Karaba

Suddenly there are four young musicians from Munich, in their early twenties, who are going their way light years away from the general pop culture and mass-produced goods. As a pure instrumental band, rooted in the music of the seventies, in the tradition of veteran jazz prog greats such as Embryo or Amon Düül.

Live they don't do it under a minimum of 15 minutes and even their first canned food is not exactly shortplay suspicious with twice 18 minutes and a few crushed ones. And that's a good thing. While the A-side with 'Horia' serves more the psychedelic herb rock rail, with wonderfully expansive key passages and just as dreamily conspiratorial as lively improvisational passages, the almost 19 minutes of 'Egon Enomine' glide more on the prog-jazz-heavy experimental level as they are also sufficiently known from their role models Embryo. In fact, Karaba can also be found again and again in the live haze circle of the Kraut jazz legend as a support band, the world music influence of Christian Burchard and daughter Marja the quartet can not and does not want to escape.

With their musical style, they have earned a certain unique selling point in the current young Munich scene and cult status in a short time. Although the talented musicians are much younger than the style of music they propagate, this is not an obstacle. They combine the spirit of the experimental, progressive early phase of the seventies in a stunningly authentic way with modern sounds of the present. With the evil sorceress Karaba from "Kiriku and the Sorceress", however, the Munich have nothing to do, rather with the "good side" after the evil spell was broken.