The chapter analyses Faust‘s work, situating their sound within the diverse Krautrock trend and outlining their history to explain their political and artistic aims as a German music group. Faust‘s music celebrates a disruptive, avant-garde approach to rock music, influenced by dada and fluxus artists to create musical cut-ups and sound collages that blur the difference between noise and music. This methodology positions the band outside the structures of civilization, as per the framework of the Romantic hero, and reflects their conflicted disruption of German identity through the coincident political, phenomenological, and spiritual anxieties present in their music, lyrics, and performances. Faust‘s experimentation and aesthetics have influenced the ways noise has been incorporated into popular music, anticipating the development of industrial music.

During the first decade of the twentieth century, Strauss served at the helm of the oldest and most successful German society dedicated to the performance of new music, the General German Music Society (Allgemeiner Deutscher Musikverein). The chapter examines Strauss’s contribution to the organization’s revival at a time of decline for the ADMV, as he gazed back at founder Liszt’s legacy and looked to the future through his own music and the work of Mahler, among others. His activity is positioned within the context of affiliated composers and dominant issues throughout the ADMV’s seventy-five-year history, from its establishment by Liszt and Franz Brendel through its dissolution under the Third Reich. This essay lays bare the society’s struggles over German identity, musical modernism, and reactionary politics while recognizing its role in promoting the careers of such important figures as Mahler, Reger, and Schoenberg.