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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

4.20 | 213 ratings
HOSIANNA MANTRA
Popol Vuh
4.17 | 284 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.26 | 79 ratings
EDGE OF TIME
Dom
4.07 | 255 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.07 | 255 ratings
NEU!
Neu!
4.05 | 356 ratings
YETI
Amon Düül II
4.05 | 325 ratings
PHALLUS DEI
Amon Düül II
4.03 | 407 ratings
FUTURE DAYS
Can
4.15 | 93 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.09 | 139 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.65 | 24 ratings
EISZEIT
Gam
4.11 | 97 ratings
SELIGPREISUNG
Popol Vuh
4.04 | 158 ratings
ELECTRIC SILENCE
Dzyan
3.99 | 204 ratings
MALESCH
Agitation Free
3.94 | 489 ratings
TAGO MAGO
Can
4.07 | 91 ratings
KÄNGURU
Guru Guru
4.10 | 72 ratings
VOLUME 10
Electric Orange
4.02 | 111 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.98 | 137 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
3.92 | 223 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

SILOAH [ALSO RELEASED AS SÄUREADLER]
Siloah
WELTSCHMERZ
Siddhartha
A COUPLE OF TIMES
Twogether
VAMPIRE STATE BUILDING
Alcatraz

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Latest Krautrock Music Reviews


 Malesch by AGITATION FREE album cover Studio Album, 1972
3.99 | 204 ratings

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Malesch
Agitation Free Krautrock

Review by Igor91

3 stars Agitation Free's debut album is a fairly celebrated krautrock statement on PA, often mentioning it's Egyptian flavorings peppered throughout. While I like this album, I'm not as impressed as many other reviewers on PA. My largest complaint about Malesch is that there is not enough jamming to be found. It seems that on most tracks you need to wait through several minutes of experimental atmospheres before the tasty jams begin. Then, once they get really grooving, they suddenly fade away or are interrupted by further soundscapes. Don't get me wrong, I enjoy some nice experimental freak-outs within songs, but only up to a point. After 3 to 4 minutes things really need to move on, in my opinion anyway. To sum it up, the psychedelic jams on Malesch are really good, but are interpolated with too many sound experiments, and are often too short. I feel Agitation Free really hit their stride with their follow up, 2nd, when they created a better balance between the music and the spaced-out atmospheres. 3.5 stars.
 Düülirium by AMON DÜÜL II album cover Studio Album, 2014
2.71 | 13 ratings

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Düülirium
Amon Düül II Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars First of all it's pretty awesome that this band is still making music after all of these years, and that Krautrock spirit is certainly still part of this great and legendary band. "Duulirium" the title of this 2014 release was taken from the title of a bonus track on a "Wolf City" re-issue. I should mention as well that this is the same album as "Bee As Such" from 2009 which was a digital download only with no art work. Same recording just a different title. I was pleasantly surprised that while the music is often straight forward this album comes across as being somewhat experimental and left of center, even vocally. Renate and Chris share the vocal duties, often on the same track. Lots of intricate sounds as well throughout this work.

"On The Highway(Mambo La Liberta)" features sparse sounds throughout and I really like the tone of the guitar. Vocals join in and he's really sounding like Captain Beefheart here with that gruff sounding style. Renate joins in with her voice 2 1/2 minutes in and they will continue to share these duties on this song. A little more intensity after 6 1/2 minutes with the guitar and vocals in particular but the song never breaks out like I keep thinking it will. "Du Kommst Ins Heim" opens with Renate's vocal melodies, violin and a beat along with some experimental sounds. Like the previous song we get lots of intricate and sparse sounds. She does sing words eventually and there's male backing vocals as well. Some silly and strange vocals before 5 1/2 minutes. "Standing In The Shadow" starts out with percussion, bass and odd sounds before the male vocals arrive a minute in. Renate starts singing after 2 minutes as the song becomes catchy. Male vocals too as they trade off but also sing together.

"Back To The Rules/Walking To The Park" is the 26 minute closer and the only reason this album doesn't get a 4 star rating. For such a long track it just doesn't do much for me. Very sparse sounds with percussion to start as faint vocal melodies arrive around 2 minutes. Renate starts to sing in a reserved manner around 2 minutes. It starts to come to life somewhat 7 minutes in then we get violin around the 9 minute mark. More vocals join in 10 1/2 minutes in then there is silence before sparse sounds arrive. A catchy beat with guitar and vocals after 12 minutes. Vocal melodies and guitar 17 1/2 minutes in as it continues to be sparse sounding until around the 20 minute mark when fast paced spoken male vocals kick in with guitar, bass and drums. Some nice guitar late.

This was better than I thought it would be and these guys(and Renate) deserve a lot of credit for what they have created here. Well done! 3.5 stars.

 Lard Free by LARD FREE album cover Studio Album, 1973
3.78 | 43 ratings

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Lard Free
Lard Free Krautrock

Review by admireArt
Collaborator PSIKE Team

2 stars Experiments in the average 70's Krautrock/jazz scene.

Free-Jazz and pre-stoner material that has been surpassed by more focused free-jazz and "stoner" (remember Hendrix) musicians then and now. I guess the big thrill is that Lard Free comes from France not Germany. Besides that, this their first release in 1973, will hardly amuse anyone in 2015, certainly not me.

I suppose its charms could be forced by the kind of ear-weed you use, but it really has to be a very strong one, the kind that makes you enjoy losing your time with such a lukewarm and effortless effort.

Forgettable and innocuous.

**2 (the guitar and wind works are the only thing from rating it 1) PA stars.

 An Invisible World Revealed  by KROKODIL album cover Studio Album, 1971
3.48 | 34 ratings

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An Invisible World Revealed
Krokodil Krautrock

Review by friso
Prog Reviewer

3 stars Krokodil - An Invisible World Revealed (1971)

Progressive rock from Switzerland with blues-rock, folk, heavy prog and minor symphonic elements. The band is often listed under krautrock, but it lacks the psychedelic, free and obscure feel that most bands from this genre have. This third album by Krokodil is actually pretty well produced (thinking of it, this record aged really well for a recording in 1971) and sounds therefore more like Grobschnitt (albeit way less symphonic). The artwork is great, with a nice inlay and a booklet added to the recent Second Battle vinyl reprint.

'An Invisible World Revealed' has two longer tracks and four short tracks. In their longer compositions the band explores different atmospheres, but thrives during intense heavy rock progressions with great sounding guitars and a harmonica to give to music its own vibe. Some of these parts sounds ahead of its time, which I find pleasurable for no apparent reason. During the folky parts the band explores tribal folk, American folk/country (perhaps mostly because of the harmonica) and a bit of psychedelic folk. On the shorter tracks we can also find more straightforward tracks like the moody opening track 'Lade of Attraction' and the blues-rock ending 'Last Doors'. The main weakness of the band are the vocals, that often have dull melodies and a dubious tonal quality. Luckily the vocals aren't off-putting and absent during most of the time.

Conclusion. Very well produced progressive rock with great heavy prog moments and some interesting folk moments. Not 'highly recommended' because of the lack of really memorable songs or melodies, but pleasant for perhaps a large range of listeners of the progressive rock genre - I certainly can think of no reason to actively dislike it. Recommended to collectors of heavy prog/psych, folk prog, krautrock and early seventies rarities with great artwork. Three and a halve stars.

 Contraction by FATHER YOD AND THE SPIRIT OF '76 album cover Studio Album, 1974
2.00 | 1 ratings

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Contraction
Father Yod And The Spirit Of '76 Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
2 stars 1974 was a busy year for FATHER YOD and his little sunshine Aquarian cult commune. Not only did they perform their all their proper Utopian hippie duties but they had their own recording studio and churned out seven albums. Four under name Ya Ho Wa 13 and three under the first rendition of the band FATHER YOD AND THE SPIRIT OF 76. This album CONTRACTION is the second release of the year and the third overall after their 73 debut.

This is very much a product of its time when communes and religious cults were sprouting up like daisies in a horse pasture. FATHER YOD was the charismatic leader who kept his following up in the Hollywood Hills but while most cult activities are fairly obscure and well, occult, this group was happy to record this music and release it to the public albeit in small numbers at the time. CONTRACTION is really nothing more than a 26 minute religious sermon with FATHER YOD ranting, raving and pontificating about his message of visualizing about "Pulling In The Energy" that the girl singers in the background belt out in unison.

The music itself reminds me of the freak folk of early Comus especially in the flute department with the tribal drums, however the guitars provide kind of a funkiness to the sound at least for the first three quarters of the sermon before the final freakout. Despite the Comus similarities this is nowhere even close to the inventiveness and utter brilliance that that band delivered on "First Utterance." Musically this is pretty weak for the most part with only the freakout at the end being of interest. During that part the guitars and bass get spastic and create a pure psychedelic sound that proves the band can play and if it weren't for FATHER YOD's horrible vocals marring the band's progress perhaps this could truly be the Utopia they envisioned.

While this is mostly weak musically, i find this fascinating from a sociologist's point of view. Cults are strange little microcosms of consciousness that create some bizarre dynamics and while it could be argued that all religions are cults, these small communes of the 70s are just plain weird, but weird in a cute fuzzy way (beard joke intended!) FATHER YOD is utterly hilarious in an unintentional way when he shouts out phrases like "keep it shakin," "groove on" and "reach out and git it, man!" After the freakout at the end he also draws parallels with St. Nick with all the goodies on his back referring to the energy that is supposed to liberate you from this planet by delivering the ultimate consciousness to escape the limitations of this world. After all this fun stuff we end with a gospel service with more ranting about Jesus with the accompanying female backers following suit by shouting a litany of "oooo oooo's and Jesus."

The music of FATHER YOD is generally listed under Krautrock or psychedelic rock and this is to a certain degree but the later albums by Ya Ho Wa 13 are much trippier and closer to what you would expect from these labels. This, like i have already stated, is pretty much a mildly trippy religious sermon designed to inspire the tribe. I also find it hilarious that every member has adopted the last name Aquarian with the funniest names being Aquariana Aquarian and Sunflower Aquarian. It doesn't get any hippier or dippier than this and although everyone here is dead serious it just seems to me more like a spoof from National Lampoon or Monty Python! Unintentionally hilarious and woefully unessential but surprisingly entertaining upon first listen :) 2.5 rounded down

 D by DEUTER album cover Studio Album, 1971
3.83 | 29 ratings

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D
Deuter Krautrock

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

5 stars Georg Deuter is a German born New Age instrumentalist who has released more than 60 albums to date since beginning his musical journey back at the start of the early Seventies. However, his debut album `D' in 1971 was a far cry from the placid and pleasing synth soundtracks he would later adopt, instead it's a pure daring Krautrock classic that sounds like no other album. Deuter's debut is comprised of a series of schizophrenic and psychedelic sound collages, mixing everything from electronic organ drones, acoustic and ethnic instrumentation with inventive production techniques for the time and avant-garde experimentations that are initially bewildering and disorientating, yet utterly fascinating and captivating, truly the result of an inspired artist with a reaching vision.

The surreal four part fifteen-minute `Babylon' is a fragmented and psychedelic work of beauty, a frequently ambient but often jarring and unpredictable soundscape. Pink Floyd- like brooding spacey guitars chime over a gentle cacophony of church bells, babies crying, machine-gun fire and soaring jets. Murmuring bass lurks behind distorting repetitive mantra-like guitar stabs, ethereal glistening organs rise and fall around backwards effect slivers and warping swallowing voices that float amongst cocooning deep space loneliness. This piece shares a similar defiant edge of anything goes that the early Vangelis albums had and the cosmic yet earthy ambience of Popul Vuh.

The rest of the first side contains the plodding `Der Turm/Fluchtpunkt', a compact but heady concoction of tabla beats, panning effects and wailing wordless siren calls, with eerie straining Gong-like glissando wisps and fuzzy guitar-fuelled chugging grooves to bring a Can-esque dirty stomp.

Frantic, heavy grinding sitar drones race through the ten minute opener of the second side `Krishna Eating Fish and Chips', gradually speeding up to become overwhelming, hypnotic and almost maddening. Around the bubbling atmospherics of `Atlantis', a mix of snaking hissing electronic drones, a drumming pattering of tabla-like beats, shimmering unearthly sighs and backwards effects truly sound like a duelling storm between Heaven and Hell. The opening passages of `Gammastrahlen-Lamm' emerge like a bad nightmarish trip, but piercing droning slices, chittering whispers and reverberating machine hum quickly gives way to a thoughtful and melancholic pulsing organ drift that ends up almost meditative and enveloping.

Take your pick - Is this Krautrock, avant-garde, progressive-electronic, world/ethnic music, psychedelic? The answer is purely none of the above and yet all these things at once and more. Despite its many freeform elements, `D' never collapses into manic, splintering and tuneless chaos, instead retaining a trace of subtle melodicism within its explorations, and despite a few moments that take on a `hippie' vibe, there's a constant restlessness, an intensity bubbling under throughout even the most mellow moments. Although the artist would later take his music in a very different, more sedate New-Age direction (which has endeared him to a great many fans around to the world to this very day, to which he should still receive respect for), this evocative, fragile little jewel is easily the equal of the early Seventies Krautrock-electronic hybrid albums such as `Atem', `Alpha Centauri' and `Irrlicht' from fellow German artists like Tangerine Dream and Klaus Schulze, and is just as ground- breaking and influential in its own little way.

An essential Krautrock release worthy of five stars.

 Volume 10 by ELECTRIC ORANGE album cover Studio Album, 2014
4.10 | 72 ratings

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Volume 10
Electric Orange Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars It was ELECTRIC ORANGE's "Morbus" album that made me a fan of these German space rockers. I proceeded to pick up a couple of their earlier albums from the early 00's but they weren't nearly as good in my opinion. "Krautrock From Hell" which came out after "Morbus" was an excellent release but I sort of lost track of these guys until this 2014 release called "Volume 10". Man this is such a good release and one that rivals "Morbus" for my favourite from them. It's interesting how different this one is from "Morbus" though as they've changed their sound to a much darker and melancholic vibe while delving deeper into the roots of Krautrock. In fact while "Morbus" is in my opinion a Space Rock recording, this is pure Krautrock. Again as usual with this band they get as close to 80 minutes as possible with this album.

Oh I have to mention the song titles which are BLACK SABBATH song titles but changed up some and they are quite funny. "Paraboiled" is dark as sounds come and go. I love the haunting atmosphere after 5 minutes and the violin that slices away throughout. "Slowbind" has this relentless beat that leads the way along with plenty of atmosphere as strange sounds come and go. "Symptom Of The Mony Nurse" features guitar feedback and atmosphere as we get this dark and experimental mood with spacey sounds joining in. It starts to build before 2 minutes and the guitar starts to solo. Some electronics later. "Suite Beef" has floating organ as percussion and other sounds help out in this relaxed journey. This is one of my favourites.

"A Tuna Sunrise" has these sparse sounds that come and go but it's slowly building. Despite it building it stays very mellow. Mellotron sounds late as it continues to be very relaxed. "Behind The Wall Of Sheep" is eventually led by a beat that becomes the focus. Fuzzed out sounds join in as well as spacey ones. The beat stops after 10 1/2 minutes as it turns quite spacey. Drums are back before 13 minutes. "Seven And Smell" is led by drums as atmosphere and spoken words help out. "Worn Utopia" is the most experimental track and the hardest one for me to get into. Sounds come and go until we get silence 2 minutes in then drums, atmosphere and more return and start to build. It's experimental after 7 minutes as strange sounds come and go then it turns spacey after 12 1/2 minutes. Organ to the fore after 14 minutes.

I feel that this one is a grower and while 4 stars is probably where my rating will stay, it's going to be closer to 4.5 stars down the road, i'm quite sure of that. This band really surprised me with not only how good this record is but also with how prominant that Krautrock spirit is here on "Volume 10". A must!

 71 by CLUSTER album cover Studio Album, 1971
3.94 | 50 ratings

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71
Cluster Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Although they are often lumped into the world of Krautrock, CLUSTER really belongs in the world of progressive experimental electronic music. At least the first few albums that i have heard because there is really no elements of rock on board here and this is more in line with the Berlin School world of Klaus Schulze and Tangerine Dream than with the Krautrock world of Can and Amon Düül II that emphasizes the rock. However, the term "Krautrock" is a nebulous one and connotes a sense of otherworldliness and trippiness above all else so nomenclature aside this is one of the MOST surreal and psychedelic releases i have ever heard. Even beginning with the second album "Cluster II," this duo begins to tone things down a bit on the surreal scale and concentrates more on the melodic rather than the abstract, but on this debut release, officially an eponymous title which has been given the nickname CLUSTER 71, there is unrestrained abstractness that seemingly takes you to the far reaches of the universe and back. This is also the only album i can recall that has three sprawling tracks where the titles of the tracks are the same as their time durations: 7:42, 15:43, 21:32.

This duo actually began under the moniker Kluster which included Conrad Schnitzler as the third member. The group was short-lived releasing only 2 studio albums and 1 live in 1970-71. Schnitzler would go on to have a prolific solo career but was also involved in all of the following: Berlin Express, Con-Hertz, Eruption, Feedback, Conrad Schnitzler & Bjørn Hatterud, CS & Wolf Sequenza and even Tangerine Dream. That left the duo of Moebius (also in Cosmic Couriers, Harmonia, Liliental, Moebius & Plank, Space Explosion, Project Undark) and Hans-Joachim Roeelius (also in Aquarello, A.R.S.(e), Harmonia, Human Being, Lunz and the continuation of this group Qluster). This debut album also includes a third member Konrad Plank on electronics, effects and also as a producer. He would go on many projects including Can, Eno, Eurythmics, Neu! and even the Scorpions and more.

This is very strange abstract music. Personally i feel like i've entered the quantum world when i listen to this. I feel like a little stray electron that has been displaced from its parent atom and am traveling through into the extreme microscopic in a place where space and time have totally different properties. In a way, what comes to mind is that i feel like i am a tiny particle bombarded through the Large Hadron Collider (LHC) near Geneva, Switzerland and my experience is meeting my fellow inhabitants of the quantum world and the musical equivalent of their frequencies and universal vibrations. While there is a basic drone ambience that is in play for most of this sonic experience, the different sounds that accompany this make me feel like i'm saying "hey there" lepton, "wassup z boson?" and "how's it goin', quark?" While listening to this it makes you wonder how in the world did they achieve these sounds in 1971.

This was a clear evolution from the proto-industrial sounds of Kluster. These sounds were not created on keyboards. They utilized the sounds of organs, Hawaiian guitar, cello and used audio generators as well played by Moebius and Roedelius and then the final ingredient was Conrad Plank electronic manipulation to tweak and distort the sounds to create the bizarre sonic worlds that they achieved. Truly light years ahead of the competition in the trippiness department. CLUSTER was taking music freaks into strange new worlds that could never have been foreseen a mere ten years earlier before even The Beatles made a dent into the musical world displaying just how far music had evolved in an ever so short period of history. Blows my mind. I personally find this to be my favorite CLUSTER album. This is uncompromising in every way.

 Letzte Tage - Letzte Nächte by POPOL VUH album cover Studio Album, 1976
4.15 | 93 ratings

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Letzte Tage - Letzte Nächte
Popol Vuh Krautrock

Review by ebil0505

4 stars Coming only from experiencing Hosianna Mantra, this album appealed to me a lot quicker because of it's more driven sound. Everyone and everything that talks about Popol Vuh claims that Florian Fricke is the mastermind ringleader of the band, and I'll have to take their word for it because the piano is barely noticeable. Even on the perfect "Kyrie" it soon becomes drowned out. This is not to discredit the music in any way, mind you. From one song to the next, this is without a doubt a fluidly memorable album that also works well when analyzed one song at a time. As a person who loves catchy tunes, I was supremely delighted to hear Daniel Fichelscher's guitar work deliver some instantly classic riffs. I'm not sure which singer is the female singer, but whoever she is, she does a superbly emotional job. I could honestly listen to her sing "Harem Dei, Raram Dei" all day long.

Music stands out to me more when the album ventures through different intensities, as this one does. One song will be pleasant and the next one will literally make me wanna bang my head (not too hard) and really groove with the chords and such. There is quite a lot of music to take in with this album, and after a few listens it really grows into something spectacular. I would recommend this to anyone who is searching for something to listen to while being surrounded by nature, or if you live on a farm. I wouldn't recommend this to anyone who is immediately turned off because the guitar isn't hard enough, or the chorus isn't catchy enough, or they can't understand the words. Hopefully no one reading this review, then.

 Penetration - An Aquarian Symphony by YA HO WHA 13 album cover Studio Album, 1974
3.66 | 8 ratings

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Penetration - An Aquarian Symphony
Ya Ho Wha 13 Krautrock

Review by Dobermensch

2 stars A shoddy psychedelic rock band with front man Father Yod taking centre stage with his big kettle drum in an almost Jesus like manner. The last time I saw that much hair on a face I fed it a banana.

'Ya Ho Wha' without the vowels and spaces reduces to YHWH, the Tetragrammaton. That's spooky Aleister Crowley territory in case you're unaware. 'Penetration - An Aquarian Symphony' is full of tribal drums and distorted guitars and is another of those albums that just sounds like a stoned jam by a bunch of hippies with too much time on their hands.

Supposedly they recorded this after meditation between 3.00am and 6,00am in a soundproofed garage. With no overdubs and being completely unrehearsed this should be enough to let you know what you're letting yourself in for. Joyfully, this is the only album I've heard of 'Ya Ho Wha 13' and apparently it's their highlight. Phew, I dodged a few bullets there!

Without even having to consider the possibility, this is clearly influenced by drugs, consumed wholesale by all members of this Los Angeles commune as they fuzz guitar and chant themselves into a state of stupor. Everything is very Lo-Fi and crude without any productional dynamics at all.

Happily there's some nice whistling on the last track where everything else is more subdued which lets the quietly played and tasteful guitar come to the fore. It's still a dreadful album by today's standards and sounds hopelessly lost in time.

In 1974 I would probably have loved this. As it stands today in 2015, it sounds amateurish, poorly recorded and without any thought of how it may be received in future decades .

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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
BAD STATISTICS New Zealand
HERBERT F BAIRY Germany
BAUMSTAM Germany
BEAK> United Kingdom
JERRY BERKERS Germany
BETWEEN Multi-National
BLACK SPIRIT Italy
BLACKBIRDS Germany
BLACKMANN LANE Germany
BLACKWATER PARK Germany
BLUMEN DES EXOTISCHEN EISES Germany
BOKAJ RETSIEM Germany
DON BRADSHAW-LEATHER United States
BRAINTICKET Switzerland
BRAST BURN Japan
CHRIS BRAUN BAND Germany
BRAVE NEW WORLD Germany
BULLFROG Germany
ROMAN BUNKA Germany
CAMERA Germany
CAN Germany
CHEVAL FOU France
CLUSTER Germany
CODE III Germany
COLOUR HAZE Germany
TONY CONRAD Multi-National
CORNUCOPIA Germany
COSMIC CIRCUS MUSIC Germany
THE COSMIC JOKERS Germany
COUPLA PROG Germany
COZMIC CORRIDORS Germany
CRAVINKEL Germany
CURLY CURVE Germany
CYCLOPEAN Multi-National
HOLGER CZUKAY Germany
DAMENBART Germany
DARSOMBRA United States
DATASHOCK Germany
DAVENPORT United States
DEAF Switzerland
DEJA VU (GER) Germany
DEUTER Germany
DIES IRAE Germany
THOMAS DINGER Germany
DOLOROSA France
DOM Multi-National
DREAMWORLD Germany
DROSSELBART Germany
DRUM CIRCUS Switzerland
DSCHINN Germany
DULL KNIFE Germany
DÜDE DÜRST Switzerland
DZYAN Germany
EAT LIGHTS BECOME LIGHTS United Kingdom
EGYPT IS THE MAGICK # United States
EILIFF Germany
EJWUUSL WESSAHQQAN Germany
ELECTRIC MUD Germany
ELECTRIC ORANGE Germany
ELECTRIC SANDWICH Germany
EMMA MYLDENBERGER Germany
EPSILON Germany
ERLKOENIG Germany
ERNA SCHMIDT Germany
EROC Germany
ERUPTION Germany
ET CETERA (DE) Germany
EULENSPYGEL Germany
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
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