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SUPERNOVA

Ibliss

Krautrock


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Ibliss Supernova album cover
3.51 | 29 ratings | 4 reviews | 14% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 1972

Songs / Tracks Listing


1. Margah (6:11)
2. Drops (14:26)
3. High Life (13:03)
4. Athir (8:52)

Total time 42:32

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians


- Rainer Büchel / sax, flute
- Wolfgang Buellmeyer / guitars, percussion
- Norbert Buellmeyer / bass, percussion
- Andreas Hohmann / drums, percussion
- Basil Hammoudi / percussion, flute, vocals

Releases information

Spiegelei / Aamok

Thanks to Cesar Inca for the addition
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IBLISS Supernova ratings distribution


3.51
(29 ratings)
Essential: a masterpiece of progressive rock music(14%)
14%
Excellent addition to any prog rock music collection(50%)
50%
Good, but non-essential (29%)
29%
Collectors/fans only (7%)
7%
Poor. Only for completionists (0%)
0%

IBLISS Supernova reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars German ensemble Ibliss created a heavily jazzy voice within the psychedelic atmosphere that wrapped and shaped the psychedelic atmosphere of krautrock back in the late 60s and early 70s. This band is tightly sustained on the standard of jazz-fusion and jazz-rock, closely related to the 1st Annexus Quam, post-"Opal" Embryo and Xhol. "Supernova", while not being as brilliant as any of Embryo's efforts nor as magical as Annexus Quam's debut album, definitely displays a focused appeal that should be very appreciated by inquirers in the jazzy side of early German prog rock. Actually, the fact that one of the Ibliss guys (percussionist Basil Hammoudi) was part of pre-Kraftwerk act Organisation makes it clear that he was in no small degree responsible for the elaboration of the aforesaid band's ethnic side. Now, in Ibliss, the terrain is proper for a further development of this type of sonority. With two members recurrently in charge of the percussion department and two more adding extra percussions, it is no wonder that rhythm and cadence play such a big role in the tracks' bases and developments. The writing process seems to have been minimal, mostly based on the repetitive installation of a simple starting point, with the full band going on with it in order to create some sort of trance for the mind and the spirit. The opener kicks off with its abundant tribal pulsations, taking some time to gradually reinforce the powerful beat: halfway through the punchy guitar and the agile sax phrases enter in to explore the psychedelic potential of this ambience. The abrupt ending is a perfect culmination for this manifested enthusiasm. Track 2 goes to more serene places, changing the firs track's African vibe for a mysterious elaboration of Latin-jazz ambiences. This is the moment for the sax to steal the limelight with its controlled soloing: fresh and at times moderately aggressive, constraint is its major asset. A track like this wouldn't have been out in place on any Embryo album from "Rocksession" onwards. The intimacy alluded in 'Drops' is accentuated in the fade-out that follows after the cosmic interlude that previously worked as a false fade-out. 'High Life' starts the album's second half, going for a more American feel, funky-based in a Weather report-esque sort of way. The mid tempo pace allows the band o dig deeper in its evocative side: the recorder soloing states a lyrical color to the whole picture. The last 9 minutes are occupied by the languid 'Athir', a piece that finds the quintet getting closer to the realms of soft psychedelia with Indian trends: something akin to Yatha Siddra. The percussive foundation is quite hypnotic, with the whole band sounding like an exorcist that summons spirits from out a dream. The guitar feels at home with its subtle lines and evocative arpeggios going around the sax and flute solos. If we pay attention to his album's tracklist, it is a gradual journey from exaltation in the light of day to the quietness of the night. This is a real lost treasure waiting to be appreciated by prog fans all over the world.

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Send comments to Cesar Inca (BETA) | Report this review (#175423) | Review Permalink
Posted Thursday, June 26, 2008

Review by Mellotron Storm
PROG REVIEWER
4 stars IBLISS were a six piece band from Germany who put out only one album before disbanding. They played a jamming style of Krautock that was all instrumental except for the odd vocal expression. There was flute and sax besides the traditional instruments. Lots of percussion by the way, and the main percussionist Basil Hammoudi used to play with ORGANISATION. Also Andreas Hohmann the drummer played on KRAFTWERK's debut. Conny Plank was the engineer.

"Margah" opens with percussion galore (three of them played it) until 3 minutes in when the drums take over then other instruments join in.The guitar starts to solo before 5 minutes and he rips it up. "Drops" opens with faint sounds that come and go. The main melody comes in and it's very laid back sounding. Sax comes in around 5 minutes and plays some lazy melodies. Things start to build in intensity. Great sound here. The melody stops and the last 2 minutes become experimental. "High Life" opens with bass, flute and drums which create a relaxing soundscape. Some vocal expressions on this one and the sound becomes more passionate. I like ! "Athir" opens with soft flute as percussion and other sounds add support. Sax after 4 1/2 minutes takes over for flute. Flute returns late.

I like jamming music so this is right up my alley. Trippy stuff.

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Send comments to Mellotron Storm (BETA) | Report this review (#221325) | Review Permalink
Posted Monday, June 15, 2009

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
3 stars Ibliss is a Krautrock band formed around Andreas Hohmann, drummer of the first Kraftwerk line-up, and Basil Hammoudi from Organisation. The band fuses jazz rock jamming with world music influences, most notably in the Latin rhythms and the ethnic percussion and flutes.

The bulk of the album consists of two 15 minute improvisations that are a bit problematic. There's no interplay between the musicians and the basic groove, consisting of drum, bass and guitar, is too lifeless and static to hold my attention. It sounds as if those instruments were recorded first, before the soloing flutes and saxes were added without interacting with the other instruments. Anyway, whatever the cause, the result sounds like an average jam you could hear from any group of beginners. Hailing from a scene where jamming was an art, it makes this album rather redundant.

However, there are also strong indications of great talent in the band. The shorter opening and closing pieces sound much more focused and powerful. Marga fires off with percussion heavy rhythms before bass and sax join for a nice bit of brass rock. Excellent track. Also the closer Athir is nice, it has slow-paced entrancing psychedelic vibe with spacious guitar arpeggios, dreamy flutes and lots of jungle sound percussion.

Supernova is an obscure album with potential, but both the extended jams are at least twice as long as they should. Fans of Organisation, Embryo and Kollektiv might enjoy some of this album.

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Send comments to Bonnek (BETA) | Report this review (#367090) | Review Permalink
Posted Wednesday, December 29, 2010

Latest members reviews

2 stars An entirely unremarkable album. This Ibliss recording is entirely instrumental with quite a lot of flute and repetition of bass. Comparable in some ways with Embryo, Kollektiv and Brainstorm, but far softer and less imaginitave. 'Supernova' is quite a laid back affair - with lots of percussio ... (read more)

Report this review (#402349) | Posted by Dobermensch | Thursday, February 17, 2011 | Review Permanlink

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