"This is Strobe a new concept in radio programming". Where we resurrect underground freeform radio circa 1968-1972.
The format we use to ensure authenticity is to source actual underground FM freeform radio playlists from underground radio shows of the 1968-1972 era and play only the records they actually played. This is the undiluted real deal it's the historic and iconic sound of the underground.
Cover Story: Krautrock – The German Underground Revolution
Subtitle: How Germany Redefined Rock with Cosmic Sounds
Breaking Free from the Past
In the late 1960s, Germany was in a period of reinvention. The country was still grappling with the aftermath of World War II, and a new generation of musicians sought to carve out a unique cultural identity separate from both the wartime past and the Western rock and pop trends of the UK and U.S. These artists rejected the blues-based structures that dominated Anglo-American rock, instead drawing inspiration from avant-garde composers like Karlheinz Stockhausen, minimalism, free jazz, and emerging electronic music. The result was a radical new approach to sound, one that fused experimentation with hypnotic rhythms and spacey textures—what would later be known as Krautrock.
The Sound of Cosmic Freedom
Krautrock is difficult to define because it wasn’t a single movement or genre, but rather an attitude toward music. The key elements often included:
Motorik Beats: A steady, propulsive 4/4 rhythm (often associated with Neu!) that gave the music a hypnotic, driving feel.
Improvisation and Experimentation: Many bands embraced long, freeform jams, rejecting traditional song structures.
Electronics and Synthesizers: Groups like Kraftwerk and Cluster incorporated early synths and tape manipulation techniques.
Diverse Influences: Everything from jazz, Indian classical music, and early electronic composers played a role.
The Pioneers of Krautrock
Can: The Rhythmic Explorers
Formed in Cologne in 1968, Can blended improvisation with relentless grooves, largely driven by the drumming of Jaki Liebezeit. Albums like Tago Mago (1971) and Ege Bamyasi (1972) showcased their ability to fuse funk rhythms with avant-garde textures. Tracks like "Vitamin C" and "Mushroom" remain essential Krautrock classics.
Neu!: The Architects of Motorik
Formed by Klaus Dinger and Michael Rother (both former members of Kraftwerk), Neu! stripped rock down to its purest rhythmic form. Their debut album, Neu! (1972), introduced the motorik beat, a repetitive, metronomic pulse that influenced everything from post-punk (Joy Division, Public Image Ltd.) to electronic music (David Bowie’s Berlin Trilogy).
Amon Düül II: The Psychedelic Warriors
While the original Amon Düül was more of a political art collective, Amon Düül II evolved into a full-fledged rock band. Their 1970 album Yeti remains one of the most essential Krautrock albums, mixing surrealist lyrics, heavy guitar work, and expansive jams.
Faust: The Avant-Garde Destroyers
Faust took the cut-up, collage approach of early tape experiments and applied it to rock music. Their self-titled debut album (1971) opens with the sound of radio static and quickly devolves into a mix of jazz, noise, and found sounds. Their later track "Krautrock" (from Faust IV, 1973) is one of the defining moments of the genre—22 minutes of hypnotic, repetitive, and disorienting music.
Kraftwerk: The Futurists
While Kraftwerk would later become the pioneers of electronic music, their early albums (Kraftwerk and Kraftwerk 2) were still very much in the Krautrock tradition. Their breakthrough, Autobahn (1974), still carried the hypnotic, endless rhythm of Neu!, but with a more polished, futuristic sound that pointed toward the rise of synthesizer-based music.
The Legacy of Krautrock
Krautrock didn’t just influence rock music—it laid the foundation for entire genres:
Post-punk and New Wave: Bands like Joy Division, The Fall, and Siouxsie & The Banshees borrowed the motorik beat and icy atmospheres.
Electronic and Ambient Music: Kraftwerk’s experiments led directly to techno, house, and ambient music. Brian Eno cited Cluster and Harmonia as key influences on his ambient work.
Indie Rock and Shoegaze: Stereolab, Radiohead, and The Flaming Lips all acknowledge Krautrock’s influence on their sounds.
Experimental and Noise Rock: Sonic Youth, Swans, and Spacemen 3 took inspiration from Can and Faust’s improvisational chaos.
Even today, the spirit of Krautrock remains alive in underground and experimental music, proving that the German underground revolution of the 70s was far more than just a passing movement—it was the sound of the future arriving decades ahead of its time.
Essential Krautrock Albums:
Can – Tago Mago (1971) – A wild, rhythmic journey into the outer reaches of sound.
Neu! – Neu! (1972) – Defined the motorik beat, influencing everything from punk to electronic music.
Amon Düül II – Yeti (1970) – Psychedelic, aggressive, and revolutionary in its approach.
Faust – Faust IV (1973) – Cut-up sound collages and industrial textures decades ahead of their time.
Tracks to Hear:
"Halleluhwah" – Can
"Hallogallo" – Neu!
"Archangel Thunderbird" – Amon Düül II
"Krautrock" – Faust
The Strobe Magazine Playlist. Find all of the music from this issue here:
Lost Gems: Albums You Need to Hear
Subtitle: Krautrock’s Lesser-Known Classics
Agitation Free – Malesch (1972)
Overview: A fusion of Middle Eastern influences and free-form psychedelic rock.
Must-Listen Track:"You Play for Us Today"
Harmonia – Musik von Harmonia (1974)
Overview: A supergroup featuring members of Neu! and Cluster, blending electronic textures with organic warmth.
Must-Listen Track:"Watussi"
Guru Guru – UFO (1970)
Overview: Hard-hitting psychedelic rock infused with jazz-like improvisation.
Must-Listen Track:"Stone In"
DJ Spotlight: Rich Robinson – The Visionary Behind FM 106.3
Introduction:
Rich Robinson was more than just a DJ—he was a tastemaker, a pioneer, and the driving force behind one of the most influential alternative rock stations of the late 20th century. As the Program Director of WHTG (FM 106.3), he helped shape the sound of modern alternative radio, championing underground and independent artists long before mainstream stations caught on. His influence stretched beyond the airwaves, creating a legacy that still resonates with music lovers today.
The Birth of an Alternative Giant
In the mid-1980s, WHTG was a small, locally focused New Jersey radio station with an eclectic mix of programming. But under Rich Robinson’s leadership, the station transformed into one of the first commercial alternative rock stations in the United States. He cultivated a playlist that was as diverse as it was groundbreaking, giving airtime to artists that mainstream stations ignored.
At a time when commercial rock radio was dominated by corporate classic rock and hair metal, Robinson and FM 106.3 championed artists like R.E.M., The Replacements, The Smiths, and The Cure. His curation wasn’t based on label payola or trends—it was built on passion, discovery, and a belief that music fans deserved more than the narrow playlists of the industry giants.
The Sound of FM 106.3
Unlike most radio stations of the time, FM 106.3 had a freeform approach that reflected the ethos of early underground FM radio. Robinson encouraged DJs to have creative control over their shows, allowing them to mix deep cuts, local talent, and emerging artists alongside established alternative icons. The result was a station that felt personal, unpredictable, and vital.
Listeners tuned in for the unexpected—a B-side from The Clash, a new single from a college rock band, or a track from an unsigned New Jersey act that Robinson believed in. FM 106.3 wasn’t just a radio station; it was a community of music lovers, and Rich Robinson was its guiding force.
Impact and Legacy
Robinson’s work at WHTG helped shape the alternative rock explosion of the late ’80s and early ’90s. Bands that he championed—once considered too niche for commercial radio—became household names. His influence extended beyond New Jersey, as other stations began to adopt the alternative format that he helped pioneer.
Even as corporate consolidation homogenized radio in the late ’90s, the spirit of FM 106.3 lived on in the countless DJs, programmers, and music fans who were inspired by Robinson’s approach. His legacy serves as a reminder that radio can be more than just a business—it can be an art form, a movement, and a lifeline for those seeking something real.
Essential Tracks from the FM 106.3 Era
If you want to experience the sound and spirit of Rich Robinson’s WHTG, here’s a playlist of tracks that defined the station’s golden era:
"How Soon Is Now?" - The Smiths
"Driver 8" - R.E.M.
"Left of the Dial" - The Replacements
"Under the Milky Way" - The Church
"Blood and Roses" - The Smithereens
"Kiss Them for Me" - Siouxsie and the Banshees
"Just Like Heaven" - The Cure
"Blister in the Sun" - Violent Femmes
"Here Comes Your Man" - Pixies
"Behind the Wall of Sleep" - The Smithereens
Era Reflections: 1970 – A New Decade, A New Sound
The dawn of the 1970s was a time of transition. The utopian optimism of the 60s was fading, replaced by a darker, more introspective energy. The music reflected this shift—rock became heavier, jazz got more experimental, and pop music splintered into new, uncharted territories.
Psychedelia’s Mutation into Progressive Rock and Hard Rock
While the 60s had been defined by freewheeling, acid-drenched jams, the new decade demanded something different. Psychedelic rock evolved into progressive rock, incorporating complex compositions and technical virtuosity. Meanwhile, the harder, blues-based side of psychedelia paved the way for heavy metal.
Key Albums That Defined 1970
Black Sabbath – Black Sabbath (February 13, 1970)
With its ominous tritone opening and doomy atmosphere, Black Sabbath’s debut birthed heavy metal overnight.
Miles Davis – Bitches Brew (March 30, 1970)
A groundbreaking fusion of jazz, rock, and avant-garde, this album introduced the world to jazz fusion.
Led Zeppelin – Led Zeppelin III (October 5, 1970)
While their first two albums leaned into bluesy hard rock, III explored folk influences, showcasing the band’s range.
The Stooges – Fun House (July 7, 1970)
Raw, primal, and chaotic—this proto-punk classic was years ahead of its time.
The Grateful Dead – Workingman’s Dead (June 14, 1970)
A pivot from psychedelia to rootsy Americana, foreshadowing the folk-rock movement of the 70s.
The End of the 60s Counterculture Dream
The Altamont Free Concert (December 1969) marked the dark turn of the hippie dream. Violence, bad drugs, and a fatal stabbing by the Hells Angels shattered the peace-and-love illusion of the 60s. By 1970, many of the bands that had defined the previous decade were either breaking up (The Beatles), evolving (The Rolling Stones’ Sticky Fingers signaled a grittier era), or losing key members (Jimi Hendrix and Janis Joplin both died within weeks of each other in late 1970).
The Rise of FM Radio and Underground Sound
While AM radio still controlled the pop charts, FM radio was the real underground. DJs like Tom Donahue and B. Mitchell Reed pushed album-oriented rock, playing extended tracks and deep cuts that would never make it onto AM. This era gave birth to freeform radio, which allowed stations to play full sides of albums, mix jazz with rock, and give airtime to progressive and experimental artists.
Tracks That Defined the FM Sound of 1970:
"Down by the River" – Neil Young & Crazy Horse
"Astral Traveler" – Yes
"The Knife" – Genesis
"Lola" – The Kinks
"21st Century Schizoid Man" – King Crimson
"Paranoid" – Black Sabbath
"Machine Gun" – Jimi Hendrix Band of Gypsys
"What Is and What Should Never Be" – Led Zeppelin
"Miles Runs the Voodoo Down" – Miles Davis
1970 was not just the start of a new decade—it was the beginning of an entirely new era of rock. The idealism of the 60s gave way to heavier, darker, and more expansive sonic explorations, setting the stage for everything that followed.
Reader's Picks: Vinyl We Can't Stop Spinning
Featured Picks:
"Peaches en Regalia" – Frank Zappa (Submitted by Kevin in Boston): “A perfect mix of jazz, rock, and pure Zappa weirdness.”
"Opa-Loka" – Hawkwind (Submitted by Lisa in Portland): “Space rock at its finest.”
"Mother Sky" – Can (Submitted by Dave in Chicago): “The groove never stops.”
In the Groove: Audio Gear for the Ultimate Krautrock Experience
Subtitle: The Best Vintage Gear for Expansive Soundscapes
Turntables:
Dual 1219 – German precision with automatic and manual control for perfect playback.
Thorens TD-125 – High-end belt-driven turntable with an ultra-stable speed for those long Krautrock explorations.
Amplifiers:
Sansui AU-717 – Exceptional clarity and deep bass, ideal for immersive listening.
Harman Kardon Citation 12 – Warm, rich, and powerful—perfect for reproducing the atmospheric textures of the genre.
Speakers:
Klipsch Heresy – Crisp highs and deep lows, great for capturing the nuances of Neu! and Can.
Electro-Voice Interface A – Known for their excellent midrange response, making synthesizer-heavy music shine.
Companion CD: Autobahn to Infinity – A Journey Through Krautrock
To accompany this issue, we’ve put together Autobahn to Infinity, a companion CD capturing the essence of Krautrock’s mind-expanding journey. Featuring motorik beats, spaced-out jams, and groundbreaking electronic textures, this collection is essential listening.
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