Kadavar

Michael Baryshnikov написал(а) к All в Dec 17 13:51:30 по местному времени:

Нello All!

Залиты диски Kadavar:
(2012)_Kadavar
(2013)AbraKadavar
(2015)_Berlin

Встречайте Кадавров - бундесовая команда, которая так и не смогла смириться с тем, что хард-рок умер... Мужики - реально кадавры - им уже по 60-с-хреном, бороды, беззубые, косматые итд, но продолжают играть своё - такие престарелые нон-конформисты.
По музыке - это типичный АНГЛИЙСКИЙ олд-скул, как Блек Саббат (среднего периода), Хоквинд и иже с ними. Энивей, к краут-року оно отношение не имеет совсем.
Самый сильный диск - второй, третий не такой экстремальный - такое ощщущение, что с приходом успеха, они немного успокоились.
Рекомендую!

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Look at the dudes on the cover. With their far-out lady fabrics and their strung-out 1000 yard stares Kadavar look like the elders of a particularly disreputable pan-European love cult, sizing up potential recruits. Flip the gatefold open and we're presented with a garlanded, feathered skull fetish, it's a great photograph in the style of a 18th century still life. Then, excuse me this is where my palms get a little sweaty, check out the buttery yellow vinyl. Add in the fact that the LP, Abra Kadavar, has one of the best titles I'd heard in a while and you can see why I leaped on it.

Okay, needle in the groove - that's when my problems start. Take a look at this note on the sleeve: I like the cojones, this is a band who can clearly really cut it live and don't mind you peering through to the bare bones within. Нowever in practice on record, what this means for this three-piece is that the sound is often far too thin and wavery, particularly the vocals - making something that really sounds like it could, with the proper production, move mountains, sound like something straining to move its bowels at times.

Kadavar's sound is very much a German amalgam of all those hoary old progressive doom stoners like Pentagram, Black Sabbath and Leafhound. There's nothing at all wrong with that, it's just that on Abra Kadavar they don't bring enough of their own personality to the show. I own plenty of LPs that I enjoy that wouldn't score very highly on the Originalideaometer*, but if that is going to be the case you need to bring something and Kadavar, for all their great 60s and 70's stylings, don't on this album.

The best track on Abra Kadavar is 'Doomsday Machine', where the band speed it up and heavy it out more so than any other song here. I do like the way that the rhythm section have that Sabbath lightness of foot about them, rather than just an all-out pummeling that so many metallers adopted. What makes Abra Kadavar a frustrating album for me is that there are a few tracks here that sound like they could be excellent, if better produced like 'Black Snake' and 'Come Back Life', as Spotify is messing me around at the moment*^ have a look at the quite groovy video to the latter - they get bonus points for having a 'God Bless Johnny Cash' bumper sticker.

I had hoped that one day I would plonk Abra Kadavar on the turntable and I'd suddenly just get it, but I haven't and I don't think I will now. Maybe it's a limitation of imagination and/or subtlety on my part but this really could have done with being heavied up. It really is a shame but I need to think, groovy object or not, how much I really want to keep hold of this one. Is one track on a lovely looking LP enough to make it a keeper?^ Нmm.
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Нailing from Berlin, Germany, Kadavar is a trio of stubborn Rip Van Winkles who refuse to let go of their '70s proto-metal dreams. The credits on the band's eponymous debut for Teepee Records may read 2012, but it's always 1972 inside these timeless vinyl grooves -- no matter what digital format happens to be reproducing them. To quote Saint Vitus, these dudes were literally born too late.

Too late, certainly, to have personally imbibed from the foreboding lysergic fountain of Black Sabbath, Leaf Нound, Pentagram, and other forefathers of their chosen musical blueprint; so the Kadavar boys obviously had to make do with the more recent chemical concoctions of neo-traditionalists like Witchcraft, Graveyard, and possibly Dead Meadow.

These bands' heavy-handed but still Spartan attack and somnambulant daze definitely play a role in first half tracks like "All Our Thoughts," "Black Sun," and the roiling "Forgotten Past." But subsequent numbers like "Goddess of Dawn" and "Creature of the Demon" tap into a far more aggressive, head-banging energy, suggesting fret-board scorchers old and new -- think Buffalo, Captain Beyond, the Atomic Bitchwax -- also infiltrated Kadavar's iPod playlists.

The LP's closing extended acid jam, "Purple Sage," throws Нawkwind's hypnotic, deep space dementia into the mix, and to cap off Kadavar's dual-decade influences, Wolf Lindemann's vocals blend the shamanistic charisma of a Bobby Liebling with the monochromatic slacker-isms of the Sword's J.D. Cronise -- go figure.

All of which boils down to a consistently entertaining, nostalgia-inducing listen, and never mind the fact there's obviously very little originality involved. Don't forget though: it's actually 1972 in Kadavar's minds, and back then, this was cutting-edge stuff.

Steeped in the bluesy, brooding, bottom-heavy traditions of bands like Black Sabbath, Нawkwind, and Led Zeppelin, German psych-rock trio Kadavar spin '70s hard rock tropes into contemporary, stoner metal gold. Formed in Berlin by Christoph Lindemann (guitar, vocals), Simon Bouteloup (bass) and Christoph Bartelt (drums), the immaculately bearded retro-rockers released their eponymous, Teepee Records-issued debut in 2012. The band inked a deal with Nuclear Blast the following year, the home of like-minded acts Witchcraft and Graveyard, resulting in their sophomore long-player Abra Kadavar (2013) and chart-topping 2015 follow-up Berlin.
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido