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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 | 189 ratings
HOSIANNA MANTRA
Popol Vuh
4.16 | 257 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.05 | 321 ratings
YETI
Amon Düül II
4.07 | 232 ratings
NEU!
Neu!
4.07 | 227 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.11 | 129 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.03 | 306 ratings
PHALLUS DEI
Amon Düül II
4.15 | 92 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.20 | 70 ratings
EDGE OF TIME
Dom
4.00 | 366 ratings
FUTURE DAYS
Can
4.11 | 94 ratings
SELIGPREISUNG
Popol Vuh
4.03 | 154 ratings
ELECTRIC SILENCE
Dzyan
4.01 | 186 ratings
MALESCH
Agitation Free
4.63 | 21 ratings
EISZEIT
Gam
3.92 | 434 ratings
TAGO MAGO
Can
4.06 | 83 ratings
KÄNGURU
Guru Guru
3.98 | 127 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
4.00 | 110 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.93 | 203 ratings
WOLF CITY
Amon Düül II
4.00 | 90 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

4 TIMES SOUND RAZING
Silberbart
DELUSION
McChurch Soundroom
MY SOLID GROUND
My Solid Ground
VAMPIRE STATE BUILDING
Alcatraz

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Latest Krautrock Music Reviews


 Volume 10 by ELECTRIC ORANGE album cover Studio Album, 2014
4.00 | 4 ratings

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Volume 10
Electric Orange Krautrock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

4 stars Oh ... at the very first I took notice of the album title ... immediately being about to check the truth content. You should know, the ELECTRIC ORANGE members don't take it too seriously. Or, better the other way round, they do not solely deliver exceptional music, they are also fundamentally taking delight in confusing people with uncommon aspects and their play of words. Well, in this particular case, when excluding 'Tonbandreste' (1994) and 'Orange Communication' (1995), both not listed as regular albums on their homepage, the working title 'Volume 10' suits, curiously enough. Now I'm sure we successfully have taken the first hurdle.

When considering the song titles though, it really goes crazy again - innovative in their view, and of course that's true, no doubt. As the second hurdle is build up a bit higher here, we stumble upon Black Sabbath infected puns - Paraboiled, Slowbind, Symptom Of The Mony Nurse, Behind The Wall Of Sheep ... and even more riddles, which I wasn't able to solve until today. A bizarre reference or not? What I only can assure is that they are not simply expressing nonsense. There's always at least an iota of truth given, you only have to dig deeper in order to reach for the hidden treasure or so.

As for that at the moment I will be content with the verdict, that the current ELECTRIC ORANGE outcome appears somewhat doomy ... though not depressive really on the other hand, more darkened than ever. And so the third hurdle, or challenge if you will, marks the music as such - well, it would not surprise me if we will detect some more of them somewhere in the future. How could I describe the sound in short at best? Absolutely tension-filled - 'Spannung pur' to say it in German. Going from the general to the particular, they certainly are on the way to enhance the neo kraut label again. So all in all this is what I would call 'provided with a nouveau tag' - or in other words genre pioneering.

Just while taking up the spirit of the past and establishing something pressing forward on top - whether improvised or not. I'm listening to a rather melancholic affair, featuring meandering soundscapes and tribal drums. Hereby they are using (experimenting with) all sorts of vintage and uncommon instruments. I mean, who really knows what a philicorda or a phonofiddle is? At least, headed by both Dirk's, who are currently also underway with the band SPACE INVADERS, this spiritually reminds me of the 'Unterwasser' ambience more than ever at some point.

Impressive - they are back on track again. To be honest, I didn't expect an album offering such a high quality as the next step from this band. Please be keenly aware, this one needs some time to unfold its real beauty, as many other albums of such a caliber too. No chance to emphasize any particular song here (hey, apart from the puns). 'Volume 10' is a very rounded blend featuring eight sections, offering an intensive, dark mooded, certainly inspired atmosphere. However, to describe this gem fitting more exactly seems to me nearly impossible yet - 4.5 stars.

 No illusions by PANCAKE album cover Studio Album, 1979
3.17 | 9 ratings

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No illusions
Pancake Krautrock

Review by Matti
Collaborator Neo-Prog Team

2 stars (Recycled from my magazine article on several Garden of Delights re-releases.)

German PANCAKE released three studio albums, each notably different. Weak debut Roxy Elephant (1975) is mostly guitar rock with WISHBONE ASH influence; Out of the Ashes (1977) was an improvement, as the keyboards were added. The vocals are perhaps the weakest link on every album, and the change to a female voice on this third album didn't much help in that matter. Biggi Zmierczak's screeching voice is very untalented to my ears.

The compositions are mostly decent. Slightly messy, synth oriented sound combines the space rock of ELOY and tight Heavy Prog. The couple of more symphonic and the longest tracks, especially 'Autumn Leaves', are easily the best ones, they bring in mind some other German bands of the time such as ANYONE'S DAUGHTER. Half of the six bonus tracks are studio leftovers, half live material, all clearly of lower quality than the album itself. 2½ stars.

 Untitled by KEMIALLISET YSTÄVÄT album cover Studio Album, 2007
3.00 | 1 ratings

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Untitled
Kemialliset Ystävät Krautrock

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
3 stars Here's a band with 26 titles in their output and zero ratings/reviews! I have to admit, their music is very difficult to get into. In fact, it may even be difficult to hear it as music at all. I have only listened to three albums with weak patience. But now I'll try to get a bit deeper into this one.

This Finnish experimental music group whose name means Chemical Friends is led by Jan Anderzén. Also his other band TOMUTONTTU is included in the Archives if I remember right (I haven't listened to them). I found a little essay titled "Music of Light" in the disc bag, written by Ralf Normaali which must be a made-up name. Some citations from it:

"Call him a Visionary, call him a Searcher, call Jan Anderzén a True Artist, who uses his craftsmanship and wisdom to sing songs of praise for the Higher Being, recreating the structural integrity and harmony of the Universe, both visible and invisible. The album you're holding in your hand is the Peak, the Strongest Testament (...). [Then follows a couple of stories about God's helping hand, and Anderzén tells of passing years, his alienation and reaching a mental bottom.] "And just as gradual as was my way from a human being to vermin, as sudden was my way back and beyond human and beyond being as well. (...) It's all in this music, too. It's massive, but I must warn you, it's not for all of you, it is ripping it is scorching. Sunlight is the most common of all demons and I've let it inside."

I don't know how seriously those bold words should be taken, ie. how much they have biographical truth or how much the essay is just over-the-top surreal companion to the music. Whatever, it does help one to increase his/her patience towards the music, which, despite its ultimate strangeness, may be done as sincere self-expression. The track titles are in Finnish but I translate some of them here.

'They came form the distances of Heaven': a chaos of short electronic-sounding noises from which some human voices and various instruments can be spotted. A wilder cousin to the freakiest sonic experiments of Ummagumma-era Pink Floyd. 'Flying wolves' has more of all kinds of percussion. Totally stoned tribal music? In the end there's a mumbling, distorted voice saying something. The fourth track is slightly more relaxed and acoustically oriented, again with an Ethnic flavour in the freaky soundscape. 'Cellular pulse' (?) comes closer to early kosmische Musik even though it's thick, not spacey. And so on. By the way, none of the used instruments is named. A pity, it would have been interesting information!

The first impression is probably just chaotic, hard to tell the individual tracks from each other, but in the end each one is clearly different, even if they're basically various combinations of similar ingredients (electronic, acoustic, percussive, sampled noises, the varying amount of rhythmic element). First of all, forget melodies, harmony and other common features of music. As it was said, it's not for all of you. Certainly not! Play this on your date if you want to see the fastest exit ever.

I hope I succeeded in giving you a useful picture of this music. The rating is a tough question. In the genre of totally freaky experimental music (surely not my cup of tea) this is actually quite... interesting. And since this album really seemed to be the best of the three, I can stretch to three encouraging stars.

 A.R 3 by A.R. & MACHINES album cover Studio Album, 1972
3.11 | 14 ratings

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A.R 3
A.R. & Machines Krautrock

Review by siLLy puPPy
Prog Reviewer

3 stars On AR3 Achim Reichel led his A.R. & MACHINES band into a jazzier straight forward almost pop song realm. The head-in-the-clouds trippiness from the first two albums has been suppressed to the point that the echo guitars and other sound embellishments have been tamed and only act as a subordinating sound for the songs. The songs on this third release are merely ok and I have a hard time getting into this one. The vocal tracks really rub me the wrong way. Did anyone practice or was this just thrown together in the wee hours of the night? There are some nice tracks that evoke the spirit of the first two albums but overall in every way this album is inferior to what came before and the two that come after.

The horn backup is a nice touch and it's not the idea of how to direct the band that is the problem, it's the execution. Luckily these ideas would come to fruition on the next album "A.R. IV" which I would recommend over this one any day. However, as a fan of this sound I am more than happy to give this a spin every now and again because it does signify a major shift in the band's approach to their music. As always there are countless musicians helping out and the woven tapestry of sound is a pleasant one but unless you are a major fan as I am you will probably be more interested in "Die Grüne Reise (The Green Journey)," "Echo" or "A.R. IV."

 The Lost Tapes by CAN album cover Boxset/Compilation, 2012
4.13 | 45 ratings

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The Lost Tapes
Can Krautrock

Review by friso
Prog Reviewer

5 stars Can - The Lost Tapes (2012, recordings between 1968-1976)

I've been a fan of the Can's music for years now and I love their first five records. To me Can is perhaps the only rightful heir of the Beatles, being one of the most creative groups of music history. Furthermore, drummer Jaki Liebezeit is one of my favorite musicians. Listening to this German krautrock group you can hear all kinds of things to come later; psychobeat, breakbeats, minimal music, electronic music, moviesoundtracks, hip-hop, punk, spacerock, avant-garde. The list just goes on. The creative process of Can is distinctly different from other progressive groups, with an emphasis on improvisation and a playful interplay of minimal and chaotic elements. The sound of the band has always been very organic and 'in the moment', an element lacking in most progressive music.

In 2008 the process started of recovering 50 hours of 'lost tapes', though they were neglected or forgotten about. Can had it's own studio and they recorded almost everything. Most of time tapes were re-used, only things they really liked (in a 'non-sentimental way') were kept. Out of this Irmin Schmidt (keyboards) and Jono Podmore (editor) took more then three hours of material of which the tapes would be restored, transferred and remastered. The quality of the recordings is therefore no less then that of other Can albums. The live with audience recordings differ somewhat in quality, not in intensity though.

The material covers a wide time-span, yet this new triple record (of 5lp in my case) doesn't feel disconnected at all. The first vocalist, the American Malcolm Mooney with his eccentric, punchy and intense performance style can be heard on no less then seven tracks! The equally yet different Damo Suzuki appears on eight tracks. The others are instrumental. The material is made up of different aspects of the Can; the punchy heavy rock, the wild experimentation/avant-prog side, spacey rock, some composition and of course movie soundtracks. Now I myself often don't care to much for the avant-garde or free music parts, but some of these tracks are really amazing. The organ and spoken word track 'True Story' comes to mind.

At first it was a bit strange to realize, but this new release is actually as great as Monstermovie, Tago Mago and Soundtracks combined. Especially with the vinyl edition it feel like you have five new albums of one of your favorite bands from its best era. The bookwork is also nice & informative and the box is great looking. Standout tracks are Graublau (17 minutes of inventive psychobeat space rock), Obscura Primavera (short composition), True Story (before mentioned), Dead Pigeon Suite (a perfectly original and elegant remix of Vitamin C), Abra Cada Braxis (ten minutes of more Future Days!), Godzilla Fragment, Midnight Man (progressive spacerock!) and the Malcolm Mooney tracks like Waiting for a Streetcar, Deadly Doris and Desert.

Conclusion. This is perhaps the biggest treasure ever to be unearthed from the classic progressive rock era. Highly recommended to fans who will like almost every second of. Perhaps the minor fans - who have embraced the digital era - can make a shorter compilation of their own. I'm myself going to give this the highest rating! Brilliant music, well packaged and remastered. Unique experience and it came as a total surprise.

PS I think this record should considered to be an album instead of boxset/compilation. All the material is new.

 Echo by A.R. & MACHINES album cover Studio Album, 1972
4.04 | 46 ratings

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Echo
A.R. & Machines Krautrock

Review by siLLy puPPy
Prog Reviewer

4 stars Krautrock is a strange little subgenre in the world of progressive rock. I am utterly amazed at how varied it is. Bands have distinctly different approaches leading to their strange tripped out worlds. With Can the focus is on the rhythm and percussion, with Agitation Free on the electronic effects and percussion, with Amon Duul II the pummeling bass, hypnotic guitar and crazy vocal antics. Despite all these different strategies the final outcome must be spacey, psychedelic and tripped out. No one achieved that better than A.R. & MACHINES in my opinion. True I have not experienced every single Krautrock band at this point but I have at least sampled quite a few and fully dived into countless others and as of this day no one takes me to Strawberry Fields more than this band led by the former German pop star turned tripmeister extraordinaire.

On the first album "Die grüne Reise - The Green Journey" the band already succeeded in making one of the trippiest albums I had ever heard but they still included some of the pop song structures from the Rattles days and twisted and echoed them into a somewhat familiar trippiness. On ECHO they let all that go and focus on the most surreal soundscapes they can muster up. Many of the same sound effects can be found on this second release. There are echos and feedback, vocal craziness and pleasant melodies, loops and insanity galore, however these five tracks are long sprawling epics that have distinct segments that morph into one another.

The long list of instruments come and go as they please. Often they are on the playground together doing their thing in total unity and then one might just drop out and then another join in. It's all very random but at times very disciplined. Have I mentioned this is turned up to 11 on the trippiness scale? At times this reminds me of proto-psybient like the Shpongle of the 70s. If you like trance inducing soundscapes then check this out. If you can't deal with repetitive almost drone-like at times instruments pummeling notes into strange patterns then you probably should look somewhere else, but I on the other hand find this hypnotizing and finding myself wanting to listen to this while watching "Alice In Wonderland" on a 3-D TV.

 Heartbreaking Bravery (with Moonface) by SIINAI album cover Studio Album, 2012
4.00 | 1 ratings

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Heartbreaking Bravery (with Moonface)
Siinai Krautrock

Review by Matti
Collaborator Neo-Prog Team

— First review of this album —
4 stars SIINAI is a Finnish instrumental group. The Krautrock category perhaps fits stylistically for their debut album Olympic Games (though personally I'd prefer to have "Krautrock" only as a historical term concerning German music). This second album is completely a different case. On the cover the performer is marked as "Moonface with Siinai", not the other way round, but since Siinai is responsible of most of the composing and playing (the singing and lyrics are Moonface's, naturally), the inclusion of this collaboration shouldn't be against any standards. Moonface is the Canadian indie rocker Spencer Krug, also known from Wolf Parade. He wasn't familiar to me.

The album starts with a slow-tempo title track which immediately proves how perfectly the two musical entities click together. The band sound is bright and elegant, featuring some elements of Ambient, Post-rock and Dream Pop, with a solid rhythm. And on top of it, cool, economic lyrics sung by an impressive voice somewhere between DAVID BOWIE and JOHN CALE. 'Yesterday's Fire' increases tempo and is rockier in general, but also in it the spacey piano chords stick out nicely from the sound. 'Shitty City' with its energetic percussion pattern has a feel of a U2-like pop anthem. Overall there's plenty of the early 80's synth pop aesthetics in this album, but in a pleasant way.

On my first listening I got a strong association towards the Berlin era (Brian Eno collaborating) David Bowie, albums like Low and "Heroes". For Krug's voice and the Ambientish brightness in the soundscapes this isn't a bad reference at all, but for the songs themselves there isn't much similarities I guess. The special sonic atmosphere is very essential in the best songs such as the opener and 'Quickfire, I Tried'. It's easy to imagine how boringly monotonous these songs would be if performed by a middle-of-the-road rock group.

The only instrumental, '10,000 Scorpions', is a 2-minute sonic experiment that brings me submarinal inner images - and to you possibly something else. It's seamlessly followed by a song in which the album's somewhat alienated and SciFi-like atmosphere is strong. A minimalistic approach is taken further by 'Headed for the Door' that at first contains only a drum beat and a synth carpet. It grows passionately, featuring also a letter reading ("Dear Sarah, I heard that you've grown into a goth..."). The closing track is another majestic and elegant slow-tempo song full of emotion. If you like synth-oriented art pop of e.g. JAPAN / DAVID SYLVIAN, certain albums of DAVID BOWIE, TALK TALK etc, I'm sure you enjoy this unique collaboration. Not prog, but an excellent addition to a many-sided rock music collection.

 Hinten by GURU GURU album cover Studio Album, 1971
3.57 | 57 ratings

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Hinten
Guru Guru Krautrock

Review by Neu!mann
Prog Reviewer

4 stars The butt-ugly cover of Guru Guru's sophomore album is entirely appropriate: this is the ass-end of classic Krautrock, slightly more refined than the band's earlier "UFO" but no less primitive in its unclothed, lo-fi squalor. The raw garage band sound was deliberate, and it fits; engineer/ producer/ Krautrock guru Conny Plank always tailored his method to fit the music instead of the other way around, and the music of early Guru Guru was a lot closer to earth than the Kosmische Rock of other German bands at the time.

Symphonic-minded Progheads should therefore take heed. This album is so unpolished it could easily be mistaken for a loose clump of musical dirt, instead of the diamond-in-the-rough it actually is. But there's a crude playfulness here too, as the unflattering cover art makes all-too explicitly clear. I suppose when you're fighting The Establishment using radical politics, psychedelic drugs, and over-amped guitar feedback, it helps to also have a sense of humor.

And the trio was beginning to listen to each other, allowing a little more light and air into their music. The Jimi Hendrix influence is strongest in the perfectly-titled album opener "Electric Junk", strangely skewed when filtered through the usual cross-cultural translation. But the soundstage widens considerably for "The Meaning of Meaning", a slowburn freak-fest showpiece for guitarist Ax Genrich. Ditto "Bo Diddley", in which the band gets downright goofy. Is that Mani Neumeier himself, shouting out the name of the legendary R&B pioneer in a succession of Monty Python-like voices? (The credits include "Sounding Being" and "Zonk Machine" among his other esoteric instruments.)

Needless to say, it's a long way from anything resembling musical sophistication. But the album was still miles ahead of the band's 1970 debut. And today it remains a valuable artifact from the Stone Age (pun intended) of power rock rebellion.

 UFO by GURU GURU album cover Studio Album, 1970
3.67 | 101 ratings

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UFO
Guru Guru Krautrock

Review by Neu!mann
Prog Reviewer

3 stars The debut album by Germany's premier power trio seems to have divided even the more reliable collaborators on this site, and not without good reason. The primitive garage-band jams collected here might have been prototypes of Krautrock sedition, but are they actually any good? Heck, are they even half-way listenable?

Sure, the album is a bit of a mess. But it's just possibly a Jackson Pollock sort of mess...in other words, one made by agitators who knew what they wanted. Or, more accurately, what they didn't want: anything resembling structure, direction, or professional gloss. This sort of musical anarchy was a holdover from the more radical 1960's, and not unlike a lot of post-hippie guitar freakouts was political in context. The band itself called what they were doing 'action music', although the only action likely taken by unwary listeners might be to reach for a large bottle of aspirin.

Even with more than forty years of hindsight it can still be hard to distinguish one instrumental thrash from the next; a mark of distinction, to some of us misfits. And with titles like "Stone In" or "Der LSD- Marsch" it's entirely possible the band had the same problem in 1970 (the latter example, for better or worse, smacks of firsthand chemical knowledge). But it's the ten-minute title improvisation that remains the album's litmus test: a completely free-form exercise in spontaneous noise-making, played (apparently) for no other reason except to hear the effect of all that feedback.

What the album misses is the occasional touch of goofy humor that would color upcoming Guru Guru LP's. Drug references aside, it's a pretty sober experience...ignoring the (possibly) tongue-in-cheek statement inside the laminated gatefold cover, above the portrait of the band representing bassist Uli Trepte as a hallucinated extension of R.U. Kaiser's Ohr Records logo. Quoting the pseudonymous P. Hinten, "Soon the UFO's will land and mankind will meet much stronger brains and habits". And here's the kicker: "Let's get ready for that".

Was it meant as an invitation, or a threat? Yes, let's get ready to throttle ET with all six of Axe Genrich's electric guitar strings! A moot point, by now: stronger brains and habits have proven no match for the primordial grunge of Mani Neumeier and company, as we're still learning after almost 45- years of waiting for those objects to finally land.

 Eroc by EROC album cover Studio Album, 1975
3.33 | 12 ratings

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Eroc
Eroc Krautrock

Review by Neu!mann
Prog Reviewer

3 stars His first solo album outside the three-ring circus of GROBSCHNITT saw lead clown Joachim Ehrig (alias Eroc) downplaying his irreverent "Lumpy Gravy" humor in favor of a milder brand of homemade Krautrock, more experimental than the music of his parent band but hardly inaccessible. And for a musician otherwise employed as a drummer there's a conspicuous lack of percussion over most of the album, without a cymbal to be heard over its entire first half.

Be prepared instead to settle into the long, electronic lullaby of "Kleine Eva": twelve sublime minutes of beautifully arranged keyboard variations on a simple, childlike melody. That opening idyll is followed by the more unsettled synthetic reverie conjured by "Des Zauberer's Traum" (The Magician's Dream), and then a brief audio-vérité joke shared with a member of Grobschnitt's road crew and performance troupe.

The flipside of the 1975 LP explored more traditional Krautrock territory (if that isn't an oxymoron) in the Teutonic Rock anthem "Norderland", an obvious album highlight. And the weirder face of the Eroc coin was revealed in "Horrorgoll": an ACHIM REICHEL-like echo effect nightmare built around repeated voice samples and atonal piano accents. The track is longer than it needed to be, but the silver lining is the lovely "Sternchen", bringing the album to its final, graceful resolution.

All worthwhile, in its own modest way. But the 2005 CD re-issue presents a different experience altogether. The copious bonus material, recorded more or less around the same time, is salted throughout the disc instead of lumped together at the end, totally changing the pace and flow of the original album. These aren't really outtakes (the music is too good), but more like a random sampling of unreleased songs from the composer's private stock of basement tapes, built (mostly) around gently strummed guitars, tasteful synths, homeopathic percussion, and the occasional kazoo (of course).

Hardly essential, but classic Eroc. And like the rest of the album so German every chord deserves its own umlaut. Fans of Grobschnitt's vaudeville Prog may find it a surprisingly restrained effort from such an extroverted cutup. But every joker should be allowed a few private moments of creative introspection.

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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
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