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Wucan

Reap the Storm

Review by Gary Hill

This is a brand new album from a German band. This act is probably best described as neo-Kraut-rock. It would not be a big stretch to believe that this came out in the 1970s. It really feels like that. There are definitely comparisons to be made to Jethro Tull (but the vocals here are female) in part because of the flute and in part because of the musical style. Space rock shows up in the mix. There is a lot of psychedelia. Some of this lands pretty purely in just plain hard rock (not prog) category, but two epic length pieces (and another that's about ten minutes long) along with other elements really mean that it fits nowhere other than under prog rock. The lyrics to the first song are in German, but all the rest are in English.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2017  Volume 5 at lulu.com/strangesound.

Track by Track Review
Wie die Welt sich dreht
Trippy keyboards are the order of business at the start of this. It rises out from there into pounding, driving modern prog that's built around a bit of space rock and some industrial sound. Some funk shows up in the mix as this works forward. The non-lyrical vocals that come over the top bring some serious rock to the thing. They work out to lyrical singing (in German) and we're into some driving hard rock. The instrumental section later takes into hard edged space rock. When the vocals return they bring a bit of an art-rock weirdness. After a return to the hard rocking stuff for a bit, we're taken into some psychedelia that takes the number to its close.
Ebb and Flute / The Eternal Groove

Coming in with mellow waves of trippy weirdness a bass guitar starts soloing amidst that. Eventually we're taken out into a jam that feels like a crunchier Jethro Tull. They work it out from there into more of a mainstream rocker that is classy. The lyrics on this one are in English. It definitely has more of that Tull element in place as it moves forward, but with some metallic crunch and some psychedelia also woven into the tapestry.

Out of Sight, out of Mind

Psychedelia and hard rock merge on this number. Still, there is enough of a progressive rock edge in some of the lines of sound to make it lean in that direction, too. Whatever you call this, it's a meaty rocker that works quite well. The instrumental section moves it toward space rock.

I'm Gonna Leave You

Although there are some proggy things in the arrangement, overall this is more of a straight-ahead hard rocker. It has plenty of cow-bell, too. That said, can you ever have enough cow-bell?

The Rat Catcher

Here is another that is very much like something Jethro Tull would do. Of course, that's if Tull had a female singer. The flute on this is great. It works out mid-track to a mellower dramatic jam that's very cool and classy. They work it back out to a fast paced jam that makes me think of Focus just a bit. They take it to some Tull meets space rock later.

Falkenlied

There is a bit of an old-world edge to this piece. It's a folk styled number, landing this in the vicinity of folk prog. There are definitely space rock elements here, too. A mellow instrumental section with a rather soaring vibe to it is heard later in the track. They work back to the song proper from there.

Aging Ten Years in Two Seconds
This is an epic piece, weighing in at over 21 minutes. It comes in with a mellower motif and works forward in a mode that feels a lot like Jethro Tull meets Focus. Around the two and a half minute mark they take it out to a fast paced rocking jam that has a bit of Heart merged with psychedelia built into it. That holds it until after the five and a half minute mark. Then it drops out to spacey psychedelia to move forward. Eventually it works upward and turns a bit noisy. It still remains in trippy psychedelic range, though. Non-lyrical vocals come over the top as the weirdness really peaks. The whole thing drops away and acoustic guitar rises up from there. As vocals come over the top of that we're back into folk prog type territory. It eventually makes its way out to some cool hard rocking stuff from there. By around the 17 minute mark they've moved out into a cool space rock jam. Eventually it works to a soaring kind of progressive rock jam from there.
Cosmic Guilt

The closer is another epic piece, even though it's about three minutes shorter than the previous one. The freaky section with processed spoken vocals that opens this has a lot of space rock in it. There is a definite psychedelic edge as sitar joins and the piece works forward. Although it grows a bit, that holds it for about a minute or so. Then a driving, but still understated, rocking percussive element moves things forward. Sitar jams in the mix and the overall sound is still rather sedate and definitely psychedelically based. This movement is purely instrumental and has some intriguing musical directions. It takes quite a while to work out to any kind of real rock music sounds. When it does there are psychedelic and blues rock things going on within the mix. The vocal performance is more blues rock based. The jamming that ensues has a bit of a space rock turned psychedelic vibe to it. They work through and drop it way down by around the eight and a half minute mark. Trippy prog turned psychedelic instrumental music works things forward from there. This eventually works outward into more of a driving, powered up prog type jam from there. They make their way back toward more Jethro Tull-like territory. Things evolve out into a melodic prog jam that has a lot mellow psychedelia built into it. Soaring non-lyrical vocals come over the top of that as it pushes forward. This works steadily forward building power and intensity as it does so. It's a real powerhouse in a lot of ways, reminding me of Pink Floyd (particularly "Great Gig in the Sky") to some degree. That part peaks, and they drop down to a mellow (and quite short)  bit of folk prog to end the album.

 
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