Faust

Known for the spartan editions of their records and for the ascetic modesty of their members, whose faces were never revelead, Faust were, in a sense, the first "lo-fi" group of rock music. Completely removed from the commercial circuits, their career was very much underground and subdued.

Technically, the ensemble's music pushed to the extreme an aesthetics of darkness, ugliness, fear, chaos, irrational that stemmed from expressionism, surrealism, theater of the absurd, Brecht/Weill's cabaret, myth of the supermensch, Wagner-ain melodrama, musique concrete and abstract painting, all fused in a formal system that was as much metaphysical as grotesque. Influenced by Frank Zappa's collages, these teutonic vampires injected angst, like burning lava, into a sound that was deliberately fastidious, repulsive, incoherent. Demented, demonic, paranoid, acid and violent, their compositions constitute a puzzle of sonic boutades and hermetic puns. Their opus was a black mass that deteriorated into "happening". However, behind the surface, Faust's music hid a moving vision of the human condition, one of the most lyrical in the entire history of rock music. Their visions of hell represent the noblest testament that came out of progressive-rock.

Noti per le confezioni spartane dei loro dischi e per l'assoluta modestia dei componenti, di cui a malapena si conoscevano i nomi (e non si videro per anni le facce), i Faust furono in un certo senso il primo "lo-fi" group. Totalmente avulsi dai circuiti commerciali, la loro carriera sara` effimera e tutta in sordina. Musicalmente l'ensemble esasperava l'estetica del cupo, del brutto, della paura, del caos, dell'irrazionale, fondendo espressionismo, surrealismo, teatro dell'assurdo, cabaret di Brecht/Weill, mito del superuomo, melodramma wagneriano, musica concreta e pittura astratta in un sistema formale tanto grottesco quanto metafisico. Influenzati dai collage di Frank Zappa, questi vampiri teutonici dispensavano lapilli di angoscia sotto forma di suono volutamente fastidioso, turpe e sconnesso. Demenziali, satanici, paranoici, acidi e violenti, i loro brani costituiscono una sequela di boutade sonore e di freddure ermetiche. La loro opera era una messa nera degenerata in happening. Ma dietro le apparenze si celava una struggente poesia della condizione umana, una delle piu` liriche dell'intera storia del rock. Le loro visioni infernali costituiscono il testamento piu` nobile del progressive-rock.

In 1969 Werner "Zappi" Diermaier (drums), Hans Joachim Irmler (keyboards) and Arnold Meifert (percussions) were playing in Campylognatus Citelli. In Hamburg they hooked up with three musicians from Nukleus: Jean Herve` Peron (bass), Rudolf Sosna (guitar) and Gunter Wuesthoff (saxophone). The six became Faust and, helped by journalist Uwe Nettelbeck, set up their studio in the nearby village of Wuemme.

Nel 1969 Werner "Zappi" Diermaier (batteria), Hans Joachim Irmler (tastiere) and Arnold Meifert (percussioni) suonavano nel Campylognatus Citelli.Ad Amburgo si agganciarono con tre musicisti provenienti dal Nukleus:Jean Herve` Peron (basso), Rudolf Sosna (chitarra) and Gunter Wuesthoff (sassofono).I sei divennero i Faust e,aiutati dal giornalista Uwe Nettelbeck,costruirono il loro studio nelle vicinanze del villaggio di Wuemme.

Their first album, Faust (Polydor, 1971), their (and one of rock music’s) masterwork, contains three lengthy musical digressions. These Dadaist collages and explorations in musique concrete make a very free use of "found sounds." Why Don’t You Eat Carrots, the opening track, begins with a piercing, radioactive whistle, which leaks into two “classic” sixties snippets, Satisfaction by the Rolling Stones and All You Need Is Love by The Beatles. Both are demoniacally distorted. From there, a free flow of gags commences, which includes cabaret piano and a brass band, which show an obvious Frank Zappa influence, and voice distortion and electronics derivative of Stockhausen. The opening track is a demented jazz-rock jam crushed by pneumatic hammers, which contains cosmic hisses and crowded thumps, all of which is dominated by a collegiate choir. Eventually everything fades into nothingness: a cosmic wind brings echoes and fragments of the previous portion of the song along with pieces of a lost conversation; these are coupled by frightening blasts of radiation.

Following the clustered first piece is Meadow Meal. The second track opens with a dense, chaotic field of electronic manipulations, percussion, and “concrete,” unorthodox noises from ordinary instruments. This dissonant chamber music sets the stage for a dramatic huddle of voices. Then, suddenly, the music launches into a relentless flight of blues-rock guitar, which sounds like the Grateful Dead. The song, as grotesque as it is desperate, is crowned with a church organ, which pounds in the sudden silence, like a prayer that is, like the song, drunk but moving. The meaning of this absurd piece is cryptic, but not impossible. Faust coexist with philosophers as amateurs, but there message is less developed and more childish. The music of Faust, especially in this particular work, is chamber music so degraded that its identity is all but lost. This confusion, though, is able to communicate a message: from chaos emerges order. Strangely, as the piece becomes even more bogus, the ridiculousness of each ensuing portion of the song makes everything that came before it seem rational and ordered.

As demonstrated by their masterpiece and the closing song on the album, Miss Fortune, Faust’s imagination held room for even more reckless composition. The song opens with a crescendo of typical stormy Teutonic tribalism ("motorik" rhythm and drumming and violent distortions), from which springs a surreal duet between a wild jazz-rock guitar and an acoustic, psychedelic, strumming flamenco guitar. The chaos falls, and begins an eerie silence, which is suddenly interrupted by the lullaby of a drunken muezzin, itself accompanied by only the thread of a malignant synthesizer and the shaky basis of a plan, with the rhythm section soon taking it to the speed of a waltz. After a few seconds, a sweeping, astronomical hurricane is unleashed. Once the spasms subside, though, there remains only one song, seeming to come straight out of an asylum (and it is multiplied by a thousand echoes from that asylum’s cells). In this tortured section of the song, loud, squeaking voice recordings are launched at crazy speeds, and they are punctuated by horrendous music hall piano and interrupted and overtaken by fragments from a tape-grinding organ. After a short interlude of silence, the finish is soft, magical and delirious. The overwhelming masterpiece ends with two alternating voices relaying a medieval fairytale over a subtle guitar. This fairytale, and one verse in particular, sums up Faust’s entire, complex philosophy, dealt with throughout the album: “Are we supposed to be or not to be.” With this closing song, Faust had managed to blend the grotesque, the everyday, and the transcendent into a colossal contradiction, a catastrophic imbalance, which serves as a summation of the human condition that in a way is more accurate than any rational discourse.

The album’s overwhelming feeling is one of loneliness, helplessness, and despair. The sonic cyclones loom over the gaunt, threatening fate of human existence. The humanity that transpires from the album’s overwhelming message of apocalypse is both physical (the Germanic accents) and mental (all the paranoia of modern man), inexorably doomed to crumble against the rugged ramparts of history. Faust, Goethe-ian and Wagnerian, raise a solemn hymn to universal defeat, which sublimates the titanic human adventure. Humans who, while admiring the immense universe, wonder doubtful and fearful "Are we supposed to be or not to be?" are the most poignant vision handed down by Germanic rock. The final lines of the record ("... and at the end realize that/ nobody knows/ if it really happened") beat any lyric ever written by Bob Dylan or Nick Cave. This is simply great poetry.

So Far (1972), contained structured songs rather than free-form jams. It did not carry the staggering momentum of its predecessor, and confirmed the desecration of the quintet. The album is saved thanks to the obsessive paranoia of It's A Rainy Day, the Zappa-esque imagination of I've Got My TV, and the electronic sabbat, Mamie Is Blue, but too many songs are simply ambiguously trivial or clearly derivative.

The third album, Tapes (Virgin, 1973), is presented as a collection of 26 unpublished and “lost” songs, but in fact it was written and recorded in Oxford (not so "random" as the legend would have it be). The nature of the disorganized collection is simply the nature of Faust. These "tapes,” in reality, testify to the creativity of the ensemble in the mature stage.

So Far (1972), strutturato a canzoni invece che a free-form jam, attenua l'impeto esplosivo del primo capolavoro, pur confermando la grinta dissacratoria del quintetto. L'album si salva grazie alla paranoia ossessiva di It's A Rainy Day, alla fantasia Zappiana di I've Got My TV, al sabba elettronico di Mamie Is Blue, ma troppe canzoni sono ambiguamente semplicemente banali o chiaramente derivative.

Il terzo album, Tapes (virgin, 1973), viene presentato come una raccolta di (26) inediti, ma in realta` e stato composto e registrato a Oxford (quindi non cosi` "casuale" come la leggenda vorrebbe). La natura disorganica della raccolta e` semplicemente la natura dei Faust. Questi "nastri", in realta`, testimoniano la creativita` dell'ensemble nella fase matura.

Quindici secondi di piano dissonante e pochi secondi di caos portano(al minuto 1:20) a una serena fiaba Syd Barrett-eniana.Tre minuti dopo la canzone torna con lo stile chitarristico romantico.Al minuto 5:20 un'orgia "tibetana" di voci ronzanti e percussioni primitive portano al vaudeville Gong-hiano,il quale,alternativamente collassa in una jam guidata al sassofono.Il ritornello della canzone ritorna,ripetendosi oltre e oltre ancora per parecchi minuti .Al minuto 14:25 un po' di musica concrete alla Pink Floyd di Alan's Psychedelica Breakfast porta nell'ipnotica fanfara/marcia della cacofonica musica proto-industrial.Dissonanze orchestrali,che si collegano all'inizio,e la distorta musica registrata si protraggono,per pochi minuti di caos assoluto.Al 23:30 un clarinetto e un sassofono abbaiono rabbiosi alla luna accompagnati da una linea di basso jazzy.Dopo alcuni minuti di suoni casuali al 35:10 appare una nuova canzone .L'album finisce con due minuti recitati in francese assieme a una chitarra acustica:ancora una volta, i Faust danno del significato al caos precedente "pausando" e riflettendo un tono malinconico.Nell'era del Tabular Bells di Mike Oldfield questo era effettivamente un"hit"di progressive rock(50000 copie vendute in un anno).

(Translated from the Italian by Troy Sherman)

Even while they were enjoying their moderate success in Britain, Faust were dying of starvation. Following their third record, they put out a collaboration with the violinist Tony Conrad, Outside The Dream Syndicate (Caroline, 1973 - Table of the Elements, 1996). The album contains two long tracks, each twenty minutes in length: From the Side of Man and Womankind and From the Side of the Machine. The reissue adds From the Side of Woman and Mankind, which is almost identical to the first track.

In the end of their sullen career, before the dissolution, came Faust’s fourth album, IV (Virgin, 1973). Often containing much calmer music, it is at times near Syd Barrett and folk music, yet it is still haunted by electronic noise. The highlight is Krautrock, the opening suite: a dark, rhythmic noise (a hideous derivative of psychedelic ragas of the Velvet Underground) accompanied by miasmas, rises in a deadly and terrible fashion. The song takes the listener in convulsions of pressing agony. The mind explodes in imminent orgy, and the sonic lysergic trip is more and more cut off from all time. It is a surreal concentration of psychic earthquakes which can contact the origins of the cosmos. If Hindus were trying to merge their minds with Brahman, in this opening song Faust attempted to merge theirs with the huge big bang. Their rock is a hellish version of kosmische musik: it contains no celestial calm, but instead a huge scary maelstrom of galactic magma, frantically destroying the matter of the universe.

The point on the album of the lowest depression is the most touched Jennifer, a soft ballad that is launched into a vortex of a metaphysical suspense. Läuft plays the part of a parody of the Parisian chanson, but accidentally becomes a piece of ambient music (five years before it was invented by Brian Eno). Just A Second opens with one of their most pressing riffs, but lasts only a minute, before you fade into a glitch sent in by loops of a forgotten, frantic piano sonata of Picnic on a Frozen River. The album is even able to grasp circus music: the futuristic music-hall of Giggy Smile. This exuberant music (which at one point pulls out a riff worthy of ZZ Top and a circus theme worthy of Frank Zappa) does, however, seem a bit out of place in the midst of such an emotional cemetery. Frank Zappa is indeed the only musician to which you can owe this operation. The "fragments" ideally continue the work of demystification of genres which began on We're Only In It For The Money, and the marching bands seem like half-serious appendices of Uncle Meat.

Following IV, Faust broke up, leaving behind at least two masterpieces worthy of worship (the first and fourth albums). The legend of the group is perhaps the most misunderstood in all of rock. Ironically, however, the only album to receive even minimal accolades was the worst. None of the four great music encyclopedias of the 1990s (Rolling Stone, Penguin, Viking, All Music Guide, each of about a thousand pages) mentions them.

The album contains two lengthy tracks, each over twenty minutes long: From the Side of Man and Womankind and From the Side of the Machine. The reissue adds From the Side of Woman and Mankind, which is almost identical to the first one.

Alla fine, prima dello scioglimento, giunge il quarto album, IV (Virgin, 1973), molto piu` calmo e musicale, in certi momenti vicino a Barrett e al folk, ma ancora infestato da rumori elettronici. Il pezzo forte e` Krautrock, la suite iniziale: da un rumore cupo e ritmato (un orrendo derivato del raga psichedelico dei Velvet Underground) si levano miasmi sempre piu` letali e terribili. Presa nelle convulsioni di un'agonia incalzante, la mente esplode un'orgia immanente, il trip lisergico piu` sterminato di tutti i tempi, un condensato di terremoti psichici che ha come unico possibile referente le origini stesse del cosmo. Se gli Induisti tentavano di fondere la propria mente con Brahman, i Faust tentano di fonderla con l'immane big bang. Il loro rock e` la versione infernale della kosmische musik: non celestiale calma, ma immane spaventoso gorgo di magmi galattici che freneticamente consumano energia termonucleare annientando anni-luce di materia.
Il punto piu` basso della depressione Faustiana viene toccato in Jennifer, tenue ballata sottovoce nei vortici di una suspense metafisica. Lauft parte come una parodia dei chansonnier parigini ma diventa un pezzo di ambient music (cinque anni prima che Eno l'inventasse).
Just A Second si apre con uno dei loro riff piu` incalzanti, ma dura soltanto un minuto, prima di sfumare in un glitch mandato in loop e nella sonata esagitata per pianoforte scordato di Picnic On A Frozen River.
L'album sa cogliere anche nel segno della musica da circo, con il music-hall futurista alla Gong di Giggy Smile, anche se questo brano esuberante (che a un certo punto sfodera un riff degno dei ZZ Top e un tema circense alla Frank Zappa) sembra un po' fuori luogo in mezzo a tanto cimitero emotivo.
Frank Zappa e` in effetti l'unico musicista a cui si puo` ricondurre questa operazione. I "frammenti" continuano idealmente l'opera di demistificazione dei generi iniziata su We're Only In It For The Money e le bande marcianti sembrano appendici semiserie a Uncle Meat.

Ogni album dei Faust fa sostanzialmente storia a se`.

I Faust si sciolsero, lasciandosi alle spalle almeno due capolavori da culto (il primo e il quarto album) e la leggenda di gruppo forse piu` misconosciuto del rock. Per ironia della sorte, invece, l'unico album a ottenere un minimo di riconoscimenti era il peggiore. Nessuna delle quattro grandi enciclopedie degli anni '90 (Rolling Stone, Penguin, Viking, All Music Guide, ciascuna di circa mille pagina) li cito`.

Faust's fifth record, recorded in Munich in 1973, never materialized, but what survived eventually surfaced on Return Of A Legend - Munich and Elsewhere (Recommended, 1987). There are only six tracks: Munic/Yesterday, Don't Take Roots, Meer, Munic/Other, Baby, We Are The Hallo Men. It sounds like this would have been a retreat to the compromise sound of So Far. The Last LP (Recommended, 1988) contains the eight "party tapes", originally recorded in 1971 and partially released on singles and EPs. These are not essential items. In fact, this is the one disposable album in Faust's early discography. To further confuse the discography, these two albums will be partially (not completely) collated on 71 Minutes (Recommended, 1990), and with slightly different titles.

Faust's resurrection began in 1990, at the "Prinzenbar" in Hamburg. A subsequent live performance at London's "Marquee Club" and a tour in California drew enough interest to secure a recording contract. Diermeier and Peron not only reconstituted the band but, finally, began to perform live. They showed a predilection for chainsaws and jackhammers, whose sounds are captured on Concerts: Vol. 1 (Table of the Elements, 1994) and Concerts: Vol. 2 (Table of the Elements, 1994).

Faust returned to the studio for the first time in 20 years, but, in keeping with their unfriendly tradition, the notes of Rien (Table of Elements, 1995) are eight blank pages: not a single word. was the "reunion" album. Rien is, de facto, an anthology of unreleased material, edited by a extraordinary exegete Jim O'Rourke. The limit of this work is precisely that it sounds more like a O'Rourke remix of Faust than... Faust (Diermeier and Peron). The second (untitled) track sounds like Chrome's manic version of space-rock (replete with Helios Creed's trademark space guitar) before it abruptly ends in silence (Faust would not have ended it this way). Long Distance Calls In The Desert toys with found sounds. Eroberung der Stille, Teil II recalls Edgar Varese's early noise/electronic experiments, while the fifth (untitled) track recalls early Pink Floyd with a bee-like trumpet as the main distraction/attraction and a long, droning coda. Eroberung der Stille Teil I is very primitive musique concrete for collage of voices, found sounds and Gorecki's "Symphony 3". Everything is well crafted and carefully recorded, but that "is" the problem. O'Rourke destroys Faust's original "kraut" spirit: mad, unpredictable, incoherent. Here, Faust has become an ensemble that drags on forever, working on very simple ideas. Faust's music was cryptic, not meaningless: Rien is not cryptic, it is simply over-indulgent, which is... meaningless.

More speculation followed. The mini-album Untitled (Klangbad, 1996) contains unreleased tracks, which are mainly alternate takes of very minor songs: a shameless rip-off. No less pathetic are the 1973 sessions collected on London 1-3. The CD reissue of this record, BBC Sessions (ReR, 2001), adds what was left out of 71 Minutes. It is hard to believe that even the most alternative band of the 1970s eventually ended up trying to cash in on its belatedly achieved popularity.

Il quinto album dei Faust,registrato a Monaco nel 1973,non e' mai stato distribuito,ma si puo' trovare qualcosa eventualmente nel Return Of A Legend - Munich and Elsewhere (Recommended, 1987). Ci sono solo sei tracce: Munic/Yesterday, Don't Take Roots, Meer, Munic/Other, Baby, We Are The Hallo Men.Questo album suona come se volesse essere un ritrattamento al suono gia' compromesso di So Far.The Last LP (Recommended, 1988) contiene le otto"parti di registrazione",originalmente registrate nel 1971 e parzialmente rilasciate nei singoli e negli EP.Queste non sono di certo cose essenziali.Infatti,questo e' l'unico album della prima parte della discografia dei Faust che non vale la pena d'ascoltare.Per confondere ulteriormente la discografia,questi due album saranno parzialmente(ma non completamente)riuniti in 71 Minutes (Recommended, 1990), e con titoli leggermente diversi.

La resurrezione dei Faust avviene nel 1990,al "Prinzenbar" di Amburgo.Una sequenza di performance live al "Marquee Club" di Londra e un tour in California attirarono sufficiente interesse per assicurare loro un contratto.Diermeier e Peron non solo ricostituirono la band ma,finalmente,cominciarono a esibirsi dal vivo:Concerts: Vol. 1 (Table of the Elements, 1994) e Concerts: Vol. 2 (Table of the Elements, 1994).

I Faust ritornarono in studio per la prima volta dopo vent'anni,ma,in linea con la loro inamichevole tradizione,le note di Rien (Table of Elements, 1995) sono otto pagine vuote:non una sola parola.Era comunque l'album della reunion.Rien e',di fatto,un'antologia di materiale inedito,lavorato dallo straordinario exegita Jim O'Rourke. Il limite di questo lavoro e' precisamente che suona molto piu' come un remix di O'Rourke dei Faust rispetto a un lavoro dei Faust (Diermeier and Peron).La seconda traccia(senza titolo) suona come una versione frenetica di space-rock alla Chrome (pieno di chitarra space alla Helios Creed) prima di finire repentinamente in silenzio(i Faust non lo avrebbero mai finito in questo modo).Long Distance Calls In The Desert giocherella con suoni fusi. Eroberung der Stille, Teil II richiama i primi esperimenti elettronici-rumoristici di Edgar Varese,mentre la quinta (senza titolo) traccia richiama i primi Pink Floyd con un bee tipo tromba come principale distrazione/attrazione e una lunga,ronzante coda.Eroberung der Stille Teil I e' piu' che altro musica concrete primitiva,per collage di voci,suoni fusi e "Symphony 3"di Gorecki.Ogni cosa e' ben eseguita e attentamente registrata,ma in fondo "e' "proprio questo il problema.O'Rourke distrugge lo spirito originale kraut dei Faust:pazzo,impredicabile,incoerente.Oramai,i Faust stanno diventando un ensemble che si trascina in eterno,lavorando su troppe semplici idee.La musica dei Faust era criptica,non insignificante:Rien non e' criptico,e' semplicemente troppo indulgente,cioe'...insignificante.

Seguirono molte speculazioni.Il mini album Untitled (Klangbad, 1996) contiene tracce inedite,le quali sono principalmente alternate,prese da molte canzoni minori:una vergognosa fregatura.Non meno patetiche sono le sessioni del 1973 su London 1-3. La riedizione di questo,BBC Sessions (ReR, 2001),aggiunge quello che era stato lasciato fuori da 71 Minutes.E' difficile credere che la band piu' alternativa degli anni 70 spesso finisca con il provare a guadagnare nella popolarit… raggiunta tardivamente.

A differenza di Rien, e dei dischi dal vivo che l'avevano preceduto, You Know Faust (ReR, 1996) sembra segnare il vero inizio di una nuova carriera. La formazione comprende Diermaier, Irmler e Peron (benche' Irmlet non partecipi direttamente alle registrazioni).
Le qualita` del sound sono le stesse di Rien, ma il tipo di esperimenti che vi vengono condotti sono alquanto diversi. Lo spirito e` quasi "ambientale" (in senso molto lato), molto di suggestione e di degustazione, piu` che di attacco frontale. Anche i pezzi piu` provocatori sono suonati con grazia e leggiadria degne di fantasie classiche. La deviazione dai canoni e` subdola e quasi casuale, indiretta, a posteriori. Un filo logico tiene insieme le piece di Liebeswehen e Na Sowas, ed e` ancora una volta la ricerca ritmica. Si ha l'impressione pero` che l'avventura debba continuare in direzione di una sovversione subliminale, quella della funerea fanfara di trombe di C Pluus e del demenziale Teutonen Tango.
Non e` chiaro perche' il trio indulga nella frammentazione, tanto che figurano tracce di un secondo, di due, di tre, di cinque. Manca inoltre l'anelito metafisico che ha sempre corredato le loro scorribande cacofoniche. Qui c'e` soltanto la sperimentazione sui timbri e sulle trame. Interessante, intelligente, stimolante, ma fine a se stessa.

Faust was now mainly a quartet: Diermeier (drums), Steve Lobdell (guitar), Irmler (keyboards), Stoll (bass).

At last, Ravvivando (may 1999) continued the program of You Know. Irmler is much more active This is far less idiosyncratic, absurdist, eccentric music than the original Faust. These tracks (ostensibly there are twelve, but organized in three suites) are monoliths. Ein Neuer Tag Dr' Hansl Carousel II Apokalypse motorik Wir Brauchen Dich #6 D.I.G. Four Plus Seven Means Eleven Du Weisst Schon Take Care Livin' Tokyo Spiel motorik T-Electronique

The Land of Ukko and Rauni (2000) documents a Faust show in Helsinki. The line-up was Lars Paukstat (percussions), Stoll, Lobdell and Diermeir.

In the age of "unreleased", "rare", "remixed" tracks, the band will dig out of the garbage can the tracks for Patchwork 1971-2002 (2002) and will ask friends to create Freispiel (2002), a remix of Ravvivando. Bad habits spread to intelligent musicians too.

Derbe Respect Alder (Staubgold, 2004) is a claustrophobic collaboration with New York-based rapper Dalek.

Peron fu sostituito dal bassista Michael Stoll, e i Faust procederono con Faust Wakes Nosferatu (1997), che documenta un'improvvisazione live per un film di Murnau,e Edinburgh Live (1998), che colleziona otto nuove composizioni.

I Faust sono ora un quartetto:Diermeier (batterie), Steve Lobdell (chitarra), Irmler (tastiere), Stoll (basso).

Finalmente Ravvivando (maggio 1999) continuo' il programma di You Known. Irmler e' molto piu' attivo. Questa musica e' di gran lunga meno peculiare,assurdistica,eccentrica di quella dei Faust originali. Queste tracce (apparentemente ci sono venti,ma organizzate in tre suite) sono monoliti Ein Neuer Tag Dr' Hansl Carousel II Apokalypse motorik Wir Brauchen Dich #6 D.I.G. Four Plus Seven Means Eleven Du Weisst Schon Take Care Livin' Tokyo Spiel motorik T-Electronique.

The Land of Ukko and Rauni (2000) documenta uno show dei Faust a Hensinki.La line-up era costituita da Lars Paukstat (percussioni), Stoll, Lobdell and Diermeir.

Nell'eta' degli"inediti","rarita' ","remixaggi",la band scovera' della spazzatura per le tracce di Patchwork: 1971-2002 (2002) e chiederanno ad amici per creare Freispiel (2002), un remix di Ravvivando.

Le cattive abitudini si diffondono anche fra i musicisti intelligenti.

Hans-Joachim Irmler's solo work Lifelike (Staubgold, 2003), the first solo album by any Faust member, originally a soundtrack for a museum exhibition, is closer in spirit and sound to Hans Joachim Roedelius than to Faust.

The triple-disc In Autumn (2007), featuring Diermeir but not Irmler and documenting terrible live performances, is a ridiculous swindle.

Disconnected (Art-Errorist, 2007) is a Faust album only in name, because Nurse With Wound's Steven Stapleton and Colin Potter took some raw Faust recordings and turned them into the final product.

Kleine Welt (Ektro, 2008) documents live concerts of 2006 by the line-up of Jan Wolbrandt on drums, Michael Stoll on bass, Lars Paukstat on percussion, Steven Wray Lobdell on guitar, and Hans Joachim Irmler on keyboards. Od Serca Do Duszy (Lumberton Trading Company, 2008), instead, documents a live 2006 concert by the line-up of Zappi Diermaier on drums, Jean-Herve Peron on guitar, Amaury Cambuzat of Ulan Bator on keyboards.

Paper Factory is an ensemble comprising Faust member Hans-Joachim Irmler on electronic keyboards, Mike Adcok on piano and accordion, Clive Bell on flutes, Sylvia Hallett on violins, Mike Svoboda on trombone. Their first recording, Schlachtfest Session 1 (Klangbad, 2008), sounds like a lighter, humorous version of Irmler's solo Lifelike. The ambient ethnic jazz fusion is particularly effective in the ten-minute Hinter dem Eisentor.

Peron-Diermaier-Cambuzat's Faust released C'est Com...Com...Complique (Bureau B, 2009) that contains the nine--minute Kundalini Tremolos, one of their best ventures into trance, surrounded by a lot of second-rate material.

Irmler's Faust announced that the double-disc Faust Is Last (2010), recorded between 2006 and 2008, would be their last release. The second disc contains the longer compositions: Karneval, In But Out, Voruebergehen, Primitivelona.

Irmler also collaborated with avant-percussionist Stefan Weisser (Zev) From The Frozen South (2009), credited to Fauz't, with Swiss drummer Christian Wolfarth for Illumination (2011), that sounds like early Tangerine Dream, and with FM Einheit, formerly of Einsturzende Neubauten, for No Apologies (2009) and Spielwiese Drei (2011), the latter featuring Katherine Young on bassoon and Ute-Marie Paul on saxophone.

Peron-Diermaier's Faust released their fourth and possibly best album, Something Dirty (Bureau B, 2011), this time featuring guitarist James Johnston (Gallon Drunk) and Geraldine Swayne on pianos, synthesizers, guitar, organ, vocals, and psalterion, with songs that are both vibrant (Something Dirty and Tell the Bitch to Go Home) and meticulously theatrical (Lost the Signal and La Sole Doree).

Il lavoro da solista di Hans-Joachim IrmlerLifelike (Staubgold, 2003), il primo album solista di un membro dei Faust, originariamente concepito per la riproduzione durante un’esibizione in un museo, è più vicino a Hans-Joachim Roedelius che ai Faust, sia per spirito, sia per sound.

Il triplo CDIn Autumn (2007), con la collaborazione di Diermeir ma non di Irmler,testimonianza di terribili performance dal vivo, è una truffa.

Disconnected (Art-Errorist, 2007) è un album dei Faust solo sulla carta, perché Steven Stapleton dei Nurse With Wound e Colin Potter hanno semplicemente preso registrazioni dei Faust allo stato grezzo e le hanno trasformate in prodotto finito.

KleineWelt (Ektro, 2008) documenta concerti live del 2006 con questo assetto: JanWolbrandt alla batteria, Michael Stoll al basso, Lars Paukstat alle percussioni, Steven WrayLobdell alla chitarra e Hans-Joachim Irmler alle tastiere. OdSerca Do Duszy (Lumberton Trading Company, 2008) testimonia un concerto del 2006 con Zappi Diermaier alla batteria, Jean-Hervé Peron alla chitarra e Amaury Cambuzat (Ulan Bator) alle tastiere.

I PaperFactory sono un ensemble che comprende i membri dei Faust Hans-Joachim Irmler alle tastiere elettroniche, Mike Adcok al pianoforte e alla fisarmonica, Clive Bells ai fiati, SylviaHallett al violino e Mike Svoboda al trombone. La loro prima registrazione, Schlachtfest Session 1 (Klangbad, 2008), sembra come una più limpida e divertente versione di Lifelike, album solista di Irmler. L’atmosfera etnica, jazz e fusion è particolarmente efficace nella canzone da dieci minuti HinterdemEisentor.

C’est Com... Com... Complique (Bureau B, 2009) dei Faust è opera di Jean-Hervé Peron e Werner “Zappi” Diermaierinsieme ad Amaury Cambuat degli Ulan Bator. Il risultato è mediocre, sostanzialmente un album costruito per giustificare i nove minuti di KundaliniTremolos, uno dei loro migliori esperimenti nel campo della trance music.

Hans-Joachim Irmler ha annuncato che il doppio CD Faust Is Last (2010), registrato tra il 2006 e il 2008, sarebbe stato il loro ultimo album, mentre i Faust di Jean-Hervé Peron e Zappi Diermaier hanno registrato SomethingDirty (Boureau B, 2011) con il chitarrista Hames Johnston e Geraldine Swayne al piano, ai sintetizzatori, alla chitarra, all’organo, alle voci e al salterio.

Irmler collaborated with Can's drummer Jaki Liebezeit for Flut (2014).

Pared down to the duo Peron-Diermaier, Faust released j US t (2014), also known as Just Us, and Fresh Air (2017), that collects both live and studio recordings, notably the 17-minute Fresh Air.

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