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Jazz Rock/Fusion • Germany

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Kraan biography
Next to EMBRYO, KRAAN are among those German groups who include psychedelic, sometimes ethnic elements to their distinctive, innovative jazz rock. At the beginning of their career, started in 1970, KRAAN free form jazz rock was really into jam sessions, totally improvised, mainly instrumental (featuring sax sections and many guitar / bass solos). Their self title album was experimented with ethnic, psychedelic / acid tastes and discreet electronic manipulations. Since their debut album and with their two following "Wintrup", "Andy Nogger" the band has demonstrated with interest, dynamism and humour how can we make fusion / jazz with addition of influences from everywhere. Really imaginative, inspired and technical these albums provide something new and amazing: an absolute trippy ethnic jazz rock. This particular facet of the KRAAN music culminates with their masterwork "Live" (1975). After this outstanding release the band's career falls into various forms of jazz rock style, relatively progressive but not as stimulating as their previous efforts.

: : : Philippe Blache, FRANCE

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Andy NoggerAndy Nogger
Edge J26181 2001
$8.95 (used)
Classic AlbumsClassic Albums
Emi International 2011
$13.28 (used)
Live: KraanLive: Kraan
Edge J26181 2000
$7.09 (used)
Live 88Live 88
Revisited Records 2005
$28.98 (used)
36MUS 2011
$15.00 (used)
Tournee / RemasteredTournee / Remastered
36MUS 2012
$379.09 (used)
Edge J26181 2011
$10.39 (used)
Let It OutLet It Out
Emi International 2001
$11.50 (used)
Psychedelic ManPsychedelic Man
EMI International 2007
$20.00 (used)
Edge J26181 2001
$13.35 (used)
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KRAAN discography

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

KRAAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.02 | 113 ratings
3.71 | 88 ratings
3.76 | 96 ratings
Andy Nogger
3.79 | 77 ratings
Let it Out
3.64 | 54 ratings
2.74 | 35 ratings
3.51 | 21 ratings
2.11 | 9 ratings
3.00 | 21 ratings
Dancing In The Shade
3.33 | 12 ratings
Soul Of Stone
3.74 | 10 ratings
Berliner Ring
3.78 | 18 ratings
3.60 | 27 ratings
Psychedelic Man
2.82 | 15 ratings

KRAAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.10 | 68 ratings
4.15 | 11 ratings
Live '75
3.82 | 16 ratings
3.98 | 18 ratings
Kraan - Live 88
3.07 | 5 ratings
Live in Copenhagen '79
3.92 | 17 ratings
Kraan Live 2001
4.00 | 1 ratings
Live at Finkenbach Festival 2005
3.50 | 2 ratings
The Trio Years (Live)

KRAAN Videos (DVD, Blu-ray, VHS etc)

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

4.50 | 4 ratings
Starportrait: The Best of Kraan
4.79 | 5 ratings
2 Schallplatten
2.83 | 6 ratings
The Famous Years compiled
2.00 | 1 ratings

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

0.00 | 0 ratings
WIntruper Echo

KRAAN Reviews

Showing last 10 reviews only
 Kraan by KRAAN album cover Studio Album, 1972
4.02 | 113 ratings

Kraan Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars KRAAN was a product of four high school kids from Ulm, Germany getting together to share their love of free jazz jams in the vein of Pharaoh Sanders and early Frank Zappa's fusion era. They began playing casually all the way back in 1967 but the emergence of the Krautrock scene ushered in by pioneers such as Amon Duul and the second band of the same name gave them the drive to take their musical passions and develop into more refined musical expressions. The quartet officially formed in 1970 Berlin with the initial moniker Firma KRAAN but changed their name before their very first live gig. Taking a cue from the communes of such musical collectives as Amon Duul, KRAAN (created as a nonsensical name that actually means 'faucet' in Dutch) left the city and moved to the small town of Wintrup to set up their very own musician's commune collective, only this one was limited to the four members: Peter Wolbrandt (guitar, vocals), Hellmut Hattler (bass), Johannes Pappert (alto sax) and Jan Fride on drums and percussion.

By avoiding the drudgery of the daily gerbil wheel grind of having to work every day, the members spent a year forging their new craft and emerged with their highly influential eponymously titled debut album that was released in 1972 to critical acclaim. Despite all the musical development, the album was actually recorded in a three day recording and mixing session in Munich. Taking a cue from not only the jazz influences of 60s avant-garde heroes, this debut album is also steeped in lysergic 60s psychedelia as well as early 70s heavy progressive rock with a Led Zeppelin type of gusto seasoned with symphonic prog style time signature workouts and orchestrated ambience. Like almost all of the diverse bands that existed in the Krautrock continuum, KRAAN displays an album's worth of psychedelic ethereal jamming sessions that flex their musical muscle with one track "Head" swallowing up half of the album's run at an 18 minute and 36 second playing time.

The opening track "Sarah's Ritt Durch Den Schwarzwald" is a basic summary of all the elements that made the band. Electronic hypnosis inducing electronica, heavy time signature rich guitar riffs, groovy Amon Duul II inspired bass lines and Arab influenced percussive fortifications around the steady more traditional rock drumming styles. All of which convene to make a veritably brilliant Krautrock listening experience. It also displays one of the weaknesses of the overall KRAAN sound and that is the weak vocal abilities of Peter Wolbrandt. Luckily most of the album's run is instrumental but i have to admit that a more refined vocalist could have allowed the music to flow into higher dimensions. Second track "M.C. Escher" focuses more on the jazz-fusion elements which allows Johannes Pappert's alto sax runs to take the lead and steer the musical development although the session keyboard contributions of Rumi offer a veritable 60s psychedelic experience.

Third track "Kraan Arabia" shows a convergent evolutionary path with fellow Krautrockers Agitation Free with Middle Eastern influences dominating the soundscape in the form of frenetic percussive conga attacks that provide a strong rhythmic backdrop to the somewhat funkified bass lines that portend the future development of the band on future releases. The rest of the band however exists on separate planes of reality in the beginning with slow and sultry sax lines, heavy rock inspired guitar riffs that gradually succumb to the gravitational force of the dominate Arab inspired theme with only the funky bass lines finding untethered independence which more often than not captures the guitar like a dependent satellite as the sax sounds more like trip to the Casbah during a salamiyyah flute performance. The track also exhibits KRAAN as one of the more energized outfits in the Krautrock movement with emphasis placed on tight rowdy compositions that tamp down the ethereal psychedelic aspects.

The second side of the original vinyl LP was almost completely consumed by the almost nineteen minute track "Head" followed by a deescalating mellow closer in the form of "Sara Auf Der Gansewies" (of which the last word seems to not exist in any German dictionaries i can find.) "Head" as the title connotes is the more surreal and "heady" track that connects the band more to the trippy side of the Krautrock scene however even in the beginning it's clear that this is at no expense of the progressive rock oriented workouts with guitar and bass runs riddled with time signature deviations accompanied by galloping fast tempos and rock oriented tones and timbres. As with many behemoth tracks of the prog universe, "Head" consists of many suites and passages with moods transmogrifying into another with no looking back. While the track begins as a vocal oriented rocker sounding typical of an early 70s psych turned band introspection, it slowly wends and winds into more experimental instrumental territory with guitars becoming more freaky, percussion becoming more energetic and an extended free form jam into infinity. This is a track filled with both technical prowess as well as dreamy detachment but overall the heavy rock aspects never stray far. Rumi's keys makes a significant psychedelic reprise.

Right from the start, KRAAN emerged as one of the more popular representations of Germany's unique strand of progressive rock and were known for creating exuberantly brilliant live performances much in the vein of fellow countrymen Embryo whose emphasis on tight instrumental interplay and sophisticated compositions with elements of contemporary popular rock struck the right chord with the public. The debut album by KRAAN is probably the best example of their career for perfectly stratifying the many layers of musical elements that went into their overall sound. Like many of the prog acts of the day, despite critical acclaim, their talents didn't exactly result in instant financial success and the band would tamp down their ambitiousness in favor of a slightly more accessible sound that ramped up the funk groove aspects as heard starting on their second album "Wintrup." While not the most surreal of the Krautrock lot, KRAAN still managed to create an alternative musical reality despite not sacrificing their technical musical chops. Album number one is definitely the starting point to explore the band's sound in order to ascertain a clear context of their ensuing releases.

 Tournee  by KRAAN album cover Live, 1980
3.82 | 16 ratings

Kraan Jazz Rock/Fusion

Review by Lewian

4 stars Kraan play their own brand of mostly instrumental rather optimistically sounding jazzy rock, dominated by Hellmut Hattler's relentless basslines (I think in the seventies and eighties he was voted best German bassist ten years in a row or so) and the general virtuosity of the band members. It is music that flows (time signatures are usually straight) but still has some good sophistication in the harmonic department.

Kraan always have been a live band in the first place; on stage the interplay between the musicians in free flow could really shine, the tighter concepts that they tried out in the studio, including the occasional attempts at catchy songwriting have never played that strongly to the strength of these musicians. "Tournee" is a smaller brother to their probably best, best known and best sold 1975 double album "Live", which I think is one of the best live abums of all time. Tournee was recorded five years later and is just a single album of 42 minutes length. Hellmut Hattler and guitarist Peter Wolbrandt are still in the band, drummer Jan Friede was replaced by Udo Dahmen and saxophonist Alto Pappert was replaced by keyboard player Ingo Bischof. The fact that there are keyboards now rather than a sax is one of the major differences between Live and Tournee. Bischof is an amazing keyboarder, very virtuous but always relaxed and melodic. The keyboards make the sound somewhat smoother and fuller; also Bischof brings even more of a jazz influence, although Dahmen balances this with a more rocking approach. Bischof and Wolbrandt both compete for the title of the Fastest Hand In The West and Dahmen and Hattler surely don't need to hide. Dahmen can certainly play a well driving groove and he has quite some speed in his hands, too. "Live" has a bit more audience interaction, sharpness and spark than Tournee, but Tournee can hold its own very well with its more melodic dreamy approach and several rather calm relaxing parts. There is no overlap between the material covered by both albums, Tournee concentrates on the material of the 1977 album Wiederhoeren with the odd yet unpublished track. So Tournee is the perfect addition actually to "Live"; it's very nice how both of these albums are unmistakenly Kraan through Hattler's bass, the optimism, the joy of playing and the swinging sound yet they are quite different in character, "Live" more of a bright daylight character and Tournee for the smaller hours, lush and pleasant, sounding almost effortless yet still exciting and tight. The musicians of both Live and Tournee (apart from Dahmen, as far as I know) will turn up on Kraan concerts through the decades and the sounds of these albums together represent what the band stands for on stage to this day. By the way, the sound of Tournee is the way I like live albums: clear and transparent yet characteristically live without unnecessary perfectionism or studio trickery, with some natural concert hall reverb which a studio producer wouldn't let a band get away with, still perfect if you want to feel as close to being at the gig as you can.

Live is my number one Kraan album and Tournee is the number two, all studio albums are far behind. Tournee should really be better known; highly recommended, 4.2 stars!

 Andy Nogger  by KRAAN album cover Studio Album, 1974
3.76 | 96 ratings

Andy Nogger
Kraan Jazz Rock/Fusion

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Kraan were ready to face the challenge and work on an even more professional level by 1974, as the band was hitting the road in Germany for countless gigs.Their next work ''Andy Nogger'' was now recorded at the studio of experienced sound engineer Cony Planck near Cologne.The album was originally released on Spiegelei in 1974, but it was also the first one to reach the markets of the States and the Islands, released in 1975 on Passport Records and Gull respectively.

Planck was supposed to do only good to an already mature band with his professional background, but the truth is that this one sounds like the less convincing album of the original Kraan quartet.Blame it mostly on the rising edges of Funk throughout, as the strong psychedelic and Ethnic component of Kraan's music somewhat starts to fade and the same goes for the Kraut Rock character of the band, although facts say they still performed plenty of jamming improvisations during their lives.''Andy Nogger'' sounds like a pretty standard Jazz Rock/Fusion effort at the very end and the presence of the intense rhythmic patterns of the Kraut Rock movement is what still sets them apart from other acts of the time.The music is now a funky-oriented Fusion with less sharp sax lines and almost zero ethnic orientations, basically structured around furious grooves, intense bass lines, solid drumming and the occasional sax parts, delivering plenty of rockin' tunes, while the listener searches for some good old Kraan experimentation in the album.''Holiday am Marterhorn'' maybe offers such an attitude, being stylistically closer to the dramatic Kraut Fusion of the previous albums with great sax work by Johannes Pappert, but it's propably the production that make it sound a bit sterile at the end.However Kraan still play some quite tight and energetic music in ''Andy Nogger'' with good interplays, flaming rhythms and jazzy soloing.

A bit on the safer side of Kraut Fusion, lacking the intricate and deeply psychedelic moments of ''Kraan'' or ''Wintrup''.Bear in mind that this comes close to a standard Jazz Rock/Fusion effort, still carrying the Kraan identity, and chances to like it will increase.Recommended.

 Let it Out  by KRAAN album cover Studio Album, 1975
3.79 | 77 ratings

Let it Out
Kraan Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars My first taste of the German band KRAAN is their 4th album LET IT OUT that saw the light of day in 1975, the same year as their live album "Kraan Live" which is a tad more famous. A very strange sound collage this band has created. On their vocal tracks they sound kinda like a krauty Edgar Winter Band. On the mellower tracks they seem to have adopted a Weather Report approach to their compositions but on a majority of the tracks they have a unique kraut-jazz-rock fusion thing that actually has a funky swing to it which might sound something like Mahavishnu Orchestra meets Sly and the Family Stone. The tracks "Die Maschine (the machine)" seems like a tribute to A.R. & Machines and a wickedly cool take on their style with the echo effects and tons of trippiness.

When I heard the first track starting I was a little underwhelmed. It suggested an album of mediocre slightly krautified hard rock with struggling vocal acrobatics but the second song "Luftpost" which means "airmail" actually takes you on a light fluffy flight into the friendly skies where saxophone clouds and precipitating dreams meet with violins, funky bass and progressive jazz chords. This album is a little up and down but it has indeed peaked my interest in discovering more of what this band has to offer. After all, during the mid-70s they were one of the most popular bands in Germany but have been eclipsed over time by the likes of Can, Amon Duul II amongst others. Overall I am happy to have discovered KRAAN and am surprised that they aren't just a little more popular than they seem to be these days. 3.5 rounded up

 Nachtfahrt by KRAAN album cover Studio Album, 1982
3.51 | 21 ratings

Kraan Jazz Rock/Fusion

Review by HolyMoly
Special Collaborator Retired Admin

3 stars 1982's Nachtfahrt ("Night Drive") was Kraan's first major step into their 80s sound. Their core style turned out to be a good fit for 80s technology and popular musical modes - on their albums from this period, they were able to both develop and improve their basic style, as well as experiment with new styles with a confident flair and good taste.

This album is a well rounded one, with lots of different flavors to keep things interesting. One of Kraan's calling cards, the jazzy bass-driven instrumental, is well represented here with three of the album's best tracks: the strong opening number "Wintruper Echo", propelled into the atmosphere by an irresistible echoplexed trebly bass riff, a fast tempo, and heavenly guitars; the jazz/fusion "Nachtfahrt", one of the album's few "repeats" of their late 70s sound employed on albums like Flyday; and the closing "Luna Park", a slower, more atmospheric instrumental that seems to combine the virtues of the two others into a feel-good nightcap.

The album's more experimental side is the one that gets the most grief from fans, but I think they work very well. "Faust 2000", the second track, sounds like some 80s pop tune I can't quite place, and it's in-your-face with pounding electronic drums, minimalistic half-shouted vocals, and a robotic, monotonous feel that's the antithesis of everything we usually think of bands like Kraan. But it's good! Jarring, perhaps, but bold and undeniably catchy. The title seems to acknowledge that this could be a pastiche of some imagined future for their fellow countrymen Faust - little did they know they would live to see this future! The other experimental track, "Viel Zu Heis", is another winner, this time exploring the realm of "dub" - an offshoot of reggae wherein the main performance is done at the mixing desk, remixing and adding effects to instruments in what would otherwise be a basic studio reggae jam. It's a strange one, but by golly it works.

The crowning jewel of this album is quite possibly the third track, "Elfenbein", a sophisticated and multi-layered song that features several contrasting melodies, moods, and shadings in the arrangement - almost a mini-epic at just five minutes long. Beautiful vocals, too, and very unlike any other Kraan track I've heard. I bet they spent a long time working on this one, it shows, and it pays off. A more guilty pleasure can be had in the unapologetic hard rock of the self-referential "Playing for You". Loud power chords, thundering drums, and a lyric that just expresses the joy of what they're doing, it's infectious and totally catchy. Love this track.

The remaining two tracks are unfortunately mediocre, to put it kindly. "Normal" and "Paper Stars" are very basic, uninteresting pop rockers - the former shows some promise with the main bass riff, but it fails to do much else for the rest of the song; even the lyric mainly repeats the phrase "Ich bin normal" in a voice that sounds like it can't wait to move on to the next song. "Paper Stars" is a bit more lively, but its melody is fairly trivial and uninteresting as well - when your only memorable element is a boring vocal hook ("way-ohhh!" in the chorus), the song has little chance of holding my interest.

Overall I'll give this a strong 3 - if you skip tracks 7 and 8, it might be worth a 4. If you despise 80s production, keep it at a 3. But even if you do, there's enough "classic" sound here to warrant a listen - if only to the three instrumentals plus "Elfenbein".

 Dancing In The Shade by KRAAN album cover Studio Album, 1989
3.00 | 21 ratings

Dancing In The Shade
Kraan Jazz Rock/Fusion

Review by HolyMoly
Special Collaborator Retired Admin

3 stars This 1989 album continues Kraan's chosen path they traveled during the 1980s, and like their other albums of the period, it bears the sound of the era it was made. For a lot of bands, the transition from the values of the 1970s to the 1980s was a difficult one, with the band either changing their style completely, or sticking to their guns and failing. However, with Kraan, I've always gotten the impression they were quite comfortable in their new 80s shoes. Their sound is different from the 70s albums, but their core style seems to be a more natural fit for 80s stylings. They've always been relaxed and not afraid to have fun - I've always liked how they're always smiling in their band photos. Despite a couple of awkward tracks, this album is pretty rock-solid, typical off their albums of the period but taking some chances with the current-day technology as well, resulting in some successful steps forward.

"Rockets", the opening song, is a total triumph and one of their best ever songs. Anthemic, raging space rock worthy of Hawkwind, jammed with melodic hooks and an unforgettable lyric (Come into my arms / Let the rockets fly / Together we die) - this would make a great opening track for any album, and even sounds like it could have done well as a single. "Good Enough" is a decent midtempo rocker with a solid melody - if the album were full of these it would get pretty dull fast, but as a come- down from the heights of "Rockets", it does its job (it's "good enough"). A pair of nifty instrumentals follow - "Egyptian Cha Cha" brings in Kraan's ongoing interest in MIddle Eastern melodies, sounding a bit like what Secret Chiefs 3 might have sounded like in the 80s. Standout track "Polarity" feels like a new chapter in a long line of memorable melllow-yet-dramatic instrumental numbers this band seems to put out effortlessly (Ausflug, Luna Park, Silky Way, etc), and it stands up well next to any of them. And then we get the title track, a lovely and romantic little reggae number that sounds like it was rescued from an early Sting record. Prog fans may be scared off by this, but to me it underscores why Kraan is such a fine band - they couldn't really suck if they tried! The front half of the album concludes with another groovy and smooth jazzy instrumental called "Banana Moon" that continues the beachy vibe of the prior track. It throws in a few odd scales to keep you off balance, but this is easy listening that gives you something to ponder.

The album's second half isn't quite so impressive as the first. "Is This the Way" is the main culprit I had in mind in the first paragraph when I referred to "awkward tracks" . It has a brisk, mechanical dance beat and a melody that fails to inspire me like the other pop songs thus far have. Then we have "Middle East Beat", an instrumental that's a bit too similar to "Egyptian Cha Cha" to warrant too much interest. Things get outright strange with the innocuously titled "One Day", a mostly synthesized (with horns joining in the mayhem eventually) chanted number that is unlike anything they'd done to this point. This tune certainly wins some weirdo points, not a bad thing to keep us on our toes like that, but it feels like an experiment that doesn't have enough meat on it to qualify as a great song, though it is cool and interesting while it lasts.

The CD edition contains a couple of additional tracks not on the original LP, plus three alternate versions/demos. "Kraan Mooloo" is basically "Polarity Part 2", but Kraan does this kind of number so well it's a welcome re-entry. Then there is "Soldier Drums", a fine slice of 80s art pop/rock. I could see someone like Tony Carey having done this on one of his concept albums. Dense and pithy, but quite electronic and 80s sounding. The CD concludes with demo versions of "Dancing in the Shade", "Good Enough", and "Polarity". These all sound similar to their finished versions, lacking only the smaller details that made it to the final mixes.

If you like Kraan's late 70s to early 80s efforts like "Weiderhoren", "Flyday", and "Nachtfahrt" (coincidentally, my three favorites in their catalog), you're pretty likely to enjoy this. If all you know is their first few early to mid 70s albums, this album may rub you the wrong way at first, but I'm fairly confident you'd agree that even with the 80s sound, this album has way more hits than misses.

 Kraan by KRAAN album cover Studio Album, 1972
4.02 | 113 ratings

Kraan Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Kraan's debut album features a style of psychedelic jams reminiscent of Amon Duul II's early work with less frenetic vocals, a more studied and deliberate tone, and substantially more influence from jazz, hard rock and blues rock, with a sprinkling of world music influences to round out the sound (particularly on the likes of Kraan Arabia and Head). The end result is an album which will please fans of a wide range of different 1970s prog undercurrents, as well as one which may have broader appeal to fans of the rock scene of the era. Peter Wolbrandt's vocals add little and the album would have probably worked better as an all-instrumental affair, but aside from that it's a solid prog release.
 Wintrup  by KRAAN album cover Studio Album, 1972
3.71 | 88 ratings

Kraan Jazz Rock/Fusion

Review by apps79
Special Collaborator Honorary Collaborator

3 stars Kraan soon became famous for their inventive style of playing and in 1972 their were voted as the best newcomer group in Germany.Six months after the recordings of ''Kraan'', around the fall of 72', they reentered the Studio 70 in Munich to prepare their second album.Under the title ''Wintrup'', this would see the light the following year again on the Spiegelei label.

The challenging sound of Kraut/Jazz Rock with evident Ethnic hints is still present and, while a bit more vocal-oriented, this work follows the lines of the debut with some great structured parts as well as more loose and freestyle parts, based on a jamming mood.Instead of delivering self-indulgent sax manipulations, Pappert show his tremendous talent in the album, using the sax either for producing ethnic tunes of an Arabian taste, a bit close to AREA's style, or collaborating with the rest of the band in nice and heavy interplays.The psychedelic influences are still apparent in the guitar moves of Wolbrandt and most of the tracks are characterized by massive, energetic grooves, sudden, intricate breaks and impressive, loosy solos.Gone are the more spacey passages of ''Kraan'' and the band replaced them with some more pleasant parts of a funky approach, mixed with the powerful jazzy flavor of their proposed Progressive Rock.The later tracks of the album show a turn towards more Heavy/Kraut/Psych Rock realms with scratching guitars, dominant vocals and rhythmic parts and limited sax workouts.

Setting ''Wintrup'' next to ''Kraan'', this one looses the battle just by an inch.Very good Heavy/Kraut/Jazz Rock, featuring one of the more inspired sax performances ever to be presented in a Prog album.Strongly recommended...3.5 stars.

 Let it Out  by KRAAN album cover Studio Album, 1975
3.79 | 77 ratings

Let it Out
Kraan Jazz Rock/Fusion

Review by Matti
Prog Reviewer

3 stars Let It Out appeared when the German Fusion band was at the top of their popularity. Some line-up changes occurred during the process (keyboard player Ingo Bischof from KARTHAGO was added, and saxophonist Johannes Pappert left before finishing the album; he formed his own Fusion band ALTO). After the producer Conny Plank's suggestion, the recording was made in the country house where the band used to practise.

Near-instrumentals 'Degado' and 'Heimweh nach Übersee' feature some vocalising, as well as the Kraftwerkian, experimental 'Der Maschine'. There's only two songs with proper vocals. The deliciously funky 'Bandits in the Wood' is about paranoia. I enjoy especially Bischof's airy keyboards in it, but the stressed singing is rather bad. Good humoured instrumentals such as 'Luftpost' and 'Prima Klima' seem to mix CAMEL-like flexible melodies, the virtuosity of American Fusion (Return To Forever) and the lightly funky groove of STEELY DAN. An interesting and happy natured album by one of Germany's too forgotten jazzy prog bands that I should get some more. 3½ stars.

 Wiederhören by KRAAN album cover Studio Album, 1977
3.64 | 54 ratings

Kraan Jazz Rock/Fusion

Review by Kingsnake

4 stars Terrible but funny sleeve art, but a great funky, fusion, proto-new wave album.

The band is way ahead of many progrockbands. They sound ready for the eighties, with their clean guitarsound, heavy bass/drum grooves and quirky songwriting and lyrics.

Kraan may be the best crossover band from the seventies/eighties that I am aware off. Less kraut/electronic than most german band, and more funky/fusion than most canterbury-bands.

Sometimes they sound like a happy, danceable version of Rush, especially on Vollgas Ahoi! The interplay between bass, drums and guitar is unrivalled here.

Highly recommended for people who love the instrumental side of Camel, Caravan, Hatfield, Hoelderlin etc.

Thanks to ProgLucky for the artist addition.

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