KRAAN

The music character in the 80's will have been time in the history of the music of Kraan when it had gotten on the flow in the age very much. A little rhythm of inorganic in the 80's and the element of the anacatesthesia might have infiltrated a little as a fashion. I use it in a good meaning. The music in the 80's might certainly have given the impression a little away from a miraculous part of the 70's. It might relate to the fashion that flooding and people of music requested.

After it had debuted, the sense of Kraan might have been consistent to some degree. Men who debuted in 1972 are a little parts of psychedelic and elements of Funk. Or, Jazz Rock was assumed to be a subject and music was always created. And, it multiplied at latter term in the middle of the 70's and their music took the part that had been refined further to music naturally. Making the sound and the evolution of machine parts were advanced in the age and those elements might have been reflected in their music with indeed natural shape. Therefore, it might be able to be said that those acts were able to ride the crest of wave exactly attended with their ideas in the age. This album is a work from which the age is exactly reflected in the album well. And, the style has a consistent fact.

Indispensable existence is existence of "Konrad(Conny)Plank" when talking about Music in Germany of this time and. Of course, the fact that is important existence for the case where Conny Plank decides the music character of Kraan might be correct for Kraan. A good part of Kraan might appear remarkably in the part of the improvement and the advancement of the idea from the element of Jazz/Fusion and Funk of "Let It Out" to "Flyday". And, they have succeeded in taking the age to the band splendidly. The album that succeeds in splendidly making the atmosphere in the 80's an embodiment based on them might be this "Nachtfahrt".

It is said that the bonus track was scheduled to be collected to this album at first. However, it is guessed that an unpublished tune existed to some degree at that time. They are solved by announcing "2 Schallplatten". The album exactly reflects the age and the technology of the performance of the band might improve further. And, the point that should make a special mention further is a point that the drum player has alternated from "Udo Dahmen" to "Gerry Brown". Gerry Brown was a drum player who was active in a live album etc. of "Return To Forever". This member's alternation might contribute as a more perfect part for the performance of Kraan. Of course, Jan Fride of the drum player known well for the fan of Kraan also participates in three.

"Wintruper Echo" tells the listener the start of the album with the dash feeling. The tune advances with a traditional a few melodies. Maintenance of accurate rhythm of Jan Fride. Or, it performs and it is technological of Hellmut Hattler that thinks completion as the idea of Bass already. These might have been obviously the parts at the new front for Kraan at that time. However, their styles are always consistent. By the way, the title of the tune is a name of a small town of Hannover and a degree of the cairn.

The composition of the tune that multiuses the rhythm box of "Faust 2000" might be a tune that exactly reflects the age. A lot of ideas of them are blocked in the element of POP. If this tune also considered their music characters at that time, it might have been a new front. I will exactly feel the depth of the interior of the Kraut music.

The melody and the arrangement of "Elfenbein" might be almost perfect. The age is reflected. Making of sound of keyboard. Or, the song in which a good meaning has the escape power. And, it is partial of Arpeggio with the anacatesthesia. And, a perfect tune that happens on the way is transposed. However, it succeeds in busy of the composition and the sound of the tune that flows indifferently. I was convinced that this tune was a tune that only they were able to do absolutely. It is a tune to which the age gave birth exactly. If the listener feels the wave of the alpha, it is good.

"Nachtfahrt" might be one of the tunes of their representative. It is a tune that starts without fail the list in live. The sound of the keyboard gently affects. It might be a tune that remarkably showed the flow of Jazz/Fusion very much in this album. The rhythm of Gerry Brown is contained a lot of technical elements and progresses. The element of Fusion with the dash feeling satisfactorily demonstrates their technologies.

The tune collected to this album really shows various faces. Straight Rock of "Playing For You" might be a side of Kraan. The part where Rock is good appears splendidly in the tune. The rhythm of Jan Fride also splendidly draws out the part where the tune is good.

The tune with various elements is included in this album. The listener is told it further by this "Viel zu Heib". The part of an element of DUB and heavy Bass twines though the rhythm of reggae is made a center. Their ideas might be enhanced.

Not ending in a simple tune might be a sense of this Kraan. The sense and Groove of a mysterious melody of "Normal" might be ideas that only they can do. The tune maintains the dash feeling and advances around Groove. The age is exactly reflected and it works on refined Funk Rock in this tune though they always took the element of Funk to the work.

In "Paper Stars", a pleasant Arpeggio part and the chorus are impressive tunes. The arrangement of the guitar might be almost perfect. I will feel the element that was able to be visited in the 80's in the tune. It is one of the elements that the melody of the song is indispensable for Kraan.

It might be a tune of which the part of Jazz/Fusion has gone out with standing up that the atmosphere of "Luna Park" is quiet. The rhythm of the demiquaver twines perfectly with Bass. Their technologies have really adhered to the body to make the idea an embodiment. The tune increases the anacatesthesia further and reaches a space part.

"The Daily Blues" collected to this album as a bonus track is an interesting tune from which the condition of the battuta of the melody comes off while making Blues basic. It might be a tune with which it doesn't stay in Blues that this tune is simple and their ideas are blocked. The tune advances with a few tensions and dash feelings.

The fact that can be said for the music character of Kraan is to take very various elements into the work and to succeed. The individuality of the style and Kraan might be consistent though the music character and the idea always change. And, the appearance to always pursue the music that they this album should remarkably exactly reflect the age and do might appear in this album. The band that always announces such an idea might not exist so much in the world either. It might be one of the valuable bands.

As for the composition of original atmosphere and the melody of Kraan, originality might be really high. And, it is partial of the technology of their performances. Or, a consistent flow and arrangement always change for the case to compose the tune. However, the fact that offers the listener the impression that the genre is not specified too much for the performance that they do and the produced tune might always be active as interesting existence.

It might be understood to absorb various elements in the music character and to challenge after they debut in 1972 if the activity of their music is chased. Jazz. Or, the element etc. of Funk and a little trip music are consistent as their styles.

The drum player has alternated from Jan Fride to Udo Dahmen in this album. Jan Fride is active as an important member who still supports the rhythm of Kraan. The part of the performance that was able to be listened by "Wiederhoren" might be refined further. Anacatesthesia of "Gayu Gaya". Or, it is partial of a mysterious melody and Groove of "You're Right" often performed still live. There might be a lot of listeners of these elements who take it up as an item of Prog Rock and Jazz Rock in a large meaning, too.

It might be an album that never stands out too much in the history of the music of Kraan. However, their styles might be consistent in time when the flow that they face in the 80's in the 70's is difficult. The part where the tune is good is drawn out and it merges in the band as a member of the band in this work though keyboard player's Ingo Bischof has joined the band on the way. The entire atmosphere of the album might be also consistent. As for it, it also means the style to their music at the same time. Atmosphere and the element of "Buy Buy" and "Flyday" might be the performances really made only Kraan. You might do not have to stand out so much. However, such a band might not exist so much in the world either.

I have never given a record a five star rating before. This record stands at the top of my 'top ten' kraut rock favourites and since I discovered this album, some six years ago, I return to it regularly. Kraan's debut is one record that I always listen to from start to finish, every time. I love the hazy seventies production, with the heady phasing on the drums, huge dynamic bass and bright guitars and sax. Fans of early Embryo will most likely find this record a winner. For my money, Kraan has assembled a winning combination with their brand of acid-edged rock, jazzy moves, repetitive themes and ethnic flair.

I will omit any histories of this group, as it has been covered thoroughly by the other fantastic reviews posted here.

The highlight of this record for me is 'Kraan Arabia' which scronks and screes through middle eastern rhtyms and melodies, not dissimilar to Embryo and Faust at their gnarliest. I love the shimmering cymbals(phased for panoramic swirl, as mentioned above) and the gut-busting, undulating bass lines, that seem as though they will never relent, that is until the gorgeous breakdown towards the end... and no sooner has your heart rate returned to normal, they storm right back in to the Arabic styled mayhem. A kraut rock classic!!

This is for me an interesting diversion into Fusion/Jazz. I put this on just to test myself and to get out of my comfort zone again. I know next to nothing about Fusion/Jazz, but I love RETURN TO FOREVER. KRAAN is on a totally different level again than RTF. KRAAN are more down the Kraut and Space rock street than up the dynamic, jazzy RTF street. From what I gather, KRAAN do a mix of Krautrock, Spacerock and Fusion. With the exception from the opening track, there is not much Jazz on this album. Which is my main gripe with it.... I really like the Jazzy parts. I am not keen on the Krautrock parts of the album. They are sadly lacking in quality and sounds imposed on the otherwise good Fusion parts.

I like most of this album and I recommend it to those into both Krautrock and Fusion.

3 stars.

Psychedelic Man is the 2nd and last of the ,what I would call the 4th Kraan era.

As of 2008 Kraan is now working as a 3 piece.Peter Wolbrandt,Hellmut Hattler and Jan Fride Wolbrandt. Guess to me it means Kraan is entering their 5th era. Ingo Bischof is out,and is just about to release (a very promising),solo disc.

A very big thank you to 'Rivertree' for his/her review, that is very close to how I feel about this effort. And I will therefore not write too much about individual songs.

For a change my favorite track on a Kraan album's got vocals on it.Silver Buildings is dinger of a song that just smokes.

As always there are a handful of instumentals that are all very good.Slow dreamy ones and upbeat trippy ones.Always been a sucker for those,and their very unique sound. Colourcave is one of those.I must say,not totally knowing what a colourcave is,they sure make it sound as if you are in one, with this great instrumental.

Having been a fan of these guys since the late 70ies, I am very happy they are still around. Supposedly Kraan has aired as this far 3 new songs at their concerts,so I hope we will hear something new soon on disc.

Excellent disc.4*,no problem here.

Welcome back Kraan.

After 10 years on hiatus/breakup Kraan get back together .Peter Wolbrandt,Hellmut Hattler,Jan Fride Wolbrandt and Ingo Bischof records and tour again,which I do not think anybody would ever have expected.

In 1999 a Danish fellow,a huge Kraan fan,creates a Kraan web page on www.kraan.dk ,which turns up a lot of fans.Many more than Kraan ever expected.The new interest in the band brings them back together again.At least that's my theory.

The interest in the bands spread to the United States where they get invited to 2 prog fests,2 years in a row.I managed to drive to the one in North Carolina,and it was fantastic.Never thought I would get the chance to see them again...Was the 18 hour drive worth it? You bet.

Anyways,

This album is the first of what I would call the fourth era.

They carry on in the tradition of Wiederhoren,Flyday and Nachtfahrt,which just so happen to be my favorite era.

There are 5 instrumentals which are all very good.Ingo is co-writer of one song and Jan of 2.Which I believe is a first.Unser Lied is a great opener with an hypnotic groove and a brilliant guitar from Peter. Slomocean a great peaceful instrumental.Feels like watching the ocean from a glider looking down at the swirls.Trippy stuff.Urlaubsmusik another (again) hypnotic groove tune.Moxx is an almost dance groove by Ingo which just blows me away.Through is a slow grinder also excellent.

Yes I am sucker for their instrumentals.

The songs with vocals are all good with the exception of, Now what are we gonna do,which does nothing for me.

So all in all an excellent comeback album.

I give it 3 and 3/4 *,but rounded up to 4.

KRAAN's first three albums are all classics in my opinion,and they hold a special place in my collection. Their fourth release "Let It Out" is a 4 star record but it's not as good as the first three. "Wiederhoren" was released in 1977 and it does seem more polished and lighter,it has some great moments though,but for me the magic is gone. "Just One Way" opens with percussion and congas before guitar,bass,drums then vocals take over.A fairly light opening track. "Vollgas Ahoi" is my favourite song on here,it's heavier and more intense.The bass is really prominant from Hattler.Check out the guitar after 3 minutes. "Silky Way" is just like the title implies.They slow it down for this smooth track.Lots of excellent bass though. "Rendezvous In Blue" is a light,catchy tune with lots of keys. "Let's Take A Ride" is my second favourite tune on here.We get some vocals for the first time since the opening song.Some cool intricate sounds 2 minutes in,while the keys shine a minute later. "Rund Um Die Uhr" opens with some guitar that reminds me of MAHAVISHNU ORCHESTRA.Some fuzz a minute in followed by more great guitar.This is a top three for me.An impressive instrumental. "Yaqui Yagua" has an eastern flavour early before a catchy melody takes over.Vocals 2 1/2 minutes in with some great bass a minute later.That catchy melody from earlier returns to end it. "Wiederhoren" builds to an uptempo melody.Some scorching guitar in this one.The drumming 4 1/2 minutes in is pretty intense. Good jazzy album from a band that has made some amazing albums prior to this.3.5 stars.

2nd and last of 3rd era Kraan.

Ingo Bishoff is still out and Joo Krauss is still in.Which means we get trumpet/synth Kraan instead of piano/synth Kraan.It is not necessary better of worse,but a nice refreshing touch in the Kraan sound.

On my cd we get 2 bonus tracks which are great.The first 3 tracks do nothing for me and could easily be absent.Joo sings on 2 of those and his voice does not cut it all.

Hattler and Wollbrandt each have 4 tracks here which are great,in the usual upbeat swing with a great groove,or with the nice dreamy atmosphere which are their trademarks.

I am not going into this track by track,but if this had been an album without the first 3 tracks substituted with the 2 bonus tracks ,this would have been a clear solid 4*.I will give it 4 here but should be rounded down to between 3 1/2 and 3,75 *s.

Ohh,what I should mention is,that World Of Pleasure is a love song (I think),which I believe is a first for Kraan.Nice one.

Unfortunately this was to be the end for now.Hattler and Joo Krauss formed the duo Tab Two,which was just Bass/synth/drum machine and trumpet.This project put out 6 or 7 cds plus a live double.All very enjoyable but never equalled Kraan.Not that they were trying.Just a new adventure which lasted until the end of the 80ies.Then the 4th era of Kraan would emerge with Ingo Bishoff back in the fold instead of Joo Krauss.

The first of what I would call the second era.Yes things are indeed cleaner and slicker and more flowing.And that's exactly what I find more refreshing than their 4 previous albums.Easier to digest in other words,without losing their very special personality.

I remember walking home from school in the late 70ies,and passing a recordshop with about 20 albums hanging in the window.My eyes locked into the Wiederhoren cover and stopped in my tracks and looked at these guys with weird skin colours.2 with orange skin,1 with pinkishpurple and 1 with green.They looked so cool.Turned and went to the shop and bought it without knowing zero about them.Best impulse buy ever.

Just One Way is a nice breezy jazzy fusionish opener.

Vollgas Ahoi a song they always play live and it is obvious why.Upbeat instrumental with a healthy doze of spacy drive.Everybody gets room to show their stuff.

Silky Way is a nice mellow instrumental.Slow and swirly.I just imagine sitting watching the sand drift from big dunes.

Rendezvous in Blue,Instrumental with a cheery jazzy groove with great piano solo.

Let's take a Ride.Nice and funky

Rund Um Die Uhr and Yaqui Yagua, instrumentals with lots of personality.

Wiederhoren,last but not least is firy beginning with Drums and Bass soloing at the same time full tilt,with slow middle for then again to erupt into the same solos in the end.Outstanding.

Kraan is a very unique band in the same kind off sense as Van Der Graaf and Gentle Giant,but ofcourse sounds nothing like them.

This is serious kraut jazz fusion with touches off other influenses along the way to spice things up.

Have always liked that Kraan usually have one or two good instrumentals per album,but here we get 6 great quality of them.

My favorite Kraan without a doubt.And no hesitation giving it 5 *s.

After Wiederhoren which is my favorire Kraan album ,I was not too happy when this album came out.I did not think it was the same quality and was a let down. Jan Friede the great original drummer was replaced by Udo Dahmen.Dahmen it a good drummer ,but I have a soft spot for Jan.

Now for the album.

Far West is a wonderful opener,a classic Kraan instrumental.Short and dreamy.Like walking without touching the ground.Love it,but a bit short.

My Brother Said,is stoner rock kraut style.OK.

Ausflug is amazing.Another one of those instrumentals, that these guys always have one or two of on each album. Got 3 parts: Slowish intro which drifts along nicely,for then to shift into a great upbeat groove,carried by guitar with a hypnotic bassline in the back.Then it drits back into a groove like the beginning,for then to fade out.Definately the high point on this record. An I-Tunes purchase if there ever was one.

Gayu Gaya.Nice lazy groove in the beginning,but drifts into a bit of a messy middle.Not too exciting for me.

You're Right.So so,upbeatish tune.

Young King'd Son.Nice slow paced song but the lyrics are silly and gets a bit annoying.

Buy Buy.Nice kind of instrumental.Kinda,because Buy Buy are the only lyrics.Melody is a nice one of those slow melodies,but the singing is kinda in the way,though there are not too many of them. Does that make sense?

Flyday.Very mellow instrumental,but it doesn't really go anywhere.

3* may be a touch much.But the 2 songs Far West and Ausflug really are amazing,I will be generous. Good,but not essential.

The cover made by Peter Wollbrandt ,the guitar player is quite unique. Hellmut Hattler and Peter have done most of their own covers.Well done.