“Ash Ra Tempel” Debut
The world can only contain so much…stuff…there’s only so much room. You cannot cram 50 pounds of horse shit into a 40 pound bag. Buildings can grow taller and we can civilize more and more areas of the world; bulldozing trees, swamps, grasslands, prairies and creating new and bigger parking lots. All our cars need a place to live and all our stuff needs a place to lie.
Sooner, rather than later, we’ll have to ascend into the straosphere and find a place to settle in space. And I know the album I’ll listen to on the way up: Ash Ra Tempel’s debut album.
That’s right: I’m snubbing the obvious choice, Pink Floyd (love them, but too obvious) and even more obscure yet still popular groups like Hawkwind (kick ass but way too cheesy, even if in a good way).
No, I’m sticking with the Ash Ra Tempel debut album. Not because it creates an accurate space sonic sensation (as that would be complete silence so severe your ears would burst) but simply because its one of the best pieces of Early space rock I’ve ever heard.
After all, if one is traveling in space, space rock IS a requirement.
What about this album entices me so much over the non-pedestrian sounds of early Pink Floyd and Hawkwind? Is it simply the fact that is is German?
Not quite though I do obsessively enjoy way too much 70’s German rock. Being German doesn’t automatically make it better but it does serve as a draw for me.
The musicianship on the album is vital to its appeal: the pedigree of the players is unmatched in the space rock genre. I don’t mean to knock early Pink Floyd as Syd Barrett and (eventually) Roger Waters were great songwriters but their musicianship (especially Syd’s) was somewhat…rudimentary sometimes.
Manuel Gottsching is a guitar God (mixing a 70’s hard rock style with near-shred levels of technicality mixed with experimental guitar textures and real emotion) who possesses a nearly unlimited level of intelligence and unmatched imagination.
Drummer Klaus Schulze is another German rock legend, known for his epic synthesizer symphonies that have inspired entire generations of trance and pulse electronic music. Here, he serves primarily as a drummer and he is an even better drummer than he is a synthesist.
The bass player is very solid too (I forget his name) as he holds down the fort, plays Entwistle level runs and who serves as a solid grounding for the rest of the band.
The other reason this stands out so firmly for me is the lack of vocals and vocal melodies. Of course, this is a draw back in many ways: you won’t be singing along to any of the “melodies” on this album. Ever.
But the lack of vocals dehumanizes the music in a way that makes it starker and more alien than the scraping landscapes of early Floyd or the heavy-metal-thunder of Hawkwind.
No vocals also means no lyrics which were always, always incredibly weak in Hawkwind. It never gets much better than “I got an orgone accumulator…and it makes me feel greater!”
Ash Ra Tempel doesn’t annoy you with trite space themed lyrics or inane fantasy poetry: instead, they just play. For 20 minutes at a time.
The epic lengths of the average Ash Ra Tempel composition will be a problem for many listeners but that’s part of the appeal for me: the band explores various textures, melodic ideas and rhythmic motifs throughout each track in a way that is naturally flowing and never, ever seems forced.
It’s always amazing to hear Gottsching and Schulze play together: they seem to have a near-telepathic ability to read each other’s musical thoughts and to predict where the other is going without fail.
There is always the chance, of course, that these tracks are heavily edited and pieced together. It wasn’t above Miles Davis (in fact, it was his whole fusion aesthetic) but somehow I just don’t sense that same kind of editing here.
The album follows a basic format that many “side long track” albums have in the past: the first side is the hard rocking side, while the second side is the “contemplative” side (Terry Riley influence?).
The first side, “Amboss” is a track that Ash Ra Tempel never really beat: they came close on “Freak N’ Roll” on Join Inn but they never matched this track’s dark, pulsing mood.
It starts out slowly, with some guitar drone and light cymbals and a bass moan but gradually builds up as Gottsching starts to solo and riff like a demented (and dangerous) version of Early Clapton. Schulze smashes and bashes like Keith Moon but generally keeps a better beat.
Describing tracks like this is a fruitless, thankless, nearly impossible endeavor: there are countless build-ups, fall downs, moments of climactic ecstasy and impeccable interplay and musicianship. George Starostin astutely compared it to “Live at Leeds” era Who in its interplay and that’s very accurate. There’s just no Roger Daltrey.
However, the second side is something the Who never would have done: a 20+ minute, nearly ambient tune that simmers at a lower level than “Amboss” but which still has its own sense of intensity and purpose.
Beyond the lower tempo, there isn’t any real way to tell apart the two tracks which is fine: it creates a more unified mood of space exploration that no band (including Ash Ra Tempel) ever topped.
After this album, Schulze left and the band floundered through a solid, but more conventional second album and a collaboration with Timothy Leary that never really caught fire.
The Schulze reunion album “Join Inn” (as previously mentioned) has the same structure and the same basic fire and drive of this album but without the carefully created atmosphere. After Gottsching created the fun, diverse and completely out-of-left-field pop-like album “Starring Rosi” he created a solo album, formed “Ashra” and explored more synthetic textures.
As a result, this album stands somewhat apart from the rest of Gottsching and Schulze’s discography, making it an even more worthy addition to your collection.
Songs to YouTube:
There are two songs. Listen to them both.