KILLFLAVOUR

Alexander Britz is new to the crew, appearing with some unconventional or even strange vocals, featuring references to ... eh, I would say Damo Suzuki and Jim Morrison maybe. Thus, surprise, a regular bass guitar is missing here. Not a big problem though. And then suddenly the band even sees former member Ulrich Steffens returning back, but this happened after the recordings were already made. Now according to the cover art as well - the eye of the wolf (nope, not the tiger!) - with reason they themselves are calling this style 'darkkraut' which is related to a touch with nature. And building upon a tribal-flavoured In But Not Of This World it's processing like a crawl somehow. The drum playing comes motoric, partially minimalistic, this undoubtedly provided with intent.

The tracks are gradually taking shape, it's certainly hypnotic, maybe you can call it dreamy too, and they basically are variating with care. Hiding Nature is more focussed on the synthesizer hereby, due to exotic bird calls and some soloing activity. The extended Word As Shape evolves to the album highlight then, while featuring a special melancholic atmosphere, more dynamics and a gripping flow overall. Uwe Kartes sensitive guitar delivers a sophisticated mix of space and post, turns out to be an important trademark again. While counting in those special vocals 'Forest Mirror' is quite an unique affair, though a grower too, which definitely needs to invest some time - 3.5 stars.

Recorded in 2007 and released in 2010 'Freilicht' is their current collection, consisting of song titles which are in German as well as English. Space rock typical synths and guitars are the main weapons. Although they are equipped with a vocalist in person of founding member Andreas Eid, this is nearly instrumental, which means relaxed trippy improvisations are offered basically, with repetitve hypnotic fundament. The opener Invade My Me proves this emphatically. The extended title track has been culled with reason, for me the highlight without a question. This comes close to Electric Orange in style, including empathic guitar work.

The captivating Mountains' Room follows, something hallucinating which adapts the use of mushrooms maybe, pretentious drumming inclusively. Afterwards, as for my impression, the spirit goes down the drain towards the end a bit, even though the Can tinged long track Thwart Majesty is given, where Andreas Eid successfully tries to reference the typical Damo Suzuki vocal style. Overall though I mean this is an album which definitely derserves it to be part of a well-assorted space respectively kraut rock collection.