FAUST – Faust (LP-1971)

Label: Polydor – 2310 142

Format: Vinyl, LP, Album, Translucent / Country: UK / Released: 1971

Style: Krautrock, Art Rock, Avantgarde, Experimental

Side A studio recordings

Side B recorded live at Wümme, September 21, 1971.

Composed By – Faust

Engineer – Andy Hertel, Kurt Graupner

Producer – Uwe Nettelbeck

Special radiography cover

Made In Germany [on record labels]

Printed in England [on cover]

A Product of Sound Packaging Partnership UK & World Patents Pending.

Incorrect track durations given on this release are:

Side A: 18:32 / Side B: 17:55

A1 - Why Don't You Eat Carrots ................................................. 9:31

A2 - Meadow Meal ..................................................................... 8:02

B - Miss Fortune ....................................................................... 16:34

Hans Joachim Irmler – organ

Rudolf Sosna – guitar

Gunther Wüsthoff - synthesizer, wind

Jean-Hervé Péron – bass, guitar, trumpet, vocals

Arnulf Meifert – drums, percussion

Werner Diermaier – drums, percussion, conductor

"Faust" is the debut full-length studio album by German Krautrock/psychadelic/avant garde rock act Faust. The album was released through Polydor Records in late 1971. The members of Faust were brought together by leftist-journalist Uwe Nettelbeck (who alledgedly was also associated with the infamous Baader-Meinhof movement), who had been asked by Polydor Records to find a German band, who could rival some of the contemporary commercially successful British artists (needless to say they were not impressed by the outcome). The label provided the band and Uwe Nettelbeck (who acted as producer on the recording project) with enough money and time, for the band to spend most of 1971 writing and recording the album.

Faust's first album is one of the most psychedelic and experimental albums ever released, the sounds this band creates are not of this world! Faust sufficiently blends groundbreaking electronic effects and 60's psychedelia into one insane combination. The album packaging was just as weird as the music, the vinyl being clear and a sleeve with an x-ray hand on it. Many bands were experimenting with electronic sounds at the time, but Faust took it farther than anyone else, elevating the traditional psych/hippie-folk song to insane new levels.

As an album "Faust" usually has the reputation that it´s a very difficult and avant garde listening experience, and while that is certainly true to some extent, the sometimes crazy sounding experiments actually work well together and the music isn´t completely devoid of hooks either. The album for instance features several great psychadelic rock parts and to make a comparison I don´t find the music on this album much more inaccessible than the most experimental output by 60s Frank Zappa & The Mothers of Invention.

In addition to the more "regular" rock parts on the album, the music on "Faust" features lots of studio tricks like tape manipulations and experiments with electronic devices. The vocals on the album which are in English are rather unique. Sometimes almost chanting and other times reciting the lyrics. It sounds like complete madness at times but it´s ultimately very charming, only features 3 tracks: "Why don't you eat carrots", "Meadow Meal" and "Miss Fortune". The two former were featured on side 1 of the original LP and the latter was featured on side 2. The album is very short with it´s 31:24 minutes playing time but with music as extreme as this I think it´s a suitable length.

The sound production is hands down fantastic. All those sounds collages and tape tricks must have been a real challenge handling in the studio and keeping in mind that the album was recorded in 3 days, there is a time pressure factor here too that makes it an even more incredible achivement. The spontaneity and laid back approach to the recording process that these musicians had could have resulted in a terribly bad and sloppy end product, but as Faust were incredibly talented musicians, they could pull something as bold as this off with conviction. They also fully understood that avant garde rock has to have some degree of accessibility and some memorable parts to be entertaining to the listener and therefore this weird experiment works wonders.

Faust is arguably. arguably?. evidently and unabashedly!!. the most extravagant and multicolored band in the krautrock movement. But after the initial hesitation, cannot but admit publicly that their best recordings are essential in any good prog collection. This is, precisely, the case of their amazing debut album, which serves, most of all, as a manifesto of distorted hard rock, uncompromising psychedelia, radical pastiche, Dadaist humor and electronic avant-garde in a very cohesive progressive amalgam. The fact is that this musical offering preserves its inner myriad of sonic contrasts in a unitary whole. While not having the finesse of Can's musicians nor portraying the raw energy of ART or Guru Guru, the truth is that Sosna, Irmler, Wüsthoff, Peron & Diermaier together make up a very tight ensemble. Each one of the three pieces in the album's repertoire comprises an open field for diversity - two of them are 8+ minute long and the other, 16+. 'Why Don't You Eat Carrots?' starts with brutal slide guitar layers upon which samplers of The Rolling Stones' 'satisfaction' and The Beatles' 'All You Need is Love' appear; then, a semi- chamber grand piano section is accompanied by the sound of an angry man giving orders in an almost sick crazy way - go figure! The two main motifs that follow combine the dexterity of jazz-rock and the peculiar joy of circus fanfare, both of them seasoned by Zappaesque vocalizations and more slide guitar effects. I don't know how they managed to do it, but they did: this is an opus of musical aggression that bears no sign nor clear evidence of sheer aggressiveness. 'Meadow Meal' has two distinct parts: the first one is pure late 60s-early 70s psychedelia; the second one consists of eerie dual organ layers surrounded by the sound of rain. 'Miss Fortune' is the suite that fills the B- side of the vinyl edition, and it pretty much reiterates the band's penchant for complex psychedelic rock and unpredictable nonsense as exhibited in the previous two tracks. A specific note regarding this track: the acoustic guitar based coda bears a buoclic beuaty in its simplicity, but it is preveneted from becoming "romantic" by the presence of a double voiced soliloquy. If you're a listener whose aesthetic feel is in tune with Faust's demanding musical ideology, then this is a record that you will surely enjoy and may even find essential (as I personally do).

(Reviews by Cesar Inca and UMUR / ProgArchive)

If you find it, buy this album!

FAUST – The Faust Tapes (LP-1973)

Label: Virgin – VC 501

Format: Vinyl, LP, Album / Country: UK ( Released: 19 May 1973

Style: Krautrock, Experimental, Free Jazz

Sleeve design [Cover] – Uwe Nettelbeck

Liner Notes – B.D., Christian Lebrun, Ian MacDonald, John Peel, Léon Naje, Philippe Paringaux,S teve Peacock

Painting ["Crest"] – Bridget Riley

Photography By [Photograph] – Robert Horner

Matrix / Runout (Side A Runout stamped): VC 501 A-1U

Matrix / Runout (Side B Runout stamped): VC 501 B-1U

A - Side One ............................................................................ 23:34

B - Side Two ............................................................................ 20:10

Performer [Uncredited] – Gunther Wüsthoff, Hans Joachim Irmler, Jean-Hervé Peron, Rudolf Sosna, Werner Diermaier

Text panel at the top of the front cover:

"The music on this album, drawn from Faust's own library of private tapes, was recorded informally and not originally intended for release. However, since British interest in the group has been unusually great, it has been decided to make some of this unofficial material available to the public in this country. These tapes have been left exactly as they were recorded - frequently live - and no post-production work has been imposed on them. The group wish to make it clear that this is not to be regarded as their third album, but a bonus release - on sale at the current price of a single - to mark their signing with Virgin Records, for whom they will shortly be recording their next official album. The Faust Tapes reveals Faust at their most personal and spontaneous. It's a unique glimpse behind the scenes of a group which European and British critics have hailed as one of the most exciting and exploratory in the world. Virgin Records"

The rest of the front cover text is made out of press quotes from: Best, Rock & Folk, Sounds, Disc, Extra, Pop Music, and New Musical Express.

Black & white 'twins' Virgin labels indicate Side One and Side Two without any track titles, some parts were specified on later reissues. Musicians are uncredited.

The cover has a 'fluted spine' (pinched at both edges).

. "The Faust Tapes" is yet another Faust masterpiece in which their collage-oriented ideology meets a more robust and aggressive expression than in their debut album (which was, indeed, quite intense). Even the more conventionally pop sections and the calmer passages intrinsically bear that typical Faustian bizarre feel, since there's always that impending doom that signals at the possibility for an abrupt change to bring in some sort of insanity - you just can't stop keeping the whole picture in mind (either retrospectively or prospectively) while listening to a specific section. Let's check over what happens during the first 14 minutes: random piano chords on reverb - tribal drumming accompanied by a Zappaesque choral arrangement - an acoustic ballad that reminds the listener of Dylan and The Byrds - singers struggling to gradually reach their highest tone, which is followed by aleatory washes of piano, trumpet, guitar, harmonica, percussion and demented chanting - a half French/half English-sung rocker that states a compromise between The Rolling Stones and The Grateful Dead, with hints to Barrett-era Pink Floyd. All this and more in a most bizarre (at times ,verging on the intolerable) 44 minute pastiche! Once again, I find myself granting a very high rating for an album that I can't honestly recommend to all prog fans alike. While this album is patently designed to draw the unfriendly listener away (miles away, to be more accurate), that won't detract me from regarding it as essential in the history of prog rock, and of course, the history of krautrock. Well, if krautrock was in itself a world apart within the world of prog, Faust created their own world within the aforementioned world apart, and this album certainly epitomizes the most accomplished qualities of their hyper-subversive style. Once I've stated this conclusion, I hope I made myself clear about why I see myself obliged to give this album 4 stars (4 1/2 stars in my mind).

(Review by Cesar Inca / ProgArchive)

While the first Faust albums were definitive Krautrock statemernts, their collaboration (Dream Syndicate) with a minimalist obviously perverted their spirit and Tapes is the real result: one of the very first RIO album (avant-la-lettre, though) that boggles the mind, but can also disturb unaware/unwarned listeners. This often-phantasmagoric soundscape is one of its decade's most influential albums, obviously heard by the Henry Cows and others. Rather hard to describe, the music often is just "bruitages" and montages of almost-industrial noises, but has some rather more accessible (almost easy) moments and some downright strange/disturbing "tunes", rendering the whole mix quite unnerving. Quite a strange but sometimes-wonderful trip. Bassist Jean-Hervé Peron to the French-sung finale the album is over. Incredibly madness.

Are you going to press replay immediately?

(Review by Sean Trane)

This concrete Adonis is built on hairpin turns through already strange, experimental, diverse, and unique musics and sounds and even some peppered in studio talks for that "In My Time of Dying" feel two years early. I can hear free jazz, noise, and proto- industrial alongside the snippets of more familiar krautrock kraziness. A happy surprise comes in the form of some pieces being long, providing some wonderful extended jams that are also respites from the insanity. This is more than just a representation of track skipping/channel hopping in intentional musical form, this is "Breathless" in album form. This defies category; it isn't even really concrete as we'd generally identify it; just mumble 'avant garde' and run. Excellent music in a groin smashing format. For the progheads who like surprises. I need to lie down.

(Review by LearsFool)

If you find it, buy this album!