FULL FLOWER MOON (27 May 2010)

The musick dedicated to this Esbat is:

ÄLGARNAS TRÄDGÅRD

Framtiden Är Svävande Skepp, Förankrat I Forntiden



Original Issue: 1972 Silence (SRS 4611) Buy it here!!!

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Margot-meter: 5 moons / 5

One of the most incredible psychedelic albums coming out of the '70s!

ESSENTIAL LISTENING

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1 Two Hours Over Two Blue Mountains With A Cuckoo On Each Side, Of The Hours... That Is 13:13
2 There Is A Time For Everything, There Is A Time When Even Time Will Meet... 6:10
3 Children Of Possibilities 3:12
4 La Rotta 1:41
5 Viriditas 2:59
6 Rings Of Saturn 7:15
7 The Future Is A Hovering Ship, Anchored In The Past 5:06
8 5/4 10:26
9 The Mirrors Of Gabriel

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from Forced Exposure:

Älgarnas Trädgård's name translates as "Garden of the Elks" and this debut album has always stood as one of the pinnacles of underground psychedelic rock -- comparable to early Pink Floyd, Group 1850 and other world masters of space-out genius.

The title translates as The Future is a Hovering Ship Anchored in the Past. The group employed an instrumental array made of: violins, rebec, cello, guitars, sitar, piano, zither, organ flutes, zinks, jew's harps, tablas, percussion, Moog-synthesizer & VC-3 Putney-synthesizer.

Recorded at Studio Decibel in 1971, this CD reissue adds two bonus live tracks from 1972. From Dan Söderqvist's notes: "We have known each other since 1968, when we met in our home neighborhood Västra Frölunda, Gothenburg.

We listened to everything; Perotinus heavenly choirs from the 13th century, Messien's heavy works for orchestra, Beefheart's Safe as Milk, with it's surreal lyrics, King Crimson's endless string of chords, the beautiful acoustic Third Ear Band, Terry Riley's minimalism and above all the psychedelic music of early Pink Floyd.

Sometimes we played our 'dägga-däng-music', crazy rhythmical plays with acoustic guitars and hysterical giggles. Sometimes we just sat and listened to the sounds slowly disappearing into space ... We experimented with getting strange sounds out of our instruments, started to use amplifiers and played with echoes ... We constantly expanded our possibilities to get new sounds, with organs, mouth harps and pedals ... We got our hands on the first Moog module system that just about had reached Sweden. We mixed Middle Age instruments such as zinks and rebecs, sound effects, church bells, fragments of both Bach and The Beatles and improvised our way through the first album.

IMBOLC (02 February 2009)

The musick dedicated to this Sabbat is:

YATHA SIDHRA

A MEDITATION MASS


Original Issue: 1974 Brain/Metronome (BRAIN 1045)

Reissue: 2004 Motor Music (06024 981308-4)

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Margot-meter: 5 moons / 5

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1 Part 1 (17:45)
2 Part 2 (3:13)
3 Part 3 (12:00)
4 Part 4 (7:16)

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from Amazon:

Yatha Sidhra was a little known Krautrock group that didn't get much attention, despite recording for Brain. A Meditation Mass became one of the rarest albums to surface on that label.

The original LP came with a die-cut cover, in which The Laser's Edge nicely replicated when they reissued it on CD back in '92. In '95 Spalax in France reissued it again on CD, but this time, without the die-cut replication.

Comparisons to Ash Ra Tempel and Popol Vuh are often leveled at these guys, and of course they were contemporaries of such groups. The band consisted of Rolf Fichter on guitar, keyboards, Indian flute, and vocals, Klaus Fichter on drums/percussion, Matthias Nicolai on 12-string guitar and bass, and Peter Elbracht on flute.

The album is loaded with flute, while Rolf Fichter plays the guitar in the style of a sitar, trying to create a droning effect. Moog and electric piano surface from time ti time. As the album title suggusts, A Meditation Mass tends to be mellow, so the music isn't hurried. That means you won't get raw, intense, in-your-face passages like you might get with Ash Ra Tempel at times.

The music tends to keep one pace, except when the band decides to venture off in to jazzy territory, which you do have your fair share. The music is basically one long piece divided in to four parts. Each part revolving around a theme or a jam, while the final part is basically previous themes on the album revisited. Great stuff, but requires a few listens to get it. I very much highly recommend this album.

Benjamin Miler

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from Geocities:

Yatha Sidhra is the only group I am aware of that released only one song in their entire recording career. This song, the forty-minute 'A Meditation Mass' is one of the more soothing tracks in the genre.

For their CD release, Spalax divided the track into 4 sections; I am not sure why? 'A Meditation Mass' builds slowly and includes a hypnotically repetitive guitar and percussion background overtop of which flute solos and moog drones can be heard.

Unintelligible droning vocals are introduced around the ten-minute mark further enhancing the meditative qualities. The track picks up musically near the eighteen-minute mark when the beat shifts towards a rock bass riff led by some jazzy electric piano work. This middle section extends throughout track 3 and gets heavier and more psychedelic until ultimately ending in an explosive fury twentyeight-minutes into the track. Slowly, the meditative qualities build, returning the track to its original hypnotic state for the final seven-minutes.

The members of Yatha Sidhra were friends with Achim Reichel, whom many believe had a helping hand in procuring the bands recording contract. Sadly, they made just this one album; however, Rolf Fichter did record an album with the band Dreamworld in 1980.

DEUTSCH MOON (non-krautrocksampler musick)

THINK

VARIETY


Original Issue: 1973 Menga (MEL 3301)

Reissue: 2002 Garden Of Delights (CD 077) Buy it here!!!

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Margot-meter: 4,5 moons / 5

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1. Variety
2. Watercorps
3. Drops
4. Draw conclusions from...
5. Last door
6. More drops
7. All that I remember

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from Waxidermy:

This album makes for great and somewhat sophisticated psychedelic nutrition for those hungry heavy heads with a predisposed preference for multi-colored musical edification. Don't get the wrong idea though, this is NOT just some over rated, useless & busy cerebral background filler of an album. Neither is it one of those that has every possible Far East Indian string & percussion gizmo being played all at once. However, it is an amazing and somewhat if not completely, unique Heavy German Prog/Psych classic like no other.

The group Think were comprised of Hungarian, German & Czechoslovakian musicianship. The end result of their amazing collaborative recording was to be completely unpredictable in a comparative sense. For me the results liken themselves to the very best US West Coast Psychedelic influenced Progressive Rock my ears have ever heard. Imagine an instrumentally diverse Rock & Folk version of Captain Beyond crossed with the group Bread. All the while being saturated with a very real lysergic aptitude.

Now, with one ear's foot just outside your armchair bound spacecraft's door, you are at least partly in a nearby musical universe! This album from start to finish is masterful to say the very least and represents one of the most fateful of musical assemblages ever. The group sadly only existed while the music was being recorded and is in fact shrouded in mystery as few acknowledged details exist. The musicians themselves were in part touring Germany within a Hungarian Orchestra troop when they were apparently struck with a streak of repressed rebellion and decided to defect. After talking with the label owner of the German based record label "Menga", the wandering musicians hooked up with another musician or two and proceeded to render their only known official release.

This is a MUST for fans of the genre, and CD & LP reissues do in fact exist.

FULL STURGEON MOON (16 August 2008)

The Musick dedicated to this Esbat is:

BATTIATO FRANCO

FETUS

POLLUTION

SULLE CORDE DI ARIES

CLIC

Original Issue: 1972/1973/1973/1974 Bla Bla (BBXL 10001/BBXL 10002/BBXL 10003/BBXL 10006)

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Margot-meter: 4,5 moons / 5

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Tracklistings

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from Gnosis2000:

Franco Battiato, as is well known, was an Italian pop singer who for a span in the 70s made a string of very experimental albums that fit very roughly in the vein of groups such as Opus Avantra or Pierrot Lunaire. Battiato on all of these titles (and beyond) set out to create completely new musical forms, and evolved from strange pop and rock realms to systemic and minimalist music before returning to pop music.

Fetus was his first and arguably not as impressive as his later titles. There are a lot of influences here, Italian popular music, folk, electronic experiments and tape collage all swirled into an unusual tapestry of music. I would say his folk/pop influences show through the strongest here, and with the albums short duration there's not a lot you can sink your teeth into.

Pollution, however, is a much more successful outing, with the disparate styles blending into a much more cohesive whole. Battiato's music can jump from neo classical to Italian progressive rock (somewhere between Sensations Fix and Le Orme) to space rock like Gong and on to bizarre tape collages with narration. It all adds up to a fascinating and innovative album with more humanity than you'd expect from this type of experimentation.

Sulle Corde Di Aries was Battiato's third release and showed his fascination for electronic, minimalist and systemic musics. As such, it is quite similar to "Pollution" except much more electronic based and with a more definitive style. There are also a lot of modern classical strains coming through here and a great spacey feel again reminding me of Sensations Fix or Gong at times. A simply fascinating album.

Clic is the Italian version and not the version that was on Island records. It too moves in a far more electronic direction, sounding like an avantgarde Klaus Schulze with lots of systemic patterns and neo classical vocals. This is often quoted as his best album, and certainly deserves a listen. The latter three titles, if not all four, all deserve the attention of those into experimental or avantgarde rock albums.

Mike McLatchey

PINK MOON (feminine musick)

MIRANDA SEX GARDEN

FAIRYTALES OF SLAVERY

Original Issue: 1994 Mute Records (CD STUMM 129) Buy it here

Margot-meter: 4,5 moons / 5

1. Cut
2. Fly
3. Peep Show
4. Wooden Boat
5. Havana Lied
6. Cover My Face
7. Transit
8. Freezing
9. Serial Angels
10. Wheel
11. Intermission
12. Monk Song
13. Fairytale About Slavery

from Progarchives:

Since their debut with the exclusively vocal "Madra", Miranda Sex Garden kept making changes in the music and lineup, 1994 is not the exception, before the release of "Fairytales of Slavery" Kelly McCusker left the band and is replaced by the talented vocalist and keyboardist Hepzibah Sessa and the band recruits Kim Fahey to take care of the bass, leaving Trevor Sharpe only in charge of drums and percussion due to the complexity of the rhythm section of this album.

The first problem is how to describe this album, still we can listen the evident and main Gothic/Folk/Medieval influence but with a more aggressive edge that leaves them closer to Industrial and Post Rock with a touch of Symphonic, probably if we listen carefully we'll find some other genres but the main thing is that this is a clearly Progressive Rock album.

It’s a pity that “so called” critics have lumped this band into the underground Goth genre keeping it hidden from the world, because it’s not accurate, they are Gothic in the classical sense of the world because they are Medieval and as we know Gothic is the name that was given to the last two centuries of Middle Age music (For God’s sake, their first album is only composed of Madrigals from the 1600’s, how more classical and late Medieval can it get?).

Of course is obscurantist because the Middle Ages were dark and obscure but this self proclaimed experts probably believe that the main genre is Goth (The black, vampire inspired rock sub-genre) and not just a commercial derivation of this classical epoch, in the case of Miranda Sex Garden they keep the Gothic sound intact but adding many different influences in a complex and perfectly elaborated way.

If you are searching for epics and abrupt changes maybe you'll be disappointed, but if you love atmospheric, dark and aggressive music, well this is a good choice, sounds like RENAISSANCE meets FANTOMAS, the result is absolutely scary but excellent, somehow like "The Director's Cut" sung by Annie Haslam.

But lets go to check the 13 tracks (Cabalistic number by the way):

The album starts with an unusual rock oriented track based in a strong guitar and the wonderful vocals that seem to float above this chaos of sounds, the violent violin by Donna McKevitt is simply delightful, frantic from start to end with perfect synchronicity between bass and drums, no time to breath, of course the usual strange sounds add the darkness required.

“Fly” starts with a mysterious guitar surrounded by low bass and keyboards absolutely dark and haunting, the vocals slowly blend with this phantasmagoric atmosphere until a sudden explosion shows us that they have enough power, but again they return to the softer and dark sound and again another explosion that marks the end of the track.

“Peep Show” starts so soft that is almost not audible for the first 30 seconds, but in a fraction of second and out of nowhere the band and vocalists attack us based mostly in drums, bass and guitar, the vocals sound as being in a second but different plane, by moments I feel some Oldfield like sections. But of course with Katharine distinctive vocals.

“The Wooden Boat” sounds much more Medieval, like a return to their early Madrigals album, but the soft instrumental arrangements and strange sounds reminds us they have a post rock edge, very experimental song even when not one of my favorites.

“Havana Lied” is a Cabaret song in German (Creating some sort of WWII atmosphere), Andrew Blick’s trumpet (Guest musician) is simply perfect for an excellent recreation, this song prove once again that this band is really weird but imaginative and original. “Havana Lied” is a repetitive but interesting experimental track.

“Cover My Face” is brilliant, so strong, so violent and at the same time softened by the beautiful vocals that seem to hide behind all this aggression, some ancient maybe Egyptian influences that can be barely listened above the Industrial background, one of the best tracks by Miranda Sex Garden, no abrupt changes, but absolutely dramatic, the ending is an absolute chaos, simply love it.

“Transit” of course starts with the guitar drums and keyboards simulating the sounds you can listen in a traffic jam, honestly too weird for my taste, the instruments seem too fight one against the other and Katharine uses his voice only to hound like a police or ambulance siren.

“Freezing” starts almost like Overture from Tommy, the guitar reminds clearly of Pete Townsend, but the howling by Katharine and the other girls return us to a different reality we’re before another strange track, short but effective.

“Serial Angels” is one really beautiful track, different to all the previous, the vocals are not so important, the problem is that the first half is recorded so low that you have to rise the volume to the max to barely listen it, but then a soft guitar and drums that go in crescendo mark the change, to a more rhythmic section where all the melody is provided by a soft chorus.

“Wheels” is like a time machine, from the late XX Century we return to the XIV or XV, this is almost like a cyclical song that describes perfectly a carousel, seems absolutely repetitive but don’t let this impression fool you, each repetition or cycle is different to the previous, as I said starts clearly medieval, but in the next round an instrument is added, first some chords, then bass, keyboards and at the end a beautiful and shocking chaos, almost the same procedure used by Mike Oldfield at the end of Tubular Bells side one, but more chaotic.

“Intermission” is just a collection of sounds like an Orchestra of bagpipes, but in the deepest part of this sounds there’s a haunting melody, pretty scary but short.

Now if you want weirdness “The Monk Song” is your best choice starts with the strangest vocal arrangements, lots of howling and moaning perfectly synchronized by the three women who have an incredible vocal range, all this screams supported by the drummer playing the metals, interesting and advanced but absolutely out of this world.

The album is closed with the best song “A Fairytale about Slavery” wonderful and magic track that starts absolutely Medieval with piccolo, drums and completely haunting vocals, creating a beautiful melody, the rest of the instruments especially keys and violins blend progressively creating a second tune in the background that slowly starts to take the lead and relegate the vocals to a second plane, until it reaches a point where the aggressive instrumentation and the vocals mix loudly with a very heavy and distorted guitar, creating as usual a dreamy mixture of the ancient and sacred with the modern and Pagan, a collision between two worlds and two conceptions of music, at the end the melody dissolves as if it was blending with the air and we can only listen the repetitive piccolo. 100% Progressive Rock, lovely and brilliant.

Hard to rate it, maybe some people will say this is subjective and too high, but something as adventurous, weird, dramatic and beautiful can’t be rated with less than 5 stars, yes it’s shocking for people used to melodic Symphonic, but Progressive Rock must also be innovative and dramatic.

If you never heard of this band, start with “Fairytales of Slavery” I’m sure that Symphonic, Post Rock, Folk and even Industrial fans will love it, probably is too weird and aggressive for Art Rock and Neo Prog fans because of it’s extreme complexity, but not everybody has to love the same music.

Iván Melgar-Morey

STONED MOON (pscikadilik musick)

JAN DUKES DE GREY
MICE AND RATS IN THE LOFT

Original Issue: 1971 Transatlantic (TRA 234)

Reissue: 2005 Breathless (BSS52001) Buy it here!!!


Margot-meter: 4,5 moons / 5

01 - Sun Symphonica
02 - Call Of The Wild
03 - Mice And Rats In The Loft

from Progarchives:

Every time I find one of hidden/lost early 70's gems, I find myself always carried some 30 years back even if I discover them now. Of course only a small percentage of those gems turns to be diamonds, but I believe this is one of them. How is it possible that such grandiose masterpieces are still not common knowledge among progheads? Because we are dealing with one of those masterpieces of Folk Prog to be classified along with other pearls such as Comus or Algarnas Tradgard.

The music is of an incredible and highly original nature that bond high vocal prowesses ala Tim Buckley with a rather sombre timber reminding you of Audience's Howard Werth (Hammill is not far away, either and so is Van Morrison) and outstanding musicianship so much that both original members Noy and Bairstow play multiple instruments and apparently with great ease. The third member, drummer Conlan has his hands full accompanying his comrades and I believe he also plays congas, although this is not mentioned on the credits. The only outside help they got are additional strings for the last 12 mins of their magnum opus Sun Symphonica.

And what a masterpiece this tune turns out to be!! If the first six minutes develop a good mix of folk rock somewhere between the Comus and Jethro Tull (circa Brick album), the strings come in and the music plunges into a deep madness likely to sink you into insanity if the strings were not to bring you back to the surface for a breath of fresh air every so often. The melange between the 12 string guitar strums, superb drumming all underlined by a swirling cluster of wind instruments and the strings (it does not mention the size of the orchestra, but my guess is a quintet) is one of the most perfect blend ever achieved far from the many catastrophes of the era (I will not name the guilty groups but only Procol and Caravan fared correctly). As Travis/Con Safo mentions in his excellent review below, the lyrics become intensely disturbing also, but do not reach the eerie call for murder and rape that Comus does in their song Drip Drip but they do curdle the blood. The beautiful atmosphere is completely different than Traffic's John Barleycorn Must Die masterpiece but one cannot help thinking about it as those wild and sombre ambiances are driving you to the outer edges of reason. Nevertheless, the superb 12 min finale is completely spine chilling, hair raising, shivers and goose bumps being also on the menu as the abrupt end leaves a empty feel that can be assimilated to the last glass of wine of a 1947 Grand Cru Cos D'Estournel is emptied.

The second side pales a bit in comparison, but by no means are those two tracks anything else than gems themselves. Call Of The Wild is probably the folksiest of the three tunes, starts off with a great acoustic 12-string guitar beautifully underlined by a splendid yet serene flute. Again Comus is not far away from the mind even when the track moves through a series of wild tempo changes sometimes hinting at Indian Classical music. Yet another perfect call! A strange siren alerts you that the third and final track (the title track depicted by the strange artwork sleeve) just got under way, and that you are not yet through with madness as comes in a psyched guitar and great sax and insane vocals. The last part of the track is dedicated to improvisations on that theme and they come out grandiosely successful at it.

This is the kind of album I will personally make sure more people will know within the following months - a bit the same as I did for Comus, Circus and a few other gems. Run, walk, fly to your first vendor and order it (it is distributed by Sanctuary Record - a fitting name for such a masterpiece), because your life cannot be complete without having heard this. A pure moment of intense orgasmic pleasure!!!!!!

Sean Trane

Those who are familiar with Comus’ First Utterance will be delighted to learn that First Utterance has a twin brother in Mice and Rats in the Loft, the magnum opus of Jan Dukes de Grey. A similar psychedelic folk release (even down to the mildly disturbing lyrics, especially on the title track), Mice and Rats in the Loft is every bit as good as First Utterance. And for those who don’t know Comus’ disturbed music, Mice and Rats in the Loft might be a better place to go, given the lyrics aren’t nearly so harsh. Really, though, what it comes down to is the simple fact that Mice and Rats in the Loft is a monumental progressive folk release, one of the very best there is.

That simple truth is due to three long and complex compositions, whose lengths will remind potential buyers of this other famous CD (released one year after Mice and Rats in the Loft), Close to the Edge. The music bears little similarity, however. Whereas Close to the Edge is tight and firm, Mice and Rats in the Loft is a sprawling CD, mixing composition with improvisation, capitalizing on strong songwriting skills to build room for extended folk jams that truly make the CD, particularly on the track “Sun Symphonica” (the “Close to the Edge” of Mice and Rats in the Loft). At nearly nineteen minutes in length, “Sun Symphonica” is the centerpiece of the CD, and it’s a marvelous one at that. It has some symphonic touches (as the title suggests), but it’s mostly folk jamming. Again, as the title suggests, it’s quite light-hearted and happy, and it’s a stellar opener.

Even more stellar, though, is the closer, “Mice and Rats in the Loft.” The shortest of the bunch at eight minutes, the title track builds around a massive riff positively drenched in psychedelia. Every time the main riff kicks in, it feels fresh and new, bringing the song full circle from its jamming nature, taking it back to the land of sane in order to close out the CD. Sandwiched between these two epic songs is “Call of the Wild,” which is another track full of great songwriting and better jamming, though it’s not quite as good as the two around it.

Mice and Rats in the Loft is one of those releases that is unfairly obscure, and it definitely deserves more respect than it gets. Anybody looking for an excellent progressive folk experience should look no further than this hidden gem. Fans of Comus will delight in its psychedelic madness; everyone else will find they can’t help but do the same. An essential purchase for anyone with even the slightest interest in progressive folk music, or even folk music and psychedelic music in general. It’s a trip you won’t soon forget.

Finnforest

SACRIFICE MOON (offering musick)

kindly donated by Rob Vomit

MÓDULO 1000
NÃO FALE COM PAREDES

Original Issue: 1970 Top Tape (TT-1000)

Reissue: 2004 World In Sound ( WIS-1025) Buy it here!!!


Margot-meter: 4,5 moons / 5

1 Turpe Est Sine Crine Caput
2 Não Fale Com Paredes
3 Espêlho
4 Lem - Ed - Êcalg
5 Ôlho Por Ôlho, Dente Por Dente
6 Metrô Mental
7 Teclados
8 Salve-Se Quem Puder
9 Animália

from Aquarius Records

Super fuzz wah guitar and organ jamming stoner psych-prog from Brazil, circa 1970. Nine tracks packed with sinewy jams, trippy fx, weighty grooves... definitely appealing to the same head-space as contemporaries like Iron Butterfly, Dug Dug's, Captain Beyond, Speed Glue & Shinki, Hendrix, Flower Travellin' Band, etc.

Here's a quote from one of the band members, the organist, that ought to give some flavor of what they were all about: "The music of Modulo 1000 had its own appeal to an audience that wanted a heavy, raw, experimental, psychedelic sound. Our kind of music did not make it to the radio stations. It was too wild. The distribution of the record was done in a very limited way. The record label directors, which probably didn't understand or even didn't like our music, did zero promotion for the LP." Thus, one darn heavy, weird, and utterly rare record!

from Progressive Homestead

What makes their sound so unique are the musical experiments within the style of the harsh sounds of heavy psychrock. Just listen to the keyboards combined with guitar in rhythmic psychedelic pulses on several tracks, like on the strong opener, “Turpe est sine crine caput” (=”hairless head is ugly”), sung in a distorted voice. Here is shown a clever inventiveness of the organist using a dead simple idea to a level of psychedelic effectiveness by lifting it up to a combination with rhythms and guitar playing, in a very original way, and with some wah-wah effects. Elsewhere roaring guitar solo’s and complex changes in rhythms and very small improvised free forms uplift the genre of the already effective psychedelic rock genre to something different with an extra originality.
The album gained much later a legendary status amongst collectors, and also a musical historical value for progressive and psychedelic music in Brazil. The album at that time did not receive any promotion and was not understood by radio or commercial music promoters. So it became almost impossible for the group to survive in the long term with their sound, even when they had their own followers who were looking for such a deeper-down-into-rock psychedelia, a certain rawness combined with creativity.