Affenstunde by Popol Vuh

Affenstunde is their first album, an innovative record that marked a turning point in electronic music and kosmische musik.  The album was born from the spiritual vision of Florian Fricke, the founder and brain of the group, who was among the first musicians in Europe to own and use a Moog III synthesizer (which at the time was a gigantic, super expensive and complex instrument). Together with Holger Trülzsch on percussion and Frank Fiedler on synth mixing, Fricke recorded the album at Bavaria Music Studios in Munich. The band’s name and the soul of the record draw inspiration from the “Popol Vuh”, the sacred book of the Quiché Maya, reflecting the spiritual and transcendental quest that always defined Fricke.

Affenstunde is a cornerstone album for Popol Vuh, because it marks the start of their “electronic phase”.  This period would continue with In den Gärten Pharaos, before the group moved toward more acoustic and spiritual sounds.  It’s considered a key record because it introduced the Moog as an instrument able to create religious and mystical atmospheres, hugely influencing ambient music and the future relationship between Fricke and director Werner Herzog.

The title “Affenstunde” (which in English means “The Hour of the Apes”) refers to a moment of passage, a spiritual evolution of humankind that overcomes its primitive nature through sound.  Fricke believed humanity was in an in-between stage, like man before reaching a higher spiritual awareness, in the era of the apes. The music reflects this journey, starting from tribal, shapeless sounds and arriving at cosmic, abstract structures. Music is not meant only as entertainment, but as a tool for looking within.

Affenstunde is a prime example of Krautrock, but with a strong ambient and “primitive” electronic imprint.  It blends mystical, spiritual moods and cosmic sounds, moving away from traditional rock to create rarefied, hypnotic soundscapes.  Unlike other krautrock bands of the time, closer to psychedelic rock, Affenstunde stands out for an almost entirely electronic and meditative approach. The record is dominated by the Moog IIIp synthesizer, used to create hypnotic sound carpets, drone flows and spatial oscillations. There are no traditional melodies or choruses; the music moves like a sonic stream of consciousness.  Unlike the rhythmic electronics of Kraftwerk or the darker kind of Tangerine Dream, Fricke’s style is deeply meditative. He tries to translate religious and philosophical concepts into sound, creating an atmosphere of “technological sacredness”.

An important element is the union between the Moog’s synthetic sound and the acoustic percussion (such as tabla and cymbals) played by Holger Trülzsch. This mix of “machine” and “tribalism” creates a sense of ancestral music projected into the future.

The songs are not numbered in order (Dream Part 4, 5 and 49) and do not follow the order in which they were recorded.  This mirrors Florian Fricke’s conceptual, fragmented approach. Fricke and Frank Fiedler spent hours improvising with the Moog synthesizer, recording very long sessions of sound manipulation. The numbers indicate those tracks were selected as fragments from a much larger archive of sonic experiments (the “dreams”, in fact). The high numbers (like Part 49) were meant to show how rigorous and almost mathematical the sound-research process behind the project was.

Mine is the Klimt Records version (MJJ347LP) that preserves the original structure of the 1970 record.

Side A contains a suite that is the "dream trilogy" dedicated to inner searching: Ich Mache Einen Spiegel (Dream Parts)

Dream Part 4 (8:40) is a sonic journey that begins with the gentle sound of water and birdsong, then turns into a spatial exploration.  Dark drones, electronic beeps and watery sounds intertwine in a unique atmosphere. Florian Fricke, with his imposing Moog IIIp, creates soundscapes that recall 1950s sci‑fi soundtracks. Frank Fiedler, in the mix, spreads the electronic effects across the space, giving everything greater depth.

Dream Part 5 (4:50) marks a sudden gear change with a percussive, tribal piece that breaks the previous electronic stillness.  A shamanic energy fills the air. Holger Trülzsch is the real star, with a cascade of metallic percussion and tabla.  It’s said that Bettina Fricke contributed on tabla too, even though she isn’t credited.

Dream Part 49 (7:35) is the perfect closing for the first side, a calm, meditative moment with misty atmospheres, floating chords and a drone that recalls a distant horn, creating an evocative mood. Fricke returns to the Moog to weave minimalist textures, evoking a sense of sidereal emptiness and infinity.

Side B contains “Affenstunde” (18:30), an epic suite that perfectly embodies the idea of the record.  It starts with the crackle of a fire, then plunges into a vortex of chaotic electronics and frantic percussion. After about seven minutes, the music evolves into a bright, hypnotic dance. Florian Fricke performs long keyboard and synth solos, while Trülzsch enriches the atmosphere with bongos, timpani and congas woven into the mix.

Florian Fricke wanted to prove that a technological instrument like the Moog synthesizer could express deep religious and mystical emotions, linking modernity to ancient spiritual traditions. Unlike the robotic “coldness” of other electronic pioneers, Fricke wanted to “humanize” electronic music, using it to seek the “vibration of the soul” and contact with the sacred. With this album, that wonderful journey begins. Absolutely recommended to all fans of the genre.

My Version

Label: Klimt Records – MJJ347LP
Format: Vinyl, LP, Album, Limited Edition, Reissue, Transparent Blue
Country: France
Released: 9 Mar 2018

Tracklist

Aa        Dream Part 4    8:40
Ab        Dream Part 5    4:50
Ac        Dream Part 49    7:35
B        Affenstunde    18:57

LineUp

- Florian Fricke - Moog III synthesizer 
- Frank Fiedler - synthesizer, mixdown
- Bettina Fricke (von Waldthausen) - tablas, co-producer
- Holger Trülzsch - percussion

Listening links on the main streaming platforms at the following links:

Spotify: You can listen to the full album, including the different suites, on the official Spotify page. There is also a version with bonus tracks like "Train Through Time".

Apple Music: The album is available to listen in high quality on Apple Music.

Amazon Music: You can play the tracks via Amazon Music Unlimited. 

Note: All links to the musicians' works are in the TAGS under the article title or on the page "Artists"