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    amjs金沙国际

    Progarchives, the progressive rock ultimate discography

    KRAUTROCK

    A Progressive Rock Sub-genre


    From Progarchives.com, the ultimate progressive rock music website

    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

    - Meltdowner
    - siLLy puPPy
    - Rivertree
    - Tapfret
    - HarryAngel746

    Krautrock Top Albums


    Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Krautrock | More Top Prog lists and filters

    4.16 | 311 ratings
    HOSIANNA MANTRA
    Popol Vuh
    4.24 | 140 ratings
    EDGE OF TIME
    Dom
    4.13 | 393 ratings
    ASH RA TEMPEL
    Ash Ra Tempel
    4.11 | 589 ratings
    FUTURE DAYS
    Can
    4.10 | 486 ratings
    YETI
    Amon Dl II
    4.43 | 53 ratings
    EISZEIT
    Gam
    4.09 | 331 ratings
    TANZ DER LEMMINGE [AKA: DANCE OF THE LEMMINGS]
    Amon Dl II
    4.12 | 189 ratings
    GILA [AKA: FREE ELECTRIC SOUND]
    Gila
    4.05 | 375 ratings
    NEU!
    Neu !
    4.04 | 425 ratings
    PHALLUS DEI
    Amon Dl II
    4.14 | 125 ratings
    LETZTE TAGE - LETZTE N腃HTE
    Popol Vuh
    4.38 | 41 ratings
    TONY CONRAD & FAUST: OUTSIDE THE DREAM SYNDICATE
    Conrad, Tony
    4.06 | 143 ratings
    K腘GURU
    Guru Guru
    4.00 | 268 ratings
    MALESCH
    Agitation Free
    4.02 | 199 ratings
    ELECTRIC SILENCE
    Dzyan
    3.96 | 667 ratings
    TAGO MAGO
    Can
    4.06 | 137 ratings
    SELIGPREISUNG
    Popol Vuh
    4.03 | 150 ratings
    VOLUME 10
    Electric Orange
    3.97 | 282 ratings
    WOLF CITY
    Amon Dl II
    4.03 | 147 ratings
    AGUIRRE
    Popol Vuh

    Krautrock overlooked and obscure gems albums new


    Random 4 (reload page for new list) | As selected by the Krautrock experts team

    ARKTIS TAPES
    Arktis
    SUPERNOVA
    Ibliss
    VAMPIRE STATE BUILDING
    Alcatraz
    SILOAH [ALSO RELEASED AS S腢READLER]
    Siloah

    Latest Krautrock Music Reviews


     Moon Tango by ABSCHAUM album cover Studio Album, 2017
    3.00 | 1 ratings

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    Moon Tango
    Abschaum Krautrock

    Review by The Anders

    — First review of this album —
    3 stars [Re-uploaded for technical reasons]

    I noticed no one had written a review of this album, so I decided to give it a try and write one. Hopefully I will be able to say something relatively intelligent about it, but the following lines should answer that question.

    Moon Tango contains a sticker on the album cover which describes the music as "Cosmic French krautrock music by a mysterious band from Lyon called Abschaum". Personally I don't really know where the mystery lies, but maybe it is just a marketing strategy from the record company. The inspiration from pioneers like As Ra Tempel, Can and Neu! is clear - it can be heard for instance in some of the long drone-like songs with only one chord, and in the many repeated guitar and keyboard figures. But I also sense an inspiration from new wave in some of the songs. Also, unlike the German pioneers who often sang in English (or made instrumental music), Abschaum's lyrics are in French. Unfortunately I am not familiar with that language, so I can't comment on the lyrics. But I can comment on the music.

    The album consists of six tracks, three of which are bound together on side 1, and the other three ditto on side 2. The first track, "La t阾e vide", begins with some electronic sounds. After that, the track evolves into a hypnotic one-chord song with a lower range melody that mostly consists of one note. To be precise it's rather a no-chord song as most instruments stick to the main note which is E, however, a keyboard towards the end adds some harmonizing. The track reminds me a bit of Neu!'s "Hallogallo", but the sound here is darker, leaning more towards minor, and contains vocals (which of course "Hallogallo" doesn't). There are also some sound elements containing natural overtones (such as the "false" lower 7th). The effect is somewhat uncanny and claustrophobic.

    "La t阾e vide" leads directly to the slower "Le chemin des ombres" which is also i E and begins with many of the same sound elements. There is more dynamic variation here though, and after the first couple of minutes the track evolves into an intriguing instrumental piece built around a synthesizer arpeggio. My favourite part here is probably the introduction of the bass with its characteristic glissando notes that add a lot of energy to the otherwise more sterile synth sound. Harmonically we are now clearly in E-Dorian now with a lower 3rd, higher 6th and lower 7th. At the same time the music becomes less drone-like, f.e. with the bass plaing other notes than the base note.

    The guitar feedback from "Le chemin des ombres" crossfades into "Amour liquide", and here comes the first change of key, to D, but like in the previous songs there are no real chord changes. This time, however, it is more 'major-like' with a higher 3rd. The lower 7th is still used which makes the song essentially Mixolydian. We are back to the drone-like aesthetics here with one bass note and the drums only playing the rhythm without any fills. However, the song feels less claustrophobic than "La t阾e vide", one of the reasons possibly being that the melody doesn't stick to mainly one note in the same way. The overall feeling here is more that of resignation.

    Side 2 begins with the title track. Its intro has an Arabic flavour due to the lead guitar playing the notes I, bII and III. After a couple of minutes, the rhythm section is faded in during a dark synth drone. As with track 3, we are in a Dorian/Mixolydian universe (there are elements of both Mixolydian and Dorian as the vocals in the beginning contains the higher 3rd whereas the leard guitar later contains the lower), but this time the key is A. There's another one-note melody, and the overall feel resembles that of the first track with a "Hallogallo"-like groove. The repeated keyboard riff in the left channel however adds a flavour of new wave. As the song evolves, the riff is changing its sound and is subsequently then faded out, just for a variation of it to be introduced shortly afterwards.

    The drums are faded out towards the end, and the synths take over the soundscape. By means of an air alarm like synth sound, the track transforms into "Dans tes pas" which is in G. This is by all means the most "song-like" track on the album, even containing something of a verse/chorus structure. Moreover, it is based on two chords: G major and C major (the latter sometimes with a G in the bass, thus keeping the drone feel from the other tracks). Once again there is a new wave flavour about it, especially courtesey of the keyboard. The song also has a lighter tone, adding a welcome contrast to an otherwise very gloomy album. The drum pattern makes me think of the Velvet Underground, and indeed a song like "Heroin" has a similar harmonic structure. "Dans tes pas" is a really good song, and probably it's also the most accessible track on the album.

    The final song, "Temp阾e" is a bit of an anticlimax. It starts as a sort of 90's like rock song, then comes an early 80's like keyboard riff. Unfortunately, here the characteristic one-note singing doesn't entirely fit, neither does the drone sounds. Or rather it's the other way around. It's a bit of a mismatch, but perhaps there is a thought behind it. Luckily it doesn't take away the enjoyment of the rest of the album

    It takes some listenings to really appreciate Moon Tango which is of course a positive thing. By containing few chord changes (if any) and melodies that mostly stick to one note througout most of the song, the music is indeed very minimalistic. You have to be really good to make minimalist music that engages the listener throughout a whole album, and Abschaum actually manages to do that - that is, if you give the music a chance. Of course the music does evolve, but usually so by adding instruments at crucial points, fading sounds in and out, adding an increasing amount of reverb and so on.

    Does Moon Tango bring something new and groundbreaking to the music scene? I don't really know. Indeed the band is described as "vintage krautrock" in their Progarchives page, and it mostly consists of elements I have heard before in other contexts. On the other hand a lot of creativity often lies in the way you actually use the musical elements and combine them. But innovative or not, it is still an intriguing listening experience, probably with "Le chemin des ombres" and "Dans tes pas" as the strongest tracks.

    If there is an overall weakness on the album, it is probably the vocals, especially as the low-pitched one-note singing can get a bit boring in the long run. At times a more varied vocal might actually be a welcome contrast to the otherwise very monotonous music.

    I personally think 3,5 stars would be the most appropriate rating. It is by no means a masterpiece, but it is still an engaging listening. Unfortunately it is not possible to give half stars.

    [Re-upload edit: I changed my mind about the rating and decided on 3 stars rather than 4, on the grounds that it's a really good album without necessarily being excellent. I stil want to give it 3,5.]

     Nosferatu by NOSFERATU album cover Studio Album, 1970
    3.60 | 50 ratings

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    Nosferatu
    Nosferatu Krautrock

    Review by siLLy puPPy
    Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

    4 stars The 1968 student riots in Paris sparked a huge backlash in cultural norms and the world of music was no exception. Both France and Germany were profoundly affected by this time of profound upheaval and artists far and wide began to craft more explorative sounds that pushed the boundaries of musical established paradigms. Germany's Krautrock scene was one of the products of this explosive event and soon West German artists who were stuck in the typical beat and blues exports from the Anglo influenced world were finding new creative ways to detach from those dependencies. While a few artists like Limbus 3 immediately went for the jugular by deconstructing every possible aspect of rock music, others like Frankfurt am Main's NOSFERATU tread more cautiously by retaining the beat and blues aspects while adding jazzier influences inspired by the free jazz pioneers such as Ornette Coleman and Albert Ayer with the increased use of progressive rock time signature changes and Teutonic motorik rhythms.

    NOSFERATU was one of the earliest Krautock bands founded in 1968 along with other pioneers such as Can, Xhol Caravan and Amon Duul I. While the others would go on to define the entire Krautrock scene with their creative experiments, NOSFERATU has been largely forgotten and is amongst one of the most obscure bands from this era perhaps due to the fact that its sole eponymously titled album was still too steeped in the English sounds that preceded the 1968 uprisings. The band's brief three year existence found this sole relic being released the Vogue label and consisted of Michael Thierfelder (vocals), Christian Felke (saxophone), Michael Kessler (bass), Reinhard "Tammy" Groh?(organ), Michael Meixner (guitar) and Byally Braumann (drums). Part of the problem with NOSFERATU finding any foothold in the emerging Kraut world was the fact that at the time Vogue was more set up for promoting schlager and pop artists. Due to the neglect the band was forced to move on fairly quickly with only a mere album to prove it existed.

    Despite being classified as Krautrock, NOSFERATU gives few hints of its German heritage. The lyrics are completely sung in English, the music is primarily blues and beat based suggesting a direct connection to the early and mid-60s and although the band was clearly in the realms of progressive rock at this point focused more on off-kilter time signatures and deviations from the rock norms rather than the expected Kraut practices of complete disassociation from the R&B and blues influences that came from the American rock scene however despite the cold feet in jumping into the extreme world of experimentalism, NOSFERATU did engage in a few jazzy interludes, a touch of lysergic trippiness and in effect provided the perfect transition album for those having a hard time bridging the gap between the Anglo-rock clones that preceded the 1968 timeline and the bands that immediately jumped into the stratosphere regarding the established rock ethos. As a result this NOSEFERATU album sounds more like something that actually would have emerged in 1968.

    This band very much emerged in the spirit of the hippie communes that were all the rage in West Germany around this time and in fact once the band folded, many members would move to the countryside and participate in the commune lifestyles however sax / flute player Christian Felke continued on to play with the band Epsilon. For many this sole NOSFERATU release may only be of historical importance but overall it's actually a decent period piece listen even if a tad dated by the 1970 timeline. It's quite rare to find an album that so perfectly straddles the line between the mainstream beat and blues rock music that preceded prog fortified with clear elements of prog that even ventured into adventurous terrain. While i doubt this album will ever be rediscovered as some sort of long lost classic, it is without a doubt an interesting curiosity that is worthy of its place in the early annals of Krautrock.

    3.5 but rounded up because even a vampire needs love

     Am Ende Der Welt by WESERBERGLAND album cover Studio Album, 2020
    3.95 | 2 ratings

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    Am Ende Der Welt
    Weserbergland Krautrock

    Review by TCat
    Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

    4 stars Weserbergland is made up of Norwegian progger Ketil Vestrum Einarsen who has been with the band "White Willow" for 20 years and has also worked with "Motorpsycho", "Jaga Jazzist" and others. In 2017, he released the first album "Sehr Kosmisch, Ganz Progisch" under this project name and that album, being a study in Krautrock born out of his love of his fathers record collection, landed the project under the Krautrock sub-genre.

    In 2020, he gathered another set of musicians and created another album "Am Ende Der Welt". This album was aiming at a different kind of sound, and for that, he included Gaute Storsve on guitar, Jan Terje Augestad on piano, Maria Grigoryeva on strings and Molesom creating effects from turntables. These artists, along with himself manipulating sounds and etc on his computer, created this two track album, which is actually one track split into two tracks in order to place it on Bandcamp.

    Listening to this wonderful and interesting melding of sound, the listener will notice that it is almost nothing like the traditional Krautrock at all. While it is true that Einarsen takes the basic idea of krautrock in creating a piece of art that follows the drone-like, seldom changing chord structure of the genre, he completely goes beyond any other boundaries of the genre, stepping freely into avant-garde and electronic territory and then surrounding everything with the organic sounds of traditional instruments. It takes the krautrock roots and transforms them into an almost alternative universe of "What if Krautrock ended up sounding more complex and sans melodies and constant rhythms?" The result is something almost completely unlike anything else.

    The music starts off simple enough, seemingly na茂ve and almost ambient. But almost right away, there are some infusions of minimal electronics and effects that create this lovely soundscape. As the track continues with no real agenda or hurry of any kind, it transforms as it goes, until eventually you are in this drone-like atmosphere of otherworldly sounds and layers, all of the instruments contributing their usual sounds but being manipulated here and there by effects and etc. The music ventured away from anything resembling a melody as its real purpose is to explore sounds and combined layers of sound. The first part does rely on dynamics much more as it flows from walls of sound to softer and more intimate sections that all eventually build back up again. The second part of the track, however, is much more thick and heavy, most of it made up of several layers of improvised sounds that gel together by fluctuating around the same key. The center of the 2nd part is very dense and demanding, but listening closely, you will notice that each instrument has it's individual part as the effects continue to manipulate an growling and almost vocal sound along with it. During the last 4 minutes of the 2nd part, the sound all starts to deconstruct itself and Einarsen manipulates his flute by torturing the sounds that come out of it.

    The translation of the title means at the end of the world. It really fits is you let your imagination wander. The album is dark and demanding, yet the instruments are bright. It is quite pleasant to listen to at times, but wanders off into extensive sections of noise and chaos. It all seems to hang on a very thin line between electronic avant-gard music and contemporary straight-out classical music. It is definitely not for everybody and those that love krautrock will probably be uneasy with the genre designation, but the basics of the genre are there, they are just overtaken by a modern impressionistic style. During the first half of the track, it was easily hinting at being a 5-star recording, but the long, noisy section that makes up most of the 2nd half brings it down a bit. However, I will still highly recommend this to someone that loves the avant-garde style with a lot of electronic manipulation paired with traditional sound. Definitely a very intriguing and interesting album, but very dense at times and difficult to penetrate. I can see it possibly getting better with more listens, but for now it is a 4.5 star album rounded down to 4 stars, but showing a lot of promise.

     Ihre Kinder by IHRE KINDER album cover Studio Album, 1969
    2.17 | 5 ratings

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    Ihre Kinder
    Ihre Kinder Krautrock

    Review by siLLy puPPy
    Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

    2 stars IHRE KINDER has gone down in history as one of the most famous bands from Nuremberg, Germany to emerge in the 60s which introduced the then radical notion of crafting rock songs in its own German language. The band was a continuation from the earlier pop band Jonah & The Whales consisting of Roland Multhaupt (drums), Sonny Hennig (vocals), Thommy Roder (bass), Ernst Schultz (guitar) and Georgie Meyer (violin). After releasing an all but ignored single 'It Ain't Me Babe,' a cover of the American pop band The Turtles, the band called it quits however after assembling a new team of noise makers vocalist / keyboardist Sonny Hennig and financier Jonas Porst who was son of an entrepreneur and seeking a good investment, created a new band from scratch. While first starting out as Empire State Band which found some local success, was name was quickly changed to IHRE KINDER (Your Kids).

    The early lineup included Sonny Hennig (vocals, piano), Muck Groh (guitar), Karl Mack (bass), Georg Meyer (flutes, vocals) and Peter Schmidt (drums) but by the time the band changed its name to IHRE KINDER (Your Children) and released its debut self-titled album in 1969, Mack was replaced by bassist Walti Schneider and Schmidt by drummer Roland 'Olders' Frenzel who also doubled as an extra guitarist. Providing background vocals was Claudia N'ke, who appeared under the stage name "Judith Brigger.' While it sound utterly ludicrous by today's standards, IHRE KINDER was one of the pioneers of German language rock and was met with great skepticism for having done so.

    Rock was an English language genre after all but along with other pioneering artists like The Blizzards and Ton Steine Scherben, IHRE KINDER quickly bridged those gaps and found a greater acceptance in the up and coming 70s music scene. Nevertheless when IHRE KINDER was proposed to any potential record labels, none were interested in this strange style of rock sung in German and Jonas Porst was forced to release the album independently. Despite all efforts this debut album was met with little interest and the newly gestated Deutschrock had to wait a few more years for cultural acceptance. IHRE KINDER's eponymous debut album contained 12 rather unremarkable folk pop songs that took the beat sounds of the 60s and added some psychedelic organ and flute but despite the rather ho hum performances has gone down as a classic as one of the very first records to use the German language in the context of rock music, a form of popular music that would become known as Deutschrock.

    IHRE KINDER's debut is certainly a product of the time. Even if you don't understand the German language the album reeks of hippie idealism and the sounds to match. Fortified with catchy pop hooks and a mix of male and female vocals, these easy going tracks are fairly uniform in how they follow the same formula as they capture the zeitgeist of the beat era of the mid-60s while adding only small doses of the more contemporary sounds that were developing in the world of Krautrock. Honestly if it weren't for the album's status as first Deutschrock album then this debut by IHRE KINDER would be considered by most as utterly forgettable as the production is horrendously amateur, the pop hooks are bland and the singers sound like they got very drunk at a beer hall and jumped up on stage for the first time.

    While this debut is unspectacularly boring, the band would improve beginning with its sophomore album '2375004' and would stick around on the scene until 1974 as it adopted more of the progressive sounds that were taking over the German music scene. While this album is really not all that interesting, it is of interest from a historical perspective if you're interested in how German rock was evolving in the 60s and if you are a student of the German language, this one is filled with easy to understand lyrics that use simple vocabulary. In short, this debut by IHRE KINDER is nothing more than a bunch of rather bland folk pop songs and the only interesting sounds are the experimental weirdness that graces the last minute of the album's playing time.

    2.5 rounded down

     In Den G鋜ten Pharaos by POPOL VUH album cover Studio Album, 1971
    3.99 | 192 ratings

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    In Den G鋜ten Pharaos
    Popol Vuh Krautrock

    Review by Kempokid
    Collaborator Prog Metal Team

    4 stars Throughout the prog scene of the late 60s and early 70s, there were a number of artists that are known for experimenting quite wildly to create some incredibly influential artists that still have a clear impact in today's music. I feel like the extreme experimentation taking part during these times is even further exemplified in krautrock, often psychedelic bands that clearly were ahead of their time in certain respects, such as Popol Vuh and their massive contributions to ambient music as a whole, often coined as the band with the very first ambient albums. Of course if the only draw of this band was their experimental nature and nothing else, then they'd be more akin to simply an interesting band to look at, rather than one that was genuinely really enjoyable to listen to as this is.

    One of the interesting aspects of this album is how spacey it sounds while containing a lot of more krautrock elements into the mix as well, particularly whenever there's drumming. The album's tone is established immediately within the first couple of minutes of the title track, with the relaxing sounds of water with a droning moog creating a very calming atmosphere that definitely has an element of spaciness to it. The drumming is what I find to be quite interesting here, due to the fact that it's quite fast paced and completely contrasts the minimalistic nature of all the other components of the track. This could be seen as a bad thing, but the tribal drumming that regularly falls into hypnotic groove works exceptionally to further add to the track's ability to engross the listener. There's also considerably more progression in this than in a lot of ambient that I've heard, as this has clear sections where things change up to some extent, with the most notable one being where everything begins to build up, the drums get faster, and then everything falls back into the same sort of groove as before, but with an additional keyboard melody over the top, which continues to play on until all that remains is the sound of water once again.

    The atmosphere of Vuh is more grandiose than that of the title track, with the inclusion of the church organ as the core of the track creating a far different feel, much more ominous and intense rather than relaxing. That said, the approach remains largely the same, with long periods of droning backed by hand percussion that constantly switches between very fast paced, to extremely rhythmic and hypnotic, both of which play into the track exquisitely. This track manages to perfectly strike an odd balance between sounding downright intense and chaotic at points with how immersive yet majestic the soundscape is, yet still sound like something almost perfect to meditate to. This is the preferred track on the album to me due to the fact that I really can't think of much that sounds even close to this, or at least manages to pull off such a sound as well as this does.

    This is easily what I consider to be one of Popol Vuh's best albums, as the band never went this intense before or after, with much less focus on making a merely pleasant experience displayed here, but rather taking the core concept of ambient and then creating something unique from it. This is what krautrock was all about, being unconventional and daring, in this case, not only expanding upon the ambient approach of their debut, Affenstunde, but adding a brand new spin on it through the far more intense approach taken. This not only acts as a point of interest in terms musical influence, but works extremely well as an album in its own right, and is definitely one that I've enjoyed listening to countless times.

    Verdict: While not necessarily a great introduction into either ambient or krautrock, this is a very impressive album, both for how ahead of its time it feels, and for how well the album works in its own right, capturing so much intensity at points while still remaining disinctly meditative, leading to a deeply enjoyable album overall.

     Faust by FAUST album cover Studio Album, 1971
    3.88 | 226 ratings

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    Faust
    Faust Krautrock

    Review by jamesbaldwin
    Prog Reviewer

    5 stars And here's to you Faust!

    What a lovely debut!!!

    The first song, "Why don't you eat carrots (9:31)": in the beginning Faust mentions the trumpets of All You Need Is Love, and the guitar riff of Satisfaction of the Rolling Stones, then there are other crippled sounds. In the beginning this piece recalls Revolution n. 9 of the Beatles but the substantial difference is that here there is, under the noises, a more organic musical work, then it becomes a crazy stuff by a band of music hall. Despite being in its essence an instrumental song, there are also the vocals of Florentine Papst who sings goliardic choruses. It is avant-garde, very abstract. Rating 8,5/9.

    Second song "Meadow Meal (7:30)" This piece is more obsessive than the preious one, and it is based on a rhythmic level and then becomes rarefied and abstract. A kind of noisy symphonic poem. Rudolf Sosna e and Arnulf Meifert particular voices,, and the synthesizer played by Wusthoff and the drums played by Diermeier are essential for this kind of music. Rating 8,5.

    End of Side A. Third song, " Miss Fortune (Live *) (13:51) This one starts as a very speedy space rock, then around five minutes becomes a very German martial cabaret (vocals by Peron and Diermeier) , which however has an interesting rhythmic progression with percussion, then around ten minutes it changes again and becomes even more experimental with synthetic sounds that they seem to chirp of birds and then the last part, very noisy, loses a little the paroxysmal charm of the previous one. The question is: "Are we supposed to be or not to be?" Very Strange. Rating 9.

    This album, in my opinion, is a little masterpiece of fantasy and inventiveness, where Goethe, Wagner, Stockhausen are just around the corner. Chamber music, experimental music, confusion, noise music, Existential philosophical music developed with the ingenuity of a child.

    Small masterpiece. Rating 9. Five stars.

     We Are by COLOUR HAZE album cover Studio Album, 2019
    4.91 | 2 ratings

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    We Are
    Colour Haze Krautrock

    Review by petersen88

    5 stars New Colour Haze with the addition of keys (they`ve expanded their line-up adding the keyboard and synth player recently) is a move in the right direction, since their latest "In Her Garden" was already heading in the more prog-rock oriented territory. Still refining the sound of stoner rock with extra elements, they`ve put up a great record once again, not forgeting about the some of the riffs that make it interesting in the first place, but it`s pretty far from the usual stoner territory, so it might be more for prog-lovers than the afficionados of the former. Anyway, great music is great music, prog or not, stoner or not. The singing is once again just... bareable and that`s it :)
     Mandala by DZYAN album cover Live, 2010
    3.85 | 18 ratings

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    Mandala
    Dzyan Krautrock

    Review by tmay102436

    5 stars After all these years, I finally got this obscurity. I never quite understood its origin, and then from this board and others, realized that it is, just what it says it is - a live, in the studio, pre the first album "Dzyan." Sort of a trial run.

    Well, for me, this is just fabulous, as it exposes the future nicely and brings us a true picture of what made Dzyan so magical and mysterious. The odd singing, that fits perfectly. The spacey feel, yet no keyboards. And that sax, wow, I just love sax when it's mixed like this into rock music (VDGG the best.)

    I would love to have seen this being recorded, as it's quite professional for a "warm up" to their first release, and although spontaneous, not in anyway, unprofessional.

    Real musicians creating accessible, experimental space / fusion / rock. Bravo.

     Unlimited Edition  by CAN album cover Studio Album, 1976
    3.60 | 57 ratings

    BUY
    Unlimited Edition
    Can Krautrock

    Review by siLLy puPPy
    Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

    4 stars NOTE: "Limited Edition" is the first release of "Unlimited Edition" which offered six other tracks.

    The former featured 13 tracks whereas the second reissue featured 19.

    CAN was formed in 1968 and released five albums with two distinct vocalists, US born Malcom Mooney and the Japanese noisemaker Damo Suzuki. After the release of the band's fifth album "Future Days," Damo Suzuki left the band so he could both marry his girlfriend and to become a Jehovah's Witness. While the band carried on without a new lead singer as it was becoming more focused on the instrumental workouts, CAN decided to unleash some of the more experimental tracks from the vault before taking things to the next phase. In May of 1974, the compilation of unreleased tracks LIMITED EDITION emerged with a limited release of 15,000 copies that featured oddball tracks ranging from the band's inception in 1968 to the "Future Days" sessions in 1973. It featured 13 random tracks with both lead singers as well as a wide range of styles and sounds not heard on the official albums.

    These tracks were culled from thousands of hours of recording time and showcases the wide range of styles and sounds that CAN covered outside the context of the five album run. While the original LIMITED EDITION was released just prior to the band's next album "Soon After Babaluma" released in the following November 1974, after the band signed to Virgin Records in 1976, the album was released a second time as UNLIMITED EDITION shortly after the release of the "Flow Motion" album. The new edition hosted an additional six additional tracks including one of CAN's most eclectic and freaky collage giants in the form of the near 19 minute "Cutaway." Other than the original pressing titled LIMITED EDITION which donned the rather unflattering cover art of several mice in a tiny house (what it represents we may never know), the album has been released as UNLIMITED EDITION ever since and given that all the tracks of the original are on the newer editions, there is really no need to track down the mousy version unless you are the most rabid collector.

    While often skipped over in CAN's discography due to its status as a collection of so-called throwaway tracks, (UN)LIMITED EDITION actually contains some of CAN's wildest and most experimental cuts taken from its massive run of recordings and offers a sneak peak into the band's strategy for crafting its unique blend of Krautrock that stood apart from virtually every other German band of the same era. While some tracks like the opening "Gomorrha" may evoke a familiarity as heard on some of the weirder tracks on album's such as "Tago Mago" which are entirely instrumental and host a unique mix of heady keyboard and guitar workouts laced with a funk laden bass groove and busy percussive section, other tracks strip bare the piling up of effects and expose the true nature of CAN's secret weapon, namely a diverse palette of world ethnic sounds that were twisted and coerced into performing psychedelic mind tricks and created repetitive looping effects and oscillating swirls of sound. Of these, the "E.F.S." series of tracks which referred to the "Ethnological Forgery Series" featured many world music sounds that more resembled the African, Asian and Middle Eastern folk genera that they were borrowed from. These were some of the band's earliest experiments.

    The album hosts many unique features that would never fit on any given album. For example on "Doko E" Damo Suzuki sang in his native Japanese and "Mother Upduff" featured Malcolm Mooney's impromptu storytelling in spoken word vocals along with an uncharacteristic jazzy musical accompaniment. There are also other examples of instruments such as the violin and shehni, an Indian reed instrument that give many tracks a completely different flavor than most of what CAN offered however despite the wildly experimental improvisational flavors that seemed somewhat random in freeform, Jaki Liebezeit still maintains firm control of the rhythmic drive with his distinct percussive style that never deviates too far from his status quo however on some tracks he has more of a license to incubate some exotically technical drum rolls that are allowed to wander off the leash. Another unusual instrument featured is the schizophone on "The Empress And The Ukraine King" which sounds like a xylophone if it's the exotic instrument that i think it is.

    Many tracks such as the aforementioned also deliver a much more progressive rock oriented sound with more angular instrumental workouts that develop more intricate melodic counterpoints. The instruments also play off of each other in different keys and tunings which offers distinct bouts of dissonance and complex harmonic interplay. While CAN's albums can sound uniform in stylistic approach save the bizarre nature of "Tago Mago," on (UN)LIMITED EDITION, each track is completely unique and that's the beauty of this grab bag of disparate ideas that displayed the band on creative highs that for whatever reason were deemed to alienating to appear side by side with the more distinguished tracks that made it onto albums. Some of the tracks, especially the "E.F.S." series sound like a completely different band while some of the early tracks like "Connection" show a gestating band still connected to the 60s psychedelic scene but hadn't quite found its own distinct way.

    The highlight of the album is one of the extra tracks on UNLIMITED EDITION. The lengthy powerhouse "Cutaway" was recorded all the way back in March 1969 during the "Monster Movie" sessions and is by far one of CAN's most interesting tracks. Unlike many behemoth monstrosities that veer toward the 20 minute mark (this one is just over 18), this track is in reality several shorter tracks stitched together in seemingly random ways and is in effect a collage of various experiments that fit in quite well with the wild and crazy creative uptick that was exploding in 1969. Overall the tracks on (UN)LIMITED EDITION are excellent with only a very few throwaway tracks ("Blue Bag" is rather pointless for example). This album is not just a collection of substandard tracks at all but rather tracks that were just too far outside the context of what the album's were going for as these standalone tracks are really bizarre for the most part. This is highly recommended for those who cherish the most experimental aspects of CAN. While not an "official" studio album per se, this one is chock full of entertaining musical tidbits and the wide range of styles makes this THEEEE most diverse CAN album that has seen the light of day.

    It's most likely you will encounter the UNLIMITED EDITION version since every reissue has appeared in that format.

    It's also more fruitful in that it offers six extra tracks that are well worth it so unless you are a collector of all things CAN, the remastered version of this CD is the way to go.

     Limited Edition by CAN album cover Studio Album, 1974
    2.98 | 16 ratings

    BUY
    Limited Edition
    Can Krautrock

    Review by siLLy puPPy
    Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

    4 stars NOTE: "Limited Edition" is the first release of "Unlimited Edition" which offered six other tracks.

    The former featured 13 tracks whereas the second reissue featured 19.

    CAN was formed in 1968 and released five albums with two distinct vocalists, US born Malcom Mooney and the Japanese noisemaker Damo Suzuki. After the release of the band's fifth album 'Future Days,' Damo Suzuki left the band so he could both marry his girlfriend and to become a Jehovah's Witness. While the band carried on without a new lead singer as it was becoming more focused on the instrumental workouts, CAN decided to unleash some of the more experimental tracks from the vault before taking things to the next phase. In May of 1974, the compilation of unreleased tracks LIMITED EDITION emerged with a limited release of 15,000 copies that featured oddball tracks ranging from the band's inception in 1968 to the 'Future Days' sessions in 1973. It featured 13 random tracks with both lead singers as well as a wide range of styles and sounds not heard on the official albums.

    These tracks were culled from thousands of hours of recording time and showcases the wide range of styles and sounds that CAN covered outside the context of the five album run. While the original LIMITED EDITION was released just prior to the band's next album 'Soon After Babaluma' released in the following November 1974, after the band signed to Virgin Records in 1976, the album was released a second time as UNLIMITED EDITION shortly after the release of the 'Flow Motion' album. The new edition hosted an additional six additional tracks including one of CAN's most eclectic and freaky collage giants in the form of the near 19 minute 'Cutaway.' Other than the original pressing titled LIMITED EDITION which donned the rather unflattering cover art of several mice in a tiny house (what it represents we may never know), the album has been released as UNLIMITED EDITION ever since and given that all the tracks of the original are on the newer editions, there is really no need to track down the mousy version unless you are the most rabid collector.

    While often skipped over in CAN's discography due to its status as a collection of so-called throwaway tracks, (UN)LIMITED EDITION actually contains some of CAN's wildest and most experimental cuts taken from its massive run of recordings and offers a sneak peak into the band's strategy for crafting its unique blend of Krautrock that stood apart from virtually every other German band of the same era. While some tracks like the opening 'Gomorrha' may evoke a familiarity as heard on some of the weirder tracks on album's such as 'Tago Mago' which are entirely instrumental and host a unique mix of heady keyboard and guitar workouts laced with a funk laden bass groove and busy percussive section, other tracks strip bare the piling up of effects and expose the true nature of CAN's secret weapon, namely a diverse palette of world ethnic sounds that were twisted and coerced into performing psychedelic mind tricks and created repetitive looping effects and oscillating swirls of sound. Of these, the 'E.F.S.' series of tracks which referred to the 'Ethnological Forgery Series' featured many world music sounds that more resembled the African, Asian and Middle Eastern folk genera that they were borrowed from. These were some of the band's earliest experiments.

    The album hosts many unique features that would never fit on any given album. For example on 'Doko E' Damo Suzuki sang in his native Japanese and 'Mother Upduff' featured Malcolm Mooney's impromptu storytelling in spoken word vocals along with an uncharacteristic jazzy musical accompaniment. There are also other examples of instruments such as the violin and shehni, an Indian reed instrument that give many tracks a completely different flavor than most of what CAN offered however despite the wildly experimental improvisational flavors that seemed somewhat random in freeform, Jaki Liebezeit still maintains firm control of the rhythmic drive with his distinct percussive style that never deviates too far from his status quo however on some tracks he has more of a license to incubate some exotically technical drum rolls that are allowed to wander off the leash. Another unusual instrument featured is the schizophone on 'The Empress And The Ukraine King' which sounds like a xylophone if it's the exotic instrument that i think it is.

    Many tracks such as the aforementioned also deliver a much more progressive rock oriented sound with more angular instrumental workouts that develop more intricate melodic counterpoints. The instruments also play off of each other in different keys and tunings which offers distinct bouts of dissonance and complex harmonic interplay. While CAN's albums can sound uniform in stylistic approach save the bizarre nature of 'Tago Mago,' on (UN)LIMITED EDITION, each track is completely unique and that's the beauty of this grab bag of disparate ideas that displayed the band on creative highs that for whatever reason were deemed to alienating to appear side by side with the more distinguished tracks that made it onto albums. Some of the tracks, especially the 'E.F.S.' series sound like a completely different band while some of the early tracks like 'Connection' show a gestating band still connected to the 60s psychedelic scene but hadn't quite found its own distinct way.

    The highlight of the album is one of the extra tracks on UNLIMITED EDITION. The lengthy powerhouse 'Cutaway' was recorded all the way back in March 1969 during the 'Monster Movie' sessions and is by far one of CAN's most interesting tracks. Unlike many behemoth monstrosities that veer toward the 20 minute mark (this one is just over 18), this track is in reality several shorter tracks stitched together in seemingly random ways and is in effect a collage of various experiments that fit in quite well with the wild and crazy creative uptick that was exploding in 1969. Overall the tracks on (UN)LIMITED EDITION are excellent with only a very few throwaway tracks ('Blue Bag' is rather pointless for example). This album is not just a collection of substandard tracks at all but rather tracks that were just too far outside the context of what the album's were going for as these standalone tracks are really bizarre for the most part. This is highly recommended for those who cherish the most experimental aspects of CAN. While not an 'official' studio album per se, this one is chock full of entertaining musical tidbits and the wide range of styles makes this THEEEE most diverse CAN album that has seen the light of day.

    Even without the extra tracks, LIMITED EDITION is a four star powerhouse of excellence

    Data cached

    Krautrock bands/artists list

    Bands/Artists Country
    A.R. & MACHINES Germany
    ABSCHAUM France
    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 D苘L Germany
    AMON D苘L United Kingdom
    AMON D苘L II Germany
    ANIMA-SOUND Germany
    ANNEXUS QUAM Germany
    ANT-BEE United States
    ARKTIS Germany
    ASH RA TEMPEL Germany
    ASHTRAY NAVIGATIONS United States
    ASTERIX Germany
    ATTEMPT TO RESTORE Germany
    AVARUS Finland
    AVEC LE SOLEIL SORTANT DE SA BOUCHE Canada
    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 United States
    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 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
    D蹹E D躌ST Switzerland
    FRANKIE DYMON JR. Germany
    DZYAN Germany
    EAT LIGHTS BECOME LIGHTS United Kingdom
    EGYPT IS THE MAGICK # United States
    EILIFF Germany
    EINSEINEINS 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
    ETURIVI Finland
    EULENSPYGEL Germany
    EX CANIX Sweden
    EXPONENT Germany
    FATHER YOD AND THE SPIRIT OF '76 United States
    FAUST Germany
    FEVER KNIFE Finland
    FIFTH DEAD Germany
    FILLE QUI MOUSSE France
    FLOH DE COLOGNE Germany
    FLORIAN GEYER Germany
    FLYING MOON IN SPACE Germany
    FOTOSPUTNIK United States
    FRIEDHOF Germany
    FRIENDSOUND United States
    FROB Germany
    G腁 Germany
    GAM Germany
    GASH Germany
    GEBARVATERLI Germany
    GERMAN OAK Germany
    GIFT Germany
    GILA Germany
    GOLEM Germany
    SERGIUS GOLOWIN Switzerland
    MANUEL G諸TSCHING 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
    H腦 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 YST腣腡 Finland
    KILLED ON X-MAS Germany
    KLUSTER Germany
    KOLLEKTIV Germany
    KONTRAST Germany
    KOSMISCHER L腢FER Germany
    KRAKATAU Australia
    JEAN-JACQUES KRAVETZ Germany
    KROKODIL Switzerland
    L.S. BEARFORCE Germany
    LA D躍SELDORF Germany
    LA! NEU? Germany
    LARD FREE France
    LAVA Germany
    LIFE Germany
    LIGHTSHINE Germany
    LIMBUS 3 & 4 Germany
    LISTING SHIPS United Kingdom
    LOKOMOTIVE KREUZBERG Germany
    LUNAR GRAVE United States
    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
    MOONWOOD Canada
    MUNJU Germany
    MUSHROOM'S PATIENCE Italy
    MY SOLID GROUND Germany
    MYTHOS Germany
    N-1 Germany
    THE NAZG跮 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
    PINGUIN Germany
    POPOL VUH Germany
    PRINCESS FLOWER AND THE MOON RAYS Multi-National
    PROF. WOLFFF Germany
    PROSPER Germany
    PSYCHEDELIC MONSTERJAM Germany
    PYRAMID Germany
    PYRANHA Switzerland
    REAKTOR 4 Germany
    LE R蒝EIL DES TROPIQUES France
    MICHAEL ROTHER Germany
    RUFUS ZUPHALL Germany
    SAMETI Germany
    SAND Germany
    SCARECREW Germany
    SCATTERED PURGATORY Taiwan
    SEEDOG Germany
    SEI STILL Mexico
    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
    SKEPPET Sweden
    SOUTH OF NO NORTH Belgium
    SPACE EXPLOSION Germany
    SPACEBOX Germany
    SPERRM躄L Germany
    STAFF CARPENBORG AND THE ELECTRIC CORONA Germany
    STAN UND HILDA Germany
    STARA RZEKA Poland
    SWARA SAMRAT Germany
    MITSURU TABATA Japan
    TAROTPLANE United States
    TASTE OF BLUES Sweden
    TEARPALM Serbia
    TEMPLE Germany
    THINK Germany
    THRICE MICE Germany
    TIERE DER NACHT Multi-National
    TON STEINE SCHERBEN Germany
    TRIKOLON Germany
    TRIP TO ELARA Germany
    TWOGETHER Germany
    UCHIHASHI KAZUHISA & MANI NEUMEIER Multi-National
    ULENSPIEGEL Germany
    ULTRALYD Norway
    UTOPIA Germany
    THE UTOPIA STRONG United Kingdom
    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 WEGM躄LER Germany
    WESERBERGLAND Norway
    WIND Germany
    WONGA Germany
    WOODEN VEIL Multi-National
    XHOL CARAVAN / XHOL Germany
    YA HO WHA 13 United States
    YATHA SIDHRA Germany
    ZACHT AUTOMAAT Canada
    ZEMENT Germany
    ZIPPO ZETTERLINK Germany
    ZWEISTEIN Germany

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