snobb Being a representative band of the jazzy end of the Krautrock wing, Embryo started their career playing psychedelic fusion in the late 60s (with American jazz pianist Mal Waldron on board). A few years later they transformed into more of a jam band with an artistic peak in 1972-1973.

"Steig Aus" is possibly the greatest example of that change in direction - three long compositions with some Eastern elements, obvious rock aesthetics and repetitive hypnotic rhythmical constructions are all good examples of German psychedelic jamming at that time. The level of musicianship is above average and their interplay is great so if you like this kind of music, this album is a really good choice.

Embryo is kind of a German version of Gong - musicians that not only play together, but it would be more clear to say that music is just a component of their way of living. The band is still active without any serious changes in their musical direction, and their works from the early 70s coming from their youth still radiate that atmosphere.

Its not much of a jazz fusion record, but one important evidence of 'krautrock's' golden age.

Sean Trane Apparently, Embryo's record label (Liberty/UA) didn't find that their music held enough commercial potential and refused to release the music recorded during three late71 and early 72 sessions, so drummer Christian Burchard brought the tapes to Metronomùe Brain label, who released them no problems in early 73 alonside Rocksession later that year. Released with slightly different arworks (clowns on stage with amplifiers), Steig Aus had two Us keyboardists where the Father Son line-up had none, but if jackson was nobig deal, having Mal Waldren (Max Roach, Eric Dolphy amongst others) on your roster is indeed quite a coup. Only three tracks on this killer album and past the the first two minutes of Morrocan-soundtrack of Radio Marrakesh, Orient Express is a great lengthy jam on which Jackson's organ and mellotrons takes first lead, than Roman Bunka's guitar, then followed by Waldren's electric piano and Hoffman's violin. Finishing on Burchard's percussions. Slowly rising like a sunset is Waldren's piano on Dreaming Girls (originally called Filles De La Mer) and is taking us on similar grounds. The 17-mins sidelong suite Call is a bit more of the same. While the jams on all three tracks are fascinating and enthusiasming, they also sound a bit the same. An exciting jam-filled album, Steig As managed in just three tracks to take the excitement of discovery. Run for it...