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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



The responsibility for the psych/space, indo/raga, krautrock and prog electronic subgenres is taken by the PSIKE team,
currently consisting of
- Sheavy
- Meltdowner
- siLLy puPPy
- Rivertree



handbook

Krautrock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Krautrock | More Top Prog lists and filters

4.20 | 249 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 335 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 408 ratings
YETI
Amon Düül II
4.23 | 103 ratings
EDGE OF TIME
Dom
4.06 | 479 ratings
FUTURE DAYS
Can
4.07 | 299 ratings
NEU!
Neu!
4.61 | 32 ratings
EISZEIT
Gam
4.07 | 290 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.16 | 105 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.10 | 162 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.02 | 365 ratings
PHALLUS DEI
Amon Düül II
4.12 | 108 ratings
VOLUME 10
Electric Orange
4.08 | 114 ratings
SELIGPREISUNG
Popol Vuh
3.96 | 553 ratings
TAGO MAGO
Can
4.00 | 235 ratings
MALESCH
Agitation Free
4.02 | 173 ratings
ELECTRIC SILENCE
Dzyan
4.06 | 115 ratings
KÄNGURU
Guru Guru
4.43 | 30 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.02 | 124 ratings
AGUIRRE
Popol Vuh
3.99 | 158 ratings
IN DEN GÄRTEN PHARAOS
Popol Vuh

Krautrock overlooked and obscure gems albums new


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

MY SOLID GROUND
My Solid Ground
SILOAH [ALSO RELEASED AS SÄUREADLER]
Siloah
PLANET OF MAN
Code III
LET IT OUT
Frankie Dymon Jr.

Latest Krautrock Music Reviews


 Bee As Such [Aka: Düülirium] by AMON DÜÜL II album cover Studio Album, 2010
2.75 | 11 ratings

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Bee As Such [Aka: Düülirium]
Amon Düül II Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars It's pretty awesome that this band is still making music after all of these years. And the fact that that Krautrock spirit is still alive and well in their music only adds to my admiration for this legendary band. They released this as a digital download only back in 2009 and called "Bee As Such" then it got a physical release in 2014 and they called it "Duulirium" after the title of a bonus track on a "Wolf City" re-issue. Renate and Chris share the vocal duties often on the same track while I would also mention the many intricate sounds found on this recording.

"On The Highway(Mambo Le Liberta)" features sparse sounds throughout and I really like the tone of the guitar. Vocals join in sounding rough like Captain Beefheart. Renate joins in vocally around 2 1/2 minutes. There's a little more intensity after 6 1/2 minutes with the guitar and vocals in particular but the song never does really breakout. "Du Kommst Ins Heim" opens with Renate's vocal melodies along with a beat, violin and some experimental sounds. Lots of intricate and sparse sounds then we get 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 and also sing together.

"Back To The Rules/ Walk To The Park" is the 26 minute closer and the only reason I'm not giving this a higher rating. For such a long song this does little for me. This is very sparse with percussion to start as faint vocal melodies arrive around 2 minutes in. Renate starts to sing in a relaxed manner. The song seems to come to life 7 minutes in and violin joins in around 9 minutes. More vocals join in at 10 1/2 minutes then there is silence before those sparse sounds return. A catchy beat with guitar and vocals arrives 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.

While this was better than I thought it would be I can't rate this higher than 3 stars.

 Can [Aka: Inner Space] by CAN album cover Studio Album, 1978
2.64 | 71 ratings

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Can [Aka: Inner Space]
Can Krautrock

Review by Neu!mann
Prog Reviewer

3 stars The penultimate album by the late, great Krautrockers of CAN (before their final mid- 1980s reunion) originally appeared twice (actually two-and-a-half times) on their page here at Prog Archives. My copy is the cheesy 1985 Thunder Records re-package of the untitled 1979 original, one of the first compact discs I ever bought, which is only fitting, since the LP marked my initial exposure to arguably the best musical group of the late 20th Century.

In retrospect it wasn't an ideal introduction, and I wouldn't recommend it as such to anyone else. Can had been treading water for several years at that point, drifting a little too far from their more exploratory Krautrock roots after signing to Virgin Records in 1975. But this self-titled album (only later re-christened "Inner Space", the name of their home studio) at least marked a rehabilitation of sorts, sounding like a breath of fresh air compared to the uninspired doodling of their previous "Out of Reach" (the two albums were subsequently combined and sold on a single CD, a decent bargain for Can completists with money to burn).

First the good news: Holger Czukay, the band's irrepressible radio wave surfer and occasional bass guitarist, was back in the fold, although he doesn't actually touch a musical instrument here (this throwaway CD re-issue doesn't even mention it, but on the original vinyl he was listed as an "editor"). You can still detect his presence, however, not least on the oddball interlude "Ping Pong", believe it or not one of the highlights of the album.

This is pure Czukay: a 20-second (or so) audio-verité documentary of, you guessed it, a game of ping-pong, rather sloppily played while someone thumbs a kalimba in the background. Czukay's deadpan sense of humor also animates the faux-punk demolition of Offenbach's "Can-Can", an obvious choice for the band's periodic "Ethnological Forgery Series" of cultural facsimiles, and the best musical joke of its kind since Thijs Van Leer yodeled his way through "Hocus Pocus".

It was probably this track, and its ragged epilogue "Can Be", that sold my unrefined ears on the album in the first place, in much the same way that ELP's energetic update of Aaron Copeland's "Hoedown" jump-started my earliest interest in Prog Rock years before. "Can-Can", by the way, is listed as EFS #99, one of only a handful in the ongoing series to appear throughout the band's history. So where are all the rest?

The balance of the album is built on impeccably played but undemanding dance music for people (like me) with two left feet. "All Gates Open" is the best of the lot, with a sinuous subterranean groove, some funky chunky guitar, and a shifting wall of keyboard noise, always a Can specialty. But the other tracks tend to follow the example set by "Sunday Jam", a pleasant enough diversion with an all-too literal title, and like a lot of later Can music notably a jam, unlike the more challenging "instant composition" improvs of their earlier years.

In all, not the best swan song for such a groundbreaking and influential band (and a premature ending anyway: see 1989's more improved "Rite Time"), but in the context of their late '70s downward career arc a much better effort than could have been expected.

 Bee As Such [Aka: Düülirium] by AMON DÜÜL II album cover Studio Album, 2010
2.75 | 11 ratings

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Bee As Such [Aka: Düülirium]
Amon Düül II Krautrock

Review by Neu!mann
Prog Reviewer

2 stars Comeback albums aren't normally as haphazard as this belated effort by one of Krautrock's essential forefathers: recorded in 2009; offered as a digital download under the name "Bee as Such" in 2010; and four years later finally given a legitimate CD release, with a better title and actual sleeve art...everything except a credible performance, sadly.

In truth the music by itself is fine, and doesn't show a trace of anachronism. All of it was clearly improvised in the studio, but in a more groovy modern fashion than the embryonic freakouts of "Phallus Dei" et al. A cheap comparison could be made to the valedictory CAN album "Rite Time" (1989), a likewise late-in-the-day reunion with a similar (but more successful) vibe, also curiously delayed in post-production.

Maybe the new Düül album should have been considered as a strictly instrumental project. The musical rapport was still there, and surprisingly vital after so many years away. But the vocals by old comrades Renate Knaup and Chris Karrer are - to put it delicately - a calamity: hoarse, abrasive, and fatally off-key.

Krautrock has always been full of eccentric singers able to exploit their amateur lack of training (think of Can's Malcolm Mooney, or Damo Suzuki). But there's a big difference between non-professional and plain bad, and that line was emphatically crossed here. I'm reminded of Timothy Leary's cringe-worthy performance on the notorious ASH RA TEMPEL train wreck "Seven Up", something no sane listener ever needs to be reminded of.

The fingernails-on-chalkboard effect reaches its nadir throughout the 26-minute "Back to the Rules/Walking in the Park" (aka "Psychedelic Suite", on the "Bee as Such" version). Here, the attempts at improvising a freeform vocal accompaniment to an already exploratory jam stand out like a mangled (i.e. more than simply sore) thumb.

Needless to say, the new album is no "Yeti"...despite some abominable moments. It's reassuring to know the old-timers still have a pulse, but this session wasn't worth the long wait. Better late than never? Don't be too sure...

 Die Mulde by GÖTTSCHING, MANUEL album cover Studio Album, 2005
2.69 | 8 ratings

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Die Mulde
Manuel Göttsching Krautrock

Review by Sachis

3 stars As a founding and omnipresent member of Ash Ra Tempel, Manuel Gottsching also created some solo albums in the complex world of progressive electronic music, toghether with Tangerine Dream and Klaus Schulze. This album is another MG "in the mood",more closer to progressive electronic, than krautrock. It begins with Schopferische stille ( translated Creative silence),a nice sound effect, in a pure space rock style. After 2 minutes, the synth music enters its way with "Die Mulde". Manuel uses here repetitive keyboards themes, similar to Klaus Schulze. "Die Spiegel" is another mesmerising space rock composition, maybe a little bit minimalistic. The sound evolves in a different way towards "Zerfluss", the only rhythmic track with some percussion beats. "HP little cry" (HP- a reference to Hewlett Packard,? I don't know...) can be for many a very boring composition, (for almost 32 minute) because of its hallucinant background sound. The difference is his guitar, in which MG is a master. The guitar sounds very experimental and sublime in the same time, with a little Pink Floydian resemblance. Overall, the album is good, nothing new. Manuel is improvising with new and new mixtures of guitar and synths. A good album for progressive electronic lovers.

3 stars!

 Vampire State Building by ALCATRAZ album cover Studio Album, 1971
3.81 | 52 ratings

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Vampire State Building
Alcatraz Krautrock

Review by Igor91

5 stars Alcatraz was an obscure, yet long-lived German band who's debut, "Vampire State Building," is an exciting blend of Krautrock and jazzrock that must be heard by aficionados of German rock music from the 70's. Every song is great, with a mix of heavy rock and jazz guitars, jazzy sax and/or flute, and a lively rhythm section. My favorite tracks are, well all of them. To be honest, my least favorite song is "Your Chance of a Lifetime," but it is still a great tune. The vocals are somewhat typical for the genre, not bad or good, just "unique." Probably the best song is actually the bonus track on the CD version. Most CD bonus tracks are usually poor quality live or demo recordings, but "Change Will Come" is a well-recorded, mind-blowing, 6 minute, adventure into Alcatraz's Kraut/jazz/prog/rock lunacy. One of the great, and unfortunately lesser known, classic albums of Krautrock. Five stars, seriously.
 Voyage by BRAINTICKET album cover Studio Album, 1982
3.83 | 35 ratings

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Voyage
Brainticket Krautrock

Review by Progfan97402

4 stars Warning: If you own the Purple Pyramid CD reissue of Voyage, you actually own Adventure, as both albums were accidentally swiped when reissued. So the review Im doing here goes actually to the real Voyage, which would be Adventure if you own the CD.

So, with an totally unchanged lineup of Joel Vandroogenbroeck, Barney Palm, Hans Deyssenroth, and Wilhelm Seefeldt, they recorded another album together, in February 1982. While Adventure was recorded during several sessions between May 1979 and January 1980 (and you can tell that, because music on there often had several abrupt changes), Voyage was all recorded all in one night, all improvised (it even states: "There were no rehearsals. We let the music flow out of our hands. We hope you enjoy it"). That's easy to believe, given there don't appear to be as much abrupt change as was on Adventure. To be honest, Voyage didn't quite left my mind blown the way of Adventure, but I still found it very enjoyable. At a time Duran Duran inflicted us with Rio (and that video of some lady wearing a purple plastic bag dress and the Duran Duran guys on a yacht), Joel Vandroogenbroeck seemed totally unaware of the changes, the music is still firmly in the '70s progressive electronic vein. Lots of clavinet, electric piano, Moog, with a more experimental bent than Adventure. Lots of gamelan and other percussion still used. There are some calm moments as well as some really tripped out moments. Listening to this, you'd think it came out in the late '70s. None of the keyboardists seem to come anywhere near a Prophet 5 or an OBXa, sticking to the trusted mid '70s stuff.

Bonus tracks (that is, the CD to Adventure, even though that's not the correct album), once again, of unknown origin. Joel Vandroogenbroeck, by this point, had released a ton of library music albums on Coloursound, but they weren't available to the general public (available to television, radio, and production companies interested), and only with the coming of the Internet had these albums been made aware of to the general public. None of these bonus cuts came from any of these albums. "Machinery (Analog 1970)" isn't from 1970. I'm guessing 1983 (after Voyage), sounds like Joel Vandroogenbroeck finally started including some early '80s polyphonic synths (sounds like an Oberheim OBXa) but the old '70s stuff like the clavinet are still being used. This one is more aggressive than "Skyline (Analog 1970)" (from the CD of Voyage, which is actually Adventure). "3 Worlds" is a really strange piece that goes through three changes. "Robotika" is a strange, percussive mechanical piece, appropriate for such a title.

This era of Brainticket is quite underrated. To me, this is how I wished the early '80s were like, not the era of MTV and Duran Duran. Given Joel Vandroogenbroeck was in his 40s at that time, it's obvious he had no use for stuff like that (his background was jazz, but he was open to the psychedelic and space rock scene of the early '70s, as well as world music, like gamelan), and gladly carried on like the '70s were still happening. His library albums after 1982 did show that he started adjusting to the times by including digital synthesizers (as well as the bonus cuts on both the CDs of Adventure and Voyage).

So if the review doesn't make sense, remember that the albums were accidentally switched when reissued on CD. I should know, years after I bought the CDs, I bought the original LPs, which cleared up a whole lot of confusion for me.

Really, Voyage is worth having but I felt Adventure is better.

 Adventure by BRAINTICKET album cover Studio Album, 1980
3.85 | 31 ratings

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Adventure
Brainticket Krautrock

Review by Progfan97402

5 stars Public service announcement: If you own the CD reissue of Adventure on Purple Pyramid, you're actually hearing Voyage, and that same applies to the CD of Voyage, you're actually hearing Adventure. So the review here goes to the actual album Adventure. I bought the CD of Voyage (or so I thought) in 1997, not too long after it came out, and I was certain it came out in 1976, it really had that cool mid '70s vibe going on. No year of release was included anywhere, except 1997 when the CD came out. Then I bought Adventure on CD in early 1998, and it did clearly state it was recorded between May 1979 and January 1980, so I thought Adventure came after Voyage. Wrong! Adventure came first, in 1980, Voyage next, in 1982, but the reason I thought Voyage was first was I didn't realize the mistake that those albums were accidentally switched. So in this review, pretend I'm reviewing the CD to Voyage (since those bonus cuts left me speechless). Years later I was able to acquire the original LPs of Adventure and Voyage, which totally confirmed the rumors I heard about those CDs.

After Celestial Ocean, it was pretty clear Brainticket seemed to have vanished. Joel Vandroogenbroeck put out a solo album in 1978 called Images of Flute In Nature, but in 1979, he resurrected Brainticket with Barney Palm (from the previous two Brainticket albums, Celestial Ocean and Psychonaut) with two German musicians, Hans Deyssenroth and Wilhelm Seefeldt. I really don't understand why this phase in Brainticket's career is frequently maligned. To me, I simply felt they were going the progressive electronic route, and I really feel fans of progressive electronic will get more out of it than the Krautrock wanting a Cottonwoodhill or Celestial Ocean. The album starts off with this weird electronic circus sounding stuff, then it suddenly cuts off, then there's a bunch of gamelan and strange percussion, plus the sound of some wooden rasp and a wind up toy (presumably teeth on feet), electric piano, clavinet and Moog kicks in. Here it has that very mid '70s feel (hard to believe it was recorded in 1979 and 1980!), almost like RInder & Lewis' incidental music to In Search Of... (although warning: Rinder & Lewis were associated with disco, although the incidental music on In Search Of... was clearly progressive electronic). There's amore tripped out part next, with that strange circus music appearing again. Then side two (if you own the LP, that is) starts off rather slow with strange use of noise synth filters, clavinet and electric piano, before the flute kicks in, and a great Moog solo starts, before that ends with some bizarre use of flute, and a more tripped out calm part, with electric piano, clavinet, and Moog. I really think this album is truly underappreciated, in fact it left me spellbound. When I discovered that what I was hearing was Adventure, not Voyage (because of the CD), I was more blown away this dated from 1980, not 1976. Joel Vandroogenbroeck seemed a bit resistent in going along with the times (given Joel Vandroogenbroeck was already over 40 in 1980, you can't imagine him being fond of Elvis Costello or any other new wave act of the time). At a time when "Turning Japanese" by the Vapours and the Clash's London Calling (it was released at the end of 1979, but it's more of a 1980 album) were the big thing in 1980, Brainticket releases an album that's far more in tuned with mid '70s aesthetics, even the vibe sounded so 1976 that I couldn't believe it was actually recorded between May 1979 and January 1980).

Now the CD (that is, Voyage) includes three bonus cuts. I really wished I knew where they came from. I know that throughout the 1980s and even into the 1990s, Joel Vandroogenbroeck had released a ton of library music albums on the Coloursound label. Of course, those albums weren't available to the general public, and it wasn't until the coming of the Internet that people even became aware of these albums. But it appears that these bonus cuts did not appear on any of theses albums. "Skyline (Analog 1970)" was not recorded in 1970, but sounds more in tune with Adventure (or Voyage, if you have the CD). It even sounds like the same lineup. I really like how it starts with this droning synths, the flute and clavinets kick in, before the string synths and percussion kick in, before calming back down, to the droning synth that started it. This really left me spellbound, I only wished this was available at the time it was recorded. "Underworld Paths" sounds more contemporary, like mid to late '80s, perhaps early '90s, this is one I can't totally tell when it was recorded, it could be anywhere between 1985 and 1992. By this point it's obvious Joel Vandroogenbroeck didn't have any trouble with adapting to the digital technology of the time (compared to Adventure and Voyage which were very stuck in the '70s despite their early '80s origins). There's some Native American influence, with ambient synth and slap bass. It clearly sounds like a Joel Vandroogenbroeck solo piece. "Nebula" also sounds like from the same time period but hard telling, this one's much more ambient and minimalist.

For years I had been confused by this era of Brainticket, but after buying the original LPs, the confusion is totally cleared. Really I feel this era of Brainticket is underrated and worth checking out!

 Broken Door by PROSPER album cover Studio Album, 1975
4.20 | 31 ratings

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Broken Door
Prosper Krautrock

Review by Nogger

4 stars Extremely obscure German 5-piece Prosper issued one long player, the curiously and aptly titled Broken Door, in 1975. Reissued in 2003 by Garden of Delights, the best tunes on the album use fusion licks surrounded by Kraut sensibilities. The record almost exists out of time, as if all labels and sounds used for classification don't apply. Songs are guitar-based, brooding, mysterious rock and roll, then in the middle you get the countryfied your country as if someone threw it in there just to have enough songs for completion. Vocals are very effective and mellotron is prominent.

King Crimson fans should find a lot to like here.

++++-

 Het! by DOLOROSA album cover Studio Album, 2012
4.90 | 2 ratings

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Het!
Dolorosa Krautrock

Review by Mellotron Storm
Prog Reviewer

5 stars DOLOROSA are a band out of France who have released two studio albums and this is the second one from 2012. They are in fact a duo who have created something special here in my opinion. There's a strong Krautrock or Psychedelic vibe with a noticeable Zeuhl flavour. The Zeuhl moments are mostly from the deep chantings reminding me of Blasquiz. The music is more experimental and psychedelic bringing many Krautrock bands to mind but also early PINK FLOYD. I gotta say I loved this right from the first spin. They use something called an Electronic Wind Instrument or EWI which has a high pitched sound to it. We also get baritone and soprano sax, effects and loop station besides the usual instruments.

"Het 1" opens with some relaxed guitar that is fairly intricate sounding as laid back sax melodies join in. Reserved vocals follow around a minute in plus that EWI crying out. The vocals stop around 2 minutes but not for long. This is trippy stuff that sounds unique. I like that slow repetitive rhythm and the vocals. It slows down around 8 1/2 minutes in as we hear only sax and bass.

"Het 2" is one of two tracks clocking in at over 13 minutes. This one opens with experimental sounds that come and go, this is very "out there" as desperate vocals expressions arrive. This is insane, as in a dark journey with ART ZOYD insane. We start to get a melody after 4 minutes and I'm thinking AMON DUUL II or early FLOYD with creepy vocals as well. He sounds like Blasquiz before 6 minutes as sax or EWI cries out and that trippy rhythm continues. Vocals stop before 7 minutes then sax and EWI join in as it continues to trip along.

"Het 3" is quiet and haunting to start with percussion and deep sounds that vibrate. A real Krautrock vibe here as the tempo picks up and the sax comes and goes over top. The vocal expressions after 2 1/2 minutes are incredible as he repeats the same line over and over. Some grunts and guitar as well. I'm blown away. The chanting and sound is building after 5 minutes, very Zeuhl-like in fact. The sax replaces the guitar and it's fuller before 7 minutes with those deep sounds becoming more prominent as the sax goes wild over top. Catchy and Zeuhlish. The rhythm stops after 10 minutes.

"Het 4" is dark as percussion, faint spoken words and other sounds come and go. This is eerie and for sure headphone music. Great for the imagination I'll say that. We get chanting just before 3 minutes as the tempo and intensity picks up. After 3 1/2 minutes it gets a little insane and extreme then it settles right down late to end it. "Het 5" opens with sampled spoken words with percussion and atmosphere. This continues until after 5 minutes when a catchy beat with chanting takes over and builds. So good! The guitar joins in playing a repetitive melody. It's Zeuhl-101 after 9 1/2 minutes. It all stops 12 1/2 minutes in as it becomes experimental to end it.

This is such a unique sounding recording with that combination of Krautrock and Zeuhl. I feel 5 stars is right even for the innovation that is on display here and coming up with such incredible ideas. I can't even begin to imagine what the process would have been to get to the final result they call "Het!". This is going almost to the top of my "best of list" for 2012.

 Second by AGITATION FREE album cover Studio Album, 1973
3.82 | 162 ratings

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Second
Agitation Free Krautrock

Review by Nogger

5 stars Agitation Free streamlined its sound for its 2nd long player. In the dust go the middle eastern mystic rhythms that permeated the debut, in come lilting dual guitar melodies and spaced-out harmonics. The result is a crowning achievement for German rock and must have album for progressive rock collectors.

Three compilation worthy cuts - "First Communication", "Laila pt. 2" and "In the Silence of the Morning Sunrise" - highlight this set, with the last two album cuts pushing this record into all time classic territory. The vagina album cover puts it over the top.

Sorely underexposed in the progressive rock arena, all of Agitation Free is recommended, but this one should be on your shelves if you own 100 prog albums.

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Krautrock bands/artists list

Bands/Artists Country
A.R. & MACHINES Germany
ACHTZEHN KARAT GOLD Germany
AG A.M. 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
EXPONENT 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
LE REVEIL DE TROPIQUES France
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
MINAMI DEUTSCH Japan
MITTELWINTERNACHT '71 Germany
MOOLAH United States
MOON OF OSTARA United Kingdom
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
N-1 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
OUR SOLAR SYSTEM Sweden
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
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPERRMÜLL Germany
STAN UND HILDA Germany
STARA RZEKA Poland
SWARA SAMRAT Germany
MITSURU TABATA Japan
TASTE OF BLUES Sweden
TEARPALM Serbia
TEMPLE Germany
THINK Germany
THRICE MICE Germany
TIERE DER NACHT Multi-National
TON STEINE SCHERBEN Germany
ULI TREPTE Germany
TRIKOLON Germany
TRIP TO ELARA Germany
TWOGETHER Germany
UCHIHASHI KAZUHISA & MANI NEUMEIER Multi-National
ULENSPIEGEL Germany
ULTRALYD Norway
UTOPIA Germany
VAMPIRES OF DARTMOORE Germany
VELJENI VALAS Finland
VERDE (MIKA RINTALA) Finland
VIBRACATHEDRAL ORCHESTRA United Kingdom
VINEGAR Germany
VIOLENCE FOG Germany
VIRGIN'S DREAM Germany
CHRISTIAN VON ESCHERSHEIM Germany
WALTER WEGMÜLLER Germany
WIND Germany
WONGA Germany
WOODEN VEIL Multi-National
XHOL CARAVAN / XHOL Germany
YA HO WHA 13 United States
YATHA SIDHRA Germany
ZIPPO ZETTERLINK Germany
ZWEISTEIN Germany

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