Gnosis Ratings

Reviews:

Sjef Oellers 11-Mar-2001 Blitzkrieg

Wallenstein play a sort of spacey symphonic rock on their debut album Blitzkrieg. Especially on the first track, Wallenstein reminds me more of the mid 70s spacey symphonic prog bands from France like Pulsar, Clearlight, or even Carpe Diem than the German bands of the time. Only the occasional soaring guitar lead is typical for the early German scene. Blitzkrieg is dominated by the classically trained pianist Juergen Dollase. As the album proceeds, the space rock element retires to the background more and more, until the last track, which is romantic symphonic prog close to Procul Harum. Altogether quite an original album, it is unlike most the German progressive albums of the early 70s. A minor complaint is that the music tends to drag on a bit with endless rolling piano lines by Dollase. Well worth hearing, but not a classic.

Mac Beaulieu 26-April-2001 Stories, Songs & Symphonies

Here Wallenstein went for a more song-oriented approach with a rather sparse chamber rock arrangement dominated by violin and piano. The music is very melodic and uplifting, and not very complicated: whenever a lead is played, the rest of the band tends to hang back and provide a base for the soloist. They don't really cut loose as a unit until the opening dance movement of the final track, "Sympathy For Bela Bartok".
As with the songs in general, the leads are nicely melodic whether they be violin, piano, or a very appealing twangy guitar. Four of the five tracks feature vocals, again with good melodies that strike a very positive chord, but the vocals themselves are . . . well, odd. Pianist Jurgen Dollase sings with a strange, goofy affect that's a bit distracting.
Overall it's an enjoyable album that works well when the mood calls for a gentle sound with solid melodies.

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Sjef Oellers	11-Mar-2001	Blitzkrieg
Wallenstein play a sort of spacey symphonic rock on their debut album Blitzkrieg. Especially on the first track, Wallenstein reminds me more of the mid 70s spacey symphonic prog bands from France like Pulsar, Clearlight, or even Carpe Diem than the German bands of the time. Only the occasional soaring guitar lead is typical for the early German scene. Blitzkrieg is dominated by the classically trained pianist Juergen Dollase. As the album proceeds, the space rock element retires to the background more and more, until the last track, which is romantic symphonic prog close to Procul Harum. Altogether quite an original album, it is unlike most the German progressive albums of the early 70s. A minor complaint is that the music tends to drag on a bit with endless rolling piano lines by Dollase. Well worth hearing, but not a classic.
Mac Beaulieu	26-April-2001	Stories, Songs & Symphonies
Here Wallenstein went for a more song-oriented approach with a rather sparse chamber rock arrangement dominated by violin and piano. The music is very melodic and uplifting, and not very complicated: whenever a lead is played, the rest of the band tends to hang back and provide a base for the soloist. They don't really cut loose as a unit until the opening dance movement of the final track, "Sympathy For Bela Bartok". As with the songs in general, the leads are nicely melodic whether they be violin, piano, or a very appealing twangy guitar. Four of the five tracks feature vocals, again with good melodies that strike a very positive chord, but the vocals themselves are . . . well, odd. Pianist Jurgen Dollase sings with a strange, goofy affect that's a bit distracting. Overall it's an enjoyable album that works well when the mood calls for a gentle sound with solid melodies.
Links for further information