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As Dzyan's first album was more or less a studio/one-time project, the first line-up did not survive the album's release. So the group was reduced to a very-different trio with only Karwataky remaining from the previous one. In came Giger on drums and percussions and Eddy Marron on guitars. Graced with a full psych artwork representing their tree-bordered paths, this album is one of Germany's most acclaimed instrumental jazz-fusion album. It was recorded in the Dieter Dierks studios and released on the very collectible Bacillus label.
Made of three tracks, the first side starts on the superb 8-min ethnic-sounding Kabisrain with a distinct Indian influence. The following almost 9-min Magika is much harder to swallow/ingest as it starts out on a wild drum intro, and it never really lets up until its end. The tracks often veers dissonant and limit atonal, but does remain accessible (more so than Crimson's Moonchild or Providence) to most and in its second part the guitar does take the track into more conventional improv grounds, but still remains uneasy reminding some of Nucleus's Belladona works. The third (and much shorter) Light Shining Out Of Darkness is quite a change as it veers Flamenco-jazz in a way that Metheny or DeLucia would not disown. Easily the album's most accessible track.
A sidelong monster title track with its 18 minutes fills the flipside. The track can be seen as a manic Mahavishnu Orchestra meeting a brass-less Nucleus. If the track remains relatively on the subject, avoiding useless lengthy soloing, it does not avoid some lengths especially that Marron's guitars are the only fronting soloing instrument. However the track veers around the 1é-min mark and presents a very repetitive riff that makes the last 6 minutes a bit minimalist, but also a bore.
While Dzyan's second album is well in the line of their first album, it is more "concise", precise and urgent than the debut album.
Made of three tracks, the first side starts on the superb 8-min ethnic-sounding Kabisrain with a distinct Indian influence. The following almost 9-min Magika is much harder to swallow/ingest as it starts out on a wild drum intro, and it never really lets up until its end. The tracks often veers dissonant and limit atonal, but does remain accessible (more so than Crimson's Moonchild or Providence) to most and in its second part the guitar does take the track into more conventional improv grounds, but still remains uneasy reminding some of Nucleus's Belladona works. The third (and much shorter) Light Shining Out Of Darkness is quite a change as it veers Flamenco-jazz in a way that Metheny or DeLucia would not disown. Easily the album's most accessible track.
A sidelong monster title track with its 18 minutes fills the flipside. The track can be seen as a manic Mahavishnu Orchestra meeting a brass-less Nucleus. If the track remains relatively on the subject, avoiding useless lengthy soloing, it does not avoid some lengths especially that Marron's guitars are the only fronting soloing instrument. However the track veers around the 1é-min mark and presents a very repetitive riff that makes the last 6 minutes a bit minimalist, but also a bore.
While Dzyan's second album is well in the line of their first album, it is more "concise", precise and urgent than the debut album.
:::Review by Sean Trane:::
Dzyan - Time Machine (1973)
1. Kabisrain (7:59)
2. Magika (8:45)
3. Light shining out of darkness (3:13)
4. Time machine (17:47)
Credits
- Peter Giger / drums, percussion
- Reinhard Karwatky / bass, keyboards
- Eddy Marron / guitar, sitar, saxophone
Dzyan - Time Machine (1973)
1. Kabisrain (7:59)
2. Magika (8:45)
3. Light shining out of darkness (3:13)
4. Time machine (17:47)
Credits
- Peter Giger / drums, percussion
- Reinhard Karwatky / bass, keyboards
- Eddy Marron / guitar, sitar, saxophone