Boomkat Product Review:
Recombinant Rhenish trio Kreidler mark 30 years of poly-style tessellation with a 7th studio album of wiry postmodern pop and swingeing man-machine grooves operating at the square root of krautrock, electronica, and dub, with healthy outernational influence - RIYL Graham Lewis/He Said, To Rococo Rot, Blurt, CS + Kreme.
On ‘Twists (A Visitor Arrives)’ the trio of Thomas Klein, Alexander Paulick and Andreas Reihse allow for more subtly scuzzy spirit within their coolly disciplined hustle, making for a fine contrast with the sheer, languid structures of 2022’s ace ‘Spells & Daubs’. Whilst firmly rooted in the rolling motorik rhythms of their native Düsseldorf, and likewise arced with indeingeous kosmiche synths, there’s a frisson of electric-edged distortion to proceedings found across the nine songs that lends a bittersweet edge to their fusioneering thrust and wanderlust. It’s hard to think of many other bands who have maintained such a dilated, stylistic weltanschaaung over the decades, and still always managed to distill their breadth of inspirations so singularly, as on showcase with the nuanced twists and turns of this one.
Arriving with a Bryan Ferry 'Avalon'-ish romance and synth twinkles and the polished, trombone of Maxim Bosch set in pendulous, stately syncopation on ‘Polaris’, the album proceeds in persistently surprising forms, but hewn to a constant of reliably rugged but sophisticated swagger and simmering energy. They summon comparison with Bill Laswell on noirish NYC manoeuvres in ‘Tanger Telex’, and brim with a Rhenish krautrock optimism in the bubbling ‘Diver’, anchored by killer fretless bass, to nestle two standout songs at the album’s core.
The prowling gem ‘Loisaida Sisters’ sung by Khan of Finland (aye, Can Oral) follows on a hot and sexy disco-not-disco swivel a la Wah Wah Wino or Blurt, and the Laila Sakini-esque downbeat chamber skudge of ‘Hands’, stars a purring Natalie Beridze (aka TBA). The group’s curious crankiness can characterised by the unfurling arps and urgency of the Arabic breakbeat rave ace ‘Arithmétique’, and yoked back into the slinkier hip clockwork of grinding post-punk bass on ‘Hopscotch’, whilst a closing couplet of downbeat dub and Tortoise-like post-rock jazz keep expectations dangling until the close, and warranting return listens, as they’ve ever done.