Two flute solos simultaneously, one from the right, one from the left stereo channel - this is how the 48-minute track "Huchen 55", spread over LP sides 3 and 4, begins on Out Of Focus' third album "Four Letters Monday Afternoon" (1972, released on the Kuckuck label). As I said, 48 minutes and 1972. That's a minute longer and a year earlier than Mike Oldfield's "Tubular Bells"!
To avoid misunderstandings: Apart from the stringing together of various musical themes, "Huchen 55" has stylistically nothing in common with Oldfield's masterpiece. Out Of Focus were Anglo-American influenced. The band allowed for slight psychedelic influences, but also relied primarily on jazzy, progressive elements and a jam character that was evident in the sprawling solos on guitar, organ, flute and saxophone.
The German band around their mastermind Florian Fricke is counted as Krautrock, but Popol Vuh were always musically an outsider among the outsiders. From 1970 the band released 20 albums for 30 years until Fricke's death in 2001. Five of them - "Affenstunde" (1970), "Hosianna Mantra" (1972), "Einsjäger & Siebenjäger" (1975) as well as the soundtracks for the Werner Herzog films "Aguirre" (1975) and "Nosferatu" (1978) - will now be released individually on CD in a first season (two more will follow in autumn 2019 and spring 2020) and in a 5-player LP box.
Frank Fiedler, founding member and musical mountain guide Frickes for all these years, is not only a musician, but also a filmmaker who has been involved in various films as a cameraman, screenwriter, director and sound designer. He has now remastered the new edition of the Popol Vuh albums.
eclipsed: Frank, why is this new vinyl box and the re-release of the Popol Vuh albums on CD happening?
eclipsed: The album title "Fresh Air" sounds relaxed and light at first. But then it did not become a loose and light album ...
Jean-Hervé Péron: No, it's not that. If you currently look at the world around you, what is happening in Turkey, in the USA and elsewhere, then it stinks enormously. I think a little fresh air would be in order.
Werner "Zappi" Diermaier: Concerning the piece "Fresh Air": We equipped it live with a prelude, with a drone in which the rhythm slowly develops. The intro was long, it was exciting, with different instruments. Then we got into this "Boom Boom Boom Boom Boom Boom." And then it gets better and better. You can play it almost endlessly. Such a piece lives by its length.
eclipsed: On the second part of this track you are more rhythmic than ever or at least not for a long time. And that means something.
"Brain. Some sit on it - we stand on it", is the slogan, thick, big, black on white on top of the very first print advertisement that Brain Records placed in March 1972. "Every album DM 22,- without obligation. Guide price incl. VAT" is very small at the bottom left. 22 DM for "Lonesome Crow" by the Scorpions, "Together" by Jane, for Gomorrah's "I Turned To See Whose Voice It Was", for "Neu!" by Neu! and Spirogyras "St. Radigunds". The covers of these five albums are shown on the advertisement, they are the first ones ever released on Brain Records. They are the beginning of a perhaps non-commercial, but certainly artistic success story.
Where is the beginning of German rock music? When can you really talk about Deutschrock? In the 60s, German beat bands like the Rattles or the Lords still sang in the language of their Anglo-American idols as if they were a matter of course. This is how Wolfgang Niedecken (65) tells eclipsed: "Rock music in my generation has only become interesting in the first place because of the big English bands. If you wanted to do it yourself, you would be strongly connected to the English language. That was hard to separate."
It is noticeable that it is predominantly German artists with whom Bureau B cooperates. Buskies: "With the re-releases we concentrated on Germany. It's not a must. It turned out that way. Contacts are easier because we operate in this environment." The offer may serve a niche, but it has nevertheless expanded. Reihse: "The spectrum has grown. Roedelius, Qluster, Schnitzler, Asmus Tietchens, Pyrolator or the things from the Atatak label. I don't own more records from any other label."
A small inconspicuous town near Hagen in the southeastern Ruhr area. On the way to the studio of remaster expert Eroc, editor Marcus Wicker and author Walter Sehrer as well as photographer Lutz Diehl meet Gerd Kühn-Scholz alias Lupo, original guitarist of Grobschnitt. The Schalke fan carries a laptop in his blue and white sports bag. He is an event manager today and still slender as a crop. He has prepared well for his first interview in a quarter of a century. In the studio a good-humoured Eroc awaits us and serves us coffee and cake. The afternoon rushes by in the intensive conversation with the four of us. But there is enough time to talk in detail about the box "79:10" and especially about the eventful band history and a possible future of the group.
In contrast to the German Krautrock bands like Amon Düül II, CAN, Kraftwerk or Faust, who started at the same time, Tangerine Dream always had the one central star, the Kraftzentrum, which fired the fate of the internationally celebrated electronic pioneers. Therefore it is clear with the death of Edgar Froese: After 47 years the story of Tangerine Dream has now come to an end.
Whole Lotta Phallus
It was pure sex, above all. Along with Jimmy Page's ubiquitous guitar and John Bonham's powerful drums, he seemed to be the driving force in the Led Zeppelin cosmos. Their highly potent and vibrant hardrock seemed like a permanent penis to the audience of the late sixties and early seventies.
Number 4 lives!
Their career began at the end of 1969 in the cellar of the trendy Dortmund music club "Fantasio", where they had their rehearsal room. While they were preparing for future tasks there, upstairs in the club there were star troops like Yes, Black Sabbath or Colosseum. The star of Epitaph should not shine as brightly as that of its English colleagues. Nevertheless, what the German formation delivered in the seventies in the areas of prog, hard rock and jazz was absolutely competitive. But in the middle of the eighties Epitaph went out of breath; the band broke up. 2001 then the comeback. Since then they have released three new studio albums and presented themselves live again and again. Cliff Jackson, founder, guitarist and singer of the band, tells where Epitaph are currently located.
eclipsed: How did the "Acoustic Sessions" and the collaboration with the violinist Tim Reese come about?
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eclipsed is a music magazine based in Aschaffenburg and has been on the German market since 2000. It is aimed at friends of sophisticated rock music who want to go on a new acoustic voyage of discovery month after month.
eclipsed deals in detail with the rock greats of the 60s and 70s in the areas of art rock, prog, psychedelic, blues, classic, hard rock and much more as well as with the current scene in these areas.