By ProgBlog, Jun 20 2016 10:24PM
ProgBlog attended the Stone Free Festival on Sunday 19th June so there was no time to write a full post
Though nothing comes close to the first time I heard progressive rock, partly because it was Close to the Edge, in September 1972, there are still moments when you hear something and you think, wow, how did I miss that?
I can’t remember where the suggestion came from exactly, other than that Schicke Führs and Fröhling (SFF) appear as a brief reference in a couple of my books and that I have been browsing the Esoteric Records website recently, where their 1975 debut Symphonic Pictures has been re-released, so this was an entirely speculative purchase which turned out to be one of those ‘how did I miss that?’ situations, where none of my friends had any idea this existed either.
Released in 1975, just as their compatriots and fellow UK-symphonic progressive rock school adherents Triumvirat were gaining a following outside of their native Germany, it has quite rightly been hailed as a classic. This isn’t Kosmiche or Berlin-school electronica, or sub-Floyd space-rock (Eloy, Nektar) and whereas it’s common to draw parallels between Triumvirat and ELP, SSF don’t fit into that mould either, being far more adventurous, despite both bands being, on paper at least, a keyboard, bass, drums trio. Part of this is down to the twin Mellotron approach of SSF. Heinz Fröhling created a double neck, six-string and bass, from a Gibson Les Paul and a Rickenbacker but also plays acoustic guitar and Mellotron, clavinet and string synthesizer. There are some Yes-like moments on Tao but there are also hints of Greenslade and live (my CD comes with a contemporaneous live recording from the ship-building town of Papenburg) they have a King-Crimson exploratory like vibe, achieved through fine musicianship, technical dexterity and working out all the compositions very carefully. It’s perhaps surprising that a German symphonic prog band doesn’t borrow from Bach or Beethoven but the inspiration appears to come from 20th Century composers like Bartok and Stravinsky, incorporating shifting rhythmical meters and angular motifs and straying into jazz territory.
It’s really good and there’s nothing quite like it.