PLANET OF MAN

Interesting are the stories and the truthful examples of great music into tiny and obscure bits of creation, promotion, lived performance or succinct sound revolution and evolution. Code III made only one album, but it impresses up to the point that great fans of the cluster music (generally speaking) can't control out of the freak excitement in it, specialists appreciate it comfortably as a high standard and a wrapping special case; but the rest stays hidden, both in the private pleasure of listening such a music and in the adapting taste of it being rare, hidden, trashed etc. Code III have one album, and it is, more or less approvingly, better than some entire music recordings, made by more intuitive (or simply not that spontaneous) artists. Code III strikes as an independent gathering of musicianship and musicality, yet a small label, Delta Acoustic (keen on artificial music or stereo equipment progressivism), picked up their creation and produced the album into a more broadened and fully accomplished attention; not to last long, yet to signal the entire stress of an album that's special. Code III is the ensemble of five talented (or beyond) artists, but it all reflects, almost, the craft and class of Manfred Schunke, who must have had, through this creation, a bit of intention to master all the ultimate language of the German acid prolific act. Finally, Planet Of Man is referenced as a great, different, deviant and out-striking album - and I tend to agree with every recognition this hard work, transformed and bashed through all imagination, sound effect and drastic measures, receives, being brain-exploding, partially, or lavishly artistic, amazingly.

On a different account, this is one of the most important and almost unpredictable artistic points on which Klaus Schulze worked and collaborated, outside his own striking classic expression (but together with it, since entire moments out of Planet Of Man make you think of Schulze, the drone artist or the virulently stickler of the analogy music, the experimentalist or the conceptualist). Schulze's participation in Planet Of Man's suggestive art equals the best (but also most critical) slides of the Cosmic Jokers, the really interesting Wegmuller tapes or, though nothing but superficial, a strange reminiscence of Electronic Meditation, where chimeras and noises ruled every fiber. Strangely, it is exactly the album that's not recognized, officially, in Schulze's discography, though the un-official (or fan-based) ones agree on the weird album being something slightly despondent of Schulze, if not actually exaggerating on Schulze's role. A role, true, not only based on drumming, but head stereo mixing too.

Planet Of Man is finally a complex, obscure, shredded in sound and design album, full of creation and contradiction, excessive in all the acid forms. It can portray all the summed specific progressive affections, from the electronic stereo primitive but refreshing call to the already easy to imagine electro-drones crashes, from krautrock's "rock" accent (it happens that a lot of moments do intend a schizoid remark towards pure rock and sound beat, rather than the very good psychedelics, giving an aura of moving harmony and "cantability", even to the points of boiling abstraction and weirdness) to acid rock's "acid" accent (when it gets on heavy and demonic trends, it's quite seminal and chaotic, reality-ruptured or form-farcical), finally from the experiment's bare huge size to some very special and delicate ornaments of music, sound, narration or avant-nuance. It's an attractive album for the very closed-in touches and modes, for the deep and devilish fantasy or for the problem of communicating an entire art, through an explosion of forms and a radicalness of rough explosions and groaning curiosities.

Private in its difficult, arid or unleashing orientation, the Planet Of Man experience, for krautrock and electronic, noise and concept scrupulosity. It's definitely independent and clouted, since all the ingredients can't define the entire spectrum. It's definitely a recommended album, since the art joy of such a music orientation must, more than usually, rhyme with an impressive and unique context.