Always
at the forefront of electronic music, German musicians have consistently
made the genre evolve in very diverse ways, from the early work of bands
such as Kraftwerk or Neu! to the arid digital signal processing championed
by labels such as Mille Plateaux to the more accessible sonic realm of
To
Rococo Rot. As one third of Berlin-based To Rococo
Rot, set up with his bother Robert and Kreidler
man Stefan Schneider, Ronald Lippock is one of the most prominent figures
of the contemporary German scene. Beside his involvement with the kraut-rock
combo, Ronald Lippock formed Tarwater in the mid-nineties with Bernt Jestram,
and developed a particular blend of electronic music, close to the ethic
of rock.
Since the release of their
first album, 11/6 12/10, on Kitty Yo back in 1996, Lippock and Jestram
have gained considerable respect from music fans all over the world, progressively
taking their instrumental twiddlings to pop terrains while retaining the
experimental essence of their work. Dwellers On The Threshold, apparently
referring to the ambivalent nature of their music, set somewhere between
rock influences and electronic experimentations, their fourth album in
seven years, is the fruit of a year’s worth of recordings and collaborations
with a variety of artists including Norwegian performance artist Tone Avenstroup,
who can be heard on 70 Rupies To Paradise Road which opens this
album, Nicholas Addo-Nettey, better known for his involvement with African
legend Fela Kuti, and Stefan Schneider. More
compact in essence than some of their previous work, Dwellers...
is an interesting take on classic seventies rock, evoking the work of Lou
Reed (Ronald Lippock’s voice has a lot in common with the Velvet Undergound
front man) or Bowie period Low, augmented with textures and ambiences
of today. Their cosmic pop takes a sultry turn on this latest offering,
with treated guitar sounds becoming increasingly sharp and angular, leaving
the lounge influences behind to concentrate on disarmingly simple structures.
Songs such as Metal Flakes, 1985, Now or Miracle
Of Love are impeccable little pop jewels, perfectly crafted and sounding
quite unique.
Following last year’s rather
complex and dark Not The Wheel, Dwellers On The Threshold
presents a slicker, more straightforward side of the band. Probably one
of their most accessible records to date, this album is perfectly set in
its time.
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