MIRROR MAN

Mirror Man was recorded at the end of 1967 and was supposed to be Captain Beefheart's second album, but it wasn't released till 1971. Which is weird, it sounds so similar to the early Can albums that you would expect it had a direct influence on the German kraut scene. Maybe there was a similar experimental vibe hanging in the German air.

The music has taken a step away from the Southern blues of the band's debut. The song format is still blues, but the jams are extended to extraordinary lengths. The harsh and dissonant drone is starting to challenge our harmonic sense, a trait in Beefheart's work that will only grow in the following years.

On a first exposure to Captain Beefheart, you are likely to be disorientated by the seemingly chaotic clash of the instruments, as if guitar, bass and drums aren't playing together but apart from each other. Or even against each other. The tattered voice of Don Van Vliet won't help for a quick and smooth appreciation of this music. After a while, each of the songs starts making sense though. The problem is that they are all a bit too lengthy and that only Kandy Korn reaches true excellence.

This album offers an interesting ride through Don Van Vliet's eccentric world. It's still fairly accessible and groovy for Captain Beefheart's standards so I'd sure recommend this one to all Kraut rock fans that haven't dipped their toes into this jumble yet. But it's sure not his best work.