That bass is über meaty on the first track, steroid-injected, heavy on the recoil as a heavenly bounty of guitars burn up around it with Makoto intensity. A wow of toasty angles, quiver-toked in flinty sparks that curve-claw at the dark. This is just brilliant, clanking metallics and all, gathering in claustrophobic waves of pure joy and exploding contours. Wah-faring frets flying, mangled, percussively dancing that solid bass continuum in fiery tongues. A very heady 23 minutes to be savoured.
Back in ’81, this Düsseldorf band released the ultimate industrial homage in the form of a Steelworks Symphony, a monolithic shindig of metal, guitar and saxophone. Now, some 35 years later the Die Kruppsians have revisited their fallen fruit, this time enlisting the help of a whole bunch of extra talent in a supergroup consisting of Jean-Hervé Péron and Zappi Diermaier from Faust, Mani Neumeier from Guru Guru, the The Pyrolator and Scott Telles. An impressive line up that burns aplenty.
That rattling fence shiver-fishing in a tracery of falling diamonds. The chloraseptic hum of motor tools that roar off at the 15 minute mark in a manic spin-cycle to breed more fanciful fractures and chord-fed motoriks. The stratospheric shoots, that fall in malfunctioning futurisms for The Pyrolator’s synth to bubble-wrap and nocturne away. What a journey!
The second track is shorter (at 13 minutes 23), but no less intense as the cymbal kiss ushers in a drum-hungry Zappi and that bassy foundation breeds some lovely post-punk fuckery. Rich pickings indeed that land themselves into some groovesome wig-outs, and have got me scouring Discogs in search of its original inspiration.
"Usually with Rothko, there is space and time for us to reflect and bask in those languid bass passages; but here we have no such luxury" https://t.co/cfP6gnRXMQ
"For a band to be so vibrant and essential at this point in their career is testament to just how well they work together, and to the adage less is more." @buffalotomband's Quiet and Peace LP on @Schoolkids Records - . https://t.co/fROu7s3ZRi …
"The society that we inhabit now is fundamentally not that different from the one we inhabited 150 years ago" - @blamed4nothing interviewed, and live at @DomeTufnellPark with @IDestroyband @pollypikpocketz & @WillSeaward https://t.co/VJ4M9gDWDz
"Your mind’s eye can imagine the many monsters waiting in the Upside Down realms" as Kyle Dixon and Michael Stein perform music from Stranger Things at Barbican Centre https://t.co/AmRw9ouPgF https://t.co/AmRw9ouPgF
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That bass is über meaty on the first track, steroid-injected, heavy on the recoil as a heavenly bounty of guitars burn up around it with Makoto intensity. A wow of toasty angles, quiver-toked in flinty sparks that curve-claw at the dark. This is just brilliant, clanking metallics and all, gathering in claustrophobic waves of pure joy and exploding contours. Wah-faring frets flying, mangled, percussively dancing that solid bass continuum in fiery tongues. A very heady 23 minutes to be savoured.
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