Agitation Free
Malesch

A slightly delayed debut compared to the chameleonic crew of kraut. 1972.

They were so different from the rest that they didn’t even seem German. And would you believe there wasn’t a standout figure among these German hippies? Yes, Michael Hoenig, maybe not as revered as Gottsching or Schulze, but he’s also the author of unbelievable works like "Malesch" and his "Departure From The Northern Wasteland." The East has been a source of inspiration for many German and non-German bands, especially when thinking of Woodstock, raga, and the "Hare Krishna" Claudio Rocchi with "Volo Magico N.1." They embraced as a symbol of the avant-garde rock movement the inner peace, ecstatic visions, and the break with the anti-prohibition city and family. An innovation that, as we know, was not carried out comprehensively, just look at the social difficulties, xenophobic racism, and political problems still present after forty years. The "dream" and the illusory ease of being independent, free from someone or something, and radically changing the society’s order showed a short-lived life. However, there was foresight in creating art, paintings, and music, still unparalleled works with bands that in a few decades will be considered the "classical music" of the Twentieth century. I certainly refer to English prog and kraut.

Returning to Agitation Free, we see the trip to Egypt made with the Goethe Institute and the efficiency in neatly packaging the ideas, experiences, and sensations awakened by this magnificent land. The desert environment, the heaviness of the heat, and the art of the pyramids unlocked the band's creativity, proving to be a perfect rival to many big names. With this first work, they certified their presence among the greats of the German scene, making it a meteor for the absence of such eclectic sounds in the second album. The freshness of the sound is fantastic, despite nods to American psychedelia, but even more convincing is the harmony with the following realities. I find greater concreteness and solidity compared to Amon Duul, too tied to "dark" schemes that seem a bit naive today, and less roughness than "Amboss." They are in perfect stability and middle ground that doesn't make the sound dispersive.

The introduction "You Play For Us Today" immediately delights us with its exoticism and a bass that could make Waters of "A Saucerful.." envious. The ambient slowly takes shape, but it doesn’t take long to immediately frame the band's arrangement and goals. I would have just liked to have Uli Trepte (Guru Guru) on drums to further emphasize and tribalize the work of the others. The guitar reveals the coordinates of the West Coast groups and intensifies with the wah-wah, often used during the tracks to enrich the sounds even more. The album is a true concept, to be played without interruptions, surprisingly reaching the surrealism of "Sahara City" and "Ala Tul." Hoenig stands out here, revisiting Froese’s lesson with his talents and insights. There is no voice, but it's preferred to set it up with instrumental tracks that promote inner reflection and do not disturb such beauty with the risk of proposing a "weak" and anonymous voice.

The rhythms are obsessive and hypnotic and at the same time minimalistic, seasoned with electronic effects. The peak is reached with the whirlwind and square title track and "Rucksturz," which magnificently closes the work, offering an entirely new depiction of Egypt. There is no tendency towards a gigantic, oppressive, and threatening concept, but rather a fluidity that doesn’t age the work badly. Something to discover or revisit more carefully.