Oh initially somewhat disoriented time with numerous occupation change, the band end of 1972 was firmer contours.
In December 1972, the Debut album was recorded on the Brain label in the Dierks sound studios.
The 6 recorded songs show bulky waste as a typical herb band from the early 70s. Hard guitar reef mix with heavy organs. The rather psychedelic mood, coupled with quite rough vocals, reminds quite of groups like Jane and Birth Control at this time.
Bulky waste also received positive reviews of the music literature (eg sounds), which was not necessarily self-evident at the time.
The band split up a little later, so that it remained with this one album.
A very audible collector’s item. (Tom Cody)…..
Sperrmüll (english “bulky waste“) is the only LP in the short history of the German Krautrock quartet from Aachen. It was released in 1973 on Brain records and is one of the trend-setting releases of that time. It combines fuzzy freak out improvisations full of Hammond organ sounds with catchy guitar leads and folk epic arrangements. ‘No Freak Out’, the most popular song of this album, is an adventurous, mildly experimental piece of rock which appeared on several CD samplers. Unfortunately the band dispersed before they could do their first tour. One member had to leave the band to concentrate on his school career, then another left and so the promising career of Sperrmüll ended abruptly………
The only LP of this band from the Aachen region regularly earns top prizes on the record exchanges, and the German rock scene would certainly be richer with a few exciting records, if not yet a minor member of the band just before the first major tour of his school career Musical and thus sealed the end of bulky waste. On the album, which was then received with much praise by the press, bulky waste of dark hard rock riffs with heavy organ sounds and excessive guitar drums combine to create a psychedelic mixture of the special class……….
Although “Sperrmüll” is the German word for “Garbage”, the only self-titled studio album released by this German quartet is well worth listening. The music of SPERRMÜLL is is quite similar to what their fellow countrymen ELOY were offering at the time: an efficient mixture of seventies hard/heavy rock in the vein of DEEP PURPLE with an early space rock and psychedelic flavor.
Don’t rely on the opener “Me An My Girlfriend”, this lively folk-rock ballad at mandolin is a bit of an intruder here. Dieter Dierks also makes an apparition on synthesizers. Maybe intended as a radio single, the song itself is pleasant but tends to become a little repetitive and lengthy. The journey really starts with the mystical “No Freak Out”. Much in the style of ELOY’s “Inside”, this floating German mixture psych / space hard rock is very nice. The 70’s heavy “Rising Up” possesses a trippy galloping bass line, like on Bornemann and co.’s “Dawn”. It rocks!
Longest composition of the record, the 9 minutes “Right Now” is a powerful heroic hard rock with important jam section and drum solo. Although a bit more poppy and conventional, the heavy psychedelic blues of “Land Of The Rocking Sun” and “Pat Casey” are quite cool and energetic.
The CD remastered version includes two bonus tracks. “Have To Leave You” is mainly a flute-based improvisation, with a sung part at the end. Not memorable but enjoyable. Influenced by classical music, the organ-dominated “To Be Satisfied” is rather average and out of place.
It’s a pity the band split after this promising debut album. SPERRMÜLL could have been a serious competitor for the band of Frank Bornemann. Although neither very original nor unique, the songs are punchy, dynamic and trippy, with an overall constant quality.
If you enjoy space rock and ELOY, especially their early albums like “Inside” or “Floating”, be sure to give “Sperrmüll” a listen!… by Modrigue …..
SPERRMULL formed in 1971 but went through various lineup changes until they recorded this their only album in December of 1972. It was produced by Dieter Dierks and recorded at his studio. Dieter also played some synths on the opening track. What I love about RPI from Italy and Krautrock from Germany is that these obscure albums keep popping up over the years that are true gems to lovers of these two unique styles of music. Yes i’m really happy about finding this one. “Me An My Girlfriend” is my least favourite and most commercial sounding yet I do like it. Especially when it gets intense late with that guitar solo. Some mandolin early in this one and a synth solo after 2 minutes followed by piano. Catchy stuff. “No Freak Out” is the closest we get to that Krautrock spirit. Great sound to start with lots of atmosphere. Vocals around a minute. Killer instrumental section starts before 2 ½ minutes with the organ leading the way. The guitar takes over before 4 minutes lighting it up. The intensity settles back after 5 minutes then the vocals return in that trippy soundscape. “Rising Up” opens with drums as it builds. The organ is ripping it up here. Vocals 2 ½ minutes in followed by guitar. The organ is back just killing it. Vocals are back late followed by guitar to end it.
“Right Now” has this intense sound with vocals until before 1 ½ minutes. Nice percussion / drum section 3 ½ minutes in. Great sound ! It changes before 5 minutes then a calm takes over. It proceeds to build again. How good is this ! This is the longest song at over 9 minutes. “Land Of The Rocking Sun” has a nice heavy soundscape with organ runs as the vocals join in. Nice guitar work before 2 minutes when the vocals stop. Vocals are back. “Pat Casey” features more heaviness with vocals. Catchy stuff.
A low 4 stars but man I love this early seventies flavour….by Mellotron Storm ….
Formed in Germany in 1971, this band has only released one self-titled album in 1973.
Mixing Hard Rock, Acid rock and psychedelia, the band shows in just eight tracks all their diversity. Heavy guitars, vocals in English, and a wide variety of music, starting in “Me And My Girlfriend” with his mandolin, the effects “Floydianos” in “No Freak Out”, the guitar lines and organ in the style of Deep Purple in “ Rising Up "and a powerful experimental work to merge the mind in” Right Now. “
The rest of the album were more conventional songs of the rock, as shown in the tracks "Land Of The Sun” and “Pat Casey.”
Sperrmull joined Whole list Brain 1000-series, an organization that catalogs the 1000 rarest albums ever released. in 1989 came a limited edition of a thousand copies by the Second Battle label with two bonus tracks, this edition sold out quickly, becoming once again a hard drive to get……..
Sperrmüll is a solid, the German hard-rock climates Deep Purple and Birth Control. At this krautrockowym album it is less experimental and more some awesome, guitar and organ playing.
If the term “krautrock” Can we understand departures, Gothic-psychedelic ride “Yeti” or the futuristic music of Neu! and La Dusseldorf, there is a great risk that the board Sperrmüll 1973 we completely do not like it. Masters of Sperrmüll closer since the Kin Ping Meh, Eloy debut, the little “castrated” Birth Control, which is a strong Germanic hard-rock. And basically that this introduction.
The assimilation of the first song, “Me and My Girlfriend,” will help us zappowskie sense of humor, a love of life (literally) of texts and throwing on artistic play. Funny text “Those we are in love and drunken too,” unpretentious melody and message, acoustic guitar, mandolin. But also great solo … synthesizer and electric piano. And then really tasty guitar solo, so for dessert, because it is in the end a song about cooking with his girlfriend. But please do not freak out, “No Freak Out!” because in a more “krautrockową” than hard-rock-pop horseback entering from just such a composition entitled. Very cool processed vocals, again elegant acoustic guitar, “changing your life”, and change the mood. Authorities here sound very dirty and garage, play solo, which also would fit well into plates Eloy, it is very “evenings”. Besides, it’s the same year, it is possible that so then just in Germany, played the organ of hard rock. It is not difficult to assume that the hero Peter Schneider is Jon Lord or Ken Hensley. Through guitars that appear later, it gets even a little Heepowo, assuming that the magician took a Demon on a date for the Germanic forest full of mushrooms. But it is in fact a delicate “trip”. Except that pleasant, and it is the brightest spot of the page A. “Rising Up,” which ends this page is already purplowsko-heepowskie playing. Here vocals adds charm and psychedelic flavor, as it is a little sleepy and clearly unreal. Does a great job guitarist Helmut Krieg, who boldly rowing through what we now call classic rock. A little bit in it Blackmore, a little Mick Box, Frank Bornemann, and finally Erika Braunna, in those moments when specifically “bends” blues licks.
In general reminds me of page A Sperrmüll album of the album “Deep Purple” in 1969. Side B starts with the drums, but it’s not “Fireball”. The longest track on the album, “Right Now”, has a cool hard-rock entry, then Reinhold Breuer regales us with the drum solo in the style of “In-a-Gadda-da-Vida,” and at a height of 5 minutes slowly unleashes a very cool JAZZ ORGAN rock groove, again a little Wieczorkowo / Eloyowy, some doorsowski, very, very pleasant. Final prepares us while on a visit to the “Land of the Sun Rocking”. Here we have a very nice bass line and slightly Birth Controlowate heating. One would like vocals were stronger, and the vocals were more “eggs” in the style of Mr. Noske, but it’s decent. I really like the guitar here, especially when at the height of the second-and-a-half minutes enters our very Frenzelowski riff. For me it is a real highlight of the page B. We still have at the end of “Pat Casey,” and here waiting for us unfortunately less interesting, to me at least, tours. Somewhere in the album “Rebirth” Controli, which was very simple and - for me - boring, because zapamiętywalnych devoid of melody, hard rock. Assuming, however, that we are properly “in love”, and “drunken too”, is “Pat” nicely finished a party in the kitchen with the German rock.
So we have 3 great songs: “Me and My Girlfriend”, “No Freak Out” and “Land of the Sun Rocking”, and 3 correct that do not interfere, and the great “glue” album. The text, however, was not about glue, but about shrooms, but the truth is that the only album Sperrmüll best “enter” played at full volume, accompanied by good wine and beer, when your girlfriend is cooking something nasty behind the wall, but then it anyway You will eat together. With this music, as sung Birth Control, “no drugs” are Necessary, and is well….. AJ Kaufmann……..
Another favorite of mine. Here we have some psych/prog with lots of bluesy elements. The things I remember most about this album are its stellar guitar and keyboard solos. Sperrmüll started in 1971 as a trio with Harald Kaiser on bass/vocals, Helmut Krieg on guitar/vocals, and Reinhold Breuer on drums, soon adding keyboardist Peter Schneider. It’s really quite the gem to come from beloved Krautrock label ‘Brain’. Another unique one-of-a-kind band destined for only one LP. A memorable and catchy first track, Me and My Girlfriend has what I’d consider the most conventional song structure, establishing a proficiency in writing a solid psych rock number. It is the next track, No Freak Out which has always captured my imagination. It’s got these haunted vocals, intense acoustic backed by a wailing electric guitar. The meat of the song has the most wonderful keyboard and electric guitar solos. It’s an absolute winner in my book.
There’s a pretty good variety of grooves throughout this album. All the sections have a good length to them. In Rising Up we get some fantasy prog, with a memorable sort of rolling bassline. Right Now is a high energy psych rock track with storms and tempests of driving basslines and a soulful electric guitar with an awesome buildup. I also really enjoy the uplifting vocals in Land of the Rocking Sun, rocking out in its epic progressive way that is reminiscent of early Eloy.
Sperrmüll are refined in what they do, maintaining a good balance of psychedelic, blues, and prog elements in a way that seems to come naturally to them. Their song structures are concise and well balanced. They have memorable solos, and really know how to rock out. The English vocals are accented, but seem to compliment what they’re trying to do better than other bands that have tried. In short, it is an excellent release that I would highly recommend. 9/10……
This 1973 album–long a treasured rarity on vinyl–comprises the entire output of German hard-rockers Sperrmull. A freewheeling sense of musical joy is infused on every track, from the spirited bluesy jam of album opener “Me and My Girlfriend,” to the skittery drums and stuttering guitar blasts of the 9-minute epic “Right Now,” to the majestic and decidedly proggy “No Freak Out.” The intensity and promise of this debut makes one wonder what might have been if the band had continued. The 2007 CD release on Brain contains interesting bilingual liner notes that detail the trajectory of the band members after their mid-'70s breakup….allmusic………..
Editions Brain - 1973 - LP (Order No .: 1026) Germanofon (Bootleg) - 1995 - CD Second Battle - 1998 - CD Universal - 2004 - CD Brain - 2010 - LP
Personnel: - Helmut Krieg - electric & acoustic guitar, mandolin, vocals - Harald Kaiser - bass, vocals - Peter Schneider- organ, electric piano, synthesizer - Reinhold Breuer - drums, percussion
Tracks: All tracks written by Helmut Krieg except where noted. 01. Me And My Girlfriend - 5:02 02. No Freak Out - 6:38 03. Rising Up (Harald Kaiser) - 6:28 04. Right Now - 9:04 05. Land Of The Rocking Sun - 4:25 06. Pat Casey - 3:14
Langsyne from Barmen played some sophisticated English-language psych-folk with a large variety of partly exotic instruments like the psaltery, koto, glockenspiel, banjo, flute, slide guitar, or the Jew’s harp. Their only LP was released in 1976, as an edition of only 200 copies, and is today sold at a price of about € 1000 to € 2000 in mint condition. It is thus probably the most expensive Krautrock LP except the first edition of ‘Monster movie’ by Can. It contains only self-written tracks. Especially remarkable is that the musical interaction of the three musicians is of somnabulistic perfection. There have been several new editions of 'Langsyne’, both as LP and as CD, some of them with a bonus track. The Garden of Delights CD has been drawn from the master tapes and contains fifteen bonus tracks, each of them of a perfect sound quality. ….
Lang'syne ’s sole album is one of the top 10 folk-prog album out of Germany along with Holderlin’s Traum, Emtidi , Borselmachine , Ougenmweide , Carol Of Harvest and a few more. Unlike most German folk prog, it is sung in English which rather sad but the qualty of the songs as well as the musicianship more than makes up for. The music is for the most part acoustic but sometinmes full-blown electric but giving more of a British Isles feel. Moonkyte and early Fairport Convention come to mind when this album is playing. Although quite an enjoyable spin , this was hardly groundbreaking, though as it got released in 76 and was sort of fighting an Arriere-Guarde battle.
This album has been released in Cd format on Lost Pipe Dream label in 92… by Sean Trane….
The German folk trio LANGSYNE from Wuppertal area never got support from record companies during their eight years of activity, but their self-budgeted sole album has become a valuable collector’s item and has seen numerous re-releases on vinyl and CD. I was happy to receive the Garden of Delights edition with 15 (!) bonus tracks and an exhausting article. Not that I’d ever care to read all details about the various re-releases. I’m surprisingly only the third reviewer. I couldn’t invent a better name than the Scottish word for “long since” for this group, who doesn’t sound German at all. Indo-Prog / Raga-Rock is a bit misleading category, as this is primarily Medieval / Renaissance -inspired folk. GRYPHON is mentioned as the trio’s mutual idol, but the music comes closer to AMAZING BLONDEL, slightly seasoned with INCREDIBLE STRING BAND’s Indo-flavoured psychedelia. Ethnic instruments such as psalter, sitar or koto are used to a small degree. Multiple acoustic guitars form the spine, even flute, organ and percussion are often put aside.
Perhaps the main album’s long tracks are the clearest highlights in their melancholic and nearly mystic atmosphere. I prefer the earthly, unspectacular vocals and vocal harmonies over the oversweetness of Blondel. One guy occasionally resembles distantly Neil Young. Well, thankfully only a little.
Also the luxurious bonuses have a very good sound quality. Strangely the text doesn’t seem to tell anything about them. They’re much shorter in average: they take the same 39½-minute space as the seven album tracks. They are less atavistic, more contemporary sounding songs and instrumentals. Instead of tasting like inferior bonus material as usual, they practically from a whole decent folk album of their own. A very worthy release to all friends of acoustic folk-rock and especially of the aforementioned British bands….by Matti ….
Lang'syne appear to be another one-album wonder as they released an interesting self titled folk album in 1976. Lang'syne sing in English and their brand of folk bares little resemblance to the earlier kraut-folk bands like Broselmaschine, Holderlin, and Witthuser and Westrupp. Throughout the album, there are small touches of a German and Eastern ethnic feel to the music, but for the most part their sound is a bit more Anglo influenced. Many of the lyrics and much of the music appear to have a dark, longing quality which results in the album sounding a bit mystical, and occasionally even Renaissance-style. The standout track is the instrumental 'Cynghanedd’. 'Cynghanedd’ begins like an Eastern-influenced ballad, or “Melodie der Natur” as described in the CD sleeve. This track utilizes natural sound of birds and insects and ends with an interesting interplay of 'dueling’-guitar chord sequences. Another track worth mentioning is 'Medina’ which has sporadic touches of Witthuser and Westrupp sprinkled throughout. As a bonus, the CD contains 1 bonus track…..
Langsyne is a German trio which released one album in its whole career. Self titled, their first only effort was recorded in 1976. The music is a consistent mixture between folk rock and eastern influences with lot of acoustic guitar, sitar elements. The presence of the electric organ provides to the relative “pastoral” and “ethnic” mood a spacey felt. Advanced instrumental improvisations & interludes are combined with a couple of structured songs with English lyrics. This experimental, peaceful folk rock can sometimes resonates with early kraut folk bands as Witthuser & Westrupp, Hoelderlin, and Broselmaschine. This is in most part an acoustic, contemplative journey deliberately orientated to additional “world” instruments, musical arrangements and imaginary inspired by the eastern, India “raga"universe.
The German folk trio LANGSYNE from Wuppertal area never got support from record companies during their eight years of activity, but their self-budgeted sole album has become a valuable collector’s item and has seen numerous re-releases on vinyl and CD. I was happy to receive the Garden of Delights edition with 15 (!) bonus tracks and an exhausting article. Not that I’d ever care to read all details about the various re-releases. I’m surprisingly only the third reviewer.
I couldn’t invent a better name than the Scottish word for "long since” for this group, who doesn’t sound German at all. Indo-Prog / Raga-Rock is a bit misleading category, as this is primarily Medieval / Renaissance -inspired folk. GRYPHON is mentioned as the trio’s mutual idol, but the music comes closer to AMAZING BLONDEL, slightly seasoned with INCREDIBLE STRING BAND’s Indo-flavoured psychedelia. Ethnic instruments such as psalter, sitar or koto are used to a small degree. Multiple acoustic guitars form the spine, even flute, organ and percussion are often put aside.
Perhaps the main album’s long tracks are the clearest highlights in their melancholic and nearly mystic atmosphere. I prefer the earthly, unspectacular vocals and vocal harmonies over the oversweetness of Blondel. One guy occasionally resembles distantly Neil Young. Well, thankfully only a little.
Also the luxurious bonuses have a very good sound quality. Strangely the text doesn’t seem to tell anything about them. They’re much shorter in average: they take the same 39½-minute space as the seven album tracks. They are less atavistic, more contemporary sounding songs and instrumentals. Instead of tasting like inferior bonus material as usual, they practically from a whole decent folk album of their own. A very worthy release to all friends of acoustic folk-rock and especially of the aforementioned British bands…………
«… The Azmari are singers and musicians wandering through the territory of Ethiopia. They carry the stories of different worlds, the sagas of mysterious seas, of lush whispering trees high in the skies, of the flowers blooming in the clouds, of flying islands, of the demoted Ethiopian Princes and their doubles … “ by chronicler Tekle - Ēzānā (1698)
"Azmari: Abyssanian Liventure” is a new live album from the VESPERO`s “Liventure” series. Recorded live on 05.15.2015 at “The Union of Theatre Artists”, Astrakhan, “Azmari” shows the power of live performances of the septet. Contains the highlights from “Lique Mekwas” (R.A.I.G., 2016) , stuff from “Droga” (R.A.I.G., 2013) and “By the Waters of Tomorrow” (R.A.I.G., 2010), and one yet unpublished composition……..
Vespero have long been a band I’ve admired - their unique blend of ethnic-tinged space rock, psych and jazz has always struck a chord. ‘Azmari: Abyssanian Liventure’ is a new live album from the band`s “Liventure” series and was recorded live on 05.15.2015 at The Union of Theatre Artists, Astrakhan. Sometime back I reviewed their 'Lique Mekwas’ album (read the review here) which told the tale of a young man who was appointed to serve the Crown Prince of Abyssinia; the band continue with the Abyssinian theme, the Azmari being “… singers and musicians wandering through the territory of Ethiopia. They carry the stories of different worlds, the sagas of mysterious seas, of lush whispering trees high in the skies, of the flowers blooming in the clouds, of flying islands, of the demoted Ethiopian Princes and their doubles … ” (words by chronicler Tekle - Ēzānā (1698)). Taking material from their estimable back catalogue, as well as one unpublished song, 'Azmari..’ shows magnificently how much of a tight live unit the band are. ….Dayz of Purple and Orange..review…..
The set opens with 'The Course Of Abagaz’ (from the aforementioned 'Lique Mekwas’ album). Starting gently with some nice spacey effects, touches of saxophone jazz and the ever present violin, it initially sets up a mood of calmness. As it progresses, the track becomes faster and more furious…the drums pounding out a tribal rhythm, leading a jam of monumental proportions. In its seventeen minute span it takes in some blistering space rock/psych guitar, some more jazzy sax and the violin adding a hint of indigenous folk. 'Maui’ is shorter but no less jam packed with goodness…led by the Romany sounding violin it grows into an exotic soundtrack to a spy movie. 'Tall Tree’, originally heard on 'By The Waters Of Tomorrow’, initially takes the tempo down a notch and becomes an almost Floydian meditation - soothing and tranquil, but it grows and evolves into a more hectic space rock jam…all crashing cymbals and wailing guitars. 'Abyssinian Ground’ (from 'Lique Mekwas’) sees the band channel their more jazzy progressive side..a more complex structure that highlights what great musicians these guys are. 'Frozen Lillies (Melt In Heaven)’ is more jazzy in structure, led by some groovy keyboards and is another that grows and grows…the drumming is out of this world! 'Marine’ is probably my favourite of this particular set….it nicely encompasses everything that is so good about the band…it has flashes of space rock, psychedelia, ethno-rock, jazz and even some funky elements. 'Shum-Shir’ has some haunting violin that belys the inherent groovy jazziness of the track, again driven by the drums, including a solo that sounds positively primal. The set is brought to a close by 'The Emperor’s Second Self’ which starts slowly with some spacey effects and lovely guitar work. The last half of the track is drone led, punctuated with violin and drums.
'Azmari: Abyssinian Liventure’ is a live document of a band at the height of their powers. The intriguing and beguiling mix of styles and approaches that typify Vespero are translated exceptionally well into a live experience. The band show why they are one of the more creative 'psych’ bands out there and also go some way to highlight the number of good bands coming out of Russia at the moment. The album is download only and the $6 it costs from their bandcamp page here is a small price to pay for some wonderful, wonderful music. …….
Performed by: Ivan Fedotov – drums, percussion Alexander Timakov – percussion Arkady Fedotov – bass, noise object Alexander Kuzovlev – guitar Alexey Klabukov – keys, synths Vitaly Borodin – violin, noise object with Pavel Alekseev – tenor saxophone
Tracklist 1 The Course Of Abagaz 17:23 2 Maui 05:57 3 Tall Tree 08:34 4 Abyssinian Ground 06:22 5 Frozen Lilies (Melt In Heaven) 05:33 6 Marine 07:12 7 Shum-Shir 07:19 8 The Emperor’s Second Self 08:55
Sole album from an early 70’s German (from Hamburg I think) sextet Ikarus, whose reputation as a pioneer of jazz-rock is a bit over-done. Let’s just say that they’re a typical prog group with symphonic and jazz influences, a bit ala Crimson. Lead by multi-instrumentalist Jochen Petersen (guitars & winds), the group develops a wide soundscape in just four tracks (the shortest being well over 6 mins) that goes as far as electronic twiddling and string arrangements.
The 15-mins Eclipse starts out blues-like with a big guitar riff, but soon evolves into excellent phases of instrumental interplay, while Kohler’s voice and accent being rather convincing, but the lyrics (not necessarily his when reading the credits) are not quite so. The opening track is quite interesting with its multiple movements including the organ-filled Scyscraper over symphonic layers (incl mellotrons) and ending in electronic birdsongs and other bruitist stuff. The following Mesentery is the weakest track of the album and disappears in a kosmic and spacey interlude before returning via string layers. The flipside opens on TV or Radio jingle ?like riff, which is the start of the other epic, the 11-mins Raven where Petersen’s wind instruments soar, then suddenly (abruptly) morphing into a psych/space improv in its middle section before climbing back gradually via a an heard-elsewhere riff (Heep’s Gypsy Woman) and ending in footsteps. The closing track (sung by guitarist Schulz) Early Bell’s Voice is a strange trip through ether-modified soundscapes where the organ dominates until disappearing into a knell tolling its madness. Strange ending.
This was to be their only album (now very rare and expensive as a vinyl), most of the members continuing their musical foray, but not necessarily in prog circles, with leader Petersen becoming a record producer later in the decade after passing through Cornucopia. While I wouldn’t call Ikarus essential to your collection, it is surely good enough to earn a spot in it and therefore deserving its fourth star….by Sean Trane ……….
Ikarus released their eponymous album in 1971 on legendary ,exploiting-label ’ + plus +’ with label colleagues Wind ,,Seasons’ and ,Tomorrows Gift. This short- lived label was established by Jochen Petersen as the progressive division of Miller Records. Jochen Petersen fronted the Hamburg Teutonic progressive rock fusion band Ikarus(so Alan Freeman in ,,Crack In The Cosmic Egg’). Ikarus played a very varied sound with complex arrangements and melancholic melodies inspired by early King Crimson (so Dag Erik Asbjornsen) and Van der Graaf Generator (Alan Freeman) or reminding to German colleages Thirsty Moon and Os Mundi. The original album contains only 4 tracks (from 6 to 15 minutes) but plays over 40 minutes a rather uniquely spacious and dynamic sound, full of surprises. Their lyrics scrutinized the behaviour of mankind with a particular focus on our darker minds. CD contains 15 minutes bonus track ,,Sunwave’ by pre-Ikarus band Beatiques In Corporation from compilation ,,Pop and Blues Festival’, 1970. CD/ LP come with comprehensive band history by Ikarus bass player Wolfgang Kracht and a lot of unseen and rare photos from the band archive of drummer Bernd Schröder. Remastered from the master tape. A Krautrock Classic!…………
Germany is even a bigger hotbed of prog rock than one might imagine. Sure everyone knows bands like Can, Ash Ra Tempel, Tangerine Dream, Amon Düül II, Faust, Neu, Kraftwerk, and similar bands (bands that might not always be considered prog, but are of interest to prog fans). But the countries was also full of more traditional symphonic prog acts like Eloy, Novalis, Grobschnitt, and the likes (all three were quite successful in their native country, by the way). Then there are tons of rare and obscure albums that simply disappeared through the cracks, and Ikarus is one of them. Ikarus is often described as one of the first progressive jazz-rock groups to come out of Germany, giving one the impression they might be that country’s answer to bands like Colosseum. But actually they’re much more in the Van der Graaf Generator vein, with vocals that bring to mind Peter Hammill (but without his dynamics), lots of sax, and Hammond organ. But the biggest problem lies in the lyrics. For example, the opening cut, “Eclipse” shows the band expressing environmental concerns, which I am very happy about, but with lyrics that go, “Save the nature/it’s a treasure”, it’s really obvious that these guys are in dire need of brushing up on their English before using their pen. But regardless, they still put out some great prog rock. “Eclipse”, despite the badly written lyrics, is a rather complex song, with some great sax work from Jochen Petersen and a great organ jam from Wulf Dieter Struntz. Real strings are also included as well (which are very well done and does not distract). I love the mood of this song, it’s totally early ‘70s. “Mesentery” is the next song, the lyrics are a little better. Again, the more great organ work, with almost a psych feel to it. The strings pop up again near the end. “The Raven” features lyrics based on the poem by the same name from Edgar Allen Poe. The music here seems more unstructured than the first two songs, so it’s more inaccessible, but after several listens, you’ll find out it’s another great piece. Some space rock tendencies pop up as well with the use of glissando guitar. The second half of the song is in a more mellow, atmospheric manner. The last one is “Early Bells Voice”, again, with some more space rock tendencies, especially the Hammond organ at the end. While finding this album on LP is a bit difficult to come by, a small German label called Second Battle had reissued this on CD. I just love finding obscure gems that are simply amazing, and this self-entitled 1971 album from Ikarus is that example. So, aside from the lyrics, I can very highly recommended this to all prog rock fans, especially VdGG fans…..by..Ben Miler ……..
I karus, in his first Bruchpilot, was also named after a great rock-jazz fusion band from northern Germany. From the baptism it was raised by Jochen Petersen, a later BRAIN producer. IKARUS gave progressively designed Artrock to the best, enriched with well-proportioned Jazzeinlagen, which always pleasantly in the ear go and never degenerate. (Second Battle)
Jochen Petersen is one or the other perhaps as a producer (eg the debut slices of Novalis, Tomorrow’s Gift and Blonker, two albums by Thirsty Moon, but also various titles of the pop band Goombay Dance Band) a term or as temporary Member of Randy Pie. At the beginning of the 70s, this one raised Ikarus, who published their only self-titled album in 1971 (which Petersen naturally also produced).
A fairly complex, jazzy prog is presented by Hamburg to the listener here, who has been quite symphonic by the use of the organ and the occasional use of an anonymous string orchestra. The basis of the music is a driving bluesprog, which is still felt in Lorenz Köhler’s mostly powerful, very tidy lead vocals (with slightly argentatious, time-typical-world-improvable lyrics), the bluesy-hardrocked electric guitar reef and the rousing organ. On the basis of this, however, the music is subtly muted, the playful bass dances, there are virtuoso inserts on flute, sax, organ, piano and acoustic guitar. Occasional strings provide for - fortunately - uncomfortable sound and meditative-psychedelic sound-waving gives the whole from time to time also a krautig-spacigen painting.
“Ikarus” is a convincing disc, which deserves more attention. The album offers four extravagant, interestingly arranged and varied numbers, which did not have to hide before Anglo-American productions with jubilant organ prog (eg Marsupilami, Colosseum, Web, Samurai, partial Van der Graaf generator) - on the contrary! …..Achim Breiling……
This is the unique album made by a rather obscure german little band. This album delivers very imaginative progressive/ jazz compositions with a touch of space rock feelings (“Mesentery”, Early bell’s voice). The opening track offers a captivating, powerful and epic jazz/ rock tune brightly excecuted with full of electric organ arrengements…'Mesentery’ is more a dreamy piece of space-rock with some cool jazzy accents…The atmosphere of this album is really orientated to 70s german rock with its totally free musical experience. A fascinating journey through Ikarus universe….. by philippe …….
In my never-ending pursuit of little known prog rock albums, here’s another one worth checking in to. This German band (not to be confused with any other band called IKARUS, like the one who released Touch the Sun) released this one and only album in 1971. Often regarded as one of the first progressive jazz-rock albums to come out of Germany, to me, the music is actually simply progressive, but does have lots of great sax work (from Jochen Petersen). Because of the presences of sax, as well as Hammond organ, the comparisons to VAN DER GRAAF GENERATOR can’t be avoided. But unlike VdGG, the band also included strings on a couple of the cuts, and there’s some Krautrock tendencies included (the occasional spacy passages remind me a little of TANGERINE DREAM’s “Alpha Centauri”). But the one thing the band isn’t so great on are the lyrics. It sounds like they had problems grasping the English language, so the first song, expressing the band’s concerns for the environment ended up writing lyrics that literally go: “Save the nature/It’s a treasure”. That has got to be some of the worst lyrics I have ever heard, and it’s too bad it has to be a song protesting environmental destruction. The rest of the album features more or less lyrics that make little sense, except for one song using a poem from Edgar Allen Poe. Lyrics aside, this album demonstrates all that’s great of early '70s prog rock, and if you like that stuff, get yourself this album….by Proghead …..
The Real Gem of the 70s! You wanna hear the true sounds of the seventies? Get this album! Oh yes, this album is a perfect example of how the 70s music sounds like. Musically, you might refer this band to something like Colosseum, Mountain, Steve Marriott, Mahogany Rush, Eloy or even King Crimson. The opening track “Eclipse” (15:25) is so captivating and it brings you back to the glory days of the 70s! I’m sure if you were really there in the seventies, you would definitely say that this band is representative of that era. My memory brings me back even to Canadian band Moxy where the music is also similar to this one. The most interesting part of this track is its walking bass guitar sounds that circumvent the whole musical stream of this song. So stunning bass playing and it’s quite dominant! Of course there are lots of mellotron sounds augmented with acoustic guitar fills. The organ solo in the middle of the track at approx 7:40 is also very nice and it’s so 70s! I love this track wholeheartedly man! It’s so cool, so powerful!
“Mesentery” brings the music into rough style in relatively fast tempo with percussion, bass, guitar, organ and vocal line. The intrusion of flute that follows after first vocal verse is truly brilliant. The flute style is like Ian Anderson but the music is like a classic rock music. It’s really a nice composition. Bass guitar still gives its inventive contribution to the song.
“The Raven” opening seems like early King Crimson music. It’s relatively complex opening with some jazzy touch and excellent rhythm section, using soprano sax as solo. After immediate break at approx minute 2:30 the music continues into avant-garde exploration with powerful flute work. It’s really a treat for those who love classic rock with flute sounds. When the vocal enters the music turns into a bit of blues influenced style with excellent organ work.
The concluding track “Early Bell’s Voice” is a mellow track with soaring organ work and still a dynamic bass guitar work. Piano sound enriches the song, combined with stunning guitar and brass section. Hen vocal enters the music in the middle of the track, it reminds me to the music of Colosseum.
Overall, this is a real gem of the seventies that most of you like the classic rock / prog music would love it very much. Keep on proggin’ ..!…by Gatot …….
IKARUS were an early 6 piece Krautrock band who sang in English and featured sax, flute, clarinet, organ, piano and some strings besides the usual instruments. They just released this one album back in 1971, and it’s interesting reading the lyrics to see how much they cared about the enviroment back then. “Eclipse” hits the ground running as vocals come in. It settles after 1 ½ minutes and the sax starts to lead the way as organ, bass and drums continue. Some solo acoustic guitar 3 minutes in. It’s building. Vocals return as it settles once again. It kicks back in after 4 ½ minutes. Themes are repeated. What a fantastic song ! Nice organ / bass section 8 minutes in. Strings after 9 ½ minutes. Check out the emotion in the vocals 13 minutes in. It ends with the sounds of nature that blend into “Mesentery”. It kicks into gear but the vocals are laid back here. The vocal melodies that come and go give it a sixties feel. Nice. Flute comes in. It turns spacey 4 ½ minutes in as drums continue. Strings join in as well.
“The Raven (Including Theme For James Marshall)” is led by organ and sax early, drums are prominant 1 ½ minutes in. The organ and sax are back. A dead calm 2 ½ minutes in then it turns into a haunting mood. Flute comes in. Vocals before 4 minutes. It’s raining after 7 minutes. A brighter mood follows. Cool. Piano 10 minutes in with strings to follow. “Early Bell’s Voice” opens with piano as organ, drums and bass follow. The tempo picks up. The sax leads the way when it settles after 2 ½ minutes. Psychedelic vocals join in. Normal vocals 5 minutes in as bass, drums and organ support. It turns dissonant late to end it.
A solid 4 stars….. by Mellotron Storm ….
Line-up / Musicians - Lorenz Köhler / lead vocals - Wolfgang Kracht / bass, back vocals - Jochen Petersen / acoustic & electric guitars, alto & tenor saxes, flute, clarinet, back vocals - Bernd Schroder / drums, percussion - Manfred Schulz / guitar, lead vocals (4), back vocals - Wulf-Dieter Struntz / organ, piano
Tracklist A1 Eclipse Divided In Scyscrapers And Sooner Or Later 15:09 A2 Mesentery 6:34 B1 The Raven Including “Theme For James Marshall” 11:44 B2 Early Bell’s Voice 7:46