Epsilon -

Epsilon was a German Krautrock band that released the 1971/72 Bacillus albums Epsilon and Move On, followed by the 1974 Philips title Epsilon Off.

Members: Michael Ertl (bass), Hartmut Pfannmüller (drums, bongos, percussion), Walter Ortel (organ, piano, vocals, percussion), Michael Winzkowski (vocals, guitar, percussion), Heinrich Mohn (bass), Johan Daansen (guitar, vocals, piano, percussion)

Background

Epsilon sprung from Orange Peel, a post-psychedelic Hanau band with guitarist Michael Winzkowski and bassist Heinrich “Heini” Mohn. Early on, Epsilon performed under the name Karthago (no relation to the Berlin group) and covered material by The Nice. They debuted with the 1970 single “I’m Not My Brother’s Keeper” (b/w “Everyday’s Pain”) on CBS, recorded with early bassist Michael Ertl.

Epsilon

Epsilon released their self-titled debut album in March 1971 on Bacillus.

The album places forceful Hammond passages and dense rhythmic figures beside fluctuating keyboard motifs and guitar injections. Though filed under Krautrock, Epsilon draws more directly from the English post-psych organ school typified by Aardvark, Atomic Rooster, and Cressida.

The instrumental passages range from martial cadences and bluesy bursts to circular piano patterns and stretched-out electric themes. Winzkowski’s raw vocal delivery and Ortel’s omnipresent keyboard work frame much of the material.

A1. “Two-2-II” (8:15) – Bouncing rhythms and clavinet flourishes interlock with Hammond organ swells and piano bridges. A midsection detour quotes “Keep A-Knockin'” before returning to the main theme.
A2. “2-Four-4” (7:30) – Opens with march-like organ tones, then shifts into bluesy motifs, jazzy piano leads, and restates the opening pattern in reprise.

B1. “Every Day’s Pain” (2:54) – Driving rocker with clipped organ phrases and stop-start instrumentation.
B2. “Before” (3:15) – Bossa-tinged instrumental with piano, acoustic guitar, and organ lines.
B3. “Between Midnight” (2:41) – Spare ballad with brushed rhythm, acoustic strums, and gentle keyboard overlays.
B4. “Paint It Black or White” (6:14) – Expansive reworking of the Rolling Stones number; oscillates between distorted runs and keyboard-saturated breakdowns.
B5. “Hurry Up” (2:46) – Brisk closer with stomping piano figures and blurred vocals.

Sessions took place in January at Dierks Studio in Stommeln with producer Peter Hauke and engineer Dieter Dierks. Epsilon appeared in a gatefold cover with a grainy saturated reflection image (outer) and a red hand-painted mark across a black wall (inner).

Following the album, bassist Heinrich Mohn rejoined Epsilon.

Move On

Epsilon released their second album, Move On, in April 1972 on Bacillus.

The lineup features Michael Winzkowski (vocals, lead guitar), Walter Ortel (keyboards), Michael Ertl (bass), and Hartmut Pfannmüller (drums), with guest appearances by guitarist Rainer Marz, flutist Christian Felke, and drummer Curt Cress.

Compared to their debut, Move On shifts from organ-heavy psych-prog toward a leaner, guitar-centric format with sharper arrangements. Winzkowski’s guitar takes a dominant role, but Ortel remains present on organ, piano, and electric piano. Several tracks cut closer to blues-rock and folk forms, but others retain the band’s earlier classical and improvisational leanings.

A1. “Walkin’ on My Way” (3:20) – Brisk opener with clipped rhythm guitar, light keyboard presence, and Winzkowski’s raspy lead vocal. A direct rocker, played straight.
A2. “She Belongs to Me” (5:32) – Driving reinterpretation of the Bob Dylan composition. The band tightens the form with pulsing organ, lead guitar breaks, and a second-half detour through cinematic and classical motifs.
A3. “Feelings” (3:52) – Flute-laced acoustic piece with soft percussion and sparse chord movement. The arrangement floats between folk and modal jazz.
A4. “What About the Future” (2:38) – Fuzz-toned rhythm section, splash organ fills, and a brief solo passage. Compact and textured.
A5. “Move On” (2:25) – Riff-driven hard rock track with secondary guitar lines and group vocals. No keyboards.

B1. “Reichelsheim” (4:10) – Layered blend of acoustic strums, piano runs, and subdued organ. Interplay builds into a melodic coda with classical coloring.
B2. “Hear Me Cryin’” (5:10) – Slow-tempo ballad with suspended chords, floating organ textures, and aching vocals. Alternates between restrained verses and fuller choruses.
B3. “Waiting” (4:20) – Mid-paced track with phased organ overlays and jagged guitar interjections. A brief instrumental break heightens intensity.
B4. “Don’t Know Why” (4:31) – Structured as a pop-rock song but anchored by a contrasting middle section: piano accents and organ swells intercut by acoustic guitar threads.

Sessions took place at Dierks Studio with producer Peter Hauke and engineer Dieter Dierks. Move On appeared in an illustrated gatefold that depicts Epsilon as a matching-suited supper-club band with psychedelic light reflections in yellow/black-check.

Epsilon Off

Epsilon released their third album, Epsilon Off, in May 1974 on Philips.

The lineup features Michael Winzkowski, Johan Daansen, Heinrich Mohn, Hartmut Pfannmüller, and flutist Ralph Wildheiss.

The album drops the organ-led textures of prior releases in favor of twin-guitar interplay, piano accents, and brisk, clipped rhythms. The style leans toward compact hard rock with crisp arrangements and slight funk inflections, occasionally broken by flute and percussive passages.

Winzkowski and Daansen (piano) trade lead vocals and acoustic/electric guitar roles across ten tracks.

A1. “I’ve Been Moving” (4:16)
A2. “A New Day” (3:35)
A3. “On the Road” (5:55)
A4. “Ode to John” (3:55)
A5. “Behind the Boarder” (1:14)

B1. “Logo-Motive” (5:57)
B2. “Let’s Sit Down” (3:45)
B3. “Open Your Eyes” (3:06)
B4. “Sadness” (3:46)
B5. “I Know How” (3:12)

Produced by Music Factory with Fred Schreier and Peter Strecker.

Discography: