ZWEI OSTEREI

Out of the two authentic Kluster albums (because Eruption, though not obligatory so, is more complex under the circumstance of a collaboration and a total avant-garde strange unleash), Zwei-Osterei is a more splendid, characteristic and memorable creation. Yet the 'two-easter eggs" of Kluster are both albums, motivated under the same precision, year of music and combination of explosion and surprises. And both complement the pivotal trio of Schnitzler, Moebius and Roedelius (the first a grand soloist of electronic, kraut and German rock himself, the other two artists with a more hard excellency down the future Cluster albums or general electronic manipulations).

What makes Zwei-Osterei ticks and twist is in fact the ultimate and prolific minimal sound manual or the greatly evolved set of special effects, most progressively distinguished between the bad dreams and the hectic noises of krautrock, the independent and reactive sound forms, the electronic birth and mirth of significantly achieved expressions, the noise clutch and the acid ubiquitous involvement, and, more personally, the act of art and avant-garde. The better parts contain more angry and saturated moment, more depth and carnal experimentation, more strange focuses, more sensitive over-blows of something that, for sure, seems both exaggerate, has the incoherence of a grand sound festive and also, gently, aspires to be unique, tough, klutzed. Still having in mind that Klopfzeichen was slightly weaker, the ambient and melody-stretch over there is hardly tested in here as well. For aficionados, this Kluster material is both the extended art that sends doubtful qualities and similar traces into any other contemporary genius of the kraut, cosmic, electronic or electro-dementia field, but also relaxes of referentiality itself, having in mind a rahing individual manipulation.

Part One privileges again a powerful narration - religious, metaphysically and philosophically based - this time with a more gripping, side-dark and hollow reverberation, unlike the most mystic and confounding similar message that Christia Runge practiced in Klopfzeichen. The amazing thing is the sobriety, yet the foolish affection for hard words, in memorable echoes and brand-acid colors; the lines evoke riot, life, demise, war, methodical insatiety and indistinction. The instrumental involvement is a bit forgotten, likewise, but the interest in a narrative experimental piece is remarkably conducted.

Part two of the medical progressive album is fascinating and difficult, experimenting in all the mentioned marks and values (noise, kraut, electronic technicality, sound-licks) a piece of heavy rhtyhms and groaning breaths, tough artificial chemistry and over-worked electronic production (out of mentioned instruments and related experiments, that, themselves, are between facile and up-stirring). The indescribable essence only means that the acid piece is something for a listener's great and deeming adventure. Numerous generally influences, such as those of palpitating atonal beats, sequencing atypical reactions, high decibels of drone melt emphisis, numbness and cosmic avidity, technical and surrounding suspense or dark fluency, cracking or bursting emotions of loneliness, sense-demise or psychedelic atrophy. Outside this symbolical, powerfully induced or predisposed experimented values, Zwei-Osterei becomes a music of total avant-garde and senile fantastic artistry.

The album, upon being a re-release, includes a second piece from a Cluster & Fernbach concert, one not fundamentally fantastic, but not purely electronic either.

Heavily recommended.