Grobschnitt
Ballermann

After a spectacular debut (one track above all, the wonderful suite “Symphony”), the German Grobschnitt (for more info, I refer you to the excellent review of the homonymous album on DeBaser) return two years later (1974) with “Ballermann,” an ambitious double album (LP + a bonus disc containing the suite “Solar Music”). The ingredients are more or less the same as the first album but mixed differently, resulting in a new creation and not a dull reproduction (as sometimes unfortunately happens). “Ballermann” is a sort of concept album that tells a fantastic journey that begins in Africa and ends in infinite space.

The first of the two LPs presents a rather pronounced progressive soul, aligned with the varied panorama of the time; in essence, it can certainly be considered a good album, full of interesting ideas (both musical and provocative), very catchy and enjoyable for long stretches, but personally, I don't find it particularly enlightening, nor so innovative.

The album opens with an embarrassing “Teutonic English” presentation, and only after a minute does “Sahara” finally find its place (never too soon), a track that immediately highlights the band's desecrating and mocking aspect, to the detriment of the great quality that this group can offer, in my opinion. The tone already rises with “Nickel-Odeon,” a more conventional progressive piece (as far as Grobschnitt can be considered conventional) and structured, enriched by space rock and electronic elements that mainly come out in the long instrumental part. “Drummer’s Dream,” “Morning Song,” and “Magic Train” are soft and catchy tracks of exquisite taste. The first record flows well, I would only venture to judge the last three tracks as somewhat monotonous despite the indisputable quality of the music.

The discussion changes when listening to the bonus disc “Solar Music” the true gem of the project: a harsher sound is immediately discovered, a more biting voice, something much closer to rock, distancing itself from the melodies previously offered. The times stretch, everything becomes more intangible and ethereal until reaching the borders of psychedelia, where, also thanks to the extensive use of electronics, long silences, repetitions of sounds and words, atmospheres inspired by the deep and the unknown project the listener into a dark and unsettling universe.

Drawing a cinematic comparison, I think of science fiction films where, after an opening part on Earth, among domestic walls or in safe havens, the action moves into outer space (“2001: A Space Odyssey” or “Solaris” to mention the most famous), where all previous security and tranquility are inexorably behind.

The combination of “space” “psychedelia” and “prog” genres is decidedly remarkable, intertwining to form a heterogeneous work that changes register on more than one occasion, breaking the slight monotony that risked creating in the second part of the first record. “Ballermann” is a historic album that has made (and will make) fans of all these historic musical genres happy.