01. Love Is Peace (17:13)
02. Snow Your Thirst and Sun Your Open Mouth (9:28)
03. Paramechanische Welt (7:38)
04. Eternal Flow (4:10)
05. Paramechanical World (5:44)
- Ella Bauer / harp, bongos
- Lemur / percussion, rhythm guitar
- Ulrich Leopold / bass, vocals, piano
- Dadam / guitars, vocals
- Hansi / flute, bongos
- Helge Filanda / percussion
- Noam / African drums
- John Weinzierl / guitar
- Chris Karrer / bongos
- Rainer Bauer / guitar, electric bass
- Klaus / guitar, electric bass, percussion
- Angelika Filanda / flute
This is the most recommendable album by this line-up of this musical collective, as the music is this time beautiful, and the recording is done properly. The all other four releases by the late 60's AMON DÜÜL are from a one other recording session, which doesn't have these qualities. Though this stuff is based on improvisation too, the jams have some pre-designed patterns and themes, which help the music to stay in more sane levels. The sounds share the aesthetics of the classic Haight-Ashbury stuff, focusing on acoustic folk with ethnic influences and bluesy electric solo guitars.
The longest track "Love is Peace" has minimalist English lyrics, which are sung on two different acoustic driven improvisations, which are tied together with a fine psychedelic middle section done with pitch delay effects. A very powerful voyage, to me this song didn't feel to last as long as it really does. "Snow Your Thirst and Sun Your Open Mouth" (?) has an ethnic sounding rhythm driving it's first part, which suddenly stops in the middle, and another peaceful kaleidoscope of sounds emerge from it's echoes. "Paramechanische Welt" is the most primitive of these songs, having two notes on the guitar and some obscure singing and bongos in it. There are few nice short bonus tracks on the CD too, both being very calm and good dreamy tracks. "Paramechanical World" may have the English lyrics of "Paramechanische Welt", but the music sound different (maybe it's only played from another note?).
What makes this album different from several other German avant-garde recordings which I have heard, is the tonality and harmony of the freeform play. Many times these experiments have created chaotic and painful music, but this isn't such. Interests towards improvisation and minimalisms are still the tendencies which are needed to appreciate this album, so this isn't everybody's cup of tea. Recommended for fans of psychedelia, ambient and folk music, and also for people interested of history of German alternative rock.