― Pashmina (Pashmina), Tuesday, 18 March 2003 20:55 (fifteen years ago) Permalink
― marcg (marcg), Tuesday, 18 March 2003 20:58 (fifteen years ago) Permalink
Popol Vuh (1972)Quiche Maja (1973)Stolen From Time (1975, credited to Popol Ace)
Anything by those German guys.
― Geir Hongro (GeirHong), Tuesday, 18 March 2003 21:07 (fifteen years ago) Permalink
― Joe (Joe), Wednesday, 19 March 2003 02:47 (fifteen years ago) Permalink
― roger adultery (roger adultery), Wednesday, 19 March 2003 05:06 (fifteen years ago) Permalink
― Squirrel_Police (Squirrel_Police), Wednesday, 19 March 2003 07:57 (fifteen years ago) Permalink
― Dadaismus, Wednesday, 19 March 2003 18:22 (fifteen years ago) Permalink
The debut 'Affenstunde' is the one predominantly electronic one. The second one, 'In Den Garten Pharoahs', keeps it going but side two is improvised solo organ. All the Hertzog soundtracks are keepers, 'Aguirre', 'Heart of Glass', 'Nosferatu' (the soundtracks are compilations from their studio records, but they're the ones I throw in the player more often)
Avoid 'City Raga', their techno remix experiment. Also I'd say stick to the seventies before venturing into the eighties.
― jl, Wednesday, 19 March 2003 20:27 (fifteen years ago) Permalink
A UNREASONABLY SUBJECTIVE GUIDE TO POPOL VUH (Part One)
Affenstunde (1970)I'll be honest with you, I'm not especially interested in Florian Fricke as an electronic musician. This album is one to admire rather than play too often. Allegedly one of the first "rock" albums to be made entirely (almost) with the Moog of Dr. Robert's invention. Admirably, Fricke’s approach to the Moog seems to be that (like Sun Ra) he doesn't bother trying to get a tune out of it but concentrates instead on producing weird noises. However (like Sun Ra again), you wonder whether this is deliberate or because he CAN'T get a tune out of the damn thing! All in all, this album is quite different from other German "electronic" albums of the period in that genuinely IS electronic (for the most part) and, unlike Tangerine Dream and the "Berlin School", it doesn't just sound like the weird bits on a Pink Floyd record stuck together. 6/10
In den Gärten des Pharaos (1971)Better than "Affenstunde". The title track has more of Fricke's wayward Moog noodling (Moogling anyone?) but with more (ahem) musical elements added. Finishes with a long section played on a Fender Rhodes that is actually quite jazzy (in an ECM sorta way). The other track, "Vuh", is the first evidence to date of Popol Vuh as THE ultimate Goth band - a looooooooooong drone piece on a mighty swelling church organ overlaid with cacophonous percussion and mewling moogs. Good stuff! 7/10
Hosianna Mantra (1972)Woah, talk about a volte face! The Moog is consigned to a (very roomy) closet, rarely to appear on a Vuh record again and in its place we have Piano, Cembalo, Oboe, Electric Guitar. Very classically influenced and entirely devotional, Fricke's wonderful piano playing is well to the fore, unfortunately so is Conny Veit's echoplexed "early 70's" guitar, which over-eggs the pudding in places. Djong Yun adds vocals so wispy they barely exist. Somewhat meandering but I dare anyone to take actual OFFENCE at so diaphonous a creation! 7/10
Seligpreisung (1973)An odd album in the oeuvre. This is like a more muscular version of "Hosianna" with similar "songs" which are (with the exception of the instrumental, "Tanz der Chassidim") made up of successive themes rather than having any kind of verse-chorus-middle eight structure (in fact this album probably has more different tunes than the entirety of all the albums that follow it!). The presence of Amon Düül II's erstwhile drummer Daniel Fichelscher edges some of the songs towards prog rock or even (heaven forfend!) jazz rock. Fricke handles the vocals himself in an unlovely but sincere voice which adds to the album’s singularity. 7/10
Einsjäger und Siebenjäger (1974)The album that cements the partnership between the two core musicians of Popol Vuh - Florian Fricke and Daniel Fichelscher. Fichelscher's pounding, cymbal-heavy drums are all over this album but who would have thought a humble drummer (sorry any drummers out there!) would turn out to be such an astonishing guitarist? His acoustic playing (on his own "Morgengrüss") is beautiful enough but with his electric playing Fricke found the perfect vehicle for his compositions. Fichelscher's playing is not unlike Conny Veit but he has a warmer tone, a stronger melodic imagination and he's more of a virtuoso (the last the least important of the three). The title track is an amazing 19½ minute magnum opus which could conceivably pass for prog rock were it not so heartfelt and unpretentious, Djong Yun shows up to coo sweet somethings every so often. 8/10
― Dadaismus, Thursday, 20 March 2003 13:54 (fifteen years ago) Permalink
Klaus Schultze's "Big Moog" is in fact this instrument, or part of it is, I think parts of it were stolen back in thee 1980's. Fricke siad that he got this female voice sound that he liked out of it, but didn'e care for it otherwise. IIRC he avoided electronic instrumentation thereafter 'till he got a Synclavier for "Cobra Verde"
Danny Fichelscher is an astonishing guitarist, it's true. At times I think there has never been anyone better, actually. I am amazed that he isn't better known.
― Pashmina (Pashmina), Thursday, 20 March 2003 14:02 (fifteen years ago) Permalink
― your null fame (yournullfame), Thursday, 20 March 2003 20:13 (fifteen years ago) Permalink
I'd forgotten about 'Letzte Tage, letzte Nächte'
― jl, Thursday, 20 March 2003 20:41 (fifteen years ago) Permalink
A UNREASONABLY SUBJECTIVE GUIDE TO POPOL VUH (Part Two)
Aguirre (1975)The first of Fricke’s confusing soundtrack albums from the films of Werner Herzog. I say confusing because the albums often bear little resemblance to what you hear in the film. The opening scenes of the film feature the once-heard-never-forgotten “Lacrimae di Rei”, which utilises the “choir organ”, a mellotron-like instrument also used to good effect by Amon Düül II. The only the other music which actually appears in the film is a brief field-recording of pan pipes. "Morgengrüss II" and “Agnus Dei” are both re-workings of tracks on “Einsjäger und Siebenjäger” and “Aguirre II” consists of the first part of “Lacrimae di Rei” (or “Aguirre I”) and a lush guitar piece from Daniel Fichelscher. Which leaves “Vergegenwaertigung” (snappy title huh?), a proto-ambient moog piece consisting of sundry whooshes and rumbles which appears to date from the early 70s. 7/10
Das Hohelied Salomos (1975)Having made the useful discovery that Fichelscher could play the guitar a bit, it sounds on this album as if Fricke got a bit carried away and allowed Fichelscher to solo over every nook and cranny on every track - if you are not a fan of guitar solos, this is not the album for you! For the first time, Fricke is cutting songs down to their essentials, instead of using successive themes here he concentrates on one repeated theme or one piano sequence and builds pieces this way. Here, he also begins re-visiting and re-configuring themes from other albums ("Hosianna Mantra" in particular). All in all, this is a very "rock" album. 6/10
Letzte Tage, letzte Nächte (1976)Even rockier than "Salomos" and considerably heavier. Wall-to-wall Fichelscher on this album with heavy drums and waves of guitar - some people have called this the beginning of Vuh's "raga rock" period but it’s really more rock than raga. Renate Knaup jumps ship from the fast-sinking Amon Düül II and sings “Dort ist Der Weg” and the title track, which are surprisingly straight folk-rock songs which even have English lyrics! Happily, it must be admitted that it still doesn’t really sound like anyone else. The highlight is probably the instrumental, “Oh wie nah ist der Weg hinab” which is used to memorable effect in the opening sequences of Werner Herzog’s “Heart of Glass”. 8/10
Herz aus Glas (1977)Throughout this period in Popol Vuh's evolution, Florian Fricke's piano playing recedes further and further into the mix until, with this album, it disappears altogether! Although he's credited as playing piano on this album, I cannot make out a single note of piano - and as the album is all-instrumental this effectively makes this a Daniel Fichelscher solo album. The compositions are still recognisably Fricke's though (one Fichelscher piece aside), the soloing guitars of the last few albums are placed further back WITHIN each track, which makes this album considerable less easy to date precisely. Also worth noting that hardly any of the music on this album actually appears in the Herzog film it’s nominally the soundtrack to – in fact, most of the music on the film is from “Letzte Tage, letzte Nächte”. 9/10
Nosferatu (1978)Another muddled soundtrack album from Herzog’s slightly redundant version of the F.W. Murnau’s silent classic. Once again, not all that much which is on this album is actually in the film and much of the music is from previous albums. A case in the point is 12 minutes or so of creepy electronic music included here, which, unless my ears very much deceive me and I don’t think they do, is merely the moog parts from “In den Gärten Pharaos”. Mind you, at least that music actually IS in the film (where it works very effectively), a lot here isn’t. 6/10
Bruder des Schattens, Söhne des Lichts (1978)Having taken the guitar-army raga rock approach as far as he could, Fricke moved back towards more placid waters on this album: longer and more hypnotic songs with largely acoustic instrumentation and a more overt "Eastern" influence. The title track is the best of Popol Vuh’s long tracks – moving through a Gregorian chant like opening; a classically influenced section with glacially beautiful woodwind before the main body of the piece: a long long, hypnotic folk-influenced mantra. All in all, absolutely stunning. “Höre, der du Wagst” and “Das Schloss des Irrtums” if anything are even more repetitive and trance-like – a bit too much for some tastes I would expect. The closing, “Die Umkehr”, is a slightly doomy and foreboding folk-rocker which lies somewhere between early Steeleye Span and Eastern European folk music. 9/10
― Dadasimus, Friday, 21 March 2003 11:08 (fifteen years ago) Permalink
Der Nacht der Seele (1979)Very similar in mood and sound to "Brüder" but with shorter, more concentrated tracks and more use of vocals. Some pieces, such as “Mit Händen, mit Füssen”, are as beautiful as anything in the Popol Vuh catalogue, others are more Gothic. Some quite odd percussion pieces too. Another good album and another short one too! 8/10
Sei still wisse ICH BIN (1981)Probably the most idiosyncratic Popol Vuh album of them all and one of the best. Soundtrack to Fricke’s extremely odd “film” of the same name (sometimes also called “Sinai Desert”) The mantra-like chanting and extreme repetition that Fricke had been exploring in more and more detail finds its ultimate expression on this truly unique album. Using the choir of the Bavarian State Opera, Fricke builds dense and rather unsettling walls of vocals over thundering, thumping percussion and Fichelscher’s pleasingly primitive guitar or else strips the music right down to simple modal melodies. Pretty special. 9/10
Fitzcarraldo (1982)Not an album I actually own, but given that all of the Popol Vuh music on it (there’s also some opera on here) is from previous albums, owning it would be somewhat redundant. One thing to note is that, once again, some of the music heard in the film isn’t on the soundtrack, specifically: a sequence which uses, “Singet, denn der Gesang vertreibt die Wölfe”, which is actually from “Herz aus Glas” (though not actually in the “Heart of Glass” film – told you it was confusing!)
Agape-Agape (1983)OK, eclectic sort of album, which picks up on various threads from the previous four or five albums. Unfortunately, the re-recording of old pieces starts in earnest on this album and you wonder why they bothered following this course. The other problem I find with this album is simply that it isn’t as well produced as previous albums. But this has good things on it – the title track for instance while “Why Do I Still Sleep” is hypnotic to the max. Nice to see Conny Veit back after an absence of ten years! 7/10
Spirit of Peace (1985)Just four tracks on this. The opening chant, “We Know About the Need” can be heard in a Werner Herzog documentary about Reinhold Messner. The title track is part two of a three part piano suite which is worth hearing in its entirety, if you can track it down – shows the hitherto unsuspected influence of Keith Jarrett IMO. “Song of Earth” is the old “Agnus Dei” tune (used previously in various PV albums) rearranged for choir and acoustic guitar – 8 whole minutes which is either extremely boring or extremely hypnotic or (more likely) somewhere between the two. The 17½ minute “Take the Tention High” (sic) seems to be striving for a similar feel to “Brüder des Schattens” but lacks dynamics and is simply TOO repetitive. 6/10
Cobra Verde (1987)Extremely obscure but surprisingly good soundtrack (probably better than Herzog’s self-parodic film deserved) – the last good Popol Vuh album in fact. For the first time in fifteen years, Fricke makes extended use of electronics, namely the synclavier keyboard. This is used to create a series of ominous drone pieces and to provide a subtle orchestral-like backing to the utterly beautiful “Ha’mut, bis dass die Nacht mit Ruh’ und Stille kommt”. The title track is a reworking of “Mit Händen, mit Füssen” done in full Gregorian chant mode. Worth picking up if you can find it – though that is extremely unlikely! 7/10
For Me and You (1991)This is the later Guido Hieronymous-guided Popol Vuh which means: some music which has nothing to do with Popol Vuh as we know and love them; some pointless re-workings of old material; some good stuff where Fricke and Fichelscher seem more involved. The stand out here is the four-part “Om Mani Padme Hum” which is built around Fricke’s piano and Renate Knaup’s voice, which can only be a good thing. Part 4 is especially exquisite. 5/10
City Raga (who cares?)Played this once I think – didn’t hear enough of Popol Vuh on this to play it again. No rating therefore.
― Dadaismus, Saturday, 22 March 2003 13:02 (fifteen years ago) Permalink
Definitely the title track is the standout on this one, for me--has a Native American feel. I am still trying to figure out if they are chanting the poem on the back of the CD, with the "gully gully ram sam" or whatever.
― Joe (Joe), Saturday, 22 March 2003 14:43 (fifteen years ago) Permalink
― jl, Sunday, 23 March 2003 00:23 (fifteen years ago) Permalink
BTW if anybody reading this owns Crispy Ambulance's Plateau Phase and the Nosferatu soundtrack, can you confirm that the CA track "Simon's Ghost" is a direct ripoff of the opening theme from Nosferatu? I don't have the soundtrack (and in fact don't know if this theme made it to the soundtrack as per Dadaismus' caveats) but saw the movie again recently, then shortly after that listened to the CA disc and noted the extreme similarity. on Plateau Phase the piece is credited to the group.
― Mr. Diamond (diamond), Sunday, 23 March 2003 00:34 (fifteen years ago) Permalink
I'm not finished yet!
ALSO OF NOTEGila – Bury My Heart at Wounded Knee (1973)Gila was Conny Veit’s band before joining Popol Vuh, their first album (with a different line-up) is apparently quite psychedelic and spacey but this particular album is of special note because it’s basically Popol Vuh: but playing Conny Veit's songs as opposed to Florian Fricke's. Not surprisingly this sounds a bit like the Popol Vuh of this period (1973-75): melodic rock with folk and classical elements and with not enough progginess to render it unpalatable to the discerning listener - but not as GOOD as Popol Vuh of course! One of the problems is that it's some kind of concept album about the plight of the Native American - cue po-faced and awkward lyrics and vocals delivered with a Teutonic over-earnestness which spills over into (unintentional) comedy at times. Nice lush piano throughout from the late great Florian, Danny Fichelscher drums as athletically as ever, Conny plays nice guitar.
ADDITIONAL FILM WORKAs you may have noticed Florian Fricke’s music is often used in the films of Werner Herzog and it’s hard to imagine one without the other (just how many faux-naif mystics are there in Bavaria exactly?) As I confessed at the beginning of this marathon, I don’t have all Popol Vuh’s albums and I certainly haven’t seen all of Werner Herzog’s films so there may be some films which use Popol Vuh’s music which I’m unaware of.
Lebenszeichen (Signs of Life) (director: Werner Herzog, 1968)I confess I haven’t seen this, Werner Herzog’s first feature film. I do know however that Florian Fricke appears in it as “a pianist”, some years before Popol Vuh too!
Auch Zwerge haben klein angefangen (Even Dwarfs Started Small) (director: Werner Herzog, 1970) Truly one of the strangest films you’ll ever see. This is supposed to have some Florian Fricke music on the soundtrack, but I must admit not to noticing it.
Die Grosse Ekstase die Bildschnitzers Steiner (The Great Ecstasy of the Woodcarver Steiner) (director: Werner Herzog, 1973)This is a typically idiosyncratic Herzog documentary on the Swiss show jumper, Walter Steiner. Features some lovely Popol Vuh music, music which I’ve yet to hear on any album – damn it!
Jeder für sich und Gott gegen alle (The Enigma of Kaspar Hauser) (director: Werner Herzog, 1974)Florian Fricke has a brief but striking role in this wonderful Herzog film. He plays a blind pianist called Florian (what else!), who is first seen playing (and singing – sort of!) a version of “Agnus Dei” (see numerous Popol Vuh albums) for the foundling Kaspar Hauser and his guardian (and looking very Beethoven-like in the process). He pops up again at the end of the film, in Kaspar’s deathbed scene, where he stares rather disconcertingly into space while humming “Agnus Dei”!
Sei still wisse ICH BIN (director: Florian Fricke, 1981)Not really a film (though shot on film) and not really a video (though resembling one in form). This is the visual accompaniment to the album of the same name (and vice versa). Shot entirely in the Sinai Desert, this largely consists of Herzog-like poetic landscapes, sometimes empty and sometimes peopled by mysterious figures in white robes: walking, standing on mountainsides or in large circles. The figures are following “The Prophet”, a Jesus-like figure who, bizarrely, is played by a woman with a false beard (60’s fashion model, Veruschka)! (Actually, now I come to think of it, it would have been even more bizarre if it had been a woman with a REAL beard). If you think Herzog’s films are slow and uneventful wait till you see THIS!
― Dadaismus, Monday, 24 March 2003 14:05 (fifteen years ago) Permalink
Thanks for the link to the Florian Fricke interview. I admit that Guido Hieronymous doesn’t appear to be Florian’s son – I’d always assumed that he’d allowed Mr. Hieronymous the latitude to ruin latter day Popol Vuh out of some kind of fatherly indulgence. Also fascinated to discover that Esther Ofarim was almost the vocalist on “Hosianna Mantra”, at about the same time that her husband was (mis)managing Can! It is stated that this is the first known interview in English with Florian Fricke – this isn’t true, I came across an interview with FF in a old copy of Sounds (UK music weekly – now defunct) which dated from 1978-79, the interview was with Sandy Robertson.
I would also recommend seeking out “Herzog on Herzog” (edited by Paul Cronin, published by Faber), a series of interviews with Werner Herzog which contains interesting info on Florian Fricke – including a practical joke played by him on the apparently notoriously gullible Herzog. Actually, I would recommend it in any case as an insight into Herzog who is a truly amazing man, even if he hasn’t made a decent feature film in years. Delighted to discover that Herzog, in the grand tradition of German intellectuals and film auteurs (see Fassbinder), was a more than useful footballer (that’s proper football not the musclebound rubbish which goes under that name in the USA).
― Dadaismus, Monday, 24 March 2003 14:08 (fifteen years ago) Permalink
A friend who I haven't seen in years had this brit electronic 'zine from the early eighties, which contained a FF interview. t was wierd, in that the interviewer had obtained FF's phone no. from somewhere, & called him up on spec. Fricke's response was, like, I don't do interviews, and where did you get my number from anyway!!?? But, seeing as I'm here, i'll answer a couple of questions. I can't remember much except for the bit about him selling the big Moog to Klaus S, and FF being slightly disparaging abt KS' musick "nice music for supermarkets" is how I remember he put it. Great stuff Dadaismus, anyway.
― Pashmina (Pashmina), Monday, 24 March 2003 15:48 (fifteen years ago) Permalink
Don't hear much difference in sound if they were remastered (doubt it), but the packaging at least is way superior to Spalax (plus, it's nice to have Digipaks rather than standard jewel case).Can't wait for them to do Letzte Tage - Letzte Naechte and the others...
― Joe (Joe), Saturday, 19 June 2004 01:26 (fourteen years ago) Permalink
Actually, listening to the title crack of Aguirre right now, and I can hear the vinyl clicks. Jees, and they licensed this from Fricke's family, too! Guess the original tapes are long gone...
― Joe (Joe), Saturday, 19 June 2004 02:07 (fourteen years ago) Permalink
― el sabor de gene (yournullfame), Saturday, 19 June 2004 05:56 (fourteen years ago) Permalink
I believe they are. Bounus tracks?!??!?
― Dadaismus (Dada), Saturday, 19 June 2004 14:28 (fourteen years ago) Permalink
Disappointing if that is true, especially since as it is their albums are already pretty notorious for shuffling around (or re-recording) the same music on different albums.
― Joe (Joe), Saturday, 19 June 2004 21:59 (fourteen years ago) Permalink
i've seen just about all of herzog's films at least once. 'signs of life' is really pretty good. i had no idea that florian was in 'kaspar hauser', and that he's in some of my favorite scenes in that film. the guy who plays kaspar hauser, bruno s., is also in another of herzog's called 'stroszek' which is pretty good too.
― urker, Saturday, 19 June 2004 22:45 (fourteen years ago) Permalink
In Kaspar, Fricke looks uncannily Beethoven-like, as if he had stepped right out of the Romantic era...
― Joe (Joe), Saturday, 19 June 2004 23:01 (fourteen years ago) Permalink
― Dadaismus (Dada), Tuesday, 22 June 2004 01:41 (fourteen years ago) Permalink
― John 2, Saturday, 17 July 2004 18:41 (fourteen years ago) Permalink
AffenstundeAgape/AgapeEinsjäger und SiebenjägerHosianna MantraAguirre
They are very good, and I A/B-ed them with my Spalax issues, and the new ones sound a bit (though noticeably) better - more "open" sounding, perhaps. some of them are vinyl transfers by the sound of it. Pretty well done, though not as good as the transfer on High Tide's "Sea Shanties, for example. They all come in little gatefold cardboard sleeves w/a little booklet. It appears that there are only 2 booklets, going on the ones I have - one for the regular albums, one for the soundtracks. Some of the blurb in the booklets is OK, but it's a little unsatisfying in some way. There are some good pictures, including a few I hadn't seen before. the bonus tracks are generally good, though the one on "agiurre" sounds suspiciously like one of the regular album tracks with a sampled ethnicky percussion loop overlayed, which sucks. The extras on "Einsjaeger..." are the best, 2 little pieces in the Hoheleid Salomos/Letze Tage..." style, IE more of the same, but bore of this same = more of what I want. I am REALLY looking forward to picking up "Das Hoheleid Salomos", "Letzte Tage Letzte Nacht" and "Der Nacht der Seele", because they are my favourites. I'm also interested to hear what's on "Cobra Verde" because I remember there being tow different versions of this when it came out.
I found myself getting faintly annoyed at how little Danny Fischelsher got mentioned in the blurb. That seems unfair somehow.
It would be good if they also issued "Bury My Heart at Wounded Knee"
― Pashmina (Pashmina), Thursday, 6 January 2005 13:00 (fourteen years ago) Permalink
― Pashmina (Pashmina), Thursday, 6 January 2005 13:02 (fourteen years ago) Permalink
― Dadaismus (Dada), Thursday, 6 January 2005 13:04 (fourteen years ago) Permalink
I should also point out that all the reissues I bought have the proper dynamics, IE they haven't been loudness-maximised. Honestly, I was so relieved about this that I had a lump in my throat! (true!)
A little while ago, I also picked up the reissue of "shepherd's Symphony" (or whatever it's called) from the same series. It's really bad.
Also Also Also!!! ! I tried to play my CD of "For You and Me" the other night, and it had self-destructed!! All the metal foil had come away from the plastic disc!
― Pashmina (Pashmina), Thursday, 6 January 2005 13:12 (fourteen years ago) Permalink
― Dadaismus (Dada), Thursday, 6 January 2005 13:15 (fourteen years ago) Permalink
― Pashmina (Pashmina), Thursday, 6 January 2005 13:18 (fourteen years ago) Permalink
― Dadaismus (Dada), Thursday, 6 January 2005 13:21 (fourteen years ago) Permalink
― Pashmina (Pashmina), Monday, 7 February 2005 13:00 (fourteen years ago) Permalink
been listening to Nosferatu a lot recently. I would rate that one much higher than dadaismus does, but I rate the spare minimal electronics much higher, and think they balance out the other lovely band parts... actually I'd even say it's a good place to start for the atmospheric side of the band. With Letzte Tage, letzte Nächte being a good place to start for the transcendental heavy rock side.
― (Jon L), Monday, 7 February 2005 20:54 (fourteen years ago) Permalink
― Dominique (dleone), Friday, 25 March 2005 21:55 (thirteen years ago) Permalink
― Dadrock, Meshach and Abednego (Dada), Friday, 8 April 2005 11:30 (thirteen years ago) Permalink
― Joe (Joe), Friday, 8 April 2005 14:29 (thirteen years ago) Permalink
― Baaderonixx cancels each other out (Fabfunk), Wednesday, 20 July 2005 12:19 (thirteen years ago) Permalink
seriously, dadaismus' pocket reviews up there are gold, though Nosferatu & Aguirre are two of my absolute favorites precisely because they mix the electronic & rock sides of the band so well, some people don't like the minimal moog solos
― milton parker (Jon L), Wednesday, 20 July 2005 17:36 (thirteen years ago) Permalink
i haven't heard that much of their stuff, tho.
― Ian John50n (orion), Wednesday, 20 July 2005 17:41 (thirteen years ago) Permalink
― Ô¿Ô (eman), Wednesday, 20 July 2005 22:26 (thirteen years ago) Permalink
― Joe (Joe), Thursday, 21 July 2005 00:42 (thirteen years ago) Permalink
and I'd like to second Florian's appearance in Kaspar Hauser. Heartbreaking. Kaspar listens to Florian play the piano, never having experienced art and music and it's power before, and says something along the lines of "why does my heart feel so heavy?"
― Dan Selzer (Dan Selzer), Thursday, 21 July 2005 03:01 (thirteen years ago) Permalink
― SoHoLa (SoHoLa), Thursday, 21 July 2005 13:16 (thirteen years ago) Permalink
― Baaderonixx cancels each other out (Fabfunk), Friday, 22 July 2005 13:06 (thirteen years ago) Permalink
so i'm listening to the first in the list, aguirre, on headphones and... WTF THERE ARE LOUD VINYL POPS ALL OVER THIS BITCH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
i don't even want to listen to the others now. all i can think about is the money i shelled out for SHITTY VINYL TO CD TRANSFERS.
― amon (eman), Tuesday, 23 August 2005 01:09 (thirteen years ago) Permalink
lol yes my wife has also mistaken PV albums for the Dead
― sleeve, Tuesday, 3 July 2018 20:39 (seven months ago) Permalink
more than just one guy!! still active in my quest to get fichelscher the respect he deserves
i do see some upsetting similarities between klaus kinski & DJT now that i think about it
― weird woman in a bar (La Lechera), Tuesday, 3 July 2018 21:35 (seven months ago) Permalink
respect for the distinctive PV sound of the albums he was on, i meandjong yun tooi wonder if she is still in north korea?!!?
― weird woman in a bar (La Lechera), Tuesday, 3 July 2018 21:39 (seven months ago) Permalink
I made a painting of Djong Yun once but it turned out so badly I threw it away. I must attempt again one day.
― Scam jam, thank you ma’am (Sparkle Motion), Tuesday, 3 July 2018 21:44 (seven months ago) Permalink
Speaking of Daniel Fichelscher, is there actually any difference at all between Morgengruss on E&S and Moregengruss II on Aguirre?
― com rad erry red flag (f. hazel), Tuesday, 3 July 2018 21:46 (seven months ago) Permalink
idk -- i would have to listen to them side by side and am not prepared to do that atmreport back and tell us!
that's such a good song they put it on 2 albums just in case
― weird woman in a bar (La Lechera), Tuesday, 3 July 2018 21:56 (seven months ago) Permalink
Yes, the second has more, or different at least, (electric) lead guitar on it, it's not as good.
― Alan Alba (Tom D.), Tuesday, 3 July 2018 22:05 (seven months ago) Permalink
it sounds to me like no, but all I did was sync them up and let them play, if the latter has an electric lead it might just be overpowering the former
― com rad erry red flag (f. hazel), Tuesday, 3 July 2018 22:28 (seven months ago) Permalink
the backing tracks seem identical tho
playing along with that song is one of life's small joys
― weird woman in a bar (La Lechera), Wednesday, 4 July 2018 03:35 (seven months ago) Permalink
Der Ruf from Herz aus Glas is also great Fichelscher, would be OK with like a 29-minute version of it
― com rad erry red flag (f. hazel), Wednesday, 4 July 2018 05:35 (seven months ago) Permalink
the guitar tone make it sound like a song off the Real Ramona
― com rad erry red flag (f. hazel), Wednesday, 4 July 2018 05:37 (seven months ago) Permalink
Oh yeah herz aus glas could have every song extended to lp side length and I’d be happy
― cheese is the teacher, ham is the preacher (Jon not Jon), Wednesday, 4 July 2018 13:36 (seven months ago) Permalink
i still haven't been able to find that interview that used to be on youtube -- the one where fichelscher is basically talking to the camera and he tells the story of how he brought his bongos to a music festival as a teen and joined amon duul II. it was the closest i have come to learning more about the popol vuh history/sound/process than i have found anywhere else and i can't find it!
one thing that stuck with me was when he picked up his guitar and just started noodling a little -- that's when i realized that what i loved about PV was at least 50% (prob more) fichelscher.
― weird woman in a bar (La Lechera), Wednesday, 4 July 2018 13:48 (seven months ago) Permalink
is that the one where he's shirtless and the interview pauses so he can go get cigarettes?
― com rad erry red flag (f. hazel), Wednesday, 4 July 2018 15:35 (seven months ago) Permalink
Yes, he's absolutely not what you might expect someone in Popol Vuh to be like, he's a kind of rock 'n' roll dude.
― Alan Alba (Tom D.), Wednesday, 4 July 2018 15:38 (seven months ago) Permalink
I was telling someone about that DF interview / monologue recently and trawled back through this thread to find out when it first appeared. I think he must have taken it down himself? Dude needs to get a memoir out there IIRC.
Is he still playing with ADII?
― Absolute Unit Delta Plus (Noel Emits), Wednesday, 4 July 2018 15:40 (seven months ago) Permalink
last i heard he was still playing with ADII -- i have a google alert for him so i am aware of any developments and i can't say much has come through
i would like to meet/converse with him more than any other living person of that place/time (now that Jaki is gone :( ) would also enjoy a convo with irmin but i do have the can book so that's something
the info on fichelscher is so scanty -- i want him to know that there are people out here who care! so he can spill while he is still with us!
― weird woman in a bar (La Lechera), Thursday, 5 July 2018 02:50 (seven months ago) Permalink
Where is he living? If I find myself in Berlin this Christmas I'll look for him
― com rad erry red flag (f. hazel), Thursday, 5 July 2018 03:07 (seven months ago) Permalink
he must live somewhere in europe -- i know ADII has toured around europe and played festivals and whatnot but i don't think they have made an appearance in the states/this continent that i am aware oflook him up! send him to me!
― weird woman in a bar (La Lechera), Thursday, 5 July 2018 03:12 (seven months ago) Permalink
I'm sure he's not that old btw, I think he was a teenager when he joined ADII, so hopefully he'll be with us for a while yet.
― Alan Alba (Tom D.), Thursday, 5 July 2018 07:02 (seven months ago) Permalink
He started young:
― Alan Alba (Tom D.), Thursday, 5 July 2018 07:06 (seven months ago) Permalink
listen folks no one lives forever and i have been on this quest for some time
― weird woman in a bar (La Lechera), Thursday, 5 July 2018 12:29 (seven months ago) Permalink
― Ich bin kein Berliner (alex in mainhattan), Wednesday, 11 July 2018 15:16 (seven months ago) Permalink
How can that be Berlin? The grass is cut.
― Evan, Wednesday, 11 July 2018 15:23 (seven months ago) Permalink
why am I wasting my life in America sitting inside, wearing vests with shirts under them?
― com rad erry red flag (f. hazel), Wednesday, 11 July 2018 15:39 (seven months ago) Permalink
Actually I suppose that is the Englischer Garten in Munich as afaik Amon Düül II are still located there. The next gig is the Finkenbach festival on August, 10th, so if you really want to see Danny, you should go there.Finkenbach is also called the Woodstock in the Odenwald. It is about one hour by car South of Frankfurt/Main.http://www.finki-festival.de/finki_programm.html
― Ich bin kein Berliner (alex in mainhattan), Wednesday, 11 July 2018 17:02 (seven months ago) Permalink
gah! I'll be over there, but not until December probably. bet he'll be wearing a shirt then!
― com rad erry red flag (f. hazel), Wednesday, 11 July 2018 17:08 (seven months ago) Permalink
Crazy name, crazy guy.
― Alan Alba (Tom D.), Wednesday, 11 July 2018 17:08 (seven months ago) Permalink
it looks like he has about 6 arms in that photo!
i can't zip on over to munich until i get my passport renewed and i doubt that is going to happen with such short notice (it's not)
― weird woman in a bar (La Lechera), Wednesday, 11 July 2018 20:38 (seven months ago) Permalink
what other of their stuff sounds like this? anything in particular
― global tetrahedron, Wednesday, 11 July 2018 21:20 (seven months ago) Permalink
Well there's basically 18 minutes of that track on the second side of the "Spirit of Peace" album.
― Alan Alba (Tom D.), Wednesday, 11 July 2018 21:24 (seven months ago) Permalink
love the sound of that
― global tetrahedron, Wednesday, 11 July 2018 21:27 (seven months ago) Permalink
Also "Brüder des Schattens – Söhne des Lichts" and "Die Nacht der Seele" albums.
― Alan Alba (Tom D.), Wednesday, 11 July 2018 21:32 (seven months ago) Permalink
also there's probably a lot of roy montgomery albums you would enjoy
― com rad erry red flag (f. hazel), Wednesday, 11 July 2018 21:47 (seven months ago) Permalink
i’ve dabbled in him but didnt find anything i really loved right off the bat like this. i like the syncopated guitar parts and the trance-like feel. i’m all ears for recommendations though!
― global tetrahedron, Wednesday, 11 July 2018 22:23 (seven months ago) Permalink
I think the music on side two of Spirit of Peace IS King Minos II
― com rad erry red flag (f. hazel), Thursday, 12 July 2018 00:10 (seven months ago) Permalink
it definitely is- more layers and stuff obviously. love it
― global tetrahedron, Thursday, 12 July 2018 01:53 (seven months ago) Permalink
Same track yes, if not the same recording, which is why putting it as a bonus track on "Einsjager" and calling it "King Minos II" makes no sense.
― Alan Alba (Tom D.), Thursday, 12 July 2018 07:48 (seven months ago) Permalink