Here’s something different. This group of “interested musicians who work on loose ideas of sound expressions to make it music” are from Germany. Ostensibly Electro-Metal, the avant-garde, experimental nature of this work suggests that it is either highly creative or deeply disturbed personalities which have combined to give us some musical nightmares.
The strangeness begins with “Morgen Grauen” (Morning Grey). It’s as if a James Bond theme has taken on eerie proportions, and is being played by the Shadows. The lush guitar plays a discordant tune. The entry of the “singer” doesn’t make it better, in fact it sounds as if he’s lost the plot. At this point it sounds like something you hear when your head’s spinning. There’s a constant electronic backdrop which heads into a slow and reflective electronic Doom passage. It’s powerful. “Ein Rest im Glas” (A Leftover in the Glass) is still darker with a persistent rhythm. The electronic wind whistles. The singer floats on. Then there’s an electronic intergalactic interlude. Here you can experience being high without the high. This is at the darker end. Strange as it all is, it’s very creative and even smooth, but with any of the electro-cleanliness of a Jean-Michel Jarre. This is an in-your-face German electronic assault, designed to challenge your senses and thinking.
Is that the sounds of whales I hear? “Sternenzerstörer” (Destroyer of Stars) emits more disturbing output. The vocalist peers through the shattering electronic doom, matched incongruously by the dreamy guitar. This just has the impact of being menacing. By contrast “Leichen im Keller” (Skeletons in the Cellar) starts breezily, but we’re soon back into the land of distortion, insanity and nightmares. Experimental as it is, it’s all in the same zone and hangs together, if not in a traditional way. The discomfort continues on “Die Sekunden zwischen Schlafen und Wachen” (The Seconds between being Asleep and Awake). The slow and deliberate beat accompanies a sinister rhythm, conjuring up the image once again of a film soundtrack. The singer recounts another tale of horror, matching the musical equivalent of ornaments coming alive and dancing round a haunted room around him.
“Ballade von der verlorenen Kindheit” (Ballad of the Lost Childhood) is the epic track of this album. Head-spinning, whooshing sounds yield to the patiently played, slow and above all sad guitar. It’s depressing but equally colourful, rich and hugely emotive. Then hell breaks loose for a while before the depression and despair resume. The singer doesn’t sound “right sharp”, as those of us from the North might say. Cue another strange and eerie passage, followed by more raucous and discordant mayhem and then the ambiance returns. The long and rich guitar tones reflect deep sadness. This is a track of great contrasts. “Ende des Weges” (End of the Road) appropriately brings the album to a close. This has the makings of a classic song, but it’s a case of more off-key experimentation. The sounds are varied and distorted. Lush, echoing guitar intervenes and the electronic waves come in to create one final, shadowy mood.
For all its strangeness and its ability to make you shiver with cold and discomfort, “Bildfänger” is always an interesting and intriguing album. Its strength lies in its creativity and imagination. It is experimental but I felt I was within it as I listened to its strange musical shapes and patterns. I recommend it. “Bildfänger” is an excellent album.
http://www.myspace.com/kameraobskur
