WAKE UP!

1. "See how a white negro flies" (5:48) a song that opens announcing clearly that the band is firmly entrenched in blues rock sound palettes of the previous two years. Flutes and organ add some spice over the top of the insistent motif. Vocalist Moran Neumüller sings in a haunting voice similar to other psychedelic blues rock icons of the late 1960s. Remigius Drechsler's distorted lead electric guitar solos in the fourth minute. Again, this could come straight out of anything that CREAM or BUFFALO SPRINGFIELD had been doing in the previous two years. Though derivative, it is a very solid example of late 1960s psychedelic blues-based rock 'n' roll. (8.875/10) 2. "God saved the queen, cried Jesus" (7:28) the Mick Jagger-like vocals and provocative lyrics give this early Jethro-Tull- like song some teeth. With the much softer, delicate instrumental passage in the fourth minute, with its Ian MacDonald-like extended flute solo, serves notice of the band's prog aspirations. This is then followed by a heavier section over which Moran's flute continues to be the main soloist. Singing and guitar soloing follows before the JTULL- like finish. Pretty remarkable song! (13.5/15) 3. "Hey John" (9:35) opens with a pensive bass, guitar, a cymbal note-by-note interplay overwhich Moran's flute sings mellifluously. When the full band kicks into full dynamics it is with a very familiar LED ZEPPELIN-like descending four- chord progression. Things spread out again for the entrance of Moran's Mick Jagger-like vocal, delivered in a kind of Robert Plant style. In fact, the whole song feels like a replication/variation of Zep's "Heartbreaker." Nicely done extended tribute (though Remigius is not Jimmy Page and drummer Klaus Spöri is no John Bonham). I really like Hennes Hering's unusual Hammond solo in the middle. Also, I'd like to commend the clean, clear sound gleaned from Stefan Wisheu's electric bass: it's very important to the overall "mature" and "professional" sound of the album. (17.75/20)

4. "No name" (3:06) opening with Moran's a cappella voice, almost whisper-sung, before the band bursts into a heavy blues rock motif with flute, theatric vocals, Hammond, and electric guitar each adding their distinctive flourishes. I love the cute little upper register guitar garnishes over the bass and Hammond in the instrumental mid-section. Kind of cool! (9/10)

5. "World's end" (9:55) a fairly simple chord structure presents this anthemic feeling--as if the band is truly expressing their thoughts, concern, and confusion over the state of the world's social-political scene (the Cold War tensions and the misguided expeditions of the American military [Vietnam]). There is quite a feeling of Krautrock solidarity in the hypnotic commitment to such strict rhythmic foundations in this one--at least up until the quite passage that serves as a reset and reconfirmation of the overall insistence to the song's and then ends up surprising us by starting a new motif for the 45 seconds of the song. Trippy! And powerful. Definitely a great representation of the angst of 1970. (18.5/20)

6. "Dark, darker" (11:37) Moran's vocal is mixed quite uniquely for this song: as if in an isolated, separated chamber. The music is remarkably simple and almost emotion-lessly mathematical in its rhythmic foundations, giving the musicians the feeling that they're "dialing it in" i.e. not fully invested. Even in the circular three-chord instrumental jam supporting the frantic flute solo in the song's middle third feels too rote (especially in the bass, guitar, and organ play). Then there is a pause that allows a reset, which sees the band filling the final three minutes of the song with some militaristic pulse-running before everything ends with some crashing instruments and musicians (whose fatigue is well-captured on tape during the final minute of recording: "Are we done?" and "Ughhh!" being expelled as the musicians shut down, unplug and put away their instruments. Weird and sadly anti-climactic song. (17.25/20)

Total Time: 47:29

With four unusually-long songs crammed into this 47 and a half minute long album, one can only guess at the band's full intentions. What I love most about the songs on this album is the clear "team" approach to song construction and performance on display with each: no one musician/artist is really trying to grab the spotlight; everybody seems fully supportive of the effort to present fully-developed and fully-integrated songs.

B+/4.5 stars; a near-masterpiece of angst-filled compositions that feel so precisely representative of the zeitgeist of the times. If it weren't for the weakness of the final "song of exhaustion" this would probably qualify as a masterpiece.

Share this OUT OF FOCUS review

Social review comments () BETA

---

---

Review related links

• Send comments to BrufordFreak
• Report this review (#3106141)
• Buy OUT OF FOCUS music online with PA partners
• Show all OUT OF FOCUS MP3/Stream
• Go to OUT OF FOCUS page for videos, full discography with ratings, reviews and much more
• Go to Wake Up! page for more details, where to buy and ratings/reviews
• Search the Forum for OUT OF FOCUS related discussions