ASH RA TEMPEL

1 Amboss starts, electronic before time; the bass is present and sets the rhythm, the drums yes that of Klaus remember that it was his favorite machine after the guitar, and that he will then take the synths being able to play everything with them; it is also of course Manuel who plays borderline jam songs on the guitar, on or without acid, songs where he tinkers more than anything else; this track experiments with psychedelic intonations much further than what PINK FLOYD did at the beginning; a long crescendo with the last quarter more elaborate, searching for a sound that didn't exist before; real precursors which unfold a very bland, very dull archaic sound but oh so precursory, yes I repeat myself but in 1971 we didn't know how to do that since it was the first time; the last minute with galloping drums and saturating guitar to fill the air with a psychedelic sound more than me you can't! A sound that takes me back above all to the long crescendo of Klaus. 2 Traummaschine has a more archaic, latent, contemplative and melancholic air; a sound from before, while listening absently I feel the vibrations of TANGERINE DREAM's future work with guitar, from 'Ricochet' for example; it's interesting in hindsight to see that this group was able to provide leads for themselves, for FLOYD too; good Syd gone, the sound will quickly evolve towards progressive art rock while TANGERINE will take time to break away from it, also adept at almost improvised convolutions; the tone is warmer on this second track, almost ambient and the latency brings rock ramifications with Manuel's guitar; the percussions are at their minimum here giving way to the acid guitar which will become a letter of nobility in this very particular movement; reverberations arrive at the end of the track and suggest a gentle ending. 3 today, 4 at the time for this creation!