Tago Mago rages schizophrenically from song to song, from the two-bricks-shy of a pop song “Mushroom” to the sprawling “Halleluhwah” and everything in between. This confusion, this constant search for how best to communicate, is part of the album’s appeal. West Germany and its people had to find new ways to be heard in the world—a nation dismembered, no longer quite German, not yet fully Westernized, and always idling in the Cold War shadows of the Iron Curtain.