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Bröselmaschine Bröselmaschine album cover
3.85 | 68 ratings | 16 reviews | 19% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 1971

Songs / Tracks Listing

1. Gedanken (5:06)
2. Lassie (traditional) (5:06)
3. Gitarrenstuck (2:03)
4. The Old Man's Song (5:26)
5. Schmetterling (9:31)
6. Nossa Bova (8:06)

Total Time: 35:18

Line-up / Musicians

- Jenni Schücker / vocals, flute, bells
- Peter Bursch / vocals, acoustic guitar, sitar, flute
- Willi Kissmer / vocals, acoustic & electric guitars, zither
- Lutz Ringer / bass, Metallophone
- Mike Hellbach / congas, tabla, spoons, Mellotron

Releases information

Artwork: Lothar Franke

LP Pilz ‎- 20 21100-2 (1971, Germany)
LP Ohr ‎- OHR 70007-1 (2008, Germany)

CD Spalax Music ‎- CD 14882 (1994, France)
CD Belle Antique ‎- BELLE 132103 (2013, Japan)

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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BRÖSELMASCHINE Bröselmaschine ratings distribution

(68 ratings)
Essential: a masterpiece of progressive rock music(19%)
Excellent addition to any prog rock music collection(50%)
Good, but non-essential (25%)
Collectors/fans only (4%)
Poor. Only for completionists (1%)

BRÖSELMASCHINE Bröselmaschine reviews

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

Collaborators/Experts Reviews

Review by Sean Trane
4 stars 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.

Review by philippe
SPECIAL COLLABORATOR Honorary Collaborator
3 stars 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.
Review by greenback
SPECIAL COLLABORATOR Honorary Collaborator
4 stars 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.
Review by oliverstoned
SPECIAL COLLABORATOR Honorary Collaborator
4 stars 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!

Review by ClemofNazareth
4 stars 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.


Review by kenethlevine
3 stars 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.
Review by Eetu Pellonpaa
SPECIAL COLLABORATOR Honorary Collaborator
4 stars 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
Review by Seyo
SPECIAL COLLABORATOR Honorary Collaborator
5 stars 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? *****

Review by Dobermensch
3 stars 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.

Review by Neu!mann
4 stars 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.

Review by ALotOfBottle
4 stars 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!

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant/Cross/Neo/Post Teams
4 stars 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.

Latest members reviews

4 stars 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 ... (read more)

Report this review (#1902807) | Posted by Kingsnake | Monday, March 12, 2018 | Review Permanlink

3 stars 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 ... (read more)

Report this review (#1077299) | Posted by Luciana Aun | Friday, November 15, 2013 | Review Permanlink

5 stars 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, ... (read more)

Report this review (#182832) | Posted by listen | Friday, September 19, 2008 | Review Permanlink

4 stars 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 ama ... (read more)

Report this review (#161981) | Posted by MTZArts | Saturday, February 16, 2008 | Review Permanlink

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