Popol Vuh (band)

Popol Vuh
Origin Munich, Germany
Genres Krautrock, progressive rock, psychedelic rock, new-age, ambient, electronic
Years active 1969–2001
Labels Liberty, Pilz, United Artists, Kosmische Kuriere, Brain, Innovative Communications
Associated acts Amon Düül II
Past members Florian Fricke
Holger Trülzsch
Djong Yun
Conny Veit
Daniel Fichelscher
Klaus Wiese
Bob Eliscu
Frank Fiedler
Renate Knaup
Bettina Fricke
Alois Gromer
Ted De Jong
Guido Hieronymus
Maya Rose

Popol Vuh were a German electronic avant-garde band founded by pianist and keyboardist Florian Fricke in 1969 together with Holger Trülzsch (percussion), Frank Fiedler (recording engineer and technical assistance) and Bettina Fricke (tablas and production).[1] Other important members during the next two decades included Djong Yun, Renate Knaup, Conny Veit, Daniel Fichelscher, Klaus Wiese and Robert Eliscu.[2] The band took its name from the Popol Vuh, a manuscript containing the mythology of the Post-Classic Quiché Maya people of highland Guatemala and southeast Mexico; the name translates roughly as "meeting place".[1] In the Quiché language Popol Vuh translates as: "Book of the Community", "Book of Counsel", or more literally as "Book of the People".[3]

Today, Popol Vuh's best-reviewed works are In den Gärten Pharaos (1971) and Hosianna Mantra (1972).[4]

History

The first album, Affenstunde, released in 1970, can be regarded as one of the earliest space music works, featuring the then new sounds of the Moog synthesizer together with ethnic percussion. This continued for only one more album, In den Gärten Pharaos, and material later to be released on the soundtrack to Aguirre, the Wrath of God, before Fricke largely abandoned electronic instruments in favour of piano-led compositions from 1972's Hosianna Mantra forward. This album also marked the start of exploring overtly religious themes rather than a more generally spiritual feeling within the music. The group evolved to include a range of instruments: wind and strings, electric and acoustic alike, combined to convey a mystical aura that made their music spiritual and introspective.

Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa, and pre-Columbian America. With music sometimes described as "ethereal", they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary world music, as well as of new age and ambient.

The band contributed soundtracks to the films of Werner Herzog, including the aforementioned Aguirre, the Wrath of God, as well as Nosferatu, Fitzcarraldo, Cobra Verde, Heart of Glass and The Enigma of Kaspar Hauser, in which Fricke appeared.

Florian Fricke died in Munich on 29 December 2001 and the group disbanded.

In October 2003 Klaus Schulze wrote:

"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."[5]

Discography

Florian Fricke solo albums

Compilations

Note: there are two distinct issues of the compilation Best of Popol Vuh – Werner Herzog. These are distinct from The Best Soundtracks from Werner Herzog Films, though the selections of tracks overlap.

Unauthorized album

References

  1. 1 2 Popol Vuh Biography, Booklet to CD issue of "Popol Vuh Revisted & Remixed, 1970-1999", SPV recordings, 2011
  2. ↑ Michael Fuchs-Gambock, Gerhard Augustin: Booklet to CD re-issue of "Hosianna Mantra", SPV recordings, 2004
  3. ↑ Link text, additional text.
  4. ↑ "Acclaimed Music - Popol Vuh". Acclaimed Music. Retrieved December 22, 2016.
  5. ↑ Klaus Schulze, Oldau, October 7, 2003: Booklet to CD re-issue of "Hosianna Mantra", SPV recordings, 2004
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