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After their sensational 1971 debut Faust, which was unsuccessful in Germany but became quite popular in England, their record label Polydor gave them a second chance to record another album. Still based musically in their studio in the former schoolhouse in Wümme, they set to work a year later on their follow-up album So Far. Drummer Arnulf Meifert had already left the sextet at the end of 1971, but fortunately Kurt Graupner was back on board, an exceptional sound engineer who was crucial to the Faust sound. The recordings took place in March 1972, and Uwe Nettelbeck also returned as producer. The LP was released a few months later in a discreet black sleeve, but one that really packed a punch! It contained nine art prints, one for each song, designed by the artist Edda Köchel, who was also responsible for the cover of Sameti.
In contrast to their debut, the German experimental musicians presented significantly more accessible and less abstract song structures on their second LP, under pressure from their record company. Nevertheless, it remains a diverse mix of noise, free jazz, jams, catchy pop hooks and Dada lyrics, still exuding a touch of avantgarde, electronic and experimental rock. This album was also a commercial failure, leading Polydor to terminate the contract. Subsequently, the band moved to England with Nettelbeck and Graupner, where they signed to Richard Branson’s label, Virgin Records. Faust were arguably the most radical band of their time and are now regarded as the most visionary German band of that era, with a large following in England and the USA.
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