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Another electrifying reality from Germany that captures you in the most immediate way.
The twenty-somethings of the 90s had Can and Neu as their base, not like today when at most they know who Aphex Twin or Squarepusher are (which is something..)
That "Vulvaland" from way back in '94 is also too mature and forward-thinking for its time. Even now, the beauty of these works of the past has not been surpassed. And who can do it... perhaps it has spawned people like SBTRKT, Four Tet, Burial, and Moderat, but there is nothing to be done.
Each decade has its own sensitivity, its own touch. And even the late 90s are heavily influenced by that afrofunky/Eno/kraut influence. Today, if you persist with this vintage concept, you automatically do a revival, or at the very least, you embed yourself in the underground aura.
The subsequent "Iaora Tahiti" and "Autoditacker" explain a drum'n'bass on par with Seefeel's "Quique." "Twift," "Frosch," "Bib," "Future Dub," and "Saturday Night Worldcup Fieber" are the peaks up to '97, marking the golden phase before the last gasp with "Distroia" from "Niun Niggung."
In the year that concludes the highest period of the combo, the EP "Cache Coeur Naif" is released.
Epic success with the title track, featuring Mary Hansen and Laetitia Sadier from Stereolab. The right band at the right moment with the right track.
We see a sleepy lullaby infused with sugary psychedelia dialoguing with the most heavenly electronic watercolors. A strumming from the Belle Epoque catapulted into a gentle and jovial rave. The angelic voices of Stereolab are graced by the French lyrics, with impeccable melodic lines on par with a Fraser or a Thorn.
And sensational is the structure of the following tracks.
"Glim" and "Lazergum" are electro/lounge cocktails that surely pave the way for Air's "Moon Safari." "Schnick Schnack" is an IDM digression more inclined towards ambient reflections. For the educational journey of chill-out lovers, it is highly recommended and digestible.
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