Yeti [Remaster]

Performer: Amon Düül
Distributor: Ryko Distribution

Notes: Like its namesake mythical creature, Amon Duul II's YETI is a gigantic, threatening, and elusive beast that will easily trample listeners underfoot. Following up the epic PHALLUS DEI, YETI finds the Krautrock offshoot codifying their terrifyingly feral improvisations across four album sides of loud, psychedelic excess and dotting the fried landscape with a loose songcraft. "Soap Shop Rock," the four-part album opener, features droning organ, grilled violin, the distorted guitar tandem of Chris Karrer and John Weinzierl, and the yowling arias of Miss Renate Knaup fighting for space, while "Cerebus" loosens the band's more acoustic and Eastern yearnings. The entire album remains one of Krautrock's heavy masterpieces, but above the froth looms "Archangels Thunderbird," an anthem of demented catchiness for the ages.

Spin (9/01, p.134) - Included in Spin's "5 Essential Krautrock Records" - "...A bluesless Led Zep. This sprawling 1970 masterwork is half ultra-heavy psychedelic riffology, half tender, rambling improv." Q (Magazine) (p.141) - "[A] double album brimming with ideas and influences from free jazz to Pink Floyd, occasionally endowed with a hard-rock punch..." Mojo (Publisher) (p.153) - "[T]hey stretch out with trippy improvisations featuring walls of feedback and largely intuitive time-changes."

Best understood as a single concept split into two actual ensembles--Amon Duul I and Amon Duul II--with a shared origin and vision, Amon Duul is arguably the quintessential example of the style of music known as Krautrock. Born out of Germany's hippie art scene of the late 1960s, the Amon Duul name had divided into two separate entities by 1969, with the original band choosing a more free-form, improvisational approach to music making, while its sequel (and often contemporary) chose a more rigorous, technically adept progressive sound. Both acts went through various line-up changes over the subsequent decades, continuing to perform into the new millennium and benefiting greatly from the resurgent interest in German avant-garde music that took place in the late 1990s.

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