Plamp, a Swiss band only named after the first names of the musicians involved, came from the city of Chur and were around since the mid-70's as a quintet, Mario Giovanoli played flute and saxophone, Peter Toenz was on electric guitar, Peter Streiff on Hammond organ and piano, Louis Streiff on drums and Andrea Thoeny on bass, while all members contributed on the vocal parts.For their only release ''Und ueberhaupt …'', pressed privately and released sometime during year 1978, they were joined by Fortunat Froelich on cello and piano and Marc Keller on acoustic guitars. Plamp used the nearby Kraut Rock qualities in a lighter version to produce their own personal sound, obviously influenced by Folk, Jazz and Psychedelic Rock, and it's really amazing why the band remained so obscure, they were propably at the wrong place at the wrong time.

Four-part double CD series - comprehensive and first cross-label documentation of the only relevant German contribution to the international phenomenon of rock music.

OST-KRAUT: A two-volume double CD series – the long overdue complement to our KRAUT! edition – comprehensively documents the history of progressive rock in the GDR for the first time with studio and live recordings!

Rare psych-prog from Switzerland. Already in 1974, Lise Schlatt released their first studio album. However, they did not make the breakthrough with it.

Compared to their previous recordings, the hymn-like ‘Hosianna Mantra’ – a milestone record within their career – saw Popol Vuh taking the next step with ‘Seligpreisung’. A new musical element entered the mix: rock. No coincidence, as Daniel Fichelscher from Amon Düül II made his first appearance here, playing guitars and drums. Fichelscher was to become an important companion for Fricke securing the rock element as an important and explicit ingredient of their music in the coming years. The music on ‘Seligpreisung’ evokes that typical and mysterious brilliance of Popol Vuh of being able to sound non-Western while using mostly Western instruments. While Daniel Fichelscher and Conny Veit gave rock impulses, Florian Fricke and Robert Eliscu approached things from the classical side. Robert Eliscu played a lyrical oboe; his intricate duets with Fricke on the grand piano defined the meditative side of the tracks on the album. Due to the temporary absence of vocalist Djong Yun, all vocal duties fell to Florian Fricke this time. The incredibly beautiful bonus track “Be In Love” is an essential addition. It is the A-side of a now hard to find single, recorded just before the album “Seligpreisung”, with vocals by Djong Yun.

After Arthur Brown briefly ascended to stardom via the Crazy World of Arthur Brown's only album, it was a long three-year gap until the release of the next LP bearing his lead vocals, Kingdom Come's Galactic Zoo Dossier. (Although the material on Brown's Strangelands had been recorded in the interim, that record wasn't released until the late '80s.) And if not for Brown's immediately recognizable vocal histrionics, it could be the work of an entirely different artist. The Crazy World of Arthur Brown's exhilaratingly jazzy, madcap psychedelia had been jettisoned for far darker excursions into mordant early progressive rock. While there was still a carnivalesque classical-jazz-rock organ base to the arrangements, guitar also took a prominent role, and the melodies were far gloomier and more obtuse.