Viajero Inmóvil - Difusión de grupos progresivos independientes

English Version Versión en español Versión para Argentina


Facebook MySpace SoundCloud


  • Cleaning out my closet: Eminem : the stories behind every song - (2003)
  • Fear of music: Why people get Rothko but don't get Stockhausen - (2009)
  • Send them victorious: England's path to glory - (2006-2010)
  • Future days: Krautrock and the building of modern Germany - (2014) Reedition in Spanish 2015



David Stubbs (born 13 September 1962, London) is a British journalist. He grew up in Leeds. As a student at Oxford University he was a close friend of Simon Reynolds. The two joined Melody Maker in 1986, where Stubbs remained for a dozen years. He combined his serious writing career with writing the humorous “Talk Talk Talk” section, which featured the character of “Mr Agreeable” who would insult virtually everything with barrages of swear words (asterisked out to fit within IPC Media regulations).

Stubbs has written, more seriously, for the now-defunct Vox magazine, for the NME (late 1990s & early 2000s), and as editor of The Wire, Uncut, The Guardian, The Times and the football magazines Goal and When Saturday Comes. He has also contributed to many of the themed special editions of Uncut. He has written about musicians such as Jimi Hendrix and Eminem in the Stories Behind Every Song series.[citation needed]

In 2009, his book on the 20th century music was published, titled Fear of Music: Why people get Rothko but don't get Stockhausen (O Books Winchester UK 2009). The title may have been taken from the third studio album by Talking Heads, Fear of Music.



  • Future days: Krautrock and the building of modern Germany - (2014) Reedition in Spanish 2015


“Future Days not only captures the essence of Krautrock, but the triggers. With her uninhibited prose and powerful images, Stubbs fails to describe all aspects of this music that transcends time and space.” - Simon Reynolds

West Germany after World War II was a country in shock that had adopted uncritically the American dream as a way to suppress the nightmare of Nazism. Yet this landscape colonized culturally and economically proved to be the breeding ground for a generation of musicians who, stimulated by the psychedelic revolution, communal experiences of the sixties and political radicalism of the youth rebellions, would shape a single chapter in the history of contemporary music: Krautrock. Like their counterparts in the New German Cinema, these sound pioneers set out to develop a language beyond the conventions of Anglo-American Rock, drawing on sources as diverse as Eastern mysticism, electroacoustic music of Stockhausen, restful Joseph Art Beuys and the modern aesthetics of German industry and winding highways.

Although his story has been told a few times, the influence of groups like Kraftwerk, Can, Faust and Popol Vuh and personalities as Conny Plank, Manuel Göttsching or Klaus Schulze is incalculable. They were key to the development of musical movements ranging from Post-punk to techno and ambient, and have inspired artists as diverse as Sonic Youth, Aphex Twin and Einstürzende Neubauten. Without forgetting that the Krautrock was the breeding ground from which David Bowie composed his famous trilogy of Berlin.

Future Days is a deep study on the meditative, however abstract and often beautiful music moments and groups who made it possible: an indispensable book for lovers of the genre and the opportunity, for those who do not know, to discover one of the most visionary and original music of the twentieth century scenes.


* Apologies, translated by