Popol Vuh
In Den Gaerten Pharaos

1971, Germany. Florian Fricke, the mind behind Popol, fuels the German kraut scene by giving birth to "Affenstunde." In this work, the group's compositional concept is introduced, albeit with a still somewhat raw aspect, and the title track stands out significantly, as an excellent example of the good use of the Moog. The atmosphere is surreal, imaginative, ecstatic, with changes in mood: starting with dark, gloomy tones and then gliding into paradisiacal, celestial territories. It does not create fear and shock but seeks to connect man with high, noble thoughts—infinite, even. An excellent way to make the listener work with their own inner self, thus a true psychoanalysis. This is the message of the Sixties and Seventies.

Then, in 1972, the path that could be taken with firmness was understood, and the concept was not to recreate the same idea as Tangerine Dream, with electronic and minimal drones ("Atem" and "Phaedra"). Electronics are set aside, at least in terms of being the predominant element, and the idea of weaving melodies closer to raga, the East, and mantra is conceived. Not by chance, with the masterpiece "Hosianna Mantra," Fricke will gift the world a mystical dialogue between piano and female voice ("Ah," "Segnung," and "Nicht Nocht Im Himmel"), while guitars appear in a few but excellent cases ("Kyrie").

With the second work, one plunges into the desert, Ancient Egypt, at the Pharaoh's court, enriching the beginning, the title track, with exoticism. An influence surely derived from "Amboss" and "Traummaschine" by Ash Ra Tempel, but here there is perhaps even more clarity in the representation. No gigantic Gottsching scales but a surreal, panic-stricken, almost naturalistic intro...with the reproduction of flowing water and tablas that perfectly marry the first electronic whispers. The idea being conveyed is to create a solemn, liturgical drawing, which then materializes in an effective crescendo with an organ that captivates the ear. All of this is enchanting, and it's noteworthy that the title track is one of the first pieces recorded in a cathedral.

"Vuh," the other side of the album, is less reflective and tends more to engage the listener in a sonic cloud. There is an extreme application of "A Saucerful Of Secrets" with the ecstasy of the Indian mantra, which was completely original in the early Seventies. The other side of the ocean is attentive and surprised—England, and even people like Battiato and Aktuala are astonished.