[2][3] Permanent restrictions by Hungarian authorities made worldwide tours difficult for the band, but its ecstatic concerts garnered surprising success across Western Europe.

Though relatively obscure and commercially limited outside of Eastern Europe, Maximumrocknroll described the band as "equal in spirit and grit to faves like Sonic Youth or Big Black but with an identity all its own".

[4] VHK has been praised as a highly important band by Iggy Pop,[5] Henry Rollins,[6] Jello Biafra[7] and Einstürzende Neubauten.

Galloping Coroners (VHK) was formed in Budapest in 1975 by Attila Grandpierre (singer) and his friends independently from Western world's punk movement that started 1–2 years later.

More of them were graduated professionals: The group's leader and main theoretician, Attila Grandpierre is also astrophysicist, a candidate of physical sciences, employed by the Hungarian Mathematics Institute.

In early 70's, Budapest youngsters were talking stories about a mysterious, eccentric teenage boy, Attila Grandpierre, who was doing scandalous actions with his friends e.g. creating home-made rockets etc.

The second tag took longer to find out, finally they found that 'Coroners' expresses their feeling greatly that people on Earth live on a very basic level, almost like 'living deads', and the band is like the Coroners who say the diagnosis of this state.

They aroused their first public acclaim among Budapest teenagers when bandmates walked along Váci Street playing VHK on cassette recorder demonstratively.

Members were harassed by the police, observed by the secret agent network and not allowed to release an LP and make concerts legally.

[9] Due to these concerts, and fan-made cassette recordings VHK's fame spread rapidly among youth communities in Budapest.

[12] VHK had no LP and was forbidden to concert within Hungary, but by the 80's the band's fame reached Western Europe, first Germany through personal channels.

Dutch Queen, Beatrix should have personally pressure Hungarian authorities to give passports and allow band's performance.

[9] In 1987 Austrian chancellor, Fred Sinowatz also had to make diplomatic steps toward the Hungarian Ministry of Culture to let VHK play in Austria.

Galloping Coroners' music may best describe as "shaman punk" or "psychedelic hardcore" - new categories created by western critics in the '80s to define the original sound of the band.

He was impressed by psychedelic,[17] progressive rock music: "I liked very much early Pink Floyd, especially See Emily Play[18] and the first Blue Cheer album, Vincebus Eruptum.

He was also influenced by German progressive rock, especially krautrock (early Amon Düül, Popol Vuh, Ash Ra Tempel).

In contrast with aggressive, angry, anti-establishment, direct protest features of punk and hardcore, VHK's unrestrained dynamism is rather a positive, ecstatic, sublimed and transcendent often with harmonious tones in lead vocals over the repetitive base rhythm.

"[15] VHK played pre-written songs as a basis, exposed with improvisations and instinctive physical performances on stage, with an open end to a total ecstatic state "liberating the deepest musical creative power".

"The songs of VHK are growing towards a dreamlike ecstasy coming from the heart, the usual song-structure and singing style are completely missing, the magic dance-rhythm captures and raptures the audience, which you can not find in the today's stylised neon-coolness only at the natural tribes living in other era.

Permanent rhythm-accelerations, abrupt speeding-up of the almost brutal-ancient drums, amorphous collage of the head-voices, animal voice playbacks and volcanically exploding guitar riffs - all these things are completed with an unconsciousness jungle of sounds in which you get lost and cannot come back easily, since the perception of time and space is changing into completely new forms."

When I first discovered their 1988 LP "Teach Death a Lesson", I was bowled over by its combination of monastic psychedelia, rock 'n roll codpiece swagger and sheer alien abduction logical completeness, this wondering is with me yet.

In the 80's, VHK continued their impulsive, high-energy live performances in Western Europe: "As the singer spins around inside the band's mesmeric voodoo howl like whirling dervish the effect is almost hypnotizing.

- Melody Maker (U. K.), September 26, 1992[21] In concert, they regularly danced in ancient, tribal, shamanic costumes of leather and feathers, using backdrops like an Inuit design they copied from Siberian art.

As explained in Forced Exposure[25] "Had this [VHK] LP come in '73 in a tiny enough press run, it would be one of the most legendary 'lost' records of that decade."

Maximum Rock'N Roll (US) told the band "equal in spirit and grit to faves like Sonic Youth or Big Black but with an identity all its own".

[4] VHK is admired as highly important band by Iggy Pop,[5] Henry Rollins,[6] Jello Biafra[7] (Dead Kennedys) and Einstürzende Neubauten.