KOSMOSE

An unusual collective that sprang up in 1970s Belgium, KOSMOSE was a band without a purpose and existed to simply engage in endless studio experiments and the occasional live performance to showcase its ability to improvise as a real band in a public setting. While Belgium is better known for the avant-prog and chamber rock innovators Univers Zero, Present and Asak Maboul, there was a small but dedicated group that was more inspired by the psychedelic meanderings of early Pink Floyd and the early Krautrock experiments of neighboring Germany in the vein of Guru Guru, Can, early Tangerine Dream, Klaus Schulze and even Amon Duul II and took these ambitions to amazingly high levels.

KOSMOSE existed from 1973 to 1978 and throughout its run featured Alain Neffe (keyboards, organ, synthesizer, cymbals, flute, radio, loops, electronics, saxophone, vocals), Daniel Malempré (guitar, 12-string guitar), Francis Pourcel (guitar, bass), Guy-Marc Hinant (drums, percussion) and Paul Kutzner (guitar) who together amassed a wealth of kosmische recordings that never found a studio release despite attempts to woo records companies into signing them. After decades of sitting in the vaults KOSMOSE at long last found its material released on the Sub Rosa label as KOSMIC MUISC FROM THE BLACK COUNTRY which has been released in two formats.

Firstly a double vinyl LP featuring seven tracks that swallow up 81 minutes of playing time as well as a double CD that adds even more material bringing the number of tracks up to 11 and playing time to a whopping 136 minutes of uncompromising psychedelic splendor. The music spans the band's entire existence which began in the city of Charleroi, Belgium in 1973 until the band's final days in 1978. Primarily led by the prolific Alain Neffe and Francis Pourcel whose fascination with exploring ominous sprawling soundscapes that utilized rhythm boxes, analog synthesizers and radio loops, the band was complemented by the guitar explorations of Daniel Malempré who injected the rock inspired guitar experiments in the vein of Manuel Göttsching and more experimental guitar bands like early Guru Guru. While maintaining a drummer who could remain interested in the band's unique trippy brand of lysergia, Guy-Marc Hinant provided some stellar drum work scattered throughout various tracks.

Essentially a free-noise jamming act that explored long sprawling grooves with improvised guitar, flutes, saxophone and electronic effects, the all-instrumental band (with only a scattering of wordless vocals) excelled in exploring some of the farthest out trips that offered a true escape mechanism into the world of avant-garde psychedelic soundscapes which emphasized the long excursions into the furthest reaches of space rock with the lengthiest tracks sprawling over the 27-minute mark. With all tracks untitled, the band offered a visionary excursion into the furthermost cosmic depths of what the world of Krautrock was offering in the vein of the most experimental sounds that were emerging in the early 1970s before many German bands began compromising their visions and becoming more mainstream. Without a record label to steer them into commercialism, KOSMOSE stayed true to its vision and maintained an ethos of keeping it as experimental and estranged from reality as musically possible.

What KOSMOSE delivered was a high voltage expansive collection of psychedelic splendor that was utterly fearless in where it explored like an intrepid explorer adrenalized by the exhilaration of discovery at every juncture of the journey. For those dismayed by the world of German Krautrock as it slowly eroded into a more mainstream crossover hybridized genre, the Belgian outfit KOSMOSE continued to deliver the essence of the original movement with a relentless pursuit of keeping its music pure and unadulterated by any outside influences. The music of KOSMOSE on KOSMIC MUISC FROM THE BLACK COUNTRY is thus a true treasure trove of improvisational music that spanned a wide swatch of psychedelic turf by delivering massively fluid, expansive and often noisy sonic terrains.

The musicians were prolific and cross-pollinated with many other artists like André Gauditiaubois and three Turkish musicians such as Mustapha Dagli, his son Kadri Dagli and Sutekin but the band's legacy is primarily documented on this beyond far out collection of wild cosmic ambient rockers. This album was followed by the equally expansive "Some Little Trips to Our Fluorescent Land" recorded in 1976 and released in 2017. Considering the long version (the one i'm reviewing) is essentially three classic albums worth of material, this is best absorbed in stages. Especially the three longest tracks ranging from 18:55 to 27:47 in running time. The most amazing thing about this entire affair is that all tracks are basically live studio recordings with no overdubs and no mixing desk. It was all created on 2 microphones and an open-reel tape recorder. That makes this even more mind-expansively wild! This one is for those seeking the most alienating sonic trips ever laid down to recording.