| Reviews Biography Agitation Free was without a doubt among the premier Krautrock bands from the experimental German scene of the 1970s.  Though at essence the group was a guitar based ensemble, with typical instrumentation, Agitation Free incorporated a number of other influences into their classic releases.  Most primary was a slight jazzy sensibility, somewhat reminiscent of the Canterbury scene of Britain, as well as cultural and ethnic music and a clear passion for the European avant-garde.  They managed to be uniquely melodic, yet not without an exciting experimental drive and innovative approach. A completely mesmerizing group, with a hypnotic and soothing tendency, but a powerfully volcanic "rock" ensemble at the same time.  A cataclysm of diverse influences, emotional drive, and extraordinary musicianship made Agitation Free one of the very best German progressive rock groups ever. The group began life in Berlin as a cover band, cutting their teeth on standards by groups like Jefferson Airplane and Iron Butterfly.  Eventually they became fixtures of the Berlin scene, playing gigs with bands like Guru Guru, Amon Duul II, and Tangerine Dream, as well as providing music for multi-media projects and slide shows put together by local art students.  Early incarnations of the group featured Axel Genrich, later of Guru Guru, as well as Chris Franke, who would become a creative pillar in the seminal Tangerine Dream.  In 1972, the core lineup came together (Ulbrich, Günther, Schwenke, Hoenig and Rausch) and were invited by the Goethe Institute of Berlin to embark upon a cultural exchange tour in Egypt, Lebanon, Cyprus and Greece.  The experiences of this trip culminated in the release of Agitation Free's first album, the masterful Malesch. The album easily stands as not only one of my favorite albums out of Germany, but possibly among my all time favorites.  This period of the bands existence culminated in their performance at the 1972 Olympic games in Munich.  Their next release, 1973's Second is another explosive classic from the German underground, holding up as well today as it ever did.  After Second, the band apparently experienced some line-up shuffling (including the introduction of guitarist Lütjens, who reappears later),  and though they continued to play shows for some time, they were never able to regroup for the all important third album, finally disbanding in 1974.  1976's Last is a posthumous live release that captures the band in prime concert form during this turbulent period. Recently, a number of recordings have surfaced from Agitation Free's fertile early 70s period, and have been released in various forms over the last few years.  Though I'm not personally familiar with any of these yet, At the Cliffs of  the River Rhine is, by all accounts, an absolutely searing live document.  The recent rash of interest in the group has in fact brought about a reunion of sorts, featuring Ulbrich, Gunther and Rausch, as well as ex-Kraan saxophonist Johannes Pappert.  Though the verdict is still out on their first studio release since Second, The River of Return, the group's early albums still stand as two of the most passionate, uncompromising and visionary works in the progressive rock pantheon. - Greg Northrup [September 2001] Sources:  Agitation Free Official Homepage, All Music Guide   Malesch (1972) Agitation Free's debut album is one of the absolute classic albums to come out of Germany in the 1970s.  Agitation Free approached the groundbreaking experimental tendencies of the German scene from a different persepective than most of the other groups.  Firstly, the delicate touch of melody was certainly not lost on the band, and they often bypass the strictly standoff-ish approach of many of the other German bands, infusing their albums with a gorgeous melodic drive.  Malesch takes a slightly unique approach then the more jazzy follow-up, Second would, though both albums are in the same basic vein.  The album extensively incorporates ethnic and world music influences, due to the fact that much of the album was apparently composed on a trip to Egypt around the same time.  Much of the album features sound samples and recordings from the trip, which are used to divide the tracks. Most of the Arabic and ethnic influence is percussive, as exotic rhythms underpin Agitation Free's melodic and powerful guitar interplay.  "You Play for Us Today" and "Sahara City" both build into exciting, driving guitar led crescendos.  "Ala Tul" features an extraordinary Michael Hoening keyboard motif that glides over the intense and magical percussive backdrop.  "Pulse" tends to get bogged down a little in avant soundscapes, but does provide some breathing room and eventually morphs into a heavily hypnotic piece.  "Khan E Khalili" and "Malesch" both build on the already established style of the album, and are full of powerful guitar interplay and a completely magical atmosphere.  The soaring closer "Ruckstruz" is totally majestic, a powerful melody that closes out this classic album in fitting form.  My overall opinion is obviously that this is one of the very finest German albums bar none.  Agitation Free manages to be extremely melodic, yet retains that experimental focus and pushes their music waaaaaaayy out there.  The incorporation of Arabic influences beneath the incredible guitar dueling makes this a unique entry in the Krautrock scene.  I doubt that those already not predisposed towards the Krautrock/space-rock movement will find themselves converted by this album, but newbies would do well to start here. - Greg Northrup [April 2001] Click Here for Tracklist and Lineup Info Second (1973) Second is another classic album from Agitation Free, one of the leading lights of the Krautrock movement in Germany.  As opposed to Malesch, Second shows some slight change in direction for the band.  It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stonger.  The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album.  The only misstep is probably Hoenig's "Dialogue & Random", an experimental piece that is just random electronic blips for a couple minutes. The two-part "Laila" piece is definitely a highlight, featuring a jazzy, almost funky bass groove from Michel Gunter to underpin the exquisite guitar explorations.  "In the Silence of the Morning" uses another addictive bass motif to accentuate its hypnotic structure.  "Haunted Island" is initially a little cheesy, being that it features some spoken work poetry (with heavy voice alteration), but eventually develops into another excellent track, with their trademark subtle guitar solos and gorgeous keyboard textures.  Overall I'd say this album loses some of the mystical feel that Malesch had, due to the abscence of the Arabic percussive textures and melodies, although motifs of that kind do crop up at points.  On the whole it seems to take a slightly more conventional path, and the incorporation of jazzy and near-Canterbury like passages is definitely effective.  Personally I probably prefer the more exotic feel of Malesch, but Second is definitely a fundamental Krautrock album. - Greg Northrup [April 2001] Click Here for Tracklist and Lineup Info At the Cliffs of the River Rhine (1974) Solar Music Live, eat your heart out!  Okay, so maybe I shouldn't go that far, but the fact remains that Agitation Free's archival volume, At the Cliffs of the River Rhine, is one of the most mind-numbingly awesome live albums in the progressive rock genre.  Taken from a concert given by the band in 1974, the album replaces one of the most sought after bootleg recordings around, but this time with impeccable sound and a lengthy, full color booklet to boot.  The results are astounding.  Taking material mostly from their Second release, the group gives all the pieces a swift kick in the ass.  As if that album weren't already an unequivocal classic, this time around the added energy level, searing group intensity, and lively interplay catapult River Rhine in the stratosphere. If any complaint can be made whatsoever, it's that the band plays its ace card early.  "Through the Moods", a piece not found on either of the band's studio recordings, simply burns.   Beginning softly, even unassumingly, the listener is merely relieved that the sound quality is okay after all, excellent even.  By the time six minutes or so elapses, astonishment begins to set in.  The grooving, amorphous basslines, choppy, mid tempo rhythmic pulsing, twin guitar melodies cascading and wrapping around each other.  And it only gets better.  The intensity of this track builds to an unbelievable, cathartic level.   By the end, the lead guitars tear into a single note motif with such ecstatic fury, that the sudden, halted end of the piece brings one crashing down to earth with the bitter after effect an opium dream. The thunderous applause does manage to cushion the fall, however.  "First Communication" is next though, and you all know this one, well at least you should -- the sublime opener from the Second album.  While I was initially worried that the show's energy level had reached an early apex, the pure majesty of this version renewed my state of bliss.  So I was a convert already.  The rest of the album?  It fucking rips.  This is one live release that has it all;  differentiation, even superiority, over the studio counterparts of the respective pieces, excellent sound quality, and a fantastic performance.  One of the very best German progressive rock groups at their peak.  What more could you ask for? - Greg Northrup [September 2002] Click Here for Tracklist and Lineup Info