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22 Jun 2017

Cozmic Corridors "Cozmic Corridors" 2017 Kraut Rock,Electronic,Ambient

Cozmic Corridors  "Cozmic Corridors" 2017 Kraut Rock,Electronic,Ambient

Recorded 1972-1973, in Cologne Germany


LP version. Includes download code. Mental Experience present a reissue of Cozmic Corridors self-titled album. Cozmic Corridors is an underground kraut-kosmische monster, recorded and produced circa 1972-73 in Cologne by Toby "The Mad Twiddler" Robinson for his Pyramid label. The album was apparently released as an ultra-limited handmade edition back in the early '70s, but no original copies have surfaced. Featuring Mythos drummer Hans-Jürgen Pütz on percussion and effects, alongside synth/keyboard freak Alex Meyer, poet/vocalist Pauline Fund, and the mysterious guitarist Peter Förster. Cozmic Corridors is an album if tripped-out electronic ambient soundscapes, dark atmospheres, drones, plenty of MiniMoog, gothic Hammond organ, Rhodes, electric and 12-string acoustic guitars, ritual chants, effects, and horror cinematic vibes. It is not advisable to listen to this alone in the dark. RIYL: Terry Riley, Cluster, Ash Ra Tempel, Popol Vuh, Emtidi, Jacula, Franco Leprino, Dead Can Dance. Master tape sound; Insert with detailed liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996).........................

German quartet Cozmic Corridors only self titled 1974 release, is the kind of effort which portrays effectively the fine borders of Krautrock's "let's be playful but not clowns", and the "artsy" part of prog/electronics, closer in mood to Conrad Schnitzler's improvisations than Tangerine Dream's flowing environments, just to explain the prevailing air breathed in this 5 songs project, not as a comparison.

Their minimalistic exercises are intelligent composition wise, yet in their irreverent approach, they do climb great heights in matter of seconds, all due my friends to their genial songwriting, which once inside, it won't let go!

The mixture of deep spaced electronics, organ church like progressions, as vintage organ mystery movie ambients, menacing as attractive string works, serious and mysterious yet subtly humurous and measured performances, some religious like chanting voice in one track, some sexy female crooning in other, the pre-Lustmord like obscure environments, being almost entirely instrumental and a set of non-stop creative musical ideas and goals, do make for a flawless effort.

An unquestionable must, far beyond the somewhat repetitive Krautrock scene, as a must for any prog/electronic audiophile looking for something in the mid 70´s which offered a fresh route and not the TD or Schulze like material everyone started to copy, as a spacy clear and dark unorthodox entirely psychedelic trip for those who favour that sub-genre´s unearthly admireArt .............

So it's the '90's, and krautrock appreciation has evolved from post-punk influence and Nurse With Wound approval to an all out love fest for dozens of the greatest and most unique albums of all time. Julian Cope's "Krautrocksampler", while admittedly a little biased and at times reliant on hearsay, is a great resource and helps keep the hype train choo-chooing along, as is proper for these bands. So what's a few unscrupulous yet very enterprising fellows to do but resurrect the '60's era trend of faux psychedelic bands for personal gain? The hoax is fairly obvious: listening to this record, it's clear as day that the production is way too clear as day to have been recorded circa 1972, and no one has ever found a "Pyramid" "first issue" of any of these releases. But, like Hell Preachers Inc. before them, the musicians who otherwise did by-the-numbers rock jams to fill out their "Pyramid" catalogue managed to make magic, suddenly focusing on keys, electronics, Stereolab influence (a wonderful recursion that also further proves that this is a hoax), and emptiness and creating an inspired and spine-tingling meisterstuck.

Built on useage of one-two combos of organ notes that jump off of the aforementioned Stereolab, the band wring forth keyboard and electronic tones and melodies that would've been revolutionary if recorded in the '70's. On "The Summit" alone, the band gives us a pretty use of minimoog, then towards the middle gives a strange and disquieting key and guitar combo that could even be considered quasi-industrial, before going into a cathedral filling organ section. Percussion wonderfully rounds out the keys. On top this, "Niemand Verstent" allows guitar to really shine, and the closer, "Daruber", has a multitrack of the male vocalist chanting. Also notable is the openness and silence surrounding the music, uncanny yet perfect, '90's era production and theme going into a rewarding overdrive.

Both beautiful and gloomy in equal measure and at the same time, this ultimately stands toe-to-toe with the real classics of krautrock as an unlikely, brilliant, and skillfully performed LearsFool ...............

If you're the sort who believes in Big Foot or the Loch Ness Monster, then you will believe this album was released in Germany in 1972. Despite multiple claims of sightings at art museums and record fairs, actual hard data seems to still be missing. Funny that. Most likely these were recorded in the Acme studio (UK) in the mid 90s along with the other Prescription Drug series albums coming from the same studio, and that contained the premise of utilizing only analog equipment from the early 70s. Why the need for the ruse is anyone's guess, as the music holds up well without the made-up pretext. These albums will always be judged accordingly, and it's their own fault. After all these years, they should come clean.

Oh, the music you ask? A fine electronic album made with organ, Moog, Rhodes, guitar percussion, and wordless voice. Sounds like something that would have been released in Germany in 1973 - and so they did accomplish their ultimate goal. They should have just stated it as such..........ashratom ............

I don't tend to review re-issues very often, but some there are some records that deserve to be shouted about, especially when it's one that has been out of print for a while and one with some controversy surrounding it's provenence (that's a long story and bears no relation to this review). Cozmic Corridors self-titled release is one of those albums, little known outside of krautrock/kosmische circles since its original pressing in the mid 1970s, but scarily prescient and 'of the now'. Guerssen, through its Mental Experience imprint, have had the wisdom and nous to give this gem of electronica a well deserved new lease of life. Cozmic Corridors was ostensibly a vehicle for eccentric, peripetetic Moog botherer Alex Meyer (a man known for sleeping in his Camper van) and the album was original released by the seminal Pyramid label. It is a fantastic album full of experimental electronica and sublime atmospheres...its one of those albums that I had resigned myself to never having on vinyl...thankyou Guerssen.

'Dark Path' leaps straight from a seventies horror movie, specifically Giallo, with an atmosphere of dread and suspense courtesy of the drones and dark synths. It sounds uncannily like the material that a lot of the hauntological acts are replicating now...the likes of Belbury Poly, Mt Vernon Arts Lab and Demdike Stare...but this is the original. 'The Summit' shifts the mood from one of dread and fear to something more optimistic. The organ work is reminiscent Of Terry Riley and is surprisingly groovy in a jazz way while the background synth plays two notes over and over which acts as a fine counterpoint to the dexterous organ playing. The organ gets more unhinged the further we get into the track, replacing the smooth Riley notes with something more dissonant and abstract. 'Mountainside' is a beautiful slice of meditative ambient music - the synths swooshing and covering everything in rich washes of sound. The addition of the Gregorian like vocals add an esoteric aspect to it all - it brought to mind some of the material coming out of Italy at the moment, the likes of Architeuthis Rex, The Hermetic Brotherhood of Lux-Or etc, or even some of the work of Lustmord. 'Niemand Versteht' sees the return of the Riley-esque organ, this time accompanied by female spoken word vocals. The track appears to be made of two disparate songs that have been merged - there is the organ/synths that play out another eerie horror soundtrack while the guitar in the background is positively psychedelic...but the melding of these produces something that is bewitching and enthralling and richly atmospheric. Final track 'Daruber' revisits 'Dark Path' in its dread laden horror score but much heavier on oscillating drones and spooky organ work. This sepulchral atmosphere is enhanced by the echo drenched chanting vocals. Again, its not hard to see where so many contemporary acts sought inspiration.

Germany in the 1970s produced many pioneers and innovators of the cosmic electronica scene - some, like Tangerine Dream, Klaus Schulze Conrad Schnitzler, have gone on to become recognised for the geniuses they were. Alex Meyer should be a name spoken in the same reverential terms. 'Cozmic Corridors' is an album that needs to be lifted from obscurity, one that is a well kept secret among the cognescenti, to an album that gets the plaudits it richly deserves. It laid down the blueprints on which many, many bands have based their output, from the gothic sensibilities of Dead Can Dance to industrial ambient artists like Brian Lustmord via the more experimental material of Nurse With Wound and some of the fantastic stuff coming out of Italy at the moment. 'Cozmic Corridors' is released by Guerssen/Mental Experience on February 15th ............................

Cozmic Corridors ... exactly the name, which should have a dashed Krautrockband. At least nowadays, or since the Krautrock and Psychedelic Revival of the 90s of the last century. But it seems unlikely that someone around the year 1972 should have chosen this name for his music project, but it was not so long since Edgar Froese had unintentionally created a new stylistic concept (see "Alpha Centauri"). , The Cosmic couriers were to go on the journey only a few years later. And then still cozmic with z.

Of course no one in 1972 in Germany this name devised. This was more a British in 1995. "Cozmic Corridors" is another, or even the first Fake Krautalbum, which appeared 1996 on the British Psi-Fi label. Six CDs were released, which were supposedly reissues of very rare LPs, which were published in the middle 70s on an obscure label called Pyramid in small edition. I do not want to spread the whole story here again. More information can be found in the reviews of the albums "Orion Awakes", "The Nazgûl" and "Cologne Curiosities".

Pseudokrautrock offers "Cozmic Corridors" so, even if in the book of the reviewed album Alan Freeman is every effort to prove the authenticity of the album. However, he only makes allegations and tells stories that no one has yet confirmed, especially none of the allegedly German participants. We learn here that the man behind the Cozmic Corridors should have been a certain Alex Meyer, who lived in Cologne in the first half of the 1970s, in an old van with three (!) Hammond organs. Note: Anyone who has played through the cracked Krautrockalben, must also have been a cracked type.

In 1972-73, this Alex Meyer, together with a few musical assistants, including the later legendary drummer Hans-Jürgen Pütz (see "Dreamlab"), brought in the music to be heard here, largely in the Dierks studio in Stommeln As PYR-09 appeared on LP. Jo, and then, in about the same way, Meyer, with his cart and organs, went to the Balkans and was not seen.

But, let's deal with the music. This is not bad at all. Organ and synthesizer are at the center of it, which sounds quite retro and krautig, but a trace too powerful and voluminous from the boxes comes, than the whole thing for a recording from the 70s could hold. In addition there is some percussion and rarely guitar and painted. In "Nobody Understanding", text is also recited, by a lady with the alleged name Pauline Fund, in German, but with a strong, French (?) Accent.

Mysteriously and wobbly, "Cozmic Corridors" glides through the auditory canals. "The Summit" and the already mentioned "Nobody Understanding" offer organ excursions à la Riley or Hamel, decorated and underlined with all kinds of electronics, hum, whistling and hissing. Electronically, "Mountainside" therefore comes before eclipsed strings and eunuchs singing create a strange gothic atmosphere. The long "Daruber" seems rather floydig-psychedelisch, determined by worn guitar sounds and repetitive organ patterns. Later on, sacred Popol = Vuh-Gedächtnischöre are working forward (see "In the Gardens of Pharaohs").

All in all, "Cozmic Corridors" is a very entertaining affair with retro-erotic-electronic-psychedelic music. The fact that the whole thing is still hailed as a lost cabbage masterpiece is annoying. Also at Mental Experience, a label that is otherwise known and appreciated for high-quality reissues of real rarities, one has apparently been entranced by Freeman and praises the material, which was recently reissued on CD and LP (early 2017), as authentic. But no Breiling ..............

Line-up / Musicians
- Alex Meyer / Minimoog, Hammond organ, Fender Rhodes, vocals
- Peter Förster / 12 string guitar, electric guitar
- Pauline Fund / vocals
- Hans Jürgen Pütz / percussion, effects

A1 Dark Path
A2 The Summit
A3 Mountainside
B1 Niemand Versteht
B2 Daruber

johnkatsmc5, welcome music..





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