KRAUTROCK

Punkt is the first of the archival releases they started back in 2022, in the same year as Daumenbruch. Unlike the Momentaufnahme releases we'd get later on, Punkt is special in the fact that it is their lost fifth album. Yeah, they have a lot of albums that were gonna be their fifth but just never went through in the end, though Punkt does seem like the most complete one out of all the others they have planned. It is evident of this as this was recorded the same year they made and released Faust IV, so in a way this could've been released in the same year if Faust never broke up momentarily.

It is also evident in the sound of the record. I am guessing they were on a particular high for this kinda style they were experimenting on IV, as this album is pretty chock full of methods like that. Most songs are very jam focused, like most things relating to Faust, but here it certainly has a bigger role. I have expressed my enjoyment of the Faust jams in the past, so this was certainly pretty well rounded for my pleasure. The jams are pretty big too, with Morning Land being 9 minutes and Knochentanz being 11, so you get some meaty stuff here.

However, I feel like these jams don't reach the same highs as what Faust IV gave us, and that reason is that, while good, they don't quite have much personality or flavors other than sounding a bit like Faust IV's stuff. They honestly feel kinda textbook in terms of krautrock music, and end up being more dampening to me. They are a bit interesting at least in that they do have kind of a proto-industrial tone, and hearing something that feels more up on 90s Faust's alley is really something. They always think ahead in those old days. Though still, with the limited amount of knowledge they have of future music in the 70s, it is no surprise that these tracks feel kinda old in comparison.

That is, if you are only looking at the first half of Punkt.

The second half is a much different story. Juggernaut, Schön Rund, and Prends Ton Temps are three stellar tracks that make up the second half of the record and do a great job at redeeming this album's shortcomings.

Juggernaut is a space rock, almost proto-punk level of song that feels like it is constantly moving along until it starts to become slightly more abstract, which I think is just really cool. Schön Rund on the other hand is this more ambient piece, using piano and other key instruments to craft this 9 minute melody, one that slowly morphs into a more wild, and manic jazz fusion number, which reminds me a lot of Miles Davis' Get Up With It. Lastly, Prends Ton Temps is such a creepy number to end things off on, being this horrific cacophony of rock music that feels like the soundtrack to an avant garde horror film. All that to say, the second half of this album is amazing, with some tracks being the best in their entire discography, and I cannot deny that it probably would've been their best tracks in their 70s catalog if they managed to release the album in 1974 or 75.

Punkt may be imperfect, but it is an interesting and at times a really fun experience. I doubt it is on the same tier as Faust IV, especially with that rocky first few songs, but it does edge quite close when taken into account to the last three tracks. I am glad I could end this discog binge with a sure fire bang, and whatever release this legendary band has in store later on I am sure to enjoy it, and review it.

Best tracks: Juggernaut, Schön rund, Prends ton temps

Worst tracks: Crapolino, Fernlicht

,,Daumenbruch'', or just Daumenbruch if you rather not include the ,, & the '', is a showcase on how to collaborate right on your krautrock projects. In my Disconnected review I mentioned that Faust wasn't quite fit for collaborative efforts, but as it seems I am quite wrong on this assumption because Daumenbruch shows a very mature lining within the Faust discography in how they decided to handle shared projects. This time their experiment was to record some rough mixes of the three tracks here, and send them out to a couple of their friends from other groups, and have them mix these tapes, before mashing them into three separate tracks for our listening pleasure.

I think what makes this whole idea work so well is that these artists are more in line with what Faust was trying to create ever since their debut (fitting since this album's cover is very similar to that one). Sure, dälek and Nurse With Wound did have a clear fondness for Faust as shown through their own works, but I feel like having members from groups like Einstürzende Neubauten and Stadtfischflex helps a lot more with their vision, as their own visions line up like a puzzle. And guess what, it shows quite well within the first track, being this massive, creepy jam that feels both entirely Faust, but still has the elements the other artists wanted to try out. Nothing overpowers, or underpowers anything in conjunction, creating for a near perfect fusion between Faust and the greater world.

There is also a clear sense of enjoyment found within these tracks, as shown by how clean, crisp, and stylized each song is in production value. I can feel the joy these artists must've felt, which is something I love to hear within my music. You know, strangely this all reminds me of Earthside's Let The Truth Speak and how that album handled their collabs. I guess I am just a sucker for when musicians work together well.

My favorite track off here has to be Border River. It is a perfect send off for this record, being this 18 minute soundtrack to some avant-garde apocalypse, and it is so enriching and juicy that I feel like I am on another planet whenever I hear it. It ending with a cacophony of sounds is also just a French, or in this case, German kiss on this whole record; A perfect encapsulation on what came before.

If I had one thing to say that this album gets wrong, however, it'd probably be that this feels like a diet Faust Wakes Nosferatu. I know, I compare a lot of albums to it, but I think that album does a lot of things right in such a good amount of time that I cannot help but try to compare and contrast some things with each other. Daumenbruch has a lot of the same vibes and technicalities that Nosferatu had, and they certainly did them well, but I feel like Nosferatu's raw atmosphere, quieter suspense, and the longer direction makes it the superior album. I also think the track listing being so little, despite the massive tracks present, does show a problem in the meat of this album. I love these big tracks, a lot in fact, but I think Faust albums work best with some smaller tracks thrown in for good measure, which I think, if this album did have such things, could be a secondary masterpiece to Nosferatu, but alas I feel like I have to bump the grade down a smidge.

This record certainly is a testament in the power Faust can have, and with more people to boot it just becomes a grand ol' time. Highly recommend this one, obviously, and it is indeed a treat for anyone who is more into the abstract sides of krautrock music. We just have one more Faust record left, so let's finish things off right and well.

Best tracks: Weisse Schokolade, Border River

Worst tracks: N/A

Fresh Air is a lot different from their previous releases from this decade, and it is pretty evident by the first track, the 17 minute title, as that goes for a more abstract and almost old school Faust type of style. To put it simply, here Faust is moving forward, by moving backwards.

The execution of this plan ends up actually being very good to me. It is noisy and rough, but with ample amounts of energy and drones that keeps things good. It is like an alternate version of Faust IV, or even their very first album, capturing these desolate yet very intriguing mood swings that the band fully adapts perfectly within their music. It has an almost Sonic Youth feel to it as well, particularly with their no wave records like Bad Moon Rising and EVOL. It is certainly very enjoyable to me, and allows the band to fully have an environment to work with when it comes to their noisier tunes.

I also just think there are no real bad tracks on here. Maybe Partitur, but that track is only 22 seconds long, and it's not worth talking about in all honesty. Aside from that, though, every song here has a ton of charm, from the cold and slow title song, to the almost first album-like Chlorophyl, to the hauntingly beautiful Fish, I can see myself really finding something to love each time I hear these tracks.

It all just has a lot of personality too, with tracks that feel like they are within a Faust mythos that we never even saw coming. Listen to Listen To The Fish, and Fish side by side and tell me they don't have relation to one another, you can't. I love this kinda thing in music, just creating relations to one thing and another through songs. Sure it may not even exist and I am stretching, but it could be fun to speculate a possible Faust universe.

I guess if there was a fault this album has, it may be the fact the intro to Fresh Air, and the closing to Fish are a bit too drawn out. I think Fresh Air might have it worse off as half the track is basically just a lady talking with some odd noise in the back, which feels kinda odd, especially for a krautrock epic like this. Still a really great track, but it feels like it could've been a bit better. Fish's outro is a bit better, though I doubt it wouldn't hurt to trim some things up a bit.

That being said, I especially love the tracks laid out in the middle of those two big songs. Except for Partitur, each of these tracks are just consistently great, with new vibes strung across them that makes each listen feel almost adventurous. I especially like Lights Flicker, with its gruesome details, its avant-jazzy backing, and its intense but hooky beats makes it one of those Faust tracks that get stuck in my head quite easily. Insanely good work from this legacy band.

All in all, Faust still got what it takes to be adept at krautrock in the modern day. They may never be as revolutionary as they once were, but that doesn't mean they aren't allowed to still make their mark once and awhile. Certainly do check this one out if you have the time, as it is a breath of fresh air in the grand scheme of experimental rock.

Best tracks: La Poulie, Chlorophyl, Lights Flicker

Worst track: Partitur

KOSMOSE existed from 1973 to 1978 and throughout its run featured Alain Neffe (keyboards, organ, synthesizer, cymbals, flute, radio, loops, electronics, saxophone, vocals), Daniel Malempré (guitar, 12-string guitar), Francis Pourcel (guitar, bass), Guy-Marc Hinant (drums, percussion) and Paul Kutzner (guitar) who together amassed a wealth of kosmische recordings that never found a studio release despite attempts to woo records companies into signing them. After decades of sitting in the vaults KOSMOSE at long last found its material released on the Sub Rosa label as KOSMIC MUISC FROM THE BLACK COUNTRY which has been released in two formats.

Firstly a double vinyl LP featuring seven tracks that swallow up 81 minutes of playing time as well as a double CD that adds even more material bringing the number of tracks up to 11 and playing time to a whopping 136 minutes of uncompromising psychedelic splendor. The music spans the band's entire existence which began in the city of Charleroi, Belgium in 1973 until the band's final days in 1978. Primarily led by the prolific Alain Neffe and Francis Pourcel whose fascination with exploring ominous sprawling soundscapes that utilized rhythm boxes, analog synthesizers and radio loops, the band was complemented by the guitar explorations of Daniel Malempré who injected the rock inspired guitar experiments in the vein of Manuel Göttsching and more experimental guitar bands like early Guru Guru. While maintaining a drummer who could remain interested in the band's unique trippy brand of lysergia, Guy-Marc Hinant provided some stellar drum work scattered throughout various tracks.

Essentially a free-noise jamming act that explored long sprawling grooves with improvised guitar, flutes, saxophone and electronic effects, the all-instrumental band (with only a scattering of wordless vocals) excelled in exploring some of the farthest out trips that offered a true escape mechanism into the world of avant-garde psychedelic soundscapes which emphasized the long excursions into the furthest reaches of space rock with the lengthiest tracks sprawling over the 27-minute mark. With all tracks untitled, the band offered a visionary excursion into the furthermost cosmic depths of what the world of Krautrock was offering in the vein of the most experimental sounds that were emerging in the early 1970s before many German bands began compromising their visions and becoming more mainstream. Without a record label to steer them into commercialism, KOSMOSE stayed true to its vision and maintained an ethos of keeping it as experimental and estranged from reality as musically possible.

What KOSMOSE delivered was a high voltage expansive collection of psychedelic splendor that was utterly fearless in where it explored like an intrepid explorer adrenalized by the exhilaration of discovery at every juncture of the journey. For those dismayed by the world of German Krautrock as it slowly eroded into a more mainstream crossover hybridized genre, the Belgian outfit KOSMOSE continued to deliver the essence of the original movement with a relentless pursuit of keeping its music pure and unadulterated by any outside influences. The music of KOSMOSE on KOSMIC MUISC FROM THE BLACK COUNTRY is thus a true treasure trove of improvisational music that spanned a wide swatch of psychedelic turf by delivering massively fluid, expansive and often noisy sonic terrains.

The musicians were prolific and cross-pollinated with many other artists like André Gauditiaubois and three Turkish musicians such as Mustapha Dagli, his son Kadri Dagli and Sutekin but the band's legacy is primarily documented on this beyond far out collection of wild cosmic ambient rockers. This album was followed by the equally expansive "Some Little Trips to Our Fluorescent Land" recorded in 1976 and released in 2017. Considering the long version (the one i'm reviewing) is essentially three classic albums worth of material, this is best absorbed in stages. Especially the three longest tracks ranging from 18:55 to 27:47 in running time. The most amazing thing about this entire affair is that all tracks are basically live studio recordings with no overdubs and no mixing desk. It was all created on 2 microphones and an open-reel tape recorder. That makes this even more mind-expansively wild! This one is for those seeking the most alienating sonic trips ever laid down to recording.

Unlike records from the past few years, Just Us has probably one of the shortest line ups in any Faust discography, only containing Jean-Hervé Peron and Werner Diermeier. I don't quite know why it is only them, though it does make the album title a lot more accurate. As such, this is also one of their most minimalist sounding records since Disconnected, which can be considered as both a strength, and weakness for the album in my book.

I think Just Us only having two musicians is a pretty interesting concept that Faust tackles, creating these strange melodies and jams that feel lonely, whilst at the same time tightly knit together. I think the first half (Gerubelt - Nähmaschine) contains quite a number of strong tracks that play quite well into the more minimalist nature of the album, such as the oddly intense Sur le ventre, or the weirdly klezmer sounding Gammes. These tracks are all quite charming, and while not the peak of sound that Faust has done up until this point, I don't think this first side of the coin is anywhere bad.

Though that cannot be said for the second half. I think the 10th track's title describes my feelings of this half very well...eeeeeeh...It is kinda like Faust Z off of Faust Is Last, where it is a lot more experimental and droning. However, ooh boy, it is a lot rougher here. Where Faust Z was charming as it employed more of the introspective side of industrial music, this here, as it has very little to do with that genre entirely, comes out as a almost half baked attempt in making something similar. I do kinda like some tracks like Eeeeeeh..., Ich bin ein Pavian, and Ich sitze immer noch, but those first three songs on this second half are not very good in my opinion. I can get the vibes that they were going with these songs, and I know it must've been hard to workshop these tracks when you are really only a duo band, but still it boils down into musical grease.

In fact, Just Us does just feel like an attempt in making another Faust Is Last, without the industrial side of things. One half is the more normal krautrock tracks, and the other is weird droning experiments. As such it doesn't quite feel all that charming to me, since if I wanted to listen to something like Faust Is Last, I might just listen to Faust Is Last instead of this.

It is clear, though sad, that Faust isn't equipped to do the whole duo thing. Perhaps with time it could've led to another interesting era for the band, but Just Us does show it would take a long while for that idea to really work. I wish I enjoyed this more, especially since after C'est com... com... compliqué did give us a bit of a streak of great albums from the band. Well, if my memory serves right, the next three will not be half bad, but we'll wait and see.

Best tracks: Sur le ventre, Gammes

Worst tracks: Nur nous, Palpitations, Der Kaffee kocht

No, it didn't grab me at first but even if you pick something up cheap, a physical format means you keep hold and give it another try. I do wonder if someone streams something and thinks' no, not for me' these days, they perhaps don't go back and give it another chance.

The Tullesque opening shoulda dragged me in (those pesky flutes eh!) but there is an almost too forced jollity. I hear a little bit of Jade Warrior but the second track blends eastern with a more typical kraut influence and this was and is much more interesting...space/folk if you like...and thankfully my (the recipe is a secret) vinyl cleaner gives the atmospherics a clear and hiss free sound. The panning is a bit cliche but it works. The vocalist isn't the best but neither were say the vox in the Incredible String Band and I rather like them! Hero's Death shimmering cymbals in and we could be in an Amon Duul situation and they also invited early BJH to the party. Definitely my krautrock sound/s of choice. I think they gave the 'folk' the song off. With Encyclopedia the doubts creep back in as am sorry but you did the shimmering cymbals thing in the last tracks intro and the bass player has been listening to Wishbone Ash's Vas Dis (ironically) and although the guitar/s don't 'duel', the first 2 Ash albums are nodded to. It just doesn't escape the deliberate or otherwise influences/similarities. Overlaying a bit of electronica feels well like overlaying a bit of electronica for the sake of it. And the sudden 'war' referenced sounds tagged on to a track out of the blue? I will put on German Oak if I want a dark krautrock dealing with our post war trauma album thanks. And finally the 940th, even by 1971, song that starts with Church bells?

I really do want to 'like' this more but they do themselves no favours. I will give the benefit of the doubt that musicians didn't hear anything like the amount of music (as in what was out at the time) as we can today so sometimes they think they were being 'original' when they were just not. Also it is a debut album and bands should be allowed to find their own sound/make mistakes/get the stuff out of their system they needed to he types just as the VDGG bit comes in followed by...oh no...'the gong'.

I would give it a 3.25 for promise but with reservations.

Whilst C'est com... com... compliqué was more of a back to basics for Faust, Something Dirty pushed things into a much heavier direction, implementing noise rock, psychedelia, and an almost Legendary Pink Dots sort of feeling resonating throughout each track, creating a very mystical, and, as the title suggests, dirty atmosphere that feels as though I am walking through a sandstorm with nothing but goggles upon me to protect my eyes.

This is also probably the first Faust record since Faust Wakes Nosferatu to have most of the tracks listed here to be consistently good in my opinion. The actual songs here feel both fractured, yet still consistently delivering, with nothing in the way to make things too egregious. I especially like the track of Lost the Signal. It is a nearly 9 minute piece of sound that has this super cool and foreboding atmosphere, one that reminds me of some of the songs off of Swans' Soundtracks for the Blind, but as the song progresses it turns more into a track that you'd see Faust make in their heyday, with dissonant guitars, lots of flavorful textures, and just some personal love for the entire album that makes this song a pretty masterful experience, especially in regards to the album as a whole.

Sure some tracks, particularly two of Thoughts Of The Dead and Save The Last One, aren't good, but they aren't all that bad comparatively to other lacking tracks the band has made. In fact, they are probably the best of the best in terms of bad Faust tracks. Thoughts of the Dead is pretty creepy, with speeches that give me ideas of some of David Tibet's more atmospheric workings, and while Save the Last One is very short, it is a fine little acoustic jingle to warm up for the last track. Still wouldn't say these tracks are all that stellar, but still they are pretty interesting to me.

Speaking of speeches, this certainly has some of the best vocals ever since Faust IV. Faust have never really been a band that likes to sing, but they did manage to get some good vocal numbers here and there with the help of British painter Geraldine Swayne, who's voice works quite well with the dissonant sounds that the band provides in my opinion, creating an extra unique layer that makes Something Dirty all the more special.

While it may not be as recognized as THE Faust album like Faust IV or The Faust Tapes, nor is it my personal all time favorite like Faust Wakes Nosferatu, Something Dirty still captures a joy that does get pretty close to being the best of the best. It may not be everyone's cup of tea, but I certainly don't mind its noisy, dissonant rock elements at all, and see it as the next best step from both C'est com... com... compliqué, and Faust Is Last. Definitely listen to it if you have time.

Best tracks: Something Dirty, Lost the Signal, Dampfauslass 1, La sole dorée

Worst tracks: Thoughts of the Dead, Save the Last One

This is easily the longest Faust record yet, containing an hour and a half worth of music, with 22 tracks to boot. The album is split into two CDs, Faust A and Faust Z, both being kind of their own albums in their own right.

Faust A is a lot more related to their krautrock jams within their industrial era, and probably some of the best tracks the album has to offer. I think there is quite a bit to enjoy on this first CD, having tracks that range from the more quiet and smooth laden Rien, to the intense meltdown that was Ravvivando. This dynamic makes every track feel quite unique from each other, which I enjoy quite a lot. My favorite tracks off this CD are probably Nachtfahrt, as it contains an intensity that feels quite similar in vein to the rock in opposition sound of the 70s, I Don't Buy Your Shit No More since it has a very classic psych rock sound that I think is fun, and Day Out, since it reminds me of Jennifer, but for piano instead of guitar.

While I may think Faust A is the better CD, I still do think it is a little bit too long. Some moments like Brumm Und Blech and Cluster Fur Cluster just do not need to be there, and with every track kind of having this weird echo effect makes things feel a little too spaced out for me.

Faust Z is a lot more industrial than Faust A, though it is a lot more in the same vein as the kind of industrial music Throbbing Gristle and Coil has made. While it is considerably shorter than Faust A, Faust Z does prove itself to pack a punch, having this creepy atmosphere that persists through layers of drone and noise, only dabbling in a few moments of krautrockiness here and there. It almost has an aura to that of what David Sylvian would try after the 90s, particularly on Blemish and Died In The Wool. As a fan of some drone, I think Faust Z showcases some pretty amazing stuff, especially on tracks like Ozean and Ghostrain, both I think are probably Faust's most haunting songs ever.

Even then, it has one thing keeping it from being the best, and that being the last two tracks of Vorubergehen and Primitivelona. They are pretty rough, being these long winded sound collages that offer quite a lot of atmosphere and ambience, though a bit too late on the record, and maybe a bit too long to. I do wish I could like what they did on these tracks, but they don't really catch my attention, and feel inferior to all the tracks that came before, aside from some tracks on Faust A.

I also noticed on Faust A that some tracks are meant to go into one another in like a suite fashion, though before they could they stop at the last second before moving to the next song. I do not know how it is on other versions that aren't from streaming services, but it kind of makes Faust A feel glitchy, and not in a good way mind you. Kind of hope Faust Is Last gets some remix in the future, so these problems in the production on the first CD don't persist.

I think Faust Is Last is pretty underrated, though I can see why some may not fully enjoy it. I personally do like it quite a bit, but the more I hear it, the more the faults kind of become apparent. Still, I think it can be worth your time, just make sure to be ready for a pretty long record.

Best tracks: Nachtfahrt, I Don't Buy Your Shit No More, Day Out, Ozean, GhosTrain

Worst tracks: Brumm Und Blech, Cluster Fur Cluster, Vorubergehen, Primitivelona

The lineup on GILBERT ALTMAN'S LARD FREE included Altman himself on drums, vibes and grand piano along with François Mativet on guitars, Philippe Bolliet on saxophones and Hervé Eyhani on both bass and synthesizers. Album #1 showcases a wide range of jazz music as the basic rhythmic keeper while the guitars and synthesizer sounds are allowed to go absolutely ape [&*!#] thus crafting a unique dynamic throughout a roster of seven tracks that each takes on a completely new approach of crafting a true form of musical chaos but always includes a lifeline of some sort to keep the music from spiraling into completely avant-garde noise. The opening "Warinobaril" is quite misleading as opens with a relaxed groove with a rather mechanical German motorik groove generated by a beefy bass and several references to the world of neighboring Germany's Krautrock scene.

With "12 Ou 13 Juillet Que Je Sais D'Elle" things start to get a bit wilder though seemingly starting out tame with a rather smooth jazzy swing only to be joined by a sputtering loose cannon synthesizer solo that ratchets up the tension into an explosive conclusion that decides to depart the musical flow altogether and becomes a rogue sputtering effect. The two part nearly 9 minute in length track continues the second part with a totally different approach only with a dissonant guitar delivering crazy rhythmic bombast in the company of a more pacified saxophone keeping the entire thing from sounding like Fred Frith having a bad acid trip. "Honfleur Écarlate" follows suit but in a more subdued manner with a steady bass groove that allows the guitar freak out and the saxophone to delivery a unique staccato form of syncopation. "Acide Framboise" actually resembles something that one might expect from Clear Light's symphonic mastery in the keys department only set to a recycled groove while Mativet delivers an atonal guitar dance around it.

"Livarot Respiration" is the most free floaty track on board with a slowed down bass groove and an emphasis on the calming vibes starting very much like a typical 60s cool jazz number only the bass melody sounds like a smooth jazz version of the bass line in Janis Joplin's 1971 hit "Move Over." After two rather subdued and less startling tracks, the closing finale "Culturez-vous Vous Même" sounds more like something Heldon would latch onto with layered synth drones that slowly glide through a perucssionless detached soundscape that offers the bleakest and most abstruse of them all. But ends with a few tinklings of the piano and then it's all over. Overall a unique installment to the early world of French outsider music which easily qualified LARD FREE to be included on the Nurse With Wound list. A diverse album that offers varying degrees of placidity, sonic textures explorations, extended jazz techniques and an interesting mix of avant-prog and Krautrock. At times pacifying and at others startling and truly obnoxious, GILTMAN ARTMAN'S LARD FREE is an album that is worthy of the attention of any true sonic explorer of the strange and unusual experiments that were bursting out of the early 1970s.

Their 2009 release of C'est com...com...compliqué is, in my opinion, one of their best releases since Faust Wakes Nosferatu. While they have released a lot of pretty great records since then, they never quite reached to that same top that Nosferatu gave, and while this still doesn't quite give me that same particular high, it does get pretty close.

For starters, I really enjoy the more classic krautrock style on here. While Faust is known for moving forward, I think the more neutral stylings here suit it quite well, a possible revitalization, to show a younger generation a good step into the world that Faust had built within their 30+ year existence. You get some of the longer jams such as Kundalini Tremolos and the title track, as well as some of the band's more groovy (and personal favorite) tracks like Accroché à tes lèvres and En veux-tu des effets, en voilà. This album has a good mix of great songs that show off what Faust can truly do, even without the more standard of them trying a lot of new things.

Still, even though they are moving backwards in direction, they still continue on, as this album has a neat, more post-rock adjacent mood. I wouldn't say it is of the same vein as Mogwai or This Will Destroy You when it comes to post rock music, but I can certainly hear fascinations of Tortoise and Slint here and there, which Faust incorporates quite amazingly on here, giving the whole experience a bit more of a modern feeling.

Also this record includes some beats and moments that were originally recorded for Disconnected, like Lass Mich. To be honest, the album is much better without the introduction of Nurse With Wound. It feels a lot more fulfilling to be honest, and while I may prefer the longer version of Lass Mich off of Disconnected, this original version of the song does create a nice, comfy atmosphere that I feel was needed after a couple great jams.

The only real downside of this album is Stimmen, the fourth track. It kind of wouldn't be a Faust album without a track that is pretty bad, and while it doesn't at all ruin this amazing record, it does grind my gears a bit with how annoying it is. Do yourself a favor and skip this song, as the album is honestly much healthier without it.

The moving away from industrial music, while sad, was a healthy step in the right direction for our German friends, and quite frankly C'est com...com...compliqué proves it tenfold by still introducing a fun, more modern incarnation of the krautrock sound that blends the classical sides of Faust IV and The Faust Tapes, with new generational twists and turns. Highly recommend checking this one out. Hell I'd say listen to it for the cover alone. I like the kitties :3

Best tracks: Accroché à tes lèvres, En veux-tu des effets, en voilà, C'est com...com...compliqué

Worst tracks: Stimmen