Part Two of the Doc Wör Mirran roundup.
Gosia (Have Seven / MT-568) contains 10 recordings from 2011, and several members of the collective are present – including Ralf Lexis on guitar, Stefan Schweiger, Alex Kammerer, and Joseph B. Raimond, all playing various synths, drums, basses and stringed instruments. They’re playing all the music, while four others are credited with artworks. We’re now apparently up to DWM release #137. This is evidently one of the more approachable records, i.e. it’s all instrumental rock music, and some sections could pass for “classic Krautrock” in a blindfold test – the band are playing blues-based progressive rock forms on guitars, with added synths and heavy drumming, in that heavy-handed style which typifies the best music in the Krautrock and German Progressive genres. I don’t expect Doc Wör Mirran would thank me for likening them to the above, but this is good solid work and nothing like the lovingly recreated but empty pastiches of 1970s music you get on the Sulatron label. The recording quality is very “present” and it’s an excellent production all round. From 4th March 2016.
Mini-CD Happy As A Target (Make Twentyseven / MT-574) is next in my paws. Here the band include Raimond, Lexis, Adrian Gormley, Jeannette Gustavus, Jacopo Andreini and Michael Schulz-Pernice; I don’t know why but as I read these credit rosters, I always feel I’m being introduced to various semi-aristocratic Europeans at a chateau, for a ski holiday. This one is far more “experimental” than the previous, with for instance the strange hollow droning of ‘Southern Pacific’ laced with its evil groaning voices, or the tunnelling synth explorations of ‘Carnivore Carnival’, both of which are alien and bewildering, the DWM take on “darkwave”. Then you’ve also got high-energy guitar workouts like ‘WWZS’ and ‘Jazz My Fuckin’ Azz!’, both of which are probably intended to be quite satirical in tone in their attempts to send up modern music. But they also happen to be well played and produced; there’s an acidic surface to the lead guitar sound, so severe you could use it as snake venom. Unhelpful sleeve notes here are deliberately misleading as to the place and dates of these recordings.