No one came up to the bat.

 

 

 

Can you think of any US band of 70s or early 80s which had the Kraut thing apparently going?

 

 

 

 

 

Are there no Mastermen here (besides Spyros) who dare step up and  take a stab??

 

 

Put your thinking caps on, fer crissake!

 

 

Howsabout I make it easier.

How about US bands that took the cue from (Belgian)Sproutrock?

 

Zappa dont count.

Cul De Sac

Yo La Tengo

The North Valley Subcontious Orchestra

Sonic Youth

NOT from my stated time-period.

from your period the vest band is probably The Velvet Underground, other than that there arnt too many american bands that had that gritty rythmic sound. I think until the late 80s America did not have as much access to kraut rock as did the english

 

Im asking for bands  which came years later, which (apparently) used Kosmische  as a jumpboard.

 

 

...

I should clarify - none of the 15 or so bands I have in mind are clones of that "cling-clang" Kraftwerk/Neu branch of the Kraut tree.(Which I stated before that I rather dislike.)

 

And few are straight electronic bands allong lines of TDream - I suppose Tonto's Expanding Headband  for instance had kraut-space influence, but  there are  rather more examples of these electronic US bands and especially single artists. Im not concentrating on THAT.

 

 

If these virus attacks persist Im going to have to post here much less frequently - and only from the library computer.

 

Is this f**ksh*t normal around here?

Ive never experienced virus attacks until I came here.

Krautrock was VERY popular in Chicago back in the early 1970's!   We had several local bands that were heavily influenced by the sound, the one that comes to mind is "Stratosled."  Don't know if any of their material is still available, but seek out "TRIAD radio" on the internet.   For example, TRIAD has a very active Facebook page.  

Here, check this out:   http://www.myspace.com/triadradio" rel="nofollow - http://www.myspace.com/triadradio

Of course, it takes an old man like me to touch you youngsters some prog history!!  

"It takes an old man like me to TOUCH you youngsters"

 

Damn! What do we have here then?

 

 

...

Jokes aside,

it takes old men of experience  like you and I to KICK newbie ass the heck outta here.

 

 

And , of course,in the act of kicking their ass,  we snag all their dollybirds as well.

 

 

 

 

 

 

 

 

 

 

Okay, listen-up, spacecadets.

Baggs gonna lay down two bands on your undeserving ears:

 

JOYRIDE "Friendsound"  No shoite - these guys had connections to Paur revere & The Raiders! Totally tripped-up lp of effects, discombobulations, "chaos,confusions and illusions". Hallmarks of Kosmische but US.

 

DREAMIES  "Aural Graphic Entertainment"  Get your headphones on and GET DOWN ONNIT!  "Strange new fun for your head."

Thanks for the defense!!  Maybe we should start an "Old Man's Forum Thread"?  No touching!  

A few of my accomplishments:

a)  saw LTIA tour without Miur,  and Peter Frampton was backup!!  

b)  saw CTTE tour, Bruford was gone at that point but White did an excellent job!  The Eagles were the backup!!

c)  Met just about everybody I ever worshipped including Fripp, Wakeman, Jon Anderson, Howe etc.  Basically I know how to time things.  Nice chaps, all.  

I think a geezer's forum would be hilarious!  I'll get on it!  Cheers, and HAPPY NEW YEAR from the old guy!

You supply the  microwave heatbaggs.

 

Geritol is on the house.

Texas duo doing garage mixed with Annexus Quam,Guru,Ashra-isms

 

 

 

 

Seems no one is interested in this topic.

Ferk youse then.

 

Only mastermen know this  longtrack psychcosmische headtrip.

 

This trio is spot on.

There are few electronic lps which have electric guitar-work thats equally good. (Right now I can only think of Aphorisms Insane.)

 

This lp is THE BAGG and no one here ever even heard of it.

Lydia Lunch

DNA

James Chance and the Contortions

lounge lizards

Mars

 

English Post-punk were also greatly influenced by krautrock.

 

Take that no-wave elsewhere.

 

 

This thread has to remain PURE.

 

 

Your being irreverent.

 

 

I will not go so far as to say your trolling my thread (because maybe you yourself do not realize your OFF-SUBJECT.

 

I want EARLY examples.

Not Chrome and all that.

ANGUS MACLISE -  wotsit....pagoda

ID

FRANCISCO - cosmic beam experience

ZENITH EFFLUVIUM

BEAT OF THE EARTH

PI CORP

STEVE BIRCHALL -  reality gates

NIC RAICEVIC

AIRWAY - live at Lace

 

Canada:

NIHILIST SPASM BAND - no record '68

SPOILS OF WAR

 

This always comes up in a thread and as rules apply that we must not go off thread, no one in particular ever discusses "Lucifer Rising". I could probably get my answers by posting it on some occult website. Then I could converse with the "Satanic Panic" losers.

ACHTUNG, KOMMISAR!! 

I can't really say that Kraut-rock was all that influential in the US music scene, except for a few space-rock wannabees and some industrial music pretenders.  Amon Duul II's "Wolf City" was about the most widely known KR in the Chicago area, but nobody was covering their music (except me!). 

It seems you are looking for bands influenced by Can, Neu etc.?  

Most US bands were influenced either by the hard rock/blues rock scene (Led Zep) or symphonic prog....guys like Starcastle ran with the Yes-influence.  

 

Out of these two threads on this subject, I went after a list of things ... and in 2 days I listened to at least 12 to 15 things ... and different bands, from their stuff on mp3's ... and I have to tell you that almost all of them were "copies" of the original, and did not excite me a whole lot.

 

It's very different when you are "there" and you know the time and place and people and you create something as an idea to illustrate that feeling ... San Francisco did that, New York did that, LA did that, London did that ... and so forth ... and the Munich/Berlin group also did that ...

 

In listening to all of the ones I did, there was one that stood out for me some, and I have to listen to it some more, but all in all, it was extremely formulaic, and not as good as it could be considering the source.

 

The source for the whole thing was based on not a single Anglo-Western Music concept or idea and design ... as a way to find an expression for the rock instruments that could be said to be inspired by Chuck Berry, or Bo Diddley, and yet sound absolutely nothing like them ... such is the case of Guru Guru! Or take Amon Duul 2 and elevate the sound of the early/raw San Francisco trips and make sure they go further and eventually tell a story (or sorts) in Dance of the Lemmings, coupled with something that is ... a "nothing" ... that has no lyrics or any sensical design ... (MM Soundtrack Church Memorial) ...

 

So far, I hear the inspiration and "idea" of the scene ... I do not hear anything that is any more than just a copy of the original, by studying it some and then making sure that we allow for this to extend and that to solo and what not ... it wasn't about the "solo" ... it was about the expression. By the time you sit down and break it all down, we're going to say that ... the guitar solo'd here from this to there, for 6 minutes and then this happened and then this, and that is easy to duplicate ... with one problem ... it's about nothing ... and the most important thing about all ... and I mean ALL ... of krautrock, is that above all else, it was not empty, and about nothing ... it had a third dimention and it is very strong, important and valuable, and IS the reason why we remember it.

 

And in my book, "Dark Clouds, No Rain" (Djam Karet) is a perfect example of what one can do in "krautrock" ... and not sound like "krautrock" and still be as trippy and far out, as any of them ... and it was done in 1990 or 1991 as an example. I think too many of these bands think they have to "tell people" what all this is about with some meandering words ... and you don't! ... you have to let the music LIVE and DIE on its own, or it's just a copy.

 

It differs a bit from In a Gadda Da Vida, for example, which would be an early styled influence for krautrock, though the musical elements in it (mostly drums and organ) were quite conventional ... but the combination and the build up made the illusion of a story of some kind ... LSD March is not an empty song and I can tell you the story while listening to it ... and while seeing it in Youtube makes it seem like it was just fun music and play (which is possible, no doubt about that!), in the end ... they did WITH instruments, what most had only done with some very cheesy lyrics, and that we came to clal "progressive", but in the end, were NOT.

 

I'll listen some more, but I have to tell you so far, that despite the cultural differences and various countries ( I am an equal opportunity listener!), in the end, I did not find a whole lot to cheer about ... that was any different, and that is bad ... very bad ... and just copykat ... and in the old days, you know what we used to say about people that played music like that? ... yeah ... they need to go get stoned!

jack tamul

tonto`s expanding headband

joseph byrd [united states of america] etc [60`s?]

ruth white [60`s - 70`s]

wired [american (michael ranta) & canadian (mike lewis)] 1969 lp+ hans bottner with conny plank mixing

beaver&krauss [in a wild sanctuary]

cromagnon [orgasm]

earthstar [french skyline]

funkadelic [early stuff - 1st 4 albums]

lift

jasun martz [the pillory]

mother mallards portable masterpiece 

terry riley

don robertson

michael stearns

steve tibbetts

ya ho wa 13

Had issues with the reply on this and had to redo it ...

 

I have Tonto's ... I am not sure that would fit as krautrock at all! It is more experimental in the rock area with electronics but at that time, there were hundreds of bands doing it, and everyone had an album out. Europe had a massive number of keyboard artists appear everywhere and some were very good ans some ... we all would agree are so so ... or copies. But some are very noteworthy, like Eberhard Schoerner, Robert Schroeder, Michael Hoenig, Peter Michael Hamel and others.

 

Both Beaver & Krause and Terry Riley belong in the story of electronic music and they pioneered the creativity and design of the synthesizer and the ability of using it as an instrument on its own and create different textures with which one could create some music ... unlike the kind of snobber that Walter/Wendy Carlos did later, which was fun, but hardly creative. Both of these explored the use of the sounds as if they were instruments to create sonic textures that made a synthesizer music.

 

My contention, in the likes of Tonto and even ELP, Rick Wakeman and such, was that they were using synthesizers as just another string instrument in the orchestration of their pieces and I felt that was a mistake and not what the original design of the synthesizer had been working on ... they were working on new sounds and a new instrument and instead ... they become a replacement for everything in the orchestra ... and that is a waste of an instrument! That's not to say that I didn't like the new interpretations, there were some magnificent things, but in the end, it rendered the synthesizer a cheap orchestra set of instruments that made everyone symphonic and cool all at the same time and they became "progressive" ... it was even said that the synthesizer died then as an instrument! It is no longer used as an instrument as everything about all synthesizers you can buy these days is about samples and their ability to add something different to the sample itself and mess with it.

 

And that was not the original design or intention to many of these folks experimenting with these instruments, and only Klaus Schulze has -- to this day -- never given up on the sonic tapestries of the synthesizer and in this sense he is the only true "synthesizer" composer available today.

 

Funkadelic ... I think that Maggot Brain died in the dust bin, on its 3rd copy ... playing that next to AD2, was indeed a treat ... and of course, some Frank Zappa right with it!

 

Jasun Martz I have to listen to again but am not impressed and was already a 2nd generation thing.

 

Micheal Sterns -- not sure that anything he did was really anywhere near "krautrock".

 

Steve Tibbetts ... have not heard enough to evaluate properly for you. I am trying to dig up some of his early work and some of his ECM stuff.

 

The others I have to chase down ... and get a few listens in.

 

I do have some other things from America's folks. For example there is a group named "Ram" that has a long cut on that album that is decidedly more "krautrock" but I have not checked the time and its release. Another group named "Touch" ... a lot of California stuff and I have to admit that I am not up on the NY stuff much other than Velvet Underground, which to me was not as impressive, though the individuals in it went on to a fabulous career specially John Cale ... and I'm not even sure that he is considered "progressive".

 

Had issues with the reply on this and had to redo it ...   [/QUOTE]

true i did include too much `electronic` in the list

very nice response and evaluation

The history of the synthesizer is magnificent ... the death of the synthesizer is when it became no longer an instrument in the orchestra or band, but a sampler. You don't need musicians anymore ... jsut take a synthesizer with you, and voila ... you can sell anything including a kitchen sink, but your name won't be Faust!

 

The advent of the birth and history of the synthesizer was massive for most rock music, and one of the major changes was people experimenting with its sounds, and the awesome use of the synthesizers in ELP's first album did help the "fame" of the synthesizers, but it also killed it as an exploration instrument that was "otherworldly" because what Keith did was actually very symphonic and classical music oriented, stretched a little bit (replace the synthesizer parts with violins in your head!), and voila ... you had a massively powerful album ... but in all reality, it could not be considered "progressive" as much as it should have been considered "inventive" and "creative".

 

The synthesizer since then, has continued with its "instrument" category, almost exclusively as a "classical composer" idea (of which Klaus Schulze would fit!), whereas all of the synthesizer use, since then, has almost all been strictly replacement for some orchestral parts, or instruments ... which to me is NOT progressive by itself at all! It can be very nice and beautiful, no doubt about it ... but in the end, just because it sounds different it becomes "progressive"? ... that would be scary.

 

Thus, you have the Riley, and Roach and Schulze and some others that are a lot more into the synthesizer as an "instrument" than a workstation or a daw ... and that is what is separating "serious" or "classical" music right now from the rest of pop bruhaha.

Hi,

It's been a while since I went through this thread, but in all honesty, I think that a "krautrock" styled scene is impossible in America.

This country, with a lot of wonderful things, is a nation where folks are afraid to be different than anyone else. You might have a group here or there, or some religious this or that, kinda separated from most, but in the end, their goals and desires are the same as everyone else ... collect an extra dollar and be "noticed" so they can gain some more attention to their cause ... which is never the music, or the art!

The commercial nature of America, with the media being completely corporate owned (started in 1980 or so buying out the FM stations that "made it" despite them thinking that it was just a fading fad!), and has completely killed the possibility of experimental and "krautrock" styled improvisations and work. No one will play it, because no one has the "feeling" to be able to enjoy it and listen to it, as if they were stoned as the old days. You do not need to be stoned, drunk, or otherwise involved in something similar to enjoy those "trips", but a form of engagement with it is necessary, for you to be able to enjoy it and appreciate it, and talk about it, almost 50 years later.

It's the same here, at this group, when the comments are all 3 words and an exclamation point, and in the end, nothing is said with it, and the immediate thought is ... that person does not have any feeling whatsoever for any extended piece of music ... with that comment. IF a comment was there, almost all of which are "personal" experiences, it would add to the thread, and instead, some of the comments tend to immediately try to kill it. This is the same thing as corporate radio, immediately trying to play something familiar, in order for you to forget QUICKLY, what that new thing was all about, and this was VERY VISIBLE in the AM radio band in the late 60's where they would play a Jimi, and immediately switch to Strawberry Alarm Clock, Association and Dino Desi and Billy, and 1910 Fruitgum BS and so on, which tended to really bring down what Jimi, JA, Doors and many others were all about. Even "Light My fire" was cut down to under 3 minutes in order to not excite you too much.

It just tells you, that the provincial/traditional status of the folks that were brought to this country have had for hundreds of years even going back at the ethnic cleansing of the american indian for many years. It's evil, and bad, and this and that ... and we don't want our children to see it, kind of thing. It was the same thing with the late 50's and early 60's with black music, when most film studios owned all the record companies and for the most part would not release a whole lot other than their own artists and folks ... and then went around saying things like ... who would buy any black playing music? And we got lucky when folks like Coltrane, Davis and others kinda broke the mold and were able to continue and sell ... and show us all and the world, there was something here. But you STILL do not get the long experimental and improvised pieces that Miles Davis did on EVERY SINGLE SHOW OF HIS! You get a "song's worth of his material instead!

Until this landscale changes, and my hope always was that the internet would help, I doubt that we can have more long pieces and folks playing them, which would in some way, bring us back to the tripping and "feeling" days of old ... but even the internet is now owned and advertised left and right by the monsters of the media ... there is no way out and you will be blasted with adverts saying that band xyzz is great ... and it is nothing, but you believed it and bought it, despite folks making fun of it on PA, as an example.

We have the same problem, when folks go around trashing the old bands of "progressive" bands, and all those folks are saying is that they can not listen to anything that has a song longer than 4 minutes ... it taxes their intelligence way too much. Thus, calling band xyzz, whose longerst song is 4:35, progressive, just shows you how bad the definition is and how much it has disintegrated to nothing.

We have to be aware of how the media is manipulating us, or we will NEVER know when the Overloards have taken us all to the destruction! Or at least make us believe that "progressive" never existed and was a joke!

https://www.youtube.com/watch?v=YMlJ_o3WeXY

Also, the band Magnog(from the 90's). Again not from seventies or early eighties but like Plants also from the US. Plants aren't on this site though(yet).