Hey guys i recently got the 2014 reissued double LP of Tago Mago, and halleluwah is completely missing. Side 2 of the first record just plays Aumgn instead despite saying its for Halleluwah, and side 1 of the second record plays Aumgn as intended. So i have double the aumgn.

Is this common for this printing? I cant find any threads online about it.

Thanks

The "drop" is a common construct in EDM and other genres, a tension build-up and release, dropping down to a heavy beat or bass. I'm curious if the trick has been used in Krautrock, particularly early stuff (I'm sure it has, but I don't know where).

https://en.wikipedia.org/wiki/Drop_%28music%29

So 2 part thing here!:)

Love CAN sm especially their impact in Krautrock but I didn’t know much about CAN then until I stumbled across Tago Mago! And whoa this album is incredible with what sounds this album was able to achieve so diving into the studio techniques are really interesting! Which makes Tago Mago so much layered and unique with each listening experience.

My second part is just a thought which is:Does Tago Mago seem a bit Eno? I know it’s krautrock but the actual tape techniques seem Eno esque? I do know that this band inspired him for the Berlin stuff with Bowie but Tago Mago just has an Eno esque vibe to it?

Danny Fichelscher and Renate Knaup (Popol Vuh/Amon Düül II) joined The Lindau Project on stage, a band from Regensburg (Germany) who re-imagine the music of Florian Fricke/Popol Vuh.

John Weinzierl (Amon Düül II) also climbed the stage a while later. Frank Fiedler (Popol Vuh) filmed the evening.

https://youtu.be/mX7r9bCC8mY

Hi to all Kraut rock saurians🤗🦖 ,

Tell me if you like, we built a machine and wanted to try it with old school electro, cause we love that 🤖❤️

See more here, or on:

Our web

https://tomsipedals.com

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❤️ 👍🏾 👌🏾 ✌🏾 🙏🏿

This song is like the perfect mix between David Gimour's guitar and John Cale's string drones

Produced by Conny Plank and released on Brain Records. Jürgen (Jogi) Karpenkiel, later of Guru Guru, plays the bass guitar. Hypnotizing flute jams with a solid band behind.

Album Credits:

Conny Plank - Engineer, Producer

Hans Lampe - Assistant engineer

G. F. Pfanz - Cutting engineer (included on YouTube, not confirmed on Discogs?)

Jürgen Havix - Guitar, Zither

Klaus Dapper - Flute, Saxophone

Jürgen Karpenkiel - Bass

Waldo Karpenkiel - Drums

Album: Eiliff (Stuttgart)
I would recommend Eiliff''s LPs to fans of all that's heavy who would like to explore the possibilities of heavy jazz prog

Classics and slightly more obscure stuff.

If you want to hear a really good Can tribute then check out the Cosmic Invention album "Help Your Satori Mind", a Japanese band that play in the early 70s style. The track "Ryujin".

The Trees Speak albums are modern/ new but they play in a krauty style. They are from Arizona and pretty good.

Anyway, I'm sure you know most of these. Rock on :)

Transfer Station Blue

Release Year: 1984

Label: Fortuna

Michael Shrieve is best known for his work with the seminal Latin jazz-rock group Santana from the late 1960s into the mid 1970s. After his departure from Santana, Shrieve joined the multinational jazz-rock supergroup Go, in which he met fellow member Klaus Schulze. The two of them would go on to collaborate numerous times, with Shrieve performing on multiple of Schulze’s albums (and collaborations under the “Richard Wahnfried” name) in the 1980s. 

At this point in time, Shrieve’s career trajectory became progressively more rooted in electronic music, which is reflected on many of both his solo releases and collaborations from the 1980s. His 1984 album “Transfer Station Blue” (also featuring his brother Kevin Shrieve) is an oft-forgotten Berlin School release, but it has numerous qualities that help it stand out among contemporaries. M. Shrieve’s jazzier background as a drummer lends the longer pieces a hypnotic quality, further accentuated by the atmospheric synthesisers. Additional melodic elements are provided by K. Shrieve (primarily on guitar), used to full effect on the beautifully melancholic “View From The Window” and the surprisingly upbeat portions built up upon during the “Transfer Station Blue” title track. While of most interest for Klaus Schulze aficionados, there is undoubtedly plenty to enjoy here for fans of Berlin School electronic music.

If you've heard this album and/or want to share more commentary about it, feel free to discuss further in the comments section. As with all of these weekly discussion posts, we encourage you to give it a listen if you're unfamiliar with it!

Highly influenced by the heavyweights of the genre but harmonically and texturally unique as well - currently in heavy rotation on my deck