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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

4.19 | 214 ratings
HOSIANNA MANTRA
Popol Vuh
4.16 | 287 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.26 | 80 ratings
EDGE OF TIME
Dom
4.07 | 259 ratings
NEU!
Neu!
4.05 | 361 ratings
YETI
Amon Düül II
4.07 | 256 ratings
TANZ DER LEMMINGE (DANCE OF THE LEMMINGS)
Amon Düül II
4.05 | 325 ratings
PHALLUS DEI
Amon Düül II
4.03 | 415 ratings
FUTURE DAYS
Can
4.64 | 25 ratings
EISZEIT
Gam
4.09 | 143 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.14 | 89 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.10 | 96 ratings
SELIGPREISUNG
Popol Vuh
4.20 | 60 ratings
VOLUME 10
Electric Orange
4.03 | 160 ratings
ELECTRIC SILENCE
Dzyan
3.99 | 206 ratings
MALESCH
Agitation Free
3.94 | 492 ratings
TAGO MAGO
Can
4.07 | 93 ratings
KÄNGURU
Guru Guru
4.02 | 111 ratings
AGUIRRE, THE WRATH OF GOD
Popol Vuh
3.97 | 135 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh
4.17 | 45 ratings
A.R. IV
A.R. & Machines

Krautrock overlooked and obscure gems albums new


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

FORGET YOUR DREAM!
Pacific Sound
I'M GONNA TAKE YOU HOME
Ya Ho Wha 13
ORION AWAKES
Golem
PLANET OF MAN
Code III

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Latest Krautrock Music Reviews


 Heartbreaking Bravery (with Moonface) by SIINAI album cover Studio Album, 2012
4.00 | 3 ratings

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Heartbreaking Bravery (with Moonface)
Siinai Krautrock

Review by admireArt
Collaborator PSIKE Team

4 stars Amazing!

Turn back to the 80's at its best New Romantic synth- era, faithfully replayed and re-modeled into the 21st century with refined retro-electronics, with a keen and perfect balance between raw electronic experimentation and straight forward creative dance rock fast and slow rhythms and melodies.

The full of emotion/ emotionless voice of Moonface (Spencer Krug), may remind you of Gary Numan's, John Foxx's, Peter Murphy's, Robert Smith or even Bowie's apocalyptic love intonations , so re-visiting this doomsday's heartbreaking atmospheres feels so comfortable and then again fresh as new.

After all central europe and the UK sheltered the best of the 80's underground and above ground synth-wave movement's musicians, but then again not exactly from Finland and Siinai comes from Finland so expect "FinRock" to fit the KrautRock Prog-labeling.

Siinai's, 2012, "Heartbreaking Bravery" (with Moonface), is above all perfectly written song by song to the point where harvoring past 80's stylings is credible as it also feeds from other electronic names, so blending influences like Bowie, U2 , The Cure or Underworld with Ultravox or the early and later Depeche Mode, or the irreverent The B-52's or the shamefully forgotten The Beloved or the well known Bahaus makes sense.

Uplifting and downlifting 80's synth/styles at its best.

****4 PA stars.

 Dracula's Music Cabinet by VAMPIRES OF DARTMOORE album cover Studio Album, 1969
2.33 | 10 ratings

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Dracula's Music Cabinet
Vampires of Dartmoore Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team

1 stars Now here's a real kitschy obscurity that was excavated from someone's cellar and resurrected into the modern era. This bizarre idea was the result of the rise of B-movies in the mid-1960s that were increasingly mixing tawdry sexploitation with horror themes which became dubbed horrotica and THE VAMPIRES OF DARTMOORE were but one of many Germans to put out horrotica-themed albums such as DRACULA'S MUSIC CABINET in the 60s and 70s. The approach to this album is like many of the Euro-horror films of the day which contains a kitschy blend of psychedelia and lounge jazz and despite its best efforts absolutely fails to evoke any kind of horror at all. The whole idea was intended to be a soundtrack to a movie that never existed, which was a novel idea for the time.

Although the CABINET'S OF DRACULA is pretty much an instrumental lounge jazz affair musically, it is stuffed to the gill with different sound effects. This project was the idea of Heribert Thusek, who was a session player and library music composer and radio comedian Horst Ackerman. They together are THE VAMPIRES OF DARTMOORE. While the concept is supposed to be about VAMPIRES and horrotica, the actual content is a bit unfocused and at times just stupid. The first track "The Torture Chamer Of Dr. Sex" pretty much sets the tone for a lounge jazz feel embellished with moans and groans and S & M sounds. The rest of the album follows suit but instead of the expected Halloween friendly music and sound effects, we get some real lame choices with tracks like "Dance Of The Vampire" which is stuffed to the gills with "boing boing" sounds. Are they dancing to evil or jumping on pogo sticks for frack's sake?

The one track i kinda like is "Handful Of Nitro" which sounds kinda like Dave Brubeck's "Take Five" on surf guitar with cheesy psychedelic keyboards and occasional explosions. There are also little Krautrock breaks that last a few seconds before the guitar starts in again. While the theme does fit in with the name of the track, what in the world do nitro explosions have to do with VAMPIRES? Uggh! I really find this album annoying. Not because i don't think the idea was worthy though. While VAMPIRES are not my most beloved theme, i have an appreciation for good cheesy novelties done right, but on this one i find absolutely nothing scary, nothing funny and nothing interesting and not even my idea of a B-movie as even the kitschy intent is weak.

There exists a myth that recounts the Hairy Hands of Dartmoor where after 300 imprisoned sailors attempted to escape one fateful evening, they ended up shot down en masse by the guards and one of the spirits of the dead would appear as a pair of Hairy Hands that steered victims of visitors leaving the English village of Postbridge to their deaths, but this tale of horror at hand is a different breed. For the horrendousness lies in the fact of just how bad it is in achieving any kind of emotional connection to either VAMPIRES, horror flicks or erotica for that matter. The only thing that gives me that good ole VAMPIRE feel is that after 38 minutes of listening to this release is like having many pairs of fang scars on my neck where that precious time has been sucked right out of me never to return again. I seriously listened to this several times in order to give it a fair chance but i can honestly say that with this one it just gets worse. Elvira, Mistress of the Dark going to the karaoke bar singing David Hasselhoff songs sounds more appealing than this one. 1.5 stars rounded down!

 Supermarket by SIINAI album cover Studio Album, 2014
4.00 | 2 ratings

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Supermarket
Siinai Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars Krautrock from Finland eh? Want to hear something else that's rather strange? This is a concept album about shopping in a supermarket. Or as the band puts it... "A soundtrack for the supermarket nations". Haha, okay i'll bite. This is my first taste of this band and I was left with a lot of positive impressions. The music reminded me at times of LA DUSSELDORF, HARMONIA and NEU! and at other times we get a lot of electronic beats mixed in with some heavy atmospheric sections. A pretty cool album overall.

"En-Trance" makes me laugh because how many of you have walked into a supermarket with all of those bright lights while being arm in arm with Buddha, yeah me too. And the title suggests that to me as we begin our shopping experience. What an opening sound as we get these powerful, dark and pulsating electronic waves as other spacey sounds join in. From the sounds of this i'm guessing we are very paranoid and stoned as we enter our destination. "Shopping Trance" has these pulsating electronic sounds with drums and bass as spacey sounds explode over top throughout. A change after 6 1/2 minutes as the beats stop briefly but then it kicks back in quickly. A strange trumpet experience is next before 7 1/2 minutes then it winds down to the end. "AEIOUYAO" sounds like a normal song almost including male vocals in the background. This one reminds me of the German bands I mentioned in the intro. Female vocals before 2 minutes and it's very uplifting before 3 minutes.

"Jonotus/Queue" has atmosphere to it that is so powerful I feel like I need to hang on to something tight. Like a thousand mellotron choirs flooding the soundscape. And it stays this way throughout! Clearly we are having one of those freaky moments in the supermarket. "Prisma" has this deep atmosphere to it that pulses as a relaxed beat joins in and this swirling sound. "Smiling Cashier" means we are near the end of our shopping experience. Deep drum and bass sounds with background synths to start and this strange sound like a dog barking but it's processed and in slow motion. What was that? It's back again after 2 1/2 minutes. Hey maybe it's the cashier talking to us and this is what we are hearing 'cause we are ripped. Spacey synths dominate later, some piano on this one as well. "Vasikka" has these swelling synths, an electronic beat, drums and more in this fairly energetic piece. So much going on here. "Exit" says it all doesn't it? The synths bring HARMONIA, NEU! and La DUSSELDORF to mind as we get a plodding beat and even female vocal melodies at one point.

I really enjoyed this record, these guys are clearly influenced by the Krautrock scene and i'll be checking out at least one of their earlier albums if not both in the future. Great album!

 E2-E4 by GÖTTSCHING, MANUEL album cover Studio Album, 1984
3.53 | 42 ratings

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E2-E4
Manuel Göttsching Krautrock

Review by Suedevanshoe

5 stars The culmination of many years' work, Gottsching produced a masterwork that left it's fingerprints all over new wave and popular 80's house and dance music. On a listenability scale, this may rank low for some. The loping beats and trancing flourishes are prone to lulls, yet remain exciting for the seasoned listener. The influence factor is off the charts for this one though, as progressive clubs in from Munich to Casablanca to London incessantly played this music, eventually morphing it into dancepop in the New Order Depeche Mode style. Progressive in every sense, the reach far exceeds the grasp. I can see how the Phideaux, Genesis, Anekdoten crowd wouldn't appreciate this album, but it's a progressive masterpiece in the true sense of the word. A fine cover and a rare release under his own name make two cherries on top.
 Collapsing by AMON DÜÜL album cover Studio Album, 1970
2.26 | 15 ratings

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Collapsing
Amon Düül Krautrock

Review by Neu!mann
Prog Reviewer

1 stars The second LP from the first Amon Düül offers more of the same rumblings from the counterculture jungle. It sounds an awful lot (with emphasis on the awful) like the band's mind-numbing 1969 debut album, "Psychedelic Underground', and with good reason: the tapes came from the same loosely organized, lo-tech recording session.

The second edition might actually be slightly more varied than the earlier effort. But the thrill (such as it was) is long gone, and the sequel can't hide what it really was: leftovers that didn't survive the first round draft. Don't blame the hippies, though. They unwittingly sold the rights to that legendary jam session to producer Peter Meisel, who would continue releasing outtakes under the Amon Düül banner for years to come, cynically riding the coattails of the more successful Amon Düül II.

That backstory hardly improves the music, however. There seems to be less guitar and more drums this time around, all played with disarming amateur enthusiasm (i.e. badly). It might be unfair, but not inaccurate, to point out that the buzzing insects heard in the album's closing track "Natur (auf dem Lande)" exhibit more natural talent than the players themselves.

But in the end I have to admit I find the whole thing fascinating, in a tortured sort of way. Amon Düül was Punk Rock before Punk even existed: uncompromising and raw, but with the purest of hippie ideals behind it. The album makes a better political statement than a musical presentation, advocating creative freedom (without the straightjacket of talent), community fellowship, and of course a lot of mind-altering chemicals.

This may be the first time in over 1,153,473 reviews and ratings from the 53,770 members of these Archives that a single star was used as a mark of honor. If your taste in music runs to extremes, consider Amon Düül the first entrée in a Krautrock Paleo Diet.

 Experimente by AMON DÜÜL album cover Studio Album, 1983
2.35 | 10 ratings

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Experimente
Amon Düül Krautrock

Review by Neu!mann
Prog Reviewer

2 stars Here's an album that almost deserves the scorn normally directed at the first Amon Düül. I say "almost" because the jury is still out (believe it or not), and I'll be arguing for the defense a few paragraphs down. But first, a tough question from the prosecution:

Can this really be yet another collection of outtakes from that single, primitive guitar-and-percussion orgy that spawned three AD albums already, a decade earlier? The CD has no information about the music or the recording, which leads me to suspect a belated illegitimate release, aimed at exploiting the marquee value of the better known, more highly regarded Amon Düül II.

If you've already suffered through other AD albums (like the aptly-titled "Collapse" and "Disaster", or the awesome barrage of "Psychedelic Underground"), this one will add nothing new to your experience. And if you've never heard the Neolithic noisemaking of the original Düül this would be the last place to start. The album collects two dozen identically non-titled fragments and false starts, most of them only a minute or two long, performed by one guitarist, one bass player, and a small army of amateur drummers hitting anything within reach.

Nevertheless, I can't quite bring myself to call it a bad album, even while it scrapes the crusty dregs from a long-empty barrel. It's true the momentum of every groove is killed at each arbitrary splice, with 23 cuts over 67 total minutes, all of them with the painful shock of a tooth being pulled, minus any anesthetic. But the first Düül, keep in mind, was more a communal tribe than a musical group. And the grooves themselves, plodding as they are, possess an almost ambient purity to them, like caveman party music before the discovery of fire.

The same radical monotony that damns the group in the ears of many listeners is also what ultimately redeems them, by removing the music from any aesthetic context or comparison. It is what it is, whether you love it or hate it, with no excuses or apologies offered. And that's an attribute of true artistic expression.

After holding their music at arm's length for too long, I've finally learned something valuable from the earliest Amon Düül: how to be less judgmental. Thus my initial one-star jerk of the knee is elevated here to a more thoughtful two-star rating. This one, for better or worse, is strictly for diehard fans...and I know they exist, somewhere.

 Curiosum by CLUSTER album cover Studio Album, 1981
3.03 | 11 ratings

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Curiosum
Cluster Krautrock

Review by Dobermensch

3 stars "Curiosum'' opens with my all time favourite Cluster tune. 'Oh, Odessa'. It has a splodgy fat bass line with sprinklings of electronic tweakery. A menacing little tune that always makes me smile. Such a pity then that it's over in just three minutes.

Setting aside the great introduction 'Cluster' sound so lacklustre at this late period in their discography. Almost as though they've been anesthetized for the rest of the album. It's like listening to Zombie's attempting to replicate Mozart. Slow, plodding yet somewhat chilling if played at high volume 'Curiosum' was the right time for the duo to have a lengthy hiatus.

Melodies come and go like like petals in the wind. Unstable throbbing wobbly sounds bleep and burp. It's a lot better than their previous recording 'Grosses Wasser' as it has far more diversity in sound. Bendy, broken, discordant keyboards is the one thing I'll always remember from this.

The album gets odder the the longer it goes on. At times it almost feels like you're drowning, listening to lullabies sung by dolphins as they swoop up to your face to see if you're alright.

You know, I don't think any of this recording was scored. It sounds like an improvisation. It's too erratic, with too little cohesion and only the unsettling vibe on certain tunes gets this a positive score.

 Grosses Wasser by CLUSTER album cover Studio Album, 1979
2.91 | 18 ratings

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Grosses Wasser
Cluster Krautrock

Review by Dobermensch

2 stars A minimalistic and somewhat brittle release from 1979. Like most 'Cluster' it's simplistic, almost entirely electronic and sounds uncannily like 'Neu!' at many points. However it saddens me to say that I rarely listen to 'Grosses Wasser'. The Muppet vocals on 'Prothese' are quite engaging, especially as they're sung in German.

By most accounts 'Manchmal' is the most respected track on the album, but to me it just sounds like a Nursery Rhyme from baby school.

I guess comparisons could be made with 'Asmus Tietchens' early recordings, but this doesn't have the 'Psycho Killer Clown' approach that he offered. The cover sleeve is also very 'Tietchens'. I could be cruel and say that they spent as much time and effort on the sleeve as they did in the music, but that wouldn't be very nice would it?

A lot of the sounds are very dated, particularly the electronic string segments. The liner notes tell me that this was recorded using a super-duper highly expensive synthesizer. Surely I've stuck the wrong album on?

It's all very telling then, that their first two recordings from '71 and '72 sound far more relevant and timeless than 'Grosses Wasser', despite being recorded seven years later

Nothing new is introduced in the Cluster canon and the Peter Baumann (of Tangerine Dream) production sounds all too obvious on the first half of the recording.

Things improve a bit on the 18 minute title track with tom-tom drums and percussion taking centre stage for a large slab of the duration. Strange little fragments of electronica pitter patter throughout before an acoustic piano sees out the conclusion in a sort of limp manner.

This is Cluster on autopilot.

 All Or Nothing At All by FATHER YOD AND THE SPIRIT OF '76 album cover Studio Album, 1974
2.00 | 2 ratings

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All Or Nothing At All
Father Yod And The Spirit Of '76 Krautrock

Review by WhisperAquarian

2 stars This not a review of the album All or Nothing At All more than a clarification about the songs & songwriters who were featured on this album which was produced during the time we were all living together as The Source Family circa 1975. To begin with, no it was nothing like the spontaneous music made by of Yahowa 13, but then it was never meant to be representative of anything other than a few of the individual songwriters who were in the family at the time. The line-up of musicians and singers on this album were many more than are indicated above, though. Take A Ride, Hurry Home, Party Song and Woman (accompanied on flute by Aquariana) were all songs written by and performed by Les Adam (aka Rhythm). Home, Lady and Do Me were all written by Djin. The first track I Can Read Your Mind was written by a brother who went by the name Nixa and sung with Anastasia. Every Morning was written by my late husband, Tim Garon (aka Hom) and performed by Robin Baker (aka Ahom). The Great Woe was written by a brother who went by the name of Zoroaster. I am still not sure who wrote Different Dreams, though, and either Rhythm or Djin have claimed that as one of their songs, so it may have been one of Electric's, who is credited with Renaissance.
 Soon Over Babaluma by CAN album cover Studio Album, 1974
3.64 | 164 ratings

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Soon Over Babaluma
Can Krautrock

Review by LearsFool

5 stars Can sort of has a Genesis-style problem when it comes to its legacy. The way that many progheads turned their backs on Genesis when Peter Gabriel jumped ship, so, it seems, do not just progheads and acidfreaks, but the post-punks and indie kids as well, to Can post-Damo. About the only exception would have to be the EDM acolytes. And the same way that people who shun every last note of Collins sung Genesis are probably missing out on the first few records of that new era, so does everyone who doesn't listen to "Soon Over Babaluma".

I mean, get this, this is the record in which Can, deficient of Damo's vitamin c though they are, manage to pip the ska-punks and practically invent trance.

Do I have your attention?

The gist of "Soon Over Babaluma" is that the band built off of "Future Days"'s ethereal soundscapes by essentially reunifying them with the grooviness of "Ege Bamyasi", if not in a necessarily immediately recognisable form. Rather than achieve most of that funk with Liebezeit's drums, as the band had usually done, he continues to drum mostly in the vein of "Future Days" while instead Karoli's guitar and violin and especially Schmidt's keys abide by the groove. The results? Ambient house and ambient techno have to owe backrent to this LP. "Dizzy Dizzy" manages to get a violin to jam right out of the gate. "Come Sta, La Luna" sounds like an angelic flamenco band engaging in ska and dub revival. "Splash" and "Quantum Physics" are just plain mind blowing. And then there's "Chain Reaction", as outstanding as the tracks directly surrounding it, but here, in the interplay between Schmidt and Liebezeit, is the spark that birthed trance music. We expected nothing less of The Can, now didn't we? Even Karoli and Schmidt's vocals are up to task. This is the dress rehearsal for "The Orb's Adventures Beyond The Ultraworld", nothing less, probably something more on top of that. Again, truly outstanding.

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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
GEBARVATERLI Germany
GERMAN OAK Germany
GIFT Germany
GILA Germany
GOLEM Germany
SERGIUS GOLOWIN Germany
MANUEL GÖTTSCHING Germany
GRAVE Germany
GRAVESTONE Germany
GREEN WAVE Germany
GRUMBLING FUR United Kingdom
GURU GURU Germany
GURUMANIAX Germany
HABOOB Multi-National
HAIRY CHAPTER Germany
HANUMAN (LIED DES TEUFELS) Germany
HÄX CEL Germany
HEDERSLEBEN Germany
IBLISS Germany
IGNATZ Belgium
IHRE KINDER Germany
IMPROVED SOUND LIMITED Germany
INSTANT DRONE FACTORY Multi-National
IRMIN'S WAY Multi-National
JERONIMO Germany
JUD'S GALLERY Germany
KANOI Austria
KAPUTTER HAMSTER Germany
KEMIALLISET YSTÄVÄT Finland
KILLED ON X-MAS Germany
KLUSTER Germany
KOLLEKTIV Germany
KONTRAST Germany
KOSMISCHER LAÜFER Germany
KRAKATAU Australia
JEAN-JACQUES KRAVETZ Germany
KROKODIL Switzerland
LA DÜSSELDORF Germany
LA!NEU? Germany
LARD FREE France
LAVA Germany
LIFE Germany
LIGHTSHINE Germany
LIMBUS 3 & 4 Germany
LISTING SHIPS United Kingdom
LOKOMOTIVE KREUZBERG Germany
MAGDALENA SOLIS Belgium
MAGMA Germany
MAGNETIK NORTH Multi-National
MAHOGANY BRAIN France
DAVID MARANHA Portugal
MCCHURCH SOUNDROOM Switzerland
MERLIN; SWARA; ILOR & FRIENDS Multi-National
METABOLISMUS Germany
METROPOLIS Germany
MITTELWINTERNACHT '71 Germany
MOOLAH United States
MOON OF OSTARA United Kingdom
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
THE NAZGUL Germany
NECRONOMICON Germany
NEU! Germany
THE NO-NECK BLUES BAND United States
NOSFERATU Germany
RALF NOWY Germany
NU & APA NEAGRA Romania
OKTOBER Germany
OMOIDE HATOBA Japan
ONYOU United States
ORANGE PEEL Germany
PACIFIC SOUND Switzerland
PANCAKE Germany
PANKO Germany
PATERNOSTER Austria
POPOL VUH Germany
PRINCESS FLOWER AND THE MOON RAYS Multi-National
PROF. WOLFFF Germany
PROSPER Germany
PSYCHEDELIC MONSTERJAM Germany
PYRAMID Germany
PYRANHA Switzerland
MICHAEL ROTHER Germany
RUFUS ZUPHALL Germany
SAMETI Germany
SAND Germany
SCARECREW Germany
SEEDOG Germany
SEIKAZOKU Japan
SEMOOL France
SHANNONDOA Germany
SIDDHARTHA Germany
SIINAI Finland
SILBERBART Germany
SILENT CARNIVAL Italy
SILOAH Germany
SILVESTER ANFANG Belgium
SINTO Germany
SITTING BULL Germany
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