Amon Duul Reviews Part Sixteen: Amon Duul II’s “Bee as Such”
1) Mambo La Libertad; 2) Du Kommst Ins Heim; 3) Still Standing; 4) Psychedelic Suite.
5 out of 10
Just when you thought it was safe to ignore “Amon Duul II”; after a further 14 years had passed, the band finally re-emerges to make a new musical statement. The band is back to four of the most important members (Renate, Karrer, Meid and even Weinzierl this time) and they are ready to prove they still have it. The band released a press release that stated they were ready to go “back to the roots – not in the past, but essentially – seeking the news sounds…of the new millennium.” So, does this band of nearly 60 year olds touch on the new sound of the millennium?
What do you think? Look at the rating: the band utterly fails in their goal. They fall flat on their face, completely embarrassing themselves after the success of “Nada Moonshine #.” It’s sad that this must be considered their swansong instead of that superior album.
A brief bit of background on the album: after releasing “Nada Moonshine #” many band members almost immediately disowned it. Although they played many of the tracks live (as illustrated on “Live at Tokyo” an album I’ve never heard) they simply didn’t believe in the material for some reason. So, after the two sound collage albums in 96 they went their separate ways.
However, late in the 2000’s the band got bit by the nostalgia bug. They started playing together again and even got John Wienzierl to come back. They quickly recorded this album and self released it online. There are no physical copies of this album: it’s a completely mp3 based album. There isn’t even any official album art.
And then the band penned their pretentious press release. It’s hard to get over this release as it’s impossible to reconcile the difference between the album and the difference between what the band publicly stated they were trying to achieve.
The part I quoted above is simply the tip of the iceberg. “This sound painting,” the release continues, “is one more of our unique works, containing the spirit of our time.” What time? Do they mean the late 2000’s? Or do they mean “their” time i.e. the early-to-mid-70’s? Because the latter makes more sense.
This album has nothing to do with the 2000’s. It’s simply an extension of the early, jam based methodology of their earliest albums. For many fans this will be a cause for rejoicing. “Finally!” they say, clutching their tattered, tear covered remains of ‘Tanz Der Lemming,’ “the band is back to jamming and improvising in a wild and exciting way! They quit their 40 year sell out streak and are back to what they do best!”
And yes, the band was definitely best at pure jamming. As enjoyable and as essential as those mid-70’s song-based albums are they aren’t as unique or innovative or effective as their pure jam based albums. Surely, the band must touch on some of the magic they had in the old days, even if on accident.
Honestly, I can say quite sadly, the band doesn’t touch even a quarter of the magic they had in the old days. They don’t even have a tenth of it. Because this isn’t really the same band. Yes, the basic quartet is in place, but Falk Rogner is out of the picture. In fact, there isn’t even a real keyboard player in the band at this point: only Wienzierl is credited with playing a little synthesizer
As much as I respect Wienzierl, Carrer and Meid as instrumentalists (and I really do) they simply don’t really cook up much fire on this album. The lack of keyboards creates a thinner sound that the guitarists simply don’t fill. While earlier albums often sounded like a wild beast rampaging throughout the land, tearing down walls and destroying your sanity, this album simply sounds like a band jamming.
Put it another way: these jams do not create moods. Past jams all had a moody texture or purpose to them that helped elevate them above the average “let’s jam, dude” methodology that many bands had at the time. Yes, Wienzierl, Carrer and Meid are ultra professional in their jamming. But they aren’t virtuosos. You can’t simply let the sonic waves of demonic jam power wash over you like you can with “Can.”
“Amon Duul II” never had the raw chops to carry the listener over based on pure jamming in their prime. What chance do they have 40 years later? None basically. These tracks have the value of “bonus tracks” that you might seen tagged onto the end of a remastered, rereleased CD. They sound like warm ups or rehearsals most of the time.
I wouldn’t be so offended by the album if the band wasn’t so pretentious about it: they didn’t act like they were breaking ground with the much-wilder-and-more-in-tune-with-the-times “Kobe Reconstructions/Flashback” albums.
Are they really that deluded that they think they’re breaking new ground? If so, that’s sad. And it actually costs the album a point in the rating. Does that seem unfair? Hardly: I call this the “Elder” syndrome.
This syndrome, named after Kiss’ “Music from the Elder” album comes when a band pretentiously tries to bite off more than they can chew. They over-estimate their abilities and strengths as a band and fall completely flat on their face trying to be “deep” “original” and “innovative.”
As background music, it works just fine. Wash your dishes to it and you may even give it an extra star or two. At their best, this band was much more than background listening. But the band is getting old and there is no way they are at their best. Making passable background music for fans is not a bad past time for an elder band.
But the band didn’t present it as background music: they presented it as new, groundbreaking music. They presented it as something that could fully compete with their past accomplishments. They want to present themselves as if they are at their best. And argue about this all you want, but I believe that intention and presentation are vital parts to consider about an album.
For example, after ten years of disappointing, “serious minded” albums by Bob Dylan that completely failed in their task, fans and critics reacted positively to the slight, non-serious intended pair of folk cover albums he pressed in the late 80’s. It was the kind of album Dylan could toss of in his sleep but fans and critics loved them.
This is because they knew that Bob wasn’t making a serious statement: he was just having some fun after a long string of failures. He wasn’t at his best, knew it and did a goof off. He never presented those albums as if they were competitive with his best work. And they were great
“Amon Duul II” was obviously just having fun when they recorded this album. But they try to present it as a serious statement. One of the biggest mistakes of their career and one which taints the end of their career slightly. Speaking of “tainting careers” my “Amon Duul UK” reviews are next.