The sounds themselves might be considered cheap when used in another context, but like the legendary choir organ and the Moog, Fricke finds, against all odds a way to make the unusual pallet his own. I am tempted but I cannot believe they need remastering, as already stated the former versions already sound quite beautiful. This might explain why the album is possibly the least filmic of Fricke’s collaborations with Herzog.

Guided by the influence of Amon Düül II’s Daniel Fichelsher, who here replaced Conny Veit on guitar, it heralded a further move into rock which culminated with 1976’s Letze Tage – Letze Nächt. Although led by Fricke’s now unmistakable Moog, it is (somewhat surprisingly) Holger Trülzsch’s African and Anatolian-inspired patter that dominates the track. Complete your Popol Vuh collection. Really curious about the mastering as some of the previous releases on CD have been poorly mastered.

Fichelsher stuck with Popol Vuh (occasionally sporadically) until 1991’s For You And Me, and proved to be Fricke’s most long-standing collaborator. POPOL VUH - remember your login, general, and regional preferences Throughout the latter half of the '70s, Popol Vuh's fascination with global sounds and instruments continued. It’s interesting to know that the tracks are contemplations on an impending apocalypse (much like 1976’s Letzte Tage, Letzte Natchte) yet the album title itself translates to Love-Love. ‘LASS LOS’ Produced by Klaus Schulze and released on his own Innovative Communication label back in 1981, Sie still, wisse ICH BIN is one of Popol Vuh’s more polarizing records, and marks the beginning of a period many fans choose to ignore entirely.

For anyone not familiar with this music, try to listen to these releases as some of their music is so beautifull. I know, never play what you don’t have to sell… but this was, well… Princeton. Popol Vuh was a German Krautrock band founded by pianist and keyboardist Florian Fricke in 1970 together with Holger Trulzsch (percussion) and Frank Fiedler (electronics). Straightforward for Popol Vuh, it’s a shining example of Fricke’s jubilant mode, something that can often be forgotten when languishing in the odd soundscapes of his earlier output. After that I saw almost all Herzog films including Aguirre, Fitzcarraldo, Kaspar Hauser and Cobra Verde.
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While utilizing the unmistakable sound of the sitar, there is a distinct funereal quality that belies its influences. For many listeners, the polarizing record is still Popol Vuh’s finest hour, and certainly, forty-three years later, it still sounds disarmingly unique.
I got it a few years ago as I loved the films but had never really heard of them. These are the versions I have in my collection. Working on getting Amazon Australia on the widget, in the meantime here’s the link, LP4:     AGUIRRE (1975) – ORIGINAL SOUNDTRACK FOR THE WERNER HERZOG MOVIE “AGUIRRE”, LP5/LP6: NOSFERATU (1978) – ORIGINAL SOUNDTRACK FOR THE WERNER HERZOG MOVIE “NOSFERATU”, Einsjäger & Siebenjäger CD edition (digipak). It is one of Fricke’s most recognizable themes, and has made its way into consciousness slowly and surely, sitting apart from Popol Vuh’s early-70s synth experiments, mid-70s rock and later missteps with surprising clarity. Fricke defended this in a predictably cryptic manner, saying “the special music for Coeur de Verre is Popol Vuh, but sometimes he (Herzog) needs music from Richard Wagner. That was a few years ago, and it’s not like I’m all caught up listening to all the music I already own (I don’t think that’s possible) but I do believe the time is right to explore this band with a little more dedication. (HERZ AUS GLAS, 1977), Like Aguirre before it, Herz aus Glas (or Coeur de Verre, depending on which edition you have) contained very little music used in Werner Herzog’s film of the same name, or vice versa.

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