1971 ACID PROG PSYCH ORIG 'FOAM' = NINE DAYS WONDER KRAUTROCK UK LSD ZAPPA TULL
$
200
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- ULTRA RARE 1971 ORIGINAL
- ACID / PROG / ROCK ARTIFACT FREAK-OUT
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- NINE DAYS WONDER
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- GERMANY - (white/black) BACILLUS - 6494004
ASTONISHING ACID-PROG-PSYCH ~~ THE KRAUTROCK UNDERWORLD
One of the strangest bands to emerge from Germany's beginning 1970 Krautrock scene, NINE DAYS WONDER emerged. Lead vocalist / percussionist Walter Seyffer created this band in 1966, first known as 'The Graves' then when the acid-rock culture set in, he formed one of the most interesting (yet flipped-out) groups naming them "Nine Days Wonder."
Walter Seyffer also designed this odd as they ever existed cover, a green spounge-foam gatefold = not made to last.
This was to be the only Nine Days Wonder album - even when different members came and went releasing other normal prog-rock Lp's. None even close to the green-foam 1970 gatefold which was heavily influenced by the diverse freaky-side of musical acts such as early-King Crimson, Frank Zappa, Soft Machine, Traffic, Family, Jethro Tull and Deep Purple just to name a few!
Part of the band's eclecticism stems from the fact that only two of the five members were German. While Seyffer (lead vocals, percussion) and Rolf Henning (guitar, piano) hailed from the motherland, John Earle (winds, flute, guitar, vocals) was Irish, bassist Karl Mutschlechner was Austrian and drummer Martin Roscoe came from the United Kingdom. Given this strange lineup, NINE DAYS WONDER considered itself an international band and were at odds with the more psychedelic stylistic approach of jam bands like Amon Duul II, Embryo and Guru Guru. On the contrary, NINE DAYS WONDER was very much about complex polished compositions that were well very rehearsed and calculated, seemingly the antithesis of the ethos in the early Kraut scene.
Likewise, NINE DAYS WONDER's bizarre first LP indeed sounds like something that should've emerged from the English underground with all the references on board including stoned spoken word English with a British accent! By the way, only the German original being notable for the attention-getting green foam rubber cover while the album appeared in other countries with completely different cover art which depicted a pile of dead fish staring you in the eye!
Visual gimmicks aside, NINE DAYS WONDER crafted a powerhouse of A.D.D. with artistic styles, tripped-out rock+ whizzing by so fast that it must've been impossible for an audience to comprehend what in the world was going on hence the album's relative "Krautrock" status - even fifty five years after its release although true eclectic progheads will surely know all about this freak of nature.
Featuring just four tracks that weave all over the place, and never staying put for too long. While the near 16-minute opener "Fermillion" begins in the realms of hard rock with sizzling guitar riffs and solos, bantering bass grooves and percussive explosiveness, it doesn't take long for a Jethro Tull inspired flute run to join in when it just gets weirder as a jazzy complex enhancements joining in yet degenerating into strange electronic free-fall. For all its eccentric and eclectic leanings, NINE DAYS WONDER provided a framework of musical compositions - to then radically deviate from. The name of the game with this album is that it ebbs and flows. It flows along as kind of "normal" sounding rock on steroids and then drifts off into experimental acid grooves
Past the first side-long track, the album just keeps on delivering more and more outrageously creative outbursts of the unexpected.
While the short track "Moss Had Come" exists as the most "normal" track on board sounding something like an interesting mix of early Deep Purple meeting early Allman Brothers, "Apple Tree" becomes more knotty prog delving more into Frank Zappa inspired quirkiness yet better, in taking the Zappa inspiration to its most proggy and experimental conclusions. The tempos completely change, moods, instrumentation and musical styles make hairpin turns and the album progressively becomes more unhinged with moments of pure sanity breakdown all the while with singer Seyffer literally going off on bizarre vocal tangents!
The closing "Drag Dilemma" at nearly 13 minutes finally allows everything to go completely ]psycho] with the band finding ability to really let its freak flag fly.
There is also a wild call and response vocal rant and guitar "discussions"...This LP is truly unique and highly recommended for veteran musicologists in heavier yet freakier doses of progressive rock invention. In other words, these guys were well ahead of their time
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