POPOL VUH... -Einsjager & Siebenjager... -LETZTE TAGE-LETZTE NÄCHTE... NEW CD... 2 ALBUMS IN ONE CD... Popol VuhKrautrock... Einsjäger & Siebenäger (1974)... Einsjager & Siebenjager is undoubtedly one of the finest albums ever produced in association with the particularly prodigious German experimental rock movement, and perhaps one of the greatest...
POPOL VUH
-Einsjager & Siebenjager
-LETZTE TAGE-LETZTE NÄCHTE
NEW CD
2 ALBUMS IN ONE CD
Popol Vuh
Krautrock
Einsjäger & Siebenäger (1974)
Einsjager & Siebenjager is undoubtedly one of the finest albums ever produced in association with the particularly prodigious German experimental rock movement, and perhaps one of the greatest progressive rock albums of all time. On this album, Popol Vuh's defining style was ushered in, with Daniel Fischelscher growing into his role as Fricke's main collaborator. The sound here characterized by rolling piano offset by the incredibly versatile guitar playing. Although Popol Vuh was essentially Fricke's baby, Fischelscher's playing is perhaps what most distinguishes this release from other Popol Vuh albums, far and away being my favorite part of Einsjager & Siebenjager. The guy is utterly sublime. Acoustic and electric guitar melodies are layered over each other, along with the impeccable piano, creating a stunning sonic palette of magnificent harmonic richness. Melodic and stunningly beautiful, yet not without imparting a potentially devastating raw, primal edge. Right from track one, the guitars are captivating, leading from note to note in perfect and exciting sequence, occasionally lashing out into noisy and distorted glory. Fricke's gorgeous piano textures are extraordinary, influenced heavily by folk and ethnic music, yet with a distinct classical air. Djong Yun's vocals are sparse, confined to the side-long title track, but are exquisitely beautiful where they do appear. Her heavenly voice was to become more of a focal point on the band's next opus, Letzte Tage, Letzte Nächte. Einsjager & Siebenjager is loud, guitar dominated and initially somewhat jarring, yet gorgeous in the most conventional sense of the word, reveling in its own distorted grandeur. One of my favorite albums from one of my very favorite bands.- Greg Northrup [March 2001]
Letzte Tage, Letzte Nächte (1976)
It's hard for me to pick a favorite between this album and its magnificent predecessor, Einsjager & Siebenjager, but I might just slightly prefer the latter. That said, this album is still another incredible outing from the German band Popol Vuh, and remains one of my all time favorite records. Letzte Tage, Letzte Nächte is exceedingly guitar dominated, like the previous platter, and is infused with an even darker emotional power; shrouded in mysterious, enchanting atmosphere. Guitarist Daniel Fischelscher gets a healthy amount of song writing credits here, which is great, considering that I thought his playing was the best part of Einsjager and Siebenjager. Although Popol Vuh was a band of remarkable consistency throughout the decade, these two albums perhaps represent them at their best, apparently being the best examples of progressive rock they produced. And rock they do. In contrast to some of their more meditative earlier albums, like Hosianna Mantra and Seligpreisung, this album is powerful, loud and overwhelming, as Fischelscher's soaring guitar solos are offset by layers of acoustic and electric melodies, fused together with Florian Fricke's gorgeous classical piano motifs.
Like the previous album, all the songs flow together as one continuous piece, and breaks between tracks are hardly noticeable. However, the more prominent vocal parts make it easier to distinguish certain "songs" from each other. Djong Yun's majestic voice dominates the album, joined by former Amon Duul II frontwoman Renate Knaup on the title track, making for an absolutely glorious combination of sublime female chanting atop the already mystical musical backdrop. "Kyrie" is especially beautiful, based around an exquisite vocal melody, and continues into "Haram Dei..." and the sublime "Dort Ist Der Weg". However, the highlight track is without a doubt "Letzte Tage, Letzte Nächte", which is sung, in English, as "Last days, last nights". The dual, layered vocals here are spectacular. The earlier portion of the album is more instrumentally based, my favorite perhaps being the rollicking opener "Der Krosser Weiger", a Fischelscher composition, which begins with an extraordinary melodic guitar part before launching into a driving and powerful groove. The only problem with this album is its length, clocking in at a mere 30 minutes, but it is otherwise impeccable. One of the band's defining efforts. - Greg Northrup [March 2001]
This German space rock group's sixth album, from 1976, one of their greatest achievements. Blissfully clangy/reverbed out guitars that are precursors to the sounds of Television and Sonic Youth. Beauty of the ethereal Orient. Serene invocations, otherworldly power and tranquility.
"Last Days, Last Nights" is how you would say this title in English.
Originally released in 1976. Features Florian Fricke: piano; Daniel Fichelscher: guitars, percussion; Djong Yun: vocal; Renate Knaup: vocal; Al Gromer: sitar and Ted DeJong: tamboura.
Popol Vuh was founded by mastermind Florian Fricke in Munich in 1970 and are known as pioneers of electronic music as well as the predecessors of the 90's ambient and trance genre. Florian Fricke was one of the first German musicians who worked with a MOOG III, an instrument which created a very new and special sound which was profiled on Affenstunde. This album quickly became a milestone and practically created a whole new genre. The name and the book Popol Vuh stems from Incan mythology and is the memory of the evolution of humanity. Florian Fricke doesn't like to catagorize his music; "Music is a form of law for me." He died on December 29, 2001 in Munich. Kraut Rock at the highest level made by, and for music fans !
All Popol Vuh re-releases are manufactured as high quality collector's series with stickers indicating the bonus tracks. The Digipak spines have a design and when all are put together they form one big picture.
Studio Album, released in 1976
Line-up / Musicians
- Florian Fricke / piano
- Daniel Fichelscher / guitar, percussion
- Djong Yun / vocals
- Renate Knaup / vocals
- Al Gromer / sitar
- Ted De Jong / tamboura
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