Kling Klang
The Esthetik Of Destruction

Et Voila a successful and anything but cloying/sickening way to organize sound/noise.

"5 piece heavy experimental synthesiser krautrock orchestra with amplified vintage synths, futuristic riffs, electric guitars and live drums" claims the their-space Klangistic web page: observing and admiring the just-represented Destructive Sound-Aesthetic, it must be candidly admitted that we are not so far from reality.

Despite drawing anything but subliminal inspiration from certain 70s veteran Krautism and defining themselves monickerescamente in the same way as the famous studios where prehistoric and visionary Kraftwerkian electro-works were forged, they have their sound-geographic center in the (naughty)Land of Albion, precisely between Edinburgh and Liverpool.

But, regardless of the musical-residential antics, what really matters is the remarkable tonnage of mighty/spiky synthesizerhood that indelibly furrow the space (void?) between the two fleshy-cartilaginous auditory-perceptive cranial extremities while listening to the track that launches the unusual dances: "Heavydale" (a title, a guarantee) lush, dense, and caustic as (for ex) the Trans Am, on potentially contiguous territories, have never dared to venture, or "Apex", in its only apparent modular simplicity, even recalls the veteran-mononeuronic digitality of "Autobahnense"; how not to mention moreover the voluminous and burning representation interwoven in "Untitled@33" with its dizzying robotically-drilling scansions or the pantagruelian, heavily Melvinsian, and anomalous ending track "H'vydale", a reinterpretation of the initial track without synth dominance and with changeable sludge-deafening tones.

Another aspect not to underestimate and that, on the contrary, tends to increase the intrinsic involvement rate, is discovering that this recently published debut work [late 2006], divided into fifteen fragments and consisting of exactly forty-five minutes of proto-neo-assorted music, is none other than the sum and concentration of previous works, now semi-unfindable, published over a short distance from 1999 to 2005.

A futuristically past work? Outdatedly forward-looking? Personally, I would support a substantial ‘Ebbravi Ralf & Florian’... ehm no, I meant Kling & Klang!