Agitation Free - 1973 - 2nd

In Agitation Free's first album they did laid back psych rock jams with middle eastern influences, kind of reminding me of Caravan's first LP. But their second LP '2nd' is a whole other story.

The band started out with a tumultuous, ever-changing line-up that didn't start to settle until around 1971. As such, the two remaining members from the band for the recording of '2nd' are bassist Michael Günther and guitar/bouzouki player Lutz Ulbrich (he played a zither in the previous LP). The other three members are Stefan Diez on guitar, Burghard Rausch on drums, and Michael Hoenig on synth.

greek guitar 'Bouzouki'

A1. First Communication
A2. Dialogue and Random
A3. Laila Part I
A4. Laila Part II
B1. In the Silence of the Morning Sunrise
B2. A Quiet Walk
     a) Listening
     b) Not of the Same Kind
B3. Haunted Island

One thing I favor highly in an album is diversity, and 2nd has a lot of it. Far-out synthscape and intricate guitar melodies will be found all throughout. It starts with the delightful and highly accessible epic 'First Communication.' From there it gets a lot stranger. Whereas 'First Communication' was mostly this complex and melodically lush prog rock piece, the next track 'Dialogue and Random' is a strange synth-only experiment reminiscent of Morton Subotnik. Short but sweet. It kicks off right back into some prog rock awesomeness with Laila. I especially like the groovy bass playing in Part II. In the Silence of the Morning Sunrise is this moody, almost noir attitude groove, and featuring awesome synth bird sounds near the end.

A Quiet Walk is a real oddity. Sparse and eerie, with all kinds of awesome "haunted house" synth noises that goes into a fast rhythm guitar heavy thing in the second half (indeed its called 'Not the Same Kind'). The closing track Haunted House is extremely interesting. There is no way I can adequately describe the vibe to it, but it's something that's really one of a kind. And the way in which the album leads up to it as a closer only serves to add to its sense of mystery. It's one of those songs that grows on you with each new listen.

2nd is an example of the more adventurous 70s rock groups who treated their LP as a thematic "artpiece" to be taken in as a whole, with the concise use of each element, reminiscent of Faust. It's something to mull over, something that commands full attention. And it changes meaning/significance after each playthrough. I highly enjoy albums that are capable of doing that for me. 9/10

Novalis - 1973 - Banished Bridge

Banished Bridge is a synth-heavy prog album that, although not especially ground breaking, is very dear to me in its raw emotion which I find somewhat reminiscent to Eloy. In this debut, Novalis was a four piece consisting of Heino Schünzel (bass), Hartwig Biereichel (drums),  Lutz Rahn (synth), and Jürgen Wenzel (vocals and guitar). It consists of the epic whole-sided title-track, followed by three shorter ones on side B.

A - Banished Bridge
B1 - High Evolution
B2 - Laughing
B3 - Inside of Me (Inside of You)


Listening to these songs again conjure up past memories in a way I don't commonly experience with other records; A time when I was newer to the various styles of 70s prog. This style doesn't seem to have blues or classical influences so much as much soul and gospel, which works especially well with Lutz Rahn's keyboard playing.

The title-track Banished Bridge is an epic 17 minute piece consisting of many sections, which can be somewhat divided into two identical halves. The bird field recording in the opening is such a great touch, and Jürgen Wenzel's vocals seem to just soar through like a bird by the 2:20 mark, in almost a whisper that reminds me of Pink Floyd's 'Green is the Color' (feeling a sense of déjà vu with this comparison?). The intro goes until around 3:30, when the two-halved sequence begins. Here you can hear Lutz Rahn multi-layering what I think to be three synths together in such a gorgeous way, giving way to this awesome in breakdown. The lack of guitar in no way leaves Novalis' empty sounding in Lutz Rahn's driving performance on multiple keyboards, with spot-on precision and emotion. There's also a great choir piece around 10 minutes in, reminding me of Amon Düül II's 'Yeti' but perhaps more powerful and focused. These are musicians with a direct motive and a means of executing them effectively, in contrast to Amon Düül II's more jam oriented endeavors.

It's hard to express the way I feel towards the next song, High Evolution, one of my favorite 70s psych/prog songs of all time. It evokes in me an anxious sense of mortality and existential wandering. The circular nature of existence that comes with time and age. There is something incredible of about the frantic hyper-arpeggiation of the synth, with the dazed and verbed-out existential musings of Jürgen Wenzel. Really wish I could look at what the official lyrics were because they sound incredibly interesting. But anyway, it's an incredibly tight prog rock masterpiece, each sectioning fitting so well into eachother, and in creative ways. I absolutely adore the backing vocalists. The mixing is perfectly balanced, with just the right level of effects.

The third track Laughing never made as big an impression on me compared with the other ones, not to say it's particularly less good, but in how the other ones deeply effected me emotionally, whereas Laughing is more compositionally interesting. It features some soulful keyboard soloing that really rock out and very tight acoustic guitar by Jürgen Wenzel. Laughing doesn't come at me in the raw, immediately sort of way the other tracks did, but it's just as complicated and interesting, and I admire it no less for being that way. Novalis are very tight with their sections, every part exactly where it needs to be for the right amount of time, and impressively this track is no exception. One could argue it's the most complex song on Banished Bridge.

The closing finale, Inside of Me (Inside of You) takes it's sweet time to built up to what (for me) is the most emotionally rapturous and soulful part of the album. Once again I wish I could read what the official lyrics were, because I adore Jürgen Wenzel voice and like the bits of phrases I can make out (I've never been particularly good at hearing out words in music very well). There is something emotionally pure, direct, and uplifting about the keyboard's church organ playing, its effectiveness somehow residing in its simplicity, with its bright and bold major-sounding chords. The brief rock-out ending in the last 15 seconds makes for a nice touch as well.

I don't know if this album is for everyone. I'm not sure who exactly I'd recommend this to. If synth-heavy psychedelia isn't your bag, this may not be your thing, although I might still implore you to give it a try anyway, for the uniquely talented synth-layering methods of Lutz Rahn's playing. And keep in mind that Novalis's precise playing is not like the more open-ended, jammed-out soloing that most psych rock is associated with. Some people I've shown this record to have complained about the shrillness of the organ sound, but it's something I've always personally liked about that instrument so that was never an issue for me. I've always regarded it as one of my most precious finds within 70s psych/prog realm. It's one of those LP's I keep going back to, luring me with its roller coaster of existential as well as uplifting rawness, clarity, and excellent musicianship, as well as its short/concise length of around 37 minutes. I would give this an "objective" 8/10 for its excellent musicianship but not particularly groundbreaking sound, and a "personal" 9/10 for its emotional resonance with me.

PS: It has a curiously inconspicuous album cover, in a style that reminds me of Arvo Pärt and Organum.

Brainstorm - 1972 - Smile a While

Brainstorm is this amazing jazz/prog rock band I stumbled upon through Spiegelei's catalogue. They are a four piece with Rainer Bodensohn on vocals/flute/bass, Roland Schaeffer on just about everything looks like, Joachim Koinzer on drums, and Eddy von Overheidt on Piano. It is one of the more intense, high energy prog albums I've heard, with Joachim Koinzer's excellent drum skills leading the way through.

1. Das Schwein Trügt
2. Zwick Zwick
3. Watch Time Flow By
4. Bosco Biati Weiß Alles
     a) Bosco Biati
     b) Weiß
     c) Alles

5. Snakeskin Tango 6. Smile a While     a) Intro     b) Brainstorm     c) These     d) Antithese     e) Morning Tune     f) Smile a While 7. You Are What's Gonna Make it Last 8. Don't Forget

The first two tracks start with a bang: incredibly dense, heavily percussive sections. The third track being a short flute intensive interlude, followed by "Bosco Biati Weiß Alles" which starts very sax intensive, a nice drum solo in the middle, and then in Part C these almost bossa nova style vocals that harmonize with the guitar.

I love the crazy vocals in Snakeskin Tango. Brainstorm can really cut loose on a tight, high concept level of instrumentation. The epic 15 minute title-track is perhaps the best example of this, where they rock out really hard. A well crafted epic showcasing the talents of a tight group with wide ranging skills.

The last song, You Are What's Gonna Make It Last is the shorter, more radio friendly song on the album. Even in the context of a quaint psych blues rock ditty, I think they really kick ass, complete with short-but-sweet guitar solo.

Not much else to say. Smile a While is brain candy for the Prog Rock enthusiast, with a diverse range of instrumentation and rhythmically complex ideas. Highly recommended. 9/10

A.R. & Machines - 1972 - Echo

Echo was the last  of the two albums Achim Reichel did with The Machines before going solo, and it's one of my favorite jam oriented psych-rock albums ever. It is an epic 2xLP consisting of only four very long tracks (if you count tracks 2 & 3 as the same, since they are kind of a continuation of each other). Music is written by Achim Reichel, who did a lot of the instruments although it's not clear to me which ones exactly. Guitar is credited Helmuth Franke, drums by Tarrach, sax by Jochen Peterson, jew's harp by Arthur Carstens, clarinet by Norbert Jacobson, vocals by Conny Plank, Klaus Schulze (!!!), and Matti Klatt. Lyrics written by Frank Dostal. The record was released by big-time label Polydor. For better ease of reference I have chosen to list the track names and sections by their English translation:

1. Invitation
     a) Invitation
     b) To New Adventures
     c) In the Magic Forest of the 7 Senses
     d) In the Labyrinth of the Mind
     e) At the Waltz of the Inclinations
     f) Under the Black-Green-Red Banner
     g) International Anthem

2a. The Echo of the Presence
     a) Awakening On the Shore
     b) In Front of the House at the Growing Mountain
     c) Signal
     d) Knowledge is Spring in Autumn
     e) Iron-Laura with the Lyra

2b. The Echo of Time
     f) I am Astonished
     g) On the Sledge
     h) To the Echo of Time
     i) Down the Rainbows
     j) Through Feelable, Measurable Nothing
     k) Eternal Farewell On Lilac Ardour

3. The Echo of the Future
     a) Suspicions
     b) At the Dance of the Electrical Winds
     c) Before the Birth of a New Dimension
     d) Interstellar Communications
     e) The Opening of the Big Gate
     f) The Dream of Balance

4. The Echo of the Past
     a) Memories of the Day After Tomorrow
     b) Ab Libido
     c) Ego Lego
     d) Burns Like a Light at the End of a Tunnel

I have sort of a hard time telling which section is which. It would probably be easier if I could see the vinyl grooves. The album starts off with some psychedelic guitar layering, accompanied by this interesting watery sound and drums mixed rather low. By the 5:30 mark of Invitation the guitar fades out with just the watery noises, giving way to glass clinks and vocal mumbling; a very psychedelic and disorienting collage of sound without rhythm, punctuated by bass diddling. At around 6:40 the rhythm guitar comes back on in full force. The way it plays off the bass, and with the synth backdrop gives off this desolate feel that seems to pull on ones heart strings. Also some excellent strings and flute whose performances appear to be uncredited (done my Achim Reichel himself possibly?). Achim Rachel demonstrates a gift for writing these liquid compositions, with each section sort of melding into the next. On one hand it's like a jam, but paying closer attention it seems pretty well thought out. I would be curious to know the creative process behind it. After desolation comes the sound of wind accompanied by Jochen Peterson's sax. By this time the synth (wind) has taken over, mixed louder than the rest. The amount of layering in these compositions show the meticulous work that must have been done in the mixing process. By around 12:10 of Invitation the drums pick up with a touch of phaser effect that accompanies the wind sounds. The song crescendos into an awesome guitar jam-out (section f?). It ends with some very strange acappella and other dissonant sounds.

More meticulous guitar layering in "The Echo of the Present" that is absolutely gorgeous. I'm guessing Achim Reichel does the picking, with Helmuth Franke on backing rhythm. The album continues with this wispy sort of vibe. By around 3:50 we hear the first vocals, which I think are done rather well (4 people are credited with vocals so I have no idea which person it is). I love the incredibly psychedelic synth craziness that comes in at around 6:20. Even though I can't tell which section is which, I think that's a good thing in this case, because everything flows together perfectly. This album sounded like a freeform jam my first listen, but now it seems fairly laid out and purposeful to me. Echo demonstrates such an impressive amount of control in every respect, with the most cutting edge proficiency in effects and synth crafting. The second track ends with some awesome electronic drones.

The other tracks stick relatively well to a similar collage of ambient soundscapes, trippy guitar, krautrock buildups and sample manipulations. Skipping over to the last track, the album closes with "The Echo of the Present." Some very emotional interplay between the vocals and the sax, giving way to a rather silly acappella discourse around 4 minutes in, incoherent caveman noises reminiscent of the original Amon Düül. Not gonna lie, it's a bit of a jarring, unexpected transition. This is the point where the album really diverges stylistically and takes on a much lighter tone which goes on until an absolutely abrupt transition at around 12:50. The next section had dramatic sounding strings with some spoken word over it. I really don't know what to make of this closing track. The sections feel way more stitched together, a total farcry from the liquid brilliance of the previous tracks. It somewhat makes up for this with the awesome ambient section 16 minutes in, but for the most part ends up sabotaging whatever momentum that Echoes could have culminated into. I think if the acappella silliness could have been replaced by something that could transition better into this beautiful last session the album could have been close to perfect. However, considering the fact that there's over an hour of well crafted psychedelia throughout this whole LP, I can't complain too much.

The controlled jamming and mixing reminds me of the Walter Wegmüller's Tarot, which was mentioned previously in this blog. There's expertly done field recording manipulations, guitar effects, and trippy soundscapes throughout the whole thing. Achim Reichel demonstrates himself to be a real sonic visionary in the psychedelic rock genre, molding and coordinating these compositions into shapes seldom realized. Echos is very thematic in how the tracks aren't dramatically different from each other stylistically. One could argue that its excessively long, perhaps downright indulgent with the closing track, but for the most part adds to its sense of immersion. A real one of a kind LP which would have been near perfect had the final track not been such a letdown. 8/10

Sub - 1971 - In Concert

At a Glance

Originally released in 1971 by Italian rock/pop label Help!, 'In Concert' was later re-released by Penner Records, Mayfair Music, and Garden of Delights. Sub, is a 5 piece hailing from Munich, Germany and consists of Christian Wilhelm on vocals, Klaus Kätel on guitar, Peter Stimmel on bass, Johannes Vester on keyboard, and Lutz Ludwig on drums. Aside from a 7 inch release in 1969 by Rex Records, this looks to be the only thing Sub ever put out.

A1. Substhin I (18:17)
B1. Off (3:56)
B2. Substhin II (2:35)
B3. Gimme Some Lovin' (3:53)
B4. Ma-Mari-Huana (4:52)
B5. Match I (2:25)
B6. Match II (2:32)

The Skinny

I really did not know what to expect coming into this album. Although Discogs.com categorizes it primarily as Hard Rock, I think Psychedelic is more accurate in this case. As you can see, it starts off with the whole-sided epic "Substhin I." Listeners beware if you don't like 'synth noodling.' I happen to like that sort of thing so it doesn't bother me (lucky for you it's only in this track). Their psych-blues style is reminiscent of Satin Whale's debut, but perhaps more rugged and not as academic. Substhin I is alright, showcasing each musician but I found it rather indistinct.

I think the stuff after Side A is where 'In Concert' really shines. "Off" (definitely my favorite track) is very interesting for is unusual rhythm while also managing to be very expressive, the vocals reminiscent of 60s psych rock. Christian Wilhelm does an excellent job with english lyrics that don't sound awkward. Non-native english vocals create their own unique style that I've come to associate with the krautrock sound.

I really like Ma-Mari-Huana. Horny and stoned soulchedelic love-mumblings that are almost reminiscent of Suicide's vocals with heavy phaser effects.

Overall I would describe 'In Concert' as quaint. Proficient in what it does. Not particularly above average or groundbreaking, but solid. The vocalist I'd say is definitely the standout of the bunch. If you are a fan of late 60s, early 70s psychedelic rock, looking for a new fix, this might be just what you need. Otherwise it's not something I'd recommend to anyone new to the genre. I give this album a 6/10.

Pärson Sound - 1966-68 - Pärson Sound (2001 RE)

The double disc self-titled Pärson Sound compilation is a collection of various jams spanning from 1966 to 1968 by a group who briefly went by International Harvester, until settling on the name Träd, Gräs Och Stenar (trees, grass, and stone). Never to see the light of day until being released by Subliminal Sounds in 2001, it captures some of the earliest instances of very hypnotic minimal psych rock drones. Although it's rather messy and lo-fi, they play with the utmost intensity and soul, making the lengthy durations feel more than worthwhile. I never once get the feeling that any of the tracks go on for too long.
 
The psych rock jam oriented aspect of Pärson Sound is a sound much more prevalent in a lot of the ones today (Acid Mothers Temple, Colour Haze, Pharaoh Overlord, Electric Moon, Electric Orange, ect). As such it seems ahead of its time, although didn't get released until much later when the style has become more acceptable and sought after. It's awesome getting the chance to hear such echoes from the past.

1-01. Intro
1-02. Tio Minuter (Ten Minutes)
1-03. From Tunis To India In Fullmoon (On Testosterone)
1-04. India (Slight Return)
1-05. A Glimpse Inside The Glyptotec-66
1-06. One Quiet Afternoon (In The King's Garden)

2-01. Sov Gott Rose-Marie - Parts 1-3: "It's Only Love", "Till Indien" And "Sov Gott Rose-Marie"
2-02. Skrubba
2-03. Milano
2-04. On How to Live
2-05. Blåslåten

The first of the 20 minute tracks is From Tunis to India in Fullmoon, which features hypnotic ripps riffing between saxophone and guitar, with an ominous cello floating in the background, although the lo-fi recording makes it a bit less audio than I'd prefer. One is especially reminded of Acid Mothers Temple's freak-out jams in its spontaneity its energy, and babbling vocals.

India (Slight Return) is a blissful, zen-ed out jam, much slower than the fast pacing in the previous track. After India it goes to a completely meter-less ambient drone of what sounds like eerie vocal manipulations and guitar feedback. One Quiet Afternoon is a noisy jam with some totally far out guitar feedback and weird vocal stuff. Overall a diverse range of ideas on the first disc.

Whereas all the tracks on Disc 1 seem significantly unique from eachother, disc 2 starts to come back with some familiar stuff. Track 1 of disc 2, Sov Gott Rose-Marie is pretty much an earlier version of India (Slight Return) (the former from December 1967, the latter from February 1968). Only this time it's significantly more well recorded and with clearer, sort of dirge-like vocals that come in on what I assume to be part 3.

Skrubba is an outdoor jam recorded in Stockholm, May 1968. It's the longest track clocking in at just under 29 minutes. Possibly my favorite of this comp for no particular reason I could give (it's not so radically different from their other slow jams) than the fact that it's pleasant and immersive in its length. One of the tracks that especially makes me wish it was better recorded, what with 6 instruments playing at once. There's an awesome solo at the end which I thought was some kind of woodwind, but am going to guess is in fact the soprano sax being played by Kjell Westling. The electric violin played by Urban Yman is also very cool. At this point I would say that I'm more into 'From Tunis to India' and 'India (Slight Return)' as far as favorite tracks go, but I still hold Skrubba in high regard.

Milano is an intense psychedelic explosion of cymbals that was initially meant to accompany a friend's art exhibition (wonder what it was). The groovy beat that it climaxes to at the end is so reminiscent of a sound that is prevalent in jam rock bands today. The transition into On How to Love via hand drums, bird sounds, and flute is just perfect. It's a great mellow song that contrasts well with the intensity of the previous, and the way the acoustic guitar, flue, hand drums meld together is so lovely. The field recordings of birds gives the whole thing a nod to their grounding in the outdoor (indeed they participated in a significant number of outdoor live events it seems).

The final track is unlike anything else. Blåslåten is a floating world of cascading saxophones and perhaps other horned instruments layered over eachother. I don't see any musicians listed under the credits but I assume the sax is by the same Thomas Tidholm from the other recordings. It makes for a nice finale contrasted from the other ones in its lack of meter or their usual lineup, ending with a silly little free jazz thing that I'm not 100% sure is preferable to leaving out entirely(if you're all for anti-aesthetic and not taking things too seriously: yay; If you're all for making the best sonic progression of things: nay).

The Pärson Sound compilation has always been one of my main go-to albums when it comes to jam oriented psych rock. Its early existence highlights the continuity of musical trends, and the ways in which some of the aesthetics we've come to love have come back full circle; another missing link emerging from the depths of time and forgotten tape reels. And we have labels like Subliminal Sounds to thank for it. A real treasure. Not the greatest in its technical prowess, but free in spirit. The recordings, picked within a 3 year gap, were very well chosen in their diversity and ordering. And I have to give it props for being perfect for any intense psychedelic trip, as it goes through such a variety of speed, intensity, and mood. Perhaps this sound was a bit too ahead of its time and they went on to have a somewhat different aesthetic as Träd, Gräs Och Stenar but in accordance to the psychedelic rock today, these guys really had the whole thing figured out from the start. 8/10

Eloy - 1973 - Inside

I mostly enjoy Eloy until up to about the mid 70s, before they transgressed entirely from prog/psych into power ballads. Their second album Inside is the one where I felt they really hit a sweet spot. Like scratching a particular itch that rarely gets scratched. They got progressively more progressive as their career started, Inside being a sort of transition period before becoming what I might consider too self-consciously conceptual, or maybe just the fact that their attempts at spoken word they later tried didn't work on me as well.

1. Land of Nobody
2. Inside
3. Future City
4. Up and Down
5. Daybreak
6. On the Road

I always found the first three tracks to be extremely memorable. Frank Bornemann vocals just seem to work best for me in songs like Land of Nobody. Every instrument has memorable personalities and take on their fair share of heavy duty instrumentation while managing to blend together. Furthermore, there`s nothing particularly dated I find their sound. Its not quite hard rock, psychedelic, or prog. In that sense I get a very refreshing and timeless quality from Eloy's earlier stuff, this album being where they got it just right. As a drummer myself I also appreciate Inside's wide range of rhythmic ideas. The use of falsetto in the finale I thought was tasteful, and not gimmicy/used as a crutch; ie its placed in the one climactic spot thats most appropriate for just a couple measures before moving on to other stuff. This album managed to be epic in non-cheesy ways that I'm not sure I could say as much for with their later stuff (I pretty much like their work up to their 1979 Silent Cries and Might Echoes release).

I'm not exaggerating when I say that the title-track is one of my favorite psych/prog releated songs. Certainly if one were to measure based on number of listens. It just has the most perfect momentum and progression that I've so rarely hear anywhere else. The image I get out of the guitar solo is a phoenix soaring up into the heavens and getting swallowed by the sun. It's an intense and aggressive and fast changing progression that is far more condensed than the previous track, which also highlights their diverse methods of songwriting.

And Future City certainly doesn`t rock out like anything else I`ve heard from as early as 1973. The closest comparison I can make to the interplay between the guitar and bass is Slint`s Spiderland. I just adore how different the tracks are all from eachother. After this almost math rock sort of sound we get the moody and emotional song in 3/4, Up and Down. I`ll refrain from more of my cheesy metaphors, and will just say that I always felt really in tune with the emotion in these songs. Up and Down picks up into this arduous, march that leads into a breakdown that, I guess does consist of a spoken word part. I dont generally feel like the Eloy`s non-native English works quite as well within the context of spoken word, this being no exception. Other than that its yet another excellent track.

Daybreak is more fast paced, and almost Can-like in its rhythmic complexity and diverse percussion. It also uses an exotic, unusual sounding musical scale that creates these really interesting melodies. After that the album ends with a nice two minute composition that has a groovy synth. Not my favorite vocals, but a nice guitar solo that rides along with the synth nicely, ending the album on a high note.

Inside is an example of a band hitting the right balance of creative elements. I also think its a good example of what hard rock can be or could have been, managing to bypass any gimmicks that might have later risen from that particular scene. It remains interesting and fresh with different ideas from start to finish, another advantage of the standard 40 minute vinyl in how it might have motivated a more concise and condensed body of work. It will be a great moment when I can find something else that scratches a certain itch in quite the same way as Inside. 9/10