Martin Archer must be one of the busiest men in music. Not content with running Discus, every other release seems to have some involvement from him, covering so many different styles and moods it is remarkable. Here we find him teaming up once again as Das Rad with Nick Robinson and Steve Dinsdale for another improvised excursion into noir-ish soundscape territory. Adios Al Futuro is the follow up to 2018’s self-titled release and finds them edging into other territories, as well as the propulsive workouts that were so addictive on that album.
The horns prod and search, and an organ shifts in the background, providing shadow and shelter; the calm before the guitar storm that erupts, dragging hissing cymbals in its wake. The sax is the colour of dusky, bruised clouds and the tension is palpable as the track moves raptor-like, the delightful synth bass moving it far from jazz and deep into noirscape territory with the guitar an incandescent ache.
It is quite an introduction and the following pieces don’t let it down. The Trans Am-like synth groove of “Buzz Line” is an interesting melange of romantic sax and simmering guitar, a paean to love and a revolt against the idiocy of the world leader photographs featured on the gatefold. There is a lot of hope and belief on Adios Al Futuro, with some of the tracks taking a gentle route to opening our eyes. “Deuse Of Gears”‘ Ryuchi Sakamoto-style synths and forgotten fireworks give an Eastern shape-shifting vibe, while the pastoral “Eisblume” is all classical guitar and misty morning clarinet, alive with tambourine. The synth bass is quite a secret weapon, and although it has a tendency to reflect some gleaming ’80s atmosphere in the title track, I can see Mikhail Baryshnikov whirling around an empty ballroom, weighing up his options of escape. In a similar vein, “Rothko Dtrobe” feels like a continuation of some of David Sylvian‘s woodland synth experiments, but it lays a fine bed with chattering guitars and immense drums, all sweetness and nature. These three really bring some gorgeous work out of one another, and it would be lovely to see how this translates to a live setting. It could be that Das Rad is just a studio bound project; but either way, the album is a deft and charming series of exploratory sketches.Adios Al Futuro ends with the melodica laden “Tiefes Blau”, which chugs at an almost slowcore pace, allowing plenty of time for the players to wind around one another as it gradually at points winds into the aether until it gently comes to a halt. This is another success for Das Rad and on the strength of this, there is nothing the three can’t turn their hands to. I am already looking forward to the next instalment.
-Mr Olivetti-
