Pancake ~ Germany

No Illusions (1979)

No Illusions is Pancake's third album, and an improvement compared to its two predecessors. Again, guitarist Walter Negele was forced to rebuild the band almost from scratch. Here, Pancake presents a typical German symphonic progressive album with female vocals which veers towards the sound of bands like Octopus circa Boat of Thoughts or Streetmark's Eileen. While the first two albums tended to meander, No Illusions demonstrates a mature band, with tighter arrangements, and a more forceful approach.

Cool cover arts that crosses the harsh realities of the late 70s with the psychedelic dolls of the original Ohr LP's.

The CD adds six bonus tracks. The first three are a set of demos from 1980 that was to be their 4th album. The other grouping is a live reunion from 2002. 

Ownership: 

1979 Blubber Lips (LP)

2012 Garden of Delights (CD). Six bonus tracks. Booklet with liner notes and photos. 

3//06 (LP acquired); 1/3/10; 2/21/13 (CD acquired / review)

Out of the Ashes (1977)

On Out of the Ashes, original guitarist and main songwriter Walter Negele basically had to build the band from the ground up from the prior release. For this lineup he added a keyboardist along with a talented singer, to provide a more symphonic sound than prior. As with Roxy Elephant, same period Jane would have to be looked upon as an influence, since they too had switched to a more spacey sound reflecting their new interest in all things Pink Floyd. This type of sound was hugely popular in Germany at this time, as not only major indigenous bands such as Eloy and Grobschnitt had migrated in this direction, but a host of more unknown groups like Indigo, Fly, and Shaa Khan had also tried their hand had emulating Animals-era Floyd. Overall, Out of Ashes demonstrates a more confident Pancake, and is a slight improvement on the debut. But they were to accomplish even more on their final album No Illusions.

Ownership: 2008 Garden of Delights (CD). Booklet provides a full history of the album, with copious photos plus one bonus track.

6//90 (LP acquired); 1996; 9/26/07; 2/18/13 (CD acquired / review)
 

Roxy Elephant (1975)

Pancake's debut is a good representative of the German rock sound of the mid 1970s. So it's not really Krautrock per se, nor Deutschrock, but it definitely has a progressive mindset, with plenty of good ideas. There are no keyboards, and the songs are driven by dual guitars. From a composition perspective, mid 70s Jane and Birth Control would probably be a good guidepost here, but other obscure references would include Poseidon, Madison Dyke, and Prosper. Obviously, Pancake is not where you start your German progressive collection, but for deep divers like myself, this is worth owning. They were to improve from here.

I wish they'd included the two Nyrvana Pancake singles as bonus, rather that putting them on one of GoD's Psychedelic Gems' series of albums. I haven't heard these singles myself, but will check them out on YouTube when I get a chance.

 One fun fact: Back in the early 90s, when we had a weekly radio show here in DFW, I asked the host how he would describe the album cover. He dutifully started to do so, until he heard myself and others in the studio start busting out laughing. Yea, I know, sophomoric humor right out of Porky's or American Pie. Who said the UMR was highbrow anyway?

Ownership: 2003 Garden of Delights (CD). Booklet with liner notes and photos. 

8//90 (LP acquired); 1995; 12/3/07 (CD acquired); 2/17/13 (review)

2/17/13 (new entry)

Kharmina Buranna - El Arte de Seguir Vivos. 2008 Peru

Though from Peru, Kharmina Buranna remind me quite a bit of the 1970s Argentine progressive rock scene. They squarely fit the "retro prog" category and play a direct mix of early 70s styled blues rock mixed with classic era Yes, and a dose of 70s Italian progressive rock. So imagine a cross between El Reloj and Ave Rock! Other guideposts would include Invisible, Agnus, and Espiritu.  Kharmina Buranna definitely are Western European sounding, and do not possess any indigenous elements in their sound, differentiating them from their peers like Flor de Loto or Supay. El Arte de Seguir Vivos has many twists and turns, and contains a fat 70s analog sound. It holds up well on repeated listens, and something new reveals itself each time - always the hallmark of a great album.

Ownership: CD: 2008 Mylodon (Chile)

2/19/13 (new entry)

Kharmina Buranna - Seres Humanos. 2012 Peru

Seres Humanos continues in the same path, though they aren't as pointedly retro, and their sound has been updated ever so slightly. While the analog keyboards and production are still in full force, the composition style reminds me of the best bands of the early 90s. Gone is the blues rock, and in its place is a more stately sound with added female vocals. I hear a cross between Quaterna Requiem with Solstice in many places (though there is no violin). I found their new album no less enjoyable than the debut, despite a conscious move away from the early 70s style. The compositions are multi threaded and consistently engaging. Kharmina Buranna has certainly put forth a strong argument that they may be the best pure symphonic progressive rock band from South America today.

Ownership: CD: 2012 Azafran (Mexico)

2/18/13 (new entry)

Silberbart - 4 Times Sound Razing. 1971 Germany

An appropriately named album, as Silberbart on their sole album provide the listener with four very long freaked out blues psych tracks similar to 'Bo Diddley' era Guru Guru. This isn't an album you hear much about, other than from early 70s hard rock collectors, but it's more towards the psychotic Krautrock sound than the usual straightforward 4/4 blues rock (vocal style notwithstanding). When compared to groups like Hairy Chapter, Haze, Light of Darkness, Dies Irae, Second Life, and dozens more, Silberbart is the clear winner.

Ownership: LP: 1971 Philips, Single sleeve. Online reacquisition (2023).

CD: 2012 Long Hair. Jewel case release with liner notes.

I picked up an original of this LP back in my mad "wheeling and dealing" days (1994) and that was my introduction the album. I traded it out for something more of my liking back then.

1994 (first listen); 9/29/11 (review); 2/16/13 (update / new entry)

Flowers Must Die (3). 2013 Sweden

I was first drawn to this Swedish collective by their most fortunate choice of the group name Flowers Must Die. However, despite this moniker, Flowers Must Die will not likely make you recall Ash Ra Tempel, and especially not the Schwingungen album. Mainly because there isn't some madman screaming "Flowers Must Die - Die! Die! Die! Die! Die!". And there isn't much Krautrock here unless you count a steady rhythm, which recalls an entirely different branch of the genre.

The first two albums came and went before I even had a chance to hear. So we start with the third album, which was described to me as Psychedelic Doom Jazz. I don't hear much doom or jazz to be honest. Flowers Must Die are good old fashioned space rock. Probably the closest comparison would be to My Brother the Wind on their debut, or some of the less edited Oresund Space Collective albums. Their 3rd album is a double LP, and as such, there are long jams driven by electric guitar, that are explored to the last drop. Sometimes, especially on Side 1, the songs drag on long past their shelf life. The addition of guest violin is probably their strongest move, which gives it a whiff of ancient Swedish folk and thus recalls some of the Swedish pioneers such as Algarnas Tradgard and Flasket Brinner. Hawkwind is another obvious influence here. I should be clear, I think Flowers Must Die is a very good group, and I do enjoy this album quite a bit. But I would like to see more compositional quality. A few twists and turns to keep me guessing. I'm sure their music translates better in a live setting.

Former ownership: LP: 2013 Rev/Vega / Kommun 2. 2xLP gatefold. Has an insert with band photo and recording details.

2/14/13 (first listen / review / new entry); 12/25/24

Experimental Quintet - Atlantis. 2012 Romania

Experimental Quintet (aka Experimental Q, Experimental Quartet) are a group that go back to the 1970s. They were a band I had researched for the CDRWL, and after hearing some songs on YouTube, I about wet my pants. This is some of the finest unreleased progressive rock music I'd ever heard. Imagine a cross between Progresiv TM and Tortilla Flat, and you'll understand my enthusiasm. Flute, organ, fuzz guitar and hyper complex rhythms are what defined their sound. Unfortunately, as I already mentioned, the key word is unreleased. So therefore I couldn't really add it to the CDRWL. Apparently a whole LP was recorded, but the state label Electrecord must have thought it too subversive. And sadly, most of this material remains that of mystery and imagination.

After many years, the band decided to reform, sans the flute player who is now MIA. That's a pity, as the flute is such an integral part of their original sound. So they decided to use synthesizers to recreate the sound of the flute. Perhaps the weirdest part of this reunion is that the sound quality of the CD is worse than a Communist era 1970s recording. I'm guessing they were going for an "authentic" original experience, but I'm not sure it was necessary to take it that far. However, the guitar sound is still great, so there's much to grab onto here. All the music was originally written in 1970s, so it has that compositional reckless abandon that we only find from that era. Perhaps the best track of the CD is the one they didn't re-record: 'Quintet No. 2', which they transferred from the 1970s, complete with the original flute. Once you hear this, you'll see the great potential the band once had.

Ownership: CD: 2012 Soft Records

2/14/13 (new entry)

Survolaj. 1992 Romania

What perhaps is most extraordinary about this album is the original recording date of 1992. There are countless bands today recreating the early 1970s sounds and attitude. But no one was doing this in 1992. Especially in places like Romania. Or so I thought. Side 1 is an 18 minute brain blaster of a track called 'Broken Flight'. Survolaj are basically a guitar based trio, with guest on flute, and the sound here is remarkably similar to 1971 German outfits of the same mindset like Silberbart, Dies Irae, Haze, Blackwater Park, and Second Life. Wah wah bluesy guitar, histrionic vocals, and a hyper active rhythm section is what you can expect here. Outstanding. Side 2 (tracks 2 and 3) are decidedly more blues based, and recall the 1969/70 English scene. Classic early Led Zeppelin in particular seem to be a major influence here, though other bands like The Groundhogs, Ashkan, and Elias Hulk come to mind too.

Ownership: CD: 2007 Soft Records

2/13/13 (new entry)

William Sheller - Lux Aeterna. 1972 France

William Sheller (nee Hand), will never be mistaken for a subversive underground rocker. He comes from a well-to-do past and was formally trained in music at various academies. And while he had a passing interest in rock music, like everyone else due to the mid 60s fun of The Beatles, it was never his true passion. Lux Aeterna was composed to celebrate the marriage of dear friends (you can just picture the gallant ball already). This is true symphonic progressive rock. Sheller didn't need cheap imitations like mellotron to produce what he had envisioned. He had a whole orchestra and choir at his disposal! Of course there is a significant rock element present, which is how it hit the underground collecting channels. The lush, but dark, nature of the compositions coupled with psychedelic guitar and drums is a very powerful musical statement. The album gets heavier and darker as it goes, and thus the acid guitar solos really pack a punch in this setting. A truly exquisite work, and proves that Sheller - had he wanted to - could have been a brilliant progressive rock "star". But that would have been far too restraining for the young Sheller, and he has since gone on to release dozens of albums in a variety of styles. Lux Aeterna is the perfect complement to the Jean-Claude Vannier L’enfant Assassin des Mouches album.

CD: 2012 Omni (Australia)
LP: 1975 CBS
CD: 1989 CBS (France / Japan)

My first copy of this album was the second LP press featuring the dapper Sheller on the cover. The top cover is the original, which is also (fortunately) used on both of the CDs. The 1980s press was one of the rarest CDs in my collection for many years. It was pressed in France by Columbia and distributed, I think exclusively, by Marquee in Japan. It came with a full back plate obi, with a biography of Sheller, written entirely in kanji. I traded for one out of Japan sometime in the 90s, and I don't think I ever saw a copy again. The CD was so obscure that when Omni came along with their CD reissue, they stated it was the first legitimate press on the market. There were pirate editions floating about, so I can understand why they said that. But the 1980s press is absolutely legit - but no one knew about it!

All this to say that the Omni CD is by far the best way to go if you're looking to own this. It too has proven to be a bit difficult to obtain here in the US. Not only does the CD feature the entire Lux Aeterna in its best sound yet, but you also get the very rare 1969 Erotissimo EP and no less than 8 other rare singles recorded from 1967 to 1970. One of these singles was a huge hit in France called 'My Year is a Day', a Sheller penned song for an American student group (sons of diplomats living in Paris) called Les Irresistables. The financial windfall from that single helped to fund Lux Aeterna. We learn all of this from the fantastic liner notes of the CD. A great job all around. It would be great if Omni reached a little further into the vaults and released the Popera Cosmic album, which Sheller produced. It too will need bonus tracks, since I recall it being under 30 minutes long.

Montibus Communitas. 2012 Peru

A sister group to the band Ayahuasca Dark Trip that we featured yesterday, Montibus Communitas (Mountain Community) are more tribal and atmospheric than the ambient metal of the former. Though a 6 piece ensemble, who play a myriad of acoustic and electric instruments, the band seem more like a free folk collective than a rock band per se. Montibus Communitas' music is about cycles, trances, and meditation. Deeply ritualistic.

Ownership: LP: 2012 Cosmic Eye (Greece)

2/5/13 (new entry)