|Popol Vuh Discography Run|
"Florian was and remains an important forerunner of contemporary ethnic and religious music. He chose electronic music and his big Moog to free himself from the restraints of traditional music, but soon discovered that he didn't get a lot out of it and opted for the acoustic path instead. Here, he went on to create a new world, which Werner Herzog loves so much, transforming the thought patterns of electronic music into the language of acoustic ethno music." Klaus Schulze
1970 | 4.0
Their debut is a very experimental electronic album with lots of spacy electronic effects. Full of Moog synths, Affenstunde has the spacy electronic approach that often dispenses with traditional song structure and form.
In den Garten Pharaos
1971 | 4.5
This was the end of Popol Vuh's short-lived electronic phase. Regarded as the better of the two, Florian Fricke expanded his keyboard set beyond the Moog synth to also include organ, electric piano and some ethnic percussion.
1972 | 5.0
This album has grown as one of the most affecting and memorable recordings for me. The most spiritual thanks to the guitar weaving delicate and hypnotic arabesques and of Djong Yun celestial vocals, helped by quiet meditative Fricke's piano and peaceful oboe.
Einsjäger und Siebenjäger
1974 | 4.5
Overall more melodic than most others Popol vuh albums, the music builds on drum and piano, shiny and expressive guitar solos. Some pieces are in a contemplative's vein thanks to quiet piano parts and Djung Yun's help on vocals.
1974 | 3.5
There's some beautiful melodies here, but Florian Fricke vocals don't add much to the music.
Das Hohelied Salomos
1974 | 4.5
Compositions here are short and dense, some moments are energetic but most pieces are in a meditative vein, reaching a perfect balance and manage to do a perfect synthesis of the eastern influences and spiritual inspiration.
1975 | 4.0
Although only a couple of tracks were actually used on the film, Aguirre offers a blend of repetitive and contemplative music, cerebral and lyrical, always inspired and original.
Letzte Tage Letzte Nachte
1976 | 4.0
As close as Popol Vuh gets to straightforward rock music. The sound is dominated by Daniel Fichelschers electric guitar, and there are none of the ambient pieces that they did so well on former albums.
Coeur De Verre
1977 | --
Bruder Des Schattens Sohne Des Lichts
1978 | 4.0
The title track is absolutely incredible and hypnotic, and makes this album worth listening to.
1978 | 4.5
Not exactly the soundtrack of Herzog's Nosferatu. It contains some extracts from the movie score but for me it's simply a great compilation of previous and unreleased works. The blending of the various stringed instruments and horns, along with the vocals, creates a very relaxing atmosphere, as well as a dark one for the fall seasons.
Die Nacht Der Seele: Tantric Songs
1979 | 4.0
This particular album has an acoustic variety with oboe, piano, sitar, percussion and acoustic guitar leading the way.
Sei Still Wisse Ich Bin
1981 | 3.0
It starts great with songs later used on film Fitzcarraldo, but then it gets less and less interesting. It's certainly an interesting listen but not that great.
Agape – Agape
1983 | 3.5
Another good recording from Florian although I did find this one less inspiring than most of his others. Not a lot of variation in sound here.
Spirit of Peace
1986 | 3.5
The band tried to keep the traditional sound and give it a more light touch.
1987 | 2.5
The opening and closing tracks are great, sounding like the logical development of PV's choral phase. Unfortunately, the rest is not that great. Fricke returns to electronics, but those are monotous and bland 80's synths.
For You And Me
1991 | 2.0
Fricke starts here to blend some world music and mainstream new age nonsense into a more commercial sound and the results are not good. Except for parts 3 and 4 of "OM Mani Padme Hum", the album is very bland and it feels very uninspired.
1995 | 2.0
The album from the last phase of Popol Vuh. It's a mix between worldbeat and trance. Being mostly electronic, none of the krautrock and ambient qualities are present here.
1997 | 1.5
It's the first and last time PV changed radically their sound to a very accessible, soft mainstream one. It consists of boring ethnic soundscapes turned into a very 90's electronic style. This album accomplishes to be worst than City Raga.
Messa di Orfeo
1999 | --