Last Podcast On The Left - No Dogs in Space: An Introduction to Krautrock / Amon Düül II Pt I

Episode Date: September 7, 2023

No Dogs is back to continue your musical journey through the vast, winding history of Experimental Rock. This time embarking on a brand new series with the intention to shed some light on an often misunderstood side of the experimental rock world - Krautrock! Beginning first with a band formed out of a collective of musicians who met as members of a West German commune during the late 1960s, and who would go on to, maybe more so than anyone, define the words "experimental rock"... It's time for the one and only, Amon Düül II.Taking us out is Rocket - Normal to MeAs always, Follow Marcus on Spotify to listen to all of the songs heard in this episode.Also be sure to check out Marcus & Carolina 's DJ set! Saturday - Sept. 9th 2023 at Footsies Bar (2640 N Figueroa St, Los Angeles, California), along with James Spooner, where they'll be spinning all kinds of punk music on vinyl from 5-10pm!

Music No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Rowland start. How do you do a rolling start? Do a rolling start by somebody says something wacky like, oh my God, I got too many cockroaches in my elbows. What? That is a sudden halt. Okay, we're going to talk about something really important. Okay, yeah. It's called, it's supposedly called crowd rock. Supposedly.

But that's, some people don't like that. I can understand. The guitar, guitar, a of course. I totally I see that. So so we're trying to come up with other names. Like like a Deutsch Rock. Deutsch Iraq. That sounds cool. Cosmish music. Well, Cosmish is a it's a subgenre of crowd rock. Cosmish, motoree. Whatever. That's good. Jamatzus. Jamatzus also good. Jamatzus being, you know, the things with the letters. What do you call that? acronym. That's right. acronym of German experimental.

Wait. Music. Oh, yeah. Jamatzus. All right. German experimental music of the 60s and 70s. So there we go. Or we'll just call it crowd. We're just going to call it crowd rock. Welcome to No Dogs and Space. Ladies and gentlemen. My name is Marcus Parks. I'm Carolina. I'd all go and welcome to a massive, massive series that we've got planned. We're

going to take a deep dive into crowd rock. Of course, we're kind of in the middle of an experimental season right now. Experimental ish. The experimental season is in itself experimental. Yes. But we're going to be covering a ton of bands that all fall under the umbrella of crowd rock. So we're going to be getting deep into Deutschland. So let's begin. Now, no matter where you're from, what your background of music is or how old you are, the music that falls under the umbrella known for better or worse as crowd rock is just plain odd. It is from over here. It's one of the, you know, but we've done a semester of this basically. And it's, it gets cool when you get into it. Yeah, it's an acquired taste for some. And as a genre, it can feel impenetrable, especially when you consider that crowd rock isn't a genre

at all. Really, it's more of a loose collection of German experimental bands active in the 60s and 70s. Jemotsis. But another way calling crowd rock a genre of music is like calling cheese a genre of milk. That makes sense. Yeah. That makes sense. I've got it makes sense to you. But with this series, we want to remove the impenetrability of crowd rock and cordially invite you to join that conversation. You've heard time and again at your local record store, no, a versus can, mooney versus Suzuki, amen, dual one versus amen, dual two.

Actually, the correct pronunciation is almond. Fuck, okay. Yeah. I'm from now on, almond, dual. That's the last time I'm gonna do that. Okay. In fact, we wanna give you enough knowledge where you can decide for yourself

whether the guy making the argument that almond oil one is better than almond oil two is being sincere or just contrarian. Or maybe he was an almond oil one. Ha, ha, ha, over all though. Crout Rock really isn't about genres or styles or even scenes. Crout Rock is about the kids genres or styles or even scenes.

Crout Rock is about the kids who made the music, and when something is about the kids, it's almost always going to have its roots in rebellion. But Crout Rock's rebellion is unlike any in modern music history. See most musical movements are rebellion against their present. And while Crout Rock certainly was that, it was also a rebellion against its country's fairly recent past. Specifically, these kids were rebelling against the horrific legacy of Adolf Hitler and the Nazi party. Now, this rebellion went far beyond mere historical context. Many of the key members of the crowd rock movement were the children of people who would either

been active Nazis or at the very least had tolerated the third Reich. That's all to say that recent German culture for these kids had been tainted and they needed a German culture all their own. They needed something that not only had nothing to do with the Nazis, but nothing to do with the British invasion happening at the time or what the Americans were doing in California. That's right. represent, represent. Sorry, not this bit in my head all day, all day.

From the German youth's perspective, they were at a cultural zero point. And that's a place where things always get interesting. Using little more than rock creativity, the musicians of the Kratrock movement tapped into their own German identities and points of view. Because after all, Germany is a country of innovators. Outside of, you know, 1933 to 1945.

Yes, but besides that, Germans have always had a rich culture of art, literature, and science. But above all, Germans know how to fucking make music. Damn straight. But Beethoven, Brahms, Handel Stra Strauss, Vogner, Mozart, fucking Hans Zimmer. Yes. Each and every one of these guys were German or Austrian. And in the 20th century, that compositional innovation

that began in the classical era continued to evolve. See, even before the crowd rock movement began, composers in Germany, like Carl Heinz Stockhausen, were on the cutting edge of early electronic music. And while this stuff is to say the least, a challenging listen, it's, it's like children screaming. Half of his songs are children screaming. It freaked me out, by the way, just be careful. Yeah. But it's cool. It's important. Himmin is a masterpiece. I love crawl hindstock houses. Children's gravy.

It's nonetheless another musical milestone. And then finally came the bands. Can craft work. Fouls. I'm in dual two, Tangerine dream, cluster, no, incredibly influential each and every one without a mandool to you might not have slayer. No cluster, no boeian Berlin. And most of all, if you don't have craftwork, then the entirety of 20th century music history changes, because saying craftwork is influential to the music we know and love is like saying oxygen

is influential to human life. In other words, despite or perhaps because of their experimental nature, the bands that make up the Krautrock movement are secretly some of the most important bands in modern history. 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc

1 tbc 1 tbc 1 tbc 1 tbc 1 tbc 1 tbc I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the

I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go back to the I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach

I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach I'm gonna go to the beach Hey you, you're losing, you're losing, you're losing, you're losing, you're becoming For your red hair's burning

Yellow jokes come out of your mind It's a rainy day It's a rainy day Sunshine girl It's a rainy day Sunshine baby It's a rainy day Sunshine baby It's a rainy day

Sunshine girl Oh my god, you guys are in for so many treats. Yeah. It's going to be a treat extravaganza. It's like a bunch of little dogs and we got a whole pocket full of treats for Yeah. It's going to be a treat extravaganza. You guys are like a bunch of little dogs. We got a whole pocket full of treats for you. Yes. I agree. I'm sorry. It's just this treat analogies. We're the Georgie stereotype us, but you're right.

You're right. This is going to be really fun. This is going to be crazy. This is, of course, going to be experimental. We're going to figure this out as we go along. Yeah. We definitely are. Now amongst the kids that were coming of age in the 1960s, the Germans were unique in the Western world. See at the end of World War II, the Americans and the British came out as either heroes

or studies encourage. The rest of Western Europe, meanwhile, ended up somewhere around the middle when it came to their international reputations, save for maybe Italy, who exited the war considerably lower. Yes, they lost. That's what we're saying, because they were fascists. Yes. Germany, however, had become the worst villains in human history.

And some of the seminal figures in the KroTrock movement had actually been there to see it. Yeah, like Irman Schmidt, the keyboardist and co-founder of Cannes. He was born in Berlin in 1937 and he still has vivid memories of the allied bombings from when he was five. He even remembers the sky glowing with the red flames and watching the Deutsche Land Holly burn. Deutsche Land Holly. It's their Madison Square Garden. It's like at a big arena, big venue, right? Deutsche Land Holly it's there in Madison Square Garden. It's like at a big arena big venue. Docha and Holly

Yes, because little Irman Schmidt he was happy to see it burned down because the week before he was there for the circus And he hated the clowns in the show So at the time when he saw it burned down he thought the clowns must be melting He was smiling Yes, yes all of my plans are coming to free. And he was the, he was the oldest of the 1968 generation. That, you know, the 1968 generation being that everyone was in their teens or in their 20s during the year 1968. Makes sense. So many of them were born right before during or right after the war. So they

were a lot of them were too young to even remember. Just Erman is just weird with clowns. Well, that's a thing. If you were just some kid in Germany in the 60s born during or after the war, trying to make sense of life and your own country's history, you found yourself at a loss because you weren't really allowed to ask your father or grandfather what he'd done in the war. History classes stopped at World War One. You didn't say the name Adolf Hitler,

and the word Jew might as well not even exist. You don't say four or against. Because you don't want to get the answer. You don't hear that answer. At best, when asked about atrocities like the concentration camps, the mother or father of a German kid grown up in the 60s would say they simply didn't know anything about it. Even if those parents happen to live in places like Dockau, where the first concentration camp operated for 12 years, just 10 miles northwest of Munich. People within the village of Dockau would say, oh no, we didn't know what was going on over there. We just let them do this thing, we lived our life, and that was it.

But at worst, if you asked how Germany straight so far into the path of evil, you'd be told that Nazism was simply a good idea that hadily executed. Jesus. Really, while everyone was well aware of the existence of the Third Reich, all the kid in Germany had was a vague idea that your country had been responsible for atrocities beyond imagination between 1933 and 1945.

And nobody, not your parents, not your extended family, nor your teachers. None of them were willing to talk about it at any great length. No, many of them didn't, but that's probably because of shame or maybe they didn't feel any responsibility or they were in denial. Like you said, or maybe they were totally complicit, which is terrifying. And before we begin, I just want to say I am not a historian. Yeah. Well, it's very important to say I'm not, I don't have any affiliations with historians. I'm just a girl who read a couple books, watch the documentary or two, and I'm just doing my best to show how Germany directly reflected the experimental rock music scene of the 1960s

and 70s. That's it. You say you're a girl who reads books. I say you're a woman who knows your shit. Oh, that's really nice. Thank you. Oh, that's kind. But even so, even so, I do not have a degree in this whatsoever.

So consult your local historians. And if you want, you can trust, but always verify. I will read a list of sources at the end of each episode. So here we go. When World War II ended in 1945, most of the people of Germany lost their homes, their belongings, their infrastructure. So right off the bat, they were homeless and starving, and it was only going to get worse. Every major city was completely bombed, and people kind of just walked around in a days amongst the

rubble. All they thought about was how do we not starve? Not how do we reflect on what we just did. I mean, there was very little justice in Germany towards Nazis at least at first. And also you have to remember the mass suicides from the most complicit Nazis that ever not see. They were, they were all dead. They were all dead. Or so they say, Oh God, we're not getting into that. Not today. All right. And that's what they want you to believe. And from a coldly logical point of view, it did make sense to the allies now in control of Germany to take care of the most basic needs of the German people first, especially because both the Americans and the Soviets were looking for allies in the upcoming Cold War. That really fun thing that happens right afterwards.

Well, they knew, they already knew before World War II was over that the next big bads were going to be the Soviets and the horrible treatment of the Germans after World War I led directly to World War II and they all knew that. So I think they were trying to prevent that from happening again. Yes. So to rebuild Germany as fast as possible, the Americans figured out the Marshall Plan, which is basically financial aid to Germany and most of the countries in Western Europe. I believe that the Soviet Union said no.

Well, you know, but with this Marshall plan, people could eat and shop and live in a somewhat normal life. Only sugar was rationed, but you could go to a store and get like most anything you wanted. The people rose from starvation to a stable economy in just a few short years. They called this the economic miracle. Yeah, the even commercials even had a slogan that they would use. They would say, now back in stores, which was code for, you couldn't get this during the war.

The Nazis wouldn't let you have this. You can get it again. Yes, because they Germany had been rationing their food for like over a decade. Yeah. So now it's like, oh, I can get whatever I want. This is insane. Right? So even so, the allies also figured we need to do something about these Nazi in Germany.

Like, yeah, we got to feed them. We got to make sure that they're, you know, that they're going to survive, but there's still a lot of Nazis around. We need to start something called de-nazification, right? So the Americans, they tried this. God bless their hearts. We've a long-ass questionnaire. So everyone in Germany had to fill out a questionnaire in order to find out who was a Nazi party member or affiliate or innocent bystander or, you know, just following orders. What's the point of this? Because like, how are they going, like,

are they just gonna take everyone on faith? They're gonna put them into different categories for judgment. But how are they gonna, like, what are they cross referencing this against? If they already have the roles of all the fucking SS members, you just put it like, oh, that guy's in the SS, you just check it's even, he's in SS, before you make him a judge.

That was also a hard part. It's who judges this. And then we have to weigh in out the judge. It was a, you see, the thing is it wasn't feasible to judge every single person one by one to see if they are, they deserve to be part of German society, the new Germany Germany, two point. Yeah, it was and they, by the way, they tried the exact same thing in Japan and they couldn't do it there either. It's, it's hard. It's like trying to take pee out of a pool.

You just can't do it. All right. And also it didn't help that the Americans forced Germans to watch horrifying and detailed documentaries of the concentration camps and the treatment of the Jewish people. Like as if they would just suddenly snap out of fascism. Oh, yeah, exactly.

That's not gonna help. Billy Wilder, very famous director, you know, he made Sunset Boulevard. He said, the Germans are our allies of tomorrow and we cannot afford to antagonize them. Remember World War One that led to World War Two, just like what you said, I mean, he didn't say that. He said, I made Sunset Boulevard.

But anyway, it's a fabulous movie. It is. It is a fabulous movie. It is. It is a fabulous movie. And some like it, hot, it's very good. Yeah. Billy Walters great. So, okay. But the problem is there are still Nazis in the government and schools, particularly

in universities and in law offices. 90% of German lawyers were Nazis. That's not a lawyer, Joe. That's just true. They really did try to remove them. And then when they realized there weren't enough resources to have schools and universities, they were just like, I guess you should go back, but just promise. I don't know. What do we do? Just go, I should just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just just kind of just left the idea of denocification behind and they were just like, so do we move on now?

And move on, they did. Germany accepted the Coca-Cola brand of American capitalism and entertain themselves with, you know, high-month themes, which is like homeland films, like stuff that Harkens back to the old days of Germany. A lot of very, very conservative entertainment. They didn't want to take risks in any way whatsoever. And they entertain themselves with a type of music that's particularly German called Schlager. Now, Schlager is a little hard to pin down, but it basically takes pop music trends from America and the UK from beat music to country. If when disco hit big, you had disco slogger songs, they just kind of take it and they put it through a German blender and then serve it up to the German public.

Here's an example of a slogger from, I think this is the late 50s, mid to late 50s. Was ich erliebt habe, das kommt nur ich erleben. Ich bin ein Wagabunds. Selbst für die Fürsten sonst den grauen Alltag geben. Meine Welt ist wund. Meine Welt ist wund. And closely related to Schlocker was a genre known as Valk's music. Songs that were not quite folk and not quite schlager, but were usually updated German folk songs of yours. While Schlocker was usually pretty innocent, a lot of it was about cowboys for some reason.

In Germany? I got mountains. I know, no, there were a lot of songs about cowboys and a lot of songs about mom. Okay, long. But. I remember the good old days. Well, remember the good old days,

but that's the thing about Volks music. The Volks music tunes were full of Nazi dog whistles. In particular, there was a hit called Schwarz-Brown Us, the Hasselnuss, whose original version was a popular torch-tune amongst the Hitler use. Varots brams tīhāz unus, Švārots bramben aukien, benn aukien, Švārots bramus, main mēr ozain,

gerārots ovii. Oh, you're me, you're me, yeah. Oh, you're me, you're me, yeah. Oh, you're me, you're me, yeah. You know, I saw in an interview that Jell-O-Bee Offra said that before his shows, I think this was after Dead Kennedys that before his shows would start that, you know, how you do a playlist for the audience while they're waiting. He would play only hyno music, which is like this. The guy that you just heard. Yes. That was hyno.

Jell-O-Bee Offra said that before his shows, I think this was after Dead Kennedys, that before his shows would start, that, you know, how you do a playlist for the audience while they're waiting. Uh, he would play only hyno music, which is like this. The guy that you just heard. Yes. That was hyno. Jello B. Offer would play this for about 45 minutes before he would come on. And by then they were rabbit. Uh, typo negative would do the same thing. When I got to see them at Irving Plaza, they played the chicken dance for an hour and a half. Like just, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da,

da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da Now, if you were a teenager in Germany in the 60s and you were looking for culture outside of Schlager, you did have another choice at hand. The Americans were still an occupying force in Germany during this time and they had been imposing American culture and capitalism on the German people since day one of the occupation,

so you could always take a cue from them. It was also the option to emulate the British, whose songs were broadcast on pirate stations playing pre-recorded shows from ships on the North Sea. Eventually, the Germans who heard and dug those American and British songs formed cover bands, and they played shows in old bomb shelters across West Germany. And as we covered in our monk series, whole scenes in cities like Hamburg formed around bands that either covered British music or were themselves British. This is where the Beatles got their start. But for some Germans,

the idea of forever covering songs that were produced by the countries that occupied them that rang hollow. I think it was future days that put it as a cover band and a cover nation. In some young Germans, there was a burning, insatiable urge to create music that was specifically German, truly German, completely free, not just from the Nazis, but from the pop music coming from America and England as well. The exceptions when it came to rejecting foreign influence when it came to these kids were of course the more experimental bands that were themselves rejecting what was popular in their own countries. Namely, these kids loved the psychedelic sounds of

early Pink Floyd and the uncompromising individuality of Frank Zep. You watchin' my TV, checkin' out for news, I tell my eyeballs fail to see I mean to say that every day, it's just gonna know a lot of this And when it's gonna change my friend, does anybody's guess? So I'm watchin' and I'm waitin' Open call to this, you don't think I'd go with great? Every time I hear them sayin' that there's no way to do this That trouble comin' every day's no way today that trouble coming every day. No way to do it, that trouble coming every day.

Now, trouble every day is obviously political, but Krautrock itself was not political aside from notable exceptions like Flodik alone. But surrounding these bands was a political revolution that was just as filled with rage as any of the others happening in almost every Western country in 1968. But even though Krautrock was mostly a political, the revolutions in West Germany during the 1960s provided Krautrock with the framework and culture in which it could develop. The German youth were disgusted both by what the previous generation had done in their country's name and by the slaughter of the Vietnamese people being perpetrated at the

command of the American military. These kids saw the genocide of the people in Vietnam as the same as the genocide of the Jews in Germany just a a few decades earlier. And they were double pissed because these genocide were being staged from bases within Germany itself. Yeah, that's enough to get pissed off. That's, there was definitely friction, especially with the, what we call the 1968 generation, right? And that's why a lot of young people in the 60s started the slogan, don't trust anyone over 30. Why?

You know why, right? Because a lot of teenagers and 20 somethings of West Germany rebelled because they felt they had good reason to question authority and sometimes even completely reject it. A lot of these kids, especially what you call the counterculture kids, the artsy ones,

the musicians, the rockers, the stoneers, the activists, the beatniks, the hippies, the gamblers, is what they call them in Germany, kind of like hippies. Gamlers, double M, no beat there. Just so you know. G-Gamna. Yes, exactly. These kids would sometimes have long hair and would dress differently. And maybe they were a little unwashed.

Maybe a lot of them washed. So what? But it was their progressive opinions and their aesthetic that made them a target. That's what made them a target. Yeah, it wasn't just that they didn't wash their hair every Tuesday, but it didn't help. So here's a rundown of what was going on in West Germany in the 1960s with the youth population. In the summer of 1962, a small group of young street musicians and Munich were playing

to an audience of about 150 people, or 150 beatniks, as they were called in the daily newspaper. Sure, behind the times. Yes. The police intervened and threatened to arrest them for disturbing the peace and playing after 10.30 pm. This led to a scuffle between the cops and the beatnicks, one that escalated to a four day riot that involved up to 20,000 protesters on the street. My God. Hundreds of them were arrested. Many of them beaten by police on horseback.

This became known as the swabbing riots and the precursor to the growing unrest and eventual rebellion of the West German students against authority figures. This is what we call a watershed moment. It really is. This is figures. This is what we call a watershed moment. It really is. This is 1962. This is when shit starts ramping up because it wasn't just America that was a mess during the 60s. It was almost every Western country. Yes. And then the media started tying the Schwab in protest to communist activities, thus equating young people, beat next long hairs, whatever, anyone different or not clean cut as communist.

And this was a sort of like it wasn't exactly stochastic terrorism, but it was something very similar because to the older generation, a communist was the most evil thing that you could be because remember the number one enemy of the Nazis was the Soviet Union. So if the newspapers are saying like, oh yeah, all these kids out here, they're communists. It's basically telling you, you can do whatever you want to these people. These people are an existential threat. Violence is justified against these people. Absolutely. So things got much worse in 1966 when a new chancellor was named after a devastating

election that kept the conservative government in place. The Newt chancellor was court, Georg Kessinger, a politician who during the third Reich was directly connected to the Nazi party working for Joseph Gerveld in his ministry of propaganda. My God. Yeah. This led to outrage. Yeah, of course. By the youth, of course, the student movement in particular, their biggest organizations, the SDSDS is a socialist

German students they decried that they were living in a police state surrounded by Nazis. Well, I mean your Chancellor is a Nazi. Yes Like you you have look into his closet. There is a uniform Yeah, he didn't throw that one away. No just press the button and then the back will slide open and there's all this gear. It's like Nazi Batman. So this led to protest demonstration, sit-ins, beans, teachings, happenings. And they were all happening.

Happening. Okay, so these series of protests culminated. Okay, get ready into three big events. Yes. Okay, one, the first was the murder of West German student, Benno Onesorck. In 1967, this happened at a protest against a Shah of Iran who was visiting Berlin for a state dinner and a night at the opera. Yes.

So the German student movement considered the Shah a brutal dictator. So they went out and drove to protest him and his wife outside the opera house. So this protest turned violent, but got even worse on the second day when the chaos led to a policeman shooting an unarmed 26 year old Beno in the back of the head. Beno wasn't a member of the SDS and he had never been to a demonstration before this one. He left behind a wife, a pregnant wife, actually, with their first child. The policeman who fatally shot Beno was acquitted six months later. More things changed more than say the same. Two, the shooting of Rudy Duch get in April 1968.

That's the second big event. Yes. Rudy was a political activist and somewhat unofficial leader or spokesman for the, for the SDS, right? He was shot by Joseph Bachman, a house painter who said he shot Rudy because he was on a mission to, quote, kill a dirty communist. Yes, such as terrorism. Yes, he was actually, he was also carrying a cut out from a right-wing paper that actually did say stop, dooshkaid now. Otherwise, there will be civil war. It's like directions. That's a lot of times as we know, as we know. As we know. Rudy, he survived the shooting, but he had significant brain damage. He would die 11 years later from his injuries, but not before forgiving his attacker Joseph

in 1969. Joseph Bachman would die by suicide in 1970, but in 2009, it was confirmed that Joseph had ties to neo-Nazis, what? Participating in shooting practices with them. No. You know this. He never. So the third big event was the passing of the emergency laws in 1968. This is a big one. Yes, basically a bill that said the government can expand their powers, regardless of constitutional rights in the event of an emergency or crisis that they themselves

can define, which sounded too much like the Vimer constitution self-canceling statute, which was a big part of legitimizing the Nazis in the early 1930s, kind of helped them get into power. Article 48, yes, look it up. It's the Reichstag fire. It's all that shit. It didn't help the Nazis getting. It was a little bit more in help. It, what?

It put them in. Okay. So it helps, right? So now I'm not saying, I'm not saying the conservative government of West Germany at the time were fascists or even had designs on a total authoritarian regime, but it does seem clear from the civil unrest that scores of people were not being represented. Their voices not hurt, particularly the youth. Yes.

This is what we've been talking about this whole time. The ones who were labeled subversive unruly communist, therefore dangerous, which led to the violence I just mentioned. And then unfortunately begins the feedback loop of extremism that we'll talk about in that next episode, but it doesn't matter right now. Right now, the kids are mad as hell. And to be fair, a lot of them are communist. Yes. Oh, did I forget the mention that? They don't wash their hair. Now, out of these increasingly aggressive protest movements came the inevitable rock bands both inspired by and featuring members of the movements themselves. Likewise, some of these bands toyed with violent rhetoric in their lyrics, although they

weren't blatantly calling for violence. For example, Tonstein Hashabin, who formed in 1970, provided a handy and hostile slogan for later protest marches. It went, mocked Kaputvas, like Kaputmacht. Translated to English, it sounds fucking awesome in German. It sounds even better when you hear what it actually means, destroy what destroys you. Abwegen da, verschilbar, motorbar, kann und da, hör'n' ihn Ach, kaputt, was euch kaputt macht? Ach, kaputt, was euch kaputt macht? That's so cool. I mean, that could be a dead Kennedy song. It really could be.

That's 1970. So that's about nine years before Dead Kennedy's plays their first show. Yeah. That's amazing. Now, Tonshtina Shurban or the Shubin, as they're known to their fans, their Shubin, they became a cult favorite. They gained brief impome in Germany when their audience set fire to a stage during a festival while the band played Mocked Kapoot after the festival's organizer

made off with the cash box. I heard about that. That's the one where Jimmy Henrichs. It is last of festival appearance right before he died. Yeah. Yes, because Embrillo was there and they said, yeah, we went after Jimmy Hennerx, it is last of festival appearance right before he died. Yeah. Yeah. Yes, because Embrillo was there and they said, yeah, we went after Jimmy Hennerx and it was really cool and they'll check the bounce and everything.

And then Mark Kapoot, that song was playing and then the whole thing went to craziness and then but Rod Stewart was there, which was cool. Anyway, I'll give you the sources. It was really fun. Well, Tom Steiners-Shareben is widely considered to be one of the first German rock bands to actually sing in German and they're still beloved in Germany today, although they're virtually unknown outside of Germany. Mostly they're known in Germany for a squatter anthem called Rock House Song, which I Fachmann. Der Lange genug leer. Ach, wie schön wer doch das Leben gibt es. Keine Poliz mehr, doch der Einsatz leiter wollte.

Kommt den Marian Platz, dann hat meine Knüppel war der genug. Plast zum Krippeln hat. Doch die Leute im besetzten Haus Leben, ihr kriegt uns hier nicht raus. Das ist unser Haus. Schmeiß doch endlich, schmeckt und fest. So catchy. But there's a reason why it's not really that popular outside of Germany is because the lyrics themselves, I read the translations of the lyrics and it's just all of these names and events that I have absolutely zero reference for.

It's extraordinarily political and extraordinarily topical, but there was another band that was born from the German protest and counterculture movement of the late 60s that was not overtly political. Despite finding at best middling success in Germany, this ban ended up being far more influential and far more innovative than any other German rock group in the international sense, which is pretty much crowd-rockin' a nutshell.

See, after the emergency laws that Caroleena mentioned were put in a place, a protest was called four days later at the University of Munich. Right in the middle of the protest, a commune who had been experimenting with music as a shared social activity, set up their amps just to the right of the main entrance to the university. This group of about a dozen men, women, and children,

most of whom had no idea how to actually play a musical instrument launched into a chaotic den of an experimental yet still inspiring performance in the middle of what was effectively a riot. Eventually, the actual musicians in the group would split away from the commune to form an actual band that has the distinction of being the first will cover in this series. They're one of the darkest, they're one of the heaviest, they're one of the loudest. Ladies and gentlemen, I'm a special soul of all, The dragon is the sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun's sun, sun, sun, and sun. It's the sun, sun, and sun.

Oh, fucking hallucination, guillotine. Okay, we finally made it. We made it all mental, too. Okay, so to make music like that live and in the the 1960s, you're gonna have a lot of members. It's true, we're talking Amendul too. Now, this is the beginnings of psychedelic music, of prog rock, space music, heavy metal, at least lyrics wise. And so this is not a song or an album.

This is an experience. Yes, Amendul too is an experience, capital A capital E capital E. It's really fun, but it's also something you need to be in the mood for. And also your significant others also need to be in mood for. And it's just going to end up staring at the speaker the whole time if they're not. But this is important stuff. You'll see as we dive into Amindual's story for the next episode and half. And this story starts with German national Chris Kerr.

Born only two years after World War II ended and grew up in Captain South Germany. The whole Amendual scene, this is all in the South, particularly in Munich. So this is the go-t of the Germany map head or the crotch of the torso. Okay, I can see the go-t. I know you mean by the go-t. Yes, okay. We'll do that then. That's crotch. The crotch of Derbini. No, no, no, no, no, the go-t. Also fun fact about Chris Kerr. He was once arrested by the police for throwing candy during a protest. Geez, what kind? I don't know. My guess is Goomey Bears. That's the only way to say it now.

So Chris Carrer, he grew up playing violin and saxophone. He loved cold train. He played in a jazz combo with his friends, Peter and Ulrich Leopold at a boarding school when he was in boarding school. He loved jazz. And that is until 1967 when Chris Kerr saw Jimmy Hendrix live in a small but super cool music venue called The Big Apple

right there in Munich. So that show was on May 16, 1967, which is actually two weeks before the monks played with Jimmy at the Star Palace in Kiel that we talked about in the last series that you heard. I know. So this is the same time. So after seeing Hendrix live on stage, Chris Kerr went home, broke all his jazz records and traded his saxophone for an electric guitar because he was inspired to go a different direction because of two reasons. One, there were no girls and jazz.

Never on. And second, he needed something more performative than a jazz ensemble. Yeah. So he told his friends from boarding school. He remember Peter and Ulrich, hey, forget jazz. Let's figure out something new. And Peter and Ulrich Leopold, they're just fucking, they're insanely talented, just like Chris Carr. And they were brothers.

Peter was the older one of the two. He was a beast of a drummer. Can we play a snippet of Peter Leopold's drumming? Yeah, it's here. All right. Remember, this is a very drum heavy band. Mm-hmm. Do you can fucking drum? Yeah, and the music's gonna get weirder.

So when... Yeah, that's from an album when they started going a little more commercial. I know. Because experimental is exactly that. You'll see. So when Chris, Peter and Ulrich, they all finished boarding school, or I've also heard were expelled from it. They decided to move into the center of Munich. So Peter and Ulrich, Leopold, they moved into their own apartment on Klopp stockstrasse. Pretty good. I think it. Yeah. And pretty soon, the Leopold, they moved into their own apartment on Klopstock, Strasza. Pretty good. I think it. Yeah.

And pretty soon, the Leopold brothers and Chris Kerr were jamming on Klopstock, Strasza. Or I like to call it Klop Street. Klop Street's better. And also, like they were jamming their plane. And we're done with school. They had other boarding school friends who were also coming around like a Falk You, Rogner. I call him Falk You. That's his middle name,

Ulrich Falk You. Falk You's great. He's a photographer, artist, later it messes around with the bass, with the keyboard in the band. And then there was a bongo player, Christian, who went by Shratt. He's great. I've been told that if you were alive in 1967, then you knew a bongo player. You knew six bongo players. They're like fucking cockroaches. By, I don't know, kindergarten. I'm sure. Okay. So these friends, they're coming together. They're hanging out and they're listening music. They're jamming the music because they're all locked in and they're ready to do something new. The time of the beat groups was over and how it's time for the new generation to make some new art, something that's not American or British, something that uniquely defines their

generation. But what is it? What will it be? What am I? That is the central theme of our series right now. I know I should be telling you, but that's what it is. Let's drop some acid and see the answers come to us. Well, as clap sucks, Shrassa became more of a hangout spot and more drugs started getting involved. The taste of the people who made it their home began to evolve more into the realm of the psychedelic, as tastes on acid are what to do. There was of course you Jefferson Airplane, your Floyd, your Zappa, but there were two lesser known albums that had an outsized influence on the members of Aminduul. And they are, it takes an effort, but you're happy at the end of the day. One was an English group called Habsash and the colored coat, which was mostly a heavy meandering mess with moments of brilliance that I'm sure were made even more brilliant on acid.

It just takes a very unique appreciation to get into it. That's at least that's my opinion. I agree with that opinion because it's more of an historical artifact than anything else. Like here, I'm like, oh, there are these dudes playing this really heavy music. It's a mess and it's not necessarily necessary, but it's a moment in time. It's a moment in time. It is. But the record that was even more of a template for Amundul when it came to the variance of influences on their work was an album that was put together and released is almost a lark because some of the best studio musicians on earth just felt like making a

psychedelic record. That was called the salib people. The salib people was basically a bunch of members of the wrecking crew. You know the wrecking crew. The guys who backed hundreds upon hundreds of hits here in America. For a Phil Specter, a wall sound, that kind of stuff. Just any solo artist, name any solo artist from like 1960 to 1980. And it's pretty much guaranteed you got a member of the record crew that played on it. That was that was the kind of the base of it. You also had the drummer who composed half of Eric Clapton's Lala and murdered his mother

later on during a skit. That's not a credit. composed half of Eric Clapton's Lala and murdered his mother later on during a skit. You get the guy who played the flute part on going up the country by can he, you know, that one. That guy was necessary. Yep. And at the helm of the whole project was musical chameleon, Rai Kudr. My dad's ears just perked up when I said Rai Kudr. Kudr ears just perked up when I said Rai Kudr. Kudr is widely considered one of the greatest guitarists in history, and he's a hell of a singer-songwriter to boot, and he led the salient people's session just after a short stint

with Captain B. Hart's magic band. The result of Kudr's psychedelic experiment was Citar by way of B. Hart, and this record somehow made its way into the apartment at Kloppstuckstrasse and changed the way the future members of Aementul 2 thought about music. I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the

place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna get you. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy.

I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. I'm not going to be a good guy. It's a cool, weird shit.

Yeah. A California wasn't it? Oh, sorry, by the way, that's from the album, Ten Yet, 1968. In case you, it's the only album they ever put out, that's from the album, 10 yet, 1968. In case you, it's the only album they ever put out. It's on YouTube in case you're wondering. And I don't even know how to spell anything, but look it up as best you can. CEYLEB people.

It's a great album. I mean, a lot of the songs are like 25 seconds long, minute and a half, minute 12, because they're just fucking around. But this had such a huge, huge influence on the members of Amindool 2. Now California was an impossible destination for the kids at Kloppstockstrasse, so they did the next best thing and took a weekend trip to the UK to check out the scene in London. Guitarist Chris Kerr, drummer Peter Leopold, and a few others attended a festival at the legendary roundhouse venue in London in 1967. While details are scant on what they actually saw that weekend

outside of some free jazz and a performance by the animals, the trip opened Chris Kerr's eyes to a new range of possibilities, and just briefly dipping his toe into the British scene for a weekend. Carer saw that his loose group musicians fucking around in an apartment and Munich were far behind what the English were well into, so he returned to Germany with a new resolve to take their music to the next level. Perhaps more consequently though, Chris had returned with a fellow German who'd been working as an all-pair in London for a few years previous. Her name was Renata Nalp, and she would become an essential member of Amindool 2 as eventual

lead singer. And my favorite member, by the way, she's my favorite, she's awesome, she's badass. We're not as amazing. Now clop stop Strasza soon began attracting some of the brightest young artistic minds around in film, photography, and even light shows to create a full multimedia experience. But the problem was that none of them were leaving after they fucking showed up. It got crowded. It got real crowded actually.

You know when it's like not cool anymore? Yeah. That's what happened. So at the end of 1967, the Leopold Brothers and Chris Carter moved to a larger apartment on Prince Regent Instraça where Hitler had supposedly once given a speech from the balcony. But with all these young open-minded people hanging around in a single space, it was almost inevitable that they latch upon a way of living that flew in the face of everything Hitler

stood for while also rejecting the traditional Western family structure, rebellion against the past and the present. Like so many others in Germany at the time, the kids at Prince, Richardson, Strasse, right in the middle of Munich, formed a commune. Yes. Prince, Regent, Prince Street. Prince Regent Street. Okay, there we go. So yes, when, you know, the Leopold brothers, Chris Carrer and all of them, they moved in together. They did this to become a commune because

they were anti society, anti nuclear family, anti everything, but pro LSD, isn't that fun? Okay. So their apartment, they essential to a certain degree and then eventually, you know, they said like we have to lean up behind, but that's for later. Yeah. So their apartment in Prince Street was in an upper middle class bougie neighborhood, actually, where doctors and lawyers lived. Because remember, these guys, Peter, Ulrich, Chris, Falky, most of them are long-haired hippies, sometimes wearing Indian robes and colorful jackets.

They're eating yogurt. They don't have jobs. They're anti-jobs. They share everything together. Food, weed, psychedelics, music. They play music all the time, even the children. Yes, there's a toddler too running around. Everyone is a musician. So just hand out some bongos or tambourines and we all get going. That's their life every day. That was the vibe of the house, the commune. And it sounds freaking awesome, at least at first for a weekend.

But the thing is the guys are rather the commune. They would let anyone in who was unusual, which could be fun. You know anyone who can handle the unconventional, very data, very fluxes. Yes. Like one guy, there was a British dude that stayed with them for six weeks in the same corner of the house. He didn't do anything. He didn't say anything.

He just hung out in his corner, eating butter sandwiches and everyone loved him. What a great guy. What's his name? Who cares? This is what we call a social experiment. An art commune. A drum circle gone too far. Far too far. Definitely much too far for their neighbors. I mean, these guys would be walking down the street and someone would poke their head out the window and would actually say, you all belong in the fucking concentration camps. You deserve to be gassed. That's what they would hear, just rounding the corner. Yeah. Yeah. Pretty much. Like I said, Nazis still around not all of them hiding so well. And their neighbors, they looked at this commune

like there were criminals like hoodlums, which brought them some attention. Actually, a journalist came over, he toured the place, he talked to the people in the commune, and a week later, the journalist published a story in the paper in a commune, they all hugged her together to check out their featured article in the big print. And it said, this commune sucks.

And if this is a future Germany, then we need Adolf back. And they're like, wow, that's, yeah, like what's on page two? But that kind of rejection from the older generation we need Adolf back and they're like, wow, yeah, like what's on page two? Um, but that kind of rejection from the older generation or maybe the more conformist straight lace, uh, conservative, uh, groups of people, uh, and the media, especially included, they just emboldened like the commune even more.

They're like, fuck it. We're going to do what we want. And besides, what's wrong with what we're doing? At least we're not Nazi. But what are we're doing? At least we're not Nazi. But what are we? Right? So a few months after the commune moved in together, they said, we need to figure out what to call ourselves. Because there's loads of communes all over Germany, all over the world really at this time. And they identify in their own ways, like political communes,

like commune one, or commune two, not very creative with their commune names, and sex communes, they were sex communes, the ones who practice free love, baby, that kind of stuff. Rosie, Rosie, that was one. Great name for a fuck commune. But this is a music commune, one where we want to make something new, a new musical revolution and awaken it, if I may. You may. Okay, something that's German, an awakening, if I may. You may.

Okay, something that's German, but not something like international music. Like a name, a name that needs something now. No, world music. Oh, that's it. Yes, but not of this world. Space, it calls me music. Yeah. Yes.

So let's take Ammon from the Egyptian sun god, Ammon raw and and dual a word that doesn't exist. It really doesn't exist. I'm sorry, I don't, it's not a Turkish word for moon goddess. They did try, they retroactively try to say, like, it's a word for Turkish moon goddess. It's not, it's not, it's fucking made it up before Google. So Amen and dual, okay, perfect. It's neither American nor English nor German. It's unique.

It's pithy. It's neither American nor English nor German. It's unique. It's pithy. It's almond-dool. So by April 1968, the commune were calling themselves almond-dool and with a new name must come a new ideology. Of course. Music shall be our language and improvisation will be how we communicate between each other. This is how we change the world not by preaching but by living it. each other. This is how we change the world, not by preaching, but by living it. We're the youth of 1968. And after the legacy our parents left us, we deserve better. So we'll make it better. We'll jumpstart a society we can be proud of. And in the way we know how solidarity brothers and sisters together, we are stronger. Never give up. Never surrender. What? Galaxy

Quest? Yes. It's 1968. It's the age of Aquarius, baby. There's a cosmic vibration going through the world and the revolution is happening now and it's being carried by the music. Hey, I was born in wrong decade. I'm loving this stuff. I'm believing I would never live in a continent. Of course not. We couldn't live like this at all. Absolutely. I don't like it. I don't even like when people talk to me when I'm in the bathroom. Well, but I love this whole idea though. Yeah. And in theory, all of this is very cool. You know, but as you said earlier, for a weekend, it's very cool.

Maybe even for a month, It's very, very cool. But it just tends, as we'll get into later, these sorts of ideas just tend to collapse under their own weight. Now again, if you'll remember from our monk series, the Beatles had cut their teeth in the city of Hamburg and Germany was no more immune to beetle mania than any other Western country in the early to mid 60s. As a consequence, Germany had its own generation of beat groups inspired by the Beatles and the rest of the British invasion bands.

Most popular were the lords. Oh, yeah, the lords. Who are quite possibly the most awkward beat group of the era. I still like them for some reason. It's... I mean, not this song. It's so awkward. It's fun.

When I was born, you know... I mean not this song. It's so awkward. It's fun. She learned me to say, Mother and Father and Son, and all of them are fun and she learned me to say life is so hard each day I'm getting encouraged to play a guitar riff awkwardly? I don't know, but they make it work somehow. It's competent, yet it's awkward. The lords. Now, as you can imagine, the kids living in an apartment commune listening to the salib people while they were being told they should be gassed in concentration camps, they didn't

really vibe with bands like the Lords. Likewise, even going over to Britain, the Rolling Stones, arguably the tougher of the big two British invasion bands, their songs weren't speaking to the kids in the commune either. This was despite the fact that Mick Jagger was trying to write more revolutionary material, specifically with songs like Street Fighter Man. Yeah, it's great song. It is! The fight for the fighting and the dream of And the worst downfall going through

Second safe for rock and roll pain Cause the sleep has on done down there Just no safe for the fight of pain Nope No! Now Street Fight Man was actually about how England was sleeping on revolution. While so many other Western countries like France, Italy, Germany, and the United States were taking it to the streets on a regular and bloody basis, I think the UK had like one protest.

It was a pretty big one to be fair. We're not gonna say it was a big one. I think thousands of people, lots of people heard, you know, yes, some people got beaten on police by police on horseback. I mean, come on. One. Yeah, I mean, it was bad enough for me, I'm just gonna stay.

Yeah, really what it came down to was that the beat groups that had formally represented a counterculture in Germany had become two mainstream and didn't speak to the Prince, Regents, and Strassikids at all, whether those groups be British or German. Therefore the Omen-Duel commune did what all innovators do when the music they want to hear isn't being made. They made it themselves. That's right.

So like I said earlier, during my really cool Oppenheimer front, the emergency laws were approved by the government in May of 1968. And thousands of people stormed the streets to protest the emergency laws that had ironically been put in place to prevent future protests. That's fun, right? And in one of those demonstrations, Amundul had their first public performance in the University of Munich. You mentioned this earlier in the episode.

Well, their first gig was relatively peaceful and serene, but powerful. It was different from what the students would normally listen to. It's not a song you'd normally hear from America or Berlin. It's not even really a song. It's completely different. And it's something the students relate to. It's not even really a song. It's completely different. And it's something the students relate to. It's a man. Yeah. So after this gig, they started booking real

shows and clubs and underground venues, like the blow up club and Munich. There they put together a music and light show called it's okay. It's called the transparent magic show. Which I think is what an obvious man. I'm not sure, but it's kind of, I think they're trying to go with like exploding, plastic and evidentable. The light and music show that Andy Warhol and the Velvet Underground did. The Velvet Underground were doing that stuff in 1966, 1967. And this is Munich, 1968. And almond doles are already on top of that. And I'm sure it sounds much better in German.

Yeah. Yes. Transparent magic show. That sounds like something for children. Yes. That's a good point. Okay. Yes.

Almond dole they had like colors swirling around everywhere kind of like the velvet underground same idea, lava lamps, projectors, screening porn films while another projector was showing Donald Duck cartoons on top of each other at the same time. It's an artistic choice. It's very clever. Yes. And they even had a bubble machine to add more ambiance, although one time at their show, their bubble machine malfunctioned and it went into overdrive and engulfed each almond

dual band member into one giant bubble because it's spinal tap. This is always, always leads to spinal tap. Always. And they also have their Nico kind of a German model named Ushi Uba Meyer. She didn't sing, but she played the hell out of those maracas because everyone was staring at her maracas. I do mean that little and not little order. So the band, you'll be here all week. So the band, they did their multimedia shows because presentations, very important. And it was a hit with the crowd. People would show up every week to watch almond dual because it was different every time.

Lots of jamming, lots of improvisation. See where this takes us because remember, we're communicating with the cosmic universe. That's right. Now out of the 10 to 14 people at the almond dual comm unit this time, out of all those people at those shows, only about five or six knew how to actually play music. Yeah, because it's a lot like just like mess with it.

You know, they hand you something, you just kind of hit it and see what it goes on. Yeah, you're not really gonna be handing out like guitars to the toddler. You know, it's a lot of people with drums and six dudes who know what they're doing. It's a lot of precautions. It's a question heavy. It's a drum circle gone too far.

Yes. And most of those five or six musicians who actually knew what they were doing, they had backgrounds and jazz. They'd cut their teeth on everything from the more experimental work of Miles Davis and John Coltrane to highly structured band leaders. This is actually one, I think one of Amindool II's big influences that don't really get enough credit. One of my personal favorites, a guy named Don Ellis,

specifically this song from his album, Live at Monterey, 3, 3, 2, 2, 2, 1, 2, 2, 2, that's the fucking time signature. I'm going to do a little bit of the same thing. You know, I've never heard Don Ellis before this or this song, and now it makes sense. Right? Yeah. it makes sense. Right. Yeah. Totally makes sense. Well, we got about five or six Don Ellis records at the house that we're going to need to listen to tonight.

OK. Well, that's good. I'm glad it's only three in the afternoon. We have time. Jazz, however, would not be the basis for almond duels early work. So you one of the main guys in almond duel was this singer-songwriter named

Reiner Bauer. He was from Vienna. They always say that. He's Austrian. Yeah, always, they always make sure to say he's Austrian. Reiner from Vienna. Mm-hmm. And he came into the group. He came into the commune really with a fair amount of rock songs or like, you know, singer-songwriter tunes, tracks like that. They took those originals, Amandul took those originals, and they expanded them into 30 minute improvisational explorations that were inspired mostly by the Sid Barrett era of Pink Floyd. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one.

I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go to the next one.

I'm gonna go to the next one. I'm gonna go to the next one. I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I'm gonna go home, I, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, And see that's going to be part of the problem with his experimental rock stuff is that, you know, like, yeah, you might think, like, oh, wow, that about halfway through that, you might be thinking, like, oh, wow, this song's going on for a little bit too long. And then that fucking part comes in that absolutely wonderful part comes in that doesn't make sense unless you hear the 30 seconds to came before it. And that's why choose the music for these episodes is really fucking hard. Yes, you have to clear your afternoon.

Yes. But even though Umanduil had rock roots, they did not consider themselves to be a rock band at all. For them, the band was more abstract, something closer to an auditory representation of a desire to live life in a different way. Man. Okay, we got it. The problem though, is that when it came to commune living, abstract ideas can very easily

evolve into rigid rules. And like so many other communes, Amandou became something that bordered on sinister. This is a problem with a lot of times of counterculture, the hippie is them, like the whole, like lived their life the way you want to be free of things. And then you're eating a hand sandwich and they're like, are you going to eat that? And then you're like, oh, but you're like, are you going to eat that? Yeah. And then you're like, Oh, but you're ruining the whole rules thing that we're not supposed to have them.

Yeah. I mean, do what that will to the whole of the law eventually goes bad. Okay. It happens. Eventually the almond dual commune predictably began to place an oversized emphasis on sex. Free sex for all soon became mandatory sex for men, and not every man was into it. Chris Carrer, for example, remembered an incident in which he admitted that he hadn't had sex in a month. This was apparently a grave offense because some of the other men in the commune began accusing him of being either gay or impotent. So Chris quote unquote proved that he was up to the

commune sexual standards by reluctantly taking a willing woman and having sex with her right there on the floor as 20 other commune members either watched or milled around in the background just going about their day. This is Maggie's farm by way of Ariaster like this is fucking unsettling. It's weird. As far as singer Rana da Naut went, she bristled against the strict rules the community placed on spending. Any time anyone wanted to buy anything, they had to go beg the communes cashier for money. And if any rules of any kind were broken, the offender had to go in front of a tribunal to explain their actions. the offender had to go in front of a tribunal to explain their actions. The final straw for Ronata came when she and a fellow commune member took a trip to the

south of France for two weeks. And when they returned, they discovered that they were scheduled to defend themselves in front of a commune tribunal because they hadn't asked permission to leave the house. That's bullshit. Freedom, my ass. Yes. It always ends up like this. You always end up trying to be the opposite of, and then you're back at the anus of fascism.

It happens. It's just the horrible cycle of extremism. Yep. And all this bullshit, of course, straight far away from what sort of commune, Amandole, was supposed to be. This was supposed to be a music commune for the purpose of making actual music. And by making every commune member a mandatory member of the band, music became just another dictate that also meant the music sounded fucking terrible. It's a matter of debate.

Okay, there's some good parts, but we really don't have to defend it or ostracize it. Yeah. So because the commune had become more about politics and music and because there was no way the serious musicians and Amindu could be in a band with dozens of people who couldn't play the group split. Ulrich Leopold and Reiner Bauer became the leaders of the original Umendul group. While guitarist and violinist Chris Carr, singer Runaan Ab, organist Falki Ragnar and bongo player Shrat Thiele left the commune to start their own group. The problem was what to do with the name. See the group that split off, they really like the name Umendul, but the commune wouldn't give it up. So to avoid a legal fight that none of them could afford anyway, and to still retain the

vision that they'd spent so much time developing, the split off group, the group made of actual musicians, they called themselves Amendoul II. And that's why it's called Amendoul II. The members who left said they named the band Amendoul II to avoid confusion, but that, two and that's why it's called almond dual two. Yeah. Yeah. The members who left said they named the band almond dual two to avoid confusion, but that as you can imagine backfired because that little two at the end

caused nothing but confusion for the rest of their fucking career. It took me so long to figure out the difference between almond dual one and almond dual two back in the days and I was just downloading shit off of the fucking internet, off of soul-seek and just getting whatever. Why is there one?

And why is there two? I didn't understand it. It's weird because I also sometimes have to type almond dual uppercase, I uppercase on. None of it makes sense. Okay. So that, yes, that made the communal almond dual, almond dual one. But remember, they don't call themselves that.

It's just us, the fans that call almond oil almond oil one. Just so you know, it's not like almond oil too said, okay, now you have to call yourselves almond oil one. And they said, okay, like it did happen. Now, because almond oil and almond oil too. Okay, so they were done with each other, right? Except for two weeks later, when they ran into each other at the 1968 S and Song Festival, which by the way, almondindul booked before the split,

but Amindul won said that's our gig. You guys are the ones who left. So Amindul won played in Amindul to watch. That's what just had to happen. And the, I mean, because they, Amindul too did not want to miss this festival. By the way, the Essence Song Festival

is actually quite historical. It's the first music festival in Germany, and it's the first time a large audience was exposed to what would later be called crowd rock. It was a music festival, but it was also very political. It was tied to the local SPD, Germany's socialist party. They had speakers, underground film screenings and stuff like that. It just meant to bring awareness and of course to rock out to the music. I mean, most of the kids were just there for the music anyways.

It was put together by music journalist, Ralph Ulrich Kaiser, who set it up with funding from the city of Essin, who regretted it almost immediately. They always do. It was a financial flake, feeler, but a big win for us long hairs. I'm going to include myself in that for some weird reason. But it was cool. I mean, there include myself in that for some weird reason. But it was cool.

There were dozens of bands and artists on the American side. There was a Fogs, Tim Buckley and Mothers of Inventions, Frank Zappas band, who made a lasting impression in Germany from what I heard. And the crowd rock bands, like Guru, Guru, Soul Caravan, and Dual One. And this band, which I find them quite fun, Tangerine Dream. Yeah, they're pretty good. Fun.

They're not that fun, I like them. Oh yeah, it's Tangerine Dream. This is what they sounded like at the song festival, by the way. I'm gonna go back to the place where I was I'm gonna go back to the place where I was I'm gonna go back to the place where I was I'm gonna go back to the place where I was

I'm gonna go back to the place where I was I'm gonna go back to the place where I was I'm gonna go back to the place where I was I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the

place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I'm gonna go back to the place where I was born I mean, Tangerine Dream set their entire catalog is vast.

It's fantastic. What's it called? Artimathul Part One. Okay, so we're going to definitely have a video playlist, a YouTube video playlist, and also a Spotify playlist. Yes, we will. As we do for every single show, just search my name, Marcus Parks, for Spotify, and search No Dogs in Space on YouTube for that playlist. And after this episode, if you really want to check out a cool, tangerine dream performance, look up the one that they did in a cathedral.

And I think like 1969, 1970, it's fucking incredible. Awesome. Okay. Back to the Essence Song Festival. Remember, this is huge. The crowd rock bands are playing in front of an audience of over 12,000 people. They're finally given for the first time I platform for just being original. Finally, the birth of German indie rock music. It happened there in three days. So, Amindu

played and I heard it was chaotic, but fun chaotic. Not everyone liked them, but the model Ushi Uba Meyer, she got favorable reviews. Remember, she's playing the Maracas. Yeah. And then killing it. Killian. I care. I want to be really, what? I want to be really supportive. I used to be a percussion player in a band like there's not a lot of ways to kill it at the Maracas. Like she managed to, okay? Tick, tick, tick, tick, tick, tick, I mean, that's what more can you do? So it was a big event. Imagine two hands.

Anyway, so it was a big event that people still talk about decades later. This is the first time that thousands of like-minded creative individuals from Germany are all gathered together in one place, including the famous and infamous, Kamu one, Ka Ins. One of the guys from Ka Ins, Rainer Lunghands, he loved Amandul One's performance so much. He said in his blog slash memoir that you can look up online, that it was something akin to punk. It was very punk where you don't have to know

how to play an instrument to play music. Well, okay, yes, or sounds. They're making sounds. And Amundal one would play themselves into a trance that was mesmerizing. And remember, everyone's on acid. So commune one or K one, they were a political commune from Berlin, who like the Amundal commune believed in sharing everything and living in close quarters together and taking away any ounce of privacy. One might have. They even removed K1 even removed the doors from their bathrooms because they thought it was like a barrier to their beliefs or some shit like that.

It was it was very bourgeois to have privacy. Oh, yeah. Yeah. It's bougie to shit and peace. It's also bougie to have money. So give it to me. You don't need it because you're in light. It's really what some people would say in

commune. And so according to an almond oil one member, K1 were inspired by Mao Zedong who forced Chinese students to live in a farm community for two years. So a great guy. Very great. Yes, very, very great. And somehow these German socialists thought, great idea. I don't know.

I don't know why they commune one way. And teach their own. To teach their own. They try to be as open minded as humanly possible. But the lack of privacy is really what gets to me. Not the Malzadeh Dung approach to commune living. That's not what gets to you. It's a bathroom door.

It is my safe space. It is my sanctuary. I understand. Okay. So also K1, they were, they were actually also at the Shaw protest, you know, the one where 26 year old Beno was shot. And they were also close with Rudy Duchke, you know, the guy who was also shot. So many people were shot. Rudy thought actually he considered joining K1, but ultimately decided against it because

he didn't want to share his wife. I understand. We all understand that. So I'm in dual one since they were a commune two. They were friends with K one with commune one I think it was Chris Carrer who said, like, yeah, we hung out with them and they're cool, I guess, but these people aren't interested in art or music or anything. They're really only into their dogmatic ideas, which is boring after a while. Have you ever hung out with a libertarian? It's kind of like that. Or a communist. Yes. It, I mean, just anyone who's really big into their principles and, you know, because we're all full of contradictions people. Of course. That's what we all are. Yeah. And, and, and to be holding on to things really hard and preaching, it can be really exhausting. Now, well, it's like I said, the Manhattan Project series, the last podcast on the left, communists are really fun hangs until they get

too drunk and they only talk about communism and then they get really insulting. That's by hour two. communism and then they get really insulting. That's by our two. It can be. It can be. Not all, not all, not all communists. Now, Amandu O'One's performance at the essence song talk was impressive enough to catch the attention of a producer named Peter Myzel, who ended up signing Amandu O'One with Ralph Ulrich Kaiser. Myzel co-owned the now legendary Hansa Studios. Yes, we've talked about this. We have. Hansa, of course, would be where Iggy Pop recorded parts of the idiot and less for life less than 10 years later.

This would also be where Bowie would record both low and one of his greatest singles, a song about two young lovers separated by the Berlin Wall. I don't know, in the past Shining more my hands Over my hands, and we kissed We still have nothing for you Nothing to go I'm the same We're so on the sign!

So we can beat them! Prepare them! Then we can beat them all! Just for one thing! Is it not going to do the German version. Well, I don't know if okay, I don't know if the German version, I don't know if he sung it at Hansa Studios in the big hall by the wall, which gives it its sound because that's the reason why it's so echoey is he sang heroes in this gigantic beautiful room, and I don't

know if Heldon was sung in the big call by the wall. You want to hear a little bit of it? I do. Yeah, just a little bit. All right. Regardless of he did this in Hans Arnett. Oh, we're calling Zishwagga to our outsider. That's in me, Hela. It is intact. Cool. I feel like I understand German now. Sounds good.

He sounds good. Yeah, he sounds amazing. Now, I took two years of German, like I said, and I fucking understand very little. But still, you're very good at correcting me. You're very, very good at that. So you asked me to. I did one seven years ago. So I took it to heart. So back to Hansa studio. So I'm in dual one. They go to Hansa studio. So I'm in dual one. They go to Hansa studio in Berlin to record their debut album. So I'm in dual one is remember Peter and Ulrich Leopold, Rainer Bauer from Vienna, Ushey

Ube Meyer, the supermodel who's also dating Peter Leopold, by the way, and a bunch more it's a large group of people and the rest, right? And they're I'm in dual. They do what they always do, which is to jam and improvise and shake those maracas and bongos and a lot of percussion just have at it. It's all in improvisation with a bit of music here and there. Can we get a snippet? Oh, we absolutely can.

I love this song. I actually really love this song. It sounds like a spider out on the prop. music Okay, now everyone knows what we're talking about. Let's see, a spider owl. But it could be, it's interesting. That's when they, uh, Amindool one's debut album Psychedelic Underground, which is really actually perfect description of what's going on here. Yeah.

So remember, Peter and Ulrich Leopold, at least they know how to play their instruments. They come from a jazz background. But soon there's going to be problems between the brothers Peter and Ulrich and also between Peter and the rest of the band really and also problems between Peter and Communion one. You see the band Amandou one, they were staying with their buddies at Communion one's house while they were in Berlin and it was all fine and dandy until Amandou one said, okay, we got to head over to Hansa studio, the record this album and K1 said, oh, we're coming with you. And they're like, what?

Yeah, we're coming with you into the studio, into the recording booth with you. And I'm going to sit on this drum kit and fuck with it because it's now being occupied by K1. We share everything. Therefore, nobody has anything. And Peter Leopold, the drummer and owner of said drum kit said, no, that's mine. Get off my stool. And the K one guys refused, which made Peter so pissed off. He walked out in the middle of the recording. He was done with those guys. And he was done with Amindool one too. And unfortunately, he was also done with supermodel Usshu Uba Meyer because she decided to stay

with Communion one when she fell for Rainer Langhands, one of the more charismatic members of K one. So Peter, and we'll talk about them next episode. Yeah, I think if Peter leaving it probably has more to do with the commune one guy stealing his hot girlfriend than it did with the drum set incident. Well, Rainer Langhands, if you look at a picture of him, he's like very 70s hot. He's a dreamboat. He looks like side show Bob, but like better and rounder.

Yeah. And they all kind of look like side show Bob, honestly, with the John Lennon, like round glasses and, you know, they're super cool. They're super hit. So Peter Leopold, he went home to Munich and to Amindool II with his drumsticks in his hands, saying, I lost my drums and I lost my girl. Can I join you guys instead? And by the way, you're right about political communes.

Just focusing on the music is the way to go. I get it now. And they did let him in after much discussion. Now what, it seems like the split between Amindual I and Amindual II would have been seen as a positive event for the more serious musicians, it had a terrible effect on guitarist Chris Carrer. He felt that his original vision of a musical commune had been lost in pointless ideologies and internal politics, and this failure resulted in a small nervous breakdown. He retreated to his mother's house and stayed in bed for two weeks,

but when he finally recovered, he returned to Amindul II triumphant and inspired. By his account, he'd spent his convalescence composing entirely in his own head about 80% of the first Am duel to Alba. Fallace Day. Yes, yes, yes, this is my second paper now. Atenmo todos os anos. Das ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl.

Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl. Es ist ein sehr gutes Gefühl.ゲーズファンハートでもいいんですよ お寿司ちゃんのカフェスアミルのトレーマン トレーマン、トレーマン、カーナー How do you hear the difference between musicians who know what they're doing in the spider-all song? I should have walked down the aisle to this.

Although the star Trek II, phase nine piano, you know, thing thing that is you know, the end of the version of the three AM at Quarks version. Yeah, that was pretty good too, but this, this is something else. This is like, I see Chris Kerr. I see you all we're going to talk about John Whitzer. Like there are just so many ideas put into one place at one time. And it is fantastic. It is.

And that's where we'll pick back up next week for the continuation of our Crot Rock series with Amendul 2 Part 2 with the recording of Falastay and the album that made Amendul 2 Legends. Yeti. Oh, I'm so excited for you. You, the audience, sorry, the listener, the listener. And before I give the list of sources, I do want to plug a set that Markis and I

are doing in September, which is now ish is very, very soon to that. If you're listening to this episode, when it comes out, it's in like two days. So yes, that we are doing. We're sharing the bill with James Booner, who wrote the high desert, really fantastic. Like I can't mention this enough. Please pick up. That's a great this graphic novel. I've named him called comic book graphic novel. Whatever you want to call it. I think fantastic. It's great. And we're doing the show on September 9th. And James Boone was also the guy who directed Afro Punk as well. Yeah. Yeah. Yeah. That's good too. Yeah. So we'll be together at what's the name of the place?

Place is called footsies. James and the two of us and one of the DJ are going to be alternating sets from five to 10 p.m. on September 9th. That's Futsis in Los Angeles. The show is called Razorcake, Hearts Drinking Beer and Listening to Records. We've got a one before. It's a fucking great bar. It's a great place to go and listen to music. It's a happy hour DJ set. And we hope to see all out there. It's going to be on September night, five to 10

PM alternating sets us and James Spooner. Gonna be fucking killer. Absolutely. Killer killer. So great. And I do want to also promote the taco truck that is in front of that venue. It's the best fish tacos I've ever had. Those women know how to make some fucking fish tacos. All right, for sources, right? This is going to be a weird list, okay? So, Tanser Lemming book by Ingeborg Shobur. It's actually a book in German, which I translated from Google Translate and it had a wonderful, wonderful research assistant, also associate producer, Patrick Fisher, help me out with

the translation of that. Yeah. Give us context to everything. Absolutely. And times and sounds, great book, times and sounds, Germany's Journey from Jazz and Pop to Crout Rock and Beyond by Jan Reitz, a fantastic book. It was in German translating into English and I can't, like, I, we talk about it on our stream.

It's fantastic. This book I really couldn't recommend enough like this is just one of those extensive yet still entertaining music books that you dream of reading. It's that like cannot recommend times and sounds enough. And then there's future days, crowd rock and the birth of a revolutionary new music by David Stubbs, the Cambridge companion book to crowd rock edited by Ovi Chute, and then there is Euro rock, European rock, and the second culture by Archie Patterson. And then for the history buffs, I read Aftermath, Life in the Fall Out of the Third Reich, 1945 to 1955 by Harold Johnner Watterbock. I think everyone should read this

book. It's fantastic. And then there's the Miracle Years, a Cultural History of West Germany, 1949 to 1968 edited by Hannah Schissler. And then Vier Streckit, Music and Political Activism and Cold War Germany by John Tyler Patti at the University of Tennessee. This is a master's thesis that I found online. Very, like it was so helpful. So thank you for getting your degree and then putting it online for me to read. And of course, I use tons of stuff online articles, interviews, interviews I found on the wire, Mojo, and Uncult magazine, and crowd rock and prog rock, message forums. It was a

lot of combing through stuff, a lot of prog rockers. And I like, crowd rock is not prog rock. And other people was like, guess it is. And then I had to go through that shit. I had to go through that. And a blog by Rainer Langans, a memo, you know, the guy, one of the principal members of coming one, he posted a memoir online, Google his name with blog and you'll find it. But it's also in German, by the way. And a big thank you to Emily Votov for outlining the Cambridge companion

chapters and the future days chapter on almond dwarf. Very, very helpful. Thank you. Thank you very much for setting up the timeline and a huge thank you to Patrick Fisher, who is now now we promoted him to associate producer of this crowd rock series that we are doing now because he has been like without him, we wouldn't be able to do this. Yeah, now Patrick, Patrick has really been invaluable to giving us context to these German translations to tell us is like, Oh, they're actually joking here. What's an analogy with this? What does it mean? The oven stove is not working. What the hell does that mean? The days are sniffing the dirt are over. Exactly. He's been very helpful. Thank you

to him and his father for helping and translating a lot of the stuff that we've been asking for. And also, uh, promotion stuff. We're on Instagram. No, Doug's pod. I'm on there as Carolina, Dejara Dago. We got t-shirts with men's and women's sizes on last pod merch.com. Last podcast merch. Last podcast merch. Com.

I wrote that wrong. Check out the playlist of our songs for every episode on YouTube. You just Google No Dogs in Space and YouTube and you'll find us and Spotify. You can search that as well. And we've started doing a live stream on Twitch on the last podcast network, Twitch channel, go to twitch.tv slash last podcast network to find us there. Every other Monday at 7 p.m. Pacific time, Pacific time, 7 p.m. Pacific time, every other Monday. So check out twitch.tv slash last podcast network to find out which Monday we're going to

be coming up next. We've already done a few. So go check it out. And you can see some of our past episodes already. And you can also find those on YouTube as well if you're not a Twitch person. Yeah, absolutely. And the band, this is going on forever. So we should just finish.

We should finish. But we also have a band of the week because as I remember now, now I remember it's been a while since we recorded. If you make noise and you're a person or maybe a social experiment collective, whatever you want to be, a group of people, a one person and you make noise and you have it on an MP3 or a Spotify or whatever bandcamp and you want to send it to us, we would be honored to play it at the end of an of our episodes. Yep, no dogs in space at gmail.com is where you need to send it to. We get so many, so many fucking submissions, but sometimes it's so great.

So many of you guys have great stuff that's sent to us, but sometimes really all it takes is meeting me outside of galsons. Super market. Yes. That's really, this really happened like what last month? It's happened last month. I met this woman outside of the supermarket where we shop and she's a big no dog's van And she sent me her girlfriend's band. And it's fucking amazing. We're just encouraging people to bump it to us at Galston's because

we do go to Galston's what every other Monday. Yeah. That's it. Yes. It's really all it takes. And I had to play it because it's fucking great. It's so good. It's so, so good. It's a band called Rocket. Their new EP is called Normal to me. You can find them at Rocket, the band on Instagram. They're about to go out on a nationwide tour. So check them out. If you want to see some cool live music at a venue near you, you can also, of course, go to their band camp and they're also available on Spotify.

So here is Normal to me by Rocket. Thank you all so much for listening. We'll be back next week with Amandul to part two, which is part two and probably a nine part crowd rock series. Yes. And then the beginning of can. So we're going to go into can and fast. So we'll let you know as we go along. And craft work. Oh, yes. Oh, yes. but oh yes oh yes sir. Goodbye! Bye! Goodbye! I'm dying for you

I'm dying for you, I'm dying for you Maybe this is no one more Or I know it's no one than me Wain wain wain wain Wain wain wain wain wain wain wain wain wain Wain wain wain wain wain wain wain Wain wain wain wain Don't tell And it never got easy and you never mind I'll just light it and let me into your blood

Into your blood I'm running through a world Like the night is moving It'll make no difference You know this is not wrong with me Oh, what a great reason to see me Oh, what a saddened me when I can't turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be turned for you when you say I can be I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm a man, I'm already seen no one want me You