Friday Full-Length: Weltraumstaunen, Weltraumwelt

Posted in Bootleg Theater on August 16th, 2019 by JJ Koczan

Weltraumstaunen, Weltraumwelt (2004)

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That distance, and the fact that the distance mattered, becomes crucial to understanding Weltraumwelt‘s aesthetic and just exactly how Weltraumstaunen wound up where they got in terms of sound. The second album was somewhat more adventurous than the first — though nothing against that record either — and found its strongest moments in a forward-looking kraut and space rock; the swirling effects, hard-strummed funky wah and a steady groove on the title-track indicative of the far-outness to which Weltraumstaunen was aligned, but really just the barest indication of some of the more experimental side of the nine-track/48-minute collection, which showed itself perhaps most of all in the 14-minute anything-goes sprawl of “Farfisadelic.” With steady pulsations of synth emerging amid flourish of backwards guitar and other atmospherics, that cut was by far the deepest journey into cosmic vacuum that the two-piece made, and its anti-apex resolution in an almost-standalone line of piano and effects drift proved clearly that Weltraumstaunen weren’t simply about a linear build or about capturing the rush of space rock. Their five-year mission was more varied in its course, with opener “Black Dove Part I” and closer “Black Dove Part II” dug into a vision of heavy psychedelia that by now feels prescient of what a German band like Samsara Blues Experiment would go on to do in their beginning stages, or even Schmidt‘s own Electric Moon, jam-based as that would be.

Not only that, but the moody prog of “Doors” and the acoustic/electric swirl of centerpiece “Wizard vs. Time” brought a classic feel to the proceedings and offered a grounding effect compared not just to “Farfisadelic” still to come, weltraumstaunen weltraumweltbut to the minimalist drone of “Introfernale” which followed or the earlier bass throb in the freaked out noisemaker “Hoffmans Mahl (The Dwarves of Yore)” and the resoundingly ambient “Floating in Space,” the latter of which gave its earthy, folkish strum a chance to really bring the album to earth at its midpoint, which “Wizard vs. Time” ultimately succeeded in doing, in sound if not theme. They didn’t rush back to ground by any means, rolling through “Introfernale,” “Weltraumwelt” and “Farfisadelic” before finding their way into “Black Dove Part II,” and in the interplay between vocalized and instrumental songs, the openness of the structures and the overall diversity of mood between their tracks, Weltraumstaunen were able to accomplish the rare feat of uniting their material through its very differences, setting the expectation early between “Black Dove Part I” and “Doors” that the band could and would follow their whims wherever they might go. They went, of course, to space. And floated there.

But the connections to classic prog, whether in “Black Dove Part I” or “Wizard vs. Time” and “Doors” — the latter also dipping into a kind of ethereal grunge — were key underpinnings to the more try-it-and-see aspects of Weltraumwelt, and where so many bands seem to commit themselves either to a planned songwriting modus or to outright improvisation, Weltraumstaunen refused to choose one over the other. No doubt the distance between Heinrich and Schmidt helped that too — because it’s hard to jam through the mail — but even through trying and subsequently fleshing out initial ideas, their songs were able to take various shapes brought together by a single creative persona, not just a work of genre, but a work that toiled at the edges thereof and seemed more interested in pushing the limits forward than residing comfortably within them.

But again, maybe you’ve heard it and maybe you haven’t. I know I’ve name-dropped Weltraumstaunen a couple times over the years in talking about other things Schmidt has done — and he’s done plenty — but I’ve never actually written about the band, and though I’ve periodically looked for it in YouTube, it wasn’t until a couple months ago that Weltraumwelt actually showed up, so the opportunity hasn’t really been there before now. It’s another album that turns 15 this year, which is kind of staggering to think about, but it came into my life in a box of vinyl from Nasoni that I got when I was doing college radio, and it’s one to which I’ve returned every now and again ever since, as it captured a genuinely open creativity that it’s hard not to find inspiring, its exchange of ideas and will toward seeing them realized, whatever shape they might take, indicative of the passion behind the collaboration in the first place. It might take you a listen or two to get it, but it’s worth that, at least.

Of course, Schmidt, working as Sula Bassana, has gone on to become a principal figure in Germany’s psychedelic underground, whether it’s running his own Sulatron Records imprint or expanding the space rock universe with Electric Moon, Krautzone, the revitalized Zone Six and so on. Less clear on what became of Heinrich after Weltraumwelt, which was the last of Weltraumstaunen‘s releases. By the time 2004 came around, Growing Seeds had been done already — though their 1997 album, Miraculous Journey, is worth seeking out if you can find it — and given the creativity on display throughout Weltraumwelt, it’s somewhat surprising not to have heard from him more in the years since. Crazier things have happened than a band like this reemerging from such parts unknown, but I’m not holding my breath. In the meantime, a reissue through Sulatron would most certainly be welcome, and hopefully capture and inspire a new generation of listeners as well.

As always, I hope you enjoy. Thanks for reading.

New episode of the Gimme Radio show today at 1PM Eastern. You already saw the playlist. Listen here: http://gimmeradio.com, or on their app.

I like the app, but web works too.

This weekend is Psycho Las Vegas. I’m not there, obviously. We’re still doing stuff with the move to NJ from Massachusetts, so yeah, I just couldn’t really get out this time. Next year I’ll do it up properly. But if you’re there, enjoy it. Sick lineup, insane venue, scorching desert heat: the true Psycho experience. Nothing quite like it.

I’m expecting The Pecan up any minute now, so I’ll do my best to keep this short and sweet-ish. At the end (maybe the middle?) of next week we’re back in MA to pick up the last of our stuff. One more truck. One more truck. One more truck. That’ll be CDs and whatnot from our storage unit, stuff from The Patient Mrs.’ office at work, and maybe a shitty table to which I have sentimental attachment from the condo. Right now we’re slated to close on the sale on the 23rd. Keep your fingers crossed for us until then. At that point, we live in NJ. That’s home.

There’s a lot on already for next week, which is nice since the earlier part of this week was a little dead. I’d do notes, but frankly I don’t feel like cutting and pasting and rearranging it, so yeah. Zed review, Swan Valley Heights premiere, Stew premiere, Grand Royale video premiere, Von Detta track premiere, on and on. And that’s just Monday and Tuesday. The rest, who the hell knows.

This move has been stressful because it’s been so drawn out, over months rather than days or weeks. We’re up to our eyeballs in boxes and there are more to come, but it’ll be good longer-term. I’m happy The Pecan will grow up here. People look different, sound different, from each other. People speak different languages. It’s like civilization or something. Plus bagels and pizza. So yeah, civilization.

Please have a great and safe weekend, and please check out the forum, radio stream and merch at Dropout.

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