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Dzyan - Electric Silence CD (album) cover





4.02 | 205 ratings

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4 stars The mantra of the Germans Dzyan is steeped in experimentation, attributable to a form of jazz improvisation, enriched by tribal sounds. The use of instruments such as the mellotron, the synthesizer and the sitar give a very cosmic dimension, recalling the best sound of Popol Vuh (above all that of "In den Gärten Pharaos"). Precisely for this reason Electric Silence is part of that particular current of Krautrock which contributed to create the stylistic features of the new age phenomenon (which developed two decades later).

The three musicians practice a peculiar Kraut jazz rock. At the center of the music is Eddy Marron's electric guitar playing, sometimes nimble and jazzy, ā la Mahavishnu John McLaughlin, sometimes bizarre distorted, sawing, screeching or wobbly in space. He also often uses the sitar and saz, which, however, does not create an oriental atmosphere, but rather brings another strange timbre into the music. In addition there is the varied bass work by Karwatky. Most of the time he works a double bass with a bow, producing oblique, scrubbed tones, mysterious, floating sounds or a long, creaking roar. Sometimes he also lets an electric bass thump warm or elicits a powerful, echoing "doing" from the instrument. Then there are Giger's freaky drums and various bubbling and resounding gongs, bells and metal rods that he operates. The whole thing is mostly embedded in bizarre sound clouds of synthesizer sounds, Mellotron flutes and choirs, a diffuse swirl of sound that envelops the jazz-rock sounds of the trio and gives them a strange, unreal color. Great!

"Electric Silence" is surely one of the strangest, but also the most impressive and independent, that was produced in the border area between jazz and rock in Germany. The "Jazz Podium" was right in its assessment. What a wacky disc! What a wicked cover!

prog_traveller!! | 4/5 |


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