THE PRIVATE TAPES VOL. 5

It's the fifth adventure compilation of The Private Tapes and fifth such draw of time-vented music-flavor and deep extempore kraut-electro (classic or substantially evolving) endeavor. No time and space for anymore introductions and presentations. Let's go directly to the music:

Ultramarine breaks in the kind of an epic that enlightens, but also confuses. It's not such a different rigor for Göttsching (less for Ashra), and it certainly isn't a bad impression on how deep-on-elementary the style check of progressive electronic, the razor sharpness of several clustered nuances, and a tone boost of an emphasized novelty improvements. It is a long coarse of a typical electronic dark pitched melody, with a fundamental flow inside the deep and the insidious kinds of a neo-adapted sequencing, a powerful fragranced granular optic (though not to exaggerate) and a well-adapted charisma of some free play inside a coax-mastering. It's a bit vague by what symbolizes, being a relentless emotion in front of the always distracting digital adaptation, but it's also a very pointy emotion towards a full meditation consway and a vigor of light motives, properly misspelled into the characters of profound of the electro-maelstrom. This is a work of very referential points, inside the space smoke and the amp-glare of Göttsching (and bit Tangerine Dream effects, in the crust of some curios sounds and dynamic choices, as well), or rather tightly fissions the normal wave of too indulgent sound-scribing into the least edacious motives of a passion key-render, guises pre-sensing and post-electrified proem. On an average scale, this is an improvisation made for the mild-hard reactions of a quantified late tehrychim.

Lotus is the similarly adapted epic pieces from Blackouts, a gem album back in the specific times (we'll leave the thing of the collections finally re-enhancing an official piece, not a lost tape, onto indiscrete minds and dissapointements), and, inside the private movement, is just as well a representative 1978 impersonation of Göttsching handy-craft, meant to stay inside a light sequenced aril of powerful ambiance, modulating moiré melody and entire provoked power-keys. The interesting part is in its rare prime substances (from which all the light show stars, that is), by which the sequence isn't yet a prepared experimentation, the breeze has dark dissonances, the touch is rhythmic but just like that aerial and obvert, and the impression is, fully fault, inside a sphere of cosmic merriment. Or in the fragile sense of difficult strings. The intensification of the repetitions and the melody-transmission send a more common dynamic and melody into the piece, resembling the finest of the period ever so shortened out charisma, plus permitting a light tropic zany gesture of different saturated harmonies. It's a "blackout" in true and surprisingly long spirit.

The back-end 1973 perspectives of Göttsching solo (though how solo can you get in such classic and active Ash Ra times.) is short enough to necessitate an equally short presentation. Only by an irony a conceptual reside of music, both Ivresse de la lune and Ivresse de la Soleil are a low kindle of rock melody play, kind of bohemic (to not think psycho-therapeutically) krautish accent, on small lifts and riffs, a cold ash percussive start on the first piece, then a substantially pleasant drift inside the sunrise of the second's mature meever feeling. Short and very simple.

For the fourth Private Tape in a row, the centric, heavy, hard, clustered, grieved and ultra-hyped moment of its recollection and refutation zeal goes to Ash Ra Tempel and an epic classic that never appeared outside chronicles or lost tapes, and also impresses a different kind of a music value outside the regular albums and expressions that have much such a ravel inside the times of deep and post-and-lintel clover and gust. Ooze Away is a dark, envying experimental, hard diverting composition, between the kraut assistance of nebulosity, the electronic care of humble hollow sequencing and "per-iodizing" and the nervure permissive taste of several psych notches that hypnotize some banal and obfuscating dark, engrossed, obliterated. If you want think Klaus Schulze (though Enke isn't less impersonal in this build-up of magma mesmeric, and Göttsching eventually comes with his ever so lasting guitar renders, ascends, respectively improvisations), you better adapt some of this taste to a Cyborg dronish absent-minded connectivity, but mostly to some Blackdance taps and deuteron-dynamics as well. Mature, eagerly exhaustive and acid-levied, Ooze Away is anyway one of those Ash Ra Tempel games of dark, darker, darkest. Perhaps itself is all "typically" artistic, confident and complement, plus wane. Rock shivers down the last meters of obscurantism.

The Göttsching interview is purely an addenda to all the music, but, ironically, it is certainly much more of a record benefit that the 20 seconds talk w/ Schulze volume 2 allowed.

Up to already so advanced statements, the idea of saying which volume concedes best a preference is aberrant. All in their way have a common share of a dark unknown passion for music and improvisation. This one adapts the lengthy side of Göttsching in its surreal retro-coming times, plus yet another spectacle of good Ash Ra Tempel.