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Turns out Xhol's Hau-Ruk is right up my alley! I mean the entirety of the minute "Breit" is very much in the Soft Machine Fifth category. I'd be curious if Soft Machine and Xhol ever toured together or at least came across one another at some point in the early 70's.
The similarities are really incredible. Wouldn't surprise me if the two artists were giving each other advice. Elsewhere you have the minute "Schuakel" which goes through a similar vibe as "Briet" for a while until it temporarily shifts into a vocal melody and blues, before "Suden Twi Westen" becomes straight up jazz with ambiance in the middle and melodic saxophone jamming with flutes while the song's winding down.
The flutes and drum work are quite impressive but the saxophone totally dominates this album more than any other musical instrument. If you like your atmosphere moody and the saxophone to jam soothingly but creatively with that extra something special, look no further than Hau-Ruk.
I unfortunately have to take a single point off because some of the stuff in the beginning of "Suden Twi Westen" doesn't quite satisfy me like it should, and the sax jam through the first 10 minutes of "Briet" takes a long time to get into- for whatever reason it's not instantly likeable like the keyboards, flutes and drums. Also two minor observations- the vocal melody in "Schuakel" interestingly has a VERY offensive lyric that I can't repeat here on amazon.
Upon hearing it you'll probably think "Why potentially destroy such a pleasant blues melody by saying such a dirty thing? It's strange because Xhol and Deep Purple sound nothing alike.
This is definitely moody jazz but please don't assume it's boring jazz. So much atmosphere, creativity, variety and excitement occurs here that it's ridiculous. Highly recommended. One person found this helpful. See all reviews. Back to top.
Get to Know Us. Make Money with Us. So the members, a little bit angry about that, provided this album with the encrypted name 'Hau-RUK'. RUK stands for Kaiser's initials and 'Hau' is a german synonym corresponding to 'beat'. And that points to the essence of this spaced out recordings. Here we have simply structured jazz rock oriented jams in the absence of electric guitar but with diverse keyboard and brass contributions.
If the listener does not lose his patience and is able to get used to the special meditative style of the band - only cut off by some explosive parts here and there - all obstacles are cleared further on. Breit needs time to get involved with - a short name but a long meandering track and probably a description for the current condition of the band and the audience at this evening. The song rises slowly from minute to minute with canterbury leanings near to Soft Machine.
The band members are interacting awfully good with a strange weird organ and wah-wah deformed saxophone. Schaukel - another german song name with a strange intellectual challenge - works nearly in the same way with more bluesy components including a reminiscence to the classic 'Rock me Baby' and it would be no problem to join the songs to one title.
The original vinyl version of 'Hau-RUK' is a little bit unvaried according to my taste but the Garden Of Delights reissue, gentrified with the bonus track, is highly recommended though - interesting for fans who like to hear escalating jams with jazz rock orientation. On "Schaukel" it sounds like they started recording this song as it was already well under way.
It settles quickly as sax comes in playing a relaxed melody with organ, drums and bass playing softly in the background. The sound gets louder before 3 minutes and builds. A calm after 5 minutes as the sax stops. It starts to get bluesy. Vocals come in after 11 minutes, they do get pretty vulgar and obscene in this straight up blues section.
Pretty good record, but for me not essential in the least. I'll stick with their "Electrip" studio album. Band's roots are in blues-rock and r'n'b, so you quite often can hear there some characteristic chords and structures.
Between their spacey organ passages they even use B. King's "rock Me Baby" as element, included between their jamming! Even when using plenty of spacey sounds, whole music is quite minimalistic, with excellent accents on separated sax, electric keyboards and great drumming. As often with such music, the album could sound a bit unfocused, but I don't think there it's a big problem.
If you like early kraut-rock, melting psychedelic spacey sounds with excellent minimalistic free-jazz jamming to one long improv, you must listen this album! While "Hau-Ruk" doesn't match the quality of the two named albums it is still a very imaginative album, with two long improvised tracks full of strong psychedelic organs, intuitive drumming, smooth bass work and saxophones from Tim Belbe and Hansi Fisher.
The latter would turn up again on Embryo's "Rache" album. The first track is the most consistent; the second has a very psychedelic and impressive first half before it changes to a rather dull take on BB King's "Rock Me Baby".
Also fans of the experimental side of the Canterbury scene might dig this. There are many different things about this album that I love, but the one thing that always lingers in me long after I've spun it, is the overall impression of 'feel'.
Now as daft as that may sound to some of you out there, I still stand by my statement. This album, with its wonderful title Hau-RUK, is perhaps the benchmark of what you can do musically, when all you have at the front wheel is feel. Sure all music revolves around feel, and so it should, but with Xhol remember this is after they ditched the Caravan part of their name - and especially this album, there is little to hold it all together in form of chords, structure and what have you.
This does however not mean that the music is unmelodious or mad - on the contrary; this is some of the most alluring and bobbing music out there. Think Doors mixed up with The Paul Butterfield Blues Band seriously on acid - and then move this rather rambunctious setting into a more playful psychedelic jazz rock costume. So much bounce to this mother, you wouldn't believe it!
The drums are caveman raw, the organs sound like a bottom dwelling sea creature throwing up rhythmically and in tune, and still there is an imminent sense of chill about Hau-RUK - a characteristic about the whole thing that allures the listener out in deep hypnotising stints, where you feel like running through a maritime carnival in ultra slow motion.
In all fairness though, and just to play devils advocate, this record shouldn't work. It really shouldn't. This is basically jams with no preconceived idea of where to venture next. So you get this snaking thing that writhes and bobs - grows enormous and minuscule, frail and gentle - heck at times it even metamorphoses into something sensuous on accord of the sax - and yet I don't get anything meandering about it.
Too many wicked rocking grooves and beautiful serene organ lead sections for that to be true. I think all musicians know how it feels when everything falls into place - the times where you really cook and take off You catch each other in the music, and wield each other in, dance around, play and communicate through soundscapes, gestures and hidden sonic languages.