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POPOL VUH
Agape-Agape (SPV Recordings)
Reviewed by Sherman Wick
The term "krautrock" was coined in England to describe the wide-ranging convergence of music that combined psychedelic, progressive, minimalist, and newly developing electronic sounds in the German-speaking nations of Europe. The term was not, however, widely accepted by the exemplars of this music: Can, Neu!, Kraftwerk, Amon Duul, Ash Ra Tempel, Cluster, Faust, and Popol Vuh. The bands, instead, preferred the term Kosmische Musik, or "cosmic music." The emphasis was on space, like the more recent term, "space rock." Popol Vuh was about more than being out-there, as in psychedelically in space. And the group, primarily pianist Florian Fricke, outlived all of their musical brethren. Popol Vuh was about the cosmos as philosophy and something to be contemplated - hence, they addressed issues of religion frequently in their music.
Agape-Agape's (originally released in 1983) musical themes deal with the apocalypse, but in a brighter manner than their End of Days record, Letzte Tage letzte Nachte (1976). The record's title is take from the term in early Christianity for a feast commemorating the Last Supper, and the distinct form of love that came from this event: brotherly love. This is the lyrical theme of the album, which, for the most part, like previous Popol Vuh records, is a collection of instrumental songs and includes simple repeated chants as vocals. The record begins with the eerie "Hand in Hand," a small group chant that is eventually accompanied by tribal drums. It might not sound like much, but the complex melody sets the tone for the entire record. It is followed by "They Danced, They Laughed, As of Old," a song written by Daniel Fischelscher and featuring his interesting and inventive guitar playing. Fischelscher has the touch of Richard Thompson combined with the trippy otherworldliness of a mystical spaceman. His talent warrants much greater attention.
The entirety of the record takes a similarly effective sonic m.o. "Behold, the Drover Summonds" creates a mood of foreboding simply by strumming guitar, and in slow meter playing a guitar along with the tribal drumbeat. The mood is brought home by the ethereal chanting of Renate Knaup (formerly of Amon Duul II). "Agape-Agape" is an upbeat, feaster song with the same instrumentation that makes the listener feel as if the end is truly nigh. And the final track on the original record, "Why Do I Still Sleep," brings resolution to the record, as a mellifluous minimalist distorted piano line is repeated in the forefront awash in a swirling guitar riff.
Later works by Popol Vuh were, at times, criticized as being New Age folderol. This is like throwing the baby out with the bath water due to Fricke's thematic concern with religion. The music is boldly innovative and creative, but definitely not pseudo-spiritual New Age drivel.
© 2005 - Sherman Wick