This is a gleeful, cheery offering. A million miles from the moody cultures of Inland, Kurt Dahlke‘s ’79 debuting ice-breaker, it’s all ruby-cheeked whimsy, paddling in the shallow end, sucking on plenty of easy ear lollipops. Knowingly going where most experimenters fear to tread, into a world reserved for elevators and on hold appeasement; in short , the land of the inoffensive ditty.
Anyways, straight off the starting block, “Im Zoo” could be seen as something of a natural history progression from the pop-tastic foundations of his Ausland album. An animal farm with its hen-house squawks between Harpo hootings whilst someone plays a xylophone made of eggs. Gives me fond memories of a toy the kids had, way back in their googly-eyed days, that would count in manner of barnyard business; I can just imagine Kurt in his dressing gown, banging out this tune on something similar , throwing a cheeky wink here and there.
That Wunderland sense of twee jiggery-pokery is pulling out all the stops, milking the genre for all it’s worth, verging off into “Gespräch Mit Der Erde”‘s robotic fairground repeaters, gliding that clappy canopy of hula-hooped goodness. Flinging spangles down the turrets of Bavarian fairy castles, with the milk bottle, gargle and alarm bell bizarreness of “Am Morgen & Ein Spaziergang” and its additional birdy song and bubbly key descends doing a “Louis the 14th” in your head. What’s more, when the main course is finished there’s a whole EP worth of extras to consume: one of which, “Pisang,” gives Blondie‘s “Rapture” a run for it’s money in 8-bit jungle woo woo wah’s.I’m usually more at home with the difficult end of the musical spectrum: angst ridden noise, room-clearing doom-mongering etcetera; but the more I listen to these slinky rhinestones, the more bewitched I am -with a curious craving for a spinning bow tie and an animal mask or two.
-Michael Rodham-Heaps-