Faust Albums (14)
What The Critics Say
This is definitely not the kind of collaboration you'd expect, and the result defies expectations. It could have been an awful clash of freaked-out Krautrock with rhymes and scratch. But Derbe Respect, Alder is actually much more, and an excellent case of the end result exceeding the sum of its parts. Of course, the strength of the music is not that surprising. After all, you have in the blue corner a highly creative hip-hop trio from New England, known for its mind-bending studio trickery and refusal to be pigeonholed. And in the red corner: the mighty Faust, who have been constantly redefining (and recycling) themselves. This album was possible only thanks to both parties' open-mindedness and willingness to explore new grounds together, instead of simply meeting each other halfway. Drums whack with insistence; keyboards and electronic textures fill the landscape with windy, filtered sounds; basslines slip under your skin; on-the-fly collages and scratching blur the distinction between real-time instruments and the manipulation of prerecorded sources; finally, the vocals of Dälek and Oktopus add a sense of urgency to the music. Their voices are embedded in the music, as if they were just another layer of noise guitar -- not more or less significant than the other layers. The slightly lengthy opener, "Imagine What We Started," makes for an uneven start, but "Hungry for Now" and "Remnants," two short, punchy songs, propel the album into orbit. But the highlights are found in the more experimental tracks, like "Dead Lies," dense, noisy, and complex, or "Bullets Need Violence." The closer, "T-Electronique," features a looped beat, some of the set's best rhymes, and Hans Joachim Irmler's ferocious processed organ. Derbe Respect, Alder is one of the most surprising albums of 2004 and a highly successful collaboration. Highly recommended. ~ François Couture, All Music Guide
What The Critics Say
A collection of Ravvivando remixes featuring the talents of Trillion, Sofa Surfers, Howie B., and the Residents, among others, this ambient/techno take on latter-day Krautrock is a splendid spin. The groovy "T-Électronique" gets the most attention as three different artists (Mathias Schaffhauser, Sofa Surfers, the Residents) deconstruct the track with wildly different yet equally interesting results. Other highlights include Dax & Pieper's raucous take on the gigantic grind of "Four Plus Seven Means Eleven." Throughout each of its 13 tracks, Freispiel's regurgitated metronome funk never stiffens. Like their inspiration, the artists collected make imaginative use of their material, blending in their own modern dialects with the Faustian-filtered art rock to fine effect. It's rare for a band closing in on its 30th anniversary to produce work as compelling as Ravvivando, and the legions of Faust followers surely took notice. This broad yet respectful remix collection is a testament not only to the group's historic influence, but also its creative vigor. ~ Vincent Jeffries, All Music Guide
What The Critics Say
With touring and recording becoming something of a regular occurrence in the '90s, Faust were actually resembling a proper band. Although the group had been somewhat active since its semi-retirement in the mid-'70s, this album represented something of a mini-comeback on the heels of a concurrent international tour for these Krautrock legends as founding members Zappi Diermaier and Hans-Joachim Irmler carried the torch. Ravvivando is full of some of the best Velvet Underground minimalist-noise-rush this side of My Bloody Valentine, even if you miss the complete audio-visual aspect of their insane pyrotechnic shows (see The Faust Concerts). Interestingly, there are brief parodies/tributes to their fellow Germans Amon Duul ("Take Care"), Cluster ("Ein Neurer Tag"), and Neu! "T-Electronique" -- perhaps not surprising from a band that once self-consciously called a song "Krautrock." With the amusing carnival-like "Dr' Hansl," the monster-movie blues of "Livin' Toyko," the eerie, chanted "Apokalpyse," and the anthemic, spiritual "Du Weibt Schon," this represents something of a new twist in their career. It has more to do with the collage quality of Rien (1995) than the wonderfully goofy IV or their early tape experiments. An intriguing phase for an always unpredictable group. ~ Jason Gross, All Music Guide
'Faust Wakes Nosferatu'
Release Date 2/26/1998
Tracks 6
Label Think Progressive
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What The Critics Say
Faust Wakes Nosferatu was composed as a sort of companion piece to the classic vampire film Nosferatu, and Faust's music runs the gamut from delicate, ambient minimalism to cacophonous rock passages. ~ Steve Huey, All Music Guide
What The Critics Say
Faust's comeback album You Know FaUSt is a surprisingly vital return, finding the group at the wild, recklessly experimental peak of The Faust Tapes and Faust IV. Largely shedding the blistering musique concrete of their reunion concerts, the band concentrates on creating mainly instrumental soundscapes of synthesizers, organs, horns, droning guitars and pulsating rhythms. While the sound isn't as revolutionary as it once was, it is undeniably more accomplished -- and frequently just as exciting -- as their earlier recordings. ~ Stephen Thomas Erlewine, All Music Guide
'Faust Concerts, Vol. 2: Live in London, 1992'
Release Date 6/11/1996
Tracks 11
Label Table of the Elements
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'Faust Concerts, Vol. 1: Live in Hamburg, 1990'
Release Date 5/15/1996
Tracks 9
Label Table of the Elements
See Album Tracklist and Review
What The Critics Say
It took 20 years to get the mysterious Faust back in the studio, and Rien was the baffling result. With only two members of the original group left, the sounds on Rien owe more to their impromptu, anarchic, industrial noise concerts in 1992 than any of their original work and should be taken on a different level as almost a different group. With the weight of nostalgic expectations against them, Faust did what they could to separate themselves from their past. The first track, for instance, is pure silence; the second is mostly feedback, with segues into environmental sounds of a cold (presumably) windy day, children playing in the background. Gone are the lyricism and melody, and even the prog-rock aesthetics of the original group. Only track five, a drum and drone with the lyric "listen to the fish," retains some of the early style. Producer Jim O'Rourke wisely refrains from copying Uwe Nettlebeck's work with the group but gives shape to Faust's sound. Older fans will be puzzled, newer ones will be interested. ~ Ted Mills, All Music Guide
