Dead Brothers
Wunderkammer

The Voodoo Rhythm, presenting them, makes grand claims: “This is the White Album of the Dead Brothers!!!” proclaims the write-up for their recent third album in big bold letters.
Of course, their label loves to joke around.
In fact, they add: “…and they finally have a real hit song…”
Here it is: watch this video.
You'll get an idea of the mood you'll encounter entering the Cabinet of Curiosities set up by the Dead Brothers.
You can also get some further clues about the nature of the combo from the trailer of their film.

Yes, but what is the album like?
It's quirky, like them.
It's a collection of surreal paintings, an excursion through a possible theatrical, Balkan, and Gypsy Europe and the idea of an America seen through the dilated eyes of a corroded or lazy blues.
It's quite similar to the portrait that emerges from the write-up: Cramps and J. Spencer Blues Explosion (“Old Pine Box”), Kurt Weill revisited and distorted with a touch of estranged pop blues with a small surprise in the closing (“Am I To Be The One”) or dragged and expressionist (“Marlene”). Delightfully kooky and rickety country (“The Story Of Woody And Bush”), a funeral traveling band with a mandolin punctuating the melody of a short doleful song (“I Can’t Get Enough”) or a limping vaudevillian swinging little orchestra (“Greeg Swing”)
An Arabic-tinged temptation sung in French extolling a beloved love “comme la salse del pomodoro” (“Mustafa”) but also a crossing, with languid nostalgic and smoky tones, of areas steeped in bohemian or crooner shadows (“Just a Hole”- “Time Has Gone”)
And a mix of these elements, with a hint of Satie echoed among the guitars, ironically western and languidly Hawaiian, and the sparse drums trotting, before a pause makes way for the entrance of the voice. Then resume until the unexpected appearance, in the blurred distance of the background, of a lyrical ghost on the notes hinted at by a piano (“Fred”)

In the room of tiny wonders, you're sheltered from the paroxysm and excessive noises.
There is no emphasis and no anxiety to amaze.
There's no trick. But there is deceit.
The deceit of a joke played with care only seemingly distracted.
Exposed to a light that now projects flickering shadows, now small flashes illuminating mocking or sly expressions.

Guitars, drums, bass tuba, banjo, trumpet, accordion. These are the instruments.
They are Swiss, from Geneva.
Wunderkammer is a great album.
Quirky, like them.
Rating: 3.5