Tracks Side 1:

1. Phallus Dei (20:49)

Tracks Side 2:

1. Kanaan (4:03)

2. Dem Guten, Schönen, Wahren (6:14)

3. Luzifers Ghilom (8:35)

4. Henriette Krötenschwanz (2:03)

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Out of the future ashes of the Munich-based hippy commune of Amon Düül, came this unit that seemed more serious about making music, other than as a social and political statement, Amon Düül II rose like a phoenix and built around Karrer (guitar), Rogner (bass) and Serfas (drums) and reputation growing, signed a deal with Liberty records and recrding their debut album in early 69, with two more members: drummer Leopold (from the other Amon Düül group) and bassist Anderson (pushing Rogner onto the keyboard stool). With two star guests, Burchard (Embryo, crosstown rivals) Trutzsch (Popol Vuh, also from the city), produced by Passport's Kübler, and graced with an astonishing psyched-out tree-and-sky artwork (courtesy of KB man Rogner), Phallus Dei is a landmark in Krautrock, also sung in a sort of medieval Upper German

Their sound is somewhat the full-on revolutionary psych of the sister group Amon Düül and much more accomplished psych groups like Floyd and the jammy Jefferson Airplane, yet having that typical early Krautrock raw sound of Can's Monster Movie. Opening the album on an Indian sitar and Burchard's vibes, the short Kanaan is an invitation to glide some 10 miles into the stratosphere on grass smoked-filled clouds for a 4-minutes short flight. The much slower strating Dem Guten Schonen Wahren turns quickly into a Floyd-like freak out (Saucerful-era) with its repetitive riff (but not too much, either) with some silly Zappa-like vocals and other artefacts like a semblance of Gregorian choirs and tons of others. Luzifers Gholom is the centrepiece of this first side, an ever-changing piece filled with an Eastern-sounding horn disappearing to let drum and bongo duet rhythming the track to chitter-chatter-like scat vocals and wild stop/go riffs, decadent ambiance and grass fumes floating about. The Henriette piece is a martial beat with semi-operatic vocals from Renate, but simply to short (2 mins) to make an impact on the album.

Of course, the album's tour de force is the title track, filling the flipside with plenty of freaky spacey sounds filling the first few minutes, much reminiscent of early Tangerine Dream, Popol Vuh, Cluster or Kraftwerk, but past this lengthy improvised intro, Leopold (drums) and Karrer (fuzz guitar) pull the track out in open field under Andersson's pulsing and hypnotic bass (you can hear early Hawkwind in there). Later on, a weird sort of space whisper from Renate (not unlike Gilly Smyth's whims) over a Floyd-like organ, a lengthy percussion duet filled with weird sounds, including the eastern-sounding kazoo/oboe, still later Karrer's un-tuned violin, an hypnotic slow guitar until a slow ending, are the successive features of this monster track. Definitely one of Amon Düül II's crowning achievement.

With Phallus Dei (the first of the Liberty Records era trilogy) is a much more accomplished album than their sister group Amon Düül could ever dream of. Later that year, the group would have one of their gig filmed while touring for this album and the film gave Amon Düül II plays Phallus Dei (now on DVD as well), but it is a still camera shooting part of the group and is best forgotten. Also that year, they would compose the soundtrack of a film San Domingo, for which they would receive a national award prize. So, while still a very inexperienced group (some members were still learning their instruments), Phallus Dei remains one of those historically essential albums in rock's history. (Sean Trane/progarchives.com)
 
Chris Karrer - Violin, 12-String Guitar, Soprano Saxophone, Vocals
John Weinzierl - 12-String Bass, Guitar
Renate Knaup - Vocals, Tambourine
Dave Anderson - Bass
Christian Borchard - Vibraphone
Falk-Ulrich Rogner - Organ, Synthesizer
Shrat - Bongos, Violin, Vocals
Holger Trülzsch -Turkish Drums
Dieter Serfas - Drums, Electric Cymbal
Peter Leopold - Drums, Percussion, Piano

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