Ash Ra Tempel - Ash Ra Tempel

1971

Edited on August 24, 2008 from a review originally published in Gnosis on February 9, 2001.

Germany. 1971. Underground. Those three terms evoke images of the Berlin Wall, intensity, angst, freedom. There was an exciting music culture happening throughout all of Germany at this time with bands like Tangerine Dream, Amon Duul, Guru Guru, and Embryo. All of them were turning their backs on the more well known commercialized style of their American and British counterparts to create something new - something uniquely German. And no band helped define this milieu in recorded music more than Ash Ra Tempel. So perhaps in reality it was three friends: Manuel, Hartmut Enke, and Klaus Schulze (fresh from a similar angst ridden album, "Electronic Meditation", with Tangerine Dream) who joined their hearts and souls to play music that interested them. What has to be understood is the environs of the day, the mindset, the intensity, the politics, the change of the Western world as we know it.

Very rarely is a moment so well captured just through music. Yet this is just what happened on Ash Ra Tempel's self-titled debut. From the start, one had to know this was going to be a special affair: A day glow orange cover of the Egyptian sun god Ra which featured a gimmick cover that folded open from the center. The opening piece 'Amboss' (Anvil), is one for the ages. Starting with dark sounds that seem like shadows, created only with primitive electronics and guitar, the piece seems on the verge of falling into a black abyss to never return. Slowly the tension builds to a deafening crescendo, and without warning, Klaus Schulze begins his definitive piledriver drumming pattern. What could be possibly more intense and more chaotic? The listener is pounded into submission. Only to be equally mutilated by Göttsching's furious jamming, certainly the most intense, psychedelic, heavy guitar ever recorded. After a few minutes of this sort of violent cosmic blues jamming, there is a sequence of free-jazz drumming and electric guitar polka-dots that just burst into another firestorm, and along comes Schulze even more furious than before with Göttsching and Enke trying to subdue the entire German nation with their blistering guitar work. The Berlin Wall must fall! It doesn't - but certainly the musicians must have. One gets exhausted just listening to it! This 19 minute opus is followed by the exquisite 25 minute 'Traummaschine' (Dream Machine). Again, the mood is somber but slowly the sound gets louder. The band manages to achieve an electronic cadence while the guitars and electronics swirl. Hand percussion enters in and Göttsching turns up the fuzz for another biting solo. There is a period of rest and again the rollercoaster begins for yet one more jam. To this day, there has never been an album of music that sustained this kind of intensity for 40 minutes. How they were able to so without a moment of wasted time is a testament to the brilliance of one of the greatest albums of all time.

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