Ohr Musik ~ England

Friction Burns (1999)

---2003

The opening track sounds like a cross between Tangerine Dream's Atem and My Solid Ground's 'Dirty Yellow Mist' (which also represented their opening move). Organ, mellotron, pounding drums, and those heavy guitar chords! Amazing!! What separates Ohr Musik from most of the neo Krautrock / space rock bands is the heavy use of analog keyboards + a good number of musicians involved. In theory this is a two man band with one credited to "engineering" but they are augmented by four other players (two guitars, bass, and drums). There are a couple of self-indulgent guitar tracks ala Ear Candy that are a bit tedious and one long three piece wah wah jam that could been cut by six minutes or so... but overall, a major surprise! 

Also, one clarification, the recording date is 1998. There's no release date on the CD anywhere, and mine didn't have the obi which usually secures the date. The catalog number is CTCD-191 (Captain Trip), which places it in the label's chronology as 1999.

---10/24/26

Time for a revisit and to enter into the UMR. It's somewhat surprising to me that this album hasn't taken off in a big way with the underground collecting set. You can still obtain this CD for cheap, and yet it represents everything that was great about the early 70s cosmic Krautrock scene on the Ohr, Brain, and Kosmische Kourier labels.

Ownership: 1999 Captain Trip (CD). Liner notes in Japanese. Acquired in 2003.

2003 (review); 2004; 10/24/26 (update) 

Ohr Musik (1997)

I first discovered Ohr Musik via their second album, the obscure CD Friction Burns, a brilliant retro Krautrock album, maybe the best of its kind. Their debut was part of the Prescription Drug series, albums that were limited to 99 copies, but mysteriously 100's have shown up on the market, many with the same number. But this was at the height of Sun Dial / Acme studios deception practices, including most infamously the Psi-Fi albums. I've covered that topic so many times, I feel like the bar drunk going on about 9/11 and COVID conspiracies... so I won't talk about it here again. See comments for details on who is behind the music. 

Ohr Musik has done a fantastic job of revisiting the early 70s Berlin vibe. In particular, I hear Harmonia's debut, and they capture that mystical early Cluster vibe (think Cluster II). This one doesn't rave up in the manner of Ash Ra Tempel or Guru Guru. This is for the chill out Krautrock crowd. Clearly the band is self-conscious of what they're doing (the moniker alone says that), and the opening words of the insert say: "Imagine, if you will, that it is 1973. In a Berlin basement, close by the shadow of the wall..." Yep - they pretty much nailed that atmosphere!

Ownership: 1997 Prescription (LP). Single sleeve with insert. Copy 79 (presumably). Acquired in 2004. My copy is different than the photos you see here from Discogs. The front has the same design but is yellow / green in color (different color than their back cover to the right which is lime green). The back is blank. And the label has a handwritten OM (in black marker - not red) instead of Ohr Musik. No one in Germany was sloppy like this in the early 70s. Quite the opposite. Oh well - the music holds up, so I'm keeping it. No reissues exist (theoretically). Because you know - they "destroyed the tapes right after". Sure they did.

9//04; 9/14/22 (review) 

9/14/22 (new entry)

Sensations' Fix / Franco Falsini ~ Italy

Sensation's Fix (1974)

---5/12/07

I didn't know until recently that Sensations' Fix even had a self-titled debut album. Apparently it was only a promo and not sold through stores (ED: I was later to find out it was a sound library album), despite sporting a unique cover. It's a little more underproduced than their later material, but it unmistakably has the Sensations' Fix space rock sound. Much of the material represents earlier versions of songs that would show up later on Fragments of Light though some of the material is entirely unique to this release. 

---3/16/26

A few years after those notes, Universal released the 6th volume of their Progressive Italia series. And today, I'm hearing the album for the first time in 15 years from that same CD. Such an interesting album really. While generally regarded as their debut, this is probably true from a chronological recording data standpoint. Fragments of Light had been released by Polydor in 1974, though it remains unclear if this sound library album was sent to stations before or after that fact (note the misspelled group name). Consider that Portable Madness was also released in 1974, there's only so much time in a year. Musically this sounds like a raw demo. The kind of album that a metal band would release on cassette before maybe hitting the big time with an LP contract. Which certainly doesn't make it a bad album. One can already hear the great ideas Falsini had in his head, and his guitar playing is as soulful as ever. The sound is demo quality for certain. Hollow and thuddy. Part of the charm I think. The CD is taken from vinyl, so it's difficult to know how the original tapes may have sounded. And the odds of me obtaining the original LP are slim, especially since it was never for sale in Italy, much less here in the US.

Speaking of which, all these years later, and the reissues of Sensations' Fix remain an embarrassment. If there was ever a group who needed professional treatment, it's these guys. A box set of carefully mastered tapes would be amazing. Do those tapes even exist? Who knows. Only the Falsini anthology Music is Painting in the Air gives us any clue of what the possibilities may be.

Ownership: 2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

5/12/07 (notes); 2/5/11; 3/16/26 (update)

 

Franco Falsini - Cold Nose (1975)

Franco Falsini's only solo album takes in one part Manuel Gottsching, one part Richard Pinhas, and three parts of the outer galaxy he apparently emigrated from. Analog wedgy electronics, and thick oozing heavy guitar shards define the sound palette, whereas the melodies are pulled from his own Sensations' Fix cookbook - you'll hear plenty of snippets from Fragments of Light and Portable Madness within. I would love to see the movie that was inside of Falsini's mind during this recording. Essential head space music.

Ownership: 

1975 Polydor Special (LP). Acquired in 1989.

2010 Universal (as part of the 6 CD box set Progressive Italia Gli Anni '70 Vol. 6). Acquired in 2011.

1989; 2/5/11; 11/21/17; 5/25/18 (review)

Portable Madness (1974)

And here we have... the single greatest space rock album of all time!

No small claim that. Not an irreverent throw out to grab one's attention. Not an epiphany on the 4th beer. No - this is pretty much where I've stood for the 26 years I've owned the album. Last night it comes up again, and reminds me that it is, indeed, the single greatest space rock album of all time. Of course, not everyone will agree with that, and probably the it's overrated crowd will be along here any minute.

Twisty, turny, kinetic, psychedelic, jumpy, murky, primordial, psychotic, and melodic are just a few adjectives that come to mind here. The opening two numbers are great enough, but once 'Phase One and Phase Two' starts spinning in multiple directions, you are sucked into the vortex of another world and dimension. If this doesn't happen to you, then stop surfing the net, watching TV, texting on Facebook with a Russian hooker, or vacuuming the rug. Start from the beginning and pay close attention. OK you there now? Good, so now by the time you get to 'Pasty Day Resistance', you have reached what I consider the single greatest space rock track of all time. There's more twists and turns on this five and half minute track then I've heard on full double albums. 'Leave My Chemistry Alone' will finally polish you off, and presumably you're in a cold sweat by now. The album closes with two relatively sane compositions, and tries to return you to Earth, but doesn't quite get there. You are lost forever.

The fuzzy photograph on the front cover, taken in the same spirit as Big Foot and the Loch Ness Monster, tells you all you need to know about its provenance. This can't be Italian - nor German as it may seem - but something from another galaxy.

Ownership: 

1974 Polydor (LP). Textured single sleeve. Acquired in 1991.

CD: 2009 Universal (as part of Progressive Italia Gli Anni '70 Vol. 1 - The Universal Music Collection). Acquired in 2009.

1991; 5/28/09; 9/19/12; 10/27/17 (review)

Also own: Fragments of Light; Finest Finger; Boxes Paradise; Music Is Painting In The Air

10/27/17 (new entry)

Radio Massacre International ~ England

Emissaries (2005)

---Oct 2005

What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with Planets in the Wires (ED: since rectified - see review below). All their (proper) albums are good, but they were missing some oomph recently. This has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album. Their best in a long while.

---2/16/26

And it's been a long while since I heard this - as in the day I received it 20+ years ago. As pointed out elsewhere, I loaded up on Berlin School albums in 2005, so the fact I was offering high praise to Emissaries in that same year is notable, given the huge potential for overload.

Radio Massacre International were an unusual choice for the avant prog focused Cuneiform, but it proved to be a fruitful relationship that lasts until this day. Emissaries is RMI's debut for the label. And a whopper at that, a sprawling two full CDs. The first CD is a studio recording while the second is a live concert in Philadelphia.

What does one seek to hear on a Berlin School Electronic album? The creativity of sequences, the texture of sounds, the atmosphere, and the melodic songcraft. As a bonus, if one gets more analog non-keyboard instrumentation, especially electric guitar and drums, then you probably have a winner on your hands if the group executes on all the above.

And that's exactly what Emissaries does. The band also adds a few brushes from the style palette. This isn't 1977 Tangerine Dream emulation, as they might have done in the past. Though there's no mistaking their Berlin School roots, one gets to hear an almost progressive rock approach to the compositions. The second disc is looser in structure and there are many cosmic blues segments created by the guitar.

Two hours and 16 minutes is a lot of music to absorb. RMI are to be commended for keeping it varied throughout so as to not be a monotonous listen. I'm guessing my initial enthusiasm came from that perspective, as it was a deviation from the norm. There are more moments of dithering about than I had realized on initial impact. Now I'm not so sure this is a top tier RMI release. Certainly it's a keeper for now, and once all of my RMI collection has been heard, I should be able to discern what are the best titles for me to keep.

Ownership: 2005 Cuneiform (2xCD). Booklet includes liner notes. There's also a comic strip in .pdf that I have yet to view. Acquired in 2005.

10//05 (notes); 2/16/26 (review)
 

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD). Acquired in 2001.

2001; 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff, though.

Former ownership: 2001 Northern Echo (CD). Acquired in 2002. Downsized in 2026.

2002; 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD). Acquired in 2003.

2003; 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD). Acquired in 2001.

2001; 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD). Acquired in 2008.

2008; 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD). Acquired in 2003.

2003; 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD). Acquired in 2001.

2001; 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

Ownership: 2007 Cuneiform (CD). Acquired in 2008.

2008 (review)

Other albums I own: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Time & Motion

And they have tons more than this, especially when one considers all the downloads and cd-r's.

5/17/11 (new entry)

Djam Karet (& related) ~ USA ~ Los Angeles, California

...And Still Getting the Ladies (2002 / 2004)

This recording is technically only bonus tracks on the No Commercial Potential CD reissue (see my review below for that title). But since it was recorded 17 years later, and features roughly 55 minutes of new material, I consider it a proper album. I would also recommend listening to them in different sessions, as these are long winded jams. Oftentimes intense too. Though you don't need to wait eight years to do so (?!), as I have apparently.

With 17 years of recording under their belt at this time, what you hear is a far more professional band. Pacing is key, and there's drifty space electronic sections that increasingly gain more energy, before launching into a psychedelic frenzy. Not for everyone, but those who enjoy psych jams will relish this set.

Ownership: 2004 HC (2xCD). With No Commercial Potential. Booklet filled with images and photos. Includes recording details. Acquired in 2008.

1/5/08; 12/16/25 (review)

 

Burning the Hard City (1991)

Continuing on my recent theme of listening to albums that I haven't heard in decades, up comes one of the oldest CDs in my collection. According to all of my paper trails, and they are significant in scope, the last time I heard Burning the Hard City is when I bought it - upon release in 1991. However I know that isn't true. I recall listening to it many times during the 90s. Even back then questioning if it was something I needed to keep.

As noted below on the Suspension & Displacement review, I preferred this title to that one, but now I'm not so sure. After devouring (had to do it) the contents one singular evening, I would say that I now appreciate both at the same level. It was obvious back then what Djam Karet were up to, and it still is. They had two distinct sides of their sound, so why not distill each in concentrate form? This is a trait we often see in Japan, where they wring each idea to death so there is nothing left to the imagination. Fortunately for us listeners, Djam Karet happens to be very adept at both electronic and space rock. As well as prog and jazz fusion. They are a versatile bunch. At the time of release, and in retrospect, I do think they would have been better served to mix and match for a cohesive sole album. Similar to Reflections From The Firepool. The philosophy of more is better was prevalent in the abundance days of the 90s. Formerly restricted by the length of the vinyl LP, bands now had more freedom to put out anything they felt like. Especially since CD production costs had become a commodity in a very short time.

As it turns out, I was very familiar with the contents of this album despite a 25+ year absence in the changer. No notable highlights, but safe to say, if you enjoy the jamming heavy psychedelic nature of Djam Karet, then Burning the Hard City should resonate well. At this point, I'm sure I'll hold onto both of them for the long haul.

Ownership: 1991 HC (CD). Acquired in 1991.

1991; 7/7/25 (review)

Regenerator 3017 (2014)

Regenerator 3017 is a good example of an album I had zero recollection of. I had it categorized in my space rock collection, like many of their others. Wrong. This is a mellow instrumental progressive rock, oftentimes falling into jazz fusion or even jazz funk. Plenty of great lead guitar that the band is known for, along with mellotron and thoughtful rhythms. This was their 30th Anniversary album that flew under the radar. I bought it dutifully when it came out and didn't give it the proper attention. This was to be the last Djam Karet album for me to buy, and that is likely to remain the case (unless I find them in the wilds, or someone is giving them away). I find it makes an excellent bookend to my already extensive collection by the group. A good place to rest.

Ownership: 2014 HC (CD). Digipak. Acquired in 2014.

11/25/14; 12/23/23 (new entry)

The Ritual Continues (1987)

For context first read my review about Reflections from the Firepool. After purchasing that CD, I immediately went back to the mail order dealer and acquired the tape of its predecessor, which is the album of today's discussion. That tape is slightly different than the CD I now possess (which wasn't released until 1993), but essentially is similar from a musical perspective. This album captures Djam Karet going from the raw jams of their debut tape No Commercial Potential to the relatively composed Reflections from the Firepool. Opener 'Shamen's Descent' is arguably the finest track here, mixing the exotic psychedelic jam with progressive rock complexity. 'Technology and Industry' is another highlight. If you do have the CD, then you'll be treated to the most Krautrock oriented song in 'Tangerine Rabbit Jam' performed by Happy Cancer, who is Djam Karet's direct ancestor. Some of the album can meander a bit, but it's in the spirit of naïve exploration, a most welcome trait in an era that frowned on such activity. Had this been a newer release, I wouldn't be overly enthused, but given its place in history, I feel the album deserves much praise. An enjoyable album throughout and one of America's pioneers of new psychedelic oriented music.

Ownership: 1993 HC (CD). Two bonus tracks from Happy Cancer and one extended rerecording that was new to this issue. Acquired in 1996.

First copy: 1987 HC (MC). Features some unique material not on the CD. Acquired in 1989.

1989; 1996; 12/1/14; 9/7/23 (review)

Suspension & Displacement (1991)

Bought this when it came out, famously with its cousin CD Burning the Hard City. For most of that time since, I held the other CD as the better of the two. Now I'm not so sure. My mental image of Suspension & Displacement was that of a boring electronic / space rock album. But I had dismissed the full band effort here, and there are many organic moments, including much needed warmth instruments like acoustic guitar. A definite +2, and I have a whole new outlook on this, some 31 years after the fact.

Ownership: 1991 HC (CD). Acquired in 1991.

1991; 3/10/18; 4/6/22 (review)
 

The Devouring (1997)

When this came out, I think we were all relieved that Djam Karet were back on track. Even to this day, it's arguable that The Devouring is their most fully realized work. The opening three cuts are brilliant hard rock / psychedelic / progressive instrumental tracks. It would be tough to expect them to maintain that pace, but the album miraculously never wanders off too much, though it gets a bit samey towards the end. I have most of the Djam Karet catalog, but I'm not sure how much will stick around. But for certain this, along with the first one I bought - Reflections from the Firepool, most certainly will. 

Ownership: 1997 Cuneiform (CD). Acquired in 1997.

1997; 2004; 12/27/19; 6/11/20 (review)

Reflections from the Firepool (1989)

Reflections from the Firepool is where Djam Karet went pro. Prior to this, their releases had been more jam oriented, with far less focus on composition and melody. It's also the album where I was first introduced to this fine long running band from California. I picked up the CD from a mail order dealer not long after release, and was subsequently blown away.

To understand this, one must go back to 1989. It was a time of optimism for many reasons, but all one needs to remember was the basic collapse of The Warsaw Pact on a nearly weekly basis. Tyranny was out and Freedom was in. On the music front, after years of dormancy, the psychedelic guitar was being brought back to prominence. Djam Karet, along with Tangle Edge and Ozric Tentacles were leading the charge and using the instrument not just as an accent, but rather as a focal point. This wasn't the 80s indie rock / neo psych hybrid that was popular with the post New Wave crowd, on the contrary, these new groups had in mind Ash Ra Tempel, Amon Duul II, and Gong - along with other such great bands from the early 1970s.

'The Sky Opens Twice' is a perfect opener. As I read other reviews, there seems to be a unanimous chorus that the album is nothing more than loose instrumentals. This is far from the case here. While certainly there are some incendiary guitar jams sprinkled throughout, that of course is what this listener (and my peers) would hope for. The payoff of the investment as it were. Other highlights include 'Run Cerberus Run' and the title track. Perhaps only 'All Doors Look Alike' with its incongruous free sax blowing on part 1, and the second half of 'Scenes From the Electric Circus' aren't up to snuff (though the first part of this track is super).

All in all, Reflections From the Firepool is the album that put Djam Karet on the map. They sort of lost their way in the early 90s, only to come back ferociously with The Devouring, and never looked back again. For my tastes, Reflections From the Firepool is a very important work of the latter 80s, which ushered in numerous other bands who followed suit in the very interesting and productive 1990s.

The LP leaves off two very good to excellent lengthy tracks to fit the format: 'Scenes From the Electric Circus' and 'The Red Monk'.

Ownership: 1989 HC (CD). Acquired in 1989.

1989; 7/30/18 (review) 

No Commercial Potential (1985)

Djam Karet's debut album, the cassette No Commercial Potential, was a true anomaly when released in 1985. The concept of long form, psychedelic guitar driven rock instrumentals, was an extinct concept in the mid 1980s. Whereas LS Bearforce released the homage to early Guru Guru in 1983, Djam Karet had taken the idea of combining mid period King Crimson mixed with any number of west coast late 60s psychedelia bands. And yes, with more than a hint of Krautrock as well. Djam Karet were born out of a (still operating) California record store, and it's no accident they possessed the historical capacity for musical research. Quite simply, they were considerably ahead of their time, and by the 90s many were following their lead, arguably to lesser success. It must be said, the title is as accurate as any in history.

Ownership: 2004 HC (2xCD) With ...And Still Getting the Ladies. Acquired in 2008.

1/5/08; 8/12/17 (review)

Fernwood - Arcadia (2015)

Fernwood are the California based duo of Todd Montgomery and Gayle Ellett, the latter most known to progressive fans as a member of Djam Karet. They each play a tremendous amount of (primarily stringed) instruments, including but not limited to, Greek and Irish bouzouki, sitar, banjo, dobro, mandolin, tenor ukelele, violin, and... Moog, Mellotron, organ, Rhodes, and electric guitar. Despite the presence of these latter instruments, the music is always calm and peaceful. In fact, I would like to use a term that Fernwood best represents. Unfortunately it has become somewhat of a pejorative, but shouldn't be regarded as such. And that term would be New Age.

35 years ago, the New Age movement had just begun and offered up a promising style of music that promoted music from around the world, generally in a tranquil, cosmic, and meditative manner. But it didn't take long for labels such as Windham Hill and Narada to turn the style into an almost Adult Contemporary pop music, perfect for bored rich housewives sipping sangria before their next yoga class.

Fernwood returns us to the original spirit of the genre, recalling pioneers such as Popol Vuh, but taking it to the next level. There are 11 tracks here, each as spellbinding as the next. Typically, I'm not fond of music such as this as I generally hear it, quite frankly, as dull. And yet I found myself transfixed and swept away by the blend of sounds created here. The production is stunning, and provides the crystal clear sound music like this needs to breathe.

Ownership: 2015 private (CD). Acquired in 2015.

5/12/15 (review)

Also own: Still No Commercial Potential; New Dark Age; A Night for Baku; Recollection Harvest; The Trip

Previously owned: Ascension

5/12/15 (new entry)

Mushroom ~ USA ~ San Francisco, California

Joint Happening (2007)

This was to be the last album I picked up from Mushroom, a long running band from San Francisco that continues to this day. Technically listed as Mushroom with Eddie Gale, the latter provides trumpet and is a key component of this album's sound. I had a very high rating on this from my only listen upon release. I'm curious if it holds up some 18 years later. 

The opening track 'Peace' by itself is something to take notice of. Sounding every bit like Tangerine Dream's Phaedra, complete with flute mellotron. Then Eddie Gale provides the Miles Davis styled muted trumpet layered on top. Bitches Brew meets Rubycon is a cocktail I'll drink all day. Track 3 is Mushroom at their Krautrock deep groove best. Laying down the Can groove with flute, trumpet, piano, organ, and whoever else wants to jam on top. It can get intense at times. At 18 minutes, it's the centerpiece of the album. It isn't until the sixth cut 'Our Love' that the psychedelic guitar kicks in. This leads to the other lengthy track and closer 'The Spirit'. Similar in construct to the third song, it's band leader and drummer Pat Thomas laying down a repetitive groove and letting the others jam on top. On this cut the music has more of an Embryo feel minus the rhythms which remain firmly in the Can camp. 

Joint Happening is a tough album to categorize. The instrumentation and loose feeling belong to jazz. The hypnotic groove and psychedelic nature are more space rock oriented. I probably did have this one a half star too high, only in that the tree could have used some trimming. Where to trim? That's the tough question and why jazz improv is jazz improv. Great album all the same.

Ownership: 2007 Hyena (CD). Booklet with recording details. Acquired in 2007

11/11/07; 8/25/25 (review)  

Cream of Mushroom (1998)

The hype sticker on the casing states "Debut CD from Mushroom with Krautrock, psychedelic & jazz fusion influences. Their sound is similar to Tortoise, Miles Davis, Can, Soft Machine." And with that Mushroom threw down the gauntlet. This was in the early days of the American Krautrock revival, and where better to start than San Francisco. Of course only Can above could be considered Krautrock but it is the centerpiece of the CD - namely the 24 minute 'The Reeperbahn'. This track has Can written all over it with its hypnotic repetitive groove and analog sounds dropped on top. As it turns out, the CD incorporates Mushroom's true debut, 1997's LP of the same name as the lengthy track, along with four new compositions. From the LP we also hear 'On the Corner (Part 2)' which of course covers the Miles reference. And there's some fuzz bass, so I guess that's to be the Hopper nod. Graham Connah is the keyboardist here, and his next venture would be Jettison Slinky, one of the few American bands who paid homage to the Canterbury scene. In the end what you get with Mushroom are all the obvious pop culture references and musical influences. As a listener, it would be easy to write it off as hipster imitation. But what I hear is an innovative band taking in all the influences and creating something wholly unique. Mushroom would continue to be a fascinating band for the next ten years or so before fizzling out. If curious, this CD debut would be as good as any place to start, though not their very best.

Ownership: 1998 Normal (CD). Booklet with recording details. Acquired in 1998.

4/5/98; 8/27/20; 1/19/21 (review)

---

Also own: Hydrogen Jukebox; Analog Hi-Fi Surprise; Foxy Music; Glazed Popems

Previously owned: Leni Riefenstahl; Yesterday, I Saw You Kissing Tiny Flowers

1/19/21 (new entry)

Titan ‎~ USA ~ Brooklyn, New York

Titan (2006)

Titan is an interesting band. They released only three albums with the middle one being the piece de resistance. They closed off their career with a sincere attempt to capture the stoner audience, much to my disappointment. In reading other's reviews, many feel the second one is also stoner, but I say no way. But what about the debut? On paper it looks like a home run. Three long tracks, and they're all titled in German. No one calls this a stoner album but rather a retro Krautrock masterpiece. Unfortunately it lacks the compositional drive and varied instrumentation of Raining Sun. Mostly this is long form cosmic jamming, of the kind the Japanese usually peddle. Acid Mothers Temple and their ilk. It's not as nauseous as those bands can be, as I wouldn't claim it be a non-stop barrage of guitar noise. Seems one of these long tracks would serve well on an album, but not all three doing the same thing. And with a record collection of real deal early 70s cosmic Krautrock at my disposal, this one become superfluous.

3/28/07 (first listen); 2/21/25 (review)

Former ownership: 2006 Paradigms (CD)

Sweet Dreams (2010)

The album prior to this, The Raining Sun Of Light... is, in my estimation, one of the greatest modern interpretations of progressive Krautrock one can find in the market (see below). Brilliant in every way, I was very excited to obtain the follow up upon release. And was disappointed. In listening to it for the time since last night, I settled in on a -1 (in this case I rated it too high to begin with). But musically it's still quite good, I'm just not fond of the production and tones. It's as if they felt the need to "stoner it up", which was entirely unnecessary.

Former ownership: 2010 Relapse (CD)

2010 (first listen); 11/20/23 (review)

   

A Raining Sun Of Light & Love, For You & You & You... (2007) 

I remember being tipped to this band back when it first came out 11 years ago. I was as skeptical as ever. A Brooklyn based "stoner" band allegedly playing in the Krautrock style. Sorry, heard that one before fellas. And what one would usually get in that scenario is bonehead chords of fuzz, a on-his-6th whiskey vocalist, 4/4 pounding drums, and hopefully some cartoon art of dragsters, pinball machines, and disproportionate top heavy females with lots of tattoos. Yea, we're hipsters from Brooklyn! Nya-nya. In any case, enough recs came my way that I reluctantly pulled the trigger...

...And I became a Brooklyn stoner hipster on the spot.

After a few listens in 2007, I filed it away with a high grade, and haven't revisited since. Here we are, and I somewhat dreaded it. I probably was just in the mood for it or something like that. Tastes change and evolve over the years right?

I like it even better now. If for nothing else on the album, it's hard to imagine anyone who is into the early 70s proto prog sound not to be absolutely floored by 'Annals of the Former World'. It is absolute perfection in every sense of the word. It constantly changes, has haunting vocals, is heavy as all get out, has some absolutely incredible Hammond organ, is trippy in the best Krautrock style, and the guitar solos are sublime. Maybe the best track I've ever heard from modern times that encapsulates all that was great about 1971. The closest comparison to my ears is Nektar's Journey to the Centre of the Eye... sped up and then cranked to 11.

'Hashishin Ohel' is largely a continuation of the above, with a bit of a noisy ending, but overall is brilliant in its own right. 'Obelisk Orbit Overdrive' is a bit more tedious, but certainly not a poor track, just in comparison with what came before it, one would have hoped for a bit more clarity and editing.

The album ends in a very interesting fashion, with 'Aufruf der Pilz'. As its title hints at, this is a pure play Krautrock attempt. Now I would imagine the gut reaction here, especially for hipsters, is to go right for the Neu! comparison. I don't think so. Actually to me it sounds like the Ashra power trio years of 1979 to 1980 - especially on the archival tapes where the guitars are decidedly more psychedelic. An excellent rendition and very melodic to boot.

These guys were plugged in perfectly at the time. I have two others in the collection from them (before and after), but I don't recall those being quite at this level. And then they sadly disappeared.

Ownership: 2007 Tee Pee (CD). Acquired in 2007.

4/20/07; 6/6/18 (review)

6/6/18 (new entry)

Agusa ~ Sweden

Noir (2024)

Agusa are one of only a small handful of contemporary bands that I would consider buying new product from at this advanced stage of my collection. Last year's Prima Materia is about as great an album as has been released since the early 90s retro prog renaissance first appeared. I didn't expect so much from Noir, as it's purportedly a soundtrack of some sort. With 15 tracks + five more bonus (presuming not part of the soundtrack), Agusa is performing short form music for the first time that I can recall. They've once again reintroduced a Krautrock element, something they first showed their adeptness with on 2021's En Annan Värld. The stylistic brush is much wider here with nods to electronic, spoken word (like the French would do on occasion in a similar setting during the early 70s), psychedelic, progressive, experimental, space rock, chamber, and folk. Make no mistake, this is Agusa at their psychy proggy best, but with more variety. 

The five "bonus" tracks seem more like they appended a new EP at the end. Focusing more on their Krautrock tendencies. Perhaps even better than the album proper. 

Great music overall and I can see this title being a grower.

Ownership: 2024 Kommun 2 (CD). Digipak. Acquired in 2024.

12/28/24 (review)

Prima Materia (2023)

I find it fascinating on how we sometimes as listeners connect with albums. I currently have almost 200 albums in my collection that I rate 5 stars on RYM or 13 or above on Gnosis. They - appropriately enough - reflect a very small percentage of my overall listening experience. But those that make this list are very special to me for obvious reasons. Almost all of these go back to my formative years of deep diving into the vast world of underground music, with an occasional nod to a more well known album. It is very unusual for a newer album to transcend into this rarified territory. There are many reasons for this, mostly associative emotion - that which represents a time and place in one's life. When you're almost 60, the emotional aspect of the individual has (usually) stabilized. Those zenith moments are much fewer and far between. Much of this is familiarity and experience. In life it's the "been there, done that" factor. In music, we tend to recognize familiar patterns. Some are as comfortable as putting on your favorite pair of jeans. Others become tedious after close to 50 years of the same ol', same ol'.

I bring all of this up here on this review, as Prima Materia is (as I'm sure you've guessed by now) one of those rare albums. Even though Agusa have been around since 2014, and I own all of their studio albums plus one live outing, the group continues to evolve in the same manner as I have. And every single trigger and button got pushed for me, for a magical first time listen (and immediate subsequent listens). Perhaps this wouldn't have been such a great revelation for me 20 or even 10 years ago. But where my mental state is today, Prima Materia represents my personal soundtrack.

If you already know Agusa, then Prima Materia isn't really that much different than anything else they've released to date. Their stock and trade is that of the Swedish folk melody contrasted with the beautiful melodicism and instrumental progressive rock of a Camel (as but one example), or more close to home, Flasket Brinner. Flute is front and center to their sound, along with vintage keyboards and a delicious fuzz guitar tone. In addition to their normal approach, I picked up a distinct Brazilian bossa nova sound for this outing. It's the perfect complement to their recipe. This may come as a surprise if you weren't already aware of Sweden's long time fascination with Latin jazz.

As with any album that transcends the highest tier, words alone cannot express my adulation for such a beautiful piece of music. It's another kind of emotional language - one that if we all mastered, there would be world peace.

Ownership: 2023 Kommun 2 (CD). Digipak. Acquired in 2024.

3/31/24 (review)

En Annan Värld (2021)

En Annan Värld is Agusa's 4th studio album made up of two long tracks totaling 46 minutes. The first opus presented here is largely a continuation of what Agusa had established on their self titled 3rd album. On that review I stated that Agusa seems to be the next generation of Flasket Brinner, with organ, psychedelic guitar, and flute leading the instrumental parade. Their overall sound is very organic, and while complex, it doesn't seem overtly so. Melody and warm analog tones are their key drivers. The second track is a bit of a departure and introduces a Krautrock element. Oh darn, not that. lol. Elements of late 60s Pink Floyd trickle in, as Agusa flows into a deep space. The instrumentation remains the same as everything else they've done, so this is not a cold clinical exercise in modern post rock, which I usually find to be boring. Rather, Agusa are pure analog bliss, with a trippy 60s mindset. Doesn't get better than that. This is the second album in a row that Agusa transcends the competition to the highest level. And now I'm reading about a new 5th album. Might break down and get that one upon release. I don't do that much anymore.

Ownership: 2021 Kommun 2 (CD). Digipak. Acquired in 2023.

7/1/23 (review)

Agusa (2017)

Agusa is back with their 3rd instrumental studio release, and continue on with their unique take on the 1973 Swedish landscape. No change in style, but the execution continues to accelerate in a  positive way. The songwriting is memorable, and the instrumentals more kinetic than even before. It's as if the Silence label just released the next Flasket Brinner album. The usual instrumentation of organ, psychedelic guitar, and flute continue to drive Agusa's sound. To my ears, this is Agusa's best album to date. It's a much welcome style, and one that isn't over copied. I can listen to this kind of music all day. Brilliant really.

Ownership: 2017 Laser's Edge (CD). Digipak. Acquired in 2017.

12/16/17 (review); 9/18/26

Katarsis (2016)

Agusa's first live album, and third album overall, sees the band do what they do best: Jam. Recorded in Greece (Feb 12, 2016), and released on CD in the same country, this was obviously a planned event and Agusa clearly prepared heavily for it - meaning the band is sharp on all fronts. The material is culled from two tracks taken from their debut. Both are stretched considerably here, especially 'Kärlek Från Agusa' which was only a short bonus track on the original. Musically, the band hasn't changed one iota. This is 1972 Sweden brought forth and distilled for the modern age. Folk based melodies, progressive rock structures and changes, with psychedelic sounds (organ, flute, acid guitar, pulsating bass, and pounding drums). It's a recipe that has patrons lined out the door for more. No point in tweaking that now. Given the improvisational nature of the concert, this album is entirely unique to the studio offerings, and as such, is a worthy investment on its own.

Ownership: 2016 Sound Effect (CD). Oversized papersleeve. Copy #136 / 150. Acquired in 2016.

12/6/16 (review); 11/26/25

Två (2015)

Agusa quickly follows their highly regarded debut Högtid, with the old school moniker of "2" (Två / Tva), in Swedish of course. If you were hoping for some modern development, you've come to the wrong place. Agusa's mindset defiantly remains in 1971, and that's exactly what their audience wants to hear. In addition to Hammond organ, psychedelic electric guitar, and a pulsating rhythm section, Agusa have added the always welcome ingredient of flute. Well, that just about covers the landscape of 45 years ago. As with Högtid, Swedish folkloric melodies are the centerpiece, particularly on the first side long track (ah, it warms the cockles of my heart to say "side long track") 'Gånglåt från Vintergatan'. It's Kenny Håkansson fronting Flasket Brinner with a dollop of International Harvester on the side. Even better is the darker and less familiar 'Kung Bores Dans' - yet another side long opus. Agusa's music is organic and free flowing. There are no jaw dropping breaks or instrumental flights of fancy. I never tire of music such as this. This is the kind of album where you lay down, close your eyes, and let the music take you to new and unknown places. Soothing, comfortable, and entirely psychedelic.

Ownership: 2015 Laser's Edge (CD). Digipak. Acquired in 2015.

9/2/15 (review); 9/22/23

Högtid (2014)

Agusa are a new band from Sweden that has ties to two other UMR favorites: Sveriges Kommuner och Landsting and Kama Loka. Seeing the album is on Kommun2, and the description read that the music is in a similar 70s retro vein, it seemed a guarantee I would like it. And indeed it came to pass - I love it. Once again we are presented with a heavy - yet subdued - primarily instrumental psychedelic rock album, with Hammond organ, acoustic and fuzz guitar, wordless voices, pounding percussion - all with that distinct Nordic touch (while occasionally looking east towards Asia), that shows up in the melodies and overall atmosphere. There are no pyrotechnics here - this is an album for reflection and careful study. For fans of Flasket Brinner, early Trettioariga Kriget, Kebnekaise, Saga, and other classics from the Swedish 70s underground.

The CD adds a short track that is fleshed out greatly on the Katarsis live show.

Ownership: 2014 Kommun 2 (LP). Gatefold. Acquired in 2014.

5/10/14 (review); 6/6/26

5/10/14 (new entry)

Aria Palea ~ Italy

Zoicekardi'a (1996)

Of late I've been digging into my 90s obscure prog collection, especially from Italy. One of those bands is Aria Palea, a group who released two albums before riding off into the sunset. Both of their albums I bought real time, and then filed away to not return again for many years. Aria Palea's second album Danze D'Ansie was released in 1998 and I finally covered it again in 2020, and the review is here on UMR. I concluded that review with: "Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well." There's no time like the present. It's now been 28 years since I heard this debut. Let's give it a fresh spin.

In reviewing those notes for Danze D'Ansie I called out Area, classic Italian prog, and a decidedly retro angle. Aria Palea were a pioneer in the Italian prog renaissance by ironically setting back the clock. What separates Aria Palea even further is their willingness to explore the experimental side of progressive rock, a sound we might associate more with the term Krautrock. Flute is the primary lead instrument, though when the guitar amps up, it's in the raw state we typically find in early 70s Germany. Vocals do have a Demetrio Stratos bent, and this is heard on the very first notes. Zoicekardi'a is the type of album that ages well because it's unpredictable yet pleasing to the ears.

Of interest to me is the low ratings the band receives on ProgArchives. Most of those ratings were from the early days of the site, and it shows the mindset of the era, and of the original reviewer's perspective. Had Zoicekardi'a been released in the last few years, I believe Aria Palea would fare far better based on the reviews I see there today. I've said this many times in the past, but I'm most curious if we'll see a nostalgic enthusiasm for 90s prog, like we have for the 70s and 80s. We may not, as it was a niche audience from the beginning. But there was plenty of output back then, and rabid fans (like me) paid good money for these CDs, hungry for more new progressive rock. I'm personally grateful that I hear many of these albums better now than ever. The perfect reason to own something rather than rent.

Ownership: 1996 Lizard (CD). Lyric booklet with photos.

8//96 (first acquired); 9/28/24 (review)

Danze d'Ansie (1998)

As I've mentioned a few times before, the 1990s hold many prog rock gems that were little known even back then, and now have been completely forgotten. Aria Palea is one of those bands. They released two albums in the late 90s and basically disappeared save perhaps a comp contribution. Many of the 90s bands took a page from the 70s Italian prog cookbook and then proceeded to record using modern production techniques. Not Aria Palea. While it's not retro prog in the purest sense, it definitely sounds more like an earlier album. The primary reason for this perception is that the predominant lead instrument is the flute, one of those timeless sounds that transcends current fads. The other is the decidedly Demetrio Stratos styled vocals, using a similar affectation. While not near as demonstrative as Alberto Piras (Deus Ex Machina), the overall impression remains. There's plenty of guitar to savor as well. Had you told me this was an archival album from 1976 originally destined for the Grog label, I would have believed it. And that's the story line here. If you're a fan of Italian progressive rock, this is one of those hidden titles you'll want to seek out. I also have the debut, which I'll eventually need to report back on as well.

Ownership: 1998 Lizard (CD). Unique die-cut-in-the-center lyric booklet.

1998 (first acquired); 11/6/20 (review)

11/6/20 (new entry)

Quad ~ England

2 (Q) (1997)

Quad 2 starts with an Indian stringed instrument that sets the tone (or drone) while tribal drums and acid guitar slowly float the listener away. Lots of mellotron and acoustic guitar. One of the most blissfully tranced out Krautrock albums since Dom's Edge of Time.

Ownership: 1998 Prescription (LP). Numbered (theoretically, mine has a red mark in its place) with an insert. 

2004 (review); 3/18/11 (acquired / update); 6/2/24 (update)

Quad (1997)

---June 2005

Psychedelic chill out music from Sun Dial offshoot. With the female narration, you could qualify this as a modern day Galactic Supermarket. An easy formula that is rarely duplicated in these times. Plenty of great acid guitar and echoed sitars.

---1/18/20

 

Quad was a side project of Gary Ramon, basically exploring his more Krautrock preferences. In a lot of ways, Quad was to Gary Ramon / Sun Dial what Incredible Expanding Mindfuck was to Steven Wilson / Porcupine Tree. Plenty of great acid guitar and echoed sitars to submerse oneself in. A formula that is hard to master to obtain the right atmosphere. 

Ownership: 2005 Acme / Lion (CD). Has a full history of Gary Ramon and Sun Dial. 

9/23/97 (first acquired); 6//05 (review); 1/18/20 (review)

Live ICA June 1997

Quad was a side project of Gary Ramon's Sundial. The premise here is that Quad would take the neo psychedelic roots of Sundial and apply it more to a Krautrock styled sound. Their two proper albums are indeed quite excellent and do a fine job at recreating the atmosphere of a group such as Yatha Sidhra.

As far as I knew, those two albums were all they released. And even the second one is very tough to score given its limited edition. A few years ago I learned of a 3rd album, released only on CD-R. One can see why this wasn't a proper album. To be generous, I could say this was Ramon's homage to the electronic pioneers, such as Tangerine Dream circa Zeit or early Cluster. But mostly it's pretty dull to be honest, and could have used some more judicious editing and a few more ideas. But for fans of analog electronics, static as it may be, it's certainly worth seeking out for a listen.

6/9/19 (review)

6/9/19 (new entry)

Earthstar ~ USA ~ New York

French Skyline (1979)

About 35 years ago I purchased this album new from a local store. I enjoyed it, filed, and pretty much that was the end of my Earthstar story until the CDRWL days. And it's only been in the last two years that I filled in the remaining three albums, which I've dutifully reported on here at UMR. So it's ironic that French Skyline is the last of those for me to discuss.

---2008

Earthstar is more or less the working band name for one Craig Wuest...  ...I still consider it one of the best electronic albums from the US (though recorded in Germany and France). Of course, having Klaus Schulze produce the album probably helped immensely. It's a powerful album in the Berlin School style.

---3/21/24

In hearing this album for the first time in 16 years, the Schulze effect is very prominent on the suite known as 'Latin Sirens Face the Wall'. It could very well be an archival release from the Timewind sessions. It's really the only piece in Wuest's oeuvre that isn't highly original. The title suite is more diverse recalling their debut Salterbarty Tales, and is what makes this album special like the others.

Ownership: 1979 Sky (LP); 2023 Made in Germany (5xCD). Details can be found on the Salterbarty entry. 

1990 (acquired); 2008; 3/21/24 (review)

Salterbarty Tales (1978)

---11/28/10

I didn't know what to expect on this rare debut by Earthstar. Would it be the Berlin School tour-de-force of French Skyline or more towards the classically oriented electronic sounds of Atomkraft? Nein, Danke!(?) The opening track had me drooling, with processed fuzz guitar mixed in with the electronics. A definite French vibe pervades similar to what Phillippe Besombes was doing with the Pole label. The next two tracks highlight piano and harpsichord respectively, and are definite proto new age songs. Following this, we are taken back to the otherworldly sounds of the first song, though this time there's oboe buried in the mix. Perhaps the best use of the instrument I've heard in an electronic setting. 

Side 2 opens with a lengthy near side-long composition that at times is sublime and combines the best elements of the 1st and 4th songs on Side 1, and also adds a bit of sequencing. The album closes on a quieter note, but still fits squarely in the cosmic music realm. I was more than pleasantly surprised by the quality of this album.

---6/10/23

I digested that one pretty well on initial impact. It possesses this murky and mysterious feel that only the French seemed to capture. It's all over the place like Humans Only, an album I've only discovered recently. It's not quite as focused though, and some of the new age bits drag on a bit. Long album clocking in at 57:35. In obtaining this LP, I thought it might result in being my favorite by Earthstar, but that title now goes to Humans Only, though this still finds itself in second place among a killer quartet of albums.

Ownership: 1978 Moontower (LP). Includes what looks like a lyric insert, though the album is entirely instrumental; 2023 Made in Germany (5xCD) Titled: Collected Works. Fat box jewel case. This package includes all four of their released studio albums plus one bonus album that was unreleased until now. Unfortunately they appear to be from vinyl rather than master tapes. The copy used for French Skyline wasn't the best either. Superior liner notes from band member Dennis Rea provide context to the history of Earthstar. I found myself relating to all of this as if I grew up with them in Utica, New York. I was in faraway Dallas, and arrived to the same musical conclusion a few years later, but much of their background was similar to my own (minus the psychedelics I hasten to add). 

11/28/10 (review); 6/10/23 (acquired / update); 3/11/24

Atomkraft? Nein, Danke! (1981)

I recently went on about Craig Wuest and his project Earthstar on the Humans Only album - one of the best personal discoveries of the last few years for me. He most certainly marched to his own drummer, though at times it's very apparent that Klaus Schulze was the field marshal. Earthstar recorded four albums, each very different from the other. Salterbarty Tales had an odd progressive rock meets New Age bent. French Skyline went all-in Berlin School, and Humans Only closed off the era with one of the most inventive electronic albums I've ever heard. But what of the 3rd, which is the subject of this post? This album also calls upon the Schulze influence, but in this case his more classically oriented works. Atomkraft? Nein, Danke! is a more somber and moody affair. More of a deep trance type listen with obvious chamber qualities such as piano and violin. This may not read very exciting, but in the hands of Wuest, the music comes to life in multiple ways. And as usual he brings along a lot of musicians to add variety and color. A true talent that is sadly forgotten today.

Ownership: 1981 Sky (LP); 2023 Made in Germany (5xCD) 

8/26/22 (acquired / review)

Humans Only (1982)

Utica, New York's finest electronic musician, Craig Wuest, had always marched to a different drummer. Earthstar's debut Salterbarty Tales has elements of the French progressive electronic masters. Somewhere along the line he befriended a one Klaus Schulze who produced his first album for the Sky label, French Skyline. Though despite the name and his debut's predilection, the album definitely fits well within the Berlin School. Their 3rd album is one I obviously need to revisit, and will refrain from comment until then.

Which gets us to Humans Only. With that title and a modern cover, I just presumed all these years this was a typical 80s throwaway electronic album, or perhaps an NDW influenced work. As I've been reliving the X Wave years, I threw this in with another purchase. No one talks it up and the grades are consistently in last place for the group. Pssst... I have a tip for you underground heads out there: This is their best album. Huh? At least as I hear it today. I think sometimes we have a pre-conceived notion that late era releases from the 80s are uniformly worse than their 70s predecessors. More often than not, that premise remains true. But sometimes...

...you get Humans Only. Earthstar here are a four piece with a cast of thousands helping out. Hard to say what Wuest was thinking when he composed this album, but he's reaching deep in the early to mid 70s here. Opener 'Rainbow Dome' and 3rd track 'Indian Dances' are upbeat, sunny, and positive pieces reflecting the mood of the era, similar to Ashra in that way. But the music recalls Mike Oldfield's Ommadawn more than anything. The second track 'Don't You Ever Wonder?' is stunning, with some beautiful song passages. And 'One Flew Over the Bridge' isn't that far behind. Side 1 is super. A feel-good underground proggy electronic album.

Then we get to side 2. Now it takes a turn for the weird. 'TV Funk' has funky rhythm guitar with Lisa Gerrard styled vocals channeling the music of SPK. What? Yea, read that one again. This leads to 'Tip Toe Funk' which doesn't have an ounce of funk. But what it does have is hardcore Krautrock, with minimalist electronics, dark atmospheres, percussion, eerie voices, and psychedelic guitar interludes. It's jaw dropping, more in the contrast of tone to the rest of the album, than evaluating it by itself. The album is backloaded with both mellotron and Birotron, the latter not something you will hear much.

You just never know where your next new brilliant album will come from. 

Ownership: 1982 Sky (LP); 2023 Made in Germany (5xCD)

2/24/22 (acquired / review); 5/1/24

2/24/22 (new entry)