... Ein weiterer Meilenstein, für viele ihr bestes Album. Auch hier präsentierten sie eine innovative und ziemlich irre manchmal fast zu vielfältige Mischung aus Psychedelic-, Westcoast-Acid- und Progressive-Rock-Elementen, diversen Space Rock-Einlagen, anfangs auch teilakustischem (Eastern) Prog-Folk-Rock, und sogar „kosmischen“ elektronischen Parts; zwischendurch auch mal riff-rockend. Dazu kommen, v.a. beim 18-minütigen „Marilyn Monroe-Memorial-Church“, ganz starke Einflüsse der frühen Pink Floyd. Recht häufig eher ruhig, diffizil, eine Fülle (oft spacige) Effekte, sporadisch jazziges Piano (Gast Jimmy Jackson). Kleiner Schwachpunkt: Der (recht selten eingesetzte) Gesang.
(Glitterhouse)
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There aren't many double art-rock albums from the early '70s that have
stood the test of time, but then again, there aren't many albums like
Tanz, and there certainly aren't many groups like Amon Düül
II. While exact agreement over which of their classic albums is the absolute
standout may never be reached, in terms of ambition combined with good
musicianship and good humor, Tanz, the group's third album, is probably
the best candidate still. The musical emphasis is more on expansive arrangements
and a generally gentler, acoustic or soft electric vibe; the brain-melting
guitar from Yeti isn't as prominent on Tanz, for example, aside from the
odd freakout here and there. You will find lengthy songs divided up into
various movements, but with titles like "Dehypnotized Toothpaste"
and "Overheated Tiara," po-faced seriousness is left at the
door. The music isn't always wacky per se, but knowing that the group
can laugh at itself is a great benefit. The first three tracks each take
up a side of vinyl on the original release, and all are quite marvelous.
"Syntelman's March of the Roaring Seventies" works through a
variety of acoustic parts, steering away from folksiness for a more abstract,
almost playfully classical sense of space and arrangement, before concluding
with a brief jam. "Restless Skylight-Transistor Child" is more
fragmented, switching between aggressive (and aggressively weird) and
subtle passages. One part features Meid and Knaup singing over an arrangement
of guitars, synths and mock choirs that's particularly fine, and quite
trippy to boot. "Chamsin Soundtrack" exchanges variety for a
slow sense of mystery and menace, with instruments weaving in and out
of the mix while never losing the central feel of the song. Three briefer
songs close out the record, a nice way to get in some quick grooves at
the end.
(by Ned Raggett, All Music Guide)
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