Let's move forward with these Northern European experiments, this time venturing into German territory with a new proposal from the #buzz showcase concerning a group that - clearly - I wasn't familiar with, suggested to me as always by @[ALFAMA].
Dzyan - Electric Silence (Bacillus Records, 1974)
Another 1970s album from a German band, a trio (Reinhard Karwatky, Peter Giger, Eddy Marron) that doesn’t quite fit what we call kraut-rock, but in this album, titled 'Electric Silence' and released in 1974, while evoking some sonorities of Popol Vuh, wanders down different paths and predominantly explores conceptual ambient and meditative experimentation. This album is their last and can be described as a kind of improvisation on the edge of the most extreme experimentalism, where genres like jazz fusion and references to Eastern folk music intersect. The album opens immediately with one of the most unique tracks, 'Back To Where We Come From', a long nine-minute experimental session essentially based on the experimental sound of the bass and the use of minimal percussion and underwater synthetic suggestions, culminating in a final noise explosion in a series of overdubs. The sound of the marimba is a characteristic element used on several occasions. 'A Day In My Life' can be considered practically as a beta instrumental version of 'Tomorrow Never Knows' by the Beatles. 'The Road Not Taken' conceptually reprises the opening track: it seems the exercise practiced consists of resonating the empty spaces, alternating forcefully with a solitary ghostly acid blues guitar in a style halfway between 70s psychedelia and Ry Cooder. 'Khali' is perhaps the most interesting track, virtually a session of spatial ambient music blended with traditional Indian music featuring tabla and sitar, reaching a symphonic ecstasy that anticipates Spacemen 3 by a few decades. 'For Early Thinking' (in a more experimental manner) and 'Electric Silence' are more typically jazz fusion episodes that perhaps add little to the overall work, except for confirming the trio's great technical abilities and their eccentricity in compositions of every kind. It’s certainly a distinctive album, and it's worth mentioning the creator of the beautiful and unique cover: the German artist Helmut Wenske, whom I wasn't familiar with but definitely deserves further exploration, especially considering my interest in sci-fi culture.
Dzyan - Khali [Electric Silence] 1974
Dzyan - Electric Silence (Bacillus Records, 1974)
Another 1970s album from a German band, a trio (Reinhard Karwatky, Peter Giger, Eddy Marron) that doesn’t quite fit what we call kraut-rock, but in this album, titled 'Electric Silence' and released in 1974, while evoking some sonorities of Popol Vuh, wanders down different paths and predominantly explores conceptual ambient and meditative experimentation. This album is their last and can be described as a kind of improvisation on the edge of the most extreme experimentalism, where genres like jazz fusion and references to Eastern folk music intersect. The album opens immediately with one of the most unique tracks, 'Back To Where We Come From', a long nine-minute experimental session essentially based on the experimental sound of the bass and the use of minimal percussion and underwater synthetic suggestions, culminating in a final noise explosion in a series of overdubs. The sound of the marimba is a characteristic element used on several occasions. 'A Day In My Life' can be considered practically as a beta instrumental version of 'Tomorrow Never Knows' by the Beatles. 'The Road Not Taken' conceptually reprises the opening track: it seems the exercise practiced consists of resonating the empty spaces, alternating forcefully with a solitary ghostly acid blues guitar in a style halfway between 70s psychedelia and Ry Cooder. 'Khali' is perhaps the most interesting track, virtually a session of spatial ambient music blended with traditional Indian music featuring tabla and sitar, reaching a symphonic ecstasy that anticipates Spacemen 3 by a few decades. 'For Early Thinking' (in a more experimental manner) and 'Electric Silence' are more typically jazz fusion episodes that perhaps add little to the overall work, except for confirming the trio's great technical abilities and their eccentricity in compositions of every kind. It’s certainly a distinctive album, and it's worth mentioning the creator of the beautiful and unique cover: the German artist Helmut Wenske, whom I wasn't familiar with but definitely deserves further exploration, especially considering my interest in sci-fi culture.
Dzyan - Khali [Electric Silence] 1974
sotomayor
3 jan 18
DeRank ™: 3,00
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