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). Other important members during the next two decades included Djong Yun, Renate Knaup, Conny Veit, Daniel Fichelscher, Klaus Wiese and Robert Eliscu. 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". In the Quiché language Popol Vuh translates as: "Book of the Community", "Book of Counsel", or more literally as "Book of the People".
Today, Popol Vuh's best-reviewed works are In den Gärten Pharaos (1971) and Hosianna Mantra (1972).
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 favor 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 all kinds of instruments: wind and strings, electric and acoustic alike, combined to convey a mystical aura that made their music spiritual and introspective.
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