Deuter
D

Goerge Deuter is another forgotten mystical figure of the seventies and absolutely forward-thinking in his sound discoveries. I mention world music because it is not the initial raw electronics, plays with drones, or cold frequencies. It is an entirely personal and standalone design.

A story similar to Iommi's. Due to an accident, the young blonde entered an existential crisis and began to throw his ideas into the musical realm.

What can be felt in this character's discography is mysticism, ancestry, and surreality found only in Popol Vuh or Tangerine Dream. Apart from these two sacred monsters, Deuter is not at all a waste of time or a rehashed idea that has aged poorly.

"D" is the debut from 1971 and arrives, indeed, at an effervescent moment for Germany and the rest of the world.

Diverse works, connected to the East or more broadly to mental exploration, the Cosmos, and lunar landscapes.

He plays and elaborates independently: flute, synth, guitar, and clavichord. A true genius, we can say.

And we are not saying something absurd, because the dish he presents to us is utterly alienating.

"Babylon" is the peak, as well as the opening of the work. Fifteen minutes of compelling kraut, raga, and ethereal fragments. A structure faithful to the German sound that would serve everything that would come after 1971. During that period, various Cluster, Kraftwerk, and Tangerine were already moving.

Deuter also discovers other things, like Hare Krishna's food... And thus the solemn and enchanting raga of "Krishna Eating Fish And Chips" emerges.

"Atlantis" is pure world music. Sonic pantheism, anticipations of Hassell's "Vernal Equinox," and other wonders.

Suggestions, popular folk flashes, mental conversations with the purity of natural phenomena and... add something else with your listening.