HORIZONTE

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Being able to feel a lot the music they make, in an interpretation that's quite like a gift, a moody excellent break or a refined achieved sensation, German mid-classic band Psi is something meant for special, good, pleasant or dreamy occasions. In a sense that doesn't escape the normal shine of music, nor the eclectic towards electric envision of their composition (which is their biggest talent, coming from their biggest intentions to work and play), but only feels worthwhile and truthfully convincing. The ensemble doesn't shake any of the woeful values of progressive rock, yet the effect is the same as if the music you're listening would be something of a peculiar sparkle, an experimental temptation or a difficult expression: enjoyable, of quality beyond hope and of a heart's melody. More or less, the stunning and calm sole album they have managed to leave behind is an experience down its entire class, but a hopeful "perfect music" that stands high from colloquial, rusted or controversial directions.

The band formed in 1975, out of broken riffs and easy desires rather than an excellent gathering and shape (though this side is visible as well). Two years or so of work and music sophistication are those who led to the late and charming Horizonte, in a way which seems to show the entire big delicacy and profoundness of Psi ever making any lively, strong and characteristic integral acts of music. Towards how amazing the album rises to be, and considering how quickly the band disparaged out of context, without any special details that they've received grand bless - generally - being discovered, it can't be denied that Horizonte is a bit to rare, obscure, typical or, who knows, on the edge. But the choice remains highly attractive, since music, inside the brand, is a professional fluent gesture of contemplative, interesting, essentially passionate or beautifully arranged moments. The class of jazz-rock and progressive ardor aren't brighter through this music's memory, but that's hardly resembling for the material that's well prepared and satisfies, each time, above a good spirit and impression.

In a grand experience of 40 minutes, the roundabout includes a vast jazz-rock sensibility, a creative mixture of rock and melody, a more sharpened (or, occasionally, complicated) realistic interpretation versus a more free and lucid possessive accord, and some general or deep rock expressions. Psi really owe a lot to themselves being musicians with gift and with an un-precarious or corrupted manner, to the natural adopted style being a most generous character and to some of the influences in music and magic being a true purpose in originality's movements. In the small fragments of typical jazz rustle (sometimes, that even brings leitmotifs or rhythm rock), Zimmerman's guitar taunt, Kunkler's works of saxophone ostentation, plus some cordial keyboard youthful sounds make an evident impressive effect. Mostly dynamic or swing-played, having themes and full vibrations under a most interesting quality, the idea is clear: good music in deliciously detailed and ornamented craft and a particular relaxing art. The aesthetic finally loses the most in favor of improvisation, and the clarity of jazz has moments of rock dizziness; but the 7 pieces repertoire remains something of a breakthrough taste and an intentional (or just rooting?) large and exceeding adventure.

Wisely leisure and profoundly conceived, Psi's Horizonte is a good work, with music and feeling, with rhythm and the bravely used character of art, with a humid craft grip and a never ending eclectic sentiment attached. Reasons for which they're progressively recommended, for which their quick existence imposes a regret, and for which I keep them in my collection...

(To finally add and signal, the presence of Psi here is in a wrongly submitted genre; they fit essentially in jazz-rock, whilst krautrock is far from conclusive)

You've probably heard it before. while checking in

This release from 1977 is German band PSI's only legacy in terms of albums. Their classification in the jazz rock sub-genre is entirely appropriate, although the jazz side of their music is much more pronounced than the rock. There are no thundering rhythms or screaming horns here, this is lounge jazz pure and simple. It is the sort of music for whiling away a few hours in soft romantic lighting, with nothing much to do.

The music is roughly evenly spilt between the sax playing of the wonderfully named Wilfried Kunkler, the mainly funky electric piano or keyboard player Mathias Frey, and the jazz guitar of Volkmar Zimmermann.

The best track for me by some way is the 8 minute Breikopf, where the band actually infuse a degree of energy into the music. Here, we border on the rock side of jazz, but never actually take that leap of faith across the wall.

Listening to this album of what is unquestionably pure jazz, it does lead me to ponder where the boundary between prog and jazz actually lies. For me, while this album may contain elements used in prog, there is nothing which is actually prog here at all. That is not to say that prog fans will not enjoy it. Those who enjoy the looser sounds of bands such as Brand X and perhaps Soft Machine may well find this to their liking.

For the rest of us, the music here is inoffensive and pleasant. The musicianship is clearly highly competent, something which shines through even though the album was recorded and mixed in one week. It is in the end though unchallenging and far from attention grabbing. This is the sort of music you will hear in the background in a hotel lobby.