So, German Psych: Kraut! Demons! Kraut! is the lead off of the three kraut comps that were released during the latter part of the ‘80s. And while there are some of the usual folks on here, a number of acts probably won’t resonate too much with passing fans. That being said, though, this first volume might be the strongest of the trio.

I haven’t listened to Hungry Krauts, Daddy! in a while, but I recall being pretty unimpressed by its lack of consistency. And even though it’s just a comp, if these three discs were compressed and offered as a single album comp, it may have turned out a bit better. Having come to this series in an out of order manner may not have helped my perception. But from even a cursory listen, this first volume of the disc offers more of an even selection.

There are certainly some kraut throw aways – Gunther Kaufman’s “Our Love” and its pretend Doors crescendo is probably one of them. But even amongst the mire, there are some pretty strong tracks.

The track from Can – “Kama Sutra” – isn’t compiled anywhere else. And seeing as it’s from one of two singles the band released before its 1969 debut with Monster Movie, it’s kinda surprising. There isn’t the same sort of driving percussion that the band would figure out over the next five years or so, but the motoric concepts are still there. Oddly, the keyboard sounds as close to a flute as Can would get. And even if that seems out of place Caroli’s guitar is as twisted as it ever was. So, whether or not this amply represents the band’s sound, it’s still one of the stronger offerings here.

Along side that track from Can is “Living in the Garden” from a group called Trash. And even if their name is meant to be nothing more than outlandish, the track works out pretty well. It moves through a few different musical ideas over its six minutes or so, using some droning keys as a back drop. And for most of the song, listeners’ll be thinking that it sounds rather familiar. It should. As “Living in the Garden” pushes back and forth between its more aggressive moments and its spaced out kraut sections, the song eventually settles on a Rolling Stones rip off including the “ohh ohhs” of “Sympathy for the Devil.” It’s not as if this band was the only to appropriate the stuff, but heads of all ilk are sure to recognize this little bit of copy cattin’.

In a completely different way, Motherhood and its track “Negresco #4” borrows the British stomp to add a sitar to the process. The track, regardless of its almost offensive title, is so ridiculously sample ready, that it should have already been used for a few top o’ the chart hits. And considering that Kanye has recently seen fit to borrow – and denigrate – Can, it’s really surprising that more folks haven’t yet mined more of the kraut depths. There are certainly enough tracks out there that are ripe for it.