Embryo
Rache

Forge of bizarre, grotesque, and absurd experimentalisms, contaminations and influences; a melting pot of electronics, Kosmiche Musik, Freak spaziali, underground poetry, and aberrant psychedelic raids.

Cradle of twisted and evanescent sounds, fertile ground for innovations, revolutions, and musical tumults.

Germany of forty years ago. Lavish with talents, creativity, sonic anomalies, and electro-acoustic blends.

In this Teutonic, soft and muddy terrain, the seed of fusion, the amalgam, and the sonic interweaving sprout prodigiously; eccentric, genuine, and lively compositions rich with oriental aromas, tribal and wild vibrations, and exotic flavors exert an uncontrollable charm on the pliable mindset of the Germanic populace.

And it is the fusion par excellence, that between jazz and rock, that draws and wonderfully amalgamates sounds from unexplored and enigmatic lands often inaccessible to Western culture.

Blending and mixing, an art expertly cultivated by the Embryo.

Receptacle of esoteric and polychromatic customs, arcane traditions, and spicy folclore Embryo's "Rache" (1971), the second work by the multifaceted, versatile and brilliant Embryo, seduces, intoxicates, and astonishes; the sound genuine, fresh, and lively is free from cloying mannerisms or mellifluous pretentiousness.

Desertic, dusty, and steppe landscapes are splendidly painted with a sound blend heavy with delightful wind arabesques; sax and bucolic flutes outline enveloping, sensual and warm sound patterns exquisitely married with majestic organ carpets (Hammond organ and Mellotron prominently featured) and sublime atmospheres evoked by the electric Fender Rhodes piano ("Revenge").

Mighty, harsh, and piercing violin drones lash fiery winds laden with sand on withered shrubs, interweaving with the liquid and boiling instrumental fabric of the work, with ancestral bongos and belluine percussions heralding Mediterranean, ethnic, and exotic humors ("Tausendfüßler", "Time", "Change")

A sound fresco of extraordinary power and superb beauty.

Finally noteworthy is the caustic "political" vein of the ensemble noticeable in "Espagna si, Franco no" ("Spain yes, Franco finished"), a long piece marked by a copious use of keyboards (Mellotron, Fender Rhodes), opulent wind phrasings (sax, flute, and violin), and granitic bass riffs coupled with extravagant vocal interventions of an indisputably subversive nature. ("Revolution is the only way"... ).

Embryo's Rache, a worthy successor to "Opal" (debut work, 1970) and a primordial gem not only of Kraut Rock but of rock as a whole.

It happened in Germany, forty years ago.