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EINSJÄGER & SIEBENJÄGER
LP 1974 PDU Pld.SQ 6013, Italy
Personel: Florian Fricke (piano, spinett), Daniel Fichelscher (E & A-guitar, percussion), Djong Yun (vocal), Guest: Olaf Kübler (flute)
Alle Texte von Salomo, bearbeitet von Florian Fricke (Popol Vuh)
Produced for Cosmic Couriers by Popol Vuh
"Du sollst Deine Liebe nicht wecken, bevor es ihr nicht selbst gefällt".
Tracklist of SPV (085-70142) re-edition:
Vinyl version of the 5th album from 1975, ("A Soldier And Seven Soldiers"). "One of Popol Vuh's hardest albums. Daniel Fichelscher shines here with crispy guitar solos and driving drums... the title track is the album's crescendo. It is a strange mix of all the band's previous styles, with Djong Yun's vocals thrown in for added eeriness. This track just floods the room with its gentle piano theme, and intruding drums and guitar."
Forced Exposure catalogue
Though it has its mellow moments (expressed mainly through Fricke's tacit piano interludes), this is one of the band's more lissome efforts, as charged and emotive as anything on Letzte Tage, Letzte Nachte. Though joined periodically by the winsome strains of vocalist Djong Yun, this album is really a vehicle for Fricke and guitarist/collaborator Daniel Fichelscher. In fact, it is Fichelscher's fluttering solo notes and typically sun-dreched, lofty playing style that energizes the melodic structures laid down by piano and spinett. The album's closing title track is a 20 minute epic of push pull dynamics, with Fricke and Yun giving brief respite to swirling, multi-layered guitar solos, crashing cymbals and percussion (there's even a drum fill!), and rippling piano chords. -GWNew Sonic Architecture catalogue
Popol Vuh's 6th release see's their brilliant guitarist, Daniel Fichelscher, starting to compose music. On this occasion some of Popol Vuh's best music ever was recorded.Cranium Music catalogue
A sterling example of Popol Vuh's sound in their prime, and one of their more energetic albums. Einsjäger is chock full of rippling piano from main composer Florian Fricke, while collaborator Daniel Fichelscher locks in with his trademark fluttering blues guitar solos and cymbal-happy drum crashes. Compositions like "King Minos" and "Würfelspiel" present the latent, rockier side of the band, and are just as much a joy to listen to as the more commonly manifested mellow side represented by "Morgengruss." The side-long title track, featuring all-too-intermittent visits from the beatific vocals of Djong Yun, nonetheless is a sophisticated composition, not to mention simply gorgeous music. This one's like a youthful sapling basking in the rays of the summer.
Hardly anyone in the U.S. has heard Popol Vuh, and most of those that have know them from their soundtracks to Werner Herzog films like "Nosferatu" and "Aguirre". This album, from 1974-75, is the best I have heard. This music is quite beautiful at times. Basically instrumental with occasional ethereal (indeed, angelic) female vocals in German. Piano and jazzy drums predominate, with double tracked electric guitars performing bluesy solos on top. Quiet, meditative passages alternate with majestic crescendos - the music is symphonic in scope and execution. The themes of the individual tracks appear to be spiritual in nature and this quality shines through. A fore runner of modern day New Age music, but much more compelling than almost anything I've heard in that genre.psapko_at_bellatlantic.net from PA, USA , June 29, 1999
Without a doubt one of the finest albums ever produced that tied into the particularly prodigious German Krautrock movement. Popol Vuh peak period was characterized by the rolling piano of Florian Fricke offset by the incredibly versatile guitar playing of Daniel Fischelscher, former drummer of Amon Duul II. Although Popol Vuh was essentially Fricke's baby, Fichelscher's playing is far and away my favorite part of Einsjager&Siebenjager. I mean, the guy is utterly sublime. Acoustic and electric guitar melodies are layered over each other, along with the impeccable piano, to create a stunning sonic palette. Melodic and stunningly beautiful, but retains a raw primal edge that keeps the album solidly within the fringes of the experimental Krautrock style.
Right from track one, the guitar solos are utterly captivating, leading from note to note in perfect and exciting sequence, occasionally lashing out into noisy and distorted glory. Fricke's gorgeous piano textures are extraordinary, influenced heavily by world and ethnic music, yet with a distinct classical air. Vocals are sparse, and only utilized at all on the epic title track, but are still amazing. Djong Yun's heavenly voice would become more of a focal point on the band's next opus, Letzte Tage, Letzte Nächte.
All the songs flow together, and the album might be initially a tad tedious, due to the fact that the same essential sound is carried throughout. All the songs are composed by Fricke, with the exception of the extraordinarily beautiful "Morgengruss", a track that especially highlights Fischelscher's delicate touch. The epic title track is full of great moments, and the addition of vocals on certain points throughout the track make things even better. Einsjager&Siebenjager is loud, guitar dominated and initially somewhat jarring, yet completely gorgeous, reveling in it's own distorted grandeur.
Definitely one of my new favorite German records. Amazing.Greg Northrup [March 2001]
Not feeling this one
Im quite disappointed by this Popol Vuh release. Now, I should admit that they are not one of my favorite
Krautrock bands, as too much of their output sounds like wishy-washy New Age music to me.And yes, to my ears, this is more of the same. A lot of reviewers have called this one of Popol Vuhs "harder" albums, but thats a bit of an overstatement. Maybe its got more of a rock beat throughout, but its far from being hard. Too much of this album sounds like soft, half-baked, 1970s, hippy-dippy noodling to me.
Musically unchallenging and unadventurous, it almost sounds like it should be the soundtrack to a 1970s California soft-porn movie...Or maybe it should be accompanying a reading of some Rod McKuen poems?
I say avoid this one, unless youre a completist or actually like New Age music.4dance-music Customer Review #1
Popular Songs of a Rare Etherial Passion
Popol Vuh came into existence in the year 1970 through the recording of their first album together, "Affenstunde"[ Monkey Hour ]. Another classic work, "In den Gärten Pharaos" [ In the Garden of the Pharaohs ] followed in 1971. Both of these early recordings featured the extensive use of a modular Moog synthesizer accompanied by spare use of more conventional instrumentation. It was such brave experiments, as these first free musical efforts, that helped to define the popular German electronic music scene of the time.
"Einsjäger and Siebenjäger" is Popol Vuhs fifth recording, made during the year 1974. By now, the groups founder Florian Fricke had sold his Moog synthesizer to Klaus Schulze, abandoning the explicit use of electronics in his attempt to put "My entire life into the music. All of it." His feelings, at the time, were that conventional instruments permitted a more direct translation of an artists emotional disposition into sound, as a result of such instruments inherently subtle tactile responsiveness.
"Einsjäger and Siebenjäger", as a result, features Florian Fricke on piano with Daniel Fichelscher on guitars and percussion. Korean singer Djong Yun is featured on the title track singing ethereal lyrics, which flow gently through time, seemingly without effort.
Popol Vuh has recorded at least four different soundtracks for film director Werner Herzog. "Einsjäger and Siebenjäger" was released during the same year as their music recorded for the soundtrack of Herzogs spellbinding film "Aguirre: The Wrath of God".
At thirty-seven minutes, this CD is short by contemporary standards, yet as a historical document of an amazing set of emotionally forthright performances, you will find that "Einsjäger and Siebenjäger" is well worth the price of admission.4dance-music Customer Review #2
New reissue of their 5th album, from 1975, ('A Soldier And Seven Soldiers'). With two bonus tracks: "King Minos II" & "Wo Bist Du?". One of the pure classic PV albums. The trio of Fricke, Fichelscher (electric/acoustic gtr) and Yun (vocals), Popol Vuh started to make headways toward a heavy cosmic rock sound, that would soon peak with Letzte Tage. Powerful flows of weaving guitar/keyboard lines built up into psychedelic peaks. The title track is the album's crescendo. It is a strange mix of all the band's previous styles, with Djong Yun's vocals thrown in for added eeriness. This track just floods the room with its gentle piano theme, and intruding drums and guitar.Forced Exposure Reviews Page