RADIO NOISZ ENSEMBLE - YNIVERZE

This album can be considered Emma Myldenberger's epilogue or even their fourth album. Indeed after the third album Live (only released under the cassette format at the time (and recently reissued in Cd by the GOD label, the group sort of managed to survive a few months later but members were abandoning the ship. I have no idea exactly how the jump was made tfrom EM to RNE, but no doubt the GOD label will detail us that when they'll release this album in the coming years, but three EM members formed RNE (or is it they changed the name) and released this excellent album where Guru Guru 's Mani Meumeier appears as a guest.

If RNE is the logical continuity of EM personel-wise, the same can be said grosso modo about their musical content. Maybe the music shifted a tad more ethnic rather than medieval, thus sounding a tad more Third ear Band and a tad less Ougenweide. After the TEB-reminiscent opening Double Spring Code, the album plunges you into its own Yniverse and into a splendid serenade Central where Gullatz's oboe flies from one mood to another while the semi-Indian classical rhythms transport you into a trance., but the ride is not that smooth as there are some intriguing dissonances as well. The same dissonance return but take a more cosmic dimension in Space Fasching which is strangely the more medieval track on this album, despite its futuristic name.

On the flipside, the group starts with a Rotterdam tune that was regularly played on the EM sets, and it's clearly Tkacz's stand-up bass' baby: it's all over it under everty conceivable form, even bowed, but Gassaert's drumming and Gullatz"s multiple wind instruments are also key ingredients. The album's centrepiece is the three-movements almost 15-mins Chrybische Printz and it leaves a lot of space for instrumental interplay and even some improvisations. The short closing title track is exactly that, an improv.

Definitely as excellent, if not more, than the EM albums, Yniverse easily compares to Tour De Trance and in some ways is better. No doubt that the excellent people at Garden Of Delight will one day (re-) issue this on cCd (I don't think it's been legitametely) and then this album will get a much-deserved sunray and it will be partially drawn from obscurity.

RADIO NOISZ ENSEMBLE (regeneration of EMMA MYLDENBERGER) could construct their original universe of Acid Folk called Yniverze with a graceful horn section featuring Biber's oboe, Krummhorn, and flute. And sadly this wonderful creation had got to be, in fact, the final work by them. Something of a tragedy can be showed in front of this album, at least in my eyes (ears?). Their rhythm section could shoot very simple sounds indeed, but the formation of these sounds is very eccentric and complex, therefore could build another Acid Folksy soundscape. The horn section, as the core of their style, played a mysterious role with weird, quirky, whacked-out breathing ... but magically this breath can be very harmonized and comfortable. Actually I can hear this breath also in Furekaaben's two albums but their sounds are more refined than Furekaaben's methinks. In this sense RADIO NOISZ ENSEMBLE should be defined as Acid Folk rather than typical Krautrock but we can consider they could leave an eccentric but important and wonderful footprint on the Krautrock history, can't we?

An excellent album but not recommended as a typical Krautrock creation. However, highly recommended for Acid Folk freaks.

EMMA MYLDENBERGER were a six piece acoustic folk band who released two studio albums both in 1978. They broke up after that but three of the members plus another musician formed RADIO NOISZ ENSEMBLE releasing this their only album "Yniverze" in 1982. Same sort of style really but less adventerous than that last album EMMA MYLDENBERGER put out called "Tour De Trance". That record had that krautrock spirit much like WITTHUSER AND WESTRUPP's "Trips Und Traume".

We get six tracks worth around 42 minutes and for the most part it's either the flute or the oboe soloing but we also get some acoustic guitar in that role. We do get piano and violin but not a lot of either plus drums, bass and percussion filling out the sound. There's an ethnic vibe for sure here and I don't want to say this is predictable music but so often it's either the flute soloing then giving way to the oboe or the other way around. This is all instrumental and for the record "Tour De Trance" had vocals.

Just not my kind of music, I find this very difficult to enjoy, listening is a chore. Such a cool story though as they went from playing on the streets to playing in packed buildings.