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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

4.21 | 260 ratings
HOSIANNA MANTRA
Popol Vuh
4.15 | 344 ratings
ASH RA TEMPEL
Ash Ra Tempel
4.10 | 417 ratings
YETI
Amon Düül II
4.23 | 108 ratings
EDGE OF TIME
Dom
4.07 | 486 ratings
FUTURE DAYS
Can
4.09 | 297 ratings
TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
Amon Düül II
4.07 | 307 ratings
NEU!
Neu!
4.10 | 167 ratings
GILA - FREE ELECTRIC SOUND
Gila
4.16 | 107 ratings
LETZTE TAGE - LETZTE NÄCHTE
Popol Vuh
4.02 | 371 ratings
PHALLUS DEI
Amon Düül II
4.51 | 35 ratings
EISZEIT
Gam
4.09 | 118 ratings
SELIGPREISUNG
Popol Vuh
3.96 | 564 ratings
TAGO MAGO
Can
4.07 | 117 ratings
VOLUME 10
Electric Orange
4.07 | 119 ratings
KÄNGURU
Guru Guru
3.99 | 236 ratings
MALESCH
Agitation Free
4.01 | 177 ratings
ELECTRIC SILENCE
Dzyan
4.03 | 128 ratings
AGUIRRE
Popol Vuh
4.44 | 31 ratings
TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
Conrad, Tony
3.98 | 163 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

MAGIC THEATRE
Drum Circus
SUPERNOVA
Ibliss
MY SOLID GROUND
My Solid Ground
WELTSCHMERZ
Siddhartha

Latest Krautrock Music Reviews


 Electric Sandwich by ELECTRIC SANDWICH album cover Studio Album, 1972
3.43 | 36 ratings

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Electric Sandwich
Electric Sandwich Krautrock

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

4 stars German band Electric Sandwich's self-titled debut from 1972 appeared on the legendary Brain Records label and was produced by German rock notable Dieter Dierks, but any suggestions that it has connections to Krautrock are pretty much completely inaccurate. However, the terrific English language album has much to recommend about it, having far more in common with psychedelic, soul, blues, R&B and horn-based rock with a touch of jazz here and there, with traces of Hendrix, Ten Years After, Santana band, Nosferatu, Message and even Out of Focus popping up throughout.

Eight-minute opener `China' certainly comes the closest to the Krautrock tag, an acid-rock instrumental with stormy washes of drifting distortion, exotic percussion and Jörg Ohlert's fuzzy electric-guitar soloing. `Devil's Dream' is a smouldering vocal rocker (not a trace of an accent in sax/harmonica player Jochen Carthaus's voice, though!) with bluesy guitar soloing weaving around Wolf Fabian's nimble drumming throughout an extended lightly jazzy improvised middle, and just listen to the way the distorted sax melts and bleeds from about the 3:47 minute mark! Side one closer `Nervous Creek' then jumps between the frantic and mysterious passages of fellow German band Message's first two albums `The Dawn Anew is Coming' and `From Books and Dreams', but also adds in a splash of wild Hendrix-flavoured rock.

There's more bluesy rock on `It's No Use to Run' with a rough n' raspy vocal, spirited harmonica and plenty of slow-burn electric guitar licks, and `I Want You' is purring and dreamy with tougher bursts of relentless harder-edged guitars, tasty Out of Focus-like sax wafting and whirling Hammond organ. `Archie's Blues' is unsurprisingly a bluesy meander that's a real showcase for guitarist Ohlert and his killer strangled electric guitar slinging, and `Material Darkness' closes the album with drowsy chiming guitars and almost whispered vocals that are punctuated with dirty sax blasts, trickles of pristine Mellotron veils and Klaus Lormann's thick bass. It's definitely one of the more ambitious moments of the album, although it proves to be a little anti-climactic with not much in the way of a big ending.

The CD reissue includes a short infectious bonus track of exclusive 1973 single `On My Mind', a cool and confident pop/rocker with strident electric guitar around a raw lead vocal, as well as its b-side, a three minute remix/edit of the album opener `China'.

Although it's far too structured and `clean' to be considered a Krautrock album, `Electric Sandwich' is endlessly melodic with strong song-structures that still allows for plenty of jamming and improvised instrumentation that the talented young musicians deliver with exceptional skill. It's a damn shame that the band dissolved in the same year this album was released, but it's nice that their legacy is preserved with this one cracking bluesy psychedelic stunner.

Four stars.

 II by CLUSTER album cover Studio Album, 1972
3.92 | 77 ratings

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II
Cluster Krautrock

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

4 stars The duo of Dieter Moebius and Hans-Joachim Roedelius deliver nothing in the way of tunes or melodic moments on their second Cluster album from 1972, `Cluster II', nor is it particularly similar to the subdued spacey drifts of the frequently near- ambient debut. Instead, noisy experiments, druggy improvisations and cryptic instrumental collages of guitar, organ and electronics are the order of the day here, closer to the darker atmospheres of the early Krautrock-era works of Kraftwerk, Tangerine Dream and Klaus Schulze.

Opener `Plas' is a churning stormy drone that grows in stature amidst a heartbeat-like wavering klaxon and harsh ebbing and flowing serrated slivers. A snarling and grumbling electric guitar line repeats over and over into infinity throughout `Im Suden' with ambient distortion washes shimmering to the surface behind them, everything swamped in an unceasing brewing rumble of feedback. Chiming guitar tendrils try to snake their way through an air of shuffling electronic spirals and pulsing machine hisses that slowly abate to allow the briefest of light to enter, and`Fur Die Katz's alien-like twitches and scratchy distortion close the first side, a piece that could have easily found a home on Tangerine Dream's proto-dark ambient `Zeit'.

The suffocating `Live In Der Fabrik' on the flip side is a cavernous environment of chugging machine oscillations feverishly ripped apart by delirious electronic ripples, and the growing menace of `Georgel's sombre droning organ with the lightest of crystalline airy wisps flitting about could have easily worked its way out of the spacey improvised section of Pink Floyd's `A Saucerful of Secrets' and `Set the Controls for the Heart of the Sun' live performances from the late Sixties. Closer `Nabitte' wraps the disc on smiles and sunshine...no, wait, make that mucky clanging nightmares of brooding jagged piano and groaning eerie voices makes for deeply unpleasant stuff, pretty much the perfect soundtrack to the seediest snuff tape.

`Cluster II' really gets under the skin with grubby fingernails, making for supremely uneasy listening but also one that remains wickedly addictive and completely consuming, laced beginning to end with that dirty sense of danger that permeates all the most satisfying Krautrock works.

Four stars.

 Guru Guru 88 by GURU GURU album cover Live, 1988
3.00 | 1 ratings

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Guru Guru 88
Guru Guru Krautrock

Review by Kepler62

— First review of this album —
3 stars This is a wacky one and just like the previous 'Jungle' features a female vocalist, Lysa Kraus, an amalgam of Nina Hagen and The B- 52s. Really. This is the Guru Guru of the late 80s so don't expect the early Krautrock experiments or tripped out jazz-rock blowouts of the seventies. Head Guru Mani Nuemeier had spent most of the eighties on individual projects and was trying out new things with the newly reformed Guru Guru. Released on the German Casino label that was better known for jazz/techno/dance artists, the contemporary craze. It features the late Hans Reffert who was the most recent guitarist/composer for Guru Guru so we do get some really interesting well produced stuff here. The 8 tracks are quite different from one another but as a whole Guru Guru '88 is very psychedelic. The biggest surprise is a spooky electronic instrumental track titled 'His Time' which is dedicated to Edgar Allan Poe, author of the strange and macabre. Probably the most bizarre cover version of 'Batman' ever recorded appears here and is barely recognizable save for the Batman hyena screeches and includes Mani Nuemeier silliness or else it would not be a Guru Guru album, would it?. The groovin' 'Work', 'Take It All' and 'Jim Jimmy' are straight off the dance floor. On the funky 'Dig That Fun' Lysa Kraus flaunts her impressive R&B panache.The instrumental 'Long Ago' tacquires a more vapourous jazzy feel.. Finally, 'Guru Guru Shake' is a catchy Carib/East Indian world beat fusion with a guest drummer Master Paramashivam Pillal.

I have been a fan of Guru Guru since the early seventies so this esoteric 1988 album or EP ( running time clocks in at just over 30 minutes ).didn't faze me. My only problem here is that the development potential on some tracks was not exploited to the fullest. It is nonetheless a half an hour of some really fun stuff. from one of the most 'out there' bands ever.

 La Luna by CZUKAY, HOLGER album cover Studio Album, 2000
3.01 | 12 ratings

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La Luna
Holger Czukay Krautrock

Review by Neu!mann
Prog Reviewer

3 stars First, a personal note: like many fans I prefer the music of CAN's mischievous short-wave radio painter when he's in a more lighthearted mood, composing Odes to Perfume or Persian Love songs. But there's something oddly hypnotic about this minimalist curiosity: an unbroken 47-minute "Electric Night Ceremony" recorded live at Holger's Lab on May 17, 1996 (and yes, I checked: there was a full moon over Cologne that night).

Don't expect the soothing environmental ambience of a Brian Eno album, however. Czukay's tone poem was built around a sinister mechanical pulse not far removed from the dystopian rhythms enslaving all those subterranean workers in Fritz Lang's 1927 film classic "Metropolis". He then goes to creative lengths to put a human touch on his automaton bleepfest, adding ephemeral layers of pirated radio signals, odd percussion accents, random vocal interruptions and so forth.

As usual Czukay is playing the studio like a musical instrument, and was apparently so mesmerized by the effort that he forgot his trusted French Horn. There isn't much room here for comic relief, but when High Priestess U-She (real name Ursula Kloss; Holger's muse since the end of the last millennium) approaches the electronic altar and starts muttering about "the Mother of the Universe", it's hard not to imagine Holger's tongue lodged firmly in his cheek.

There's actually a lot happening over the album's uncut three-quarter hour length, at a level of perception audible only with both ears wedged between the speakers. For better or worse, this is one of those experiments that needs your full attention to appreciate, but is best enjoyed when only half-heard as background radiation.

 Gila - Free Electric Sound by GILA album cover Studio Album, 1971
4.10 | 167 ratings

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Gila - Free Electric Sound
Gila Krautrock

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

4 stars German band Gila was formed in 1969 around guitarist Conny Veit, a Krautrock notable who would also go on to contribute to the music of Popul Vuh and Guru Guru. Their debut `Gila (Free Electric Sound)' arrived in 1971, a predominantly instrumental disc with a refreshing raw sound of spacey rock improvisations, lengthy psych guitar solos backed by plenty of organ, and it frequently reminds of the psych/acid/space early period of Pink Floyd with its fuzzy meandering atmospheres, as well as touches of Dom and Agitation Free.

An early Guru Guru and Hendrix acid rock style permeates opener `Aggression', all Conny's plodding and grooving heavy guitars, Daniel Alluno's rambunctious drumming, murky slithering bass with tickles of Hammond organ rolling around the background, and there's just a touch of spacey echoing in the final moments to hint at what's to come. The nearly thirteen minute cosmic jam `Kommunikation' weaves through everything from acoustic acid-folk shambles, distortion- heavy drones, sudden tempo changes, Embryo-like ethnic flavours and endless drowsy guitar strains with a touch of that mellow bluesy tone and those shimmering reaching piercings that David Gilmour perfected on the early Floyd albums. Walter Wiederkehr's punctuating bass is thick and fluid, Fritz Scheyhing subtly employs runaway electric piano tiptoes and panning organ swirls, and there's even brief ethereal treated vocals and wasted spoken word passages to end a killer first side.

The mantra-like `Kollaps' is all humming feedback droning, whirring Hammond organ, mysterious creeping bass and dreamy weeping guitar tendrils that turn rumbling and splintering, reminding very much again of the early psychedelic Pink Floyd works. `Kontakt' opens as a disorientating collage of shuffling mucky distortion and eerie voices before coming down as an early Deuter-like acid/folk Eastern-flavoured acoustic guitar meditation. There's shades of German band Agitation Free's blend of electronics and ethnic elements in the ten-minute two-part finale, `Kollektivitat' first starting life with reflective and joyful Hammond organ soloing, subdued drumming that carefully builds, seductive purring bass and chiming guitars with bluesy tinges. The Hammond eventually turns scratchy laced with dangerous quickening drums and manic twisting guitar jangles before `Individualitat' dissolves into furious tabla and distortion, although the mere fade-out to close the whole album is a bit of an uninspired letdown!

`Gila' is perhaps similar to an album like, say, the self-titled first Cosmic Jokers album from 1974 that offers many textbook examples of that would be recurring sounds and styles on the Krautrock- flavoured works, but without the more uncompromising and abrasive harder qualities that make up many of those discs, so this could appeal to newcomers and be an ideal introduction. There's certainly more important, experimental and ground-breaking Krautrock discs to explore, but there's not a poor second of music on `Gila', and it definitely deserves to be a proud part of any Krautrock collection.

Four stars.

 Zuckerzeit by CLUSTER album cover Studio Album, 1974
3.56 | 62 ratings

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Zuckerzeit
Cluster Krautrock

Review by Modrigue
Prog Reviewer

4 stars Electronic sugar cubes

1974 was definitely an important year in the history of development of electronic music. Alongside with KRAFTWERK's "Authobahn" and TANGERINE DREAM's "Phaedra", CLUSTER's "Zuckerzeit" is the last piece of the Holy Trinity of 70's electronica. Much more accessible than the freaked-out experimental long krautjams from their two first opuses and completely different from other synthesized suites of the same time period, the compositions of this third album are short titles, less improvised and more structured, with a greater usage of electronics and sound effects. Why is this disc so particular?

Whereas the men-machine of Düsseldorf will become the godfathers of electro/synth-pop, whereas TD's extended hypnotic meditative soundscapes announce the techno/trance of the 90's, Roedelius and Moebius explore another path, populated with little electronic creatures living on their own in an ethereal and out-of-time place. The approach goes a little further than other bands and foreshadows 90's electronica, more precisely the so-called "IDM", such as APHEX TWIN and early AUTECHRE. Even more ahead of its time than their fellow countrymen, this minimalistic post-electronic music succeeds at emancipating from its krautrock roots and Moog brothers by proposing very futuristic and modern tracks, seeming to come from another world (and another decade too). Furthermore, the beats are also quite unusual and inventive for the 70's, 15 years before the second electronic revolution. Incredible!

Curiously, the two musicians have not collaborated for this record. They composed five titles each, their styles being entirely opposite. Hans-Joachim Roedelius' compositions are the white sugar cubes, spacey, relaxing and accessible, whereas Dieter Moebius' are the brown sugar cubes, darker, more disturbed and aggressive. The contrast is thrilling. As a result, the listener is constantly switching between ambiances, alternating peaceful and rockier passages.

This approach and opposition will also be present one year later in another important "eleckraut" album of the decade, "Neu!75", with Michael Rother and Klaus Dinger. Interesting when you know Rother is the third member of HARMONIA alongside with the CLUSTER duo, as well as "Zuckerzeit"'s coproducer.

More calm and spacey, Roedelius' tracks are my favorite. The mesmerizing drops of "Hollywood" will make you directly travel through the stars. This title has certainly influenced APHEX TWIN in his youth. Magnificent! The soothing crystalline "Rosa" is rather contemplative, nearly melancholic, like a delicate pocket universe. "Fotschi Tong" and "Marzipan" are peaceful and playful Asian passages, while the finale "Heiße Lippen" is just sublime, in the style of "NEU!'75", a genuine open window on the future to come... Voluptuous and magic, needless to say more...

Moebius' compositions are also rather good but more demanding and uneven. "Caramel" is somber, repetitive, and possesses a really modern beat. Only track to exceed 5 minutes, "Rote Riki" sounds like a ramshackle old computer out of control. Dissonant, a bit too long, nonetheless futuristic. However, the title the most ahead of its time may be "Caramba". Despite its threatening krautrock background... was this pre-techno music really recorded in the 70's? In contrast, the intruder of this record is the guitar-driven "James". With its bizarre introduction, this slowed down krautblues reminds a little NEU!'s "Super 16". "Rotor" is my least favorite passage of the album, quickly becoming irritating. Fortunately, this is also the shortest.

With "Zuckerzeit", CLUSTER definitely opens a new musical universe up. The German duo can be considered as the APHEX TWINs of the 70's. As for the English autodidact, their titles are little independent synthetic creatures, living and growing on their own, exhibiting two opposite faces: the light side, relaxing, ethereal and dreamy, and the dark side, disturbing, like a mad machine. Although overshadowed by their electronic brothers, this groundbreaking third opus is highly influential and truly visionary for the 70's, going beyond krautrock and Berlin School, with beats and arrangements unheard before.

Both vintage and incredibly modern, both imperfect and breathtaking, "Zuckerzeit" is a milestone, simply essential for anyone interested in the history of electronic music, as well as for fans or 90's electronica, such APHEX TWIN and AUTECHRE.

 Knirsch by ET CETERA (DE) album cover Studio Album, 1972
4.23 | 16 ratings

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Knirsch
Et Cetera (DE) Krautrock

Review by Igor91

4 stars With the recent passing of the great Larry Coryell, I made it a point to put on this monster of an album on in his honor the other day. This was the only Et Cetera album that he played on, but man did he leave his mark! The previous LP had the excellent German guitarist, Sigi Schwab, who injected his ethnic style into the music. Coryell, an American, brought in more of a West Coast, psychedelic, jazzrock style to Et Cetera's Kraut-jazz. Experimental German jazz keyboardist Wolfgang Dauner, of course, was the leader of Et Cetera and composed all but the opening track.

That opening track, "The Really Great Escape" is Coryell's, and it is a one of the grooviest, stoned-out tracks from that era. The song reeks of the 70's, and is sticky with resin. Some might call it dated, but I call it pure awesomeness. Coryell's guitar work is superb, and his vocals are stunning. He wasn't known for his vocal skills, but here he kills it. It is the only song to feature vocals and it really differs from the rest of the album, but the album definitely benefits from it being on there. Coryell released a different version of this song on one of his own albums, which is longer and features horns, but it does not compare to the version on Knirsch.

There rest of Knirsh is pure Dauner, and Coryell's stunning guitar work helps lift it to great heights. The rest of the band, long-time Dauner drummer/percussionist Fred Braceful, Colosseum drummer Jon Hiseman, and German jazz bassist Günter Lenz, all shine on their performances.

The second track, "Sun" is a piano driven jazz number, which also displays Coryell's jazz chops. "Yan" is the most avant-garde piece on the LP, and is devoid of structure, melody, or rhythm. There is lots of experimental noodling and noise here, parts of it reminding me of the studio disc of Pink Floyd's Ummagumma, "The Grand Vizier's Garden Party" in particular. Next up is the stellar track, "Tuning Spread," which is a nice mix of Krautrock unconventionality and jazzrock. It has an excellent groove in parts, with Jon Hiseman laying down a funky-as-hell beat. The closing cut is "Yin," which gradually builds from a quiet jazz tune to a more energetic jazzrock.

While I feel it is a stretch to call this album Krautrock, it definitely encompasses a good deal of that genre into its jazzrock cocktail. This is a great record to chill to with friends late at night, or with headphones on your own, if you prefer. I would have given this a five star rating had it not been for the track "Yan." While I can appreciate some good old experimentation in music, when it lacks any kind of structure, rhythm, or melody, and goes on past the five minute mark, I will often begin to get bored and/or annoyed. "Yan" goes on for thirteen minutes.

I highly recommend Et Cetera's Knirsch for those who are into Krautrock and/or experimental jazzrock. It does have a very early 70's vibe to it, but the experimental structures and performances keep it from sounding dated, in my opinion anyway. I give it four stars. Larry Coryell R.I.P.

 Celebration by DEUTER album cover Studio Album, 1976
3.00 | 8 ratings

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Celebration
Deuter Krautrock

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

4 stars Georg Deuter is a German born instrumentalist who has released more than sixty albums to date since beginning his musical journey back at the start of the early Seventies. These days he is mostly associated with New Age and meditation music, but at the very start of his career, his first few releases were frequently in a Krautrock mold, where rough-around-the-edges ethnic instrumentation blended with organ, electronics and both electric and acoustic guitar passages. His classic debut `D' from 1971 was comprised of schizophrenic and psychedelic sound collages, the follow up `Aum' a year later focused on a variety of shorter eastern-flavoured fragments with strong world music elements. Fortunately, 1976's `Celebration' was still quite a way from the placid New Age flavours he would eventually move in to, embracing a frequently acoustic hippie-folk vibe whilst still making time for experimental Krautrock-styles electronic and ethnic-laced drones.

The trio of the two part `Celebration of the Moment' that opens and closes the first side of the LP and the purposeful `Life is Love' are mostly contemplative flute ruminations crossed with vigorous acoustic guitar rambles that at least remain quite lo-fi enough to maintain just the tiniest trace of grit, pretty much a constant to all the acoustic playing throughout the album. But it's the eleven-plus minute ` Von Hohen Himmel Ein Leuchtendes Schweigen' that proves to be exceptional and completely intoxicating. A seeping and humming electronic drone consuming a blur of groaning chants and uplifting acoustic themes, it reminds of the best of the Krautrock-associated groups that blended ethnic elements with electronics and is truly one of the best pieces to appear on a Deuter album.

Side B's spontaneous `Grass Grows by Itself' initially opens with lightly trilling synth wisps over placid acoustic guitar strums and gradually emerging low-key groaning sitar strains before diverting into a sweetly joyous flute dance. The hypnotic chiming guitars flecked with delay of `Solitary Bird' briefly call to mind the classic Manuel Gottsching/Ashra works, soon joined by eerie wavering synths that hold just a hint of unease next to drifting flute drones. `Le Ciel est Bleu' is an experiment in cut-up harmonica and ringing sitar over glistening electronic programming, and the field recordings of nature that pepper the background of `Easy is Right' (almost reminding of Pink Floyd's `Cirrus Minor' off their classic `More' soundtrack!) close the disc behind spirited and toasty acid-folk guitar strums with just enough of a deliciously shambling manner to really nail the laid back summer vibe.

Deuter's third album may be gentle, but there's a massive difference between faceless, overly- pretty and pleasant New Age pap and intelligent, undemanding music that is meditative and full of personality and atmosphere. Truly the soundtrack to a hazy warm afternoon with its sunny and embracing vibe, `Celebration' is a very respectable and dignified work that still finds the time to carefully experiment within its affable acoustics.

Three and a half stars.

 Prof. Wolfff by PROF. WOLFFF album cover Studio Album, 1972
3.87 | 25 ratings

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Prof. Wolfff
Prof. Wolfff Krautrock

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

5 stars A fairly unknown German band from the early Seventies, Prof. Wolfff released a single self-titled work in 1972 that seems to completely fly under the Prog radar, and it's an album badly in need of rediscovery - perhaps for many listeners for the first time! The group played a mix of blues, psychedelic rock and acid-folk peppered with a tough Krautrock hardness, coarse vocals and light jazzy qualities, utterly dominated by the tastiest of heavy Hammond organ liberally slathered over the disc beginning to end! Bands like Deep Purple, Birth Control, Frumpy, Bodkin and even some of the Italian groups who favoured the instrument played in supremely dirty style in their sound such as Il Biglietto per L'Inferno and Il Balletto di Bronzo are easy comparisons, but although hardly commercial or even remotely radio friendly, the band grafted melodic tunes to their workouts, even if the vocals themselves were hardly easy to love.

The ten minute opener `Hetzjagd' is the longest and best track here, a powerful and dramatically unfolding rocker that explodes with a battery of 'Romi' Schickle's Hammand organ plied over almost every second of it. Several short but memorable themes are constantly reprised back and forth throughout, with plenty of energetic bursts and even a frantic up-tempo run in the middle all given life by the instrumental skill of the musicians and taken even further by Klaus-Peter Schweitzer's firm and coarsely charismatic vocals. After such a great opening that sets a very high standard, thankfully the rest of the album still manages to deliver a constant run of equally impressive shorter pieces. Although hardly a pop song, `Hans Im Glück' holds a frequently repeating punchier group-vocal chorus popping up between alternating slowly moody and rapid-fire snappy verses driven by 'Mondo' Zech's pumping bass and Michael Sametinger's nimble drumming, and `Missverständnis' is a bit too tough to be a true full-blown folk piece, acoustic guitars chiming over exotic percussion and a variety of persistent group vocals carrying a pleasing melodic tune.

The opening and close of side B's `Das Zimmer' reminds a little of Novalis with its hazy vocal and mellow acoustic guitars, but it picks up a spring in its step for an infectious and lightly jazzy break in the middle. Almost ten-minute closer `Weh Uns' is full of momentum, being all rumbling drumming, twin wailing guitars, bouncing bass, urgent group vocals and endless scorching brimstone-fuelled Hammond organ fire that culminates in a Floh de Cologne-like spoken word climax.

`Prof. Wolfff' will likely appeal to those who love the tougher vintage German bands but want something a little more structured that avoids the aimless drawn-out explorations that frequently came from so many of the Krautrock groups. Admittedly those who speak German will get much more out of the frequently darker political-flavoured lyrics here, but it still holds up as a forcibly melodic and rugged rocker with that relentlessly addictive Hammond organ sound. It truly is a rarely spoken-of dirty gem of early German progressive rock badly in need of reappraisal now that deserves to be placed alongside the higher regarded and more well-known classics of the Krautrock subgenre.

Five stars. (and a long-held personal favourite!)

 Misophonia by ELECTRIC ORANGE album cover Studio Album, 2016
4.00 | 19 ratings

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Misophonia
Electric Orange Krautrock

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

4 stars Offering in their twenty-five-plus year career everything from colourful retro-prog, electronica/dance and even psych-pop party blowouts (the cool stop-gap release `Nein! HITS à Gogo!' from 2015!), unpredictable German group Electric Orange delivered a masterwork in 2014 with their moody and atmospheric Neo-Krautrock stunner `Volume 10', and they're back two years later with another refinement of their sound, `Misophonia'. This time around, the instrumental band offer a heavily- improvised collection of eclectic sounds that moves through everything from ambient, Post-Rock, drone and psychedelic flavours, even some light New-Wave touches all woven to their lengthy Krautrock jams, with the band constantly displaying a masterful control of mood, build and atmosphere throughout.

Eighteen-minute opener `Organized Suffering' is constantly rhythmically driven, frequently racing with an up-tempo momentum by way of rippling psychedelic cascades, parched guitar clamour and hovering electronic drifts, with little traces here and there even calling to mind the Delerium Records-era of Porcupine Tree. Dirk Bittner's guitars slink with everything from a cool Eighties sleekness, bluesy bends and stuttering spasms, Tom Rückwald's heavy bass grumbles seductively, and the closing section hums warmly with toasty thick Hammond organ and congas. `Bottledrone' opens as a lulling ambient drone over fuzzy embracing guitar caresses that reminds of the Ash Ra Tempel, Ashra and Manuel Göttsching before catching fire with Dirk Jan Müller's bleeding vintage electronics unravelling over Georg Monheim's rising energetic drumming. 'Demented' is a percussion-driven piece over shimmering ambient washes and murkily grooving guitar strums, the loose New-Wave flavoured guitar-driven `Shattered' almost grooves in the manner of the `Beat-...Perfect Pair' King Crimson era, and `Opsis' glistens with chiming mandolin mystery.

The almost thirty minute title-piece `Misophonia' is spread out over three tracks at various intervals throughout the disc. The first piece opens as a dusty distorted drone that grows in relentless power from ringing bluesy guitar and heavy dreamy electronics, the second is a hazy rumbling interlude, but the third and final act is a full-blown seventeen-minute epic. This album closer starts as a howling and wavering throb that spontaneously explodes to life with rattling drums, roaring guitar snarls, seeping electronic bleeds and looping Tangerine Dream-like machine repetition. It's a masterclass in brooding intensity and spiky danger, with delicious little traces of that precious early Pink Floyd fragility emerging throughout.

Once again mastered by frequent EO collaborator and Grobschnitt's leader/drummer Eroc, `Misophonia' perhaps doesn't quite reach the defining atmospheric heights and carefully sustaining mood of `Volume Ten', but it absolutely presents a band still exploring, refusing to merely recreate the sounds of the past, and challenging both themselves and their listeners. Electric Orange successfully bring vintage Krautrock sounds rumbling into the modern age and fuses it with a range of other styles, and this intoxicating, slow-burn hypnotic album ranks amongst their best releases to date.

Four stars.

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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
ORGANISATION 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
ZEMENT Germany
ZIPPO ZETTERLINK Germany
ZWEISTEIN Germany

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