ALEX ORIENTAL EXPERIENCE - TALES OF PURPLE SALLY' (with Can - German Kraut 1972)

Eastern  Influenced  Directions By
Alex Oriental Experience

biography

Ther guitarist Alex (aka Alex Oriental Experience) is considered to be one of the pionnering figures in East meets West 70s fusion. His original folk-ish rock integrates funkadelic-ethno grooves and spacy tendencies. His first release (Alex, 1973)is a must have for krautrock collectors. His later works feature more mainstream ingredients next to blues-fuzzy based rockin guitars.(progarchives)

This CD contains a set of songs from different early LP`s, like E.G.

the complete first LP with the title "Alex" from the year 1973 and

the Cologne cult volumes of "Can". Plus two songs from their second

LP "That`s The Deal", as well as a few selections from the double LP

"Studio Tapes 1976-78", and the LP "Sazou".

The song "Dadaloglu" was a 1970 hit in Turkey for about seven months

and received first place with National Hit Parade for that year. The

music is a mixture of ethnic garmoni (accordion), hard hitting brass,

and beautiful acoustic guitars.

(pnf)

a weird version of Turkish rock, filtered through the German scene of the early 70s! The albums were recorded with help from Holger Czukay and Jaki Liebezeit of Can, who possibly play on the records too -- and they're a weird mix of some of the Arabesk rock of the Turkish scene of the time with headier German prog elements -- a very hypnotic, compelling blend -- and one that's made even more appealing by the English lyrics on many tunes. The guitar is often a bit fuzzy, the rhythms somewhat romping, and instrumentation also includes some key use of baglama -- a three-stringed guitar that further enforces the Turkish influence in the music. (.dustygroove)

Alex Oriental Experience – at Last.fm

CAN

                                                                         

 - Holger Czukay

- Jaki Liebezeit

- Michael Karoli

- Gerd Dudek

- Alex Wiska

- Cem Karaca

- Huseyn Sultan Oglu

- Seyhan Karabey

- Unol Buyukgonenc

Alexander "Alex" Wiska (saz, vocals), Horst Stachelhaus (bass), Manfred "Manni" von Bohr (drums, percussion), Kurt Billker (drums), Rich Schwab (bass), Ufo Walter (bass), Marc zur Oven (drums), Xaver "Fischfinger" Fischer (keyboards), Fritz Randow (drums), Rosko Gee (bass), Matthias Keul (keyboards)

(rateyourmusic)

http://www.wiskarecords.de/
Alex Oriental Experience

Discography:

- Alex (1973)

- That's the deal (1975)

- Live (1980)

- Fairy tales and promises (1982)

- So simple (1984)

enjoy!

Alex - 5 albums

Dom - Edge of Time - 1971- German Psychedelic (Krautrock)

an interesting melange of psychedelic,

cosmic and folk music

in a rather dark and low key meditative atmosphere.

A hypnotic and ecstatic blend of space rock, eccentric hippie folk and Eastern mantra .

(from my favourite krautrock classic treausure Jem!)

"You will meet me there at the edge of time

the fire-sea licking my feet

gas and damp,

wind and rain,

snow, heat, waters, ice and pain

damned souls cry "forgiveness!"

the past will be future and future will be past

not one thing in our world that will ever last

only you and me

until eternity shall that spirit

one containing two

wander through space and peace we knew"

(From "Edge Of Time")

DOM

Personnel:·

Laszlo Baksay - Bass, Lyrics, Vocals

Gabor Baksay - Percussion, Flute, Vocals

Reiner Puzalowski - Guitar, Flute, Vocals

Hans Georg Stopka - Organ, Guitar, Vocals

ALBUM:"Edge Of Time" (Melocord ST-LP-D 001) 1972

NB: A re-issue also with Melocord label (red) appeared in the first half of the 80's.

Tracks:
1. Intruitus 8.55

2. Silence 8.53

3. Edge Of Time 9.05

4. Dream 9.37

5. Flotenmenschen 1 6.31*

6. Flotenmenschen 2 1.15*

7. Flotenmenschen 3 1.17*

8. Flotenmenschen 4 1.11*

9. Let Me Explain 6.37*

(*Bonus Track)

This is hard to distinguish from the original, but it is dubbed from disc and has inferior sound quality. A legal CD re-issue with good sound quality appeared in 1991 on Witch & Warlocklimited to 500 numbered copies. (lobotomy NOTE: pristine release by Second Battle in 2001)
A group originating in Dusseldorf. The von Baksay's escaped from Hungary in 1956 and settled in Dusseldorf. The band Dom came into existence in 1969 and performed live at Cream Cheese, the city's leading club for rock music.

Their private pressing Edge Of Time was recorded in 1972 at the Neubauer studio.

Featured on the album were four long and mostly instrumental tracks. It was an interesting melange of psychedelic, cosmic and folk music in a rather dark and low key meditative atmosphere.

"Introitus" (8:50) opened the album in an almost spooky way with acoustic guitars, flute and hand percussion. Later in the track an organ created a spirited mood akin to the vintage Pink Floyd's "Cirrus Minor".

"Silence" (8:46) was a sinister trip into deep space with organ, unintelligible voices, acoustic guitar, electronic effects and flute.

"Edge Of Time" (9:01) sounded as if Kalacakra and Tangerine Dream jammed together out in space. The spoken lyrics of the track summarize the trippy mood of the whole album:

"Dream" (9:33) concluded the album much like the quiet parts of Floyd's "Careful With That Axe, Eugene" and "Quicksilver".

Edge Of Time is unreservedly recommended for all fans of the early Pink Floyd (ca. 1968-69) and Tangerine Dream (ca. 1971-75)the first Siloah album ,Kalacakra's "Crawling To Lhasa", Agitation Free,Ash Ra Tempel and Amon Duul's "Paradieswarts Duul". style.

"Dom" was the groups reference name for an acid trip that lasted for two days.

Dom's Edge of Time

link info & green-brain

"The Crack In The Cosmic Egg"

progarchives

Enjoy!

8 DAYS IN APRIL - 1972 The Hamburg Scene (German. Prog. Psych)

8_DAYS_IN_APRIL_-_1972__The_Hamburg_Scene___GER._PROG._.rar

Wolfgang Dauner Quintet - The Oimels 1969 (Germany 1969 psych jazz fusion w.sitar)

Originally released in 1969 on famous German Label MPS ´The Oimels` presented Dauner & Co. in a very different light, as a psychedelic pop band. Full of surprises, it even concluded a version of the Beatles ´A Day In The Life`, alongside twisted pop, beat music and ethnic music. Over-the-top fuzz guitars, one primal punky stomper and sitar-drenched lounge freakouts are the order of the day. Truly superior stuff. Great guitar work from Siggi Schwab. An outstanding album, you can´t ignore.

a must for all krautrockers and collectors!
( from http://www.ohrwaschl.de/)

Biography
by Ron Wynn AMG
An intriguing composer and ambitious pianist, German musician Wolfgang Dauner has combined jazz, rock, electronic music and elements of opera and theater in creating broad-based, ranging works. While sometimes these compositions seem too far-reaching, Dauner's best work shows the links between idioms and genres and offers provocative musical and cultural concepts. He studied trumpet, piano and composition at the Musikhochschule in Stuttgart, then joined Joki Freund's sextet in the early '60s. Dauner appeared at several German festivals, then made his recording debut heading a trio in 1964. It was one of the first European free jazz recording sessions. Dauner led Radio Jazz Group Stuttgart and wrote compositions for them in 1969. He formed the jazz-rock band Et Cetera in 1970, then co-led with Hans Koller the Free Sound & Super Brass Big Band. He helped organize The United Jazz And Rock Ensemble in 1975, and began featuring theater, opera, and dance segments along with his performances in '70s and '80s concerts. Dauner's composed music for films, radio and televison broadcasts, and a children's opera. He's recorded for Mood, Columbia, MPS, and ECM among others. Dauner has a couple of sessions available on CD.

Wolfgang Dauner

German pianist Wolfgang Dauner (1935) was a reluctant pioneer of free improvisation on Dream Talk (september 1964) by a trio with Eberhard Weber on bass and Free Action (may 1967) by a septet with French violinist JeanLuc Ponty, percussionist Mani Neumeier, Weber and tenorist Gerd Dudek. Fuer (april 1969), by a quartet featuring Eberhard Weber mainly on cello, and The Oimels (july 1969) instead embraced the hippy age with an acid-soul-jazz sound replete with fuzz guitars and sitar. (www.scaruffi.com)

Wolfgang Dauner Quintet - The Oimels 1969 (Germany 1969 psych jazz fusion w.sitar)

( LP MPS Records, 1969 )

Bass, Cello, Vocals - Eberhard Weber

Drums, Vocals, - Roland Wittich

Guitar - Pierre Cavalli

Guitar, Sitar - Siegfried Schwab

Piano, Organ, Vocals, Wolfgang Dauner

German All Stars 1969 in Südamerika.

A1 Oh Baby I Don't Love You Anymore (4:20)

A2 Take Off Your Clothes To Feel The Setting Sun (4:00)

A3 My Man's Gone Now (3:30) Written By - Gershwin

A4 Come On In On In (3:32)

B1 Dig My Girl (7:32)

B2 Greensleeves (3:55) Written By - Traditional

B3 Uwiii (2:56)

B4 A Day In A Life (2:57) Written By - Lennon, McCartney

Wolfgang Dauner

Wolfgang Dauner on MySpace

Enjoy!

Langsyne - Langsyne (Germany-1976 Psych Indian Folk

A very beautiful psych folk item (sitar,..) is this one from 1976. The second reissue, the official one was done by Rebirth Records (fax 0049 (0) 20365483).(Psychedelic Folk homestead)

AlbumsLang'syne 1976
Lang'syne (Dusselton 1976)Album Legnth: 39.18 Info: 1998 CD Reissue Rebirth CD 001

Tracks:

1. Medina 8.29

2. Morning 3.32

3. Changing 6.46

4. Cynghanedd 7.49

5. A Very Sarcastic Song 6.43

6. Carnivore 4.02

7. Mignon 1.51

8. Lady Mary 3.48

9=Bonus Track

Langsyne is a German trio which released one album in its whole career. Self titled, their first only effort was recorded in 1976. The music is a consistent mixture between folk rock and eastern influences with lot of acoustic guitar, sitar elements. The presence of the electric organ provides to the relative “pastoral” and “ethnic” mood a spacey felt. Advanced instrumental improvisations & interludes are combined with a couple of structured songs with English lyrics. This experimental, peaceful folk rock can sometimes resonates with early kraut folk bands as Witthuser & Westrupp, Hoelderlin, and Broselmaschine. This is in most part an acoustic, contemplative journey deliberately orientated to additional “world” instruments, musical arrangements and imaginary inspired by the eastern, India “raga”universe..(progarchives)

Lang'syne appear to be another one-album wonder as they released an interesting self titled folk album in 1976. Lang'syne sing in English and their brand of folk bares little resemblance to the earlier kraut-folk bands like Broselmaschine, Holderlin, and Witthuser and Westrupp. Throughout the album, there are small touches of a German and Eastern ethnic feel to the music, but for the most part their sound is a bit more Anglo influenced. Many of the lyrics and much of the music appear to have a dark, longing quality which results in the album sounding a bit mystical, and occasionally even Renaissance-style. The standout track is the instrumental 'Cynghanedd'. 'Cynghanedd' begins like an Eastern-influenced ballad, or "Melodie der Natur" as described in the CD sleeve. This track utilizes natural sound of birds and insects and ends with an interesting interplay of 'dueling'-guitar chord sequences. Another track worth mentioning is 'Medina' which has sporadic touches of Witthuser and Westrupp sprinkled throughout. As a bonus, this CD contains 1 bonus track. [3/5 Doug]

Langsyne [Germany]
Langsyne (76)
Langsyne were a German progressive folk band in the vein of Magna Carta in their Lord of the Ages period.

Lyrically it can get weak at points, due to the lyricist/vocalist's strained use of the English language, but it's still bearable.

The instrumentation is interesting in that they don't have a drummer - there is no percussion aside from a single drum in some songs and the glockenspiel. Heavy use of the guitar, both 6 and 12 string, and things like sitars and recorders thrown into the mix, as well as a heavy organ presence (and for some reason, whenever I hear the organ on this album, I can't help but remember Tangerine Dream's first two records, even though the music is nothing like them). I have a copy from a CD on Lost Pipe Dreams records, but I don't know whether it was a reissue of an LP, or another one of those lost, unreleased 70s prog gems. What I do know is that the disc is limited to something ridiculous like 500 copies. (New GiblatarEncyclopedia)

Musicians:

Edbert Froese - guitar, Keyboard, Vocals, Sitar, Psalter

Matthias Mertler - Guitar, Vocals, Percussion, Glockenspiel

Ulrich Nahle - Flute, Guitar, Vocals, Percussion

Official website
Enjoy!

Brave New World - Impressions On Reading Aldous Huxley(1972 German Experimental Krautrock)

Brave New World - Impressions On Reading Aldous Huxley

This band emerged from Hamburg and lasted only a few years. It included a mixture of local musicians and two “foreigners”. The German musicians were Reinhart Firchow (recorders, flutes, ocarina, stylophone, percussion, vocals), Lucas Lindholm (bass, bass fiddle, organ, piano), Dicky Tarrach (drums, percussion), Herb Geller (flutes, cor anglais, alto/soprano/tenor saxes, organ), the Irishman John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Esther Daniels (vocals). As you can tell from the name of the band and one album title, their coming together was to make their instrumental interpretation of Aldous Huxley’s novel – A Brave New World. Being almost entirely an instrumental band (apart from some occasional voices) they created a most unique sound which combined together successfully different styles such as folk, psychedelic rock and electronics. Their use of wind instruments (woodwinds), peculiar percussion patterns, flute, saxophones and a stylopohone gives their music a special otherworldly sound. A possible sound-alike would be Annexus Quam (in the psychedelic rock approach) and Between (in the ethereal, atmospheric sound). Sadly, after they released Impressions on Reading Aldous Huxley in 1972 and then dissolved. It is commonly referred to as an essential album in any krautrock album collection. (Progarchives.com)

Impressions on Reading Aldous Huxley
Impressions on Reading Aldous Huxley is one of the most heralded krautrock titles that still has not yet made its way to CD format. It's a shame, because this is the real deal, a rock album with enough psychedelic and experimental touches to keep the most ardent fan occupied. The band is a quartet based on the picture, a quintet based on the liner notes with two members playing a wide array of different flutes. And based on smaller pieces like "Prologue" or "Lenina," the music is flute heavy indeed. The first side of the record takes a bit to get going as it meanders abstractly through several atmospheric pieces before picking up on a nice jam with sax, organ and a number of weird effects. The last track on the side sounds like it could have been an outtake from an Osanna or Citta Frontalι record with it's percussion rhythm and lyric-less chorus. Side two is comprised mostly of the 19 minute "The End," the album's tour de force. This piece is just incredible with its dramatic opening moments, a grandiose theme that melts into some of the oddest and spellbinding chord sequences on record. The piece combines so many aspects - drone jamming, male choirs, saxophone solos, tripped-out effects - that every listen is a new experience. By "Epilogue" one will be exhausted by the sheer amount of thought it takes to absorb such a new experience. An essential album for the krautrock collector.

(Mike McLatchey gnosis2000.net)

A1 Prologue 1:01
A2 Alpha Beta Gamma Delta 7:38
A3 Lenina 4:21
A4 Soma 5:18
A5 Halpais Corn Dance 3:24
B1 The End 17:42
B2 Epilogue 1:28

more info

Enjoy!

Opossum - Bears Banquet(1974 private pressed Germany , psychedelic rock with jazz elements)

Opossum – Bear’s Banquet. 1974.

Opossum is the predecessor to Morpheus. And hearing this posthumous release, one can tell that Opossum is much looser in their embryonic stages to the more rigid Morpheus. Despite lacking cohesion and strong melody composition, the rough styling here is quite appealing. Maybe like a less avant Exmagma perhaps. Interesting to note for an album that displays prominently a flute player on the cover, it’s surprising how little the instrument is used. Outer Music Diary

Precursor of Morpheus, from the greater area of Warburg. Playing a relaxed instrumental jazz-rock, with flute, keyboards, and two drums, no vocals. Unreleased tracks in a clear sound.

the tracks:
The sun and moon have come together/ Mittelstreifen / Amina / Opossum novum / Bear’s banquet

Gerold Adler (g),

Heinrich Holtgreve (sax, cl),

Robert Binnewies (key),

Peter Blömeke (fl, synth, perc, dr),

Alfred Franke (dr, perc),

Karl-Heinz Cornelius (b)
Morpheus is a band which might be known well to the enthusiasts of German rock. The band came from the greater area of Warburg, a city situated in the eastern part of Westphalia. Their precursor was given the slightly silly name Opossum. The name is connected with their bassist who was wearing an opossum skin tobacco pouch on his belt. Opossum, like later Morpheus, were playing relaxed instrumental jazz-rock. There were no LPs released, but in 1974 five tracks had been recorded of which the tapes were kept hidden from the public almost for thirty years. Now they are released by Garden of Delights, carefully remastered by Gerold Adler, the band’s guitarist and composer. One can hear by their tracks that the six musicians had a sound education. The sound was made by flute, sax, synthesizer, and – very extravagant – sometimes by two drums(Garden of Delights)

get it here enjoy - Part1. & Part2.

Between - Dharana (1974 Germany Kraut Psych.Indian Cosmic Ambient) Blows Your Mind!!!

In 1970, Peter Michael Hamel founded BETWEEN, an international band specialised in improvisational / « ethnic » rock music. The name Between comes from the fact that Hamel's music is originaly "in-between", always making a combination between "popular music" and "serious music". The classical musician Robert Eliscu (born American), responsible of oboe parts in POPOL VUH can be considered as the major member of the musical tribe next to Peter Michael Hamel. With a small community of six members, BETWEEN recorded its first album “Einstieg” in 1971. It directly announces the musical orientation to come, timeless ethnic rock compositions, mixing together several acoustic instruments (bongo, flute…) to folk and jazz. “And the waters openened” recorded in 1973 carries on improvisations and acoustic exploration, played in a rather “spacey” rock atmosphere, sometimes closed to krautrock, weird flavour. “Dharana” (1974) is seen as a classic album and marks a new step in the launch of “world” music. It contains long epic, acoustic pieces with a few minimalist, oriental accents. “Hesse Between Music” (1975) is a concept album, always improvised, featuring Indian scales and recitation. During and after BETWEEN’s career, the front man Peter Michael Hamel has developed the possibilities of spiritual effects of music on mind thanks to a great variety of solo albums in search of East meets West.

http://www.progarchives.com/

BETWEEN
Personnel:
PETER-MICHAEL HAMEL kb
ROBERT ELISCU oboe, flt
ROBERTO DETREE g, b
COTCH BLACK perc
(JAMES GALWAY flt) A
(ULRICH STRANZ vla) A
CHARLES CAMPBELL perc B

ALBUMS (up to '76):

(A)"Einstieg" (Wergo SM 1001) 1971
(B)"And The Waters Opened" (Vertigo 6360 612) 1973
(B)"Dharana" (Vertigo 6360 619) 1974
(B)"Hesse Between Music" (Electrola 1C 062-29546) 1975
"CONTEMPLATION"(WERGO LABEL SM-1012) RELEASED IN 1977

PETER-MICHAEL HAMEL

Between has to be one of the most international bands of all times! The six members that recorded the debut album Einstieg (1971) came from four different nations. The group were formed in 1970 on the initiative of Peter-Michael Hamel as Between The Chairs, but as this expression has different meanings in German and English, the name was soon shortened to Between. Hamel had studied composition since 1967 and wanted to create a new musical genre (an ambitious man!), between (pun!) all the existing ones. The other German of the band, Ulrich Stranz, had a similar academic background. The American Robert Eliscu came to Germany in the late sixties to play with the Munich and Berlin philharmonic orchestras. Another American citizen, Cotch Black, played tablas and percussion. Roberto Detree was an Argentinean and had played Spanish guitar in classical folk music ensembles in his homeland. He also built musical instruments.
James Galway joined briefly as sixth member before the recording of Einstieg, (released October 1971 on the Wergo label) he was a critically acclaimed musician well known for his classical music recordings. The album included several short tracks, recorded at the Staatliche Musik-hochschule in Munich, plus a 9 1/2 minute avant-garde piece, "Space Ship", recorded in Berlin. Between demonstrated their ability to play different styles (jazz, folk and avant-garde), but did not manage to merge these styles. Most successful was Eliscu's "Katakomben" and Hamel's "Triumphzug Kaiser Maximillian". Those tracks had a dramatic atmosphere with wordless vocals, bongo rhythms, oboe, flute and organ. Also interesting were the tracks grounded on Detree's roots in South-American folk music. The more free-form numbers "Memories" and "Flight Of Ideas" were uninspired improvisations with an ethnic touch, a direction already explored to full effect by Limbus 3 and 4.
Galway and Stranz, both of whom had kept a very low profile on the album, left to concentrate on classical music in 1972. This left more room for Hamel and Eliscu to develop longer tracks and more meditative music. Hamel released his first solo album in 1972 and guested on the first Agitation Free album. Eliscu guested on several Popol Vuh albums.
The second Between album And The Waters Opened (1973) included six tracks. This only had acoustic instruments and included a new member: Charles Campbell. On the whole, it was a better and more homogeneous merging of styles than their first album. It was Between's only release on the legendary "swirl" Vertigo label (the next one had the "spaceship" artwork!). The front cover artwork was quite remarkable: a drawing of a gigantic splash of colours - illustrating the event when the waters opened. Dharana from 1974 was a kind of world music symphony recorded with the aid of the SWF orchestra. This work was based more on improvisation than composition, particularly the 20 minute long title track. Also worth mentioning is Eliscu's beautiful 11 minute piece "Joy... Sadness... Joy". The same year Between also made music to poems by the actor Gerd Westphal Hesse. This resulted in Hesse Between Music, released January 1975. Besides Hesse, who recited his own poems, several guests also appeared on the album, like Al Gromer (sitar, who also recorded with Popol Vuh and Amon Duul II) and Tom van der Geld (vibraphone). Hamel has recorded several solo albums, some containing music reminiscent of Between, but generally more experimental and minimalistic. Eliscu has mostly concentrated on classical music. Between are best remembered for their albums in the period 1973-1975. Their strength was in their more extended tracks, which gave these talented musicians time to express their ideas through the improvisations.

COSMIC DREAMS AT PLAY

This one , is for all of you (Cosmic Jokers of the Universe)

and especially to a Friend... Mr.Gkapageridis

Enjoy & Leave Your Mind Free!

Between_-_1974_Dharana.rar

ET CETERA - ET CETERA (1970 Kraut Psych)

Et Cetera

"The Crack In The Cosmic Egg"
Ever the entrepreneur of new musical revolutions, Wolfgang Dauner hatched the idea for one of the most elaborate con-jobs in Krautrock history. He managed to relaunch the Wolfgang Dauner Group as Et Cetera and promoted them as a new band, with an LP cover that was eye-catchingly psychedelic, and deliberately obscure in its references as to who the musicians were. And so, despite being on a jazz label, the album ET CETERA was launched onto the rock buying market. Amazingly Dauner's radical concoction of rock, jazz, ethnic and avant-garde musics caught the attention of many, Et Cetera being voted as newcomer band of the year in a German Sounds readers poll, despite the fact that the band had actually been in existence since 1968 (under various names) and recorded numerous albums! ET CETERA itself is an extraordinary album of weirdly trippy fusion that rides somewhere between instrumental Amon Düül II, Embryo and Dauner's own earlier classic OUTPUT. Full of ethnic and avant-garde elements, with lots of ethnic colour added by Sigi Schwab and his vast range of instruments, and many surprises, not least notable being the offbeat poem "Lady Blue".
All three Et Cetera albums were full of surprises, not least so in that excepting Wolfgang Dauner and Fred Braceful, the rest of the band was different on each album. Totally unexpected is the Hendrixy song by Larry Coryell that opens KNIRSCH, contrasting totally with the rest of album. And then there's the double live album which featured all new compositions and the talents of newcomers: the avant-gardist Jürgen Schmidt-Oehm and former Eulenspygel member Matthias Thurow. There's lots of great spacey Embryo styled fusion on this, archetypal Dauner riffing jazz topped by his unique keyboard style, avant-garde experimental works, and a trippy blues that recalls Beaver & Kraus' "Walking Green Algae Blues" and even a synthesizer track!

Wolfgang Dauner (synthesizer, piano, clavinet, clavichord, ring modulator, electric percussion, trumpet, flute),

Sigi Schwab (guitars, sitar, tarang, lute, veena, sarangi, flute, balafon, ring modulator),

Fred Braceful (percussion, vocals), Roland Wittich (percussion),

Eberhard Weber (basses, cello)

Discography
ET CETERA (9-12/12/70)LP Global 6306 901 (1971)
KNIRSCH (3/72)LP BASF/MPS 21 21432-2 (1972)
LIVE (5/73)2LP BASF/MPS 29 21754-2 (1973)

Et_Cetera_-_1970_Et_Cetera__German_Prog._Rock_192_.rar

Flute & Voice - “Hallo Rabbit” 1973 The Second Album(JWR CD 951004-1)

FLUTE & VOICE :

The music of Flute & Voice itself is hard to describe: it’s neither rock nor jazz nor folk nor Indian nor classical but shows influences from all these musical traditions.
Fusion of guitar/sitar,flute. Their first album is their best ,although some nice tracks are on their last release .This will be most interesting for persons interested in accoustic fusion, rather than people interested in prog folk or progressive music.

Home Page

Flute & Voice review

An excellent Berlin duo, Flute & Voice were in fact much more multi-instrumental than their name would suggest! The music on their debut IMAGINATIONS OF LIGHT was a strongly ethnic concoction that was not at all easy to pin down. An understated kind of folky rock that seemed to step on from King Crimson's "Moonchild" with weird jazzy and raga touches, hinting at Kalacakra or the Third Ear Band, though totally devoid of any emotion. In fact, the whole album sounds "stoned". The HEAVY CHRISTMAS track was more straight folk.

In December 1995, “Hallo Rabbit,” the second studio production of Flute & Voice was published (Jack Wiebers Records JWR CD 951004-1) after a delay of 22 years. A very pleasant occasion for Hans Brandeis and Hans Reffert to get together again and to chat about the “good old times.” Since they had put their project Flute & Voice on ice in the middle of 1975 for the time being, they kept up their contact and occasionally visited each other – Hans Brandeis lives in Berlin, Hans Reffert in Mannheim – however they had not played a single note together since then. The former times of artistic co-operation had been too intense and too chaotic.

Musicians:

“Flute” Hans Reffert: electric and acoustic guitar, bass and soprano recorder, transverse flute, cromorne

“Voice” Hans Brandeis: electric and acoustic guitar, sitar, vocals

With special assistance of

Dorle Ferber: violin
Norbert Pohlert and Phillip Schulte: cromornes
The recordings on the second album clearly show the development that Flute & Voice have gone through in the course of three years since the publication of the first album: the music has become more direct, musical forms and structures more transparent, the sense of time faster. As can be expected, the album cover text meant to be published at that time sounds rather different from the previous one. The music itself is definitely clearer than the following lines – you may understand them as a kind of “historical” document, not as our views of today: “The aggressive aspect of our music is an expression of the fact that we are deeply involved in this society, which keeps us as individuals entirely in its clutches and from which we cannot just escape into the fictitious privacy of a very individual music. In this respect our music is an expression of our fears. The very moment that we realize our position in society, we try to counteract musically, i.e. we express our dreams, wishes and ideas of a better life in society in our music. Our music clearly reflects our emotional reactions to our own analysis as well as synthesizing thinking processes. It shifts between meditative and more aggressive forms, and it can therefore draw upon the whole broad spectrum of all the intervening stylistic means as well as their musical alienation

the third album : “Drachenlieder” (“Dragon Songs”)

get it here enjoy!

Gurnemanz - No Rays Of Noise (1977 Ger.Progressive Psych.Folk)

Gurnemanz - No Rays Of Noise (1977)
This is an awesome album of progressive folk-rock from German group Gurnemanz. Very much in the style of UK folk-rock ala Fairport Convention or Spriguns, singer Manuela Schmitz has an amazing voice and could give Sandy Denny a run for the money!The male vocalist, Lukas W.Scheel, has got a real Fairport-y delivery also. The musicianship is stellar and the songs, whether sung in English or German, are great. The version of John Barleycorn is one of the best I've heard. Not to be missed by anyone who likes the music of Fairport Convention, Steeleye Span, or Mandy Morton/Spriguns.

Gurnemanz_-_No_Rays_Of_Noise__1977_.part1.rar

Gurnemanz_-_No_Rays_Of_Noise__1977_.part2.rar

Broselmachine - Broselmachine (German Psych Folk 1971)

Brφselmaschine - Brφselmaschine

One of the three legendary Pilz folk albums from the early 1970s German scene.

Of the three, Brφselmaschine were certainly the most "folky".

The five-piece lineup included primarily male and female vocals with acoustic guitar. As accents to various songs, the band added electric guitar, bass, hand percussion, flute, sitar, zither and mellotron.

Inspired by the American folk music of Bob Dylan, Joan Baez, Phil Ochs and Joni Mitchell, German master of acoustic guitar Peter Bursch formed the first line-up of BROSELMASCHINE back in 1968 alongwith flautist/vocalist Jenni Schucker a female singer with an irresistible whispy voice Willi Kissmer on vocals, guitars and zither, Lutz Ringer on metallaphon and bass, and Mike Hellbach on congas, tabla and mellotron. Although many tracks bear German names, almost all are sung in English.

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The quintet disbanded after a first album in 1971 and Bursch, keeping only guitarist Kissmer from the original line-up, pursued his musical endeavours under the name of PETER BURSCH UND DIE BROSELMASCHINE, joined by percussionist Mani Neumeier (GURU GURU), drummer Jan Fride (KRAAN) and three other musicians. Their eponymous LP is definitely their best: a wonderful acoustic album full of finesse of subtle Indian, Middle-Eastern flavour (sitar, tabla, flute) as well as Irish/Scottish traditional folk (mandolin, multi-voice harmonies). Their second album, released under the moniker PETER BURSCH UND DIE BROSELMASCHINE, unfortunately doesnt even come close to the first. In spite of its decidedly folk flavour and many guest appearances, it is altogether different and less inspired, putting the emphasis on Burschs acoustic guitar techniques (although Kissmers electric guitar steals the show at times). For fans of EMTIDI, early HOELDEERLIN or other such cosmic folk bands, the first BROSELMASCHINE album is a breath of fresh air. : : : Lise (HIBOU), CANADA : : :


Musicians: Lutz Ringer - Bass, Mellotron Peter Bursch - Guitar, Vocals, Sitar, Flute Jenni Schucker - Flute, Vocals Willi Kissmer - Vocals, Guitar Mike Hellbach - Congas, Tablas, Mellotron



http://www.broeselmaschine.de/presse.htm


The five minute opener "Gedanken" is a pleasant enough folk track with heavily accented English vocals and some nice electric guitar. "Lassie" follows and is just the sort of song that my Dad would enjoy. One gets the vision that Brφselmaschine would feel comfortable opening for comedian Bob Newhart at a place like the "hungry i" in San Francisco circa 1966. Plates and silverware clanking in the background and after the song completes, an uproarious crowd claps maniacally while cigarettes dangle from their lips. After the two minute acoustic guitar interlude "Gitarrenstuck", things begin to get interesting. "The Old Man's Song" starts with a repetitive and trance-like acoustic guitar. Hand percussion and wah guitar enter and some delicate flute sets the tone for the peaceful femme singing. The nine minute "Schmetterling" is one of the album's highlights and recalls Hoelderlin's Traum with its Eastern motif (sitar, tablas, flute) and German narration.

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Later in the song there's a wonderful driving bass guitar that gives the song a sense of contrasting urgency not found elsewhere. The album closes with "Bossa Nova" (8:06) a nice "stroll in the park" kind of song with emphasis on acoustic guitar, flute, wordless voice and hand percussion.

Overall, Brφselmaschine is the type of album to sooth ones nerves after a hard days work. Not particularly experimental or groundbreaking, but for fans of early Hoelderlin, Emtidi or other such cosmic folk bands, Brφselmaschine is a must pick up.

Tom Hayes 26-August-2001 --------------------------------------------------------------------------------

Solid German folk rock. The album is dominated by acoustic guitars, but flute, percussion, bass and some traditional instruments like zither are featured as well. The male and female vocals are beautiful and (mostly) in German. Very nice album, but not a classic.

Sjef Oellers 23-April-2001 -------------------------------------------

 

Albums

Broselmaschine 1971Peter Bursch & Die Broselmaschine 1976I Feel Fine 1978

Broselmaschine (Pilz 1971)Album Legnth: 35.44Recorded:August 1971 Dierks Studio - Stommeln, GermanyGenre: FolkBest Song: 'Schmetterling'Release Info: 1994 CD Reissue SPALAX 14882

Tracks: 1. Gedanken 5.062. Lassie 5.063. Gittarrenstuck 2.034. The Old Man's Song 5.265. Schmetterling 9.316. Nossa Bova 8.06 Overview:Quite possibly the pinnacle of Krautfolk, Broselmaschine is certainly tops in the folk subgenre and is recommended to those interested in the lighter side of Krautrock. Broselmaschine combines the highly talented acoustic guitar playing of Peter Bursch (a master of the instrument who has published many instructional books on the subject), romantic vocals, and a mild Eastern influence highlighted by the use of sitar and flute.

The album begins with 'Gedanken', a peaceful track with a slight renaissance-era feel, the track features acoustic and electric guitar, flute and romantic lyrics. Next the group performs the Scottish traditional 'Lassie' with multi-tracked vocal harmonies. Next, 'Guitarrenstuck', is a beautiful piece played with folk guitar and a soothing female vocal. 'The Old Man's Song' seems slightly out of place due to its use of wah-wah peddle, but this gives way to some rather ominous sounding Duul-ish acoustic guitar and folk percussion. 'Schmetterling' introduces an Eastern flavor to the album and is most notable for its sitar which reminds me a little bit of mid-period Popol Vuh. Bursch's guitar playing on this track is simply masterful and the track is given and extra boost from some atmospheric mellotron. 'Bossa Nova' stands out as a folk masterpiece with its incredible guitar work, folk percussion, and female vocals. This track has a peaceful quality similar to Paradieswarts Duul, the only difference being the musical ability of Broselmaschines members. The album was produced by Rolf Ulrich Kaiser and engineered by Dieter Dierks and was first issued on Pilz in 1971.

Album Rating: 5 out of 5 [Doug]
Musicians:Lutz Ringer - Bass, MellotronPeter Bursch - Guitar, Vocals, Sitar, FluteJenni Schucker - Flute, VocalsWilli Kissmer - Vocals, GuitarMike Hellbach - Congas, Tablas, Mellotron

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