EILEEN

On this album multi-instrumentalist Wolfgang Riechmann (vocals/guitar/synthesizers) joined Streetmark. The sound is very melodic and pleasant but the level of the compositions varies: at some moments beautifully arranged with heavy symphonic overtones (great vintage keyboard sound like in the composition track Dreams with strong wah-wah guitar) but at other moments a bit poppy and amateurish. Many years ago I bought this album in the famous German record store Saturn in Cologne, I played it one time, the second time was this evening and I am afraid it will be the last time because there is so much more interesting German prog to explore. Rating 2,5 stars.

For a second release Streetmark had to say goodbye to singer Georg Buschmann, who joined the Hard Rock band Straight Shooter and bassist Wolfgang Westphal and welcome Wolfgang Riechmann on vocals and Manfred Knauf on bass.Riechmann, who wrote all titles of this second release along with Thomas Schreiber, had an Electronic background, having played next Michael Rother of Kraftwerk and NEU! fame in an act called Spirit Of Sound in late-60's.''Eileen'' was again recorded at Conny Plank's Tonstudio and was released in 1977 on the Sky label.

The splendin opener ''Crazy Notion'' sees the band stabilizing in the great Symphonic/Space Rock style of their debut, having evident GENESIS influences in the keyboard parts and ELOY inspirations in the guitar solos, emphasizing on an orgasmic performance by Raukes on alternating piano, harsichord, organ and moog synthesizers.The rest of the first side sees Streetmark moving in a more spacey sound with long synth and organ passages, psychedelic drumming and smooth electric guitars, while the vocal performance of Riechmann is rather limited, giving space to extended instrumental textures.The second side confirms the change in style presented in the later parts of the opening one, highlighted by the 12-min. ''Dreams''.Hypnotic synthesizers, narcotic bass lines and drumming typical of the Kraut Rock style are combined with sensitive vocals and Electronic soundscapes in a fine result of Electronic/Space Rock.The symphonic influences are not totally abandoned, some light moog synth and organ moves do retain the early style of the group, although the general soundscapes are more in a Teutonic, cosmic vein.The parts with the dual and triple keyboards are very good, although a bit repetitive, and Riechmann's impact on the band's sound is now more than obvious.

With this second album Streetmark leave behind the British-styled Prog of their debut for a more German/Kraut Rock taste along the lines of Space Rock.Quite good effort, just not as good as the band's debut.Still warmly recommended.

This album was quite sympathetic experience, providing some sincere dreamy psych rock poetry from 70's Germany. The album is dominated by keyboard sounds doing both sharp piano and organ chord runs cloaked within tapestries of large spacey sound layers. Also lead male vocals with supporting female backing vocals are quite front, and this singing is much better here than on the first record. The band has matured also with compositions and musical ideas during their years.

The album is like a sad autumn evening, full of mellow sorrow and dramatic melodies. Quite simple compositional structures are studied with different approaches and easy arrangements. From classic psychedelic progressive rock perspective interesting moments worth mentioning might be "Passage", being a minimalist surge to a Hawkwind sounding cosmic vortex. The beginning of "Sea of Melted Lead" has very beautiful dreamy surreal soundscapes, which are later expanded to synthesizer illuminated dystopian vision culminating to a beautiful guitar solo. "Eileen" is also quite interesting, very nice sounding long hypnotic pulsing aural cavern. The title track of the reissue is clearly the best, having very descriptive name for loose adventure of sounds where the rock band jams slightly in manner of early Santana, strengthened with powerful Tangerine Dream sounding synthesizer presence, and concluding to a hollow choral singing.

I was positively surprised by this album, as my expectations after their first album weren't so big. One comparison could be a lesser neurotic incarnation of Bachdenkel's "Lemmings" album. There's also an acoustic folk music oriented tune as a bonus track on this reissue version. Thus a recommendable little album for those interested of warmhearted synth dominated psychedelic prog, and hunters of European underground art rock records who are not searching "Eileen" record due its really beautiful gatefold covers.