Recorded live during an intimate concert that includes auditors of the German radio program Schwingungen, this last opus of the retro Berlin School new masters is in the same vein of their last title; The Lost Temple Of Xi Cephei. The Dutch duet reinvents nothing, its music remaining a continuity of its exploration of forgotten Berlin School roots. Beautiful, and good, retro Berlin School with a strong Dreamian influence sprinkled with a Krautrockian, even Floydian, psychedelic approach, in very misty, still psychedelic atmospheres.
A little bit annoying radio voiceannounces the opening of Der Countdown Läuft Nicht Mehr, as well as Es Ist Fertig and Heisse Finger. A negative element because the voice is cold and without feelings. A contrast from DSM music, especially the opening track which opens on cosmic waves, from where a spatial voice appears surrounded with celestial elements. A spacey overture printed by an eclectic sound approach where mellotron choirs are molding to subtle orchestrations that waltz weakly in a tetanized nebulosity. A synthesized sequential movement is drawing around the 9th minute point. As leaves falling of space, he is floating in suspension and switches on more punctuated sequences, while being supported by a fine line of bass. Floating on a soft rhythm, Der Countdown Läuft Nicht Mehr deludes of its very Dreamian sequences which become entangled by Eppie E Hulshof vaporous guitar, plunging us in the years 77-78 on a magnificent sequence which waves as a cosmic carousel. Atonal and constantly in molecular fusion, Es Ist Fertig furrows a sound nothingness glossy by the chords of a bluesy guitar which float with a mellotron synth. There are good moments in this cosmic inertia that goes beyond the opening of Heisse Finger, where the first 6 minutes are of a cosmic platonic concealment. Orchestral stratas give life to this oblivion introduction, initiating a sequence to random jolts which skips on a synth filters by solos to ochre tones. Discreetly, a line of bass is shaping to this sequential movement, shading the coolness of the synth of which solos get out of breath in a bad patch, leaving place to a guitar of which solos flirt with cosmic blues. After a sequential movement to hems well drawn, of which the guitar sprays generously its curves, Im Park exhausts gradually to embrace a foggier and more cosmic structure, as we find on Der Countdown Läuft Nicht Mehr. A final with a very Floydian, Von Deyen and Earthstar synth tones.
Live Im Grugapark is an album in the purest tradition Dutch Space Mission; a blend of sober sequences, mixed to a guitar more bluesy than cosmic, where mellotron synth prevails.There is for all the tastes here, in particular for those who like the improvised years of Tangerine Dream and the psychedelic ones of Pink Floyd. A good album, as DSM knows how to build them.