The Beauty of 5: Krautrock Albums

5.

Einsjäger Und Siebenjäger - Popol Vuh (1974).

This record is what i'd imagine Godspeed You! Black Emperor and Mott the Hoople would sound like if they had an impromptu jam session. The band inspired modern day acts such as Yeasayer and Girls in that they were one of the first to use African and South American instrumentation to create soundscapes and noise – a feat which is made even more unusual given the inherent links between Krautrock and electronica. Peculiarly, the band settled on the ethno acoustic path after becoming disenfranchised with their MOOG synthesisers; almost paradoxically returning to acoustic instruments to free their experimental inhibitions. The great Werner Herzog is a Popol Vuh aficionado and the bands music  has become a feature in many of his films.

4.

Neu! 2 - Neu! (1973).

A controversial choice considering everything that could have went wrong with this record did just exactly that. Side 2 is a write off which I won't even try to defend  (Neu! ran out of money and fell out with their label when making the album and so released slightly edited, previous singles for filler). Luckily, the first half is a 30 minute blitzkrieg of manic joy. "Lila Engel" is like the musical equivalent of cocaine and the opener, "Für Immer", is the bands most critically acclaimed track. The previous eponymous title, “Neu”, is considered the bands magnum opus, but this is the record that perfectly encapsulates their desultory genius.

3.

Zuckerzeit - Cluster (1974)

I was led onto this album after hearing Brian Eno namedrop it in interview and was blown away instantly. Aesthetically, Cluster contradicted the Krautrock scene at the time in that they were two completely normal  looking Germans who appeared to eschew the Teutonic cool and experimentalism which had become a by-product of the scene. The albums second track, Caramel, was one of the first tracks to explore stripped back synth pop and would go on to influence 80’s new-wave bands such as the Human League and Soft Cell. Although not usually viewed as a Krautrock necessity, it’s a more accessible album which acts as a nice bridge end to some of the genres more heavier stuff.

2.

Yeti - Amon Düül II (1970).

Amon Düül II were the offsprings of Amon Düül, a political art commune of German freethinkers who formed in the late 60's and were, well, not very good. Amon Düül II were though, and as an overall outfit far more disciplined, picking up live experience with bands such as Tangerine Dream. As a ‘band’ (I use the word loosely considering they were a commune) they were probably too weird for even the Krautrock scene back then, which is indicative of how their material isn't the easiest to 'get'. Although featuring an 18 minute track bearing the album title, the material in Yeti is shorter and more abridged than most of the bands other material. Fascinatingly, the album cover bears the image of and serves as a tribute to ex soundman, Wolfgang Krischke, who passed after overdosing on LSD prior to the albums completion. 

1.

Tago Mago - Can (1971).

Can are the daddies of Krautrock. They are to the genre what Walter Grobius was to architecture or Karl Benz to automobiles, and given Tago Mago is their most out there and extreme record, it had to take the top spot. This record was the first to feature then unknown Japanese busker, Damo Suzuki; an eccentric vagabond who traipsed throughout Europe erroneously strumming his guitar to anyone who would listen. On the lookout for a new frontman after original vocalist Malcolm Mooney’s nervous breakdown, drummer Jaki Liebezeit and bassist Holger Czukay spotted Suzuki outside a Munich café and convinced him to take up the position as singer. The results were like no one could have predicted. This is the coolest album in the history of music. 'Paperhouse' is my favourite opening track ever and is absolutely timeless, with its dense arpeggio of chords suddenly evolving into 'Mushroom' never failing to take the breath away (the congruity of Damo Suzuki's ad-lib vocal with the music is bizarrely gorgeous). Despite little previous experience, Suzuki’s minimalist vocal flutters in and out of the record perfectly and gives off the impression of a sort of proselytism. The albums zenith comes in the form of 16 minute ''Halleluhwah" which is a transcendental piece, written to affect the listener spiritually as much as it does sonically. I struggle to comprehend how this record was made at times, rhythmically it is just relentless and dreadfully complicated to the point it makes my head want to explode, yet at the same time it possesses an endearing accessibility and can take you through just about every emotion.