DROSSELBART is a Krautrock band from Germany featuring the talents of Peter Randt on guitar, Jemina on vocals, Christian Trachsel on keyboards, Dietmar Mainka on guitar, Werner Schuler on bass, and Martin Honemeyer on drums. The band have released one self titled studio album in 1970, and 2 singles lifted from the LP "Jemima / Du Bist Der Eine Weg" 1970, and "An Einem Tag Im August / O'Driscoll" 1971. The music is keyboard driven with the melodic vocals of Jemima, along with psychedelic textures and church organ passages. The band utilize a Hammond organ sound at times, swathes of ethereal synthesizers and then launch into heavy rock guitar in the vein of DEEP PURPLE or URIAH HEEP. There is a beauty in the sound infused with heavier aggressive riffs. The German vocals are expressive, often crying out, similar to the German vocals of DR. WOLFFF or EULENSPYGEL. Line-up / Musicians Peter Randt/vocals,guitar Jemina/vocals Christian Trachsel/keyboards Dietmar Mainka/guitar Werner Schuler/bass Martin Honemeyer/drums Discography(Album) Drosselbart 1970
1.Inferno/Drosselbart 2.Jemima 3.Liebe ist nur ein Wort 4.Du bist der eine Weg 5.Engel des Todes 6.Böse Buben 7.Vater unser 8.Folg mir 9.Montag 10.Nach einer langen Nacht 11.Der Sommer
Crafting a musical skeleton that has as much in common with British folk as it does with West Coast jam bands, DARK wouldn't be unlike a lot of other psychedelic bands in the late sixties/early seventies. What made them different was one thing: a solid understanding of fuzzy guitar. Rather than merely using the fuzzbox to show off, DARK incorporated it into the build of their songs, laying it across moody, heavy tracks that approached sprawling.It all began in 1968, when guitarist Steve Giles grabbed other guitarist Martin Weaver, drummer Clive Thorneycroft and bassist Ronald Johnson, and formed Dark at a school in Northhampton. Local touring followed for several years, until, in 1972, the band only produced their first album, the not-quite-as-scary-as-you'd-think "Round the Edges" (occasionally featuring Colin Bush on bass. Go figure). Only about sixty copies were issued, and original albums remain a collector's item to this day, and has been hailed as the UK's most expensive album. Soon after the album was released, the band broke up, and its members were scattered to the four winds (aka other bands and failed solo projects). An effort was made at a revival in the early Nineties, which resulted in more local live shows; however, no new album was produced. Despite a couple of records of outtakes, the only true album by this intelligent jam band remains "Round the Edges". Line-up / Musicians Colin Bush/bass Steve Giles/guitar,vocals Clive Thorneycroft/drums Ronald Johnson/bass Martin Weaver/guitar Martin Moloney/organ,vocals Discography(Album) Round the Edges 1971
1.Darkside 2.Maypole 3.Live For Today 4.R.C.8 5.Cat 6.Zero Time
The group was formed in 1972 by keyboardist Temistocle Reduzzi,Aronne Cereda on guitars, Alex Chiesa on flute, Rino Limonta on bass and Walter "Tati" Locatelli on drums, they released a very good debut album with "Riflessioni: idea d'infinito". With a great use of flute and good guitar riffs, the album has some very good moments, like Idea d'infinito with some JETHRO TULL influences. The album has a very short running time of around 30 minutes but it moved the band to a moderate success. They even won the first prize in a swiss Pop Festival in Zurich.Affinity to early UK prog is noticeable in the blues-influenced guitar riffs and leads, typically breathy and percussive flute lines, occasional stabs at (then) avant-garde electronic episodes based on Moog and a Mellotron.After a single in 1974, "La donna e il bambino", the band had a line-up change with Reduzzi and flutist Alex Chiesa leaving to be replaced by keyboardist Giancarlo Brambilla and singer Massimo Moretti, but the second album "Argitari" (a title formed with the initials of the musicians' names) is considered by many on a lower level than their debut and is mainly built on acoustic guitar. Line-up / Musicians Temistocle Reduzzi/piano,organ,mellotron,vocals Aronne Cereda/guitars,vocals Rino Lamonta/bass,vocals Walter "Tati" Locatelli/drums,vocals Alex Chiesa/flute,vocals Discography(Album) Riflessioni: Idea D'Infinito 1973
1.Idea D'Infinito 2.Stagione Che Muore 3.Cara Emily 4.Riflessioni 5.Un Bambino, Un Uomo, Un Vecchio 6.Dimensione Lavoro
Despite a productive career, Deodato will always be best-known for a 1972 hit record, his catchy adaptation of "Also Sprach Zarathurstra (Theme From 2001: A Space Odyssey)." He began his career playing in a popular local rock group as a teenager. At 17, he was asked to arrange for a recording session orchestra and, despite never having written a score before, the teenager succeeded at quickly learning what was necessary. Although Deodato spent time studying engineering, he eventually decided to make a career in music due to the popularity of his writing. After working in Brazil's studios, he moved to the United States in 1967. Deodato wrote for the American studios and was involved in the still fertile bossa nova movement. He wrote arrangements for Astrud Gilberto, contributed three charts to Wes Montgomery's Down Here on the Ground, and was soon working for major names in several fields including Aretha Franklin, Bette Midler, Frank Sinatra, Earth, Wind & Fire, Stanley Turrentine, and Antonio Carlos Jobim, among others. With the release of Prelude in 1973 (his first solo album and the one that included the "Theme From 2001"), Deodato became a major name for a time. He recorded sets for CTI, MCA, and Warner Bros. through 1979, although the efforts tended to be over-arranged and none caught on as well as Prelude. Since that time, Deodato was mostly outside of jazz, working as a producer and arranger behind the scenes, including for Kool & the Gang during 1979-1983. Line-up / Musicians Airto/Percussion Wayne Andre/Trombone Seymour Barab/Cello Ray Barretto/Conductor,Congas,Percussion Jay Berliner/Guitar Phil Bodner/Flute Al Brown/Viola Garnett Brown/Trombone Bill Buffington/Horn James Buffington/Horn Jim Buffington/Horn Ron Carter/Bass Stanley Clarke/Bass,Guitars Billy Cobham/Drums Deodato/Keyboards,Performer,Piano Max Ellen/Violin Paul Faulise/Horn,Trombone John Frosk/Horn,Trumpet Paul Gershman/Violin Peter Gordon/Horn Emanuel Green/Violin Hubert Laws/Flute Harry Lookofsky/Violin George Marge/Flute Irvin "Marky" Markowitz/Trumpet Marky Markowitz/Trumpet Charles McCracken/Cello Airto Moreira/Percussion David Nadien/Violin Gene Orloff/Violin Romeo Penque/Flute Elliot Rosoff/Violin Harvey Shapiro/Cello Joe Shepley/Trumpet Joseph J. Shepley/Trumpet Marvin Stamm/Trumpet George Stokey/Trombone George Strakey/Trombone John Tropea/Guitar Emanuel Vardi/Viola Bill Watrous/Trombone Sprach Zarathustra/Guitar Discography(Album)
Prelude 1972
1.Also Sprach Zarathustra (2001) 2.Spirit of Summer 3.Carly & Carole 4.Baubles, Bangles and Beads 5.Prelude to Afternoon of a Faun 6.September 13
DEAF, an obscure and short-lived Swiss rock outfit, were formed as the reincarnation of The Shiver by Dany Rühle (guitars, voices) and Jelly Pastorini (keyboards, organ) in the late 1969. They recorded some sessions but sadly could not release any creation whilst active. In 1994, a Swiss label Black Rills released a compilation based on 'Alpha', one of their few studio recording suites, with some live sessions from 1969 to 1972. Side one, recorded live between 1970 and 1972, offers some of the wickedest, most chaotic Krautrock moments ever, aside from the one rather conventional (and, by comparison to the rest of the music, rather blasé) blues-based rock number. "No Time" is built out of hypnotic, tribal Can-like beats and free jazz freakouts, while the highly melodic prog keyboards keep the song moving forward. The vocals on "The Galactic Pack of Fönds Kari" are virtually indecipherable (not unlike Damo Suzuki's with Can), but the song speaks volumes on its own, with jump cuts between pop melodic moments and a section stripped to minimalistic Middle Eastern flair. The mammoth title track that takes up the whole second side of the LP (appropriately labeled "The Psychedelic Journey") is where the band turns especially ambitious. At an astounding 22 and a half minutes, the track does its inspiration -- Ravel's Bolero -- proud. It is psychedelic in the true sense of the word, conjuring up an imminently strange wind. The jam sets and maintains an acid-inoculated tone that meanders through demonic medieval chants, exotic Arabic rhythms, strains of organ exorcised from a dark Christian fugue, harnessed feedback, Renaissance orchestration, some progressive Brit-folk strumming, spacy sound effects, and accelerated circus music. Although it does occasionally drift out of focus and is virtually without melody or motif, the song is surprisingly deliberate. By creating a wealth of space, it even provides a sort of disorienting, long-form narrative that a lot of music passing for psychedelia never manages. Since Alpha was only pressed in a limited run the first time around, even most devotees of Krautrock have probably never heard this music. Line-up / Musicians Dany Rühle/guitar,vocals Jelly Pastorini/keyboards,organ Bert Buchmann/bass Jack Conrad/flute,vocals Güge Jürg Meier/drums Benjamin Jager/vocals Mark Storace/vocals Discography(Album) Alpha 1994
1.No Time 2.Run You Off The Hill 3.The Galactic Pack Of Kari 4.Alpha
Born in Quimper, France on January 15, 1949, guitarist Dan Ar Braz is one of Brittany's most influential and internationally successful recording artists. While his musical lineage is decidedly celtic, during his long career he has fused the tradition with a variety of contemporary styles and even diverged into other territories such as jazz and acoustic folk, while retaining an unerring melodic gift and sense of place. At the age of 18 he encountered the legendary Breton harpist ALAN STIVELL who provided him with a solid grounding in modern vs ancient music but also with a career boost, and Ar Braz eventually played guitar on no less than 7 Stivell albums in the 70s, including many of his most venerable recordings such as "Renaissance de la Harpe Celtique" and "Concert a L'Olympia". In 1976 he briefly joined FAIRPORT CONVENTION although he did not record with them. In 1977 he embarked on his solo career already a seasoned veteran, and produced a stunning instrumental progressive folk epic "Douar Nevez" to kickstart this new phase.The 80s were a darker period for the folk rock revival, but Ar Braz kept busy and self-produced a number of quality efforts showcasing his prowess with all manner of guitar including "Acoustic" and "Septembre Bleu". In the 90s he assembled a cast of hundreds for a serious of smash successes under the banner of "Heritage Des Celtes" which occupied the man and many a bean counter for most of that decade. He has since returned to more intimate solo work, and he continues to record regularly and make live appearances including at FAIRPORT's Cropredy Festival. Line-up / Musicians Dan Ar Braz/guitars Patrig Molard/Flutes,Uillean Pipes,Biniou Braz Benoit Widemann/pianos,Synthethizers,organ Dave Pegg/Bass Michel Santangeli/Drums Marc Chantereau/Percussion Discography(Album) Douar Nevez 1977
1.Intro 2.Retour de Guerre 3.Naissance de Dahud 4.Mort et Immersion de Malguen/Fin du Voyage 5.Naissance de La Ville 6.Morvac'h (Cheval de Mer) 7.Orgies Nocturnes 8.L' Ennui du Roi 9.Les Forces du Mal 10.L' Appel du Sage 11.Submersion de La Ville 12.Douar Nevez (terre Nouvelle)
Dashiell Hedayatt is a weird cult figure from France that was more known as a poet and a general counter culture activist. His first album released under the MELMOTH pseudo was called "La Devanture Des Ivresses" and was long recitals of texts accompanied with music. He actually won a prize for that album and received critical acclaim. A second album was produced under his real name and he called it "Obsolete". This album over the years became a real cult object because of the general freakiness, the presence of the almost complete GONG (many GonGheads consider this album the best they did), and the participation of beat poet and general activist of the counter culture Willam Burroughs going along reciting on of his text. Gong will then return to their career (taking a huge step up as they will do the famous RGI Trilogy and the Camembert thing) and Dashiell Hedayatt will sink into oblivion. Line-up / Musicians Dashiell Hedayat/vocal,guitar,keyboards Daevid Allen/guitar Didier Malherbe/saxophone,flute Christian Tritsch/bass,guitar Pip Pyle/drums,guitar Gilli Smythe/vocal Discography(Album) Obsolete 1971
1.Eh, Mushroom, Will You Mush My Room? a.Chrysler b.Fille de L'Ombre c.Long Song for Zelda 2.Cielo Drive
Damenbart belong to krautrock long lost gems. This German trio consists of Erwin Bauer on synthesizer, organ and guitar; Bernd Barth on synthesizer, effects and vocals; and Tina S on lead vocals. Originally written in 1971 but published in 1989 on DOM Elchklang. Their album Impressionen 71 features highly inspired lysergic, hyper-active noisy kraut-jams with a few transcendental psych-drone experimentations, reminiscent of Xhol, Ashra Tempel, Amon Duul II, Anima. Extremely trippy and druggy. Line-up / Musicians Erwin Bauer/Keyboards,Organ,Guitar Bernd Barth/Keyboards,Vocals Tina S/Vocals Discography(Album) Impressionen'71 1971
1.Innovative 2.Blummen In Haar 3.Bewusstseinserweiterung 4.Marihuanabrothers 5.Ich Bin Der Wind 6.Space Invocation 7.Being Uns Den Frieden 8.Baum Der Erkenntnis
Released in 1970, Afreaka! is a wild mash of Afro-Latin funk, breakbeats, tripped-out soul, jazz fusion, and psychedelic journeying. These seven black musicians took on everything that was happening, and were musicians enough to make it work for them. Most tracks run in the eight- and nine-minute range and get down with tough drums at the core, with rhythmic shifts happening on a grooved dime. Killer horns, Hammond B-3s, electric guitars, and deep tough slinky funky bass all wind together to create a mix so utterly intoxicating and fluid that it's difficult to take in one listen -- check out the Eastern mode sax solo on "Another Country" or the stomp-and-slide greasiness of "Past Present and Future." There's also a fine extended voodoolicious psych-soul cover of Ray Harris' R&B classic "Mercy" (subtitled "Variation No. 1"). This is the real deal -- solid, freaky-deaky, and groove-centric. Line-up / Musicians Sleepy Jack Joseph/Bass Ayinde Folarin/Congas Paddy Corea/Congas,Flute,Saxophone Steven John/Drums W. Raphael Joseph/Guitar Ray Rhoden/Organ,Piano Clarance Brooms Crosdale/Trombone Smokey Adams/Vocals Discography(Album) Afreaka! 1970
1.Past Present And Future 2.Disillusioned Man 3.Another Country 4.Hymn To Mother Earth 5.Mercy (Variation No. 1)
Oxford band DIABOLUS is an early predecessor for symphonic rock to come in the middle 70's. Members: John Hadfield (lead guitar, vocals), Anthony Hadfield (bass, vocals), Philip Howard (flute, tenor sax, organ, piano, vocals), Ellwood von Seibold (drums, percussion) and Peter Cornel (role unknown). Band was considered not commercial. Disbandment and reunions keep the band playing under the name SUNFLY. Their only LP, "High Tones", was recorded in 1971, in London, produced by Hugh Murphy and Shel Talmy (THE WHO); but never released because of 'commercial' reasons. An unauthorized edition was released in Germany by Bellaphon. When the members found out about this, in the mid 1990's, they legally fought back property and re-released the album with Sunrise Records, Europe). Music runs from folk tunes to excessive instrumentation, including flute, sax and chorus sang by three of the members of the band, passing through jazz-fusion and complex time composing. GENTLE GIANT's choruses run similarly to DIABOLUS'; flute sound takes them close to JETHRO TULL. Sax prefigures later PINK FLOYD sound, but while in PF sax is "invited" in DIABOLUS it comes as part of the whole. Some of the tunes approach electric jazz through the use of broken times and an open drumming, with moments of total free improvisation. Line-up / Musicians John Hadfield/guitar,vocals Anthony Hadfied/bass,vocals Philip Howard/flute,keyboards,saxophone,organ,piano Ellwood Von Seibold/drums Discography High Tones 1972
1.Lonely Days 2.Night Clouded Moon 3.1002 Nights 4.3 Pieces Suite 5.Lady Of The Moon 6.Laura Sleeping 7.Spontenuity 8.Raven's Call
Daniel Vega singer and song writer. Probably his only work is La Noche Que Precede A La Batalla which was released in 1976. At that time there were a number of outstanding progressive masterpieces produced by the Spanish label 'Movie Play' between 1975 to 1978. and this recording is in fact one of them. Daniel Vega is hard to classify to a typical genre. Sometimes progressive music happens to create such situation. His music is not easily classified to symphonic rock and in comparison with Yes or The Enid, Daniel Vega would be too far from typical symphonic rock. However it is also different from RIO which we usually consider by using comparisons with Henry Cow or Etron Fou Leloubran. In this case then, Vega's music is not RIO at all. Vega's creative arrangements in play are strongly progressive. This spirit interprets to RIO and in addition, he uses some Spanish music elements. But in comparison with Triana, his music is far from Spanish flamenco rock. Of course, La Noche Que Precede A La Batalla is entirely different from jazz rock or fusion. Line-up / Musicians Daniel Vega/vocals,guitar Luis Mendo/guitar Juan Carlos Medrano/guitar Miguel Sanz "Judas'/piano Pedro Pérez/flute,saxophone Manuel Aguilar/bass Rafael Pérez/drums,percussion Discography La noche que precede a la batalla 1976
1.La noche que precede a la batalla 2.Jinete 3.Alma gemela 4.Hacia la eternidad 5.Compañeros 6.Tierra minera 7.Esperando al sol 8.Cantábrico 9.Madre Asturias 10.Ciudad luminosa 11.El sol cruza todas las fronteras
DULCIMER were a longstanding collective consisting of three musicians, all multi-instrumentalists: Dave Eaves, Pete Hodges and Jem North. The trio debuted with 1971’s oddly titled “And I Turned As I Had As a Boy” produced by Page and released on Nepentha (Mercury acquiring American distribution rights). Best described as acoustic folk-rock, it attracted favourable reviews for its intriguing blend of English folk (including several references to the group’s local Cotswolds environment) and varied instrumentation. Melody Maker magazine, in particular, was effusive, comparing the duo favourably with Simon And Garfunkel. The album additionally featured Richard Todd reading poetry on two of the tracks. It sold well in the USA, Europe and Japan. The band recorded twice more in the early seventies before fading into obscurity, but neither 'Room for Thought' or 'A Land Fit for Heroes' (with rural English author Fred Archer) would find their way into official release until years later. DULCIMER had a resurgence of sorts in the nineties thanks to the small President Records label, who released a trio of the band's albums as well as the shelved 'Room for Thought' project on CD ('A Land Fit for Heroes' had been issued thanks to the band's own financing in 1980).Their music has been described as folk-rock and is mostly acoustic, but the band's penchant for odd themes, creative arrangements and occasional progressive forays merits them inclusion here in the Archives. DULCIMER will appeal to fans of understated, acoustic-driven music with classic folk instrumentation such as mandolins, acoustic guitars, flutes and of course dulcimers. Line-up / Musicians Dave Eaves/guitars,woodwinds,vocals Pete Hodge/guitars,mandolin,dulcimer,vocals Jem North/bass,percussion Discography And I Turned As I Had Turned As A Boy 1970
1.Sonnett to the Fall 2.Pilgrim from the City 3.Morman's Casket 4.Ghost of the Wandering Minstrel Boy 5.Glochester City 6.Starlight 7.Caravan 8.Lisa's Song 9.Time Is My Life 10.Fruit of the Musical Tree 11.While It Lasted 12.Suzanne
Dreams band was founded in late sixties as trio, but soon added brass section and became the brass-rock band in a manner of Chicago or Blood Sweat and Tears. Even if they didn't receive big popularity in their time, they became a great starting place for some well known fusion musicians as Billy Cobham, John Abercrombie, Brecker brothers, etc. Differently from other brass-rock bands of the time, their music was more improv based in New Orleans tradition. The band released just two studio albums and was disbanded, but many members became great musicians in future. Line-up / Musicians Michael Brecker/Sax,Flute Randy Brecker/Trumpet,Flugelhorn Billy Cobham/Drums,Percussion Jeff Kent/Keyboards,Guitar,Vocals Doug Lubahn/Bass,vocals Barry Rogers/Trombone,Wagner Tuba Edward Vernon/Vocals John Abercrombie/Guitar Discography(Album) Dreams 1970
1.Devil Lady 2.15 Miles to Provo 3.Maryanne 4.Holli Be Home 5.Try Me 6.Dream Suite: Asset Stop/Jane/Crunchy Granola 7.New York
A true rarity on an unusual label for the Italian prog (Mercury), and for sure one of the longest LP names ever conceived, Io non so da dove vengo e non so dove mai andrò, uomo è il nome che mi han dato is generally considered as one of the top albums in this style. A perfect record, very well played and sung by this band based in Milan. They began their career in 1969, the odd name coming from a popular Playboy model of the early 60's, and only released three singles in their five years career, the first two closer to the Italian beat of the time, while the third had a good rockier B-side in Torneremo ancora. though still far from their LP sound. The group was a sextet in the picture on the cover of the 1969 single, reduced to a five-piece in the second, a year later. The album came in 1973, the vocal parts are short but very well made by singer Paradiso, leaving plenty of room to acoustic atmospheres and the sudden assaults of guitarist Vitolli and flute/sax/keyboards player Trama, and the seven tracks on the album are all highly regarding, with a mention for Smarrimento with a sweet flute introduction, a furious guitar/flute interplay followed by the acoustic guitar based vocal parts that leads to a powerful guitar-driven end.After the album release De De Lind played at 1973 Rassegna di Musica Popolare held in Rome, and at Be-In festival in Naples, with new drummer Fabio Rizzato.Singer Vito Paradiso had a short solo career in 1978-80, while the rest of the band has totally disappeared.Before forming De De Lind drummer Rebajoli had played with New Dada and I Nuovi Angeli, with which he returned after leaving this group. Line-up / Musicians Vito Paradiso/vocals,guitar Gilberto Trama/flute,saxophone,keyboards Matteo Vitolli/guitar,percussion,piano,flute Eddy Lorigiola/bass Ricky Rebajoli/drums,percussion Discography Io non so da dove vengo e non so dove mai andrò. Uomo è il nome che mi han dato 1973
1.Fuga E Morte 2.Indietro Nel Tempo 3.Paura Del Niente 4.Smarrimento 5.Cimitero Di Guerra 6.Voglia Di Rivivere 7.E Poi
The Düde Dürst album is a solo project by the Krokodil drummer. The album contains two long tracks. The album features typical German rock fusion of the era (Ibliss, Kollektiv, Os Mundi, Niagara, Out of Focus, etc.), but unsurprisingly turns out to be very percussion oriented. Some of the percussion-dominated sections (especially on the first track) get rather tedious as they are much too repetitive and not that original. The second track has a lot of percussive "action" as well, but it is mostly embedded in the harmonic and melodic presence of other instruments which works much better. The album has a few good moments, but unfortunately there are too much dull stretches. Line-up / Musicians Brew Bruckner/guitar Düde Dürst/drums,percussion Jonas Häfeli/flute,sax Terry Stevens/bass,piano,percussion Discography(Album) Krokodil Solo 1971
This unknown german artist released this first album in 1971. Deuter is classified as "new age" cause that's what most of his records are. But his two first albums -D and AUM- have nothing to do with insipid relaxation music.This is psychedelic experimental prog entirely done by the master himself, showing there its great skills as a musician, composer and producer.The first long piece "Babylon" is crossed by psychedelic guitar, while bass offers a hypnotic and slow rhythmic pattern. Electronic effects and sound illustrations (baby's cry, distorted bell's ring) show the heavy LSD influence. Not surprisingly, the mood is very cerebral and requires to be in a similar state of consciousness than Deuter when composing it, or at least to be very open-minded, in order to fully enjoy it.The others short pieces use water sound as a rhythmic element and much sitar, also rolling percussion showing there the world, natural side of his music. The last one "Gammastrahlen-Lamm" features cyclical repetitive synthe. Widely known as the first new age composer, Georg Deuter started out as one of the most inventive musician, mixing eastern folk music with electronic sound collage and his first two albums are widely regarded as the equivalent of Tangerine Dream or Klaus Schulze's best works. This stunning debut is the work comes after many trip to Persia and further, to study the music and the philosophies. Those of you aware of Deuter's later New Age works (from 76 onwards), please be aware his first two albums are NOTHING AT ALL like that. And what stunning works they are even if it has not aged all that well. Most of his discography will be released on the legendary Munich-based Kuckuck label, and his records are probably the main reason for this label's long life.The first side of the album is dominated by an almost 15-min Babylon soundscape that will have you completely charmed as it alternates between Indian classical music and some of the best synth sounds that TD or early Popol Vuh could've dreamed of. The stylus lifts off the wax after the second track, on a repetitive fuzzed out guitar sounds. The other cornerstone from D is the funny but aptly-titled Krishna Eating F&C. Before turning to something more peaceful, soft and accessible with terribly boring "new age" efforts, Deuter made a name in the krautrock scene with the absolutely marvellous "D", essentially made of extended "tribal", "droning" and noisy improvisations. All tracks provide an ecstatic, glorious and sacred dimension that allows a comparison with the pioneering "Inside of the dream syndicate" and some archetypal psychedelic stuffs from Germany (Cluster at their beginning and Amon Duul at their most experimental moments). "Babylon" is an amazing, freaky composition with bizarre, strange, concrete "manipulated" sounds and fuzzy spacey guitar parts. "Der Turm/Fluchtpunkt" develops a ritual stoned theme always bringing to the fore some fuzzy guitars, tribal percussions and chaotic noises. With its large, cyclical organ sound and its patterns for sitar "Krishna Eating Fish and Chips" is a small interlude dedicated to spiritual music. The last track, "Atlantis" is the pick of Deuter's musical creativity: an intense, abstract dreamscape mixed with tribal, ritual percussions. "Gammastrahlen-Lamm" is a ferocious, dense level of transcendent sounds obtained by organic collages & loops; something nostalgic with ultra psychedelic effects. A progressive rock masterpiece and one the best effort produced during Krautrock's golden years. Line-up / Musicians Georg Deuter(Deuter)/Guitar,Bass,Keyboards,Electronics,Sitar,Percussion Discography(Album) D 1971
1.Babylon: Andantino/Allegro 138 A/Andante/Allegro 138 B 2.Der Turm/Fluchtpunkt 3.Krishna Eating Fish and Chips 4.Atlantis 5.Gammastrahlen-Lamm 6.Krishna Eating Fish and Chips 7.Atlantis 8.Gammastrahlen-Lamm
