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Psychedelic/Space Rock • Spain

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Kozmic Muffin biography
KOZMIC MUFFIN are a complete rarity in spanish progressive, with only two records, but 'Nautilus' has gained great reputation throughout Europe and is tagged by many as a classical prog piece of the 90s, not only in Spain.

They began their musical history back in 1992 in Galicia (Spain) when guitarist Pedro Granell started to listen to blues, classical music (Satie, Mussorgsky) and 70┤s prog like King Crimson, Hawkwind, Manfred Mann, Soft Machine or Pink Floyd. He gave up his relationship with the dark garage band ESKIZOS (after only a couple of EPs) to rehearse and compose music more psych oriented. After some solo work, he got in touch with bassist Javier Vaamonde and drummer Patxi Ortega, both from the band BALOWSKY. After one year of rehearsals, they recorded and edited their first record, 'Nautilus' (1994), a record that became a legend from the very beginning, which sold very well on underground and collector circles throughout Europe. This record was mainly the work of guitarist Pedro Granell, but some problems with the credits of the album and the royalties made him abandon his own band.

For a long time, he has been working as a musical writer and journalist, and he recently edited his first solo record, ('Sils-Maria', 2002). After he left the band, some old songs and rearrengements, along with some new material were used for their last and second album, 'Space Between Grief and Comfort' (1997). Pedro Granell does not appear on this record, and guest singer on the first record, Julio Gonzalez is the vocalist of the songs written by Granell. Because of the new turn the band was taking, acting more as multimedia performers than as a rock band, Julio Gonzalez and Javier Vaamonde left the band in 1999 to form the jammy oriented band TRICERATOPS. Until very recently, the core of KOZMIC MUFFIN was formed mainly by Patxi Valera, Pablo Rega and Enrique Otero, who have been working with lots of collaborators from the avantgarde and multimedia scene in Spain, with two main performances, 'Construccion de un Tinglado Desmontable' (2000) and 'Preterito' (2001), both of them unreleased.

Many of the members are currently performing multimedia and other musical and non musical avantgarde projects, but the lack of other recent works by the band makes us think that they are definitively disbanded and their members are enroled in their solo projects and collaborations.

Victor Rangel

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KOZMIC MUFFIN discography

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3.42 | 8 ratings
3.00 | 1 ratings
Space Between Grief And Comfort

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Showing last 10 reviews only
 Nautilus by KOZMIC MUFFIN album cover Studio Album, 1994
3.42 | 8 ratings

Kozmic Muffin Psychedelic/Space Rock

Review by apps79
Special Collaborator Honorary Collaborator

3 stars KOZMIC MUFFIN were a cult psych/prog band,formed in 1992 and based in the City of A Coruna,Galicia in Spain,who released two album back in the 90's.''Nautilus'' was the debut of the band released in mid-90's on Man Records,a rather infamous and overlooked album back then,which earned some praise through the sand of time.

KOZMIC MUFFIN play some mix of Psych/Prog with hints from Heavy Rock,presented in six rather long cuts.The musicianship has an intense retro-feeling and is based on the hypnotic guitars of Pedro Granell and the monster organ waves of Enrique Otero.Sometimes the sound gets more aggresive as Granell's both guitars and vocals explode,while I can't help of thinking of PINK FLOYD in all their aspects in a couple of tracks.Compared to them KOZMIC MUFFIN are less melodic and have a more powerful sound.The end of the listening finds me pleased to have listened to an underground name of the modern Psychedelic Rock scene,despite the obvious lack of originality.

This album could have easily been buried in time,but fortunately some hard-workers brought it up and that was a good thing.Far from essential,but fairly balanced and a great listening for all Floyd-ian fans out there.

 Space Between Grief And Comfort by KOZMIC MUFFIN album cover Studio Album, 1997
3.00 | 1 ratings

Space Between Grief And Comfort
Kozmic Muffin Psychedelic/Space Rock

Review by victor77

— First review of this album —
3 stars KOZMIC MUFFIN┤s second and last record has the title inspired by Brazilian songwriter Tom ZŔ┤s "O Riso e a Faša", although the record is far from that style, because it offers a very interesting blend of early psych and prog rock, with a sound clearly inspired by the late 60┤s and early 70┤s. It can┤t actually be considered a concept album, although the lyrics have great importance because they are all related to the narration included in the booklet, a short story about chidhood grieves, mental illness, recovering and final revenge. This dark mood will appear from time to time on the whole record.

The record starts with the atmospheric intro, including flute, of "Marble Man", song in which blues turns into rock, in a very interesting way, with some changes and excellent job with both guitars soloing. It won┤t last because "Peelin┤Cebollitas" has a much darker mood, in both lyrics and music, but with the funny insert of a cooking scene (in the vein of BAUHAUS┤ "Fish Cakes" or THINKING PLAGUE┤s "How to Clean Squid").

"Telly Selly Time" contains slower passages, including violin and saxes reminding KING CRIMSON, but the overall result is not at a top level, despite being quite interesting. The ironic sense of humour appears again with a mention to their first record, Nautilus, offered as a budget item in a TV show. KING CRIMSON appears again in one of the best tracks of the record, "Sadie Hawkins Dance", in which the percussive intro is followed by a furious guitar solo. A sudden change turns into a sax driven section leading to the end of the track. Songs like this deserve great attention, and that┤s why KOZMIC MUFFIN gained such a good reputation.

The record goes on with "Black Chess Figurines", a soft ballad full of poetry, with superb job on Hammond and vocals, reminding John Wetton in his best moments. Excellent counterpoint for the rest of the record. The dark mood will appear again in "Muffled Thrill" a superb instrumental piece that is another of the top songs of the record. "Sunday in America, Monday in Spain" is the final track, full of changes and continuous soloing on guitar and sax, but the result isn┤t very surprising despite the great musicianship displayed. The ringbell will wake us up from this musical trip. Or isn┤t it finished? Listen to it and you will understand

This record will appeal mainly to those interested in the more vintage oriented prog rock and those devoted to the psychedelic riffs and organs, because the rest won┤t discover anything new, although the instrumental skills are at a high level. This record well deserves 3 stars.

 Nautilus by KOZMIC MUFFIN album cover Studio Album, 1994
3.42 | 8 ratings

Kozmic Muffin Psychedelic/Space Rock

Review by victor77

4 stars KOZMIC MUFFIN┤s first record is a great update of 60┤s psychedelic rock and early progressive bands. The music on this record is mainly oriented to retrieve those old bands and sounds, althoguh the music on this record is not only a revival, but also a good example of creativity, provided that the instrumental background is not completely new. Far from technological arrangements and instruments, they are based mainly on classic electric guitars and Hammond organ.

The first song of the record, Andrew, is probably the most devoted song to their source of inspiration. Soft guitars and organ with some funky taste introduce the listener to their particular tribute to classic psych rock. But it won┤t last too long, becuase Sun, Glass & Vacuum is much more elaborated, with atmospheric organ that creates a very delicate mood, despite the guitar solo in an accelerated middle section. Kozmic Muffin is quite different, very aggressive from the beginning, including distorted vocals at the end of the track, which is one of the most interesting pieces of the record. Bedlam returns to the quiet mood, with a middle section that reminds Kevin Ayers works, more melodic and pop oriented. Open MInds will give us back to the more intricate side of the record, with lots of distorted guitars and an organ that reminds me of Brian Auger in his funkiest way. And the best is yet to come with Eleusis, a lysergic title that properly fits this song: cosmic music meets Canterbury in a real progression from the almost atmospheric start to the fastest final of the song, which is also a great final for the record. The final breath reminds us the great effort they made not only on this song, but also on the whole disc. This record leaves the listener with a great feeling and the sensation that not everything was played in the old days. Although the sound is clearly classic, the overall sound looks somehow fresh and not really repetitive, which I consider one of the strongest points of this record. I strongly reccommend this record, although the vinyl LP version is nowadays a collector item.

Thanks to Rivertree for the artist addition.

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