ABACUS

This is very good and often complex full-blown Progressive Rock with also some instant melodies, reminiscent of CRESSIDA, SPRING, FANTASY and GREENSLADE, while the closest German comparison would propably be mid-70's BIRTH CONTROL.The sound of the band is strongly driven by the sparkling organ runs and solos of Barutzky and the soft guitar touches of Williams and Schade with the opening track being a highlight of genuine early-70's Progressive Rock, featuring great keyboard exercises and massive guitar hooks along with softer vocal moments, performed under some very demanding musicianship overall.The rest of the album includes heavy organ jams next to fiery grooves and melodic themes with Abacus achieving a nice balance between complexity and accesibility.A couple of tracks like ''Song for Brunhilde'' and ''Song for John and Yoko'' though are quite different, featuring plenty of acoustic guitars, smooth atmospheres and even some sitar, delivering more of a psychedelic than a progressive vibe.

Nice document of early-70's Classic Prog with some fantastic energy and a fair amount of interesting compositions.Anyone into British-styled or organ-driven Progressive Rock should check out this album.Strongly recommended...3.5 stars.

I can't give the album 1 stars because none of it is really unenjoyable, but none of it is particularly good. The musicianship is sub-par, and this is matched by the vocals, production and atmosphere.

If you are a fan of the band / enjoy light and simple crossover prog then there might be something for you here (though I'd be surprised if you find much value beyond the song Midway itself). Everyone else should stay away though... Don't waste your money.

(2/5)

Pipedream Revisited Part 1 & 2 is a fine opener, it is pleasant to listen to and doesn't offend but does little to engage as well (3.5*)

Cappucino is a nice song with some wonderful hammond (4*)

Don't Beat So On The Horses is an ode to their future pop careers, It is okay, but nothing special (3*)

song for Brunhilde is okay, it fails to engage me however and ends up falling flat in my mind (3*)

Song For John and Yoko I find is better than the last two and is at least entertaining (even if it also serves as a future tribute to their pop career's) (3.5 *)

Radbod Blues is the highlight in my eyes, if you need a reason to get the album it is this song. It seems somewhat out of place on this cd, it contains distorted vocals, an enjoyable drum solo and far more energy than the rest of the cd combined. (4.5*)

Chestholder is a fine ending to this cd, it holds its own and feels like a step above much on this cd but is still nothing spectacular. (3.5*)

All in all an okay cd, but there is little to distinguish it beyond the mountains of crossover prog from the era (many of which do it much better), there are some high points but all in all this is not all that essential a cd, despite being enjoyable.

While "Destiny" isn't a production that makes me raise my eyebrows in any way whatsoever, I'd suspect that those who generally find music described as pomp rock to be of interest are ones who should give this disc a spin. Relatively easygoing songs blending hard rock and soft rock themes with art rock flurries on top in the shape of richly layered keyboards is the main course, with two epic-length creations that add a more distinct art rock expression as dessert.

The best example for this is the opener 9,5-minutes "Pipedream Revisited". Excellent melodies, interesting instrumental passages of organ, guitars and above all bass and effective vocals. Indeed, it is almost impossible to hear any bad music produced back in the year 1971, but "Abacus" is definitely above average. Another personal highlight is acid- folksy "Song for Brunhilde" with beautiful atmosphere underlined with sitar drone sounds, giving it a slight psych touch, which is quite captivating. "Song for John and Yoko" is of course an ode to the pop icon with slight cynical approach. Excellent Hammond and acoustic guitar leads into the song while later fast-stomping part has a healthy dose of pop irresistability.

"Radbod Blues" presents a deformed voice patterns and some drums solo acrobatics, while heavy Hammond sounds a bit like ELP or ATOMIC ROOSTER. There are also improvisational jazzy parts on piano followed by bombastic mechanical laughter device. "Chestholder" invokes bits of SWEET SMOKE laid back jazz jamming and similar vocals, strenghtened by nice Hammond solo.

The outro contains typical symphonic approach with re-cycling the previous themes of the album but also there are signs of experimentation with noise, loops and electronics. This portion reminds us of the current Krautrock scene in Germany from which ABACUS naturally took some elements. All in all, this is a fine, unpretentious album that should be listened to many times. The one deserving much more attention.

PERSONAL RATING: 3,5/5

P.A. RATING: 4/5

Maybe ABACUS could be categorized as a krautrock band if only this album is considered. But some other releases followed with a more mainstream rock orientation. This eponymous release consists of blues and heavy rock music with much Hammond organ in the vein of some other german bands at that time. A little bit experimental, not very unique but a good listenable one without a doubt.

Pipedream revisited is the album's centerpiece with a classic inspired Hammond organ but also piano, synthesizer and sitar inclusions. A rough guitar provides some heavy rock moments and the vocals are fascilating a very happy flavour. This song is worth a listen - excellent. It sounds like Deep Purple meets ELP when you're listening to the instrumental Cappucino - one of the better songs not only because of a nice guitar solo. Don't Beat So On The Horses is wellknown for me - I already must have noticed this in the 70s too - but it's one step further to the following mainstream orientation. The same with the songs for Brunhilde (very folky with acoustic guitars) and for Yoko & Ono. Radbod Blues is another track which should be pointed out. Somewhat surprising with deformed vocals, highspeed parts, a short drum solo, american saloon piano - ingredients which are making this song very interesting. The album is closed by Chestholder once more Hammond drenched with a jazzy orientation and happy swinging - nice song which gets crazy 'til the end mixing and confusing some fragments of the other songs.