Of the many legendary artists to emerge from the Krautrock movement, few anticipated the rise of modern electronic music with the same prescience as Popol Vuh - they were the first German band to employ a Moog synthesizer and their work not only anticipated the emergence of ambient, but also proved pioneering in its absorption of worldbeat textures. Keyboardist Florian Fricke was deeply immersed in Mayan mythology at the time he formed the group with synth player Frank Fiedler and percussionist Holger Trulzsch, and his interests were reflected in the spiritual themes of their 1970 debut, Affenstunde, the first experimental rock release entirely built around the Moog Synthesiser (with the add of percussions to provide a mystical flavour)…

Popol Vuh's Seligpreisung is another essential work from the band, ushering in the classic middle period for which they are best known. The album represents the reconvening of the band after Fricke had contributed to Gila's Bury My Heart at Wounded Knee, after which he brought former Amon Duul II drummer turned guitarist Daniel Fischelscher into the fold of his main band. Fischelscher would become Fricke's main collaborator for what is essentially Popol Vuh's most intensely brilliant period, reaching a possible culmination in the subsequent classics Letzte Tage, Letzte Nachte and Einsjager & Siebenjager. In light of those later achievements, Seligpreisung still stands as a solid addition, if slightly more tentative…

Released in 1974, Einsjäger & Siebenjäger (Earth & Sky) is a further rock entrenchment for Popol Vuh. Florian Fricke's piano is more percussively present with its runs and large chord voicings rippling throughout each composition. In addition, Daniel Fichelscher's electric guitar picks up where Conny Veit's left off, taking the bluesy space rock solo style into new territory by incorporating Eastern scales into the main body of his blues phrasing. There are five short compositions on the first side, which merely prepare the listener for the mind-blowing title cut, which takes up the entirety of side two. Here, in addition to the swirling organic percussion and pianism of Fricke and the loping, often singing guitar lines that repeat hypnotically with rock & roll tension, the vocals of the amazing Djong Yun become the catalyst for the other musicians to spiral off into extended improvisations…

Popol Vuh is the debut album by the namesake Norwegian art-rock/folk band, later known as Popol Ace. The album was released in 1972 on Polydor.

Aguirre is the seventh album by German band Popol Vuh. It contains music used in the soundtrack to Werner Herzog's film Aguirre, the Wrath of God (1972), first released as an album in 1975 on Ohr, and reissued in 2004 by SPV with one bonus track. This score was the first of many filmic collaborations between the group and Herzog. Only two tracks ("Aguirre I" and "Aguirre II") are from the film; the rest were gathered from various recordings done by the group during the period 1972–74, including alternative versions of two songs ("Morgengruß II" and "Agnus Dei") originally released on the band's 1974 album, Einsjäger und Siebenjäger.

It begins with the sound of a sunny day for a few moments and then after a big splash and a few drips we go down the electronic rabbit hole into a listening wonderland. For their debut album, Popol Vuh are very much an electronic band, closer to the stranger parts of their score for Aguirre than to the beautiful, almost classical music they would soon embrace. Here they are conjuring strange dreamscapes out of their analogue technology.

Herz aus Glas (subtitled "Singet, denn der Gesang vertreibt die Wölfe" [German for "Sing, for singing drives away the wolves"], French "Cœur de verre") is the ninth album by Popol Vuh. It was originally released in 1977 on Brain Records. In 2005 SPV re-released the album with two bonus tracks. This album was released as the original motion picture soundtrack of Heart of Glass (Original German title: "Herz aus Glas", French title "Coeur de verre") by German director Werner Herzog, but in fact only two tracks ("Engel der Gegenwart" and "Hüter der Schwelle") were actually featured in the film.

A soundtrack for the Werner Herzog film of the same name and originally released in 1987, Cobra Verde was the sixteenth album by Popol Vuh.

‘Agape-Love’ was one of Florian Fricke’s favorites, at a point in his life where he was inspired by 13th century Persian poet Rumi. Still utilizing a choir for Gregorian chant-like ethereal intensity — though they sing in Byzantine scales – the band delves deeply into the drone world of Fricke’s sacred music muse. This is an album of many moods/feelings & is a worthy, devastatingly beautiful outing (both introspective & intense at the same time).

This is the second album released in 1973, which has evolved into a more sophisticated and smarter version of the previous album's somewhat rough songs and arrangements, while retaining the Nordic pop, melodic, and rich variety of song ideas.

This is a wonderful but very underrated debut album from progressive Norwegian Popol Vuh (NOT the more recognizable German krautrock band!), who in 1975 (after two albums) changed its name to Popol Ace. Their eponymous long play was released in 1972 on Polydor label and today is considered by many listeners a progressive masterpiece with slightly jazzy and bluesy feeling, with many tempo and moods changes and plenty of acoustic/electric guitars, Hammond organ, electric piano, mellotron and flute interplay. This carefully remastered CD edition is necessary for fans of early Genesis, Caravan, King Crimson, Mahavishnu Orchestra, Focus & Jethro Tull.

Compared to their previous recordings, the hymn-like ‘Hosianna Mantra’ – a milestone record within their career – saw Popol Vuh taking the next step with ‘Seligpreisung’. A new musical element entered the mix: rock. No coincidence, as Daniel Fichelscher from Amon Düül II made his first appearance here, playing guitars and drums. Fichelscher was to become an important companion for Fricke securing the rock element as an important and explicit ingredient of their music in the coming years. The music on ‘Seligpreisung’ evokes that typical and mysterious brilliance of Popol Vuh of being able to sound non-Western while using mostly Western instruments. While Daniel Fichelscher and Conny Veit gave rock impulses, Florian Fricke and Robert Eliscu approached things from the classical side. Robert Eliscu played a lyrical oboe; his intricate duets with Fricke on the grand piano defined the meditative side of the tracks on the album. Due to the temporary absence of vocalist Djong Yun, all vocal duties fell to Florian Fricke this time. The incredibly beautiful bonus track “Be In Love” is an essential addition. It is the A-side of a now hard to find single, recorded just before the album “Seligpreisung”, with vocals by Djong Yun.

Hosianna Mantra is the third album by German band Popol Vuh. It was originally released in 1972 on the German record label Pilz. The album saw the band blend elements of Western classical music, Asian music, and space rock. For the release, bandleader Florian Fricke abandoned electronic synthesizers and instead employed acoustic instruments such as piano, oboe, and tambura. Prominently featured are Korean vocalist Djong Yun and electric guitarist Conny Veit.