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Hisko Detria - Static Raw Power Kraut (2012)


Hisko Detria is a new psychedelic/krautrock band from Finland which plays a mainly instrumentally focused style of hypnotic grooves. They started to collaborate during summer 2011, not in the 70's unlike some biographies tell, initially circulated as a joke/fake by the band members themselves. Their debut 'Static Raw Power Kraut' offers four tracks which basically are some kraut/space/repetitive motorik kind of tunes featuring influences from Hawkwind, fellow countrymen Circle and Neu! among others. (progarchives)

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Markus - From The House Of Trax (1978-1979)



Nine times out of ten it seems that heavily hyped albums turn out to be major disappointments.1979's "From the House of Trax" is one of those one out of ten exceptions - it lives up to and even exceeds the hype !!! I can't say I know a great deal about Marcus McDonald.

He was apparently from Kentucky, but relocated to Indiana, where this album was recorded at Trax Studios (hence the title).

Produced by Jim Fergusson, this private press release is also an exception in that it sounds far more accomplished that most such vanity products.

Literally dripping with spooky, heavily treated vocals, heavy guitar and psych moves, tracks such as 'Locked Inside a World', 'A Trip In Time' and 'The City of InBetween' are great. Exemplified by tracks such as 'Gary's Song', 'I Want To Fly' and 'Right Inside of You Baby', the 'B' side opts for a slightly more mellow attack, but is every but as impressive.Tuneful and concise (most of the nine selection clock in under four minutes), this one's a must own classic.

Besides, it's a wonderful album to crank up on a good stereo system. (As far as I can tell this is one of the real things - packaged in a plain disco cover with the bluish title past on over the center hole.

This one's retained it's blue color some tended to turn green with time (source).
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Vladimir Ussachevsky - Film Music (1992)


Vladimir Kirilovitch Ussachevsky (ur. 3 listopada 1911 w miejscowości Hailar w Mandżurii, zm. 4 stycznia 1990 w Nowym Jorku) – amerykański kompozytor rosyjskiego pochodzenia, najbardziej znany z tworzenia eksperymentalnej muzyki elektronicznej.

Urodził się w rosyjskiej rodzinie w Mandżurii w mieście Hailar znajdującym się obecnie w regionie autonomicznym Mongolia Wewnętrzna w Chińskiej Republice Ludowej. Pierwszy kontakt z muzyką miał w domu, jego matka była pianistką. Zajmował się grą w lokalnym zespole oraz akompaniował do niemych filmów.

Uciekając przed japońską inwazją na Mandżurię wyemigrował w 1930 wraz z częścią swej rodziny do USA. Osiadł tamże w południowej Kalifornii, gdzie rozpoczął naukę w Pasadena Junior College oraz w prywatnej uczelni Pomona College w Claremont. W latach 1935–1939 kontynuował studia w konserwatorium muzycznym Eastman School of Music znajdującym się w Rochester w stanie Nowy Jork. Studiował wraz z Bernardem Rogersem, Howardem Hansonem i Burrillem Phillipsem.

Podczas II wojny światowej pracował dla amerykańskiego wywiadu. Po wojnie w 1947 otrzymał posadę na Columbia University W Nowym Jorku, gdzie wykładał do 1980.

Początkowo zajmował się komponowaniem neoromantycznych utworów na klasyczne instrumentarium. Od 1951 zajmował się tworzeniem muzyki elektronicznej przy pomocy taśmy magnetofonowej. Jego pierwszy publiczny pokaz twórczości miał miejsce w maju 1952. Nawiązał dzięki temu współpracę z Otto Lueningiem.

Pierwszym efektem współpracy obydwu kompozytorów był koncert na taśmę wykonany w Museum of Modern Art w Nowym Jorku 28 października 1952. Patronat nad tym wydarzeniem objął Leopold Stokowski.

Vladimir Ussachevsky oraz Otto Luening, Milton Babbitt i Roger Sessions w 1957 założyli w Nowym Jorku Columbia-Princeton Electronic Music Center.

Poza pracą na Uniwersytecie Columbia wykładał również na University of Utah. Spośród studentów kompozytora można wymienić twórców takich jak Jon Appleton, Wendy Carlos (Walter Carlos), Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, czy też Charles Wuorinen.

W latach 1968–1970 stał na czele American Composers Alliance. Założył również własne wydawnictwo CRI. Jego kompozycje były wydawane ponadto w czasopismach Capstone, d'Note i New World.


Vladimir Ussachevsky (1911-1990) who emigrated to the USA from Russia in 1930, was one of the pioneers of "tape music", created the first electronic music in 1951 with his teacher Otto Luening. In october 1952, a live concert of electronic music by Luening and Ussachevsky at New York's Museum Of Modern Art was broadcasted live, and caused a sensation. It included Ussachevsky's Sonic Contours (1952), which electronically modifies the sound of a piano.

Ussachevsky was one of the most significant pioneers in the compositon of electronic music, and one of its most potent forces. He produced the first works of “tape music,” a uniquely American synthesis of the French musique-concrete and the German pure electronic schools.

He co-founded the Columbia-Princeton Electronic Music Center in 1959 and directed its course for the next twenty years as the leading electronic music studio in the United States. This release couples two of his most powerful and innovative scores: Suite from No Exit (1962), from the film of Sartre’s play No Exit directed by Orson Welles, and the soundtrack for the avant-garde film, Line of Apogee (1967).

Other legendary works that Ussachevsky composed in this period were A Poem In Cycles And Bells (1954) for tape and orchestra (one of the earliest electro-acoustic pieces), which was based on Otto Luening's Fantasy In Space (1952) and his own A Poem In Cycles And Bells, and Piece for Tape Recorder (1956) for tape. In 1959, Luening and Ussachevsky founded the Columbia-Princeton Electronic Music Center (CPEMC), the first studio for electronic music in the USA, which featured the synthesizer "Mark II". Creation Prologue (1961), Conflict (1971) and Creation Epilogue (1971), three parts of the multi-movement large-scale Creation, were scored for choirs and electronics, but his choral music was rather inferior. On the other hand, Conflict was his main composition of the 1970s.
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Re: Blackout - 1 & 2 (1967/1994)


Płyta ta prezentuje zespół "mocnego uderzenia", o ambicjach sięgających dalej niż sama technika krzyku i rytmicznej ekscytacji. Big-beat służy rozrywce, ale w jego ostrych rytmach odnaleźć można również poetyckie środki wyrazu. Któż to zresztą powiedział, że masowe przeboje muszą być tandetne? ... Ambicją big-beatu staje się współczesna młodzieżowa piosenka poetycka, odzwierciedlająca marzenia, temperament i dynamikę pokoleń nastolatków. Takie piosenki znajdziecie na tej płycie - zarówno taneczne utwory liryczne jak i "pieśni protestu". Kompozycje Tadeusza Nalepy to obrazy muzyczne, intensywne w spiętrzeniu nastroju, pointowanego często akcentami gwałtownie dramatycznymi. Teksty Bogdana Loebla - operujące zwięzłą metaforyką współczesnej liryki - wzbogacają te obrazy czystymi barwami poezji. Sądzę, że piosenki zespołu BLACKOUT dobrze służą kształtowaniu wrażliwości artystycznej wśród młodych odbiorców. Jerzy Falkowski (1967 - notka na okładce płyty)

Blackout wyróżniał się, bo choć graliśmy piosenki, to te piosenki, ze względu na teksty i trochę - może nie zawsze - ze względy na muzykę, były ciut ambitniejsze... Dostaliśmy zamówienie na płytę, bo byliśmy bardzo popularni. Nawet w pewnym momencie popularniejsi od najpopularniejszego zespołu czyli Czerwonych Gitar, i nagraliśmy tę płytę, którą naprawdę miło wspominam. Chociaż dzisiaj, w pewnym sensie, odcinam się od niej, bo jestem rockmanem, a tamto było bliżej knajpy. Ale nie odcinam się zupełnie, bo to jest cząstka mnie samego i mnie się podoba ---- Tadeusz Nalepa

Płyta Blackout (2) wydana na CD w 1994 roku zawiera nagrania radiowe i z płyt EP z lat 1966-1967.

Tadeusz Nalepa - guitar, vocal
Stanisław Guzek - vocal
Mira Kubasińska - vocal
Krzysztof Dłutowski - org., piano
Robert Świercz - bass guitar
Józef Hajdasz - drums


In 1965, Nalepa formed Blackout and started composing music to the lyrics of a poet, Bogdan Loebl. The Blackout's first concert was on September 3, 1965 in a club Łącznościowiec in Rzeszów. Tadeusz Nalepa recorded a self-titled album with Blackout along with six smaller recordings. The group disbanded in 1967. In 1968, Nalepa formed a group called Breakout which existed for 13 years before disbanding in 1981. Breakout had released 10 albums.
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Pociąg Towarowy - Przebudzenia / 14 wariacji (1998)


Pociąg Towarowy odjechał 24 stycznia 1987 roku ze stacji Galeria Dziekanka przystając potem w rozmaitych salach koncertowych, galeriach, na festiwalach i w studiach nagrań. Trzy osoby wystąpiły we wszystkich działaniach zespołu: Piotr Bikont, Marek Chołoniewski i Krzysztof Knittel. Oprócz nich wagony pociągu tworzą lub tworzyli: Włodzimierz Kiniorski, Marek Nędziński, Jerzy Piaskowski, Andrzej Przybielski, Tomasz Stańko, Tadeusz Sudnik, Jarosław Wójcik, Michał Zduniak. Muzyka Pociągu Towarowego jest grana intuicyjnie nawet jeśli istnieją w niej dokładnie zapisane tematy melodyczne i harmoniczne czy określony rytm. Oparta jest najczęściej na sekwencjach generowanych z komputerów perkusyjnych. Prawie zawsze pojawia się w niej tekst. Jest on mówiony, czasem śpiewany, ale nigdy w tradycyjnej formie pieśni. Zespół brał udział w licznych festiwalach m.in. na festiwalu "Marchewka".



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The Mr. Albert Show - Warm Motor (1971)


The rock group Mr Albert Show from Eindhoven was formed in 1969 by Bertus Borgers (saxophone, flute and vocals), Roeland Boogaart (on drums), Tom Fautubun (on bass guitar), guitarist Eric Lintermans and Bonki Bongaerts (organ). The band was named after a roadie. In 1970 their first single, Wild sensation / King of galaxy is released. The vocals on this track are by Floortje Klomp. This is followed by their self titled debut album. The sound of this album is a sort of jazzy progressive music with the focus on the saxophone and the organ. A year later they release a second album, Warm Motor. To promote this album, the non-album track Show me your tongue is released as a second single. In 1973 Bonki Bongaerts leaves the band, and this means the end the Mr Albert Show. Bertus Borgers starts a new band Sweet d'Buster, together with Robert Jan Stips of Supersister and is very active as a studio musician.

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Pentagon - Die Vertreibung Der Bösen Geister Aus Dem Pentagon (1970)



Hans-Peter Krohn - g, fl, voc
Herbert Strickner - b
Axel Wellhoener - dr
Mit Michael Wätjen - acoustic g

Pentagon was the first group on the small Munich label German Blues and Underground, which later on also released the two Siloah records. The first Single was supposed to be followed by an LP, but it never got beyond the acetate stage, a kind of demo pressing. A music cassette, however, was released, the simple cover of which was used for the CD. Although very young at the time, the three musicians already played respectable blues-rock, and this track featuring a flute is pure enjoyment. The tracks of side 2 of the vinyl album were taken from the master tape, the tracks of side 1 were digitally decrackled by Cedar’s NoNoise system. The 28-page colour booklet contains a probably complete discography and history of the German Blues and Underground label. It’s a first-class find, saved from oblivion in the very last minute.


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Dark Arts - A Long Way From Brigadoon (1986)


Original 1986 debut US 5-song 12” EP release from this Columbus, Ohio-based group.  Minimal, etherial gothic sounds with tribal drumming and eerie keyboards.  All 5 tracks are exclusive to this release: 1. Rivers / 2. Skins / 3. Dirge (Voices of Ash) / 4. House of Mirrors / 5. Aloof.  Mixed by Steve Albini and released on his Ruthless Records label, this EP is long out of print and has never been released on CD to my knowledge. Here’s a bit of info on Dark Arts, gleaned from the band’s website:

Stephanie Payne has been making music under the guise of Dark Arts since 1984. The first recording was produced and engineered by Steve Albini (best known for his bands Big Black and Shellac, as well as his production work with the Pixies and PJ Harvey). “A Long Way From Brigadoon” was released on Albini’s short lived “Ruthless” label in 1985.

Dark Arts has been featured on many compilations, the best known being “The October Country” issued on Nate Starkman and Son (brainchild of Philip Drucker who has been in noted bands 17 Pygmies and Savage Republic). The import-only release “Carnival of Lost Souls,” produced and engineered by Biff Sanders (of Ethyl Meatplow and Polar Bear), can be found on Nate Starkman and Son, and is distributed by EFA.



Dark Arts has shared the stage with many diverse bands including: The Cocteau Twins, Big Black, Urge Overkill, Naked Raygun, and Drowning Pool. Stephanie enjoys working with a wide variety of musicians and instruments, which enables her to create her eclectic and other-worldly sound. Dark Arts has been favorably compared to such artists as Dead Can Dance, Harold Budd, Roger Eno, Angelo Badalamenti and Peter Gabriel.

The Dark Arts release “Something Once Whispered to Cava” took 3 years to complete and it features the talents of Julie Fowells (Geraldine Fibbers) on violin, Joyce Rooks on cello, Raul Casillas and Biff Sanders on percussion, and the vocal talents of Cheryl Russell, Scotty Chapman, and Stephanie Payne. Stephanie wrote all the material and played all remaining instruments.

Dark Arts is currently made up of Stephanie Payne on dulcimer, piano, percussion, flute and melodica (amongst other sound-making objects), Sharon Berman on accordion, ballophone, recorder and percussion, and Juan Wijngaard on hurdy gurdy, recorder, mouth harp, and percussion. “Cava” will take you on an emotional and visual journey to distant lands and mystical places. (source)
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Bengt Berger Bitter Funeral Beer Band w. Don Cherry (1982)


The term "cultural imperialism" is often used, justly, when Western musicians appropriate aspects of third world music for their own, watering it down to listener-friendly levels and giving scant acknowledgement to its original creators. Whereas this sort of approach has been the unfortunate rule, from Paul Simon to David Byrne, every once in a while a glorious exception emerges. Such an exception is Swedish percussionist Bengt Berger's Bitter Funeral Beer band.

Berger, who devoted lengthy periods of study to West African music, particularly that of Ghana, assembled a large contingent of fellow Swedes, trained them in various aspects of West African traditions and, most importantly, chose Ghanaian folk themes with utterly beautiful and irresistible melodic lines from which to improvise. Add the illustrious trumpeter (and like-minded world traveler) Don Cherry to the mix, and you have the makings of a stellar album. In fact, it's the bittersweet, off-center lines of Cherry's trumpet work that go a long way toward keeping the pieces pointed and sharp. The members of Berger's band all double on African percussion very effectively, with the leader concentrating on an African xylophone called the ko-gyil, which appears to utilize gourd resonators containing spider webs, producing an enticingly fuzzy rattle beneath the metallic, hammered tones.

At its best, as on pieces like "Chetu" and "Tongsi," the combination of stunningly gorgeous repeating themes and inspired improvising make one wish the music would never stop. This recording, though little known, is one of the very finest items ever released by ECM. While wonderful in and of itself, it might also serve as a fine introduction to West African music, albeit via a circuitous route through Stockholm.
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Colonel Bagshot - Oh! What A Lovely War (1971)


Dave Dover - bass, keyboards
Terry McCusker - drums
Ken Parry - guitar, keyboards
Brian Farrell - guitar, synth

Colonel Bagshot were formed in the late 60's and were originally a six piece which included Mike Byrne of the Beatles experience fame. The band created record company interest and in 1971 'oh what a lovely war' was released. 'Smile' was the first single released from the album though 'Six Day War' was the most popular and in the early noughties it was remixed by Dj Shadow and was used for the soundtrack of 'Phone Booth' starring Colin Farrell (no relation to Brian). Bagshots toured with Slade and went through transitions with new band members before Brian Farrell became a solo artist signed to Warner Brothers and Kenny Parry, Dave Dover, Terry McCusker went on to form 'Nickelodeon' a very popular tight rock/pop trio. Colonel Bagshot reformed in 2006 for the launch of a book about the 70's music scene at the Cavern in Liverpool. For more information check out their myspace and website.
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Rafael i Damian. Archiwum 1983–1986


"...Rafael i Damian to muzyka przede wszystkim ilustracyjna, plastyczna i teatralna. W większości instrumentalna. Pieśni, piosenki, opowieści i plotki. Często wkraczające w obszar zadumy, melancholii, baśni, impresji. Nawet w momentach, kiedy namiętności kumulują się w dynamicznej ekspresji budowanej na motorycznych rytmach lub uwodzących riffach nie traci swojej specyficznej zadumy i subtelności..." Henryk Palczewski

"...Premiera intrygująca, bo muzykę braci Kozubów wyróżniają staranne zabiegi kreacyjne: drobiazgowe zaplanowanie formy i dobre wykonanie utworów (telepatyczne zgranie), zaprojektowanie brzmienia poszczególnych instrumentów, głosów oraz całych kompozycji, zastosowanie harmonizujących linii wokalnych oraz – szczególnie wyróżniające ich na tle innych (nie tylko) ówczesnych zespołów – operowanie harmonią (głównie za sprawą wykorzystania pianina i instrumentów klawiszowych) do wprowadzania ciekawych efektów kolorystycznych i emocjonalnych..." Ireneusz Socha

Działalność krakowskiego duetu RAFAEL–DAMIAN (chodzi o Rafaela i Damiana Kozubów), braci bliźniaków, multiinstrumentalistów muzyki „niepokornej”, sięga końca lat 70., kiedy to jeszcze, jako dzieci muzykowali w zakładowym zespole Miejskiego Przedsiębiorstwa Komunikacyjnego PANTOGRAF. Swoją pierwszą grupę założyli nieco później z ówczesnym basistą (a potem leaderem, gitarzystą i wokalistą) KRAKOWSKIEJ GRUPY BLUESOWEJ (KGB) – Pawłem „Pawką” Małysiakiem, jednakże były to jeszcze dość nieśmiałe poczynania. Wcześnie również skupili się na karkołomnej, wieloletniej realizacji swoich założeń muzycznych w zaciszu domowego studia – od roku 1982 do 1988 zapisywali swoje sesje nagraniowe i rozprowadzali na kasetach w Polsce i za granicą w tzw. drugim obiegu, między innymi przez krakowską oficynę B.N.exp, pilską ARS 2 i łańcucką AML.

W 1986 roku, zachęceni działalnością zaprzyjaźnionego zespołu ZOAS, prowadzonego przez potem tragicznie zmarłego Jakuba Smaczniaka, założyli w Krakowie grupę FRAGMENTY R–27 (ostatecznie o nazwie zredukowanej do członu końcowego), realizującą przez cztery lata spontaniczne, dynamiczne i po części agresywne zamierzenia muzyczne. Skład ulegał modyfikacji (Andrzej Jarzyna był pierwszym perkusistą, Piotr Nodzeń drugim basistą, a Dariusz „Darecki” Kaszubski grał na bongosach), lecz człon główny pozostał zawsze niezmienny: RAFAEL (instrumenty klawiszowe i perkusyjne, śpiew, kompozycje), DAMIAN (perkusja, głos, pianino, kompozycje), Rafał „Walek” Walczowski (bas), Piotr „Buzer” Łabuzek (trąbka, głos, syntezator) i Paweł „Rudy” Ochel (gitara, głos).

Z tym kontrowersyjnym zespołem bracia dali wiele koncertów w rodzimym Krakowie (w klubie, a potem w kinie Podwawelskim, dwukrotnie w Nowohuckim Centrum Kultury, w klubie Wola Zoo, czy w Dworku Białoprądnickim, etc. ) i wzięli udział w kilku większych akcjach wyjazdowych: Skawina – klub „O.D.K”, Katowice – klub Studencki „Akant” na Festiwalu Muzyki Odjazdowej, Rzeszów – klub „O To Chodzi”, Warszawa – „Remont”, Warszawa – Festiwal „Marchewka” w Rivierze (tu wspólnie z kompozytorem Zbigniewem A. Lampartem, ówczesnym kierownikiem muzycznym Teatru im. Ludwika Solskiego w Tarnowie). Z tą grupą posiadają także na swym koncie liczne, prywatne wydawnictwa kasetowe.

Nieufność z jaką publiczność przyjmowała te żywiołowe występy (np. wyłączenie prądu podczas katowickiego przeglądu festiwalowego w klubie „Akant”), nie mające jednak nic wspólnego z kulturą post–punkową i niezrozumienie spowodowały zaniechanie dalszych wyjazdów i dawania przypadkowych koncertów. Ostatecznie RAFAEL rozwiązał grupę w listopadzie 1989 roku.

Oprócz wydawnictw kasetowych bracia są odpowiedzialni również za liczne broszury i gazetki muzyki niepokornej, min. fanzin ALTER, redagowany wspólnie z Robertem Kramaićiem i felietony wykorzystywane przez Henryka Palczewskiego w jego Informatorze ARS 2.W 1988 roku doszło do współpracy wydawniczej z Mariuszem Błachowiczem, a w połowie 1989 do spotkania z muzykami dębickiej sceny: Ireneuszem Sochą, Arkadiuszem Franczykiem i Andrzejem Kramarzem (KIRKUT–KONCEPT i NA PRZYKŁAD), które zaowocowało wspólną sesją nagraniową w październiku, wydaną pod tytułem „Sen Wczorajszy”.

Po emigracji bracia skupili się ponownie nad twórczością solową. Po osiedleniu się na stałe w Nadrenii–Westfalii realizowali jeszcze do końca lat 90–tych projekty muzyczne (szczególnie Damian (www.kozub.de) zapisywał wtedy dużo samotnie, nawet aż do roku 2007), wydawane na kasetach lub płytach CD, ale jednorazowa próba powołania do życia nowego, pełnego nadziei zespołu z Peterem Sohnem z Wuppertalu niestety nie powiodła się.

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VA - Kraut Mask Replica: Krautrock Rarities '68 to '74


This compilation was intended for release in 2004 as the 5th edition of a CD-series dealing with rare and unreleased Krautrock rarites, which started with Kraut! Demons! Kraut! and went on with Hungry Krauts Daddy, Obscured By Krauts and Kraut-Bloody-Rageous. The number five dive into the abyss of the bottomless kaut barrel never saw the light of day due to a broken down market for specialist records in small editons, or, let's face it, a broken down music market all together. Which is fine with me. The stubborn and predictable way the majors committed suicide was a sight to see, and the crocodile tears they shed about being killed by the net are as funny as hypocrites can get. Trouble is: a couple of very fine small labels and mailorders died a silent death too. But after all, the whole idea about musical archeology is sharing the results with the rest of the like-minded, so here we go and give it all away for free. (By the way: the "Kraut Mask Replica"-pun was coined before a very recommendable blog nicked it.)

Werner Pirchner is an underrated experimental Jazz musician from Austria, who started his recording career in 72 with this weird collection of all things unexpected called "Ein halbes Doppelalbum" (Half  A Double Album) on Austro Mechana. 

Freedom's sole 7" was released late in 69 on the tiny Topmaster label. Their amateurish charm is irresitible. No relation to the better known British band of the same name, of course, and none such as well to the German group who released the "Swinging Prayers"-LP at about the same time. You'll find the the other side of the single on Prae-Kraut 15. 

Another incredible find is the 45 by Asphalt on the totally obscure Modern Music label ("eine Orchidee-Musikproduktion") from 71. On the flip there's part 2 of the same song, which doesn't sound much different. 

The next one hit us unprepared and floored us immediately. A 45 on Flöte Schallplatten called "Abendlied"  (Evening Song) by a band named Die Leute (The common people) from 74 doesn't sound much like an unsung Kraut nugget at first sight. But as soon as the needle drops... Wow! Sheer mayhem!! Sound quality is a bit at the edge, but the vinyl looks reasonably clean, so that the distortion factor may be intended. They obviously sing in German, although I'm unable to tell you what. Dieter Bistrup, Marcel Bartolein, Siggi Reuter and Georg Anhalt came from Bonn. 

Orange Rocks most probably didn't live very far away, and their only known 7" on the collectable New Blood label was reportedly released as late as 77. Listening to it, you'd bet that sounds like that can't have been produced later than 74. And you might be right, as a couple of New Blood's records have been recorded long before the were released. 

Definitely 74 is the only single by The Prisoners from the Stuttgart region on another famous independent label: Tonstudio Bauer, Ludwigsburg. Their Hard Rock assault is an aquired taste, and if they'd been skilled like they thought they were, this might have been a typically tedious example of the genre. Thank God, they can't play! 

Same town, same label, a year later: Argo and their only known single sound like Germany's answer to The Trees, even if the Folk Rock-factor is reduced to the girl vocalist's strenght. Immaculate, so to speak...

The flip of Mother Sunday's 45 on Moon Records (71) has already been exposed on "Obscured By Krauts". Both sides are top-notch Kraut classics, although the band most likely was of Swiss origin. 


Excalibur were a trio from Hamburg and represented the typical Hamburg school of Hard Rock (i.e. trying to sound as British as possible) on their "First Album"(72) on Reprise, which as well was their last. While they've always been a bit better than most of the competitors, and had some support from various members of the Rattles, they never really made it commercially, and called it a day soon after. Their last sign of life were 3 non-LP tracks on a rare sampler called "Hell's Angels Rock", released on Jaguar Rec., and produced by Rugy Rugenstein in 74. "Danger Zone" is one of these.  

Nothing is known about Dynamo and their single on Deutsche Vogue (70). The label used to release a lot of one-offs between 65 and 73 by unknown artists that later turned out to be of  non-teutonic origin, and Dynamo may or not be one of them. But this record hasn't been released in the UK, the USA, Canada, Australia or New Zealand, so until someone proves us wrong, we'll file it under Kraut. 

The Heart probably were an Austrian band, as their LSP label was based there. A marvellous over-ambitioned amateurish single by a band with a message from 70. 

Lyrically less intellectual is the flip of "Birthday" (see "Obscured By Krauts") by Lony & The Misfits LTD from Dillenburg on Gaston Boutique. (70). Actually "Make Me Love" is pure machismo, and girl singer Lony for obvious reasons apparently refused to appear on this side at all. Blues Rock usually isn't our cup of Hofbraeu, but done like this: Down the hatch and gimme more! 

Proud Flesh from the Cologne-Bonn region (Bad Godesberg, if my memory serves me.) are best remembered for 2 singles on Resono. (See "Obscured..." for "Devil Flight".) In 71 they recorded a third 45 for the label, which never was released. "All In Vain" was the intended b-side. 


Krefeld's Trash and their sole single on Bi-Spar Rec. (72) has already been featured on "Kraut! Demons! Kraut". Here's the even weirder flip. 

After the occupation of Austria and Switzerland for the Kraut Cosmos, we'll take a little excursion to a tiny German speaking country called Luxembourg. (Well, actually they're bilangual and prefer to be seen as the better part of France, but who cares...) Cool Feet seem to be the only Luxembourgian band from the era written in vinyl. Their horrendously rare album "Burning Desire" was pressed in Germany by Pallas in 76, but a year earlier they had two equally scarce singles on Luxembourg Sound Records. "Mister" is one of them. 

Ludwigsburg, suburb of Stuttgart, is the home of The Shatters, a band that played at the Hamburg Star Club in 64 (billed as The Shutters), and still is active in our region after 45 years on stage. (Meanwhile split in the Original and the New Shatters, and with hardly a founder member left, but staying power nontheless.) They've never been accused of being underground, psychedelic or anything else related to decent music. In fact, they were specialised in covering the Top-20 material the usual crowd would expect from a moderate beat band in those days, with a little Soul thrown in for good measure. Strange enough, the only vinyl output during their heyday was this 45 on Philips, a more than untypical trip to heavy prog territories. 

The recorded work of Stuttgart's Exmagma - including the initially unreleased third album -  is (or at least has been) available on CD on Daily Records for a while. "Jam Jar" is a track they never recorded in the studio. It was taped live in France 74, and it gathered dust in the private tape collection (well, rather a dustbin full of reels) of Andy Goldner, who handed it down to us these days. 

T.A.C. (Team for audio-visual communication) was chosen as the name for a project that combined a film crew with a musicgroup in order to produce a series of commercials and an image campaign for Beiersdorf, a company specialised in cosmetics. (Nivea etc.) The band was Baden-Baden's Fashion Prick, who at about that time (71) had shrinked the Prick to Pink, and changed the name to Brainstorm in 72, when they recorded their first official album. The T.A.C. LP was never intended for  commercial release, and only a handful were pressed to impress the white collars at Beiersdorf, which makes it one of the toughest to find Kraut rarities. Musically we're talking about brilliant instrumentals, which all are variations of more or less the same basic theme with a very different approach each time. Our chosen example isn't necessarily the best, but the longest track on the record. 

None of these comps would be complete without a rare or unreleased Can track. This one is from 68 and was recorded during one of the sessions that made up the "Delay 68" album, but wasn't included there or anywhere else yet. 


Nothing is known about Holger Muenzer, except his two singles on Intercord. Both were released in 73, and both had a dreadful singer/songwriter a-side (actually we're talking about schlagers here), and a quite interesting flip. Intercord was a label from Stuttgart. 

One of the most mysterious albums of all time is The Nomadia's "Range Of Vision" LP. It was recorded between 69 and 71 in Austria, and privately released there in such small quantities, that we didn't believe in its existence until we found a cover-reproduction of the original on the net. Slightly more common, but still near impossible to find, is an Austrian re-release on Toadstool with a different cover from 77, but even there no-one seemed to know anything about who or what The Nomadia was. The album has two long tracks, one called "The Marihuana Side", the other "The Acid Side", which might as well be called acoustic and electric sides. Totally weird stuff that defies descripton, obviously puzzled together from hours of taped sessions, but a hell of a listening experience throughout. 

Equally obscure is an LP by Heinz Funk, which seemingly only exists in form of a couple of test pressings without covers. (Chappell Records, 76) A two-sided affair again, but this time the a-side is filled with cheesy synthesizer dance tunes and not so funny versions of contemporary hits. Turn it over and you'll find a different universe. Most tracks are space related or cosmic, at least by their titles, and all are very pleasant, if admittedly a bit naive and too short to create the intended atmosphere. An express mail cosmic courier, that guy....  (spurensicherung)

This compilation was never released on vinyl or cd!
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Electric Moon - Flaming Lake (2011)


I guess German band Electric Moon noticed after their previous limited CD-R release (Inferno) that 100 copies just isn’t enough for the freaks into psychedelic, improvised space/kraut rock so they did a second issue with a slightly different cover art work. Although the brand-new Flaming Lake is a live album the sound is excellent so I think that also these 250 copies will sell out pretty fast. Especially since the instrumental trio has progressed a lot in their live jams and it seems to me that Dave and Lulu have got some new gizmos to their effect collections since the sonic world is now more varied and even more psychedelic than before! In addition, Lulu in particular plays more fluently than before which is nice.


Flaming Lake includes four long jams that were recorded in Battenberg on 2nd July 2011. ”The Cosmic Creator” truly leads us to the Great Psychedelic Creator and what a journey this is! As usual, the band starts off slowly creating cosmic moods but later on they rock much harder. Amazing! The psychedelic “Flaming Lake” doesn’t get that heavy than the previous track but rocks out nicely in the middle. The album’s longest jam is the closer to 24-minute-long ”Lost and Found Souls” that has some Eastern, mystical vibes and even gets close to some doom metal bands. But don’t worry freaks: this still is a really hypnotic, cosmic and mind-expanding jam! ”Burning Battenberg” is a bit lighter, spacey going including for example some delay guitar but later on it gets closer to psychedelic stoner rock. On this track Philipp from Daturana replaces Alex on drums and he does a great job as well. The whole disc is full of superb stuff and this really might be the best live release by the band so far! It’s available from the Sulatron Records for 8 euros. (unimeri)
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The Fraternity Of Man – The Fraternity Of Man (1968)


[EN]

Although recorded in a downhill of the psychedelic era, this supercool debut of The Fraternity Of Man holds firmly onto its status as one of the greatest guitar albums of the late 60's. Crossing over wild, acid freakout to mellow country rock – undoubtedly an influence of The Byrds' Sweetheart of the Rodeo – it gives a good impression of rapdily shifting tastes in American music at the time. A record, which bends to the nearest future, when Laurel Canyon artists were to take it back to the roots with simple arrangements, vocal harmonies and personal lyrics pondering the end of countercultural revolution.

A history of The Fraternity Of Man goes back to The Factory, a garage band assembled in the late 1965 by Lowell George and Richie Hayward (who were later to join Little Feat) including Warren Klein (a guitarist of The Stooges in 1973) and bass player Martin Kibbee. They never made it bigtime though and as they welcomed 1968 George decided to split and the band changed their name to The Fraternity Of Man with two new musicians hopping in: Elliott Ingber (a guitarist of The Mothers Of Invention) and vocalist/guitarist Lawrence "Stash" Wagner. Their debut LP was produced by the same Tom Wilson, who engineered first kicks of The Mothers Of Invention, finished production of Bob Dylan's The Freewheelin' in 1963 (being also a key personality to his acoustic-electric transition). And least but not least, as A&R manager he signed The Velvet Underground to Verve starting band's successful career.



However, guys would have probably never stomped the scene if not their pothead classic Don't Bogart Me, which swept through the airwaves due to compiling it by Dennis Hopper as part of Easy Rider soundtrack and paved the way to other stoner ballads like One Toke Over The Line (Brewer & Shipley) or I Got Stoned and I Missed It (Dr. Hook), so popular in the early 70's. Album has been eventually released by ABC Records and included a whole pile of killing tracks, most notably another country rock goofball – Last Call For Alcohol, which has never shared the affinity of its smoking counterpart though. But the LP largely follows this line with more humorous story songs such as Bikini Baby or Just Doin' My Job.

But what gives it a real bite are two ultrapsychedelic monsters: In the Morning – a great piece about smoking weed from morning to the evening with fuzzy, tonal guitar – and Candy Striped Lion's Tails, one of these deeply acid soaked late 60's creations with obligatory, minor scale, beautiful tabla lines, gutsy, storming guitar solo a la The Byrds or The Electric Prunes and great lyrics about opening the door of your mind with big dose of LSD. Almost all compositions featured on the record have been coined by the band except ironic Oh No I Don't Believe It, written by Frank Zappa and credited to Third Story Music. A must-have or must-listen for 60's psych collectors and freaks. You simply cannot go wrong with it!

[PL]

Pomimo że nagrany u schyłku psychedelicznej ery, nieprzeciętny debiut grupy The Fraternity Of Man pozostaje jednym z najciekawszych albumów gitarowych końca lat '60. Łączący dzikie, kwasowe aranżacje z łagodnym country rockiem – niewątpliwym wpływem przełomowego Sweetheart of the Rodeo The Byrds – daje dobre wyobrażenie szybko zmieniających się w tym czasie gustów muzycznych. Płyta zapowiada także nowy styl w amerykańskiej muzyce, który miał sztormem podbić lata '70, kiedy artyści z Laurel Canyon nagle powrócili do korzeni z prostymi aranżacjami, harmoniami wokalnymi i emocjonalnymi tekstami – osobistymi opowiesciami o końcu kontrkulturowej rewolucji.

Początki grupy sięgają garażowego projektu The Factory, utworzonego późnym 1965 przez Lowella George'a i Richiego Haywarda (póżniejszych muzyków Little Feat), a także Warrena Kleina (w 1973 gitarzystę The Stooges) i basistę Martina Kibbee'ego. Projekt nigdy nie odniósł większych sukcesów i w 1968 George'a poszedł swoją drogą, a zespół postanowił zmienić nazwę na The Fraternity Of Man i dokoptować do składu dwóch nowych muzyków: Elliotta Ingbera, wczesnego gitarzystę The Mothers Of Invention oraz wokalistę/gitarzystę Lawrence'a "Stasha" Wagnera. Ich debiutancka płyta została wyprodukowana przez tego samego Toma Wilsona, który zajmował się pierwszymi nagraniami The Mothers Of Invention, który dokończył produkcję The Freewheelin' Boba Dylana w 1963 i stał się jedną z kluczowych osobistości w okresie zmiany przez artystę brzmienia akustycznego na elektryczne. Ten sam Tom Wilson postanowił także podpisać kontrakt nagraniowy z The Velvet Underground w imieniu Verve rozpoczynając wielką karierę zespołu.



Zespół pewnie nigdy nie podbiłby jednak Ameryki, gdyby nie upalony klasyk Don't Bogart Me, którego popularność ugruntowało włączenie go do ścieżki dźwiękowej Easy Ridera przez Dennisa Hoppera i który wkrótce miał dać początek całej serii ćpuńskich utworów w stylu One Toke Over The Line (Brewer & Shipley) czy I Got Stoned and I Missed It (Dr. Hook) – tak popularnych na początku lat '70. Album – ostatecznie wydany przez ABC Records – zawiera również inny fantastyczny kwałek w podobnym, country rockowym stylu – Last Call For Alcohol, który nigdy nie osiągnął jednak takiej samej popularności. W zasadzie cała płyta jest utrzymana w tym luzackim tonie z humorystycznymi piosenkami-opowiastkami tj. Bikini Baby czy Just Doin' My Job.

Szczególną uwagę zwracają jednak dwa ultrapsychedeliczne potwory: In The Morning, z rewolucyjnym tekstem o paleniu gangi od rana do wieczora i tonalną partią gitary oraz Candy Striped Lion's Tails – jedna z najkwaśniejszych kompozycji lat '60 w obowiązkowej tonacji minorowej z pięknymi partiami tabli, absolutnie fantastyczną solówką gitarową w stylu The Byrds czy The Electric Prunes i tekstem traktującym oczywiście o potędze LSD. Wszystkie kompozycje na płycie są wspólnym dziełem zespołu z wyjątkiem prześmiewczej Oh No I Don't Believe It, napisanej przez Franka Zappę (i kredytowanej przez Third Story Music). Obowiązkowa pozycja dla fanów i kolekcjonerów psychedelii lat '60. Nie da się ominąć tego albumu!



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Dick Dale And His Del-Tones – Surfers' Choice (1962)



[EN]

Among all kicking-ass, breakthrough guitar albums of the 60's there might be just few matching the powerful debut of Dick Dale and his Del-Tones. This historical manifesto of surf music just swiped through California and United States selling in record number of 80 thousands copies. Released in November 1962 on Dale's own label, Deltone Records – which owed its capacity to his own father – preceded by successful Let's Go Trippin 7" (1961), it was a real milestone for guitar music. Shortly afterwards it provoked a real surf fever nudging hundreds of local young bands across United States to bash Dale's surf compositions in local ballrooms. It was also The Album, which brought up electric guitar as a key fetish of the 60's culture.

Surfer's Choice undoubtedly changed the history of music being also one of these great LPs recorded fully live and moreover... this surf wonder stays off reverb, which was yet to come. In fact Dale has discovered it almost a year later in Hammond organs and promptly used this new toy to spike up his Stratacaster making it a genuine surf trademark eventually. Nevertheless this album is a killer still provoking sheer thrills with gut-wrenching, instrumental monsters and vocal pieces, apparently always loved by Dale. All these gems have been registered in legendary Rendezvous Ballroom in Balboa – since late 50's his southern California stronghold – catching the yells of surf hordes in high praise. Supported by the mythical Fender Dual Showman and the original Stratocaster guitar, Surfer's Choice is a raving memory of surf's onset and glory, which was soon to fade away when British Invasion hit US with the likes of I Wanna Hold Your Hand.

The album opens with Surf Beat – one of Dale's classics, based on motorical, sensual rhythm, he picked up from his idol, Gene Krupa. This leads us to Sloop John B, a smoocher type of stuff, where King Of The Surf Guitar gives away his rock'n'roll romanticism, but as needs to be said he had a great voice back then. Finally we're hit hard with another, upbeat, instrumental killer bursting with galloping staccato – Take It Off. But when the stomping beat wears off we are hugging two following vocal tracks again: rhythm and blues based Night Owl and classic Fanny Mae, where Dale shows off with almost black grain of voice.

Misirlou Twist wraps up A side – an alternative version of his biggest hit ever, which is based on Arabic double harmonic scale and performed here with virtuoso violin arrangement (7" version drops it for trumpet line, played by Dale himself). B side features his first, cult smasher, Let's Go Trippin' and two other influential surf compositions: Surfing Drums (founded on original Bo Diddley rhythm) and Shake'n'Stomp – a wild surf staccato showcase, which for my money is one of his fastest and best tracks ever.



[PL]

W morzu rewolucyjnych albumów gitarowych lat '60 niewiele może się równać z potężnym debiutem Dicka Dale'a i jego zespołu. Ten historyczny manifest surfowy prawdziwie zamiótł Kalifornię i Stany Zjednoczone sprzedając się oryginalnie w rekordowej liczbie 80 tys. egz. Wypuszczony na rynek w listopadzie 1962 przez własny label Dale'a, Deltone Records – którego działalność była sponsorowana przez jego ojca – poprzedzony przez wydany rok wcześniej, legendarny singiel 7" Let's Go Trippin', album ten jest dzisiaj uważany za kamień milowy muzyki gitarowej. W swoim czasie spowodował on istną gorączkę surfową sprawiając, że założonych zostały setki amerykańskich grup, których główną ideą było wygrywanie kompozycji Dale'a na lokalnych potańcówkach. Był to także pierwszy album, który z gitary uczynił prawdziwy fetysz.

Surfer's Choice bez wątpienia zmienił historię. Jest jedną z tych płyt, nagranych w pełni na żywo i do tego... jedną z niewielu płyt surfowych, zarejestrowanych bez śladu reverbu, który miał przyjść dopiero jakiś rok później, gdy Dale'a wymontował go z organów Hammonda i uczynił z niego podstawowy element charakterystycznego, mokrego brzmienia. Mimo tego, debiut ten wciąż zabija żywotnością instrumentalnych kompozycji i nastrojowością kawałków wokalnych, których Dale był paradoksalnie wielkim miłośnikiem. Wszystkie utwory zostały zarejestrowane w legendarnym przybytku Rendezvous Ballroom, w Balboa (południowa Kalifornia) przy wtórze i okrzykach jego wiernej publiczności. Wspierany przez oryginanego Dual Showmana Fendera, do którego Dale podpiął swojego kultowego Stratocastera, Surfer's Choice jest wspaniałym przykładem najlepszych dni surf rocka, które miały przeminąć z dniem nadejścia Brytyjskiej Inwazji.

Album otwiera Surf Beat – jeden z wzorcowych kawałków Dale'a, oparty na silnym, sensualnym rytmie, którego koncepcję podłapał od swojego idola, Gene'a Krupy. Ten prowadzi nas do Sloop John B, nastrojowej ballady, w której Dale daje ujście swojemu rock'n'rollowemu romantyzmowi, a trzeba przyznać że miał wówczas całkiem niezły głos. W końcu uderza nas znowu kolejny, instrumentalny killer z obowiązkowym, gitarowym staccato – Take It Off. Ta fantastyczna kompozycja poprzedza zaś rhythm and bluesowy kawałek Night Owl, który Dale wyśpiewuje z prawdziwie czarnym feelingiem i klasyczny Fanny Mae.

Stronę A kończy zabójczy Misirlou Twist, alternatywna wersja jego największego przeboju, który oparty został na arabskiej, podwójnej skali harmonicznej i wykonywany jest tutaj w wirtuozerskim akompaniamencie skrzypiec (w wersji singlowej na trąbce gra sam Dale). Strona B zawiera pierwszy, kultowy przebój Dale'a, Let's Go Trippin', a także dwie inne, niezwykle wpływowe kompozycje instrumentalne: opartą na gitarowym rytmie Bo Diddleya, Surfing Drums oraz Shake'n'Stomp – dziką pokazówkę możliwości surfowego staccato, która jest jednym z najszybszych kawałków Dale'a.


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Cannibal Movie - Avorio (2011)


Incredibly promising debut release from Italian organ and drums duo, Cannibal Movie…Cannibal Movie deal in heavy hypno-psych pound, with plenty of ability to conjure suspense and swing no less. It’s as if Religious Knives went batshit crazy, ate their guitarist, and continued on as a band. The first track, “Teste Mozzate,” boldly introduces the core CM sound: Wah’d-out, effects-heavy organ and repetitive tom-heavy drum patterns with enough cymbal crashes to sound like a demented marching band parading through hell. But there is still quite a bit of variation spread out over the remaining four tracks on this cassette. The following “Fame” works through a more up-tempo percussive pound with sustained and overdriven organ drones, while “Mangiati Vivi!” breaks the spell of those prior hypnotic numbers with a swampy, unidentifiable southern hemisphere melodic swing that highlights that there is much more up this duo’s collective sleeve. On the flip side, “Django” works along similar lines as the opening track, but it develops with a more crazed energy, along with multiple shifts and layers of psychedelicized organ that would have left Mr. Reinhardt thoroughly confused. The tape closes with the slow burn of “Schiave Bianche” that has a nice come down effect after taking in the rest of Avorio. It’s some very tasty stuff. (soundofcobra)

Bandcamp

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Zoomonk & Zelig Concrete - On Time (2011)


If you liked "Milkdrops" released on myhand.thanx last year, you won't be deceived by "On Time" by Zoomonk, a rather surprising Finnish duet (which recently became a solo project by Petri Parkkali). 6 new tracks composed in collaboration with Zelig Concrete. For the record, Zelig Concrete is the singer / guitar player of Finland alternative band Mother Goose, who's been playing since 1989 (many albums have been released, for instance on Blast First, and the most recent is called "Anna Lumena" released on Verdura Records). This is such a promising collaboration! And right from the first track "Bunny & Turtle" we are taken to an untypical world, where Syd Barret and Nick Cave got lost in the middle of a field of amps spitting feedback and harmonics, in the middle of a rough and wild electronic ocean... An endless trip, chaotic and poetic, enraged and and uncompromised. "Rights of Youth" and "English Finglish" are two essential jewels, "hiding under water" has the shape of a spiral in which we dive immediately, "Mudslide on Bombay" is an addictive pop tune, and "On Time" is an almost mystical break in this coherent and perfectly written album. A must listen! (myhandthanxrecords)

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Red Noise - Sarcelles-Lochères (1970)


Red Noise were formed as a French anarchic outfit in late 1960s by Patrick Vian (guitar), a son of a French poet / writer / jazz musician Boris Vian. It's said they've played on stage defended in barricades in Université Sorbonne. They released one and only album "Sarcelles Locheres" in 1970 and soon were disbanded in the same year. Their indomitable spirit for rock music could be taken over by another French project named Komintern. (progarchives)


Red Noise's one and only album was originally released near the end of 1970 on the legendary Futura label. Red Noise was a radical, inventive avant rock band with some improvised jazz elements, as well as a heavy dose of Zappa-esque humor. The first side is a bunch of interconnected tracks, some of them much shorter than a minute, like the opening piece, "Cosmic Toilet Ditty," which consists of footsteps and a toilet flush. Quirky songs, often with scatological content, compete with free-for-all instrumental bits, often with raging saxophone blasts. There is even time for some wild guitar solos on "The Galactic Sewer-Song" and "20 Mirror Mozarts." The lengthy closing track, "Sarcelles C'Est l'Avenir," is a wild and noisy avant rock free jam with an energetic rhythm section, blasts of electric guitar and sax, flute bleats, and organ squalls. The piece has a freaked-out intensity that belies the silliness of the earlier tracks, and really ties the album together quite nicely. (allmusic)
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VA - Obscured By Krauts - Another One Way Ticket Into The Abyss Ov Thee Unexplored Teutonic Underground 1968 - 1974


From the same people who brought you Kraut! Demons! Kraut! and Hungry Krauts, Daddy! comes this third trip into some of the more obscure Krautrock bands. Except for Faust, whose piece is only a half-minute long anyway, most of these groups will be unfamiliar to even longtime Krautrock fans. The music is similar to the earlier compilations -- not as extremely far out as the best Krautrock, but certainly with enough creative flourishes and inventive touches to be more than just another garage compilation, except for only a few of the pieces, like the roots rock of Slut and the bluesy Black Sabbath posturing of the Jam (not to be confused with the British new wave mods of the same name). Far more fascinating are the several ethno-psychedelic instrumentals from groups like Blackmann Lane, the Dave Pike Set, and Inner Space. Inner Space, in fact, turns out to be a very early version of Can, one of the best and most well-known Krautrock groups, and their excellent piece is a bit of their soundtrack work dubbed off a 1968 sexploitation movie, Kama Sutra, with sound quality that's much better than their Prehistoric Future album. Many of the more straightforward songs have a certain charm in their raw garage pop, like the echo singing on "Midnight Graveyard" from Mother Sunday. Others, like the Michael Anton & Amok piece, take what is probably the one interestingly weird excerpt of sound collage from what is probably not a very interesting LP, Jesus Makes You High. There are no versions of "Dies Irae" this time around. Otherwise, Obscured by Krauts maintains the high quality of its two predecessors, with most of its material coming from extremely rare LPs and singles. (Rolf Semprebon)

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Blue Phantom - Distortions (1971)

Blue Phantom were a secret project by a bundle of session musicians, smartly plotted by a composer H. Tical aka Armando Sciascia, who was renowned as an Italian film composer, editor, producer in mid-60s, and simultaneously an owner of an Italian label Vedette Records. They released one and only album 'Distortions' in 1971 via Vedette Records, which was distributed not only in Italy but also in UK and France. Although 'Distortions' can be thought as a psychedelic progressive gem worldwide, it had never been re-released for a long while - an Italian independent label AMS reissued this album in 2008 finally. (progarchives)

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Zippo Zetterlink - In The Poor Sun (1971)

This was one of the first lost relics of Krautrock to be unearthed. Zippo Zetterlink was the band lead by an obscure character from the late-60's/early-70's Hamburg underground scene, one Wolfgang Orschakowski. At the time of course, no one would release such an album of demented psychedelic cosmic blues! So, in the late-70's Wolfgang released an album himself, documenting some of his remarkable lost music. With live recordings from the Blow Up club in Munich circa 1969, a festival in the Hamburg Melle Park in summer 1971, and some studio jams. Mostly, the side long title track in particular, it's stoned Ash Ra Tempel style jamming, though much more crude and demented. There are a couple of short blues songs too, one interesting, one less-so. It amounts to a unique vision into the Hamburg psychedelic underground, and an unknown Krautrock relic. (myweb.tiscali)

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Akira Ishikawa & Count Buffalos - Uganda (1972)


Uganda - Dawn of the African Rock to jeden z najbardziej enigmatycznych albumów w historii japońskiej psychodelii, obfitującej przecież w zjawiska niecodzienne, ulotne i kostropato piękne! Akira Ishikawa - perkusista i jeden z pierwszych japońskich hipisów zarejestrował tę płytę z grupą przyjaciół na przełomie 1971 i 1972 roku, czyniąc, w sposób wielce przewrotny, motywem przewodnim swych kompozycji tytułowe - "narodziny afrykańskiego rocka". Zgodnie z zapowiedzią płytę wypełniają więc na poły improwizowane kompozycje stanowiące porywający mix plemiennego bębnienia, monstrualnych, protodubowych partii elektrycznego basu, "afrykańskich" wokaliz oraz wysoce psychodelicznych eksplozji gitarowego hałasu zdominowanego przez nawarstwiające się efekty brzmieniowe. W istocie bowiem Uganda bardziej przypomina miejscami jakiś zapomniany klasyk afro-beatu niż perłę w koronie japońskiej psychodelii. Jednym z najważniejszych walorów tej płyty jest jednak niepowtarzalna atmosfera spontanicznego jamu ewokującego radość wspólnego muzykowania, co najbardziej chyba zbliża japońskich freaków do afrykańskich źródeł muzyki. Przypomniana po latach w nader ograniczonym nakładzie (zdaje się, że już wyprzedana) płyta ta przynosi raz jeszcze afirmację złotego wieku muzycznych ekscesów! (Dariusz Brzostek)



Akira Ishikawa had a mission. He wanted to find the eternal now of rhythm. After a mind-blowing trip to Africa in 1970, the Japanese percussionist had a goal — true Afro-delic Acid Rock. He hooked up with composer Muroaka Takeru and this album was born in 1971. Awash in minimalist percussion — at times sounding like a field recording of a commune or some street performers — the album devolves into primitive heavy acid rock and throbbing seriousness. Ishikawa's intense personal vision and mission is no record-collector curiosity. This beauty deserves our attention.

Long known to collectors of bizarre Japanese psychedelic/heavy rock (see Cope, Julian), Uganda became something of a mystery and a holy grail. The album screams, too. It stumbles into that same primal early rock, excuse me, RAWK place that bands like Leaf Hound, The Edgar Broughton Band, and Australia's Buffalo ended up. In fact, this record comes off like a recording of the jam sessions that led to the riffs and beats of the James Gang's "Funk #49" but without all that familiarity from FM radio. Famed guitarist Mizutani Kimio trades monster licks with rambling percussion, an impressive drum kit (Ishikawa) and lots of moaning and throb.

The opening cut "Wanyamana Mapambazuko" will attract the most attention. It's utter heaviness will recall the stomping feet of Flower Travelling Band's Satori or even the Groundhogs' monstrous Split. The layers of percussion unsettle and make the walls wiggle. They evoke the sound of long dead gods in old amplifiers and fingers rubbing on hide. (blogcritics)
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Yochk'o Seffer - Ima (1977)


Saksofonista tenorowy, klarnecista, pianista, kompozytor i ... rzeźbiarz Yochk’o Seffer urodził się w Miszkolcu na Węgrzech niecałe dwa miesiące przed wybuchem II wojny światowej. W 1956 roku, 17-letni wówczas klarnecista, na kilka dni przed wybuchem "Węgierskiego Października", nie mówiąc nic rodzicom, bez grosza przy duszy razem z kilkoma kolegami, muzykami ucieka za granicę. Kiedy po pół roku dociera do Paryża, jak wielu innych emigrantów nie tylko w tamtych czasach, sypia na ławce. Przyszłość bez znajomości języka francuskiego nie zapowiadała się różowo. Jedyne co Yochk’o umiał to grać. Syn klarnecisty Opery w Miszkolcu potajemnie eksperymentował na klarnecie ojca i również potajemnie mając 11 lat zapisał się do Szkoły Muzycznej im. Béli Bartóka. Bartók właśnie staje się dla niego wzorem i ulubionym kompozytorem na całe życie. Spotkanie z nauczycielem paryskiego konserwatorium sprawia, że jako azylant polityczny otrzymuje stypendium i może poświęcić się nauce muzyki, lekcje harmonii i analizy muzycznej pobierając u samej Nadii Boulanger.

Nie bez znaczenia dla zainteresowań Seffera jest fakt, że w konserwatorium w tym samym czasie studiują saksofonista Michel Portal i skrzypek Jean-Luc Ponty. Być może pod ich wpływem Seffer odkrywa Monka, Coltrane’a i Ornette'a Colemana W szkole poznaje dodekafonistów wiedeńskich: Schönberga, Berga i Weberna. Kiedy pod koniec lat 60. już jako Francuz, pochodzenia węgierskiego spotka perkusistę, Francuza pochodzenia cygańsko-polskiego, nazwiskiem Christian Vander, zafascynowanego współczesną muzyką poważną, Strawińskim, Bartokiem, Stockhausenem, ale też O. Colemanem, Coltranem i Sun Ra, wiadomo już, że wstąpienie do legendarnego zespołu rockowego "Magma", którego Vander był liderem i założycielem, jest tylko kwestią czasu. Tu mała dygresja. Zastanawiające jest, że każdy kto zetknął się kiedykolwiek z muzyką rockową bez zająknięcia wymieni całą paletę grup angielskojęzycznych, natomiast działalność niesamowitych wręcz zespołów frankofońskich nie jest prawie w ogóle znana. Jak mało wiemy o działalności i muzyce "Magmy", (jazzfan wie zazwyczaj tylko tyle, że współpracował z nią też skrzypek Didier Lockwood), albo zespołów Eskaton, Art Zoyd, czy belgijskiego Univers Zero, A muzyka? Można by ją nazwać "free chamber rock". Stanowi swoisty konglomerat muzyki współczesnej, rockowej i free jazzu tak inny od typowego, opartego na riffach rocka, jak inny jest też ich skład instrumentalny. Obok typowego zestawu: klawisze, gitara, a czasem dwie, bas, perkusja mamy tu jeszcze: fagot, obój, skrzypce, wiolonczela, fisharmonia, fortepian - "Univers Zero", albo: fortepian, skrzypce, wiolonczela, saksofon, trąbka - "Art Zoyd".

Wejście w środowisko awangardy rocka musiało w końcu doprowadzić do założenia przez Seffera wraz z klawiszowcem "Magmy" François "Faton" Cahenem własnego zespołu "Zao". Na płycie "Zao" "Shekina" z lat 70. Seffer udanie eksperymentuje z sekcją smyczków. O ile ta oscylująca wokół fusion grupa grała muzykę z lekkim wpływem muzyki współczesnej i tradycyjnej muzyki węgierskiej, o tyle o kierunku dalszych poszukiwań Yochk’o Seffera niech świadczy skład na dwóch jego autorskich nagraniach. I tak na "Prototype" Sefferowi grającemu na saksofonach (bas, tenor, alt, sopranino) i klarnecie basowym obok Arno Semyon na cymbałach i córki Debory, dołączającej do grona francuskich skrzypków jazzowych, towarzyszą muzycy poszukujący, kontrabasista Barre Phillips i perkusista Barry Altschul. Prawdziwa niespodzianka to jednak "Ornette For Ever" z 1995 r. na której w trzech utworach zagrał właśnie sam Ornette Coleman.

Przynależność do muzycznych trzech światów dobrze oddaje komentarz recenzenta "The Washingtont Post" po koncertach tria Seffera w USA we wrześniu 1978 r., na których Yochk’o grał na fortepianie kompozycje inspirowane europejską klasyką, a na tenorze kompozycje na saksofon solo poświęcone J. Coltranowi "Muzyka Yochk’o Seffera nie poddaje się klasyfikacji (...) Jakby Max Roach spotkał Bélę Bartóka po drodze odwiedzając Cream (...) Yochk’o Seffer udowadnia, że siła muzyki jest w dźwiękach, nie etykietach i klasyka, rock i jazz niekoniecznie muszą być czymś przeciwstawnym". (Krzysztof Gregorczyk)


Yochk'o Seffer is a Hungarian born musician who is among the finest winds player (mainly alto saxophone) in the history of progressive music. After spending much of the 1960s in Paris playing with a host of jazz musicians in a variety of clubs, he was recruited by Christian Vander in the early days of Magma and can be found on the album "1001 Degres Centigrade", as well as the two Univeria Zekt recordings. He soon left that band and with ex-Magma keyboardist Francois Cahen founded the band Zao, with whom he appeared on most of the band's recordings. During this time he also had stints with a improvisational jazz group named Perception and a jazz-rock group named Speed Limit. After recording Zao's fourth album, Seffer departed the band to embark on a number of solo efforts, but always associated with a group name. His first and perhaps most important such endeavour was Neffesh Music, which saw the recording of three LPs in the late 1970s - "Delire", "Ima", and "Ghilgoul". Their style is distinctly zeuhl but reflects Seffer's vision of his musical roots and the musicianship is nothing less than first rate. In the early 1980s Seffer embarked on another trio of albums with the title "Chromophonie", and his latest effort "YOG" commenced in 1996 with the release of the album "Pitchipoy". Yochk'o Seffer has collaborated with a panoply of wonderful musicians over his decades-long musical career and produced some of the finest zeuhl and jazz oriented music one will find on this site. (progarchives)
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The Ex - Mudbird Shivers (1995)


The Ex – holenderski zespół rockowy propagujący w swej twórczości idee anarchizmu. Założony pod koniec lat 70. XX w. na fali popularności punk rocka, od tego czasu nagrał prawie 20 albumów, stając się jednym z najdłużej działających i najbardziej znaczących zespołów punkowych w historii. Muzyka grupy na przestrzeni lat ulegała daleko idącej ewolucji – od prostego anarchopunka, prezentowanego na pierwszej płycie All Corpses Smell the Same, do eksperymentalnych brzmień punk/post punk/no wave w czasach współczesnych.

Zespół znany ze współpracy z wieloma artystami, m.in. z awangardowym wiolonczelistą Tomem Corą (rezultatem współpracy są dwie płyty Scrabbling At the Lock z 1991 i And the Weathermen Shrug Their Shoulders z 1993), brytyjską grupą Chumbawamba (płyta Destroy Fascism! z 1986, nagrana pod wspólną nazwą Antidote), czy z etiopskim saksofonistą Gétatchèwem Mèkuryą (m.in. album Moa Anbessa z 2006). (wikipedia)


This astonishing post-punk group from Amsterdam formed in 1979, and produced a baffling amount of material on 7", LP, and CD throughout the '80s and '90s. Mudbird Shivers is a fantastic introduction to their varied material, which is high-energy post-punk in a similar vein to Fugazi, Crass, and Shellac. Incidentally, they have toured with the former and have had material produced by Steve Albini. Fitting that this abrasive and pragmatic producer should be hired to capture their energy which is often best witnessed on stage, where spontaneity is at its optimum. That isn't to say that that energy isn't here. To describe their approach, the Ex is a quintet of guitars percussion and vocals -- stylistic references would be Captain Beefheart for all the angular abrasive guitar work and syncopated rhythm, early P.I.L. in that they share the influence of African and Jamaican musics -- but the most striking reference is European traditional and folk, given a post-punk electric shock on this engaging album. Highly political in their lyrical content, the range here covers angular bass and drum rhythms while guitars skate about colliding in squalls of noise like Sonic Youth that surpass the hardest post-punk rockers such as Jesus Lizard or June of 44 in energy. At other moments, folk songs 1are given simple guitar and vocal arrangements that provide relief from the barrage of propulsive noise workouts. These folk songs, such as "The Carpenter," recall British folk revivalists Kevin Coyne and Burt Jansch in some ways, and they may sound unusual when considering that the rest of the album is made up of avant-rock chaos and political diatribe that is far from subdued. Like the Sonic Youth of "Evol," their ambition is to cover a wide range of moods on this album, and similarly allow their syncopated songs to collapse into improvisational string-noise storms -- moments that come as blissful relief from the pummeling syncopation of "Rhet Roper," the lyrics directed at a reporter. Of the Ex collection, this is one of the more accessible recordings; while it is a classic sprawling double set similar to the Crass concept albums, it explores more experimental aspects of the group in different settings. While "The Ex and Guests" is another double set that has the group working with free improvisers in ad hoc settings, here they reach the peak of their aesthetic as they did on the much-loved Scrabbling at the Lock where the late cellist Tom Cora gives their barrage a melodic edge with his folk-inflected cello. Mudbird Shivers is as essential as that album for fans of skewered abrasive post-punk, and it is in keeping with the aesthetic of the Touch and Go label with whom they signed in the '90s. (Dean McFarlane)
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