ABC press quotes:

ABC strips this tank down to its most brutally efficient mode, its six tracks intersecting muscular human rhythms with lush synthetic texture and computerised emotions. The recurring female android voice reciting the alphabet as speeding cut-up gibberish is the sound of a breakdown between flesh and machine. This is electronic dance music mutating into future war. Rock-A-Rolla (UK), May 2014

Ik vind "ABC" van Kreidler een schitterend album, dat vol hypnotiserende muziek staat, waarbij het onmogelijk is niet in beweging te komen en ik heb dan ook ten volle genoten van dit meesterwerkje, dat ik ieder muziekliefhebber kan aanraden. 4,5/5 New Underground Music (NL), May 2014

Und obwohl man eher das Gegenteil vermuten würde, diese Metamorphosen sind – und das ist das bemerkenswerte am Kreidler'schen Klanguniversum – in ihrem vertrackten Zusammenspiel äußerst eingängig. Eben Steve Reich fürs Kinderzimmer – und ich möchte ergänzen: Tanzflur. Die Aufhebung, May 2014

ABC und das ganze Drumherum funktionieren sowohl wissbegierig als auch naiv, und das nenne ich dann Pop. Spex, May 2014

Dichte, mäandernde Patterns, sich umspielende Synthies, harte, trockene Drums, Gitarre, Bass, hier greift alles ineinander – wie eine funktionierende Gesellschaft: Maschinelle Arbeitsabnahme führt zur individuellen Freiheit. Eine Platte wider die Scheinfreiheiten unseres Lebens. Intro, May 2014

Ultimately, ABC is an often intriguing study in freedom and structure from a band that's spent its career mastering those elements., May 2014

ABC album info:

2014 marks twenty years of KREIDLER. The band has outgrown adolescence, but remains juvenile, reckless, impetuous. They recorded their new album ABC in Tbilisi, Georgia. And there will also be a film – by Heinz Emigholz, who accompanied the last album DEN with film clips.

ABC. Like TANK, it's two times three: Six tracks characterized by elliptical shifts, where suddenly the bass and drums take over the helm – or a choir appears.

Indeed, a choir. KREIDLER worked together with Georgian singers: Either hovering freely in the meditative pop piece Ceramic, or defining a new space within a space, as in Nino. Nino perhaps most clearly suggests that the album was recorded in Tbilisi, Europe's southeasternmost metropolis, on the former Silk Road at the intersection of East and West.

Nino opens the album – a piece made for setting off in a convertible with the top down, moving at the steady pace through the speed-limited traffic zones with the speakers pumping. A female voice takes over for Alphabet and the mood rises. It rocks as only KREIDLER can rock. Then a short pause with Destino, which displays a melancholy longing that leads to abstract No Wave Funk. Modul is similar to Nino, yet even more relentless. And Ceramic is reminiscent of Crepuscule, the Brussels dandy label, but less of a particular song or band, and more of the label itself, which was perhaps the most European of all record labels: Beauty as an argument. Tornado concludes ABC. Tornado may be spelled out like Alphabet, but Kreidler aren't taking any prisoners here.

A scruffy smoothness unifies the tracks, which rely less on layers or the shifting of variable patterns, and more on riffs. Yes, riffs. But not hashed out on guitar or bass – Alex Paulick is more the sequencer, the lead sound, or the cloud. It is the synthesizers of Andreas Reihse and Detlef Weinrich that provide the definitive propulsion. And wasn't it the case with the last album DEN that KREIDLER even considered making a record without drums? What a peculiar endeavor. Once again, Thomas Klein's distinctive playing was destined to press the songs further forward, onward, ahead.

As always with KREIDLER, ABC is about the exploration of freedoms within a previously determined framework. It is a formulation of convergences, of possibilities within a procedural movement, based on a notion of democracy, with socialism in mind, where one understands that restraint is not merely a strategy of a conceptually inclined band, but that it serves to strengthen the validity, precision and majestic authority of expression.

PS: The cover uses photographic works by Thea Djordjadze. The Georgian artist usually works directly within a space, combining sculpture, painting and found objects into ensembles. Many of her photographic work are comparable, arranging diverse elements in a black (or white) box. Her works reflect art and cultural history, refer to Georgian folk art or even Soviet modernity. They often contrast "poor" and "valuable" materials or combine raw and designed elements. In 2012 Djordjadze participated in dOCUMENTA (13).

Read the info sheet (PDF) in German
Read the info sheet (PDF): English


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Photo Credit: David Meskhi

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Check out Heinz Emigholz' video series for "Den".