too much unchallenging. Almost every song gave me the same feeling and I would have wanted something more fanatic or experimental. The record also lacks favourite tracks which I want to hear again and again. Therefore a rating of three stars would be enough.

 Cheval Fou by CHEVAL FOU album cover Boxset/Compilation, 1994
3.00 | 5 ratings

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Cheval Fou
Cheval Fou Krautrock

Review by Conor Fynes
Prog Reviewer

3 stars 'Cheval Fou' - Cheval Fou (48/100)

For every band that found a place of significance in the progressive rock pantheon, there are at least a dozen that time never saw fit to remember. In some cases, it was a matter of the band simply not being good enough; in others, it may have been due to lack of commitment, inspiration or luck. Yet thanks to records like PsychUp and the widespread use of digital file sharing, these once-forgotten acts have been given another chance to be heard. So it is for Cheval Fou, a French krautrock act that never left the demo stage. Cheval Fou (or 'Crazy Horse') would eventually develop into the spacier Nyl and release a more realized LP in 1976 (with Jannick Top in the credits as guest bassist no less!); all we have from Cheval Fou is this collection of recordings from '71-75.

When reviewing Nyl's self-titled, I wrote that it felt like their compositions had been written solely as a framework for performance and musicianship; the songwriting was nothing without the way it was presented. I feel similarly about the French trio's work as Cheval Fou, except instead of their technique and skill with performing, it's effects and texture that are getting the showcase. At seventy minutes in length, there isn't a single song or riff that stands out or merits respect for the way it was written. When there are conventional riffs, they're kept minimalistic to the point where you might have thought Cheval Fou were intentionally trying to keep it simple. There is a wide variety of material on these demos, ranging from murky ambient to driving rock rhythms, but never once does the miasma solidify into something focused or memorable. The production is about as lo-fi as you can get without recording with a banana and a tree stump, and while the garage-style production would have hurt the music in most cases, Cheval Fou's murky krautrock sensibilities benefit from it.

Ultimately, in spite of its no-budget recording and forgettable songwriting, Cheval Fou are saved in large part due to their work with soundscapes. It sometimes feels as if rock instrumentation has been tossed in a cauldron and broiled to the point where the effects are louder than the instruments themselves. Echoes are aplenty, and the vocals (when they're there) are usually screeched and off-key. Somehow, the atmosphere works: Cheval Fou make themselves out to be unlikely adepts in the art of creepy atmosphere. Don't let the colourful cover and psychedelic improvisations fool you; there are moments on this album that get downright frightening. I know it's a central aim of psychedelic rock to mimic some element of mental distortion, but few are able to explore its frightening implications like Cheval Fou do here. That potential makes it all the more disappointing; with this excellent grasp of atmosphere, Cheval Fou could have done something great if the rest of their craft had been improved upon. Alas, no amount of effects can help forgive essentially weak compositions. Close, yet so far away...

More a demo compilation than a full-length, this weird trip into lo-fi psychedelia only ever found a release in 1994 with the short-lived Legend Records, and more recently in 2011 with PsychUp. Its production values are about what you'd expect from an early 70's demo, and it comes off as a largely aimless reproduction of hazy Krautrock aesthetics. For what it lacks in composure, however, Cheval Fou conjure some fiercely mind-bending soundscapes and ambient effects here; it's a shame they never went any farther with it than this.

 Celestial Ocean by BRAINTICKET album cover Studio Album, 1974
3.99 | 74 ratings

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Celestial Ocean
Brainticket Krautrock

Review by Warthur
Prog Reviewer

4 stars Brainticket's third album stepped back from the freakout direction of their debut and Psychonaut in favour of teasing out the space rock side of their sound, creating a serene but surreal journey based on the Egyptian lore of the afterlife (as recorded in the Book of the Dead). The subject matter was in vogue at the time, of course - Van der Graaf Generator did a song called The Boat of Millions of Years on a similar theme - but Brainticket execute it well and tease out the electronic possibilities they would explore further on later releases such as Adventure. I didn't rate Psychonaut particularly well but I think Brainticket have more than adequately recaptured my attention here.
 The Lost Tapes by CAN album cover Boxset/Compilation, 2012
4.03 | 32 ratings

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The Lost Tapes
Can Krautrock

Review by GruvanDahlman
Prog Reviewer

4 stars I am not really a Can-fan. It is true that I have never delved deep into their secrets. I have only been scratching ever so lightly on their, as I have perceived it, rather inaccessible door. Still they have managed to keep me in their grip, always fascinating me, screaming in the back of my head. That is in itself quite a thing to give them credit for. To make things worse I have never been all that curious about so-called "lost tapes": What the hell are they? Really? Many times these "lost tapes" are nothing more than a clear-out of ones basement, packaged and sold under the presumption that the album(s) contain material of invaluable importance. In this occasion two things seem to be the case. First, the very existence of these "lost tapes" blew me off my feet, possessing my imagination and want. Secondly, everyone who knew anything seemed to be sharing the same bath-tub, all wallowing in the same lather of unashamed awe. So, what I felt, then, must be of some truth, albeit subjective in the view of objectiveness. Can was always, as is well known, a seldom seen oddity in progressive (or other) rock. They plowed their own furrow with their very own brand of musical conviction. "We'll play anything in any way we like and we don't care what you think about it", they seemed to say. Though I am not, as stated, a Can-fan of any rank, I am aware that their music, as any proud proggers would do, changed over time, becoming less free and "difficult". Their albums turned more easily accessible. When listening to their albums, Can's progression and eclectic approach to recording, isn't quite as clear as on this compilation. On this 3-disc Collection you find, as often stated, material that equals much of their regular output. As a showcase for Can's multifacetted talents it is precious and very interesting indeed, even for someone like me, only slightly acquainted with the band. You get every aspect of the bands musical adventures in the 60's and most of the 70's. Anything from soundtracks (Millionenspiel), pre-punk (Deadly Doris), sonic mayhem and free-form (Blind mirror surf), hard rock jamming (On the way to mother Sky), progressive rock (Dead pigeon suite), infective funk (Barnacles), ambient (Private nocturnal), beauty (Oscura primavera) and everything in between. I can't embrace everything but I like a lot on here and it shows their many faces in a grand way. This collection may appeal to already fans of Can but I can honestly say, being somewhat more of a casual admirer, that these discs are just as appealing for anyone interested in one of the greatest progressive bands in history. "The lost tapes" constitute a wonderful tapestry of originality and ingenuity. Art is a feeling and this is art. Whether or not you are able to appreciate all of it or bits and pieces, you can't help feeling increasingly impressed by the art created. Many a true fan would point, possibly, to "Tago mago" or some of the other classics of their discography but I feel this is as good a place to start as any. Impressive, engaging, enthralling and utterly original.
 Soundtracks by CAN album cover Studio Album, 1970
3.80 | 171 ratings

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Soundtracks
Can Krautrock

Review by siLLy puPPy

4 stars SOUNDTRACKS was a transitional album for CAN being not only a crossroads from the heavy psych jams of their first couple albums (i'm counting DELAY here) to the more experimental electronic and stranger albums that follow. Malcolm Mooney was on his way out and only appears on two tracks here, those being "Soul Desert" and the least CAN sounding track i've ever heard "She Brings The Rain" that actually reminds me more of a Stray Cats rockabilly sound than anything in the Krautrock world. This album marked the beginning of the new singer David Suzuki who really fits quite well with the sound and arrives at the time where he contributed to the new experimental phase.

Like the title suggests this album is a collection of tracks that were written for various films, the first three tracks being for the film "Deadlock" alone. Despite being composed for different sources, this album still feels like it could have been a real CAN album with the exception of the final track. The two singers on the album don't feel in conflict with another and actually adds a more diverse feel. My favorite track has to be the 14 minute plus "Mother Sky" which has the honor of being both hypnotically spacey and a serious rocker as well with a seriously beefy bass and a smokin' guitar which is some of the hardest rock CAN has ever indulged in. Not as good as the albums that precede and follow but still a good listen.

CAN isn't without their influences. This is Krautrock but for example "Dont Turn The Light On" reminds me a bit of "Sympathy For The Devil" by the Rolling Stones and I keep expecting a little "ooo, ooo" back-up vocals to take place. Basically don't expect a uniform album with this one but don't be surprised if it actually holds up as one. This is what it says, namely SOUNDTRACKS. This is a hodge-podge of tracks that are totally unrelated and are simply put together in a composite form to be released for consumption by fans, although I really wonder how many fans CAN had at this point being far removed from this place and time. Many decades after this release I find this to be a very worthy listen.

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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
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