DZYAN Time Machine LP German Import Prog Fusion Quad NM

$

47

DZYAN's 'Time Machine' LP A German Import
SQ Quadraphonic Pressing on Bellaphon/Bacillus
Records 1973.

The LP is Visual and Play Graded NM!

The Cover is also Graded NM!

Dzyan [Germany]

Dzyan (72), Time Machine (73), Electric Silence (75)

First LP, very hard to find, is right in the German Kraut-Rock vein (I only listened to that one once and don't really remember it, but it was nothing special). After that the band broke up and was refounded as a trio (Eddy Marron on guitar, Reinhard Krawatky on bass and Peter Giger on drums). This trio recorded the two excellent albums Time Machine and Electric Silence. Here you find great fusion/jazzrock with strong and fast guitars (guitarist Eddy Marrons style could be compared to J. McLaughlin in the Mahavishnu Orchestra era). There are also slower pieces, with a more Asiatic touch (some sitar here and there) and a lot of electronic effects (also on the drums). Best comparison would be Return to Forever or Mahavishnu Orchestra. Highly Recommended! -- Achim Breiling

I have heard Electric Silence. Pleasing East Indian-inflected space progressive. Guitars, synths and Mellotron mix with sitars, sarods and tambouri. The amazing thing is that this stuff never sounds self-indulgent or excessive. Much of the guitar playing is not unlike John McLaughlin in his Shakti period, but electric. Fans of Embryo, Amon Düül II and the like should investigate. -- Mike Ohman

Extraordinary and nearly unclassifiable German space jazz trio whose two albums from the early '70s are certainly on par with, if not superior to, anything recorded by other "kraut-rockers" such as Amon Duul II, Guru Guru, and Kraan. Both records feature guitarist Eddy Marron, bassist/keyboardist Reinhard Karawatky and percussionist Peter Giger, and cut an insanely wide stylistic swath from contemplative and spacey free improvisations, to high-energy Mahavishnu Orchestra-like fusion workouts. There is also a "world music" element to Dyzan's art. Besides electric and acoustic guitars, Marron also plays several ethnic stringed instruments (i.e., sitar, zaz, etc.), and at times there is a distinct gypsy/flamenco feel to his playing. Peter Giger's percussion arsenal includes a vast array of gongs, hand drums, and other toys. Of Dzyan's two records, Time Machine is more compositionally focused and the music has a strong jazz-fusion component. Comparisons to the first two Mahavishnu Orchestra albums would not be too far off base, although Dzyan are certainly not clones and maintain their unique identity throughout. Electric Silence de-emphasizes the hard-edged fusion and jazz sounds in favor of a looser, more freely-improvised jamming feel. Marron plays more acoustic guitar, sitar and zaz, and Giger's percussion emphasizes color and shading, rather than playing a pure timekeeping role. The result: acid-drenched hippie psychedelic nirvana! Both records are classics and pretty hard to obtain. I don't think Dzyan released any albums after Electric Silence. Peter Giger later turned up on Eberhard Weber's first solo album for ECM, The Colors of Chloe. -- Dave Wayne