I.D. Company - I.D. Company (1970 German Eastern Jazzy Psych)

ALTÍSSIMA RARIDADE!! HIGHEST RARITY!!
AQUI ESTAMOS FALANDO DE UMA BANDA ALEMÃ FORMADA POR "INGA RUMPF", AQUELA MESMA MAGISTRAL VOCALISTA DAS BANDAS FRUMPY E ATLANTIS!! O SOM QUE ESCUTAMOS AQUI É DIVIDO EM DUAS PARTES!! A PRIMEIRA PARTE, PRA MIM A MELHOR, É CONDUZIDA POR INGA RUMPF QUE MOSTRA UMA PSICODELIA ORIENTAL, INDIANA, COM FLAUTAS, CÍTARAS E TAMBORES VOODOOS DE PRIMEIRA LINHA!! A PRIMEIRA FAIXA, POR EXEMPLO, PARECE MUITO COM O QUE FÊZ DR JOHN NA MUSICA GRIS GRIS!! INGA LOGO DEPOIS DESSE ALBUM FOI CANTAR NA BANDA FRUMPY!! JÁ A SEGUNDA PARTE É CONDUZIDA POR DAGMAR KRAUSE E JÁ PASSA MAIS PARA UM CLIMA INSANO, JAZZ PSICODÉLICO, COM VÁRIOS EFEITOS MALUCOS, FLAUTAS, SAX E ALUCINAÇÕES!! EXCELENTE, RARÍSSIMO E VENENO RECOMENDADO!!!

First track is heavy female voice driven soulrock with handpercussion instead of drums, giving a voodoo effect to the track. At some point, the black driven American accent in the lead singing and affective rhythm and background chorus has never the less the Indian theme, something of the powerful and acclaimed Gris-Gris from Dr.John. Second track, “Bum Bum” with sitar drone and the nice sound of bass (Hans Hartmann) and flute which is much more Indian inspired psychedelia. It has a purely percussive part, with some experimental overloading echoes in the extra arranged layer (Joe Nay). Last part still led by singer Inga Rumpf is another psych improvisation, with a soulful song embedded, a trippy track with more use of handpercussion, flute, sitar, percussive ideas. Inga came from the band City Preachers, and was soon going to sing in Frumpy.

The second part is led by Dagmar Krause, and even when singing with a certain soul as well, brings the band into a much more contemporary character. Her voices also has some split tape effects, and is at parts strangely deformed, while the band loosely jams along in a jazzy way of tempered rock with slow bursts of flute and sax (Frank St.Peter). The next track keeps that weird feeling going on, with vocals that are closer to Schönberg’s Pierrot Lunaire than to any rock or soulrock singing. The band never the less succeeds to add a jazzrock flavour to this. “Schneeweisse Handen”, which is even more lead by even more odd contemporary vocals and processed vocals, the band can’t do anything else but provide a calm and moody rather contemporary jazz carpet. By “Schwarzes Insekt” one must realize this whole idea could have been an alternative improvised rock version of a work like that of Schönberg. Interesting!

Here I recognise how Dagmar I think must have come from East Germany, and had education in some contemporary masters. Dagmar Krause continued her work after this in UK, with her avant-pop band Slapp Happy, the avant-prog band Art Bears and in one album of contemporary/RIO/Avant-prog band Henry Cow, but she also sang a great song rock album with Kevin Coyne (“Babble”), and recorded wonderful Hans Eisler/Bertold Brecht interpretations.

Frank St. Peter: sax, flute
Hans Hartmann: Sitar, Kontrabass
Joe Nay: percussion
Wolfgang Kliegel: violin
Inga Rumpf: vocal
Dagmar Krause: vocal

1.Bhagavad Gita (6'01")
2.Bum - Bum (5'45")
3.I watched the women (4'43")
4.He's out now (5'01")
5.Dünne gläserne Frauen (4'30")
6.Schneeweiße Hände (3'18")
7.Schwarzes Insekt (4'50")

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