Is Michael Bundt and Peter Seiler’s previously-unreleased score for Dreamdancer as fully depraved as one would expect a pornographic film? Kind of. There’s a lot of light funk, here, like opening cut “Funky Phill,” as well as the track that opens side 2, “Beach Dreams,” both of which would be appropriate for hold music at your local dentists, were it not for the moaning-inflected lyrics intoning,”I’m ready” on the former, and “Come and take me” and “Love me,” on the latter.
There’s an awful lot of emphasis on “come,” too, making this track start out rather dirty, only to come to a literal climax which makes “Je t'aime… moi non plus” seem subtle.
However, “Auto Verfolgung, Absturz” is short, but alternates squelchy with swirling, making for a short synth cut which could easily fit on an Italian crime film. The track which follows it, “El Hombre,” is baffling, because one wonders how a sci-fi meets spaghetti western piece ends up on the soundtrack to an adult film. It’s fantastic, but the tone only brings to mind a thousand questions: what’s someone named El Hombre doing in a German porn film from 1976? Is he bad ass? What happens with him that he needs such amazing music? It’s baffling.
The last two tracks are a study in absolute contrasts. Both of them revisit cuts from the first side, but in different enough ways that these two really end the Dreamdancer on a high note. You have a synthesized polka, for all intents and purposes, in “Carl Ludwig (Version),” followed immediately by the very short, yet astonishingly captivating electronics of “Traumübergang 2,” which is so brief as to come on, grab your attention, and be finished before you can get out the “was that” in “What the hell was that?”
There’s no one cut which perfectly sums up Seiler and Bundt’s work on Dreamdancer. For the majority, most of the music is slightly funky, lightly ethereal material, and “Tackling” is probably the epitome of this. It’s slow, kind of danceable, and it comes in at the end with a clavinet solo that serves to provide a moment or two of harder-edged stuff before returning to the floating synths and mellow bass that comprises the most of it.
However, the tracks here serve enough left turns that, combined with the other releases on the Vinyl Of Austria Group Vienna label, one can only assume that German porno in the ‘70s was a fruitful field in which a composer could plant as many ideas as possible, and see which ones bloomed in the background of people enthusiastically nailing one another.
It’s again on clear pink vinyl, and comes with a small vibrator (red, this time), as well as with a poster for the film that’s a wonderful souvenir of the era. It’s positively ‘70s, and were it not for the naked ladies prominently featured, I’d find a way to frame it in my office. The record, as with every Private Records release, sounds crisp and clear, with a potent low end and solid levels throughout.
It is, as per usual, hard to get your hands on, but definitely worth it for fans of the genre. The only downside is the rather grainy film stills on the back. I appreciate the labels’ attempt to continue with their signature rear cover aesthetic, but the stills are washed out to the point of making this otherwise stellar release seem a little cheap.