GILA [AKA: FREE ELECTRIC SOUND]

Led by guitarist Conny Veit, Gila is an ensemble that generated a great contribution to the krautrock scene back in the early 80s, before Veit shifted toward the ranks of Popol Vuh and Guru Guru. "Free Electric Sound" is Gila's debut release, and it certainly indicates quite clearly the reasons why this band is so important to krautrock lovers. The band's line of work is based on the confluence of psychedelic, mesmerizing jams (a-la Amon Düül II) and jazz-friendly nuances bearer of distinction (a-la Agitation Free). Indeed, there is room for expanded guitar soloing in exhibitions of robustness, but there is also a careful treatment of these visceral explorations within the confines of well-defined scheme. With sounds of wild wind and rain 'Aggression' gets started on a funky-jazz mode, displaying a psychedelic jam with heavily Hendrix-esque guitar and lysergic organ flows delivered by Scheyhing. With its 12+ minute timespan, 'Kommunciation' is the longest piece in the album. This track is stated on a slow tempo and a very noticeable jazzy vibe, which makes the band lean quite close to Agitation Free and early Embryo. The bass guitar flourishes incorporate a very interesting variety beyond the rhythmic function, while the drummer and keyboardist's labors cry out the "Ummagumma" influence. The last 90 seconds are filled with beautiful flute mellotron and slide guitar, which make a captivating epilogue. 'Kollaps' starts the album's second half, with a very languid mood that helps to state a mysterious, even creepy atmosphere. The sound of a baby crying suggests the notion of man's soul drowned in desolation and confusion among a dark environment. This piece sort of makes Gila close to post-"Phallus Dei" Amon Düül II. 'Kontakt' takes things to a very different dimension, one of candidness and serenity: the prevalent acoustic guitar sets a mixture of Eastern flavors and country airs, aimed at the exploration of our potential of mental piece. The weird noises at the beginning seem not to be a source of restlessness but a special preparation for contemplating attitudes. When the aforesaid jam shifts to an electric mode, it is the time for 'Kollektivität', which emphasizes the Eastern exoticism in both the guitar deliveries and the organ layers. The album's climax is brought up by the powerfully ethnic 'Individualität', a multi-percussive extravaganza focused on tribal frameworks in a very celebratory tone. The synthesizer adornments augment the exciting atmosphere quite effectively, creating a very interesting mixture of Osibisa, Ibliss and early Popol Vuh. Overall balance: "Free Electric Sound" is an excellent exposure of krautrock, a must in any good prog collection with aspirations to become very good.