POPOL VUH: Affenstunde - Remaster+Bonus Tracks (1970) CD
The debut album from 1970 and there are so many reasons for buying this whether or not you've got it already. For a start the sound is a whole lot clearer and less "fuzzy" than the previous issues - even though it doesn't say it's been remastered, it's definitely been "tweaked" in some way (I'm not a technical person) because played next to my old CD copy it sounds a lot better. Then there's the packaging - digipak and extensive booklet with new sleeve notes and photos. Then the fact that there's a bonus track - a near 11 minute one at that - not present on any of the previous issues. Finally the music. Pure 1970's psychedelic electronic - the 18 minute title track is performed on the "big moog" - in fact the one Florian Fricke later sold to Chris Franke of T Dream - and the sheer sound of this added to the bongos of Holger Trulzsch is a mix of early T Dream & early Amon Duul, a thematic soundscape that owes more to the feel of something like Ash Ra Tempel's 'Schwingungen' title track than anything, without exactly sounding like it. The bonus track is similar only busier with a much fuller sound from moog and percussion, train-like rhythms and expansive synthscapes dominating the piece. Finally the 3-part opener, 17 minutes of classic early seventies cosmic music, space moog explorations and soundscapes on an incredibly atmospheric scale, in between which is sandwiched 4 minutes of moog and bongos. Sounding totally "of its time" - and all the better for it - this is classic "Kosmische Musik" by anyone's standards and anyone into that era of electronic music should be happy with the result - timeless!!!
POPOL VUH: In Den Garten Pharaos - Remaster+Bonus Tracks (1971) CD
Ah yes - THE CLASSIC!!! After the groundbreaking debut with its two long tracks of moog, organ and percussion, this one came out at around the same time as Vuh's Florian Fricke was playing his "Big Moog" on the equally groundbreaking album 'Zeit' by Tangerine Dream and before T Dream's Chris Franke subsequently bought the Moog off Fricke. In many ways, this is the perfect companion to 'Zeit' but it's not a space epic. The eighteen minute title track shares a lot of the cosmic soundscapes and atmospheres that you hear on 'Zeit' only in Vuh's hands, they add Turkish percussion to the vast oceans of moog space to create something that is rhythmic but totally in keeping with the atmosphere and mood of the main body of synth flow, and as a vintage slice of '71-era "Kosmische Musik", it sounds superb to this day, the remaster bringing out all the subtleties that the track has to offer. The near twenty minute 'Vuh' opens with deep space moog soundscapes and classic sounding organ, across slow cymbal splashes, introduces those trademark seventies moog choral textures and this one really is a spacey epic of monumental proportions, the cymbals and drums being used as much for textural effect with any rhythmic portion from the percussion kept more in the background, as the massive wall of moog-scapes builds and expands to awesome effect, finally seeing the track out in a '71-era Tangerine Dream sea of synthesized and organ -driven waves The bonus tracks are in the form of 2 ten minute tracks called 'Kha-white Structures Parts 1 & 2' both of which are previously unreleased and both of which are rhythm-free slices of space electronics that don't actually sound like the previous tracks, and there's no indication of the era that they are from, as they fly and drone, with similar atmosphere and feeling, if not actual sound, to the main album Overall, though, this is corking stuff that deserves its place in electronic music history and is the missing piece in the trilogy that is 'Affenstunde', 'Aguirre' and now this album.
POPOL VUH: Hosianna Mantra - Remaster+Bonus Tracks (1972) CD
From 1972, post-big moog, and the first album from what was to become the main Vuh sound with electric and acoustic guitars, piano and percussion plus occasional female vocal and, in this case, the odd bit of guest violin. Very much as the name suggests, the tracks were of a mantra-like quality although remarkably melodic, with a hypnotic air as the flowing, soaring electric guitar work leads the way over Fricke's keys and the textural extras of oboe and violin, here creating a positively heavenly sound, and, when the female vocal emerges on the airwaves, the journey to nirvana is complete. In many ways, the most "classical" sounding album as things took a distinctly less classical. bent after this album, with the guitar dominating. But this is both of its time and timeless, exceedingly enjoyable in today's world and the mark of a monumentally fine musician.
POPOL VUH: Seligpreisung Remaster+Bonus Tracks (1973) CD
If I remember rightly, the first album in what became the "trademark" sound and style of the late seventies/early eighties band, from 1973, and the only one to feature the twin electric guitar leads of ex-Amon Duul 2's Danny Fichelscher (who also plays drums & konga) and ex-Gila's Conny Veit, together with Fricke on keys and chants, plus oboe, tamboura, 12-string guitar and guest violin. The result is an album of soaring instrumental compositions, from two to six minutes (the whole thing with bonus tracks only lasts thirty-four minutes!!!), but every one just so "heavenly" as the guitars and keys, drums and more guitars, lead the way, almost sounding like some of the more laid-back instrumental tracks and passages from the early seventies Pink Floyd albums, all of it just so uplifting and yet so solid. I'd forgotten just what a great album this is - don't you make the same mistake.
POPOL VUH: Einsjager Und Siebenjager Remaster+Bonus Tracks (1974) CD
Even though it predated the 'Aguirre' album by two years - this is from 1974 - this was the style that was the trademark Vuh sound for a good few albums. Gone were the synths and bongos of the first two albums - in their place were acoustic guitars, rolling drums, electric guitars and piano, all combining to create a music that almost defies category - it's instrumental but it's not fusion or prog or anything like that - in a sense it's the essence of "Krautrock" - music that exists outside of category but music that is immediately accessible, deeply spiritual, very powerful, wondrous and, above all, totally timeless. Ex-Amon Duul musician Danny Fichelscher plays some of the most fluid, soaring electric guitar work throughout, again sounding unlike anything else but pure seventies "Krautrock", as the melodies soar and dive. Behind all this is some superb drum and cymbals work, also played by Fichelscher, and it's his acoustic guitars that also grace the album too. But it's the compositional qualities and keyboards of Fricke that, while never leading the way, seem to be the glue that binds the gorgeous music together. The 19 minute title track also adds the lovely female voice of Djong Yun to the proceedings to create a spellbinding piece of music that you won't come down from for a week, with Fricke taking a greater share of the upfront playing than earlier. Finally, two bonus tracks, continue the feel and sound of what's gone before. Digipak format, booklet, photos and some incredibly timeless music make up this, a legendary work of genius.
POPOL VUH: Das Hohelied Salamos Remaster+Bonus Tracks (1975) CD
There can be few more stirring opening tracks on any album let alone a Popol Vuh album, that matches the awe-inspiring, almost religiousm majesty and intensity that is the near five minute 'Steh Auf, zieh mich Dir nach'. Beginning with an almost Magma-like sea of drums and deep bass, immediately the soaring voice of Djonng Yun (a female) flies high, then the track opens up into a swirling sea of drums, bass, piano and electric guitar as the cyclical guitar lead rises up and rings out above a solid and texturally varied layer of drums and percussion, almost mantra-like, it intones you to prayer, and as the multi-tracked female chorus joins the fray, the pace and intensity changes as the piece moves into flowing, melodic mode, and it's almost like being in the middle of a spiritual Magma before the mood lightens once again and this gorgeous guitar lead snakes and weaves over Fricke's solid piano work and the heavenly choir that is Yun's wondrous voice, the whole track moving forward on waves of multi-tracked guitar only to fade to a conclusion - just awesome. After this, it comes as no surprise, and completely natural, that the four minute 'Du schonste der weiber' is altogether slower, more relaxed but no less wondrous, as the slowly flowing layers of melodic, ringing, chiming guitar leads soar above crashing cymbals and solid drums as the track gradually becomes more cosmic sounding, settling down to a beautifully slow and high-flying lead guitar solo above the percussion and deep bass, the guitars ringing out in bell-like celebration, the heavenly choir re-appearing at one end, Fricke's piano deep in the mix at the other - just gorgeous. The next 6 tracks last between one and a half and four minutes, the first focusing more on the heavenly voice and piano above the percussive sea, then another melodic track where the guitars and piano weave tunes in and out of one another, the guitars taking the lead while the piano acts almost as a bass line, as the vocal enters, then the track fades. The three minute 'In Den Nachten auf den Gassen II' accelerates the rhythm as what sounds like several lead guitars move in and out of each other, weaving a tapestry of leads above the ever present solid drums and percussion, as it all climbs higher and higher to perfection. The near four minute 'Der winter ist vorbei' takes things into a more Asian territory with tables and sitar providing the lead focus alongside the piano, distant crashing drums and percussion. As the snaking guitar, with the heavenly voice of Yun completes a most moving and solid musical painting in sound. Three more tracks of a similar nature then lead us onto the three previously unreleased tracks, between two and five minutes long, of which the sadly way too short 'In den Nachten auf den Gassen III' has a melody line to die for as the cyclical guitars swirl round and the fade making you cry out "nooooo" as you want so much more, but then the piano and percussion/drums track that is the stark but solid and somehow emotive 'Schon bist Du vor Menschensohnen' (alternative Session). Finally, the album ends as it should - just Fricke at the piano proving that he could play the simplest of melodies and make it sound like a life-changing experience - incredible!! Overall, a timeless album that will sound THIS good in 25 years, let alone now - you owe it to yourself to take this in and let it sink deep inside.
POPOL VUH: Aguirre Remaster+Bonus Tracks (1975) CD
Hallelujah!!!!!!!!!! Now this - THIS - is the real thing. Again with a sound quality as clear as any version you've previously heard - and in my opinion , better - this is the first time ever on CD on a major label that the original version of this timeless electronic music soundtrack has ever appeared - and it's simply amazing. Opening with the soaring choirs, cosmic and symphonic space synths and expansive production, this is music that has you inexorably hooked right from the opening 7 minute track. A brief 3 minutes of gorgeous melodic acoustic and electric guitars is the perfect link between that and the first part of the next track as more cosmic choirs and synths unfold in magical fashion, just so deep, atmospheric and timeless, almost bringing a lump to the throat. Then it suddenly changes into a scenario where strummed acoustic guitar forms the backdrop to a soaring electric lead guitar that spirals upwards and onwards with true emotion and bite. Then, 3 minutes of what was, by this point, trademark Popol Vuh, as drums, cymbals, piano and electric guitars all ring out in an almost celebratory fashion. From this the album moves on to the star track, nearly 17 minutes of 'Vergegenwartigung' that is one of THE finest pieces of early seventies cosmic/space synth music to emerge so late as 1976 when this was recorded. In many ways it's quite a dark piece, giving many impressions of parts of Tangerine Dream's 'Zeit" album throughout its length, an album on which Vuh's main man, the late-lamented Florian Fricke, actually played the "big moog". If you like 'Zeit', you'll love this too - a superb slice of that era cosmic music. Finally - to make things even better - you get a 7 minute bonus track in the form of 'Aguirre III', one which features the choirs and synths but this time adds the drums and percussion to provide a piece that is both extraordinarily beautiful and strong at the same time, celestial and powerful, and a superb way to end what is now, in anyone's language' the definitive issue (in digipak format with booklet and photos) of a truly classic album - essential listening and then some.
POPOL VUH: Letzte Tage - Letzte Nachte Remaster+Bonus Tracks (1976) CD
The first thing you notice about the way this album begins is the sheer intensity of the sound - it's like a wave coming at you as the guitars are almost riffs as the soundpool of guitars, drums and percussion ride out majestically. The pace decelerates slightly and the intensity toned down a little on the four and half minute 'Oh Wie Nah ist der Weg hinab' with rippling piano lines supplementing the mighty drums and the multi-tracked chiming electric guitars, the whole thing ringing out in a joyous celebration of just being alive, as a guitar solo rises above it all and just shines like a light in the dark, rising up and taking your whole spirit with it - music rarely felt so good. The similar length following track is more of a mantra-like affair with chanting female vocal courtesy of the ever present Djong Yun as the whole mass of guitars, piano, drums, percussion rolls forth, onwards and upwards, to provide another swirling, crashing, solid soundpool that rise to great heights but unfolding so majestically at the same time, music so strong and yet so heart-warming. 'In Deine Hande' is a three minute east-meets-west slice of majestic Vuh music, again that intensity of production making the multi-layered sound, so strong as what feels like an ocean of guitars rings out like peeling Church bells, and the hairs stand up on the back of your neck as you literally feel its Presence, allowing the whole glorious thing to wash through you from head to foot - superb! The four minute 'Kyrie' starts with soaring chanting female vocal as the piano and acoustic guitars enter, deep bass appears to provide a solid foundation above which the main body of sound starts to form, as percussion slowly crashes in like waves upon the shore, the whole sonic spectrum flying majestically and religiously upwards to inspire and delight. After a brief Asiatic flavoured track it's onto the awesome heights of 'Dor ist der weg' where, over solid, rolling drums, the female voice just flies upwards as the guitars spiral, more guitars join the fray and the piano provides extra tonal coloration at the bottom of the heady mix. The title track features English lyrics, a surprise in itself, as the unmistakable voice of Amon Duul II's Remate Knaup sings the song with a passion that would make grown men weep, the whole musical panorama of guitars, piano, drums and bass rivers providing this swirling, flowing sonic expanse that opens out into a seriously and searingly gorgeous guitar solo, and, once more, when it fades you just want it to go on forever. The three previously unreleased bonus tracks, 1 at two and a half minutes and 2 at six minutes are all in keeping with the musical journey that is this album, only the last track chimes a mantra of rolling drums, guitars, percussion and, for once, a male vocal that chants briefly before the whole thing becomes this gorgeously solid flowing mass of melody as the guitars chime, more lead guitars rings out, the cymbals splash upon the shore, the drums roll on forever and the piano provides the texture - all combining to make a great album into something that goes beyond that and then some - mere words just don't do this justice. You could find (your) God on this album!
POPOL VUH: Coeur De Verre Remaster+Bonus Tracks (1977) CD
It's obviously Popol Vuh - but it's also obviously a soundtrack, for here the atmosphere is wholly different from their normal output. There is still a strong sense of the spiritual which pervades everything Fricke does, but here there is extra thought that has gone into providing a music that befits the film and yet sounds positively wondrous apart from it. The eight minute 'Engel Der Gegenwart' that opens the album, is an almost slow-motion slice of Vuh magic, starting off almost starkly with guitars and keys and flute, before gradually it settles down to a more typical sea of melodic guitars, keys and percussion, only without the intensity of production and the rolling drums that were so prevalent on previous albums, a deep sea of bass providing the foundations as the guitar lead spirals over the chiming rhythm guitars that take the centre of the mix, all quite sublime but also quite ethereal for such solid music. The next track however, returns to former glories, although once again with the drums and percussion buried right at the bottom of the mix, as the now anthemic guitars and keys ring out above the river of rhythm that slowly and inexorably flows underneath, but it's so beautiful as to be almost breathtaking. 'Das Lied von den hohen Bergen' is led by sitar and tables and becomes a new friend to the familiar, in keeping with the sound and feel of both album and band, but a new and somehow almost unsettling arrival - the nervousness of the unknown, but you realise that it will become a friend you learn to cherish. The four minute 'Huter der Schwelle' is classic Vuh - solid drums, crashing, tinkling percussion, guitars that ring out majestically and in crystalline fashion while the sonic whirpool of sound from more guitars, bass and piano forms this intense core of sound around which everything else revolves - just superb! Three further, similar sounding, tracks do not disappoint as the album sails its course and wins your favours completely. Of the two previously unreleased tracks, the second is a near five minute slice of acoustic guitars that chimes away over a similarly sounding electric guitar melody that runs alongside, the whole thing just guitars, while the first one is a typically joyous slice of guitars-led Vuh magic. Overall, a highly underrated album and an essential part of the band's repertoire.
POPOL VUH: Nosferatu - Remaster+Bonus Tracks (1978) CD
Now this is where I risk a critical mauling from people who know more about the band than I do, but this CD lasts sixty-five minutes - now, as I recall, there's never been a version of this around before that lasted that long. Anyway, it's here and is, arguably, the most well-known album that the band ever did, being the soundtrack for the film of the same name. Musically, it carries on the traditions of the, by now familiar, uniquely constructed slice of melody, rhythm and atmosphere that was a mix of electric and acoustic guitars, percussion and keyboards, but with a mood that is absolutely attractive and decidedly addictive, as the mantra-like compositions rolled ever onwards creating a blissful feeling on an almost spiritual level, for this is, indeed, spiritual music of first rate quality and depth.
POPOL VUH: Die Nacht Der Seele Remaster+Bonus Tracks (1979) CD
The last Vuh album of the seventies that opened up on a seriously dark note with just deep chanting vocal above equally deep bass and crunching, slow drums, only to open out onto track two in a gorgeous melody of oboe, bass, slowly splashing cymbals and ethereal piano. Apart from the last of the bonus tracks, all the rest last between two and five minutes, and the result is one of the most varied albums that you've heard from this band to date - hardly any track is similar to another and several take the Vuh magic into wholly different territories, sometimes dark and brooding, sometimes just drums, occasionally more acoustic than electric and, overall, one of the most ethereal and spacious albums to date - hardly any intensity to be found in a world where notes and chords hang suspended, where everything feels relaxed and almost slow-motion, occasionally the glimpses of what made the band such a heady force several years back, shining through. But, it's still a great album - a change of style possibly reflecting the imminent end of a decade and he start of a new one - as the compositions give you pause for thought and maybe even shed an internal tear as you realise that a musical era may be coming to an end, but if you listen carefully and take it all in, you will discover, not an end, but a new beginning. Four previously unreleased bonus tracks carry on the realms of the varied and the unfamiliar, as three short tracks arrive and leave, before the album ends on a ten minute 'In Garten der Ruhe' (piano session version) that is simply Fricke at the piano and a piece of playing that is inspiring in its simplicity, magical in its emotion and spellbinding in its effect - in many ways, the sum of what makes all Vuh music so timeless and unique in every way.
POPOL VUH (and others): Fitzcarraldo OST Remaster+Bonus Tracks (1982) CD
This is NOT a Popol Vuh album - it's also not got any bonus tracks, and, of the forty-seven minute running time, only features 4 tracks and twelve and a half minutes of Vuh music. But, especially if you know the unique and incredible work that is this film, the whole soundtrack does make sense to the Vuh fan - as well as the majestic music of the band, you will hear the legendary opera singer Caruso, a typically operatic diva doing a scene from'Ernani', a piece of music from Strauss that's just beautiful with its violin magic, short one minute tracks that feature Burundi drums or brass or similar, a scratchy slice of old-operatic-style singing from Manon/Verdi that takes me back to heady nights in Paris back in the seventies when you'd hear music like this coming out of the apartments on balmy summer evenings, more operatic singing that takes me back to days when my parents were still around, and so much more - if you have lived, if you have felt emotion, and if you have seen the film (which, incidentally, I haven't!!), this all makes perfect sense. Open your mind and discover.
POPOL VUH: Agape Agape Remaster+Bonus Tracks (1983) CD
Later album from 1983 but one that stands up well to the classic seventies releases, opening with the sound of heavenly choirs and then going into the swirling mass of electric guitars and keyboards, with some flowing percussion work along the way, while the near four minute 'The Christ Is Near' merges the two effortlessly to produce a quite superb piece of musc that you wish could have lasted a lot longer, and, indeed, that is the story of this excellent album - it always leaves you wanting more, no track seeming to last anything like long enough, including the two and a half minute bonus track, 'Circledance' which features some really electrifying and melodic guitar work over the backdrop of pianos, drums, deep bass, cymbal splashes and is a piece that really comes alive and climbs ever higher. The near eight minute 'Why Do I Still Sleep' is a much more relaxed track with a cosmic feel but also quite solid as this mesmerising bass drone runs below a flowing set of keyboards and distantly echoed guitar, the whole thing wrapped up in a peculiarly foggy mix, the aural equivalent of a classic old black and white movie. Overall, one of the most underrated of the '80's albums for sure.
