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ASH RA TEMPEL

Krautrock • Germany


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Ash Ra Tempel biography
Formed in Berlin, Germany in 1970 - From 1976 to 1998 renamed as "Ashra" - Regrouped as a duo in 2000-2001

One of the most formidable of the German Krautrock groups, ASH RA TEMPEL were a powerful force led by guitarist Manuel GÖTTSCHING, and also included former TANGERINE DREAM drummer Klaus SCHULZE at various points. Their music is very spacy and psychedelic, in the manner popularized by early HAWKWIND and AMON DÜÜL II. The early albums all had basically one track a side, one more powerful and dramatic, the other of a more atmospheric nature.

Their albums are all classics; those with Klaus SCHULZE ("Ash Ra Tempel" and "Join Inn") are the best. ASH RA TEMPEL's first release is a classic of the space/cosmic genre. This is definitively the one to start with if you're not familiar with this band. "Schwingungen" is a vastly underrated album even by ardent fans of the band. Basically, "Join Inn", along with the two albums, are supposed to be the essential woks from ASH RA TEMPEL, and I certainly haven't been disappointed by any of the three. GÖTTSCHING's later work varied between solo albums and those within a group format.

Later, after recording the dreamy soundtrack "Le Berceau de Cristal" (1975 unreleased until the 90's) ASH RA TEMPEL changed name to ASHRA, making a more melodic synthesizer based music. In the year 2000 the ASH RA TEMPEL moniker was reborn. Joined by long-time colleague Klaus SCHULZE, the appropriately titled "Friendship" was released. This is the best release by Manuel since "Blackouts" and shows that he hasn't lost his touch. ASH RA TEMPEL is probably the best known band of the German space scene. A SPACE JOURNEY FROM START TO FINISH...!

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Ash Ra TempelAsh Ra Tempel
Made in Germany Music 2012
$13.91
$9.95 (used)
SchwingungenSchwingungen
MADE IN GERMANY MUSI 2012
$13.98
$14.48 (used)
Le Berceau De CristalLe Berceau De Cristal
Mg Art 2016
$15.46
$18.74 (used)
FriendshipFriendship
Made in Germany Music 2014
$15.06
$16.06 (used)
Join InnJoin Inn
MADE IN GERMANY MUSI 2012
$14.95
$14.91 (used)
Starring RossiStarring Rossi
MADE IN GERMANY MUSI 2012
$14.52
$12.00 (used)
Inventions for Electric GuitarInventions for Electric Guitar
KING RECORDS (JAPAN)
$49.97
$15.52 (used)
Schwingungen / Seven-UpSchwingungen / Seven-Up
Cleopatra 1998
$59.99
$11.00 (used)
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ASH RA TEMPEL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ASH RA TEMPEL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.13 | 376 ratings
Ash Ra Tempel
1971
3.73 | 162 ratings
Schwingungen
1972
3.19 | 98 ratings
Timothy Leary & Ash Ra Tempel: Seven Up
1973
3.87 | 155 ratings
Join Inn
1973
3.20 | 80 ratings
Starring Rosi
1973
4.04 | 58 ratings
Le Berceau De Cristal (OST)
1993
3.56 | 54 ratings
Friendship
2000

ASH RA TEMPEL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.85 | 13 ratings
Paris Downers
1974
3.66 | 21 ratings
Gin Rosé at the Royal Festival Hall
2000

ASH RA TEMPEL Videos (DVD, Blu-ray, VHS etc)

ASH RA TEMPEL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.64 | 14 ratings
Schwingungen / Seven-Up
1998
3.85 | 11 ratings
Join Inn / Starring Rosi
1998

ASH RA TEMPEL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

ASH RA TEMPEL Reviews


Showing last 10 reviews only
 Ash Ra Tempel by ASH RA TEMPEL album cover Studio Album, 1971
4.13 | 376 ratings

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Ash Ra Tempel
Ash Ra Tempel Krautrock

Review by patrickq

3 stars For whatever reason, the term "jam band" has become synonymous with one of its narrower variants, the stoner-improv of the Grateful Dead and Phish. But Ash Ra Tempel is certainly the work of a jam band, the kind of band that doesn't get overly concerned about rehearsal and whose compositions are by their nature unpremeditated.

Side One, "Amboss" (English: "Anvil"), reminds me of a live Jimi Hendrix Experience jam - - but whereas in Hendrix's hands this piece would have evolved out of a structured song, and would eventually evolve back, "Amboss" is just the jam. As sidelong power-trio jams go, it's not bad. And it definitely hints at the in which direction Ash Ra Tempel's drummer, Klaus Schulze, would be heading over the next few years as a solo artist.

In some ways Side Two, the twenty-five minute "Traummtaschine" ("Dream Machine"), is even more Schulzian. While guitarist Manuel Göttsching was the star of "Amboss," "Traummtaschine" is much more atmospheric; occasionally one instrument is prominent, but there really isn't a lead part here. Both Göttsching and Schulze are credited with "electronics," and while that's pretty descriptive, I'm not sure exactly what means they used to achieve some of the sounds of the soundscape.

So Ash Ra Tempel is one side freakout and one side chillout. To a Klaus Schulze fan like me, it fits perfectly on a timeline between his prior album, Electronic Meditation (1970, with Tangerine Dream) and his first solo record, Irrlicht (1972). Whereas Electronic Meditation was marked by experimental antimusic, and Irrlicht was largely an ambient drone album, the experimentation on Ash Ra Tempel is carried out within some degree of structure, even if that structure is inferred by comparing Ash Ra Tempel to the other two LPs. Although it must strike many listeners as noise for the sake of noise, Ash Ra Tempel is actually closer to art for the sake of art. And whatever they were doing with this album, Göttsching, Schulze, and bassist Hartmut Enke weren't creating music as entertainment.

I guess it makes sense, then, that I admire and appreciate Ash Ra Tempel even more than I enjoy it, which I do on occasion. In particular, "Traummtaschine" fits well as part of an early-Schulze playlist.

Anyway, three stars for a good album. It's not a bad place to start for those interested in this group, although the identically structured Join Inn (1973) is definitely more accessible.

 Join Inn by ASH RA TEMPEL album cover Studio Album, 1973
3.87 | 155 ratings

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Join Inn
Ash Ra Tempel Krautrock

Review by patrickq

4 stars I have to confess that I'm a Klaus Schulze fan, so my angle on Ash Ra Tempel is a bit skewed. I only own three of the group's albums, and Schulze is credited with drums and electronics on two (their 1971 debut and Join Inn). Meanwhile, Manuel Göttsching is generally acknowledged as the leader and decisionmaker of Ash Ra Tempel; in fact, Schulze left the band after their first album and appears to have just "joined in" for the recording session that produced this album.

Side One of Join Inn is the aptly named "Freak 'n' Roll," a semi-coordinated jam featuring some of the most proficient - - and most straightforward - - drumming I've heard from Schulze. Guitarist Göttsching is at least as good as he had been "Amboss," the opener from Ash Ra Tempel, and overall, "Freak 'n' Roll" has a clearer sound than "Amboss." Other than that, the two tracks are quite similar.

Mirroring "Traummtaschine," the second side of Ash Ra Tempel, "Jenseits" (English: "the hereafter," "afterworld," "afterlife") is an excellent ambient piece in period Schulze style, with Schulze playing a heavily tweaked organ instead of the drumkit. Although some of Schulze's experiments later in the decade with voice as an accompaniment were successful (e.g., Ernst Walter Siemon on Blackdance, 1974), others were decidedly not (e.g., Arthur Brown on Dune, 1979); Rosi Müller's contributions to "Jenseits" work quite well. And of course, "Jenseits" is not a Schulze solo track. Its composition is credited to Göttsching, Schulze, and bassist Hartmut Enke (though not to Müller, although she would figure in writing Ash Ra Tempel's follow-up album later in 1973), and Göttsching's improvisation is essential to its success.

Join Inn is strongly reminiscent of Ash Ra Tempel's self-titled debut: in both cases, Side One is a nineteen-minute power-trio jam, and Side Two is a 25-minute ambient cooldown. But in retrospect, the moderately effective Ash Ra Tempel sounds like a practice run for Join Inn, which nicely exemplifies these two sides of Kosmische Musik: an experimental approach to western rock instrumentation and a studio-as-instrument minimalism. While falling short of "masterpiece" status, Join Inn is a very good album, and one I'd recommend to those interested in this subgenre of progressive rock.

P.S.: Whereas "Amboss" seems to be the progenitor of "Freak 'n' Roll" on Join Inn, "Der Vierte Kuss," recorded by Göttsching, Schulze, and Enkein 1970 but unreleased until 1996, may be the ancestor of "Amboss." "Der Vierte Kuss" ("The Fourth Kiss") was released on the Rhino compilation Supernatural Fairy Tales: the Progressive Rock Era.

 Starring Rosi by ASH RA TEMPEL album cover Studio Album, 1973
3.20 | 80 ratings

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Starring Rosi
Ash Ra Tempel Krautrock

Review by patrickq

1 stars Starring Rosi was recorded by a lineup of Ash Ra Tempel very different from the group that had released Join Inn earlier the same year. Here Ash Ra Tempel is effectively a duo of Manuel Göttsching, who plays guitar, keyboards, and bass, and Rosi Müller, on vocals, vibraphone, and harp. They are joined by the famous Krautrock dummer Harald Großkopf and equally renown Krautrock record producer Dieter Dierks, who plays bass on the final song.

Stylistically, Starring Rosi is all over the proverbial map - -as exemplified by the three instrumental pieces on the album. "Laughter Loving," inexplicably to me at least, is a country-western instrumental with Göttsching playing a twangy lead, a strummed rhythm guitar, a suitable bass part, and one (or more) freestyle parts in the back of the mix. Großkopf pounds away throughout. The slower, darker, and decidedly non-country "Schizo" has a similar structure, but with much less of Großkopf. "The Fairy Dance" is more ambient, although not much like the atmospheric pieces on Ash Ra Tempel ("Traummtaschine") and Join Inn ("Jenseits"), insofar as "The Fairy Dance" has comparably substantial structure. It's a bit like synth-based new-age music of the 1980s and 1990s.

"Day Dream" and "Interplay of Forces" are the two songs with substantial vocals. I don't say "substantial singing," because throughout the album Müller speaks most of her parts. Each of these songs has a repetitive aspect. On "Interplay," after reciting each couplet in German, Müller recites an English translation; on "Day Dream," Göttsching sings each line after Müller says it. As it turns out, Göttsching is a pretty good singer.

Two other tracks are largely instrumental, with Müller contributing a few vocal lines. "Cosmic Tango" returns to the "Laughter Loving" sound, this time with pre-Beatles rock & roll guitar soloing over a galloping beat - - reminiscent of surf-rock. Müller recites the lines "ready, steady, go," "far out," and "cosmic tango." On the closing number she recites a brief poem centering on the lines "the moment I met you / I knew you'll bring me up." In another example of repetition, she later backs Göttsching as he sings those same lines at the end of the song. "Bring Me Up," a Santana-like rocker, is the most commercial song on Starring Rosi, and also the only one I find enjoyable.

I ordinarily don't give much consideration to an album's title or artwork when writing a review. But I have wondered why this album is called Starring Rosi when Göttsching is clearly the star. The title has to create an expectation among listeners that Müller's contribution will be substantial, and it must have been obvious that this expectation would not be met. This brings up the question: why not just call this a Göttsching solo album? Or why not Starring Harald?

Anyway, the album's title is not the only source of my confusion over Starring Rosi. Where Join Inn was spontaneous, Starring Rosi seems calculated. And although Join Inn (1973) was similar stylistically to the band's 1971 debut album, it still sounded experimental and innovative. Much of Starring Rosi sounds derivative by comparison. Or maybe it's fairer to call Starring Rosi a failed experiment in interpreting popular music styles. At any rate, I really can't recommend this album. "Bring Me Up," if available as an inexpensive, standalone download, wouldn't be a bad investment, but otherwise, I wouldn't suggest spending time or money on Starring Rosi that could be spent on Ash Ra Tempel, or especially on Join Inn.

 Le Berceau De Cristal (OST) by ASH RA TEMPEL album cover Studio Album, 1993
4.04 | 58 ratings

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Le Berceau De Cristal (OST)
Ash Ra Tempel Krautrock

Review by PlacesofLight405

3 stars I like this album. It's a nice, spare entry to the Ash Ra discography. However, I find this album inferior to the work immediately preceding and following its 1975 recording date. The soundscapes aren't as engaging here as the are on New Age of Earth or Inventions for Electric Guitar and the Ashra melodies and band interaction hold more appeal the the floating Le Berceau de Cristal. A pleasant, top-heavy album that rarely gets play on my turntable due to the existence of much better Ash Ra and ambient/electronic releases out there.

I would like to see how the music interacts with the movie someday. That could bump the score for me, however it's unlikely. If Goettsching and crew thought this was so great, why did it sit unreleased until the early 1990's?

Nice cover art, but the words and font don't go with the picture. For some it's quibbling, for me it's a turnoff.

 Ash Ra Tempel by ASH RA TEMPEL album cover Studio Album, 1971
4.13 | 376 ratings

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Ash Ra Tempel
Ash Ra Tempel Krautrock

Review by ALotOfBottle
Collaborator Heavy Prog Team

5 stars Manuel Göttsching was born in 1952 in West Berlin, being one of the first post-war generations in Germany. In 1960, he began to learn to play classical guitar. In the mid-60's, he became interested in rock music through artists such as Jimi Hendrix, Peter Green, and Eric Clapton. As a 15-year old schoolboy, Göttsching teamed up with Hartmut Enke, his friend and classmate, to create his first school band. 1968 was a revolutionary year in his musical development, when he met the Swiss avant-garde composer Thomas Kessler, who specialized in electronic music. In 1970, together with Enke, Wolfgang Müllerm and Volker Zibell, Göttsching founded an outfit Steeple Chase Blues Band. The same year, him, Enke, and Klaus Schulze formed Ash Ra Tempel, which many years later would prove to be one of the most influential and important bands in the history of what would later be known as krautrock or kosmische music. In March of 1971, Ash Ra Tempel recorded their eponymous debut, at Hamburg's Star Studios. The album was released three months later under the Ohr label. Manuel Göttsching recalls "The first Ash Ra Tempel was, for me, not really record production, I wanted to have it as much as possible as a kind of document. (...) We were a live band and our real strength and the power that we had and that we could show was our live performances, so I just wanted to bring this as much as possible on this record."

A calm ambient chord swell accompanied by gentle cymbal touches innocently opens "Amboss", as if mighty, grey clouds were arriving just before a tremendous thunderstorm. The atmosphere slowly builds up with guitar parts becoming more and more pronounced and self-assured. In addition, lengthy reverb and feedback tails start following the instrument's parts. The storm clouds are gradually getting closer with drums getting heavier, louder, and more dense. At one point, the instrument finally settles on an even, rapid rhythm that appears as if waiting for guitar and bass to join. The rain starts falling. Everything becomes enormous, powerful, and loud. Finally, the guitar breaks through with its solo part. In the beginning, Manuel Göttsching's playing strongly resembles that of Jimi Hendrix, not only with the tone of the instrument, but also with its use of certain riffs on the pentatonic scale. Suddenly, the popular, rocky-sounding pentatonic is substituted by more "stylish" modes, which might bring middle eastern or Egyptian (as suggested by the cover art) influences to mind. Soon after reaching its spacey climax, the guitar retreats towards drawing softer ambient textures, until the loud jam returns once again. This time it's even heavier, reaching a point when it could even be called cacophonous. The piece ends suddenly and decisively.

Contrary to "Amboss", "Traummaschine", which translates into "Dream Machine" from German, is a pastel, sedative ambient track throughout. Beginning with a dreamy, slowly progressing sonic wave, which includes high amounts of reverb and guitar feedback, it really takes its time to build up, in fact much more slowly than its predecessor. Around nine minutes into the piece, one will start noticing more guitar layers "clustering" and gradually strengthening the overall effect of Dream Machine's movement. Finally, the musical scenery is supported with Eastern-sounding hand drums. Although more powerful, the track still does not lose its dark, three-dimensional, catacomb-like atmosphere. At one point, one of the guitars participating in building the Dream Machine becomes brave enough to sing a washy, highly overdriven solo somewhere in the distant background. Suddenly, the pace slows down with the string instrument being abandoned. When the rhythm disappears completely and "Traummaschine" reclaims its ambient quality, similar to the one with which it started, the guitar once again starts its solo part, not for long, however. With the atmospherics it built, one might be tricked into thinking that a musical eruption is slowly creeping, while in reality, the Dream Machine fades into a silent territory from which it started.

With their eponymous debut album, Ash Ra Tempel is not only responsible for creating striking, spatial soundscapes, but also for what turned out to be a groundbreaking album for German rock music. Furthermore, it could be considered an important historical document, featuring Klaus Schulze on the drum stool, not long before he gave up the instrument and began, quite successfully, as we have come to know, composing and recording electronic music on his own. With its two contrasted epics, Ash Ra Tempel provides one of the most breathtaking and atmospheric musical journeys in the krautrock genre. An essential album!

 Friendship by ASH RA TEMPEL album cover Studio Album, 2000
3.56 | 54 ratings

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Friendship
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

3 stars Ash Ra Tempel in year 2000?

25 years after the band's last official recording, after the electronic revolution of the 90's, do you really expect that the reunion of the two synthesizers pioneers can result in a music comparable to the krautrock of the classic 70's ASH RA TEMPEL albums? Recorded in 1998 and 1999, "Friendship" consists in long ambient soundscapes weaved by Klaus Schulze's keyboards textures and Manuel Göttsching's whirlwinding guitar interventions. The style is pretty much similar to Schulze's modern solo works.

"Reunion" opens on a floydian and relaxing tone, until the distorted guitar floats over spacey synthesizers and modern drums. Nice but a bit lengthy. Mainly electronic, "Pikant" is the passage the most similar to Klaus Schulze's compositions, especially his 90's releases. It nonetheless contains an interlude where Göttsching offers a delicate solo, sounding a little Spanish. On the contrary, the title track is rather driven by electric guitar. A slowly evolving cosmic piece, nice and dreamy but not very varied.

As you may have understood, of the two band cofounders, Schulze is the one the influence can be the most perceived on this album. The music neither resembles classic ASH RA TEMPEL, nor a modern version of it (such as SUBARACHNOID SPACE), nor even ASHRA, regardless of the period. "Friendship" can be described as a pleasant 90's Klaus Schulze album accompanied by Manuel Göttsching's guitars. The quality is overall constant, however the only problem is that all tracks are too long and not very changing.

Consider this disc as an unexpected enjoyable bonus from the Germans. Don't pick this one if you're looking for immersive psychedelic / space rock, but you can give it a listen if you're into modern Schulze records and electronic ambient soundscapes.

 Le Berceau De Cristal (OST) by ASH RA TEMPEL album cover Studio Album, 1993
4.04 | 58 ratings

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Le Berceau De Cristal (OST)
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

4 stars A crystalline soundtrack

Recorded in 1975, but not officially released until 1993, "Le Berceau De Cristal" is the soundtrack of an obscure experimental French movie directed by Philippe Garrel, featuring VELVET UNDERGROUND's ex-female singer Nico as an actress. Not quite in the psychedelic rock style of the first four classic ASH RA TEMPEL albums, the music is much more electronic and atmospheric, in the vein of early Klaus Schulze's material, with a slight touch of Manuel Göttsching's "Inventions For Electric Guitar". These oneiric, fully instrumental and slowly evolving soundscapes sometimes announce the direction the German pioneer will later take with his future band ASHRA.

This record also marks Göttsching's first collaboration with AGITATION FREE's ex-guitarist Lutz Ulbrich. He will return four years later as a member of ASHRA, with Harald Grosskopf.

Longest passage of the disc, the 14 minutes title track is an exception, as it's a live recorded improvisation. The first half deploys spacey synthetic textures mysterious, but the second half sounds rather strange and spooky. Uneven, and lacking a bit of coherency. The ethereal "L'hiver Doux" is nice and delicate, whereas the ambient and aquatic "Silence Sauvage" features somehow futuristic percussions. Original.

In the vein of "Inventions For Electric Guitar", the trippy repetitive and minimalist "Le Sourire Envol'" and "Deux Enfants Sous La Lune" shape the style Manuel Göttsching with adopt for ASHRA. Then comes one of the most beautiful moment of the album: "Le Songe D'or", slow and contemplative. In this peaceful landscape, the weird tortured "Le Diable Dans La Maison" looks like an intruder. The weakest track of the record. "...Et Les Fantômes Rêvent Aussi" concludes the disc with an ambiance à la Klaus Schulze.

Despite a few odd passages, "Le Berceau De Cristal" is a very cool soundtrack. Driven by synthesizers, the style follows Göttsching's logical evolution in the mid-70's. To better represent the music, this should have been released under his artist name instead of ASH RA TEMPEL's.

A forgotten and spacey little gem, recommended if you enjoy early Klaus Schulze, Manuel Göttsching's "Inventions For Electric Guitar", or even the first ASHRA albums.

 Starring Rosi by ASH RA TEMPEL album cover Studio Album, 1973
3.20 | 80 ratings

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Starring Rosi
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

3 stars Not really the same temple

3.5 stars

When did Manuel Göttsching sleep? "Starring Rosi" is ASH RA TEMPEL's third studio release during the year 1973! This record is an exception in the band's discography, as it does not feature long tracks or improvisations, as the previous records, but is composed of short-medium songs, the longest one lasting 9 minutes. Although the music can still be linked to space and krautrock, it incorporates elements from different musical styles such as folk, pop and even funk.

Why this evolution and this album title? Simply because Manuel Göttsching is the original member left now and does what he wants. Klaus Schulze continues his solo career, whereas Harmut Enke decided to definitely quit the music business! Therefore Göttsching asked for help from some friends: WALLENSTEIN's drummer, future Schulze's and ASHRA collaborator Harald Grosskopf, well-known producer Dieter Dierks and especially his wife Rosi Müller.

Wait a minute... Short songs, less improvisations, pop, funk, a conventional cover art... is this still ASH RA TEMPEL?

The opening track is surprisingly one of the weakest. "Laughter Loving". Beginning with an odd laughter, it mainly consists in a soft pop with slight country accents. Basic, boring and too lengthy. On the contrary, the floating "Day Dream" is an oneiric and beautiful folk piece. There is some future ELOY spirit here. The superposition of Rosi and Manual's vocals enhances the dreamy ambiance. Then comes the instrumental "Schizo", a spacey rock a bit mystical. It's no easy task to describe "Cosmic Tango", this nice funky-space-blues that can vaguely remind GONG.

The other weak passage of the disc is "Interplay Of Forces". The first half is mainly ambient and average , nothing really happens, whereas the second half, in the same vein as "Laughter Loving", is not really remarkable either. Fortunately, "The Fairy Dance" is an instrumental faithful to its title. A magical and aerial breathe, light and beautiful, with harp and mellotron. My favorite track of the record. The closer "Bring Me Up" shows glimpses of Manuel Göttsching's future musical direction in the late 70's with ASHRA. Original, this kind of dynamic floating funk resembles SANTANA at times.

Apart in ASH RA TEMPEL's discography, "Starring Rosi" remains the most accessible and varied offering of Göttsching and co. However, the music still remains pretty good and innovative in its own way too. Although not as cosmic and trippy as the previous albums, the compositions are more lively and colorful. Therefore you have no valuable reason not to give this record a try.

Don't expect deep immersive spacey soundscapes here, just enjoy this charming album and relax...

 Join Inn by ASH RA TEMPEL album cover Studio Album, 1973
3.87 | 155 ratings

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Join Inn
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

4 stars Klaus joins in

After the odd and somehow impersonal "Seven Up", this fourth studio album strictly respects the formula ASH RA TEMPEL established since their self-titled debut: the first side rock-oriented, the second side ambient and spacey. This will also be the band's last opus with this track structure. Released the same year as its predecessor, "Join Inn" features the participation of original member Klaus Schulze and, for the first time, Rosi Müller, Manuel Göttsching's girlfriend.

"Freak'n'roll" carries well its name. Göttsching, Enke and Schulze at guitar, bass and drums, a few sound effects and here we go. No bluesy or vocal passages, no complex changes, just a pure psychedelic / space rock jam, like a raw sonic magma. Nothing less, nothing more. The ending rocks!

Entirely electronic with discrete vocals from Rosi Müller in German, "Jenseits" ("Beyond" in English) clearly reminds Klaus Schulze's compositions at the time. The slow and delicate synthesizers textures weave contemplative and ethereal soundscapes, sometimes a little futuristic, sometimes a little mystical too.

A bit less immersive as the well-known self-titled debut, "Seven Up" nonetheless remains the second best, as well as the album the most faithful to the spirit of the band. As ASH RA TEMPEL in its purest form, this record will unfortunately be the last of its kind too...

Krautrock and early Klaus Schulze lovers are invited to join this trippy inn!

 Timothy Leary & Ash Ra Tempel: Seven Up by ASH RA TEMPEL album cover Studio Album, 1973
3.19 | 98 ratings

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Timothy Leary & Ash Ra Tempel: Seven Up
Ash Ra Tempel Krautrock

Review by Modrigue
Prog Reviewer

2 stars A step back to the sixties

Whereas ASH RA TEMPEL's first two studio efforts - their self-titled debut and "Schwingungen" - were quite adventurous and innovative at the dawn of the 70's, this third album marks an half-decade step back. Why? A possible cause may be that "Seven Up" was done in collaboration with drug pope Timothy Leary. The music is less risky, less trippy, and for an important part, consists in 60's bluesy psychedelic rock'n'roll. Tracks named "Space" and "Time" look promising though, but there are unfortunately no real relation. As always since the debut opus, one side of the disc is more rock-oriented, whereas the other is more ambient and spacey.

One word on the curious title: vocalist Brian Barritt suggested the name "Seven Up" after someone gave the band a bottle of the well-known lemonade mixed with LSD.

Contrarily to what its title may suggest, "Space" is the 'rock-y' track. It's also the least interesting one, as well as one of ASH RA TEMPEL's weakest compositions. The slow and bluesy psychedelic beginning is enjoyable, reminding "Light: Look at your Sun" from "Schwingungen". However, it then fades out and continues with a noisy radio interruption featuring Timothy Leary at nonsense speaking. These useless odd breaks will occur several times during the track... The other parts are unrelated and alternates energetic spacey rock with average basic rock'n'roll. "Space" resembles more an incoherent patchwork from the sixties than a structured suite. Not very original and clearly lacking unity...

A little more convincing composition is "Time", the spacey track. Starting on a tone resembling the self-titled debut's, the music then become either floating, hesitating, weird or atmospheric. Anyway, not much genuinely remarkable. Nonetheless, the biggest surprise of the record is the ending part, simply identical to the finale of "Such and Liebe" from "Schwingungen"! Göttsching and Enke thought they found the soundtrack of heaven, but this is no reason to reuse this section here. What happened to the musicians' creativity?

So, to sum things up, the best part of the disc was already released one year earlier on the previous record... "Seven up" is undoubtedly the least personal effort from ASH RA TEMPEL, as well as the only weak opus from the band. Don't pick this one if you want to go on a musical journey through the deep cosmos.

Fortunately, a former colleague will join on the next album...

Thanks to ProgLucky for the artist addition. and to E&O Team for the last updates

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