Considered by many music historians as one of the most important group out of Germany, Faust were certainly ahead of their time. They took their music to unsuspecting heights somewhere in between Can, Velvet Underground, Neu, LA Dusseldorf or Henry Cow but also much farther and can be considered as founding fathers of the Industrial Rock. Having made their debut in 71 in Hamburg, Faust will never stop their groundbreaking and will be always one step ahead of everybody else including the groups above mentioned and are the prime example of Rock In Opposition (RIO) along with Henry Cow. Faust is definitely not for the faint-hearted person and can only be recommended in small doses because it is very dangerous for the sanity of the average proghead.

Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements – it encapsulates the band and why they are important within one track – but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident – it's a pioneering album, even if its electronic trances might not capture the attention of all listeners.

La Düsseldorf is Klaus Dinger's side project after the scission of Neu! in 1975. In this musical adventure, Dinger is accompanied by Thomas Dinger and Hans Lampe who also participated to the recording of the third and last Neu! The self titled album "La Dusseldorf" was released in 1976, venturing from avant-garde for concrete noises, manipulated sounds, pre-punk atmospheres. This album has a total disregard for musical convention, the musicians don't hesitate to mix without restriction a bunch of sounds taken from a great variety of musical styles (with pop accents, motoric "electronic" pulses, krautrock weird instrumentals and punk's eccentricity). After this original and diverse collection of experiments, the band recorded their second "Viva" in 1978…

Pinguin's only release, though they had previously made a record under the name of Talix. Originally released by Zebra records and the sound is strongly keyboard-dominated (organist Volker Plitz composed all the tracks), but there are enough furious guitar leads to satisfy the psych-lover. Similar to other Germans prog outfits like Frumpy, Subject Esq.

Looking like something reissued by Akarma (but creeping out on Polydor), Kin Ping Meh's self-titled 1971 effort is dripping with Deep Purple-esque organ and guitar, as well as a healthy dose of CSN&Y vocal harmonies. Like many B-list or C-list rock outfits of the period, Kin Ping Meh were adept, but lacking that extra ooomph that would have pulled them out of obscurity. The rockin' numbers were by-the-book chuggers, save for the somewhat exceptional "Everything" and though they did delve into proggy, string-laden sprawlers on occasion ("My Dove"), most of the album's content is simply adequate and marginally derivative of the heavier hitting acts of the early '70s.

GASH is a 70s Krautrock band from Germany featuring the musical talents of Manfred Thiers on bass, Reinhard Schiemann on drums, percussion, Frank Feldhusen on guitars, vocals, and Jochen Peters on piano, organ, and lead vocals. The band have released only one studio album in 1972, "A Young Man's Gash" and disappeared from the scene. The music is a definitive taste of the underground hard rock oriented sound churned out of the German Krautrock era. The music is replete with catchy songs, keyboard, organ and guitar solos and an overriding hard driving energy.

Les Big Byrd, at this point, one probably has to call them veterans on the Swedish psych- and kraut scene, is back with a new album which sees them delving even deeper into the experimental side of themselves. Long, improvisatory excursions and suggestive soundscapes unfold during some of the album's 6 tracks. Although they never lose touch with their melodic sensibility, offering up a look into a more suggestive and psychedelic side to the band.

Acid Test and Pink Tank are ecstatic to bring to you the new LP from Arcane Allies – Sunra Oscillations. Based in Germany, their mindset is reflected in their name – Arcane Allies - a mysterious secret to those in the psych hive mind. Arcane Allies are the sound of hypnotic synths and rhythmic propulsion - ethereal infused danceable ecstasy beats that tap into the molecule flow of your body.

Crocodiles age well.So it comes as no surprise that the band, named after the primeval reptile with the killer instinct, is, once again, back in the game. Over 50 years after forming the group in Zurich, and 45 years after their break-up, Düde Dürst, drummer, band leader, graphic designer and archivist of the first Swiss “supergroup”, decided to take another stab at it. In the midst of working on a rerelease of Krokodil’s psychedelic masterpiece «An Invisible World Revealed» (1971) he couldn’t help himself but get inspired. His latest vision? Recording an album that unites Krokodil’s pioneering creative spirit with the zeitgeist of the 2020s. Together with the two founding members Walty Anselmo (guitar, sitar, vocals) and Terry Stevens (bass, vocals) as well as two younger and gifted musician friends, Adi Weyermann (guitar, vocals) and Erich Strebel (keys) Düde embarked on his latest, bold undertaking.

More than five deacdes have passed since Krokodil's debut album release. The band returns with an album and a different line-up. Since 2020 the Zurich band consists of Düde Dürst (founding member), Terry Stevens, Adi Weyermann and Erich Strebel. The band continues today where they started in 1969, composing their own style of music and rely on the power of the collective. With this album, the Swiss prog-rock band presents a versatile and excellently played powerhouse.

Though it was the group's major-label debut, Stereolab's Transient Random-Noise Bursts With Announcements showed no signs of selling out. If anything, it's one of the most eclectic and experimental releases in Stereolab's early career, emphasizing the group's elongated Krautrock jams, instrumentals, and harsh, noisy moments. The album begins and ends with smooth, sensual washes of sound like "Tone Burst" and "Lock-Groove Lullaby" and smoothly bouncy pop songs like "I'm Going Out of My Way." These softer, more accessible moments surround complex and varied compositions such as "Analogue Rock," "Our Trinitone Blast," and "Golden Ball," which, with its distorted vocals and shifting tempos, serves as an appetizer for "Jenny Ondioline." A hypnotic, 18-minute epic encompassing dreamy yet driving pop, a Krautrock groove, forceful, churning guitars, and a furious climax, it's the most ambitious – and definitive – moment of Stereolab's early years.