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FUTURE SOUND EXPERIENCE
Tracklist: Gutes Land (9.04); Kleiner Kruger (9.41); Morgengrus (9.47); Hungern und Duersten (8.35); Liedklagen (5.45); Reines Herz (5.12); Weinen und Lachen (8.07); Tanz (11.58).
The Popol Vuh was the book which contained the creation myths of the Quiche Mayan indians and, in view of his deep interest in mystical themes and religion, it is not suprising that keyboard player Florian Fricke
chose this name for the band he created in 1969 in Munich. Popol Vuh together with Amon Duul were to become leading exponents of the then emergent Krautrock scene.
Although I have not currently listened to any of the band's other works, the reviews I have read of their previous output seems to indicate that they began life as a very avant-garde outfit.
In the early days they were also one of the first bands to embrace the possibilities of the Moog Synthesiser, but gradually they started to move away from electronic experimentation, favouring instead the inclusion of ethnic instruments into their sound.
The bulk of the band's recordings seem to stem from the seventies and eighties, and in addition to studio albums there is a wealth of soundtrack and compilation albums also to be found.
For those wanting a detailed breakdown I would recommend finding and downloading Dolf Mulder's discography as a good starting point!
Despite the fact that 'Future Sound Experience' was only released this year, it was actually recorded in Munich back in 1993. As well as founder member Florian Fricke, this album also features Holger Trulzsch
and Frank Fiedler from the original line up, plus Betina Fricke and Gerhard Augustin.
'FSE' is an instrumental work that makes wide use of sound effects and ambient sounds and there is a danger that, in attempting to over analyse the content, the wrong impression may be given regarding the true nature
of the work. Therefore, rather than attempting a detailed track by track critique, I have opted to try to present a more general overview - it would be hard to cover the wealth of detail to be found here in a
meaningful fashion.
Having just stated that this is an instrumental work, I now need to add that limited vocals are used at times, but I see no contradiction here since essentially where voices are brought in they fulfill the role of a
musical instrument, creating additional sound textures, as opposed to delivering any lyrical message.
Over the course of the eight tracks we witness many of the diverse styles the band seem to have experimented with over the years and, as well as elements of electronic, tribal / ethnic and New Age music, there are
also some avant-garde and space rock moments.
The album begins with 'Gutes Land' which sets the tone with quiet and gentle introduction during which birdsong is in evidence.
This opening with its natural feel, contrasts well with the more artificial spacey theme that follows it. Later in the track repeating chords played on a stringed instrument (I cannot decide what it is) add a disturbing jarring note to the calm the piece otherwise seems to engender. From here we move seamlessly into the second track 'Kleiner Kruger' which carries on in much the same fashion. The continued repeating patterns and the introduction of tom toms maintaining the oppressive mood, although toward the end of the piece the inclusion of some softer vocal touches help to raise the spirits once again.
By the time we reach 'Morgengrus' the changes wrought by this gradual evolution have become quite marked, although once again there is no discernable point at which track two ends and three starts (a state of affairs
which continues for most of the album). The highlight of this track for me was the use of quite intense vocals creating the impression of an unearthly choir - I found this quite reminiscent of the music used
during some scenes in the film 2001. Nothing on this album stays the same for long however, and the track soon dissolves into an altogether warmer and more subdued mood.
There is a more of an ethnic edge to 'Hungern und Duersten which shows a distinctly African flavour, from the opening tom toms through to the closing section featuring quietly chanting voices.
The warm rich tones of these add a tribal feel, providing a superb contrast to the almost gregorian chant like vocal passages that also crop up here.
'Liedklagen' continues the world music trend, but this time with a leaning towards what might be thought of as a more typically middle eastern sound, full of exotic and hypnotic rhythms.
This mood is initially carried over into 'Reines Herz' - but once again by the time we reach the end of the track things have turned around completely and the vocal chants have reverted back to a more eccleisiastical sound which heralds the arrival of 'Weinen und Lachen' - a track that reminds me very much of another German artist, Michael Rother.
The early stages of 'Tanz' see a return to the ambient sounds that opened the album, but this soon changes to a more pronounced beat
which combines rock with a hint of the east. An underlying theme here is vaguely reminiscent of 'Venus in Furs'. Again there is a twist though, as we are suddenly pushed into another tribal vocal section, that could be Zulu in origin, before returning once more to another ambient New Age section.
The fact that the tracks run together as they do really makes this album a reviewer's nightmare since it's very hard to keep track of where you are; however, from a listener's point of view the slow hazy evolution as
we drift effortlessly from theme to theme is an absolute delight. I mean no disrepect in adding that it also provides great music for getting off to sleep with!
All in all the variety of styles and moods employed on this release should give it a fairly wide appeal to fans of instrumental works who are looking forward to well composed music that is able to create a relaxed
and ambient mood.
Simon 13th February 2002
Sadly Florian Fricke died on December 29th at his home following a stroke suffered just before Christmas - may he live on through his music!
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