BRÖSELMASCHINE

Yes this comes across as a psychedelic folk album for the most part. There that traditional song that I mocked at first but I have to acknowledge that it's well done. I'm Just not the biggest fan of "traditional". "Gitarronstuck" is a short piece with some excellent acoustic guitar. "The Old Man's Song" is proggy opening with those male wordless expressions then closing the song with them but lots of different stuff make up this sandwich. Some electric guitar and flute here and the female sounds amazing when she sings on this one. "Schmetterling" is 9 1/2 minutes long and we do get some spoken German words from the female after this opens with sitar. It's the only track with mellotron and there's not a lot. I'm not huge on the closer but I really like the opener "Gedansen" which has male vocals early then female later on.

Sure you could call this hippy folk music but it's not sloppy at all in fact the main guitarist is incredible and Jenni has such a great voice like the icing on the cake.

The album opens with I Was Angry, a rather conventionally rock-sounding song that serves as presentation for lead singer Liz Blue, who treat us with her tipically kraut-rock sounding voice, and for the band itself, which sounds tight and confident.

The central spot here is nevertheless occupied by the twelve minutes instrumental piece that gives name to the album, and features the main ingredients to the contemporary sound of this band: a fine accoustic guitar intro giving way to a solid blues & soul based psychedelic jam where varied ethnic-inspired instrumental incursions take place. The sitar melody seems to have been the initial inspiration for this one-take (and very much accomplished) studio improvisation.

As for the rest (which is also good), you will find psychedelic-soul tinged lead and harmony vocals, and plenty of soloing in a jazz-fusion style by keyboards and sax. And all this, of course, is well served on a rythm section that surely knows a trick or two.

Seite 1 ---------

1- "Gandanken" is one of the darker tracks. The art on the LP depicts the feelings of all of the tracks for me, Gandanken has the feeling of the artwork in the gatefold of the gothic cathedral. Very dark and trippy sounding (8/10)

2- "Lassie" gets a lot of heat but I really enjoy the harmonies and relatable lyrical content Very folky and less of the proggy aspects, but enjoyable. I listen to this more than Gandanken so I rate it slightly higher. (8.5/10)

3- "Gitarrenstuck" is a folky instrumental with the talent of Peter Bursch shining through enjoyable piece (7/10)

4- "The Old Man's Song" has the darker qualities of the first track, but holds a special place for me. I experienced a sudden increase in wave height on a kayak excursion with this song playing and time seemed to slow. This song pushed me forward with Jenni's repeated "Like the water" setting the soundtrack for a bit of a scare. (8/10)

Seite 2 ----------

1- "Schmetterling" jawdropping... this song is a perfect mix of all that makes this band great. The folk flourishes over the top of a raga influenced sequence. This is probably my favorite song on this record, its what I mean by getting lulled away to a gentle stroll on a summer afternoon. This along with the next track SOUND exactly how that FEELS. The repeating melody with acoustic guitar and flute gets me every time. An amazing journey of sound. (9.5/10)

2-"Nossa Bova" very relaxing, whereas Schmetterling feels like a stroll, this track feels more like laying down in the grass on a summer day and watching the clouds. The glockenspiel part, well at least I think its a glockenspiel, is to die for. It jumps in at the perfect time and fits the sonic palette well. I find that this one grew on me and now I will often just play this side of the LP to enjoy my favorite two tracks on this fantastic debut album. (9.5/10)

AVERAGE: (8.5/10)

"Broselmaschine" is an excellent collection of music performed by a talented group of musicians. Plenty of psych and prog mixed in this LP. I recommend for fans of early Genesis (particularly Trespass) and maybe even Fairport Convention.

1. "Gedanken" (5:06) blues folk oriented and fairly simply arranged but masterfully executed and with wonderful vocals--male lead, female lead, and harmony vocals. (9.5/10)

2. "Lassie" (traditional) (5:06) a kind of average though remarkably clear rendition of a traditional folk song. (8/10)

3. "Gitarrenstuck" (2:03) a guitar duet with choir background vocals. The AMERICA-like mid-section is quite gorgeous. (5/5)

4. "The Old Man's Song" (5:26) guitar based but then electric guitars, congas and flutes join in and shift things. Female lead vocal is presented as if added in at the last minute. Nothing too special or innovative here. (8/10)

5. "Schmetterling" (9:31) sitar, zither, tabla, steel-string acoustic guitars fill the first two minutes before the German spoken voice of Jenni Schücker enters for a minute. Then it returns to instrumental. Guitars and, later, flutes do most of the work until the 5:00 mark when Jenni returns only in a vocalise form emulating or mimicking the flute and the rhythm patterns of the tabla. Then she stops (as does the tabla) and we're left with a solo from a strumming guitar. Flute and tabla return and then the final 90 seconds are filled by Mellotron-supported sitar in support of the flute melodist and tabla and guitar. Nice song. (17.5/20)

6. "Nossa Bova" (8:06) gentle finger-played acoustic guitar opens this one before tremoloed zither joins in. In the second minute hand percussion joins in as guitar and zither go their separate ways (both still playing, though). Reverbed voice enters at the 2:45 mark as Jenni sings a pretty, whimsical hippie lyric. Metallophone solo follows to fill out the fifth minute. The song has some timing/cohesion issues, otherwise it's pretty nice and very transportative. I'm rating it high because of its desirable, nostalgic "feel good" feel. (14/15)

Total Time: 35:18

Though not the most sophisticated or complex musical compositions, incredible sound reproduction (except for Jenni's vocal tracks), clear and pure voice and instrument arrangements of simple song constructs win the day. Truly an unusual and exceptional album for its time.

4.5 stars; a near-masterpiece of Prog Folk.

While the band was forged from the ashes of a prior folk band called Les Autres, which proved that these musicians had a clear identity crisis from the beginning, they did at least conjure up a German band name, song titles and even a little Deutsch sung now and again but what's most amazing of all is that this band is a clear doppelgänger for England's Fairport Convention however no matter how hard they tried, the psychedelic Kraut that was permeating the homeland still found its way into the mix and thus the band BRÖSELMASCHINE should be thought of perhaps the most English sounding of the Kraut-folk bands that emerged simultaneously with bands like Can, Amon Duul II and Tangerine Dream. The band officially formed in 1969 with the lineup of Jenni Schücker (vocals, flute, bells), Peter Bursch (vocals, acoustic guitar, sitar, flute), Willi Kissmer (vocals, acoustic & electric guitars, zither), Lutz Ringer (bass, Metallophone) and Mike Hellbach (congas, tabla, spoons, Mellotron.)

This lineup only lasted four years before disbanding (other reformations would occur) and it was this sole eponymously titled album that was released in 1971 but what a brilliantly fun and warm album it is! The album is a bit of a head scratcher as it presents itself as a German release with tracks like "Gedanken" (thoughts), "Schmetterling" (butterfly) and "Gitarrenstuck" (guitar piece) but overall this is perhaps the most de-Germanized band that i have ever heard from the land of BMW and Beck's. If someone were to play this for me during an English folk marathon i would guess that this was an early version of the Pentagle or Fairport Convention before they had to get serious and drop all the freaky [&*!#] but nope, this is truly a one-of-a-kind album that exhibits all those Anglo-fantasies run amok with a bit of all that 70s Germanic freakery oozing in between the cracks. The results of this weirdness is tastier than a freshly baked basket of pretzels at a beer garden! And i'm talking Oktoberfest quality.

While squeaking into the world of Krautrock by a smidge, this is perhaps the band that exhibits the folkiest extremes with lush acoustic guitar passages, lazy atmospheric embellishments and sedate nonchalant strolls through the folky forays into Epping forest . The album is well balanced with two vocalists who alternate, harmonize and pacify the soul. Jenni Schücker provides the divine feminine as her delicate accent-free grace is complemented with Will Kissmer's more pronounced tenor grounding. The first few tracks will have you convinced you have been slipped a tea-sipping group of Brits as they nail the English sound perfectly and even rocks out, er, well folks out rather a traditional English folk song in the form of "Lassie" which has me searching for Richard Thompson and Sandy Denny in the credits. Nope, they ain't there! OK, it's apparent we've found the best British folk band that the UK never had, but wait! "Gitarrenstück" is a game changer. Yeah, all those softly strummed acoustic guitars still take you to rancho relaxo while the wordless vocals become ethereal and haunting but the short track changes the tone.

"The Old Man's Song" takes a complete 180 and the few rock elements of the album begin to shine through. Well, rock may be a misnomer. It's more like funky wah-wah guitar echoes, Indo-raga drumming with a little extra oomf but BRÖSELMASCHINE gets cold feet and retreats to the safety of the folk scene only they seemed to have morphed from Fairport to Spyro Gyra! Wow, this band is trippy without all the drugged out effects. Kissimer then feels free to unleash some guitar solos against the cyclical strumming loops beyond. OK, i said this was an English folk fetish album but then this band gets all weird by the end. Yeah, "Schmetterling" decided it was time to go to India and bust out all the Indo-raga moves complete with sitar, tablas and ample blessings from the proper guru du jour no doubt. Add a few zithers, Matallophones and flutes and you got one cosmic vibe groovin' on and best of all Jenni Schücker busts out her native tongue with a narration in German! The track jams on for almost ten minutes. I guess someone spiked the tea at the Renaissance fair.

After the freakout, the kids got all silly with "Nossa Bova" which is another lengthy jam session. Part acoustic folk, part hangover of Indo-raga and part Kraut-whatever, BRÖSELMASCHINE really gets cerebral with heady flute runs, acoustic guitar bliss and a nice mix of unorthodox percussion that implements the congas with a touch of spoon charm. Perhaps the mellowest track on board, the spoonerism insinuated by the title sadly contains no traces of bossa nova. The album ends as if a completely different band was performing and that's probably what makes BRÖSELMASCHINE's debut so memorable. While lacking in a uniform display of one style or another, the incremental changes actually pay off quite well and while perhaps not quite as masterful as some of the primo examples of freak folk mustered up by the kings of freakery a la Comus or Jan Dukes de Grey, BRÖSELMASCHINE nevertheless offers an interesting slice of cross-cultural elements existing in a rather warped continuum which gives this album a charm all its own. All the tracks are deliciously addictive right away since melodic constructs rule the roost. Unfortunately this lineup wouldn't last too long and future albums are basically different bands but this debut is defiantly one for the psych folk crowds not to be missed.

I know that one of the main instruments of rockmusic is the drumkit. But if Mike Oldfield and Jade Warrior can record entire symphonic prog records without drums, then other can do aswell.

The music of Bröselmaschine is pure folkmusic. Most folkmusic I know, is british, scottish, irish or scandinavian. I must say that I know very little folkmusic from continental Europe. But this is a very nice suprise. The band are very keen on harmony vocals and melodies and play their folky instruments very well. There's of course a lot of acoustic guitar, but very tasteful as are the vocals. I'm glad it's not too psychedelic or doomy like other folkrockbands from this period (like Comus). This is more pastoral and really beautiful music. It fits the german landscape. I can imagine walking through the forests and past the rivers.

Too bad they only recorded this one album. But any other band that fits this category I will track down. Right now I can only think of one other band that fits: Hoelderlin.

Recommended for people who like Renaissance, Jade Warrior, early acoustic Heart and of course Hoederlin.

This tendency can be heard obviously in the two long tracks ('Schmetterling' and 'Nossa Boba') upon Side B. In the former one, repetitive oriental melodic phrases featuring ethnic percussion, sitar or flute drive the audience into another dimension of comfort. The latter track drenched in monotonous ambience shower has apparently different atmosphere from other ones. Consider both should have been clearly acid-folk-influenced and simultaneously no direct relationship to American folk rock. Wondering why they have been approved as a Prog Folk outfit, not as a Krautrock commune, but who cares? Another fascinating album released in 1971, one of big years in progressive rock scene.

The impact of the sixties folk revival on later hippie folk acts, such as Fairport Convention, Pentangle or Lindisfarne, was undeniable. Bröselmaschine's style relies heavily on its legacy, but adds various their own original elements. The group's pastoral, meditative sound is enriched with influences of Indian raga, Celtic chants, and European art music of the Middle Ages and Renaissance. In addition, the album tends to have a strong trance-like feel, which becomes evident on lengthy and dynamically varied instrumental passages with detectable psychedelic hints. Even with so many original ingredients and such a fresh feel, the release's style does not sound unfamiliar.

Bröselmaschine's debut is dominated by gentle, feminine instrumentation. The great interaction of two acoustic guitars is supported by exotic sounds of sitar, tabla, congas and percussive, celestial sounds of a traditional European zither. Other unorthodox instruments include spoons used as percussion, a metallophon, and shells. Mike Hellbach's Mellotron plays an important role on distant, dreamy passages. Classic acid folk sounds are delivered through high-pitched flute sounds and harmony vocals of Peter Bursch, Willi Kismer, and Jenni Schucker. Electric instruments are rather rare with an exception of an electric bass and Willi Kismer's overdriven wah-wah guitar fills appearing from time to time. The overall impression one will highly likely get is that the musicians work together effectively and professionally.

The album is relatively short, with a time frame of only 35 minutes. It comprises six tracks, each with a slightly different feel. The opening piece, "Gedanken", is based on a lament bass pattern and is kept in a rather melancholic mood. "Lassie" is a ballad having a much brighter sound than the previous song. "Gitarrenstuck" is somewhat of a duel between two guitars of Peter Bursch and Willi Kismer without any help from other instruments. "The Old Man's Song" opens with a catchy motif, which returns after dreamy instrumental passages. "Schmetterling" has a very distinct, trance-like flavor, reflected in exotic-sounding jams. This track is probably the most representative of the whole release. "Nossa Bova" closes the album with an intricate meditative theme.

Bröselmaschine is one of countless bands that did not manage to leave a significant mark despite their original and worthwhile material. The band's self-titled debut album is an excellent example of German folk with psychedelic piquancy, somewhat reminiscent of krautrock. By no means a must-have, but well worth your listen. Recommended!

The first album from the rechristened band missed the illuminating touch of producer R.U. Kaiser, on the run in 1976 after the Cosmic Jokers scandal. The new music was polite, engaging, and never less than totally professional, this time with a surplus of electric guitar, modestly augmenting the usual flutes and zithers. "Sofa Rock" set the prevailing mood in six short minutes of easygoing musical comfort, more relaxing than a piece of well-worn furniture and about as exciting. And by "Wayfaring Stranger" Bursch had all but shed every trace of his folk music upbringing, along with most of his youthful musical naïveté.

More albums would follow, none of them currently listed here at ProgArchives. And Peter Bursch would go on to enjoy a successful career as a noted author, composer, and guitar instructor. But the fragile magic of 1971 was gone forever, and today the self-titled reboot is a very pleasant experience that leaves almost no impression afterward.

The LP itself is a quaint relic of homemade early '70s Folk Art, enriched by just enough psychedelia to give it depth and character. Yes, the band members lived together in a Duisburg commune. And yes, they sang winsomely of butterflies while playing recorders and congas. But as the album continues it stretches out beyond its limited Folk Music boundaries, in the last two (longer) tracks adding sitars and a mellotron to the mix, the latter courtesy of engineer Dieter Dierks, encouraged no doubt by producer/mesmerist Rolf-Ulrich Kaiser.

With Krautrock's notorious Cosmic Joker involved it's no wonder the album faintly echoed the Acid Folk of WITTHÜSER & WESTRUPP, minus the LSD and (mostly) unplugged. But there's a disarming innocence to the music that sets it apart from the kosmische fever dreams of Kaiser's later misadventures: a simplicity of purpose and purity of expression best heard in the lovely unskilled harmonies of Jenni Schücker.

The kindred spirits of PENTANGLE were an obvious inspiration, acknowledged (reportedly) by the head-brösel himself, Peter Bursch. The same Anglophonic influence reached its apogee in the traditional Celtic ballad "Lassie", and elsewhere on the album recalls the pastoral 12-string beauty of early GENESIS, although I doubt if Anthony Phillips ever attacked his acoustic guitar with the same Teutonic ferocity as Bursch in the final songs here.

Assigning stars to such a gently faded artifact is difficult, and I'm rounding up from the more conservative rating the album probably merits after all these years. Your music library will survive just fine without it, but will suffer a lack of color from its absence.