YETI

My first full experience with Krautrock (I have heard various pieces, particularly from Can before) has left me hungry for more. This is a lengthy album full of music that sits just on the edge of my musical comfort zone, inviting me to trespass further outside it. Overall, this album is a blend of psychedelic rock and conservative experimentation; I expect that those who enjoy RIO / avant-garde progressive rock or space rock would be generally pleased with this work. Vocally, however, this album is a wreck. Call it experimental vocals- whatever it is, it sounds exaggerated and just plain awful. Fortunately, singing isn't what this record is about, and the music is incredibly intriguing and enjoyable. This is definitely something worth acquiring, especially for those looking for an entry point to help them to move beyond the classic bands.

"Soap Shop Rock: Burning Sister" What comes to mind here is the sound of psychedelic rock of that time period, like Pink Floyd's debut. It's full of crispy guitar and slightly unconventional chord progressions.

"Soap Shop Rock: Halluzination Guillotine" A flat, fuzzy bass is the main instrument of this more laidback section. The lead guitar stays respectfully reserved.

"Soap Shop Rock: Gulp A Sonata" This terse interlude is weirder, as it mainly consists of bizarre vocals.

"Soap Shop Rock: Flesh-Coloured Anti-Aircraft Alarm" The highlight of the four part piece, this has exquisite yet rough violin throughout. The male vocalist warbles along, sounding completely distinct from the rest of the music and just generally bad. The drumming is the strongest constituent, and I particularly enjoy the riff the band uses to end the song (incidentally, it sounds like the start of a new track).

"She Came through the Chimney" Exotic guitar and distant percussion make for a pleasant listening experience. The addition of the pipes adds a mystical, Middle Eastern air to the piece.

"Archangel Thunderbird" This is downright funky, and simply the coolest song on the album- I really dig that bass and guitar groove. It is interrupted by a brief organ part (an electric guitar part the second time around) before resuming. It is one of my favorites- at once very catchy and still "out there."

"Cerberus" The first Amon Düül II piece I ever heard, this is what piqued my interest in the band and served as the impetus for my purchasing this album. It mainly consists of complex acoustic guitar and drumming, which soon morphs into stranger electric fare.

"The Return of Ruebezahl" It's a shame this piece is so underdeveloped, because it truly is one of the strongest moments on the album, full of intricate guitar and bass.

"Eye-Shaking King" Upbeat and all over the place, this heavier piece has stimulating guitar and dramatic vocals that don't show up until toward the very end.

"Pale Gallery" Yet another brief interlude, this one is much more reserved, with subdued backing instrumentation and a some strange sonic experimentation on top of it.

"Yeti (Improvisation)" When I noted the track time in conjunction with the word "improvisation," I thought to myself, "Oh great- here comes "Moonchild," only it will be twice as long!" Admittedly, the beginning is quite a bit of wandering, but I, as someone who values premeditated composition over impromptu creating, could have easily been fooled into believing this piece was constructed over a number of sessions. True extemporaneous creation is a rare art form; it is distinct from "jamming," in which the different musicians take turns soloing over an established rhythm. Those involved must be musically intimate and comfortable enough with one another- they must know each participant's style well enough to somewhat accurately predict what a given player might do next. The bassist and drummer almost seem to be of one mind in this respect, repeating certain phrases and gradually changing the riff until it evolves into something completely different. Two lead guitarists work around and on top each other, such that neither steals the show or produces a cacophony of dissonance. What's more, there are even vocals snuck in, and they really fit. Also, there's a repeated riff toward the end that completely shifts the feel of the song into something more nostalgic, and like a real pro, the bassist adopts the suggestion and helps develop the piece. All in all, this is an amazing example of improvised music.

"Yeti Talks to Yogi (Improvisation)" This picks up from where the previous track left off. There's something of a percussion solo here, with insidiously arcane music loitering in the background. Soaring feminine vocals emerge from this.

"Sandoz in the Rain (Improvisation)" Another distinct favorite of mine, this final piece has a gorgeous acoustic guitar theme and a woodwind that transports me to the hazy desert (despite the title). The hand percussion is a lovely touch, and the descending bass riff about halfway through is just remarkable. I honestly don't believe this is improvisation (again, despite the title), because it's simply too well constructed and an all-around amazing piece. If I'm wrong, though, then Amon Düül II are the masters of the art of improvisation.