BRÖSELMASCHINE

Broselmachine's lone album is among the top three folk prog coming from Germany along with Hoelderlin's Traum, Emtidi's Saat or Carol Of Harvest. They did release a second album not using the name but really not quite as good as this one. The German lyrics are well sung , with lots of harmony vocals. The music , mainly acoustic is very gentle with slightly subtle eastern influences but this is minor.

Much recommended even if you don't understand german.

Hippy freak ensemble delivering a tasteful, colourful collection of "pastoral" bluesy folk jams and songs for the pleasure of our ears. Imagine a fusion between kosmische kraut improvisations and peaceful forest folk songs. "Gedanken" starts and finish in a relaxed, "trippy" folk sounding. The break delivers a bluesy-kraut guitar solo within a "spacey" flavour. An intense, pleasant listening. "Lassie" is a simple folk song with hippy like lyrics for a male / female duo. Old dated stuff. "Gitarrenstuck" features a free-folk bluesy based guitar song with fragile female voices in the distance. "The Old Man's Song" once again provides a nice combination between spacey rock grooves, folkish guitar chords, and percussions, also including some "useless" vocals. "Schmetterling" is a pagan dancing folk song for flute, voice and guitar, a quite charming atmosphere. Not one my kraut-folk favourites but a sweet listening. More exigent German folk lovers should go on Witthuser & Westrupp, Parzival and Ougenweide.

This is a solid folk prog record containing surprisingly varied tracks, sometimes flirting with an Indo/raga rock style, like on the "Schmetterling" track. The lead vocals are shared between a man and a woman: the woman's voice is really very good. The quality of the numerous acoustic string instruments is VERY impressive, in terms of composition, sound and technicality. There are some very charming & childish duct flute-like parts. The bass has a funny carton paper sound. Some moments remind a simpler Mike Oldfield's or even Anthony Phillips' work. There is a long, funny and impressive wah-wah guitar solo on "The Old Man's Song"; the floating mellotron at the end is a very good surprise! There is something wrong with the sound of the metallophone on the last track, like if it came from a mono output lacking surround effect.

4 stars

Broselmaschine is a big classic of the "Psyche von folk" genre. A pastoral hippy mood enlightened by superb guitars (both acoustic and electric). Like on the opener "Gedanken" with its wonderful fluid guitar flight or "The old man's song" punctuated by delightful wha wha. The instrumentation is excellent (Mellotron, sitar, tabla, flute.). A true classic!

This is one of those rather obscure gems that is probably more folk than progressive, but the interplay of Celtic and Middle Eastern sounds atop a bed of what almost sound like Peter, Paul and Mary covers makes for a very charming album and a good use of a little more than a half-hour of your time.

Bröselmaschine was basically a one-shot German band who seem to have been heavily inspired by American folk singers of the sixties, plus featured the stunningly gorgeous and folksy vocals and flute of one Jenni Schucker. Amazingly Schucker doesn’t seem to have appeared on anything after this release.

This album was impossible to find for decades until it was reissued on CD in 2005. I just read this week that Akarma is releasing this on domestic CD in December 2007. I have the Ohr German import version that was released a couple years ago, which was the only other CD version I’m aware of. I don’t know if the Akarma release has the same tracks as this one or has some bonus material, so I will have to check into that one. But since Peter Bursch’s material after this release is generally considered inferior I’d be surprised if any bonus material amounted to much.

The tracks don’t range too far from my opening description, with the exception of the lengthy “Schmetterling” which does manage to blur the line between Middle Eastern-inspired folk (sitar, flute, zither, metallophon – you get the idea) and full-blown psych. There is even an extended flute solo that places this album squarely at the end of the flower-power era.

The rest of the album is much closer to rather tame hippy folk, although the presence of the zither, congas and tabla do manage to give the remaining tracks a bit of a dated sound.

On “The Old Man's Song” Schucker manages to come off sounding a bit like Grace Slick circa Jefferson Airplane’s Surrealistic Pillow days. This isn’t really a psych number though, as much as it is a rather intense folk piece accented with a light touch of slightly psych-and-blues guitar, tabla and the ever-present zither. Albums like Joe Byrd’s American Metaphysical Circus and the Comfortable Chair’s self-titled release also come to mind.

The sonic quality of the CD reissue is excellent, and while the liner notes are in German the overall package is quite decent. This is a very decent progressive folk offering that used be difficult to find but has been available in Europe for a few years, and is coming soon to America. Worth picking up and well recommended to prog folk fans. Four stars.

peace

Broselmaschine's self-titled, debut album is an essential prog-folk album in that it combines and even defines elements from every which direction and source you can imagine. The album has a well-rounded assortment of instruments ranging from the mellotron to the sitar and its replay value is amazing(I've been listening to this one over and over for about 8 months now and I still find something new).

One could be excused for thinking that this would be a Krautrock or at least highly electronic album based on the title, but in fact it is a highly psychedelic and largely acoustic artifact from those very early 1970s. It is that rare breed, a German folk psych album, with nascent progressive touches. Lots of acoustic guitar strumming, plenty of sitars, congas, gentle flutes and other instruments linked to trips of the sedentary variety. As a longtime fan of British Isles folk, I discern a variety of traditional tunes sprinkled here and there, as in the entire melody of "Lassic", and the flute segment of "Schmetterling". The latter is handled with a lot more panache, and the whole track is an inspired jam, as is the closer "Nossa Bova" with its slight Caribbean flavour. Almost 40 years on, it's hard to find a timeless element here, other than the pleasure of getting together with friends to play and hear good music.

This has grown to be one of my favorite albums of the genre (along with albums from such bands as C.O.B., Jan Dukes de Grey, Trees, Comus, Hoelderlin, Spirogyra, Synanthesia, Subway, Emtidi and Mark Fry) after deeply investigating the mostly UK and German acid folk of the early 70s. Lots of flute, acoustic and sometimes electric guitar, sitar, tabla and other hand drums, and beautiful female vocals as well as male vocals. This should be a breath of fresh air to anyone interested in the genre. The only thing this album has going against it is its short length at only 35 minutes. Beautiful atmospheric progressive folk!

This album has many charming qualities in it, shimmering with hippie bucolic romanticsms. Slightly acid flavoured folk from the campside fires are performed by fine muscians, with influences from Brittish, Celtic and American folk scene in underground musical context. Tonal explorations also venture to quite pleasant levels, with neat sounds familiar from the legendary era of German krautrock prog music days. Thus album offers both powerful calming feeling and much musical content. Especially The B-side shines with really impressive musical realizations, "Schmetterling"'s raga rock passages merge to effect-treated recitings, and lead from joyful rustic guitar chant movements to the deterministic ascension of "Nossa Boba". Fun home-drawn covers increased also my own adoration values, also found as an affordable reissue gatefold LP- Vocals are beautiful and sung both in German and Enlish by male and female duo, underlining also from this perspective the context of hippie charms, escaping the global crimes of earlier generations. Lovely record certainly, and very recommendable

I stumbled upon BROESELMASCHINE by chance when watching some WDR video footage of old German rock bands from the famous "Krautrock" scene. I knew nothing about them but I caught the glimpse of certain "mystique" of their apparently psychedelic folk music.

There are things well-known, documented and researched, works of art from the well-established circles and headline news. When you first approach such works you usually have a plenty of reference materials to compare with and you either agree with the majority of scribes and critics and get to appreciate what has been an established artistic value, or you might disagree completely and abandon the issue as overblown or over-rated pomposity (and the latter case often happens with the popular music, at least in my case).

But, when you discover something completely unknown to you, something you have not heard or read about, you get a pretty different sensation. How on earth this piece of amazing music was not widely known, better appreciated or simply more popular? What went wrong with them?

Nothing I guess. BROSELMASCHINE's self-titled LP just happened in space and time because five seemingly modest and talented people gathered together and made some interesting, amazing music. Just once, never to repeat it again (OK, I don't count later incarnations of the band without lovely Jenni Schucker on vocals and flute). And that is pure art! Without calculation, without planning, not caring about production, technology, promotion or marketing, or even money.

This album is so simple in its approach to music recording and yet so rich in its spiritual and artistic values. Acoustic acid-folk enriched with Anglo-Celtic and Indian crumbs (broesel in German!) makes one of the most pleasant and soothing albums I ever heard. Got it? *****

Music for listening to on a rainy drizzly calm day in the countryside while attempting to have a picnic as the fly's buzz around your sandwiches and annoy you.

A pretty little effort from Deutschslanders ''Bröselmaschine. I'm sure the band 'Current 93' would have heard and used this as an inspiration in their music. All instruments are acoustic and sound very nice. It's a mellow, laid back affair with a very English sounding female who turns into a German in the blink of an eye. A good wee album with some sitar and a few bongos thrown in for good measure. There's also that old Folk favourite - the tin whistle which rears its head in 'Schmetterling' but it sounds fine, so all is well. Panic over. A very decent folk album - and by God, I don't like many of them.

Another high quality prog / folk made in German. On this record we find the gorgeous female vocals Jenni Schucker which is also a competent flautist.

The registry basically consists of instruments such as flute, guitar, acoustic guitar and Mellotron instruments. Some emphasis on rather peculiar intruments like spoons, sitars, congas, tablas and Glockenspiel (very similar to the xylophone) are also part of the arrangements of the disc, which sometimes remind us a bit of Indian music.

Highlight the track "Schmetterling" that makes a mix of all the instruments used by the band.

It is a hard lightweight acoustic and incredible creativity but, being it´s only defect has only 35 minutes in length.

You might expect a band named in part after the sound of a friend's motorcycle, and formed in the industrial heartland of Germany's Ruhr valley, to practice the sort of music better suited to a factory assembly line. But this maschine was built of altogether lighter stuff, and painted in soothing pastel colors. And the specs never included instructions for a power chord attachment.

The LP itself is a quaint relic of homemade early '70s Folk Art, enriched by just enough psychedelia to give it depth and character. Yes, the band members lived together in a Duisburg commune. And yes, they sang winsomely of butterflies while playing recorders and congas. But as the album continues it stretches out beyond its limited Folk Music boundaries, in the last two (longer) tracks adding sitars and a mellotron to the mix, the latter courtesy of engineer Dieter Dierks, encouraged no doubt by producer/mesmerist Rolf-Ulrich Kaiser.

With Krautrock's notorious Cosmic Joker involved it's no wonder the album faintly echoed the Acid Folk of WITTHÜSER & WESTRUPP, minus the LSD and (mostly) unplugged. But there's a disarming innocence to the music that sets it apart from the kosmische fever dreams of Kaiser's later misadventures: a simplicity of purpose and purity of expression best heard in the lovely unskilled harmonies of Jenni Schücker.

The kindred spirits of PENTANGLE were an obvious inspiration, acknowledged (reportedly) by the head-brösel himself, Peter Bursch. The same Anglophonic influence reached its apogee in the traditional Celtic ballad "Lassie", and elsewhere on the album recalls the pastoral 12-string beauty of early GENESIS, although I doubt if Anthony Phillips ever attacked his acoustic guitar with the same Teutonic ferocity as Bursch in the final songs here.

Assigning stars to such a gently faded artifact is difficult, and I'm rounding up from the more conservative rating the album probably merits after all these years. Your music library will survive just fine without it, but will suffer a lack of color from its absence.

At the turn of the seventies, Germany witnessed a radical musical revolution, which would fructify in a genre that we currently know as krautrock or kosmische musik. The term "krautfolk" was recently created to describe the German bands of the time, which based on influences of folk music and prominently used folk instrumentation. Bröselmaschine is commonly known as one of the most representative bands of the narrow sub-genre. The group was formed in Duisburg in 1969 by vocalists and guitarists Peter Busch and Willi Kismer, a female vocalist and flautist Jenni Schucker, a bassist Lutz Ringer and a percussionist Mike Hellbach. Two years later, the quintet recorded their self-titled debut album.

The impact of the sixties folk revival on later hippie folk acts, such as Fairport Convention, Pentangle or Lindisfarne, was undeniable. Bröselmaschine's style relies heavily on its legacy, but adds various their own original elements. The group's pastoral, meditative sound is enriched with influences of Indian raga, Celtic chants, and European art music of the Middle Ages and Renaissance. In addition, the album tends to have a strong trance-like feel, which becomes evident on lengthy and dynamically varied instrumental passages with detectable psychedelic hints. Even with so many original ingredients and such a fresh feel, the release's style does not sound unfamiliar.

Bröselmaschine's debut is dominated by gentle, feminine instrumentation. The great interaction of two acoustic guitars is supported by exotic sounds of sitar, tabla, congas and percussive, celestial sounds of a traditional European zither. Other unorthodox instruments include spoons used as percussion, a metallophon, and shells. Mike Hellbach's Mellotron plays an important role on distant, dreamy passages. Classic acid folk sounds are delivered through high-pitched flute sounds and harmony vocals of Peter Bursch, Willi Kismer, and Jenni Schucker. Electric instruments are rather rare with an exception of an electric bass and Willi Kismer's overdriven wah-wah guitar fills appearing from time to time. The overall impression one will highly likely get is that the musicians work together effectively and professionally.

The album is relatively short, with a time frame of only 35 minutes. It comprises six tracks, each with a slightly different feel. The opening piece, "Gedanken", is based on a lament bass pattern and is kept in a rather melancholic mood. "Lassie" is a ballad having a much brighter sound than the previous song. "Gitarrenstuck" is somewhat of a duel between two guitars of Peter Bursch and Willi Kismer without any help from other instruments. "The Old Man's Song" opens with a catchy motif, which returns after dreamy instrumental passages. "Schmetterling" has a very distinct, trance-like flavor, reflected in exotic-sounding jams. This track is probably the most representative of the whole release. "Nossa Bova" closes the album with an intricate meditative theme.

Bröselmaschine is one of countless bands that did not manage to leave a significant mark despite their original and worthwhile material. The band's self-titled debut album is an excellent example of German folk with psychedelic piquancy, somewhat reminiscent of krautrock. By no means a must-have, but well worth your listen. Recommended!

Interestingly it's said a German folk rock act BR'SELMASCHINE would have got inspired especially by 60s American folk rock like Bob Dylan and so on, but as a matter of fact, they should have induced actual German psychedelic essence, exerted around them in those days, to themselves. Sounds like their debut eponymous album might simply be folksy seasoned with melodic or rhythmic dissected lesions here and there, but we can find carefully definite 'acid' texture all around, that can be touched via a Krautrock album titled 'Teilweise Kacke ... Aber Stereo' by Air or two albums by Furek'ben, a Danish tribal acid folk combo.

This tendency can be heard obviously in the two long tracks ('Schmetterling' and 'Nossa Boba') upon Side B. In the former one, repetitive oriental melodic phrases featuring ethnic percussion, sitar or flute drive the audience into another dimension of comfort. The latter track drenched in monotonous ambience shower has apparently different atmosphere from other ones. Consider both should have been clearly acid-folk-influenced and simultaneously no direct relationship to American folk rock. Wondering why they have been approved as a Prog Folk outfit, not as a Krautrock commune, but who cares? Another fascinating album released in 1971, one of big years in progressive rock scene.

Slowly I am falling in love with german folk rock music.

I know that one of the main instruments of rockmusic is the drumkit. But if Mike Oldfield and Jade Warrior can record entire symphonic prog records without drums, then other can do aswell.

The music of Bröselmaschine is pure folkmusic. Most folkmusic I know, is british, scottish, irish or scandinavian. I must say that I know very little folkmusic from continental Europe. But this is a very nice suprise. The band are very keen on harmony vocals and melodies and play their folky instruments very well. There's of course a lot of acoustic guitar, but very tasteful as are the vocals. I'm glad it's not too psychedelic or doomy like other folkrockbands from this period (like Comus). This is more pastoral and really beautiful music. It fits the german landscape. I can imagine walking through the forests and past the rivers.

Too bad they only recorded this one album. But any other band that fits this category I will track down. Right now I can only think of one other band that fits: Hoelderlin.

Recommended for people who like Renaissance, Jade Warrior, early acoustic Heart and of course Hoederlin.

Germany was a nation rich in new sounds that seeped out of the 60s and exploded onto the scene in the 70s. While most of the world was going gaga for the sounds emanating from England, the Teutonic tribes were busy forging their own cosmic freakery in the form of Krautrock and other highly experimental astral traveling soundtracks. So why didn't anyone tell the band BRÖSELMASCHINE? Well, i guess they just didn't get that memo. While it's not unheard of for continental bands to have a sound fetish with their favorite proggers across the channel with the most notorious examples emerging from the UK's own Canterbury Scene that drifted to France, Belgium, the Netherlands and even Italy, what is quite surprising is that this Duisburg quintet seemed to forget, well for the most part that they were even German! Oh! And the name was a German word that was constructed from a cannabis shredder and the sound of a motorcycle. Oh those 60s.

While the band was forged from the ashes of a prior folk band called Les Autres, which proved that these musicians had a clear identity crisis from the beginning, they did at least conjure up a German band name, song titles and even a little Deutsch sung now and again but what's most amazing of all is that this band is a clear doppelgänger for England's Fairport Convention however no matter how hard they tried, the psychedelic Kraut that was permeating the homeland still found its way into the mix and thus the band BRÖSELMASCHINE should be thought of perhaps the most English sounding of the Kraut-folk bands that emerged simultaneously with bands like Can, Amon Duul II and Tangerine Dream. The band officially formed in 1969 with the lineup of Jenni Schücker (vocals, flute, bells), Peter Bursch (vocals, acoustic guitar, sitar, flute), Willi Kissmer (vocals, acoustic & electric guitars, zither), Lutz Ringer (bass, Metallophone) and Mike Hellbach (congas, tabla, spoons, Mellotron.)

This lineup only lasted four years before disbanding (other reformations would occur) and it was this sole eponymously titled album that was released in 1971 but what a brilliantly fun and warm album it is! The album is a bit of a head scratcher as it presents itself as a German release with tracks like "Gedanken" (thoughts), "Schmetterling" (butterfly) and "Gitarrenstuck" (guitar piece) but overall this is perhaps the most de-Germanized band that i have ever heard from the land of BMW and Beck's. If someone were to play this for me during an English folk marathon i would guess that this was an early version of the Pentagle or Fairport Convention before they had to get serious and drop all the freaky [&*!#] but nope, this is truly a one-of-a-kind album that exhibits all those Anglo-fantasies run amok with a bit of all that 70s Germanic freakery oozing in between the cracks. The results of this weirdness is tastier than a freshly baked basket of pretzels at a beer garden! And i'm talking Oktoberfest quality.

While squeaking into the world of Krautrock by a smidge, this is perhaps the band that exhibits the folkiest extremes with lush acoustic guitar passages, lazy atmospheric embellishments and sedate nonchalant strolls through the folky forays into Epping forest . The album is well balanced with two vocalists who alternate, harmonize and pacify the soul. Jenni Schücker provides the divine feminine as her delicate accent-free grace is complemented with Will Kissmer's more pronounced tenor grounding. The first few tracks will have you convinced you have been slipped a tea-sipping group of Brits as they nail the English sound perfectly and even rocks out, er, well folks out rather a traditional English folk song in the form of "Lassie" which has me searching for Richard Thompson and Sandy Denny in the credits. Nope, they ain't there! OK, it's apparent we've found the best British folk band that the UK never had, but wait! "Gitarrenstück" is a game changer. Yeah, all those softly strummed acoustic guitars still take you to rancho relaxo while the wordless vocals become ethereal and haunting but the short track changes the tone.

"The Old Man's Song" takes a complete 180 and the few rock elements of the album begin to shine through. Well, rock may be a misnomer. It's more like funky wah-wah guitar echoes, Indo-raga drumming with a little extra oomf but BRÖSELMASCHINE gets cold feet and retreats to the safety of the folk scene only they seemed to have morphed from Fairport to Spyro Gyra! Wow, this band is trippy without all the drugged out effects. Kissimer then feels free to unleash some guitar solos against the cyclical strumming loops beyond. OK, i said this was an English folk fetish album but then this band gets all weird by the end. Yeah, "Schmetterling" decided it was time to go to India and bust out all the Indo-raga moves complete with sitar, tablas and ample blessings from the proper guru du jour no doubt. Add a few zithers, Matallophones and flutes and you got one cosmic vibe groovin' on and best of all Jenni Schücker busts out her native tongue with a narration in German! The track jams on for almost ten minutes. I guess someone spiked the tea at the Renaissance fair.

After the freakout, the kids got all silly with "Nossa Bova" which is another lengthy jam session. Part acoustic folk, part hangover of Indo-raga and part Kraut-whatever, BRÖSELMASCHINE really gets cerebral with heady flute runs, acoustic guitar bliss and a nice mix of unorthodox percussion that implements the congas with a touch of spoon charm. Perhaps the mellowest track on board, the spoonerism insinuated by the title sadly contains no traces of bossa nova. The album ends as if a completely different band was performing and that's probably what makes BRÖSELMASCHINE's debut so memorable. While lacking in a uniform display of one style or another, the incremental changes actually pay off quite well and while perhaps not quite as masterful as some of the primo examples of freak folk mustered up by the kings of freakery a la Comus or Jan Dukes de Grey, BRÖSELMASCHINE nevertheless offers an interesting slice of cross-cultural elements existing in a rather warped continuum which gives this album a charm all its own. All the tracks are deliciously addictive right away since melodic constructs rule the roost. Unfortunately this lineup wouldn't last too long and future albums are basically different bands but this debut is defiantly one for the psych folk crowds not to be missed.

Very solid Prog Folk from Germany. This album is remarkable for its clarity of sound production and for the amazing vocal arrangements and performances--and in English!

1. "Gedanken" (5:06) blues folk oriented and fairly simply arranged but masterfully executed and with wonderful vocals--male lead, female lead, and harmony vocals. (9.5/10)

2. "Lassie" (traditional) (5:06) a kind of average though remarkably clear rendition of a traditional folk song. (8/10)

3. "Gitarrenstuck" (2:03) a guitar duet with choir background vocals. The AMERICA-like mid-section is quite gorgeous. (5/5)

4. "The Old Man's Song" (5:26) guitar based but then electric guitars, congas and flutes join in and shift things. Female lead vocal is presented as if added in at the last minute. Nothing too special or innovative here. (8/10)

5. "Schmetterling" (9:31) sitar, zither, tabla, steel-string acoustic guitars fill the first two minutes before the German spoken voice of Jenni Schücker enters for a minute. Then it returns to instrumental. Guitars and, later, flutes do most of the work until the 5:00 mark when Jenni returns only in a vocalise form emulating or mimicking the flute and the rhythm patterns of the tabla. Then she stops (as does the tabla) and we're left with a solo from a strumming guitar. Flute and tabla return and then the final 90 seconds are filled by Mellotron-supported sitar in support of the flute melodist and tabla and guitar. Nice song. (17.5/20)

6. "Nossa Bova" (8:06) gentle finger-played acoustic guitar opens this one before tremoloed zither joins in. In the second minute hand percussion joins in as guitar and zither go their separate ways (both still playing, though). Reverbed voice enters at the 2:45 mark as Jenni sings a pretty, whimsical hippie lyric. Metallophone solo follows to fill out the fifth minute. The song has some timing/cohesion issues, otherwise it's pretty nice and very transportative. I'm rating it high because of its desirable, nostalgic "feel good" feel. (14/15)

Total Time: 35:18

Though not the most sophisticated or complex musical compositions, incredible sound reproduction (except for Jenni's vocal tracks), clear and pure voice and instrument arrangements of simple song constructs win the day. Truly an unusual and exceptional album for its time.

4.5 stars; a near-masterpiece of Prog Folk.

Tranquil, lulling you into a mental state not far from the countryside on a sunny day. I have some personal connection to this album too as I have listened to it on several memorable occasions, Like a kayak trip, and a long bike ride on a sunny summer day.

Seite 1 ---------

1- "Gandanken" is one of the darker tracks. The art on the LP depicts the feelings of all of the tracks for me, Gandanken has the feeling of the artwork in the gatefold of the gothic cathedral. Very dark and trippy sounding (8/10)

2- "Lassie" gets a lot of heat but I really enjoy the harmonies and relatable lyrical content Very folky and less of the proggy aspects, but enjoyable. I listen to this more than Gandanken so I rate it slightly higher. (8.5/10)

3- "Gitarrenstuck" is a folky instrumental with the talent of Peter Bursch shining through enjoyable piece (7/10)

4- "The Old Man's Song" has the darker qualities of the first track, but holds a special place for me. I experienced a sudden increase in wave height on a kayak excursion with this song playing and time seemed to slow. This song pushed me forward with Jenni's repeated "Like the water" setting the soundtrack for a bit of a scare. (8/10)

Seite 2 ----------

1- "Schmetterling" jawdropping... this song is a perfect mix of all that makes this band great. The folk flourishes over the top of a raga influenced sequence. This is probably my favorite song on this record, its what I mean by getting lulled away to a gentle stroll on a summer afternoon. This along with the next track SOUND exactly how that FEELS. The repeating melody with acoustic guitar and flute gets me every time. An amazing journey of sound. (9.5/10)

2-"Nossa Bova" very relaxing, whereas Schmetterling feels like a stroll, this track feels more like laying down in the grass on a summer day and watching the clouds. The glockenspiel part, well at least I think its a glockenspiel, is to die for. It jumps in at the perfect time and fits the sonic palette well. I find that this one grew on me and now I will often just play this side of the LP to enjoy my favorite two tracks on this fantastic debut album. (9.5/10)

AVERAGE: (8.5/10)

"Broselmaschine" is an excellent collection of music performed by a talented group of musicians. Plenty of psych and prog mixed in this LP. I recommend for fans of early Genesis (particularly Trespass) and maybe even Fairport Convention.

I spent some time with this a few years ago dismissing it really as another good Folk album but nothing more. Man I was wrong. I rarely re-evaluate anything I've given 3 stars to and they go in boxes unorganized so it's a hassle to find them. But I just couldn't get that feeling out of my head that I needed to at least spin it again one more time. Well a few spins later with a more open mind and it's a getting that fourth star. A surprisingly British sound to this German band and even the english vocals sung by the female have no accent to them. And she is the main singer but we do get some male vocals on the opener and on "The Old Man's Song" but little where else.

Yes this comes across as a psychedelic folk album for the most part. There that traditional song that I mocked at first but I have to acknowledge that it's well done. I'm Just not the biggest fan of "traditional". "Gitarronstuck" is a short piece with some excellent acoustic guitar. "The Old Man's Song" is proggy opening with those male wordless expressions then closing the song with them but lots of different stuff make up this sandwich. Some electric guitar and flute here and the female sounds amazing when she sings on this one. "Schmetterling" is 9 1/2 minutes long and we do get some spoken German words from the female after this opens with sitar. It's the only track with mellotron and there's not a lot. I'm not huge on the closer but I really like the opener "Gedansen" which has male vocals early then female later on.

Sure you could call this hippy folk music but it's not sloppy at all in fact the main guitarist is incredible and Jenni has such a great voice like the icing on the cake.