LET IT OUT

This obscure but crazy colourful communication with decent German psychedelic visual / aural effects has completely imressed me. "Let It Out" created by FRANKIE DYMON JR. in 1971 can be called as one of forgotten masterpieces of Krautrock (anyway in 1971 plenty of eccentric but fantastic creations came out - "Essais", "With (Junk-Saucepan) When (Spoon-Trigger)", "Die Grüne Reise", or "Mittelwinternacht '71" ... kind of special year for unknown rock stuffs). For Krautrock fanatics, there are full of enjoyable elements - jazzy, ethnic, electronic, acoustic, poetic, folksy, etc. etc. - to name but a few. A tad boring for art rock fans though.

The first shoot "The City" is quite impressive along with electronic distortion, lazy voices, phantasmagoric rhythms, or trippy guitar approaches, based upon oriental / tribal movements. It's kinda pleasure they get wilder and wilder as the track goes forward. In only 3 minutes and half various musical essence is stuffed here and there. "Sylvia" is a perfect blend of folk and poetry, where acoustic guitar plays are quite of comfort and (maybe) Frank's humming would not be good. Repetitive monotonous phrases drive you into another dimension. Another mysterious, electro-weird tribalism can be heard in "Aftermyth" that has serious heavy rock texture in the middle part. Solid guitar expressions are rock assets. And you could be intoxicated with dreamy ambient streams in the latter part. This stuff reminds you of the similar vein to YaHoWha 13 or some religious music communes. "Wait Nigger Wait" might be no good for the current world I guess but the atmospheric musical discharge is not bad really. The vibes in this track is lovely.

It's a pity the B Side sounds slightly pop and catchy, bejeweled with some weird flavour though. For example, the first one upon the B Side "Together Train" is pretty of discotheque. Limited to this song, it's much surprising that they launched such a perfect disco sound before the disco boom, and that the last moment is very quirky according to their stagnant soundscape. From "Reflections" until the last title-less one, acceptable melodic lines featuring flat, lazy voices go ahead ... cannot notify what they should have wanted to do sadly. Forgive me saying roughly and indifferently, this album would be more and more fascinating if their innovative soundscape like tracks upon the A Side is also upon the whole B Side. However, even feeling like above mentioned, you could find this album be one of "forgotten masterpieces". Have a try, please.