Amon Düül

Released in 1974, Amon Düül II's Hijack is not frequently (if ever) regarded as one of their better albums. In fact, author Ingmar Schrober gives it a few scant sentences in Tanz der Lemmings, his biography of the band published in 1979. For the most part, this critical dismissal is accurate - fans and critics seem to agree for once - most of what's here is unfocused, very polished, meandering psych prog that goes nowhere. But Hijack is significant in the band's history, and perhaps for posterity as well, for three reasons. The first of these is that the recording of this album signalled a short-lived reunion of sorts for most of the members of the original Amon Düül - vocalist Renate Knaup-Kroetenschwanz, guitarist/vocalist Chris Karrer, guitarist John Weinzierl, drummer Peter Leopold…

Out of the future ashes of the Munich-based hippy commune of Amon Düül, came this unit that seemed more serious about making music, other than as a social and political statement, Amon Duul II rose like a phoenix and built around Karrer (guitar), Rogner (bass) and Serfas (drums) and reputation growing, signed a deal with Liberty records and recrding their debut album in early 69, with two more members: drummer Leopold (from the other AD group) and bassist Anderson (pushing Rogner onto the keyboard stool). With two star guests, Burchard (Embryo, crosstown rivals) Trutzsch (Popol Vuh, also from the city), produced by Passport's Kübler, and graced with an astonishing psyched-out tree-and-sky artwork (courtesy of KB man Rogner), Phallus Dei is a landmark in Krautrock, also sung in a sort of medieval Upper German…

Amon Düül II (or Amon Düül 2) is a German rock band. The group is generally considered to be one of the founders of the German rock music scene and a seminal influence on the development of Krautrock. The band emerged from the radical West German commune scene of the late 1960s, with others in the same commune including the future founders of the Baader-Meinhof Group (the Amon Düül II band members disagreed with their violent agenda). Founding members are Chris Karrer, Peter Leopold, Falk Rogner, John Weinzierl and Renate Knaup. Their first album Phallus Dei (God's Penis), released in 1969, is considered a milestone in German rock history.[citation needed] They received offers to write music for films, winning a German film award, the Deutscher Filmpreis, for their contribution to the film San Domingo. Their second album Yeti was their breakthrough album in the United Kingdom.[citation needed] In 1975, they signed with Atlantic Records, and disbanded in 1981. Wikipedia

By 1976, Amon Düül II had transitioned from a highly experimental unit to an almost traditional pop-rock act, with lyrics sung in English and a decidedly (and unexpectedly) rockist approach to songwriting. New members Stefan Zauner (keys) and Klaus Ebert (guitar and bass) contributed the majority of the songs, adding to the stark newness of the sound. While this album has its share of exciting moments, it is not a typical Amon Duul album, and will probably be best enjoyed by completists.

Made In Germany was a real musical transformation for Amon Düül II. If you took this album, and ADII's first album "Phallus Dei" and played them both for an unknowing listener, they would never even suspect it was the same band! The songs like "Ludwig" have an almost Beatlesesque quality to them (albeit on much more drugs). Ambitious vocal harmony arrangements, pristine production values, orchestral flourishes… Amon Duul? Anyway, this album is a masterwork of a completely different sort than their earlier releases, so naturally many fans will not still be onboard at this point. Short, vaguely Floydian spacy instrumental breaks replace the full-on sonic assaults of yore, and the main feature is… songs. Beautiful, sometimes achingly melancholic, sometimes witty and humorous, always honed like a gem; this is top-notch songwriting without ever losing ADII's keen eye for ambition.

Released to raise money for victims of the Kobe, Japan, earthquake, this Amon Düül II disc from 1996, like the very similar Eternal Flashback, is actually material from 1969 to 1971 reworked through the wonders of plunderphonics by members of the group into one seamless, 65-minute-long space rock epic. It's not quite as radical as the John Oswald remix of the Grateful Dead's "Darkstar" on Grayfolded or the Can remix album Sacrilege, though it's still a quite fascinating bit of trickery, as bits of tracks from the first two albums, Phallus Dei and Yeti, are blended with previously unreleased material. The rhythms are often looped to retain the essence of the original album, but drawn out into long, hypnotic passages with oozes of guitar floating around them, while most of the vocal sections have been completely excised out, leaving this a complete instrumental workout…

Amon Düül II was born of an artistic and political community called Amon Düül (which recorded during the late sixties a long live session made around collective and free musical improvisations). The band emerged from the underground German rock scene with a very original and eccentric album called "Phallus Dei" (1969). Only Human (1978) is way better than people give it credit for. Granted, it does not sound like Phallus Dei at all, but that doesn't make it bad, just different. What we have here is a band stretching out to encompass the style of the times, while adding its own unique flavor. As such, Only Human shows strong Disco influences, often incorporating elements from World Music. Spaniards & Spacemen is a delightful highlight, fusing flamenco guitar with cutting edge electronic dance music. Kismet is also wonderful, with a distinct Middle East flavor. So if you're open minded and not averse to a little Disco, give Only Human a listen.

The only side of the continually frustrating Cleopatra label that makes any sense at all, the reissue subsidiary Purple Pyramid continues its commitment to quality archival Krautrock with The Best of Amon Düül II 1969-1974, a collection that charts the best moments from the best period of one of the most fascinating (and often bewildering) German groups of the '70s. Included are tracks from several of Amon Düül II's best LPs: from Yeti comes "Soap Shop Rock" and "Pale Gallery," from Tanz der Lemminge comes "A Short Stop at the Transylvanian Brain-Surgery" and "Stumbling Over Melted Moonlight," and from Wolf City there's "Surrounded by the Stars," "Deutsch Nepal," and the title track. Though Amon Düül II's albums of the period are necessary for fans of the group, this makes not only a perfect introduction for new listeners but also a handy summation of what made the band great.

Amon Düül II was born of an artistic and political community called Amon Düül (which recorded during the late sixties a long live session made around collective and free musical improvisations). The band emerged from the underground German rock scene with a very original and eccentric album called "Phallus Dei" (1969). Only Human (1978) is way better than people give it credit for. Granted, it does not sound like Phallus Dei at all, but that doesn't make it bad, just different. What we have here is a band stretching out to encompass the style of the times, while adding its own unique flavor. As such, Only Human shows strong Disco influences, often incorporating elements from World Music. Spaniards & Spacemen is a delightful highlight, fusing flamenco guitar with cutting edge electronic dance music. Kismet is also wonderful, with a distinct Middle East flavor. So if you're open minded and not averse to a little Disco, give Only Human a listen.

The second album by Amon Düül II, 1970's Yeti, is their first masterpiece, one of the defining early albums of Krautrock. A double album on vinyl, Yeti consists of a set of structured songs and a second disc of improvisations. It's testament to the group's fluidity and improvisational grace that the two albums don't actually sound that different from each other, and that the improvisational disc may actually be even better than the composed disc. The first disc opens with "Soap Shop Rock," a 12-minute suite that recalls King Crimson's early work in the way it switches easily between lyrical, contemplative passages and a more violent, charging sound, and continues through a series of six more songs in the two- to six-minute range, from the ominous, threatening "Archangels Thunderbird" (featuring a great doomy vocal by mono-named female singer Renate) to the delicate, almost folky acoustic tune "Cerberus"…