Amon Duul II
Vive La Trance

In 1974, Amon Duul II released their seventh album, "Vive La Trance." When the album came out, many cried betrayal, and even today, the record is seen by some as a conspicuous step backward, a clumsy attempt to reach a larger audience through a softer, more accessible sound that winked at American rock. In reality, Amon Duul II had already begun a new path with "Carnival In Babylon" (1972) and "Wolf City" (1973), marked by greater structuring where songs replaced the long improvised suites, which combined avant-garde, folk, progressive, and psychedelia in a "panic" and delirious sonic maelstrom that found its consecration in albums such as the still raw but brilliant "Phallus Dei" (1969), the mighty double LP "Yeti" (1970), and yet another double LP, the imaginative and phantasmagorical "Tanz Der Lemminge" (1971 - "Viaggio in un sogno" in the Italian version). With "Carnival In Babylon", a sharp change of direction occurred: Amon Duul II seemed to descend to earth to compose splendid songs imbued with soft psychedelic moods, characterized by perfect sonic cohesion as confirmed by the subsequent powerful "Wolf City", a true rock manifesto of the '70s and a great cult album. "Live In London" (1973) captured the band in an intriguing live performance where their rock side emerged dominantly. It was a time when German bands were beginning to gain success and be recognized in England: Tangerine Dream had signed with Virgin and "Phaedra" (1974) reached the 9th place on the charts, Can had settled with United Artists and were considered one of the most interesting and avant-garde bands of that time in Europe, and even Faust with "Faust IV" (1973) had released an album with more restrained and ordinary sounds compared to the past with Virgin.

The same Amon Duul II were publishing with United Artists and certainly sought greater visibility outside of Germany: the result was precisely "Vive La Trance". The album offers short and concise songs compared to the past: to be clear, the times of "Yeti" are now a distant memory. Despite the criticisms and doubts, it is not actually a despicable album. The core of the lineup consists of historic members Chris Karrer, Peter Leopold, Falk Rogner, and John Weinzierl plus singer Renate Knaup. The first part is, in my opinion, of high level: the first track is a nice rock song with an effected guitar that reminded me of the settings of "Wolf City" with fine violin inserts. The next "Fly United" is a psychedelic rock piece, in the vein of Jefferson Airplane with a prominent pulsating bass. In "Jalousie," Renate Knaup shines on vocals in what is a delicate and emotional ballad. "Im Krater Blühn Wieder Die Bäume" is, instead, an instrumental with keyboards in great prominence: a great cosmic track in the wake of the legendary Hawkwind! But the standout piece of "Vive la Trance" is undoubtedly "Mozambique": here Amon Duul II set aside their inhibitions and return to their ancient glory: it's a long composition, introduced by the exotic sounds of bongos, that enjoys perfect formal cohesion with Knaup soaring with her voice over the progressive and psychedelic jam session of the instruments. The rest of the album is composed of short and even pleasant rock tracks like the folk-rock "Apocalyptic Bore" and the rock track "Trap." But the overall level tends to be flat and uniform, although always dignified.

"Vive la Trance" remains even today a good album, a testimony of a period definitely less creative but not for that reason uninteresting. It's a solid and compact album in which, at certain moments, flashes of genius and creativity still shine.