The only identifiable musical instrument to be found within this morbid aggregate of nominal sound experiments along with an array of synths and freak knows what else, is an overdriven electric guitar playing only four notes and therefore must be approached with a very open mind, and this cannot be over- stressed.
From the introductory Plas, the audio terrorism which is about to occur over the course of the next 45 minutes is more than evident from the dense introductory synth palpitations. Im Suden, the most powerful track on the album plods and trudges on with all the finesse and splendour of a slow motion Godzilla Tokyo rampage. A menacing repetitive narcotic loop materializes and intensifies itself as it progresses. Once this is over the rest of the work is easier to accept because any false hopes of anything positive coming out of this sonic conflagration are completely obliterated by the end of these funereal images. Everything but the kitchen sink shows up on the rest of this house of audio horrors so the best advice is just to go with it and allow your subconscience to flow.
The polar opposite of what is known as music ; There is no cadence, melody, point / counterpoint, no key signatures etc. here. You can’t dance to it, tap your foot to it or even voice any of it despite it’s hypnotic attributes. It does have emphatic characteristics which nonetheless will evoke some sympathy similar to that for some sort of evil science fictional entity in it’s pathetic throwes of death, and an impression of such sort of sureal death dance is conveyed consummately on the final track Nabitte which oddly leaves the listener beguiled to the point that a second exposure to the work is virtually mandatory, wanting to relive the terrible beauty of this imperceptible sonic masterpiece. Play loud for maximum perplexity. And be insane.
01. Plas 6:00
02. Im Süden 12:50
03. Für die Katz 3:00
04. Live in der Fabrik 14:50
05. Georgel 5:25
06. Nabitte 2:40