genre: kraut
country: germany
quality : mp3 (192k, booklet scans)
time: 54'55" size: 90 mb
issue: 1996, s/t
01. Aguirre I 6:17
02. Flöte 1:00
03. Morgengruß 2:56
04. Aguirre II 6:15
05. Agnus Dei 3:02
06. Vergegenwärtigung (part 1) 5:44
07. Vergegenwärtigung (part 2) 3:00
08. Vergegenwärtigung (part 3) 5:59
09. Spirit Of Peace (part 1, bonus) 3:34
10. Spirit Of Peace (part 2, bonus) 7:28
11. Spirit Of Peace (part 3, bonus) 9:40
02. Flöte 1:00
03. Morgengruß 2:56
04. Aguirre II 6:15
05. Agnus Dei 3:02
06. Vergegenwärtigung (part 1) 5:44
07. Vergegenwärtigung (part 2) 3:00
08. Vergegenwärtigung (part 3) 5:59
09. Spirit Of Peace (part 1, bonus) 3:34
10. Spirit Of Peace (part 2, bonus) 7:28
11. Spirit Of Peace (part 3, bonus) 9:40
- Florian Fricke / piano, mellotron
- Daniel Fichelscher / electric guitar, acoustic guitar, drums
- Djong Yun / vocal
- Robert Eliscu / oboe, pan pipe
- Daniel Fichelscher / electric guitar, acoustic guitar, drums
- Djong Yun / vocal
- Robert Eliscu / oboe, pan pipe
The first of Popol Vuh's collaborations with Werner Herzog, Aguirre was released as an album in its own right in 1975, and features just two tracks used in the film, "Aguirre I" and "Aguirre II." The pieces are among the band's finest work: beautifully fragile yet vaguely creepy, seamlessly combining electronic and classical music, with indigenous South American pan flutes providing a coda. "Aguirre II" folds in prog rock. The remainder of the album cobbles together recordings made between 1972 and 1975, marked by the band's characteristic combination of styles.
Of the many now-legendary artists to emerge from the Krautrock movement, few anticipated the rise of modern electronic music with the same prescience as Popol Vuh -- the first German band to employ a Moog synthesizer, their work not only anticipated the emergence of ambient, but also proved pioneering in its absorption of worldbeat textures. At much the same time Popol Vuh was formed in Munich in 1969, another group of Norwegian descent adopted the same name, an endless source of confusion in the years to follow; both were inspired by the holy book of Guatemala's Quiche Indians, and according to Mayan researchers, the title roughly translates as "meeting place." 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.
