Roman Bunka ~ Germany

Dein Kopf ist ein Schlafendes Auto (1980)

If you've read enough of my ramblings on this blog you'll have probably noted that I'm a huge fan of guitarist Roman Bunka. He's one of those uniquely gifted artists that never disappointed, and yet is widely unknown. He recently passed away last year with barely a mention. He had found the perfect bandmate in Christian Burchard, and the two ensured Embryo would never be tempted by commercialism. Outside of Embryo he's most known in world music and film circles, as he became fascinated with, and ultimately a master of, the oud.

Dein Kopf ist ein Schlafendes Auto (Your Head is a Sleeping Car) is Bunka's only rock oriented solo album, and that's a pity as one can tell the creative juices are just beginning to flow. Bunka's background is on full display here making for a very disparate, but ultimately satisfying album. This is miles away from most progressive solo artists of the era anxious to demonstrate that they too can release pop slop like everyone else. You won't get a 'Funny Feeling' here (Steve Hackett if you must ask). I wouldn't even know how to qualify the album's opener... maybe a mutant Can updated for the 80s with a patented Embryo styled finish? This is followed by 'No More Jogging' which sounds like 'Lost Scooters' with Garden Wall's Alessandro Seravalle on vocals (deep dive reference, but if you know Garden Wall, then you know it's pretty crazy). The following two tracks demonstrate Bunka's love for Asian music and provides a nice, if somewhat jarring, contrast. This gets us to Side 2, and it's here we get the highlights of the album. Now we're in Embryo's jazzy-ethno-psych-jammy phase of the late 70s, something I'll never tire of. B1 has a killer psych sequence towards the end. Be sure to get ahold of the CD as well, as it features another great track, as Bunka covers 'On the Corner' era Miles Davis on a 10 minute excursion with his own material. Overall the album is nearly impossible to categorize. Is it world fusion, no wave, psychedelic, jazz rock? Yes. For categorization purposes, progressive rock it is. 

Ownership: 

1996 ATM (CD). Booklet with informative liner notes and the aforementioned key bonus track. Acquired in 1996.

1980 private (LP). Acquired in 2013.

1996; 2010; 11/29/17; 9/7/23 (review / new entry)

Altona - Chickenfarm. 1975 Germany

This is one of those entirely frustrating albums where the first five tracks offer little, and the last 15 minutes are superb. Opens up just as the album title suggests - in funky chicken land. Some European bands could pull that off. And some couldn't. Altona is of the latter. Much different than the tight jazz rock of the debut. However starting with the instrumental 'Feigenblatt', the album switches gears entirely and reflects back to an older era. Final 10 minute composition proves Altona had plenty left in the tank. Passed this round of cuts anyway.

Ownership: 1975 RCA. Single sleeve. Acquired online in 2014. First time for me to own, even though I had the debut going back to 1990 or so.

2014; 2/3/23 (LP 4.7); 4/7/23 (new entry)

Kraan - Wiederhören. 1977 Germany

From a collection perspective, I see 2021 as the year that I loaded up on jazz funk LPs and CDs. It seemed everywhere I went, I ran into cool early to mid 70s American albums that specialized in this genre. But what of my older European prog collection that was secretly hiding similar type music - would it hold up in court? Kraan's 5th album would put that theory to test. I knew when this one came up in the random search that it belonged to Kraut Fusion, but my memory had it that it was more funky than I usually cared for. That is to say, it wasn't going to scratch that Embryo and Missus Beastly itch. It's been close to 20 years since I heard it, so let's see what we have here.

'Just One Way' opens the album and all my fears came straight to the front. It's rather dreadful "uptight white guy" funk with terrible vocals and stiff rhythms. Well, so much for that I said to myself. Ah, but wait. Next up is 'Vollgas Ahoi' and all is right again with its fiery fusion. This is followed by 'Silky Way' which provides the perfect soundtrack while viewing the islands from your fantasy yacht. Like all of our favorite albums, it gets better as it goes, and the final two tracks provide the highlights. Something to look forward to as you immerse yourself into Wiederhören's magic world. Even the other vocal cut 'Let's Take a Ride' isn't so egregious, bringing about a fine funk fusion number. Basically start with track 2 and never look back. This listen was close to a +2, much better than I had anticipated it would be.

Ownership: CD: 2000 FünfUndVierzig. Standard jewel case release with no extras. Album cover is boring, so getting this on vinyl is no priority either. If I find one out in the wilds cheap, I'll likely replace this CD, but I have no intention of seeking this one out online otherwise.

7/30/22 (new entry)

Second Direction - Four Corners + Steps Ahead. 1976; 1978 Germany

Coming from the jazz wing of the ever large Kraut Fusion movement, Second Direction provides the listener some of the genre's finest moments. In particular when band leader Fritz Münzer pulls out the flute (primarily on 'Storm Flute', 'Flying Carpet Ride', and the title track), the results can be divine. Second Direction have perfectly encapsulated the optimism of the era, with gorgeous melodies and sublime rhythms. Hearing this makes you want to take a ride through the countryside, and enjoy a picnic with a bottle of wine and a beautiful girl by your side. Overall I'd submit that Second Direction ties closest to the two Sunbirds' albums, though all remnants of Krautrock have been filtered out here.

The above was written a few years ago upon acquiring the CD. Now I own the 2 album archival set that includes an unreleased album called Steps Ahead (1978). It's definitely a fully realized album and well produced, but it never made it to vinyl originally. By this time, Fritz Münzer had entirely rebuilt his band. The two key changes are Toni Rabold on trumpet and Pit Löw on keyboards. The trumpet is a welcome addition, and I feel the electric piano has improved from the debut. Unfortunately Münzer put away the flute entirely for this session, and sticks to saxophone. Even worse, though, is that all the compositions, save maybe the album's best track 'Tony's Choice', have that predictable funky rhythm backbone, that was all the rage in the late 70s. The lack of sublime melodies that defined Four Corners really hampers Steps Ahead. Overall it's a fine album, and makes for great bonus tracks. On its own, however, Steps Ahead would have to be considered unnecessary.

Ownership: LP: 2018 Sonorama. Recent online acquisition. 2 LP set in a single sleeve. Like with the Fable, not the best way to package a double LP. There are unique liner notes on the back of the sleeve, which are different (and more thorough) than the Spinning Wheel CD (2000). The sound is very good, a little bit soft / no-noised, and you can hear (with headphones) that it's taken from vinyl. This replaces the aforementioned CD.

2/18/18

Kraan. 1972 Germany

I can never think of words for this album, even though I've owned it forever and a day. It's a fine Krautrock meets Kraut Fusion type album. Certainly it's excellent, and that's how I remember it, but I've never focused on it much. This listen didn't change that pattern. 

Ownership: LP: 1976 Spiegelei. Gatefold. Acquired from a friend (1997).

I;ve also had the 1972 original, but this copy was in slightly better shape.

1997 (first listen); 6/18/20 (review/new entry)

Stagg (SWF Session). 1974 Germany (archival)

If there was ever a release that sold me the minute I read the teaser notes, it was this one. One of those can't miss items. This was then followed by a trusted friend's review that effused similar. The only problem is it's always a long wait to get Long Hair's products over here, and they're rarely cheap when they finally do. I decided to splurge anyway, just because there seemed to be no risk. Every once in awhile someone throws you a hanging curve ball right down the middle. Boom! Home Run. And so yes, all the usual suspects come rushing through here: Brainstorm, Thirsty Moon, Eiliff, Missus Beastly, Kollektiv, Tortilla Flat, and so forth. Each unique sounding mind you, but of that genre. And while I do have quite a bit of music in this space, I never seem to tire of it. Each one is highly engaging on its own merits. It's a type of music - like 70s Italian prog - that reels it in every time. Just push play - and enjoy. Timeless.

Ownership: CD: 2018 Long Hair. Typically great Long Hair release with copious liner notes and good sound.

Sincerely P.T. ~ Germany

Sincerely P.T. (1973)

Sincerely P.T. is quite an interesting album. It starts out in typical Euro jazz territory, with some soft Rhodes piano and horns. But... as the best albums always do... the album gets freakier and freakier as it goes. There's plenty of wiggy fuzzed out keyboards and exotic stringed instruments to digest here. The P.T. stands for Peter Trunk (who plays bass) and he surrounds himself with an all-star cast of underground Kraut jazzers including Sigi Schwab on guitar (Vampyros Lesbos, Embryo), Jasper Van't Hof (Pork Pie) on keys, and Curt Cress on drums among many others. I'd say Schwab has the most influence here musically speaking (especially considering the various stringed instruments referred to above). Overall Sincerely P.T. finds the middle ground between horn rock, Krautrock, and European fusion. An excellent find, the type of album that one would normally hear on MPS for example.

Ownership: 1973 Spiegelei (LP). Gatefold.

No legit reissues have surfaced as of 3/18/25.

3/2/10 (review); 9/1/19 (new entry)

Deja Vu ~ Germany

Cosmic Zack (1977)

Cosmic Zack is an obscure progressive / fusion release from Germany circa 1977. Typical of many private releases from late 70's Deutschland, Déjà Vu attempt a Novalis style of progressive rock. The primary instrument is electric guitar and is accompanied by electric piano, sax, flute, bass and drums. There are also vocals with a traditional heavy Teutonic accent (some in English, some in German). Fortunately, side two eschews the vocals for a more energetic instrumental approach. Musically, the band plays a safe, straightforward and somewhat jazzy (especially side 2) progressive music with some well done guitar / sax work. File along with Credemus, Poseidon, Eden and a host of other German bands from the late 70's / early 80's.

Former ownership: 1977 private (LP). Acquired in 2001.

Not reissued as of 3/12/25.

3/29/01 (review); 2008; 7/19/19 (update / new entry)

UMR's Kraut Fusion list has been published by It's Psychedelic Baby!

Many of you are most likely familiar with It's Psychedelic Baby!, a long running webzine that has interviewed - in depth - some of the most obscure (and well known) progressive and psychedelic bands of the past. It's a great resource that I constantly come across while doing my own research.

The gentleman behind the website recently reached out to me and asked if he could publish the Kraut Fusion list that I put up on RYM back in the summer of 2016. Of course I said yes. We tweaked the content and format a bit for better presentation, and now it's been published.

Have a look see!

Kanguru - s/t. 1981 Germany

Kanguru is a band formed from the ashes of other German jazz fusion bands of the time, including the group To Be. The latter offering a guidepost to the sound you can expect from Kanguru, especially considering the late 70s Santana influence. There are some excellent guitar fronted instrumentals here, most notably 'Titti Fritti' and 'Ein schönes Haus im Grünen'. 'Atlantique' sounds lifted right off of Santana's Amigos album. The album starts strong, but the latter half of side 1 is silly and somewhat tedious. Overall a varied album with a few nuggets, but perhaps not enough to sustain interest over time.

LP: 1981 Pingo

The original LP appears to be easier to find now than even when I sold it many years ago. There's also a CD on Spalax (France) if interested.

Sun - S.U.N. 1980 Germany

Sun are a band from southwest Germany near Mannheim, who had a heritage going back to the mid 60s. In 1974, they managed to record two excellent lengthy tracks for the Proton 1 compilation put together by Kerston Records, and then disappeared again. Until 1980, when they finally released this one very private album, where no money was left for artwork, and that was hand glued together by the band themselves. Maybe not the most economically successful of German bands at that time, but musically speaking they were quite rich. In summary, it's ostensibly a jazz rock record, but with plenty of progressive and Krautrock elements.

The album opens up with the fiery 'Ohne Titte' (ouch), and we get to hear the fantastic lead guitar of Gunter Hubner. 'The Jester' is the most progressive oriented track, and the vocals - and overall style - recall that of Van der Graaf Generator. The next two 'Seeing Similaun' and 'On Holiday' are of the late 70s Kraut Fusion variety, and comparisons to Release Music Orchestra would not be out of place here. Further on, 'Neulich in Spanien' reminds me some of the Sunbirds when they too seemingly headed south to Spain for the winter. The final track 'Women's Lib Blues' (that's getting right to the matter isn't it?) is the only one here that recalls their Proton 1 days and I was reminded of early Nine Days Wonder as well. Overall a varied, but very satisfying album for fans of German underground jazz and rock.

The CD is the recommended way to go here, as in addition to the LP, one will receive no less than 6 bonus tracks, all essential. The first 2 are the aforementioned Proton 1 tracks (and which I reviewed on that entry). The next two come from the late 70s, where apparently the band has numerous tapes - mostly in tattered condition if I understand correctly - that was clearly a creative time for the band. And the last 2 are 1994 reworkings of earlier 70s tracks, and despite the late date, sound fresh as ever. One wishes they had gone on to record a full album at this time. Remarkably the band is still playing live as I pen this in late 2018. It would be wonderful to hear more archival material from this group - or perhaps even a new album!

Personal collection
CD: 2008 Garden of Delights

The original album - and this CD - are titled S.U.N., and yet it doesn't appear to be an acronym of any kind.

PSI - Horizonte. 1977 Germany

PSI's sole album was released smack dab in the middle of the Kraut fusion boom of the late 1970s. The album definitely evokes Kraan, Munju, RMO, Missus Beastly, etc... Apparently PSI impressed someone high up, as their sole album was on the high profile Bacillus label, besting many of the private presses of the era. For me, there are a couple of things that separate PSI from the pack. One is the fantastic rhythm section, propelling the tracks forward at an exciting rate. The other is the terrific production. Clearly a big budget was behind the recording. Recommended to fusion fans who enjoy a high amount of melodic content.

Personal collection
LP: 1977 Bacillus

In 2017, the upstart Polish label Chickadisc reissued this on CD. I haven't obtained it yet, but probably will eventually.

Originally reviewed: June 3, 2010

Exmagma - Goldball. 1975 Germany

Back in the late 80s, when I was first deep diving into the rarities' catalogs of the day, Goldball was a title that showed up fairly often (I had no idea there was a "first" album). Being on Richard Pinhas' Urus label, I was most intrigued by which members of Magma had branched off and what kind of Zeuhl album they'd created.

BZZT! Imagine my surprise when I first heard the album. I wasn't pleased. But only a few short years later, I began to appreciate the type of underground proggy jazz rock that Exmagma dabbled in. While I tend to see many reviews point the listener to Soft Machine and Weather Report, I personally hear very little of that. What I do hear is exactly the pedigree of the band - and that would be Wolfgang Dauner's Et Cetera. It's a bit more progged up, and less improvisational overall, but in effect Dauner's stamp is all over this. It's keyboard driven, and quite inventive, with multiple shifts within each short track.

The odd thing about this album, is it contains 6 solid 4.0/Gnosis 11 tracks (out of 10), and yet I'm walking away with a 3.5/Gnosis 10 here. Part of the problem is the album comes across more as outtakes than a cohesive whole. But worse is the longest track 'Greetings to the Moroccan Farmers' is a complete waste of time. It's generously called free jazz, but really it's nothing more than noodling around, sounding like they're tuning their instruments. Why anyone would think someone would want to hear this is beyond my guess - and it's incongruous with the rest of the album. 'Tango Wolperaiso' is also a weak improv entry, but at least it fits the motif. So there's about 21 minutes of excellent music, which is worthy in of itself, but not a monster album in my estimation.

Ownership: LP: 1975 Urus; CD: 2003 Daily. The LP is a recent online acquisition. This is the second copy I've owned. The CD is coupled with their debut album and was purchased new upon release. 

Curt Cress Clan - CCC. 1975 Germany

Curt Cress Clan had one album released smack dab in the middle of the funky fusion era, and this album falls right in lockstep with expectation. Starts with a barnburner in 'Cyclone', and 'Fields' is wonderfully moody. 'Movin Right Along' also kicks a fair amount of booty. Despite the somewhat trite composition style, all is not lost, as it contains exceptional performances from Volker Kriegel (who obtains a wonderful fuzz guitar tone throughout); Kristian Schultze on keyboards (and yet again the fat analog synth tones are great here); and of course Cress himself on the drum kit, who gets in a few great patterns. One to buy if a fan of Kraut Fusion.

Ownership: LP: 1975 Atlantic. Single sleeve. Online acquisition (2014).

Former ownership: CD: 2010 Sireena. Digipak with liner notes in German and English. 

2009; 7/29/11; 2/18/18 (new entry)

2009; 2011; 2/18/18 (new entry); 7/4/22 

Namaz - 300 M.P.H. 1981 Germany

For Namaz's debut, try to imagine Embryo circa Bad Heads and Bad Cats, or the Real Ax Band - but carrying on into 1981. Tropical and breezy Kraut styled fusion with sultry female vocals are the order of the day here. Final track 'Cyklus III' goes into freaky Santana guitar mode to close in excellent fashion. A fine album for fans of the genre.

Personal collection
CD: 2008 Creole Stream (Japan)

Real Ax Band - Nichtstehenbleiben / Move Your Ass in Time. 1977 Germany

Real Ax Band were one of many Embryo offshoots to appear in the late 1970s, and were active in the German festival scene of the time. They took the Bad Heads and Bad Cats jazz rock fusion sound to the next level. Featuring Maria Archer, a soul singer from Ghana with a beautiful voice (and was with Embryo as well), along with funky electric guitars and a driving rhythm. There's an edge to all of these songs that would be likely missing on an American album from this time. A very fine album not to be missed. And if you're fan of late 70's Embryo, Missus Beastly, Munju, Moira, et al, then this becomes an essential pickup.

Ownership: LP: 1977 April; CD: 2001 Funfundvierzig. The vinyl comes in a fine gatefold, and was originally picked up online in the late 90s. The CD is superb with one translated German article from 1978 and a new essay for the reissue. Many photos as well. No bonus tracks though.

Opossum - Bear's Banquet. 1974 Germany (archival)

Opossum is the predecessor group to Morpheus. And after hearing this archival release, one can tell that Opossum is much looser in their embryonic stages to the more rigid Morpheus. Despite lacking cohesion and strong melody composition, the rough styling here can be quite appealing. Maybe like a less avant-garde Exmagma perhaps. I also hear some Xhol especially considering their own archival releases. Or even Missus Beastly with Eddy Marron. It's at that borderline area of jazz and Krautrock. 'The Sun and Moon Have Come Together' is actually a cover of the title track from the relatively obscure American jazz rock outfit The Fourth Way (what an odd choice...). Interesting to note for an album cover that prominently displays a flute, it’s surprising how little the instrument is used. And that's because the gentleman displayed is also their second drummer and percussionist.

Personal collection
CD: 2003 Garden of Delights

Gebarvaterli - Im Tal der Emmen. 1978 Germany

Despite the artist and title sounding like some sort of alpine cheese, Gebärväterli is anything but cheesy. Technically the music fits in the large Kraut fusion school of the late 1970s, but this album won't remind you of Kraan, Embryo, Missus Beastly, etc... In fact, there are parts here that recall the great Tortilla Flat (especially in the rhythms and flute solo sections). And when the trombone gets featured, I'm reminded of Nanu Urwerk, another square-peg-in-a-round hole German fusion band. While it's not perfect throughout (sometimes it's pure jazz - fine - but not ideal for me anyway), this is one of the best new-for-me obscurities that I heard for the first time 6 years ago. The two live bonus tracks total over 25 minutes, and are very similar to the album itself. Naturally given the live setting (one from 1977, the other 1981), and the jazzy disposition of the band,  these tracks are stretched out with more room given for solo improvisation. But the melodic core of the song is never lost.

Personal collection
CD: 2014 Bibi Tontrager

Like most albums on the small press Brutkasten label, originals are very scarce and can be expensive depending on who is selling. This is one of those titles that seemed hopeless in seeing a CD reissue, but as we announced on the CDRWL on New Years Day, we now have one direct from the band. And a fine reissue it is, housed attractively in a digi-pak, with great sound and two long and relevant live bonus tracks. There are no liner notes, but even if there were, I'm rather certain they would be in German, as this is clearly an indigenous band with no attempt whatsoever to expand beyond (note the song titles alone).

Altona. 1975 Germany

Altona play a tight, energetic styled jazz rock, similar to other Kraut fusion bands such as Moira, Missus Beastly, and Release Music Orchestra. The vocals are gruff in that bluesy way, more akin to what you would hear in the early 1970s from similar genre bands operating in Germany and England. An excellent addition to the collection, if 70s jazz rock with vocals is your fancy.

Ownership: LP: 1975 RCA. Single sleeve. Recent online acquisition (2023). The cover features an interesting contemporary single sleeve cover with manikins mocking American bus tourists (stereotyping of course) visiting the Hamburg section/town of... Altona. I first bought this album in 1991 at a record show in Dallas, but I wasn't as keen on the German jazz fusion sound as I am today. I sold that LP well over 20 years ago, though this one would definitely be an upgrade to that first copy.

CD: 2000 Disconforme (Andorra). The CD itself comes from a vinyl transfer, and could benefit from a new remaster. The liner notes appear to be translations of German newspaper articles that were added. Overall, the reissue will suffice, though I may pickup an original again if I run into one at a reasonable price (mission accomplished - probably will be sold soon).

12/9/14 (new entry); 1/24/23 (LP reacquired)

Zoppo Trump - s/t. 1971-1972; 1976 Germany (archival)

The first two tracks here are when Zoppo Trump still existed as a guitar/keys-bass-drums trio. The music has a certain sophistication, but is also quite informed by the West Coast USA psych sound. At this point, they could be considered a parallel group to Walpurgis. Summary: Good not great. However change was on the horizon. Adding dedicated guitarist Ulrich Beck in 1972, which freed up band leader Ferdi Eberth on the Hammond organ, resulted in a remarkable progression for the band. As represented by tracks 3 to 7, Zoppo Trump sound more like their Krautrock contemporaries who adopted jazz characteristics as additives to their psychedelic Krautrock stew. Comparisons to bands such as Out of Focus, Thirsty Moon and Eiliff would not be an exaggeration here.  This gets us to the two previously released tracks from 1976, that were initially on the "Scena Westphalica"* compilation. Eberth rebuilt the band from the ground up, himself switching back to guitar, while adding three new members on keyboards/sax, bass, and drums. Here the band trades in their psychedelic Krautrock chips for a sound entrenched in more standard forms of jazz rock. Overall, an extraordinary musical document, which clearly demonstrates that Zoppo Trump could very well have released one of the all-time great Krautrock albums had they the proper chance. Only drawback is the less than stellar sound quality throughout (though still very listenable and miles better than bootleg standard).

*According to the liner notes, Garden of Delights states clearly that "Scena Westphalica" was released in 1976. They also opine that, in addition to Zoppo Trump, "the other tracks on the compilation album, by the way, are not of any interest for progressive fans." I have not heard the album myself, but I'm inclined to believe them all the same. I'm going to guess then, that the Electric Mud Orchestra, while no doubt related to the 1971 band (and bass player Udo Preising was the owner of the label Förderturm and a member of Electric Mud - and later was in Zoppo Trump - hence the connection), is in no way musically similar. As of course the Electric Mud album itself is "of interest" to progressive fans.

CD: 2009 Garden of Delights