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8 DAYS IN APRIL

Eclectic Prog • Germany


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8 Days In April biography
This is a pretty unknown and uncommon band, despite its close relation with FRUMPY, which is a prog rock dream ensemble. It fits quite well, on the other hand, the scene of (hard) rock - having, in this case, the German authentic spark with several general and minimal influences - a musical scene which is rarely recognized or valued outside the obscure margins of its period. 8 DAYS IN APRIL's music is perfect for the taste in interesting or laid-back rock, since the album is also a mix of artistic and energized play, plus it's close to a collection meritous item, up in progressive rock's classic, hard or eclectic mentions.

The project was at first solo music practiced by Jean Jacques Kravetz, long-time keyboardist and rock in FRUMPY. Eventually though, 8 DAYS IN APRIL became a band of four core members and two special guests. Udo Lindenberg was second in importance next to Kravetz, writing and singing the vocals, plus composing much of the music. Steffi Stephan, playing bass, and Thomas Kretzschmer, playing guitars (with, sometimes, an astonishing freshness), joined the musicianship. The piece "I'd Like To Be A Child Again", though presumptively the most shining piece in the album, is mainly arranged by vocalist Inga Rumpf, also notorious in some of FRUMPY's experiences. Originally called "Kravetz" (given the promoter), the band finally adopted the name 8 DAYS IN APRIL, and their 1972 album was tag-titled The Hamburg Scene. Both names can be considered suggestive, since the ensemble recorded in Hamburg, and the album was, most likely, an 8 days rock work.

The Hamburg Scene smashes a lot of hard classic rock mints, but also has a prog rock definite taste. Close to being purely (and purifying) instrumental, much of the music's contrasts evolve from lyrical and euphonic passages to striking and overly produced climaxes. 8 DAYS IN APRIL clearly play a blending rock of artistic and popular forms, with smaller influences of fuzzy rhythms, jazzy branding or complex emotions and frets.

The entire concept, project and music relief of 8 DAYS IN APRIL is definitely of a bit spontaneous kind, nevertheless its improvisation is worthwhile, since it's a good and recommend prog rock band, up the rarity shelve.

:::Ricochet (Victor "Philip" Părău):::

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3.91 | 34 ratings
The Hamburg Scene
1972

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8 DAYS IN APRIL Reviews


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 The Hamburg Scene by 8 DAYS IN APRIL album cover Studio Album, 1972
3.91 | 34 ratings

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The Hamburg Scene
8 Days In April Eclectic Prog

Review by arymenezes

4 stars What a start, with a serene acoustic guitar, some bluesy piano and the precise vocals of Inga, also in the same mood. Guitar makes some robust participations, sometimes on a rocky vein, on others with a blues sliding technique. More to the middle this song has some floydian influences. After that they go through a more accelerated proposal, with some fabulous synth solos. Bass playing, which was great until now, close to the end appears even more, with some soloing, therefore making a well-crafted change on arrangements. My final comment on this track is that they're perfect on giving space one to another.

A brilliant rythmyc section opens the next track. Phantastic combination of cymbals, the rest of the drum, the bass, and a superb timbre on synth. All very groovy. I don't know who sings here, but the tone is more bass-oriented - a good choice. Some inventive and surprising key signatures are developed, before a penetrating guitar solo. The musical structure goes on a crescendo, until it reaches a bit more accelerated path. An incredible psych solo on synth surprises the listener, with the cohesive support of the bass and drums. Vocals changes its style again, more persuasive. Magnific song!

Third track's rythmyc section on the beginning is quite simple, even though it has a good groove. Arrangements are fine, timbres are a bit better. However, it's not a memorable song. And the spacey psych electrocin effort in its middle is well executed, but doesn't seem to go anywhere. It's return to the symphonic/heavy prog execution is the best part of this track, which is all instrumental.

A more classical oriented piano is the start of next track. It becomes, soon, a soft-prog proposal, acoustic-oriented. This is a good variation on the album; doesn't get so genius as in the first two songs, but it's a good effort.

Last track begins with a killer synth, bringing again great swing to the record. Effective rythmic sections, with nice turnovers. More guitar soloing, upon the bass firmament, grows up on the composition. Some phenomenal stops on the rythmic sections gives the guitar more intensity. Incredible! Then the synths assume the leading, very robust; notwithstanding, with some lack of ideas. The psych part that they execute is medium stuff. But gradually they go back to the symphonic/heavy approach, on which they're better.

It's astonishing how many of these members were able to deliver, in one unique year, so many great albums. So, on the selection of this title, "The Hamburg Scene", they were serious and precise.

This work took some time to grow on me. Nowadays, my rating is on 3.9 stars.

Thanks to Ricochet for the artist addition.

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