Agitation Free ~ Germany

Last (1971-1974 / 1976)

While I was originally disappointed with 2nd, I found Last more to my liking, at least originally. Stylistically it ties closer to Malesch due to the experimentation though minus the ethnic influences, sadly enough.

Though not released until 1976, Last is in reality an archival release, more similar to the type of albums that we are seeing coming to light for the first time today. The first two tracks are from a live concert circa March, 1973, while 'Looping IV' is a studio recording from Feb, 1974. The bonus track 'Schwingspule' is a live recording from December of 1971.

'Soundpool' is yet another version of 'Rücksturz' from Malesch, this time hidden behind a raft full of electronics. As if to prove that Agitation Free's two best melodies were 'Rücksturz' and 'Laila' (from 2nd), both make their appearance here and 'Laila II' has the most extended version of the classic piece. And it's brilliant with plenty of references to Malesch blended into the psychedelic jamming. At 17 minutes, there's a little bit of aimless experimentation to endure, but overall still a great variation of the classic tune. 'Looping IV' is yet another new chapter in the Agitation Free book. Just as 2nd finished with two distinct tracks of innovation, thus so does the 1974 version of the band. For those who would like to hear another possible variation on the 1971 Tangerine Dream Alpha Centauri sound, then 'Looping IV' is for you. This track goes way out there, with plenty of echoed organ, bass, drums, electronics, voices, guitars - all, naturally enough, looped over and over for a mesmerizing psychedelic experience. One can only hope there is far more Agitation Free sitting in the vaults (not counting the already excellent At the Cliffs of River Rhine and Fragments archival albums). An Ohr or Kosmische classic that never was released. 

'Schwingspule' is a great find and my favorite of the bonus tracks that SPV originally pressed across the three original albums. A fitting follow up to the experimental 'Looping IV' but with a closing psychedelic guitar jam that recalls Malesch especially on its bonus track. If only high quality tape versions of this era of the band existed!

Ownership: 1976 Barclay (LP); 2010 Belle Antique (CD). Papersleeve. One bonus track.

1992 (first acquired); 9/18/10 (review)

2nd (1973) 

After discovering Malesch, naturally 2nd immediately became my top want back in 1985. When I eventually did land a copy a couple of years later, which was the French IRI reissue, I was mightily disappointed. Mainly because 2nd wasn't Malesch. There are no Middle Eastern themes or even an overt psychedelic feeling to relate to. Over time, I've come to terms with 2nd, and now view the album as a total classic. It's closer to the "US west coast" 1960's sound, and is somewhat of an oddity in Krautrock circles.

'First Communication' defines the new ethos of Agitation Free. One that is considerably looser, more laid back, and well, free. Generally this is where the West Coast term is applied. The late 1960's psychedelic scene of the San Francisco Bay Area as defined by The Grateful Dead and Quicksilver Messenger Service. A pleasant guitar lead jam, if not exactly a great way to state "we're back!". 'Dialogue and Random' recalls the experimental aspects of 'Pulse' from Malesch and is somewhat of a waste of time, but mercifully short at under two minutes. It's the two part 'Laila' where things become interesting, with a fine loud guitar solo among the somewhat peaceful surroundings. 'Laila, Part II' has a killer drum and bass line, followed by a stunning acid guitar melody, certainly Agitation Free's most recognized after 'Rücksturz' from their debut. The return of the swirling organ from the Malesch era is also much welcome. A stone classic of a song. 'In the Silence of the Morning Sunrise' brings us another strong Agitation Free styled melody, in a more laid back setting that typifies 2nd. A sweet, serene song. 'A Quiet Walk' is the odd bird in Agitation Free's catalog, sounding like a lost outtake from an Ohr label recording session. Part one's 'Listening' is an exercise in soundscape and atmosphere. With echoed found sounds, and layers of background organ, the feel is one of meditation and reflection. I think if there wasn't a payoff at the end, this could be seen as somewhat boring in the same way as 'Dialogue and Random'. But at roughly the five minute mark I suspect we hit the 'Not of the Same Kind' portion of the track, which provides the climax to the plot set out in part one. Acoustic guitar strumming lay the bed of rice for the main course - some mighty fine electric guitar runs (with studio effects) and percussion. Not an immediately likable song, but one whose hidden qualities come after multiple listens. If 'A Quiet Walk' pulls us out of the creative station, then 'Haunted Island' is off the rails. And it's a stunner. Here we get Agitation Free in hard blues rock territory complete with narrative vocals, some treated with a Leslie ala Brainticket's Cottonwood Hill and some really mean fuzz guitar solos. A closer that is at complete odds with anything else on this album, or even Malesch. A whole album of this style would have been amazing to behold. 

CD bonus track 'Laila 74' takes us back to 2nd's finest melody - here in a live setting (decent quality) where the structure is looser and the jam more intense. An awesome addition to an already great album.

Ownership: 1973 Vertigo (LP). Gatefold. Swirl label; 2010 Belle Antique (CD). Papersleeve. One bonus track.

12//88 (first acquired); 1996; 9/17/10 (review); 6/23/25

Malesch (1972)

I first discovered Agitation Free by accident in the mid 1980s. One of those albums I bought because it looked cool and was cheap. It had such a profound impact on me at the time, that it was one of those albums that helped shape my musical tastes for the future.

 
'You Play for Us Today' starts with "I fly the airplane, and you play for us, indeed?". And with that field recording of the small aircraft pilot, an organ overlay is applied with haunting voice and the bass starts to rumble a rhythm. A synthesizer floats a melody on top and the first sounds of acid guitar enter in, while pounding drums and the percussion adds an exotic air. The organ begins to swirl, the intensity builds, and the guitar goes into a frenzied but melodic solo. After what seems like only two minutes, but is actually well over six, the field recording of the pilot's intercom interjects with spoken Arabic and leads to... 'Sahara City' that consists of recordings of a market in Egypt with percussion and wind instruments. This takes us back to the studio and a percussive synthesized sound. Haunting winds of sound with fuzz box guitar leads, while pounding symbols deliver you to the desert of unknown myths. After returning from the abyss, the band congeals into an incredible jam with superb guitar and bass jamming. By the time we get to 'Ala Tul', if you're not completely immersed into the Sahara desert mystique of this album, there's probably little chance it will resonate at this point. 'Ala Tul' is what the album is about: Atmosphere, intensity, mystery, exoticism, experimental, intrigue. It's another world, and one that wasn't explored prior, or hasn't been since. 'Pulse' demonstrates Agitation Free at their most experimental, though the piece begins to take form in the latter half in the classic Krautrock jam tradition. 'Khan El Khalili' brings us back to the Middle East, though for most of the piece, the emphasis is a light breezy instrumental, and gives us the best clue of where Agitation Free would go for their next album.  The title track is the perfect encapsulation of all that has proceeded it. If there's one piece that defines the album, it is indeed this one. This leads to 'Rücksturz' and their most memorable piece on the album, with a striking melody that was the centerpiece to many of their live jams during this era. 

This is best illustrated by the 15 minute bonus track on the CD 'Music Factory Live', a stellar piece of Krautrock experimentalism mixed with psychedelic jamming. The kind of music that has your imagination wandering to some obscure artist club in Berlin circa 1972 and wishing you could transport back. The CD also features a short six minute video with yet another variation of the 'Rücksturz' theme. Video quality will remind you of the home reels of your youth, but it only adds to the aura.

Ownership: 1972 Vertigo (LP). Gatefold. Swirl label; 2010 Belle Antique (CD). Papersleeve. One bonus track and the video clip. 

1985 (acquired); 7/27/07; 9/16/10 (review); 10/25/19

Other albums I own and need to review: Fragments; At the Cliffs of River Rhine

9/16/10 (new entry)