I received this album, the self titled Cozmic Corridors from ‘That Special Record‘ a couple of months ago and haven’t had much time to listen to it until recently. From my perspective, it’s a mixed bag, with the 10 minute track ‘The Summit’ sounding very much like sitting in an otherwise empty church while the organist jams to himself before people start wandering in and the service begins, while ‘Mountainside’ with its monastic vocals is much more interesting.
There is some debate that the whole thing was actually recorded in the 90’s and was not a long since lost Krautrock classic but an attempt to cash in on the increased interest in the genre. The official notes say:
Underground Kraut-Kosmische monster, recorded / produced circa 1972-73 in Cologne by Toby “The Mad Twiddler” Robinson for his Pyramid label. Originally released as an ultra-limited handmade edition, original copies are lost forever in the mist of time.
Featuring Mythos drummer Hans-Jürgen Pütz on percussion & effects, alongside synth / keyboard freak Alex Meyer, poet / vocalist Pauline Fund and mysterious guitarist Peter Förster.
To be honest, that does sound a bit made up. One of the doubters, and there are many, had this to say:
If you’re the sort who believes in Big Foot or the Loch Ness Monster, then you will believe this album was released in Germany in 1972. Despite multiple claims of sightings at art museums and record fairs, actual hard data seems to still be missing. Funny that. Most likely these were recorded in the Acme studio (UK) in the mid 90s along with the other Prescription Drug series albums coming from the same studio, and that contained the premise of utilizing only analog equipment from the early 70s. Why the need for the ruse is anyone’s guess, as the music holds up well without the made-up pretext. These albums will always be judged accordingly, and it’s their own fault. After all these years, they should come clean.
Oh, the music you ask? A fine electronic album made with organ, Moog, Rhodes, guitar percussion, and wordless voice. Sounds like something that would have been released in Germany in 1973 – and so they did accomplish their ultimate goal. They should have just stated it as such.
Does it matter either way? Well it would be preferable to understand the authenticity of what one is listening to and it’s not nice to be duped, on the other hand is it really down to whether you like it or not and the origin story is not really all that relevant? Hard to say as it does depend on the individual, for me, I’m OK with this album, in fact there are some parts I really like, I don’t think I will ever grow to love it, but I’ll give it a spin now and again maybe, when I’m in the mood.
I think maybe the authenticity bit does actually bother me a little.