Zyma - Brave New World (1979 Germany). I first heard Zyma on the “Proton 1″ compilation that was released by Kerston in 1974, which featured five up and coming new German bands. Of those, Zyma and Sun were the only groups to eventually get a full length LP. And with Zyma, they managed two releases, “Thoughts” and “Brave New World”. “Thoughts” was reissued by Garden of Delights a few years back, which allowed me a revisit of that fine album. And now I’m finally returning to hear their followup. Zyma were similar to many of their late 1970s contemporaries, with a strong melodic sense, female vocals, and a slight fusion edge. Groups like Eden, Credemus, Rebekka and Werwolf all come to mind. One significant difference, however, is the use of scat vocals. And she can get quite hysterical at times, which reminded me of early Zao strangely enough. Lots of violin and flute as well. I would expect GoD will eventually reissue this one as well. And it would be worth the effort.
Cos - Babel (1978 Belgium). While Musea has tackled Cos’ first two classic Canterbury inspired albums, as well as their final 1982 “Pasiones” release, they have so far neglected Cos’ “disco era”. For some folks, “Babel” is the pinnacle of their musical achievement. It is a one of a kind album, a mixture of complex Canterbury and Zeuhlish compositions, filtered through the disco mirror ball - fat danceable beats, sweeping strings and Studio 54 debauchery. Closest comparison might be the French group Cortex, though Cos on “Babel” are far more disturbing (in the Univers Zero sense of the term), as well as more disco-ish. And while that doesn’t make any sense, I think that’s its intrinsic value. Not sure if Musea plans on reissuing this one. IIRC, you can pay for a download from the band direct.
ES - Wham Bang (1979 Germany). Now here’s a strange bird. ES is made up of former members of Tomorrow’s Gift and the Release Music Orchestra. On the surface, “Wham Bang” is a straight ahead pop rock / disco album. And after each track’s cringe worthy vocal section finishes, one might expect a short instrumental followed by some more tawdry vocals. Except the instrumentals don’t stop and ES begins to introduce a complex fusion sound, as one might find on an earlier RMO release. Everytime I was about to write “Wham Bang” off as a cheap European knockoff, then wham! bang! I’d hear an impressive instrumental bit. Yes, I think the album may have been a conscious satire on the then current music trends.