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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

Mike (siLLy puPPy)
Andrew (Gordy)
Dan (earlyprog)
Brendan (Necrotica)

Krautrock Top Albums


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

4.42 | 63 ratings
EISZEIT
Gam
4.16 | 372 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 449 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.21 | 168 ratings
EDGE OF TIME
Dom
4.11 | 693 ratings
FUTURE DAYS
Can
4.09 | 574 ratings
YETI
Amon Düül II
4.14 | 155 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.08 | 390 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.04 | 448 ratings
NEU!
Neu !
4.07 | 209 ratings
GILA [AKA: FREE ELECTRIC SOUND]
Gila
4.01 | 492 ratings
PHALLUS DEI
Amon Düül II
4.05 | 175 ratings
KÄNGURU
Guru Guru
4.35 | 34 ratings
NIBELUNGENLIED
German Oak
4.04 | 156 ratings
VOLUME 10
Electric Orange
3.97 | 777 ratings
TAGO MAGO
Can
4.03 | 169 ratings
SELIGPREISUNG
Popol Vuh
4.01 | 216 ratings
ELECTRIC SILENCE
Dzyan
3.98 | 335 ratings
WOLF CITY
Amon Düül II
3.96 | 546 ratings
EGE BAMYASI
Can
3.98 | 307 ratings
MALESCH
Agitation Free

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
SUPERNOVA
Ibliss
PLANET OF MAN
Code III

Latest Krautrock Music Reviews


 Punkt by FAUST album cover Studio Album, 2022
3.93 | 13 ratings

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Punkt
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars Here we are, the final Faust record to review. I say that but there is probably a lot more coming soon. That said, this is the last one in terms of right now, so it does give me a lot to reflect on my experiences when it comes to these records and this band as a whole. Been a long journey to get here, but I'd say it has been worth the effort in spades.

Punkt is the first of the archival releases they started back in 2022, in the same year as Daumenbruch. Unlike the Momentaufnahme releases we'd get later on, Punkt is special in the fact that it is their lost fifth album. Yeah, they have a lot of albums that were gonna be their fifth but just never went through in the end, though Punkt does seem like the most complete one out of all the others they have planned. It is evident of this as this was recorded the same year they made and released Faust IV, so in a way this could've been released in the same year if Faust never broke up momentarily.

It is also evident in the sound of the record. I am guessing they were on a particular high for this kinda style they were experimenting on IV, as this album is pretty chock full of methods like that. Most songs are very jam focused, like most things relating to Faust, but here it certainly has a bigger role. I have expressed my enjoyment of the Faust jams in the past, so this was certainly pretty well rounded for my pleasure. The jams are pretty big too, with Morning Land being 9 minutes and Knochentanz being 11, so you get some meaty stuff here.

However, I feel like these jams don't reach the same highs as what Faust IV gave us, and that reason is that, while good, they don't quite have much personality or flavors other than sounding a bit like Faust IV's stuff. They honestly feel kinda textbook in terms of krautrock music, and end up being more dampening to me. They are a bit interesting at least in that they do have kind of a proto-industrial tone, and hearing something that feels more up on 90s Faust's alley is really something. They always think ahead in those old days. Though still, with the limited amount of knowledge they have of future music in the 70s, it is no surprise that these tracks feel kinda old in comparison.

That is, if you are only looking at the first half of Punkt.

The second half is a much different story. Juggernaut, Schön Rund, and Prends Ton Temps are three stellar tracks that make up the second half of the record and do a great job at redeeming this album's shortcomings.

Juggernaut is a space rock, almost proto-punk level of song that feels like it is constantly moving along until it starts to become slightly more abstract, which I think is just really cool. Schön Rund on the other hand is this more ambient piece, using piano and other key instruments to craft this 9 minute melody, one that slowly morphs into a more wild, and manic jazz fusion number, which reminds me a lot of Miles Davis' Get Up With It. Lastly, Prends Ton Temps is such a creepy number to end things off on, being this horrific cacophony of rock music that feels like the soundtrack to an avant garde horror film. All that to say, the second half of this album is amazing, with some tracks being the best in their entire discography, and I cannot deny that it probably would've been their best tracks in their 70s catalog if they managed to release the album in 1974 or 75.

Punkt may be imperfect, but it is an interesting and at times a really fun experience. I doubt it is on the same tier as Faust IV, especially with that rocky first few songs, but it does edge quite close when taken into account to the last three tracks. I am glad I could end this discog binge with a sure fire bang, and whatever release this legendary band has in store later on I am sure to enjoy it, and review it.

Best tracks: Juggernaut, Schön rund, Prends ton temps

Worst tracks: Crapolino, Fernlicht

 ,,Daumenbruch'' by FAUST album cover Studio Album, 2022
3.81 | 19 ratings

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,,Daumenbruch''
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars This is so far the last modern studio release from Faust, which makes it quite bittersweet. I doubt this is their LAST last album, hell for all we know next week might give us another album from the band. Faust is wildly unpredictable, which is why they are so charming. The only thing consistent is that they've been putting banger after banger out ever since the 2009 release of C'est com... com... compliqué, barring a few exceptions, with them peaking quite strongly with Fresh Air. So, five years after, and in a new decade, they decided to hit the studio once again, but this time a bit differently...

,,Daumenbruch'', or just Daumenbruch if you rather not include the ,, & the '', is a showcase on how to collaborate right on your krautrock projects. In my Disconnected review I mentioned that Faust wasn't quite fit for collaborative efforts, but as it seems I am quite wrong on this assumption because Daumenbruch shows a very mature lining within the Faust discography in how they decided to handle shared projects. This time their experiment was to record some rough mixes of the three tracks here, and send them out to a couple of their friends from other groups, and have them mix these tapes, before mashing them into three separate tracks for our listening pleasure.

I think what makes this whole idea work so well is that these artists are more in line with what Faust was trying to create ever since their debut (fitting since this album's cover is very similar to that one). Sure, dälek and Nurse With Wound did have a clear fondness for Faust as shown through their own works, but I feel like having members from groups like Einstürzende Neubauten and Stadtfischflex helps a lot more with their vision, as their own visions line up like a puzzle. And guess what, it shows quite well within the first track, being this massive, creepy jam that feels both entirely Faust, but still has the elements the other artists wanted to try out. Nothing overpowers, or underpowers anything in conjunction, creating for a near perfect fusion between Faust and the greater world.

There is also a clear sense of enjoyment found within these tracks, as shown by how clean, crisp, and stylized each song is in production value. I can feel the joy these artists must've felt, which is something I love to hear within my music. You know, strangely this all reminds me of Earthside's Let The Truth Speak and how that album handled their collabs. I guess I am just a sucker for when musicians work together well.

My favorite track off here has to be Border River. It is a perfect send off for this record, being this 18 minute soundtrack to some avant-garde apocalypse, and it is so enriching and juicy that I feel like I am on another planet whenever I hear it. It ending with a cacophony of sounds is also just a French, or in this case, German kiss on this whole record; A perfect encapsulation on what came before.

If I had one thing to say that this album gets wrong, however, it'd probably be that this feels like a diet Faust Wakes Nosferatu. I know, I compare a lot of albums to it, but I think that album does a lot of things right in such a good amount of time that I cannot help but try to compare and contrast some things with each other. Daumenbruch has a lot of the same vibes and technicalities that Nosferatu had, and they certainly did them well, but I feel like Nosferatu's raw atmosphere, quieter suspense, and the longer direction makes it the superior album. I also think the track listing being so little, despite the massive tracks present, does show a problem in the meat of this album. I love these big tracks, a lot in fact, but I think Faust albums work best with some smaller tracks thrown in for good measure, which I think, if this album did have such things, could be a secondary masterpiece to Nosferatu, but alas I feel like I have to bump the grade down a smidge.

This record certainly is a testament in the power Faust can have, and with more people to boot it just becomes a grand ol' time. Highly recommend this one, obviously, and it is indeed a treat for anyone who is more into the abstract sides of krautrock music. We just have one more Faust record left, so let's finish things off right and well.

Best tracks: Weisse Schokolade, Border River

Worst tracks: N/A

 Fresh Air by FAUST album cover Studio Album, 2017
3.92 | 23 ratings

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Fresh Air
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars Whilst Just Us was serviceable, it did feel a bit odd after the really great Something Dirty. However, that was merely a bump in the road to the last album of the 2010 era Faust, one that may nearly rival their best.

Fresh Air is a lot different from their previous releases from this decade, and it is pretty evident by the first track, the 17 minute title, as that goes for a more abstract and almost old school Faust type of style. To put it simply, here Faust is moving forward, by moving backwards.

The execution of this plan ends up actually being very good to me. It is noisy and rough, but with ample amounts of energy and drones that keeps things good. It is like an alternate version of Faust IV, or even their very first album, capturing these desolate yet very intriguing mood swings that the band fully adapts perfectly within their music. It has an almost Sonic Youth feel to it as well, particularly with their no wave records like Bad Moon Rising and EVOL. It is certainly very enjoyable to me, and allows the band to fully have an environment to work with when it comes to their noisier tunes.

I also just think there are no real bad tracks on here. Maybe Partitur, but that track is only 22 seconds long, and it's not worth talking about in all honesty. Aside from that, though, every song here has a ton of charm, from the cold and slow title song, to the almost first album-like Chlorophyl, to the hauntingly beautiful Fish, I can see myself really finding something to love each time I hear these tracks.

It all just has a lot of personality too, with tracks that feel like they are within a Faust mythos that we never even saw coming. Listen to Listen To The Fish, and Fish side by side and tell me they don't have relation to one another, you can't. I love this kinda thing in music, just creating relations to one thing and another through songs. Sure it may not even exist and I am stretching, but it could be fun to speculate a possible Faust universe.

I guess if there was a fault this album has, it may be the fact the intro to Fresh Air, and the closing to Fish are a bit too drawn out. I think Fresh Air might have it worse off as half the track is basically just a lady talking with some odd noise in the back, which feels kinda odd, especially for a krautrock epic like this. Still a really great track, but it feels like it could've been a bit better. Fish's outro is a bit better, though I doubt it wouldn't hurt to trim some things up a bit.

That being said, I especially love the tracks laid out in the middle of those two big songs. Except for Partitur, each of these tracks are just consistently great, with new vibes strung across them that makes each listen feel almost adventurous. I especially like Lights Flicker, with its gruesome details, its avant-jazzy backing, and its intense but hooky beats makes it one of those Faust tracks that get stuck in my head quite easily. Insanely good work from this legacy band.

All in all, Faust still got what it takes to be adept at krautrock in the modern day. They may never be as revolutionary as they once were, but that doesn't mean they aren't allowed to still make their mark once and awhile. Certainly do check this one out if you have the time, as it is a breath of fresh air in the grand scheme of experimental rock.

Best tracks: La Poulie, Chlorophyl, Lights Flicker

Worst track: Partitur

 Kosmic Music From the Black Country by KOSMOSE album cover Studio Album, 2015
4.00 | 2 ratings

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Kosmic Music From the Black Country
Kosmose Krautrock

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars An unusual collective that sprang up in 1970s Belgium, KOSMOSE was a band without a purpose and existed to simply engage in endless studio experiments and the occasional live performance to showcase its ability to improvise as a real band in a public setting. While Belgium is better known for the avant-prog and chamber rock innovators Univers Zero, Present and Asak Maboul, there was a small but dedicated group that was more inspired by the psychedelic meanderings of early Pink Floyd and the early Krautrock experiments of neighboring Germany in the vein of Guru Guru, Can, early Tangerine Dream, Klaus Schulze and even Amon Duul II and took these ambitions to amazingly high levels.

KOSMOSE existed from 1973 to 1978 and throughout its run featured Alain Neffe (keyboards, organ, synthesizer, cymbals, flute, radio, loops, electronics, saxophone, vocals), Daniel Malempré (guitar, 12-string guitar), Francis Pourcel (guitar, bass), Guy-Marc Hinant (drums, percussion) and Paul Kutzner (guitar) who together amassed a wealth of kosmische recordings that never found a studio release despite attempts to woo records companies into signing them. After decades of sitting in the vaults KOSMOSE at long last found its material released on the Sub Rosa label as KOSMIC MUISC FROM THE BLACK COUNTRY which has been released in two formats.

Firstly a double vinyl LP featuring seven tracks that swallow up 81 minutes of playing time as well as a double CD that adds even more material bringing the number of tracks up to 11 and playing time to a whopping 136 minutes of uncompromising psychedelic splendor. The music spans the band's entire existence which began in the city of Charleroi, Belgium in 1973 until the band's final days in 1978. Primarily led by the prolific Alain Neffe and Francis Pourcel whose fascination with exploring ominous sprawling soundscapes that utilized rhythm boxes, analog synthesizers and radio loops, the band was complemented by the guitar explorations of Daniel Malempré who injected the rock inspired guitar experiments in the vein of Manuel Göttsching and more experimental guitar bands like early Guru Guru. While maintaining a drummer who could remain interested in the band's unique trippy brand of lysergia, Guy-Marc Hinant provided some stellar drum work scattered throughout various tracks.

Essentially a free-noise jamming act that explored long sprawling grooves with improvised guitar, flutes, saxophone and electronic effects, the all-instrumental band (with only a scattering of wordless vocals) excelled in exploring some of the farthest out trips that offered a true escape mechanism into the world of avant-garde psychedelic soundscapes which emphasized the long excursions into the furthest reaches of space rock with the lengthiest tracks sprawling over the 27-minute mark. With all tracks untitled, the band offered a visionary excursion into the furthermost cosmic depths of what the world of Krautrock was offering in the vein of the most experimental sounds that were emerging in the early 1970s before many German bands began compromising their visions and becoming more mainstream. Without a record label to steer them into commercialism, KOSMOSE stayed true to its vision and maintained an ethos of keeping it as experimental and estranged from reality as musically possible.

What KOSMOSE delivered was a high voltage expansive collection of psychedelic splendor that was utterly fearless in where it explored like an intrepid explorer adrenalized by the exhilaration of discovery at every juncture of the journey. For those dismayed by the world of German Krautrock as it slowly eroded into a more mainstream crossover hybridized genre, the Belgian outfit KOSMOSE continued to deliver the essence of the original movement with a relentless pursuit of keeping its music pure and unadulterated by any outside influences. The music of KOSMOSE on KOSMIC MUISC FROM THE BLACK COUNTRY is thus a true treasure trove of improvisational music that spanned a wide swatch of psychedelic turf by delivering massively fluid, expansive and often noisy sonic terrains.

The musicians were prolific and cross-pollinated with many other artists like André Gauditiaubois and three Turkish musicians such as Mustapha Dagli, his son Kadri Dagli and Sutekin but the band's legacy is primarily documented on this beyond far out collection of wild cosmic ambient rockers. This album was followed by the equally expansive "Some Little Trips to Our Fluorescent Land" recorded in 1976 and released in 2017. Considering the long version (the one i'm reviewing) is essentially three classic albums worth of material, this is best absorbed in stages. Especially the three longest tracks ranging from 18:55 to 27:47 in running time. The most amazing thing about this entire affair is that all tracks are basically live studio recordings with no overdubs and no mixing desk. It was all created on 2 microphones and an open-reel tape recorder. That makes this even more mind-expansively wild! This one is for those seeking the most alienating sonic trips ever laid down to recording.

 Just Us by FAUST album cover Studio Album, 2014
3.25 | 16 ratings

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Just Us
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

3 stars I just realized that I am nearing the end of reviewing all of the Faust studio albums. After this one, I only have three more left to go. It really has been an interesting ride going back and diving deep into these albums. It is weirdly nostalgic looking back, even a little funny, with all of this starting because they decided to put up their first two records on Spotify. However, the ending may be near, but it certainly isn't here, and so I shall continue on with this light binging with their 15th studio effort, jUSt, or Just Us, which is what I will be using for this review.

Unlike records from the past few years, Just Us has probably one of the shortest line ups in any Faust discography, only containing Jean-Hervé Peron and Werner Diermeier. I don't quite know why it is only them, though it does make the album title a lot more accurate. As such, this is also one of their most minimalist sounding records since Disconnected, which can be considered as both a strength, and weakness for the album in my book.

I think Just Us only having two musicians is a pretty interesting concept that Faust tackles, creating these strange melodies and jams that feel lonely, whilst at the same time tightly knit together. I think the first half (Gerubelt - Nähmaschine) contains quite a number of strong tracks that play quite well into the more minimalist nature of the album, such as the oddly intense Sur le ventre, or the weirdly klezmer sounding Gammes. These tracks are all quite charming, and while not the peak of sound that Faust has done up until this point, I don't think this first side of the coin is anywhere bad.

Though that cannot be said for the second half. I think the 10th track's title describes my feelings of this half very well...eeeeeeh...It is kinda like Faust Z off of Faust Is Last, where it is a lot more experimental and droning. However, ooh boy, it is a lot rougher here. Where Faust Z was charming as it employed more of the introspective side of industrial music, this here, as it has very little to do with that genre entirely, comes out as a almost half baked attempt in making something similar. I do kinda like some tracks like Eeeeeeh..., Ich bin ein Pavian, and Ich sitze immer noch, but those first three songs on this second half are not very good in my opinion. I can get the vibes that they were going with these songs, and I know it must've been hard to workshop these tracks when you are really only a duo band, but still it boils down into musical grease.

In fact, Just Us does just feel like an attempt in making another Faust Is Last, without the industrial side of things. One half is the more normal krautrock tracks, and the other is weird droning experiments. As such it doesn't quite feel all that charming to me, since if I wanted to listen to something like Faust Is Last, I might just listen to Faust Is Last instead of this.

It is clear, though sad, that Faust isn't equipped to do the whole duo thing. Perhaps with time it could've led to another interesting era for the band, but Just Us does show it would take a long while for that idea to really work. I wish I enjoyed this more, especially since after C'est com... com... compliqué did give us a bit of a streak of great albums from the band. Well, if my memory serves right, the next three will not be half bad, but we'll wait and see.

Best tracks: Sur le ventre, Gammes

Worst tracks: Nur nous, Palpitations, Der Kaffee kocht

 Mythos by MYTHOS album cover Studio Album, 1972
3.61 | 113 ratings

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Mythos
Mythos Krautrock

Review by Nickmannion

3 stars I confess I picked this up out of a bargain crate at a record fair 40 odd years ago because of the Crumb like cover art. Apart from the obvious 'big' names, my krautrock/folk knowledge was sketchy at best (we didn't have the net back then!) so I had no idea what the grooves would contain.

No, it didn't grab me at first but even if you pick something up cheap, a physical format means you keep hold and give it another try. I do wonder if someone streams something and thinks' no, not for me' these days, they perhaps don't go back and give it another chance.

The Tullesque opening shoulda dragged me in (those pesky flutes eh!) but there is an almost too forced jollity. I hear a little bit of Jade Warrior but the second track blends eastern with a more typical kraut influence and this was and is much more interesting...space/folk if you like...and thankfully my (the recipe is a secret) vinyl cleaner gives the atmospherics a clear and hiss free sound. The panning is a bit cliche but it works. The vocalist isn't the best but neither were say the vox in the Incredible String Band and I rather like them! Hero's Death shimmering cymbals in and we could be in an Amon Duul situation and they also invited early BJH to the party. Definitely my krautrock sound/s of choice. I think they gave the 'folk' the song off. With Encyclopedia the doubts creep back in as am sorry but you did the shimmering cymbals thing in the last tracks intro and the bass player has been listening to Wishbone Ash's Vas Dis (ironically) and although the guitar/s don't 'duel', the first 2 Ash albums are nodded to. It just doesn't escape the deliberate or otherwise influences/similarities. Overlaying a bit of electronica feels well like overlaying a bit of electronica for the sake of it. And the sudden 'war' referenced sounds tagged on to a track out of the blue? I will put on German Oak if I want a dark krautrock dealing with our post war trauma album thanks. And finally the 940th, even by 1971, song that starts with Church bells?

I really do want to 'like' this more but they do themselves no favours. I will give the benefit of the doubt that musicians didn't hear anything like the amount of music (as in what was out at the time) as we can today so sometimes they think they were being 'original' when they were just not. Also it is a debut album and bands should be allowed to find their own sound/make mistakes/get the stuff out of their system they needed to he types just as the VDGG bit comes in followed by...oh no...'the gong'.

I would give it a 3.25 for promise but with reservations.

 Something Dirty by FAUST album cover Studio Album, 2011
3.62 | 32 ratings

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Something Dirty
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars With Faust now getting back into a swing of things with C'est com... com... compliqué and Faust Is Last, and in a decade that thrives upon making experimental music due to the likes of Secret Chiefs 3, Xiu Xiu, and The Mars Volta, it was certainly a good time to be a Faust fan, especially after getting their 2011 record, Something Dirty.

Whilst C'est com... com... compliqué was more of a back to basics for Faust, Something Dirty pushed things into a much heavier direction, implementing noise rock, psychedelia, and an almost Legendary Pink Dots sort of feeling resonating throughout each track, creating a very mystical, and, as the title suggests, dirty atmosphere that feels as though I am walking through a sandstorm with nothing but goggles upon me to protect my eyes.

This is also probably the first Faust record since Faust Wakes Nosferatu to have most of the tracks listed here to be consistently good in my opinion. The actual songs here feel both fractured, yet still consistently delivering, with nothing in the way to make things too egregious. I especially like the track of Lost the Signal. It is a nearly 9 minute piece of sound that has this super cool and foreboding atmosphere, one that reminds me of some of the songs off of Swans' Soundtracks for the Blind, but as the song progresses it turns more into a track that you'd see Faust make in their heyday, with dissonant guitars, lots of flavorful textures, and just some personal love for the entire album that makes this song a pretty masterful experience, especially in regards to the album as a whole.

Sure some tracks, particularly two of Thoughts Of The Dead and Save The Last One, aren't good, but they aren't all that bad comparatively to other lacking tracks the band has made. In fact, they are probably the best of the best in terms of bad Faust tracks. Thoughts of the Dead is pretty creepy, with speeches that give me ideas of some of David Tibet's more atmospheric workings, and while Save the Last One is very short, it is a fine little acoustic jingle to warm up for the last track. Still wouldn't say these tracks are all that stellar, but still they are pretty interesting to me.

Speaking of speeches, this certainly has some of the best vocals ever since Faust IV. Faust have never really been a band that likes to sing, but they did manage to get some good vocal numbers here and there with the help of British painter Geraldine Swayne, who's voice works quite well with the dissonant sounds that the band provides in my opinion, creating an extra unique layer that makes Something Dirty all the more special.

While it may not be as recognized as THE Faust album like Faust IV or The Faust Tapes, nor is it my personal all time favorite like Faust Wakes Nosferatu, Something Dirty still captures a joy that does get pretty close to being the best of the best. It may not be everyone's cup of tea, but I certainly don't mind its noisy, dissonant rock elements at all, and see it as the next best step from both C'est com... com... compliqué, and Faust Is Last. Definitely listen to it if you have time.

Best tracks: Something Dirty, Lost the Signal, Dampfauslass 1, La sole dorée

Worst tracks: Thoughts of the Dead, Save the Last One

 Faust Is Last by FAUST album cover Studio Album, 2010
3.39 | 30 ratings

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Faust Is Last
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars I kind of lied about Faust moving away from industrial music in my review for C'est Com...Com...Compliqué, since they had one more trick up their sleeve in terms of intriguing industrial experiments, with their 2010 release of Faust Is Last being a smorgasbord of noisy rock n' roll and ambience.

This is easily the longest Faust record yet, containing an hour and a half worth of music, with 22 tracks to boot. The album is split into two CDs, Faust A and Faust Z, both being kind of their own albums in their own right.

Faust A is a lot more related to their krautrock jams within their industrial era, and probably some of the best tracks the album has to offer. I think there is quite a bit to enjoy on this first CD, having tracks that range from the more quiet and smooth laden Rien, to the intense meltdown that was Ravvivando. This dynamic makes every track feel quite unique from each other, which I enjoy quite a lot. My favorite tracks off this CD are probably Nachtfahrt, as it contains an intensity that feels quite similar in vein to the rock in opposition sound of the 70s, I Don't Buy Your Shit No More since it has a very classic psych rock sound that I think is fun, and Day Out, since it reminds me of Jennifer, but for piano instead of guitar.

While I may think Faust A is the better CD, I still do think it is a little bit too long. Some moments like Brumm Und Blech and Cluster Fur Cluster just do not need to be there, and with every track kind of having this weird echo effect makes things feel a little too spaced out for me.

Faust Z is a lot more industrial than Faust A, though it is a lot more in the same vein as the kind of industrial music Throbbing Gristle and Coil has made. While it is considerably shorter than Faust A, Faust Z does prove itself to pack a punch, having this creepy atmosphere that persists through layers of drone and noise, only dabbling in a few moments of krautrockiness here and there. It almost has an aura to that of what David Sylvian would try after the 90s, particularly on Blemish and Died In The Wool. As a fan of some drone, I think Faust Z showcases some pretty amazing stuff, especially on tracks like Ozean and Ghostrain, both I think are probably Faust's most haunting songs ever.

Even then, it has one thing keeping it from being the best, and that being the last two tracks of Vorubergehen and Primitivelona. They are pretty rough, being these long winded sound collages that offer quite a lot of atmosphere and ambience, though a bit too late on the record, and maybe a bit too long to. I do wish I could like what they did on these tracks, but they don't really catch my attention, and feel inferior to all the tracks that came before, aside from some tracks on Faust A.

I also noticed on Faust A that some tracks are meant to go into one another in like a suite fashion, though before they could they stop at the last second before moving to the next song. I do not know how it is on other versions that aren't from streaming services, but it kind of makes Faust A feel glitchy, and not in a good way mind you. Kind of hope Faust Is Last gets some remix in the future, so these problems in the production on the first CD don't persist.

I think Faust Is Last is pretty underrated, though I can see why some may not fully enjoy it. I personally do like it quite a bit, but the more I hear it, the more the faults kind of become apparent. Still, I think it can be worth your time, just make sure to be ready for a pretty long record.

Best tracks: Nachtfahrt, I Don't Buy Your Shit No More, Day Out, Ozean, GhosTrain

Worst tracks: Brumm Und Blech, Cluster Fur Cluster, Vorubergehen, Primitivelona

 Gilbert Artman's Lard Free  by LARD FREE album cover Studio Album, 1973
3.78 | 75 ratings

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Gilbert Artman's Lard Free
Lard Free Krautrock

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars One of the hottest and revered drummers in early 70s France, Gilbert Artman emerged as one of the more innovative forces in the French underground with his early Kraut-jazz meets avant-prog band LARD FREE. Formed in 1970 Paris, LARD FREE existed for eight years and released three distinct albums that sound nothing alike mostly due to the fact that Artman was the only constant member throughout the band's existence. The first album to emerge was the 1973 album titled GILBERT ARTMAN'S LARD FREE which found the perfect marriage between the wild Euroepan free jazz 60s (Artman was a trained jazz drummer)and the burgeoning world of progressive electronic and Krautrock coming to age in neighboring Germany as well as taking root in France. An earlier album was attempted but was scrapped and only emerged later in 1997 with the simple title "Unnamed." Despite having one of the most unpalatable names in the French underground, LARD FREE actually resulted as a pun of the French "L'Art Free" which simply means "The Free Art!" Probably shoulda stuck to the French :)

The lineup on GILBERT ALTMAN'S LARD FREE included Altman himself on drums, vibes and grand piano along with François Mativet on guitars, Philippe Bolliet on saxophones and Hervé Eyhani on both bass and synthesizers. Album #1 showcases a wide range of jazz music as the basic rhythmic keeper while the guitars and synthesizer sounds are allowed to go absolutely ape [&*!#] thus crafting a unique dynamic throughout a roster of seven tracks that each takes on a completely new approach of crafting a true form of musical chaos but always includes a lifeline of some sort to keep the music from spiraling into completely avant-garde noise. The opening "Warinobaril" is quite misleading as opens with a relaxed groove with a rather mechanical German motorik groove generated by a beefy bass and several references to the world of neighboring Germany's Krautrock scene.

With "12 Ou 13 Juillet Que Je Sais D'Elle" things start to get a bit wilder though seemingly starting out tame with a rather smooth jazzy swing only to be joined by a sputtering loose cannon synthesizer solo that ratchets up the tension into an explosive conclusion that decides to depart the musical flow altogether and becomes a rogue sputtering effect. The two part nearly 9 minute in length track continues the second part with a totally different approach only with a dissonant guitar delivering crazy rhythmic bombast in the company of a more pacified saxophone keeping the entire thing from sounding like Fred Frith having a bad acid trip. "Honfleur Écarlate" follows suit but in a more subdued manner with a steady bass groove that allows the guitar freak out and the saxophone to delivery a unique staccato form of syncopation. "Acide Framboise" actually resembles something that one might expect from Clear Light's symphonic mastery in the keys department only set to a recycled groove while Mativet delivers an atonal guitar dance around it.

"Livarot Respiration" is the most free floaty track on board with a slowed down bass groove and an emphasis on the calming vibes starting very much like a typical 60s cool jazz number only the bass melody sounds like a smooth jazz version of the bass line in Janis Joplin's 1971 hit "Move Over." After two rather subdued and less startling tracks, the closing finale "Culturez-vous Vous Même" sounds more like something Heldon would latch onto with layered synth drones that slowly glide through a perucssionless detached soundscape that offers the bleakest and most abstruse of them all. But ends with a few tinklings of the piano and then it's all over. Overall a unique installment to the early world of French outsider music which easily qualified LARD FREE to be included on the Nurse With Wound list. A diverse album that offers varying degrees of placidity, sonic textures explorations, extended jazz techniques and an interesting mix of avant-prog and Krautrock. At times pacifying and at others startling and truly obnoxious, GILTMAN ARTMAN'S LARD FREE is an album that is worthy of the attention of any true sonic explorer of the strange and unusual experiments that were bursting out of the early 1970s.

 C'Est Com... Com... Compliqué by FAUST album cover Studio Album, 2009
3.53 | 39 ratings

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C'Est Com... Com... Compliqué
Faust Krautrock

Review by Dapper~Blueberries
Prog Reviewer

4 stars Disconnected marked Faust's disconnect (pun fully intended) from the more industrial side of the coin with their sound. Thus, albums moving forward would showcase a new kind of Faust that played a bit more to their olden krautrock roots, but still dabbled in interesting experiments nonetheless.

Their 2009 release of C'est com...com...compliqué is, in my opinion, one of their best releases since Faust Wakes Nosferatu. While they have released a lot of pretty great records since then, they never quite reached to that same top that Nosferatu gave, and while this still doesn't quite give me that same particular high, it does get pretty close.

For starters, I really enjoy the more classic krautrock style on here. While Faust is known for moving forward, I think the more neutral stylings here suit it quite well, a possible revitalization, to show a younger generation a good step into the world that Faust had built within their 30+ year existence. You get some of the longer jams such as Kundalini Tremolos and the title track, as well as some of the band's more groovy (and personal favorite) tracks like Accroché à tes lèvres and En veux-tu des effets, en voilà. This album has a good mix of great songs that show off what Faust can truly do, even without the more standard of them trying a lot of new things.

Still, even though they are moving backwards in direction, they still continue on, as this album has a neat, more post-rock adjacent mood. I wouldn't say it is of the same vein as Mogwai or This Will Destroy You when it comes to post rock music, but I can certainly hear fascinations of Tortoise and Slint here and there, which Faust incorporates quite amazingly on here, giving the whole experience a bit more of a modern feeling.

Also this record includes some beats and moments that were originally recorded for Disconnected, like Lass Mich. To be honest, the album is much better without the introduction of Nurse With Wound. It feels a lot more fulfilling to be honest, and while I may prefer the longer version of Lass Mich off of Disconnected, this original version of the song does create a nice, comfy atmosphere that I feel was needed after a couple great jams.

The only real downside of this album is Stimmen, the fourth track. It kind of wouldn't be a Faust album without a track that is pretty bad, and while it doesn't at all ruin this amazing record, it does grind my gears a bit with how annoying it is. Do yourself a favor and skip this song, as the album is honestly much healthier without it.

The moving away from industrial music, while sad, was a healthy step in the right direction for our German friends, and quite frankly C'est com...com...compliqué proves it tenfold by still introducing a fun, more modern incarnation of the krautrock sound that blends the classical sides of Faust IV and The Faust Tapes, with new generational twists and turns. Highly recommend checking this one out. Hell I'd say listen to it for the cover alone. I like the kitties :3

Best tracks: Accroché à tes lèvres, En veux-tu des effets, en voilà, C'est com...com...compliqué

Worst tracks: Stimmen

Data cached

Krautrock bands/artists list

Bands/Artists Country
Å Italy
A.R. & MACHINES Germany
ABSCHAUM France
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 Germany
ALUK TODOLO France
AMON DÜÜL Germany
AMON DÜÜL United Kingdom
AMON DÜÜL II Germany
ANIMA-SOUND Germany
ANNEXUS QUAM Germany
ANONIONS United Kingdom
ANT-BEE United States
ARKTIS Germany
ASH RA TEMPEL Germany
ASHINOA France
ASHTRAY NAVIGATIONS United Kingdom
ASTERIX Germany
ATTEMPT TO RESTORE Germany
AVARUS Finland
AVEC LE SOLEIL SORTANT DE SA BOUCHE Canada
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
BURNING STAR CORE United States
C.A.R. Germany
CAMERA Germany
CAN Germany
CAVERN OF ANTI-MATTER Germany
CHAUSSE TRAPPE France
CHEVAL FOU France
CLUSTER Germany
CODE III Germany
COLOUR HAZE Germany
TONY CONRAD United States
CORNUCOPIA Germany
COSMIC CIRCUS MUSIC Germany
THE COSMIC JOKERS Germany
COUPLA PROG Germany
COZMIC CORRIDORS Germany
CRAVINKEL Germany
CREME DE HASSAN Germany
CURLY CURVE Germany
CYCLOPEAN Multi-National
HOLGER CZUKAY Germany
DA CAPO Germany
DAMENBART Germany
DARSOMBRA United States
DATASHOCK Germany
DAVENPORT United States
DEAF Switzerland
THE DECAYES United States
DEJA VU Germany
DEUTER Germany
DIES IRAE Germany
THOMAS DINGER Germany
DOLOROSA France
DOLPHY KICK BEBOP China
DOM Multi-National
DORIAN GRAY Germany
DREAMWORLD Germany
DROSSELBART Germany
DRUM CIRCUS Switzerland
DSCHINN Germany
DULL KNIFE Germany
DÜDE DÜRST Switzerland
FRANKIE DYMON JR. Germany
DZYAN Germany
EAT LIGHTS BECOME LIGHTS United Kingdom
EGYPT IS THE MAGICK # United States
EILIFF Germany
EINSEINSEINS Germany
EJWUUSL WESSAHQQAN Germany
EL SHALOM 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
ETURIVI Finland
EULENSPYGEL Germany
EX CANIX Sweden
EXPONENT Germany
FATHER YOD AND THE SPIRIT OF '76 United States
FAUST Germany
FEVER KNIFE Finland
FIFTH DEAD Germany
FILLE QUI MOUSSE France
FLOH DE COLOGNE Germany
FLORIAN GEYER Germany
FLYING MOON IN SPACE Germany
FOTOSPUTNIK United States
FRANCE France
FRICARA PACCHU Finland
FRIEDHOF Germany
FRIENDSOUND United States
FROB Germany
GÄA Germany
GAM Germany
GASH Germany
GEBARVATERLI Germany
GERMAN OAK Germany
GIANT BRAIN United States
GIFT Germany
GILA Germany
GOLEM Germany
SERGIUS GOLOWIN Switzerland
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
HÄX CEL Germany
HEDERSLEBEN Germany
HERATIUS France
HINTERGEDANKEN United States
HUMAN BEING 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
JUNEGRASS United States
KANOI Austria
KAPUTTER HAMSTER Germany
KARL HECTOR & THE MALCOUNS Germany
KEMIALLISET YSTÄVÄT Finland
KICKBIT INFORMATION Germany
KILLED ON X-MAS Germany
KLUSTER Germany
KOLLEKTIV Germany
KONTRAST Germany
KORB United Kingdom
KOSMISCHER LÄUFER Germany
KOSMOSE Belgium
KRAKATAU Australia
KRAUTWERK Germany
JEAN-JACQUES KRAVETZ Germany
KROKODIL Switzerland
L.S. BEARFORCE Germany
LA DÜSSELDORF Germany
LA! NEU? Germany
LADDIO BOLOCKO United States
LARD FREE France
LAVA Germany
LEVEL PI Germany
LICHTPYRAMIDE United Kingdom
LIED DES TEUFELS / EX HANUMAN Germany
LIFE Germany
LIGHTSHINE Germany
LIMBUS 3 & 4 Germany
LISTING SHIPS United Kingdom
STEVEN WRAY LOBDELL United States
LOKOMOTIVE KREUZBERG Germany
LUNAR GRAVE United States
M.A.L. Belgium
MAGDALENA SOLIS Belgium
MAGMA Germany
MAGNETIK NORTH Multi-National
MAHOGANY BRAIN France
DAVID MARANHA Portugal
MCCHURCH SOUNDROOM Switzerland
MENDOCINO United States
MERLIN; SWARA; ILOR & FRIENDS Multi-National
METABOLISMUS Germany
METROPOLIS Germany
MINAMI DEUTSCH Japan
MITTELWINTERNACHT '71 Germany
MONOBEAT ORIGINAL Germany
MOOD TAEG Multi-National
MOOLAH United States
MOON OF OSTARA United Kingdom
THE MOONDIG Belgium
MOONWOOD Canada
MØTRIK United States
MUNJU Germany
MUSHROOM'S PATIENCE Italy
MY SOLID GROUND Germany
MYTHOS Germany
N-1 Germany
THE NAZGÛL Germany
NECRONOMICON Germany
NEON HEART Sweden
NEPTUNITE Germany
NEU ! Germany
THE NO-NECK BLUES BAND United States
NOSFERATU Germany
NOVA EXPRESS Sweden
RALF NOWY Germany
NU & APA NEAGRA Romania
OCH Sweden
OKTOBER Germany
OMOIDE HATOBA Japan
ONYOU United States
ORANGE PEEL Germany
ORGANISATION Germany
OUR SOLAR SYSTEM Sweden
PACIFIC SOUND Switzerland
PANCAKE Germany
PANKO Germany
PATERNOSTER Austria
PINGUIN Germany
POPOL VUH Germany
PRINCESS FLOWER AND THE MOON RAYS Multi-National
PROF. WOLFFF Germany
PROSPER Germany
PSYCHEDELIC MONSTERJAM Germany
PYRAMID Germany
PYRANHA Switzerland
QA'A Spain
REAKTOR 4 Germany
REMEMBER REMEMBER United Kingdom
LE RÉVEIL DES TROPIQUES France
MICHAEL ROTHER Germany
ROTIFER PULS Germany
RUFUS ZUPHALL Germany
RICH RUTH United States
SAMETI Germany
SAND Germany
SAWS United States
SCARECREW Germany
SCATTERED PURGATORY Taiwan
SCHLACHTVIEH Germany
SECOND FAMILY BAND United States
SEEDOG Germany
SEI STILL Mexico
SEIKAZOKU Japan
SEMOOL France
SHANNONDOA Germany
SHERPA THE TIGER Ukraine
SIDDHARTHA Germany
SIINAI Finland
SILBERBART Germany
SILENT CARNIVAL Italy
SILOAH Germany
SILVESTER ANFANG Belgium
SINTO Germany
SIRI KARLSSON Sweden
SITTING BULL Germany
SKEPPET Sweden
SMOTE United Kingdom
THE SNOBS France
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPACEBOX Germany
SPERRMÜLL Germany
SPIRAL GALAXY United States
SPIRITCZUALIC ENHANCEMENT CENTER Germany
ST. KRAUT Russia
STAFF CARPENBORG AND THE ELECTRIC CORONA Germany
STAN UND HILDA Germany
STARA RZEKA Poland
STARAYA DEREVNYA Israel
SUB Germany
SUN WATCHER United States
SWARA SAMRAT Germany
SWRM United States
MITSURU TABATA Japan
TAROTPLANE United States
TASTE OF BLUES Sweden
TEARPALM Serbia
TEMPLE Germany
TERRACID Australia
THINK Germany
THRICE MICE Germany
THROW DOWN BONES Italy
TIERE DER NACHT Multi-National
TON STEINE SCHERBEN Germany
TONE FLOAT United States
TREES SPEAK United States
TRIKOLON Germany
TRIP TO ELARA Germany
TWOGETHER Germany
TYLL Germany
UCHIHASHI KAZUHISA & MANI NEUMEIER Multi-National
ULENSPIEGEL Germany
ULTRALYD Norway
UR Norway
UTOPIA Germany
THE UTOPIA STRONG United Kingdom
UUUU United Kingdom
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
WATER DAMAGE United States
WAY OF THE CROSS Multi-National
WALTER WEGMÜLLER Germany
WESERBERGLAND Norway
WIND Germany
WONGA Germany
WOODEN VEIL Multi-National
XHOL / EX XHOL CARAVAN Germany
YA HO WHA 13 United States
YATHA SIDHRA Germany
YOO DOO RIGHT Canada
ZACHT AUTOMAAT Canada
ZEMENT Germany
ZIPPO ZETTERLINK Germany
ZOKU METSU United States
ZOPPO TRUMP Germany
ZWEISTEIN Germany

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