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Twenty Sixty Six And Then - Reflections On The Future CD (album) cover


Twenty Sixty Six And Then


Heavy Prog

4.27 | 109 ratings

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4 stars The German bands of the early 70s can be roughly divided into two groups. There are those who have managed to create sounds that are equal to their Anglo-American colleagues (e.g. the Rattles, Kathargo, Birth Control, Gomorrah or Passport). On the other hand, there have been many groups that have created their own new kind of music that has just tried to be different from that of these British or American colleagues (e.g. Can, Neu !, Between, Tangerine Dream, Kraftwerk or Faust).

Interestingly, it is precisely the latter groups that are remembered - in connection with the term Krautrock - as innovative and important German bands. The formations of the first-mentioned group, especially from a prog-rock point of view, are often somewhat forgotten, also because their music was not fundamentally different from what flooded the market back then from America or England. Twenty Sixty Six & Then (or 2066 & Then) is one of those bands that hardly anyone knows these days. The only album of the group from Mannheim was released in 1972 in small numbers by United Artists Records and sold so badly that the band soon broke up. Members of Twenty Sixty Six & Then later worked at Kathargo and Abacus (Bommarius), King Ping Meh (Harrison and Mrozeck), Tritonus (Harrison), Nine Days Wonder, Aera (Robinson / Geyer) and Emergency (Marvos), among others. The basis of the music on "Reflections On The Future" is a rather earthy hard rock with British influences, dominated by organ and electric guitar and provided with quite typical, bluesy-rough vocals. Geff Harrison has one of those grating voices that occasionally winds up to higher registers, but mostly vibrates voluminously and scratchy and often sounds as if he had a plum stuck in his cheek while singing. The music of Twenty Sixty Six & Then is stored somewhere near Uriah Heep, Deep Purple, Procol Harum or Spooky Tooth, but it is much more progressive. In addition to the omnipresent electric organ, the two keyboard players now and then also use a mellotron or a synthesizer, occasionally a flute sounds, the lines of the various keyboard instruments and the guitar are often intricately entwined, it is sometimes jazz-rock and very rarely herbaceous- experimental (mainly in the middle of the long title track, in which the most varied of key sounds are noisy for minutes). In the long numbers there is a lot of jamming, especially the keys swell violently, it rocks hard and propulsive, interrupted again and again by quieter sections, in which the flute is often used. "Autumn" is a bit out of this framework, in which it is often heavy, but with extensive Mellotron use (especially in the quiet middle section) and some classically inspired arrangements. In addition to the already mentioned free-format section in "Reflections On The Future", the often sounding vibraphone is also worth mentioning, which provides a bell-like sound enrichment in the quieter sections.

"Reflections On The Future" from 1972 was the first and only album by the Krautrock band TWENTY SIXTY SIX AND THEN. And with all its experimentation and stereotechnical playfulness (just listen to "Butterking"!) It was so good that it really shouldn't be forgotten.

"Reflections On The Future" was re-released on CD by Second Battle (but with the abbreviated title "Reflections!"), Extended by some bonus tracks. There is the jazzy "The Way That I Feel Today", which was apparently heavily shortened on the original LP and was called "How Would You Feel". Then there is the track "Spring", a driving hard rock jam that comes from the sessions for the album, and two shorter numbers that were planned for a single that never came out. By the way, parts of the material were also released by Second Battle under the title "Reflections On The Past" on a double LP with additional bonus tracks.

prog_traveller!! | 4/5 |


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