Eiliff's debut is one of the gems of the Krautrock underground. Seems that in 1971, at least one brilliant album a week was released in Germany. Even with such competition within the country, perhaps only Ash Ra Tempel and Embryo managed to do better in this most landmark year. What separates Eiliff from most of their competition is their musical background, namely jazz rather than rock. As we talk about in the Kraut Fusion (1970s /early 80s) list, Germany had an abundance of underground rockers who turned to jazz. Eiliff was about a year ahead of the pack, and they did it the other way: Jazzers playing Krautrock. If looking for a guidepost, they were closer in spirit to Xhol Caravan than Wolfgang Dauner.
'Bird-Night of the Seventh Day' is the most traditional progressive rock oriented track here, clearly taking their cues from early King Crimson, but with the delicious atmosphere that only comes from Germany at this time, and it's delivered on the very first notes. 'Gammkelloni' is a hot fusion number, but also represents the album's sole flaw - the sax is just too skronky to appreciate. It's a pity, as the guitarist (the brilliant Persian Houschäng Nejadépour) is on fire here. 'Uzzek of Rigel IV' enters into instrumental Italian prog rock territory for its first 3 minutes, with herky jerky metrics, before it goes into slow burn mode for the remainder.
At this point, Eiliff's debut is excellent, but certainly more in line with the high expectations that are set for the time and place.
Then comes 'Suite'. I don't think it's an exaggeration for me to say that this 21 minute opus is a high water mark of my collection. If not the single best long form track, it is in the discussion. From the very first note you know you're in for something special. If you're not drawn in by the 3rd minute (and already 2 or 3 killer moments have happened), then either a) you're not paying attention or b) we probably don't have much in common musically speaking. Because this is exactly the kind of music that puts me in a trance like state, exciting my mind in multiple ways. That driving organ, and then the huge electric sax chords, just evokes images of a strobe lit club with psychedelic screens, dancing girls, and the world flashing by in snippets of images. What's absolutely phenomenal about the entire piece, is that it never stops changing. There's at least one peak moment a minute. Yea, that's right, something like 20 peak moments - in one track! Most bands are lucky to get one or 2 of those in a career, not one-a-minute. One other incredible moment: There's a sitar piece that slows things down a bit, until Nejadépour of course goes wild on the instrument, this is then followed by a few second drum beat. Then... a thunderstorm of Hammond organ. Literally. I don't think I've heard the instrument so thick and wedgy as in this moment. It's breathtaking just writing about this opus, much less when listening to it. Even Thirsty Moon's most stunning 'Yellow Sunshine' doesn't quite measure up. Masterpiece if there ever was one.
Ownership: LP: 1971 Philips. Gatefold. Acquired at the Austin Record Show (1990). This convention, one of the largest in the world, was a giant magnet for folks like me. Drawn to it like a moth to light. And the fact that Austin was only three hours drive from where I lived at the time in the Dallas area, made it a mandatory twice a year pilgrimage. The gentleman I bought it from was someone who turned me onto to a number of great albums back then. The album was expensive for its time (something like $20 - yes, true, the appreciation of value has been enormous). Back then you could still get bargains (shoot many times you could find rarities for $1 or $2). Anyway this guy - who was a spitting image of Conny Veit - always had pretty ladies hanging around him even at these shows. Who was he? Well, he later moved to Seattle and went by Dusty Lee, most famous for the Ventricle label and all the subsequent acts he created (commonly with female vocals and mellotron).
CD: 1994 World Wide. Jewel case. No extras whatsoever. However, it does sound quite good and is taken from the masters. Surprisingly, it remains the only one on the market.
1990 (first listen); 1/11/19 (review/new entry)
