This is the original line-up of Faust's long lost 5th album finally released from its hiding place, as the original tapes were spirited away as the band were arrested at the end of the recording sessions, when it became clear that the bands label Virgin weren't about to pay the bill for them to record in Giorgio Moroder's Musicland studio in the basement of the Arabella High rise Building. They recorded in the down time at night while Giorgio was recording with Donna Summer in the daytime. This album is sometimes known as 5 and a half or the Munich Album. The title Punkt. Means full stop when translated into English.
The album opens slowly with Morning Land that soon expands with grungy guitars and sawing noises as the drums clatter and chaos begins to reign, the vocals seem buried deep in the mix, everyone once in a while surfacing among the squelchy noises. The vocals become clearer after about 7 minutes, but not too clear as the riff comes through, the clattering percussion keeps on coming at you.
Crapolino has ambient space noises and washes of sound that are very Eraserhead, whooshing noises and an almost pulsing bass drum sound as well as the odd interjection of Crapolino, this should have been on a horror film soundtrack.
Knochentanz or bone dance has nothing to do with the Hannah Montana video of the same name, this has more of a middle eastern space jazz feel to it, as it gallops along with a drum part that could have been lifted from the Master Musicians Of Jajouka, eventually some more droning strings come through as this builds over it's eleven plus minute length with some funky guitar and more of a traditional drum solo towards the end.
Fernlicht has a raga like feel to the droning repeating core as the other madness goes off around it. Juggernaut has freak out guitars over a solid as a rock motoric beat as it comes down the Autobahn at you at 75 MPH until near the end everything falls away, like they have careened right off the road or something and it goes all ambient semi chill out.
Schon Rund opens with cacophony before settling down to an almost classical piano part with some very soulful percussion and bass in ways that I wasn't quite expecting, but this is a dark updating of whatever classical theme they have lifted. As it progresses underwater sounds come in, the piano rises and falls, this is an ever evolving tune that eventually has a skronking trumpet going over the ever present piano and assorted percussive madness.
Prends Ton Temps has whiplash percussion over weird vocals interjections that take their time to seemingly feel like they are being slowly tortured as this tune evolves
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