Progarchives, the progressive rock ultimate discography

KRAUTROCK

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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

4.19 | 279 ratings
HOSIANNA MANTRA
Popol Vuh
4.27 | 124 ratings
EDGE OF TIME
Dom
4.15 | 362 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 448 ratings
YETI
Amon Düül II
4.08 | 524 ratings
FUTURE DAYS
Can
4.48 | 46 ratings
EISZEIT
Gam
4.09 | 311 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.13 | 179 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.08 | 328 ratings
NEU!
Neu!
4.15 | 117 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.03 | 398 ratings
PHALLUS DEI
Amon Düül II
4.08 | 129 ratings
SELIGPREISUNG
Popol Vuh
4.00 | 249 ratings
MALESCH
Agitation Free
4.42 | 35 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
4.06 | 132 ratings
KÄNGURU
Guru Guru
4.02 | 188 ratings
ELECTRIC SILENCE
Dzyan
4.04 | 129 ratings
VOLUME 10
Electric Orange
3.98 | 263 ratings
WOLF CITY
Amon Düül II
3.94 | 605 ratings
TAGO MAGO
Can
4.03 | 137 ratings
AGUIRRE
Popol Vuh

Krautrock overlooked and obscure gems albums new


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

LET IT OUT
Dymon Jr., Frankie
FORGET YOUR DREAM!
Pacific Sound
4 TIMES SOUND RAZING
Silberbart
WELTSCHMERZ
Siddhartha

Latest Krautrock Music Reviews


 In Den Gärten Pharaos by POPOL VUH album cover Studio Album, 1971
4.00 | 178 ratings

BUY
In Den Gärten Pharaos
Popol Vuh Krautrock

Review by WFV

5 stars Superb proto hypno new age intense spiritual electric rock. I'm fond of several albums made of one extended song for each side. This one, Clearlight Symphony, Pulsar Halloween, Steve Hillage Rainbow Dome Music and the obligatory Thick as a Brick come to mind first, but this set the standard for all that came before or later. I don't know if the prog landscape would be any different if Popol Vuh didn't exist but the texture their recording provides to the genre should not go unnoticed. Both sides here are highlights, for me over any early German experiment from Tangerine Dream to Klaus Schulze to Kraftwerk to Ash Ra Tempel and on and on. The BBC Krautrock documentary highlights Popol Vuh and Florian Fricke, and I feel my collection wouldn't be full without access to his musical contributions to the world. This is a top twenty five album of all time for me, and it may not be their best one.
 Sameti by SAMETI album cover Studio Album, 1972
3.19 | 15 ratings

BUY
Sameti
Sameti Krautrock

Review by Igor91

4 stars Sameti was a Krautrock band formed by former Amon Duul II percussionist and occasional vocalist Christian "Shrat" Thiele. The band's self-titled debut is a combination of Shrat's former band's sound with some hard rock riffage, as well as some jazz. While some Krautrock purists may scoff at this concoction, it actually works, overall. Shrat's vocal performance is inconsistent, working well at times, and at other times quite cringe-worthy. His voice remains an acquired taste to put it politely. But, as with most Krautrock, the vocals are not the strong point, nor the focus of the music.

The opener, "Get Up," sounds like Amon Duul II with a bit more rock swagger, features some groovy percussion from Shrat, and is quite catchy. The song works in that it retains that off-kilter, awkward feel of many Krautrock bands, while adding something new to the mix (for the time, anyway). Shrat's vocals actually sound decent on this track as well. This is not the case for the next track, "The Useless Appendix." The song itself is a decent rock track with lyrics that seem to be attacking the generic rock bands of the time and their ridiculous outfits. But the vocals are rough. Next up is a great track called "Big Fat Brother Joint" which kicks in with a nice guitar riff-led jam accompanied by Shrat's graceless vocals. This actually sounds pretty good, despite the singing performance, and continues for about 3 minutes before the song switches gear a bit. The electric guitar riffing switches to acoustic strumming while the bass continues the original riff. A sax solo kicks in, and now we have a jazz jam! The acoustic guitar also shares some soloing with the sax, adding some nice variety. The jam continues on for about an additional 5 minutes before fading out - a very nice surprise on my first listen! "To My Confidential Lady" follows and is a slower-paced psychedelic rock tune that is pretty good, and Shrat does an adequate job vocally here as well.

The album closes with "Anotherwaytosee Improvisation," a 22 minute Krautrock jam evoking ADII's tripped-out style improvisations. The bass line that the jam revolves around slightly reminds me of Santana's version of "Gypsy Queen" that closes "Black Magic Woman." It's a slower pace and less intense than "Gypsy Queen," and way more trippy and spaced-out. Shrat vocalizes over various points in the jam, while the guitar slithers lines across the musical atmosphere. It may get a little tedious for some, but if you like ADII's improvs you'll like this.

I feel that, as far as Krautrock goes, this is a solid effort. It may not be held in too high regard by other progheads looking for instrumental gymnastics and superb vocal aerobatics, but for Krautrock connoisseurs this may just be up your alley. I believe this is a 3.5 star album if you are judging it within its genre, and I am rounding it up to 4 because it think it deserves more credit than it seems to get. Oh, and what a great album cover!

 Movies by CZUKAY, HOLGER album cover Studio Album, 1979
3.68 | 41 ratings

BUY
Movies
Holger Czukay Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars Holger Czukay the CAN bassist has released a lot of solo albums over the years, this happens to be the third one I've reviewed and my least favourite by far of those three. Loved his "Canaxis 5" release from the late 60's and to a lesser extent "Full Circle" from 1982 but this particular album goes places I do not like. Lots of humour and of course sampling. Everyone from CAN but their vocalist is involved on one track here while Jaki Liebezeit does play drums and congas throughout. Holger thanks John Foxx of ULTRAVOX for pushing him to finish this album when he wanted to give up. This was released in 1979.

Up first is "Cool In The Pool" a poppy and humerous tune that I cannot hardly stand(haha). Catchy but lame especially the vocals of Holger and the lyrics. Oh my! Lots of silliness late. So yes this is getting off on the wrong foot big time. "Oh Lord Give Us More Money" has all the CAN guys helping out but Damo. Sadly Holger's vocals really disappoint. Lots of repetitive beats, synths and guitars. It kicks in loudly after 3 minutes with vocals almost shouting the words. Samples before 4 1/2 minutes go on for some time then more vocals. We get an extended instrumental section late.

"Persian Love" actually does work sounding very much like a Persian love song with male and female vocals. It's kind of cool actually and my favourite from the album. "Hollywood Symphony" is the longest tune at 15 1/2 minutes but I'm not convinced. We get vocals in a strange soundscape and synths give us this orchestral vibe. Suddenly before 2 1/2 minutes we get random snippets of Hollywood movies. This is all over the place though and I'm just not into it at all.

So I would recommend "Canaxix 5" and "Full Circle" to anyone wanting to check out Holger's solo stuff but for my tastes this was a disappointment. 3 stars.

 Delusion by MCCHURCH SOUNDROOM album cover Studio Album, 1971
3.58 | 48 ratings

BUY
Delusion
McChurch Soundroom Krautrock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars Every once in a while an album pops up that seems like it had the perfect band name and album cover for an entire different musical genre that wouldn't appear for decades after its release. I mean doesn't a band name like MCCHURCH SOUNDROOM cry out the perfect doom metal band? Add to that a black mass inspired skull with candle wax melted all over it as the album cover and an album titled DELUSION and it just sounds so right, for a Candlemass album maybe! But lo and behold, despite emerging in 1971 with one album in the days of metal's birth pangs in the wake of Black Sabbath and Led Zeppelin, MCCHURCH SOUNDROOM were an eclectic jammy blues rock type of heavy psych. Although lumped into Germany's greater Krautrock tag, this Swiss band from Basel was more on the accessible side of the Kraut movement light years away from fellow Swiss trippers Brainticket.

Despite the Swiss nationality, MCCHURCH SOUNDROOM sound more English than continental as they copy and paste aspects of Jethro Tull flute oriented folk with hard blues rock that sounded like any old band of the era only with an ethnic percussive bombast. Lead singer Sandy McChurch (a guy) not only nails the Ian Anderson vocal style (at times but not always sounds like JT) but also worships his flautist abilities as well. While the album begins sounding like a long lost JT album, the album is more diverse and jams quite a bit with lengthy drum soloing (as on "Dream Of A Drummer") and psychedelic organ trippiness straight out of the 60s. In fact the album sounds like a long lost 60s archival release with a nonchalant approach to musical composition with lysergic mind trips popping in with studio effects and extended mind bending weirdness.

Weird indeed but not weird enough despite appearing on the German Pilz (Mushroom) label which hosted some of Kraut's most out there bands of the day including Anima, Wallenstein, Bröselmaschine, Flute & Voice and many others. MCCHURCH SOUNDROOM on the other hand sounds very much like an ordinary blues oriented rock band of the day that happened to pay extended tributes to the trippier parts of Led Zeppelin's "Whole Lotta Love." The music is very much based in a bluesy boogie rock with psychedelic organ frosting lacing it with Haight-Ashbury period psychedelia. While drummer Norbert Jud steals the show with his energetic and eclectic percussive styles, unfortunately the rest of the band is pretty standard for the latter end of the 60s. I think MCCHURCH SOUNDROOM didn't get the memo that prog rock was well underway at this point and DELUSION sounds a good two years behind the pack with only occasional detours into more creative progressive outings such as on "What Are You Doin'"

Despite the rather dated feel to the album, the extended jamming sessions that make up "Dream Of A Drummer" and "What Are You Doin'" do flesh out various moods that justify their lengthy meandering into the trip-o-sphere. Krautrock is a devilish beast with some of the most adventurous music in progressive rock having emerged within its confines, however MCCHURCH SOUNDROOM is one of those that played it a little to safe for my tastes. The compositions aren't melodic enough to inspire a killer hard rock based blues album and it's not nearly creative or adventurous enough to enter the true psychedelic bizarr-o-sphere either. DELUSION sits somewhere in between. Decent and non-offensive to the ears with nothing to really help it stand out from the burgeoning crowds of the era. It's apparent that the band had kernels of nascent creativity gestating as DELUSION rolls on but a sophomore album was never meant to be. Unfortunately, i love the album cover and preconception of what the album should've sounded like more than the album itself. Despite it all, it's not a bad listen either.

 De Mutation En Mutation by DOLOROSA album cover Studio Album, 2006
3.00 | 2 ratings

BUY
De Mutation En Mutation
Dolorosa Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars This was DOLOROSA's debut from 2006. This French duo had released an EP in 2004 and half of the songs on this album feature those 6 songs. I fell in love with their second album called "Het!" from 2012 but this is quite different from that masterpiece. Vocals are pretty much spoken throughout this album and there's lots of them singing in French. No drums but lots of percussion and guitar, this is quite rhythmic. We get an exotic instrument called a xaphoon on a few tracks which I like. Unfortunately the first half of the album does little for me but a strong second half brings this up to 3 1/2 stars in my opinion.

"De Mutation En Mutation" reminds me of an 80's song I can't think of but this starts with percussion and more as the bass joins in then guitar. Almost spoken vocals follow. They will come and go. Not a bad start. "Les Fantomes" from the EP opens with xaphoon with percussion and guitar. Very relaxed as soft spoken vocals join in. The xaphoon leaves quickly but is back at 2 1/2 minutes as the vocals stop to the end. "En Sommeil" also from the EP has some in your face guitar that comes and goes before it all settles in with reserved vocals and more. I like the guitar after 3 minutes.

"Bien Au Coeur" has acoustic guitar to start before percussion and bass join in. Electric guitar too and it's quite relaxed as spoken vocals join in. Some angular guitar takes over but it's still laid back then the electric guitar from earlier returns to end it. "Dans Le Fond" from the EP has outbursts of sound and the vocals come and go until it settles in with buzzing guitar. "Lllimite" is my least favourite. I get annoyed with the repetitive guitar as well as with the spoken vocals here.

"Spirale" begins a series of tracks I like. Picked guitar as whispered vocals join in. Percussion is next as it builds then stays repetitive. This reminds me of the second album and it's my favourite. "Le Cervelle I" is a slow trippy piece with outbursts of guitar until the vocals arrive. Spoken vocals follow with strummed guitar and percussion. Electric guitar lets it rip then themes are repeated. Great sounding track. "Le Cervelle II" is percussion only at first but a full sound with vocals arrives quickly. Xaphoon too and it will be prominent. Vocals are sparse and distant then they become almost chants.

"Eldolon" has plenty of depth as the vocals join in and he's actually singing. I like this one. "Guerilla" has guitar, percussion and determined vocals. This is from the EP and it's excellent. "Cor Ne Edito" ends it with picked guitar and spoken vocals at first before percussion, vocals and a steady sound take over. I like the ending without vocals as electric guitar, percussion and tin flute end it.

So it was good to hear their beginnings but I'll treasure that 2012 release. This is worth checking out for sure.

 Beziehungen by ANNEXUS QUAM album cover Studio Album, 1972
3.26 | 26 ratings

BUY
Beziehungen
Annexus Quam Krautrock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars ANNEXUS QUAM went from a 60s hippie band to a bizarre mix of psychedelic rock mixed with free form jazz when they debuted with "Osmose" but after that release they spent the next two years more emerged in the jazz side of the equation and performed at many jazz festivals. The band had shed two members and on their second album BEZEIHUNGEN (relationships) they were just a mere quintet. While this band had already developed one of those far out sounds that reached toward the furthest reaches of psychedelic musical experiences, on BEZIEHUNGEN they relied a little less on the psychedelic rock side (but it's still there) of their equation and went full force toward the free jazz experience with more prominent roles for the tenor and soprano saxophones as well as the unusual appearance of the trombone.

While the number of musicians had been streamlined to a mere five, the number of instruments they played was another matter altogether with each performer handling many different roles. While the guitar, bass, drums, flute and horn section made a reprise for the sophomore album, on this wild journey into the cosmos we are also treated to all kinds of completely non-rock and non-jazz instruments such as the electric zither, bendir, jew's harp and panpipes. As with the debut there is still an Indo-raga sort of meditative flow to the album and the tabla offers some ethnic percussive drive at various stages. The album only contains four tracks and much like the debut has two short ones and two lengthy pieces that clock in over fourteen minutes.

While progressive rock and its many constituents such as Krautrock and psychedelic rock are fairly non-commercial and eccentric by nature, ANNEXUS QUAM was one of those bands that went for the avant-garde jugular and thus created bizarre sonicscapes that may be too much for many to handle which explains why BEZIEHUNGEN was their second and final album of their career. While many German bands emerged with equally bizarre and mind-bending albums, many learned to tame things down in order to attract a larger following and some (such as Amon Duul II and Can) to the point where all the magic had been replaced by predictable fluff. In the case of ANNEXUS QUAM, instead of taming things down, they got even more cosmic and free form to the point where there is no backbone such as a groove or a predictable beat as there was on "Osmose," well most of the time. Sensitive ears find patterns.

Given that the rock aspects have been tamed down, BEZIEHUNGEN is a much mellower experience with less percussive drive and a rather "conversational" type of instrumental interplay. There are parts in "Leyenburg 1" for example where they instruments really sound like they are having a discussion in an alien language. While it may come off as totally non-musical, it's more that the instruments are all engaged in their own musical world that come together in a bizarre collage effect of a greater sonic reality that is trying to break into our dimension to enlighten us into some higher vibrational frequency. This is not an album that one can analyze from a traditional compositional point of view but rather one that takes the deconstruction movement of the Krautrock scene and rates it on the trip-o-meter. For my money, BEZIEHUNGEN is neither superior nor inferior to its predecessor but rather a superb complimentary experience. Both albums have different flavors and this one definitely takes the spaced out out-of-body experience to new levels. One of my favorite "out there" Kraut bands.

 Osmose by ANNEXUS QUAM album cover Studio Album, 1970
3.78 | 60 ratings

BUY
Osmose
Annexus Quam Krautrock

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars While psychedelic space rock may have found its origins in the mid-60s British scene most notably by Pink Floyd as well as others at the famous UFO Club in London, there is no denying that it was the German Krautrock scene that really nurtured it and took it all to the farthest trips of the day with a huge underground scene diversifying into myriad musical arenas. One of the most interesting of the lot was the Düsseldorf (nearby Kamp-Lintfort actually) based ANNEXUS QUAM who released two albums in the early 70s straddling the line between psychedelic rock and free jazz. Their roots stem as far back as 1967 as a hippy band named Ambition In Music but in the process of constant gigging and touring the members were growing bored with the predictability of the pop music scene and became more adventurous and eventually acquired seven members that added guitar, bass, drums, clarinet, flute, sax and trombone to the sound.

The band was signed to the underground Ohr label and made their first appearance on the 1970 compilation "Ohrenschmaus - Neue Pop-Musik aus Deutschland" which featured the track "Kollodium" that never made it onto the first album but debuted their interesting mix of cosmic Third Ear Band freedom with trippy folk flute, jazzy bursts of saxophone and trombone blended in a psychedelic fuzzy haze. Their debut OSMOSE (osmosis) featured four tracks with the first two shorter in length and more oriented in a drum heavy psychedelic rock with jazzy touches and the two final ones that exceed ten minutes in length and venture out into the great unknown with some of the most cosmic Krautrock of 1970. They played on the Expo 70 tour in Osaka, Japan and have the honor of being the very first German rock band to perform in that country.

OSMOSE is one of those instantly recognizable albums for its colorfully lysergic album cover that finds various scenes melting into the next and displays the perfect visual for the accompanying sound effects within. This is a free flowing sort of music with no regard to conventional song structures and instead relies on a steady Indo-raga sort of percussive drive that varies from rock drumming on the first track to the heavily jazzed up second track but as the album continues becomes more hypnotic as it merely coasts along as the other instruments flutter by in seemingly random streams of consciousness. The psychedelia is turned up as far as possible with occasional fuzzed out guitar, psychedelic keyboards and twangy echoed effects that include ring modulation. While at times it takes on an Ash Ra Temple vibe it equally straddles the jazzy Kraut sector of Embryo or Lard Free albeit well before those bands got their feet wet.

ANNEXUS QUAM were hot in the heels of the earliest Krautrock experiences such as Amon Duul II, Can or Xhol Caravan but instantly conjured up a unique spaced out style that is an instrumental journey into the cosmos and beyond with only drugged out nonsensical moans providing the only vocals on board. This is really an extended jam session based in a predominantly acoustic environment in an Indo-raga meets free form jazz and rock experience. The album is quite chilled out and plods along at a slow speed as it takes elements from many musical arenas and rides a sonic wave to infinity. Not as structured as their contemporaries in the songwriting department but quite successful in taking the psychedelia to the maximum levels. OSMOSE is one of the earliest examples of the kosmische Krautrock scene that has a timeless feel as the zeitgeist of the early movement transcended the place and time where it emerged. One of my favorites of the trippy side of the Kraut scene but i'm equally fond of the second and final album "Beziehungen."

 Electric Indian by DULL KNIFE album cover Studio Album, 1971
3.17 | 18 ratings

BUY
Electric Indian
Dull Knife Krautrock

Review by Luciana Aun

4 stars Another German band forgotten by the time that released just an album and disappeared, leaving such a classic titled by 'Electric Indian'.

With a heavy sound, Dull Knife ranges from the hard prog with some good blues vein ,where robust guitar solos and a mighty Hammond take over much of the record. English vocals with clear opulence and distortion of voices, most likely caused by a Vocoder, a kind of human voice synthesizer widely used in the 1970s and 1980s. The lyrics are based in gospel speech, often marked by aggressive riffs, intense vocals, leading to believe it to be a gospel record, however, with all the experimental Krautrock vein.

Recorded in 1971, the album was produced by Dieter Dierks, who was primarily responsible for Scorpions' meteoric commercial success in the 70's. The vocalist and also keyboardist, Gottfried Janko joined Jane for the recording of the album Lady in 1975, leaving the band after its release.

Phllips, the strong holder of progressive recordings at the time, was responsible for the original pressings of the only record released, currently worth some good hundreds of dollars. Already in the 90's, the German label Second Battle remastered and re-released the album in question.

Highly recommended to good old Krautrock enthusiasts!

 Affenstunde by POPOL VUH album cover Studio Album, 1970
3.16 | 97 ratings

BUY
Affenstunde
Popol Vuh Krautrock

Review by Mellotron Storm
Prog Reviewer

3 stars This certainly sounds nothing like Florian's 70's albums but then this was his debut released in 1970 and he seemed to be experimenting a lot with his moog here. POPOL VUH were a four piece here with synths, tablas and percussion rounding out the instruments. I remember when I picked this up I thought that despite the poor rating I would like it given the descriptions. Well... not so much as those first two tracks in particular really annoy me, while the third track is more what I was expecting throughout this album. The final track is hit and miss so 3 stars is the best I can do.

""Dream Part 4" yes I'm skipping the long title before the first three songs. Anyway it opens with birds chirping before some brief water sounds then atmosphere. Then these high pitched bleeping sounds come in that drive me crazy. This continues until around 3 1/2 minutes but they do return. Just not into this one. "Part 5" opens with atmosphere before this annoying percussion with tablas takes over, again not my scene.

"Part 49" is much better as we get some spacey sounds and this is fairly dark and sparse with some faint percussion. The final tune is the title track at over 18 1/2 minutes. Interesting sounds come and go before the drums rumble in. It sounds pretty cool before 3 minutes. I like this. Drums stop before 5 minutes as a haunting soundscape continues. A change 6 1/2 minutes in as we get a pulsing sound with a humming over top. Blipping sounds join in and it stays this way for a long time right to the end.

I rate pretty much all his 70's albums 4 stars and up so yes this was disappointing to say the least. A low 3 stars from me.

 Astral Shaman by LUNAR GRAVE album cover Studio Album, 2010
4.00 | 2 ratings

BUY
Astral Shaman
Lunar Grave Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars LUNAR GRAVE are a 4 piece Psychedelic band out of the USA. They have released at least 14 recordings and this is their 2010 debut. I have this and their 2014 EP called "Fra Traern". I've put them both on a cdr giving me 50 minutes of great music. All their recordings would be considered mini albums, EPs or singles.

"Peak Of Eternal Light" hits the ground running with repetitive guitar leads and distortion. Another guitar comes in over top sounding distant at first. They jam in a repetitive manner throughout. "Mantra III" has this heavily distorted but melodic guitar throughout. Nice.

"Land Of The Lost" is my favourite. Again distorted guitar and drums create a catchy sound but it's the guitar that solos over top that I love. So good! "Line Of Apsides" has strummed guitar and distortion until it settles before 2 minutes with two guitars playing different parts in a tasteful manner.

"Docking Procedure" starts out similar to the opener but slightly slower paced. Some distant vocals at times. Guitar comes in over top 2 minutes in. This is really good. It ends with solo guitar grinding it out until a burst of distortion ends it. Nice.

Nothing new here but I like this one a lot. I do prefer "Fra Traern" for what it's worth, especially that gorgeous cover art.

Data cached

Krautrock bands/artists list

Bands/Artists Country
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 (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
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
CAMERA Germany
CAN Germany
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
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
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
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
FEVER KNIFE Finland
FIFTH DEAD Germany
FILLE QUI MOUSSE France
FLOH DE COLOGNE Germany
FLORIAN GEYER Germany
FOTOSPUTNIK United States
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
LUNAR GRAVE United States
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 NAZGÛL 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
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
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
SKEPPET Sweden
SOUTH OF NO NORTH Belgium
SPACE EXPLOSION Germany
SPERRMÜLL Germany
STAFF CARPENBORG AND THE ELECTRIC CORONA 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
WESERBERGLAND Norway
WIND Germany
WONGA Germany
WOODEN VEIL Multi-National
XHOL CARAVAN / XHOL Germany
YA HO WHA 13 United States
YATHA SIDHRA Germany
ZACHT AUTOMAAT Canada
ZEMENT Germany
ZIPPO ZETTERLINK Germany
ZWEISTEIN Germany

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives