Can we talk about this record?

Can we talk about this record?

I'd like to know more about how they made it since there doesn't seem to be much info online (read: wikipedia) how were they possibly inspired to make this?

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It's edgy mallgoth shit

That's the beauty of the record, they weren't really inspired to do anything.
They were given the time and the resources which they spent on drugs and having fun.
This record was just something they HAD to do in return and they did it without caring too much about it, which is what makes it great.

i have owned their first 3 records for nearly 15 years, and never listened to a single one.

It's funny you say that because I always pictured some weird German guys just jamming out not giving a fuck while the war-torn world behind them just burns.
I would recommend Faust IV it's excellent (it's like Faust's "Future Days," sort of the culmination of everything they were capable of, perfected)

honestly i had them all queued for when what i'm listening to finishes, but you put me off.

Polydor wanted to get their own Beatles/Rolling Stones, so they were willing to experiment and let producers do whatever they wanted to create stars and hits, so Faust's producer combined two bands and gave them total freedom to do whatever they wanted.

Also, as for Faust IV - it's a completely different work from Faust to the point where they pretty much have nothing to do with each other. To each his own, but in my opinion, Faust IV is a completely washed down, mediocre snoozefest in comparison to their debut.

Are you saying you're going to listen to Faust IV? Faust I is great, but IV is way way more accessible which is why I recommended starting there. I guess it depends on your taste and personal preference.
Really? It's a perfect record to me. More accessible isn't necessarily a bad thing, but if you were expecting more Faust I I can see why you'd be disappointed.

It's not that I particularly dislike Faust IV (even though I find it very underwhelming most of the time, particularly the 2nd half) - it's just that s/t is in my top 3 records of all time, hence the somewhat harsh comparison.

>Polydor wanted to get their own Beatles/Rolling Stones, so they were willing to experiment and let producers do whatever they wanted to create stars and hits, so Faust's producer combined two bands and gave them total freedom to do whatever they wanted.
Some record exec probably lost his job then, kek

I can see why you feel that way. You're probably the type that thinks originality/creativity trumps all, and I think it's really important. But we shouldn't forget music should, above all, be *fun* to listen to. But I guess I like both for different reasons.

That's just my case for accessibility, not trying to say s/t isn't fun.

Not really, Faust IV just sounds boring and not catchy in the least. I probably prefer The Faust Tapes to IV because everything after Jennifer feels like filler to me.
Sad Skinhead and Jennifer are great songs.
Krautrock has a fantastic intro drone which leads into a total disappointment, mostly because of the extremely basic drums which are just incredibly anticlimactic. It doesn't feel like a reply to the fantastic first part, more like a lackluster continuation with no real ending.

I'm aware many critics are praising it as one of their best works, it's just not for me and I have to pick a "zany" teutonic prog rock band, I'd choose Amon Duul II any day over Faust IV.

>If I have to pick
fix'd

Agree to disagree.

But, really you didn't like Giggy Smile?

A bit cringy, but it's fine.
Like I said, it's nothing particularly bad, I'll somewhat enjoy it any time, it just feels underwhelming and mediocre. Neither catchy nor experimental enough.
But I can definitely see the appeal of the album. When I mentioned Amon Duul II - I couldn't really come up with any other band who'd play in a similar style (MAYBE Brainticket?), so props for that.

They were given funding to be "the German Beatles," with a top notch studio, equipment, etc. This bothered them because they didn't want to be copycats, but when they thought about drawing from German sources and their own pop music of the time, they still felt alienated. After WWII, German pop culture was just copying Britain/the US. They settled on the idea of reinventing rock music anew, for themselves. That was the only way to be distinctly themselves. They were acutely aware of the past and present (which is why they bring in motifs of "normal music") but wanted to synthesize the avant-garde and pop culture in a way that created something truly original.

Basically, they used the Hegelian dialectic with the thesis of popular music and the antithesis of avant-garde music. The album can be understood as those two forces pushing and pulling at their psyche. This is the most blatant in Meadow Meal, where you have atonal music juxtaposed with wild rock n' roll jamming, followed by a funereal theme. The theme of cultural alienation is consistent throughout the album.

>There was nothing left for our generation, and we refused to have anything to do with the generation that came before us. We invented artificial music, music that we created in the studio on our own, music that had little to do with western music in general.

should I listed to self titled first or IV? and where can I get both?

>"We had the idea that there should be special arrangements for each of the tracks," says Irmler, "and we drew very intricate pictures trying to visualise their form when we suddenly realised that the first side should really be a report of the contemporary situation, of how things sounded in 1971. So that's why at the start of the record there are bursts of Satisfaction and All You Need Is Love, followed by blocks of noise.
>"Near the beginning of the record you can hear Rudolf Sosna say, "I mean, the point is I'm waiting"," Diermaier adds. "Then - boom! We come charging in."

>Inevitably Polydor began to get jittery about their new investment. None of the group had actually signed anything, the label had not heard a note, yet already Faust were massively in debt, splashing their advance on everything from equipment bills and rent to insuring Diermaier's dog. Polydor demanded to hear some demos. Faust obliged by assembling a now legendary cassette filled with what Irmler describes as "pure blasts of noise, the sound of someone cleaning dishes and us all trying to impersonate a female choir." The tape was lost long ago, but one track, Lieber Herr Deutschland, turned up on Münich & Elsewhere, released in 1986 long after the event. "It didn't make any sense," Irmler confesses. "Some parts were concrète music and others were made up of field recordings. Polydor had expected a work in progress, so they began to really push us. When we finally signed the contract we had been holed up in Wümme for most of 1971. Uwe told us that he couldn't hold the label off any longer, that they'd lost their patience. We said 'OK, let's start the album.'"

Can we have more? I could read about their s/t forever lol

books.google.com/books?id=lohHVBYiML4C

faust-pages.com/records/liveinedinburgh.html

(quick reminder that Faust dropped a fantastic album this years that, IMO, is on-par with Faust IV)

>complaining about basic drums in a genre built on the most basic drum beat of all

1. It's not a motorik beat
2. If you think playing Hallogallo the way it's played is easy then I have bad news for you friendo.
3. Basic drums are completely fine, but they really don't make sense in "Krautrock", they are anti-climactic and weak. In fact, that song would be better off without any drums whatsoever. Just make it everflowing like Can's "Pinch".

I never said it was easy but after actually listening to the song then yeah the drums do kind of suck

sounds like a shitty neu! song