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Cozmic Corridors - Cozmic Corridors CD (album) cover

COZMIC CORRIDORS

Cozmic Corridors

 

Krautrock

3.85 | 29 ratings

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LearsFool
5 stars [This is a revision of an earlier review of this lost gem in light of realisation of said gem's true provenance, July 2016. Enjoy. - Ed.]

So it's the '90's, and krautrock appreciation has evolved from post-punk influence and Nurse With Wound approval to an all out love fest for dozens of the greatest and most unique albums of all time. Julian Cope's "Krautrocksampler", while admittedly a little biased and at times reliant on hearsay, is a great resource and helps keep the hype train choo-chooing along, as is proper for these bands. So what's a few unscrupulous yet very enterprising fellows to do but resurrect the '60's era trend of faux psychedelic bands for personal gain? The hoax is fairly obvious: listening to this record, it's clear as day that the production is way too clear as day to have been recorded circa 1972, and no one has ever found a "Pyramid" "first issue" of any of these releases. But, like Hell Preachers Inc. before them, the musicians who otherwise did by-the-numbers rock jams to fill out their "Pyramid" catalogue managed to make magic, suddenly focusing on keys, electronics, Stereolab influence (a wonderful recursion that also further proves that this is a hoax), and emptiness and creating an inspired and spine-tingling meisterstuck.

Built on useage of one-two combos of organ notes that jump off of the aforementioned Stereolab, the band wring forth keyboard and electronic tones and melodies that would've been revolutionary if recorded in the '70's. On "The Summit" alone, the band gives us a pretty use of minimoog, then towards the middle gives a strange and disquieting key and guitar combo that could even be considered quasi-industrial, before going into a cathedral filling organ section. Percussion wonderfully rounds out the keys. On top this, "Niemand Verstent" allows guitar to really shine, and the closer, "Daruber", has a multitrack of the male vocalist chanting. Also notable is the openness and silence surrounding the music, uncanny yet perfect, '90's era production and theme going into a rewarding overdrive.

Both beautiful and gloomy in equal measure and at the same time, this ultimately stands toe-to-toe with the real classics of krautrock as an unlikely, brilliant, and skillfully performed masterpiece.

LearsFool | 5/5 |

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