Space Is the Place
Plump Kraut Control
Impressum & Kraudits

H.O. Zollner, Katzenbachstr. 124, 70563 Stuttgart, Germany.
E-Mail: <>. Copyright © H.O. Zollner 2009-18.This is a purely private website. It won't suck up your data or violate your privacy rights unless Deutsche Telekom does (which I do not think they do) where this website is hosted and technically administered. If in doubt, please contact Deutsche Telekom at

Credits & Thanks

Respect and thanks go out to Mark Leyner and his 1990 novel, My Cousin, My Gastroenterologist, where, on page 37, allusions to a fictitious faux magazine called "das plumpe denken" may be found. Thanks also to the late David Foster Wallace who paved the way in his fine essay, "E Unibus Pluram: Television and U.S. Fiction" (Review of Contemporary Fiction, 13:2 [1993:Summer], pp. 151-194). Hail thee Julian Cope: Krautrocksampler: One Head's Guide to the Great Kosmische Musik - 1968 Onwards (UK: Head Heritage, 1995 C.E.), possibly conceived and fostered in a creative shitstorm of everlasting ur-punk glorious Om riffs. ... Highly informative is David Stubbs et al.'s Krautrock: Cosmic Rock and Its Legacy (London: Black Dog Publishing, 2009) and of course the seminal monograph by David Stubbs: Future Days: Krautrock and the Building of Modern Germany (London: Faber & Faber, 2014). Rüdiger Esch produced a wonderful oral history of the Düsseldorf scene, which offers great, intimate details, in his important book Electri_City: Elektronische Musik aus Düsseldorf: 1970 - 1986 (Berlin: Suhrkamp, 2014). Good overviews of many a krautish band, scene and style are offered by Christoph Wagner's primer Der Klang der Revolte. Die magischen Jahre des westdeutschen Musik-Underground (Mainz: Schott, 2013).
  More of an academic endeavour is Alexander Simmeth's well-researched and interesting study (in German), Krautrock transnational. Die Neuerfindung der Popmusik in der BRD, 1968-1978 (Bielefeld: transcript-Verlag, 2016). Less long-winded and more to the point is Wolfgang Seidel's book, Wir müssen hier raus! Krautrock, Free Beat, Reeducation (Mainz: Ventil-Verlag, 2016). Truly refreshing as it shatters quite a few clichés and self-congratulations of the Krautrock scene, and of Germany as a whole as well. A must-read.
  Excellent critical catalogues have been compiled by Dag Erik Asbjørnsen: Cosmic Dreams at Play: A Comprehensive Guide to German Progressive Rock of the 1970s (Reggio Emilia, Italy: Strange Vertigo Produzioni, 2nd ed. 2008) and by Steven & Alan Freeman: The Crack in the Cosmic Egg: Encyclopedia of Krautrock, Kosmische Musik, & Other Progressive, Experimental & Electronic Musics From Germany (Leicester: Audion Publications, 1996; now available as HTML-based CD). The real McCoy of catalogues probably is Ulricht Klatte's beautifully illustrated labour of love, the Cosmic Price Guide to Original Krautrock Records, now in its 4th edition (Reinbek, Germany: CPG Books 2018). It is full of Pictures of Lily, if you allow me that ribald reference. Simon Reynolds adds valuable context in his fabulous study, Retromania: Pop Culture's Addiction to Its Own Past (London: Faber & Faber, 2012). And finally: Brecht! (Yes. And don't you forget to translate that.) Ingredients of the Ursuppe, really. In this context, we have received news of a short-lived, Tucson, Arizona-based Brechtian blog, "Das plumpe Denken", at https://dasplumpedenken., which we, however, do not endorse as we focus on "Das Plumpe denken" instead, a fact that we thus far have not elaborated on.

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        75% of our regular users agree to that, the sample's remainder
          giving in to acquiescence by social desirability (n=4, p>.05).

About the Author:

H.O. Zollner, a feisty Austro-Canadian, was born in Toronto, Ontario, in 1968. In 1974 he moved to Vienna, Austria, soon forgetting his family. His childhood in Freud's home city was mainly a happy one, discounting spells of homesickness and applestrudel-craving. After earning a mostly useless liberal-arts degree from the University of Ohio in 1993, H.O. started a career as high-school teacher (note the inserted hyphen!), drummer, bouncer at a night club, and PR manager (isn't that where we all end up, eh?), which eventually ended his 6-year binge of bootlegging, paranoia, and self-degradation (all the gruesome details of which are recounted in his disturbing, yet luckily unpublished autobiography, Paralytic Jaundice). His friends, the very few that he has, call him "H.", some of them "O." They don't even know his real name. They couldn't care less. Ho ho ho!

Whenever H.O. feels alienated from his current job he posts something onto, his favourite hobby horse at the moment. In 2005 he has put up a somewhat permanent residence in Stuttgart, a German speckgürtel community, and tries to like it a lot. H.O. is an avid polo player, is married, and breeds budgies. He is currently working on his long-awaited first sex-crime fiction thriller, Decaf Is My Life, and thinks about relocating to Berlin's Prenzlauer Berg borough, pretending not to be working, as does everybody else over there. Sip a capuccino.

He hates lamps.