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Die Verbrechen der Liebe

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Reseña de álbum

Geisha's second album appears to base its existence on an reasonable enough world view — it's not that there aren't enough songs referencing sex and death in the universe, it's that there aren't enough that assume the B******e Surfers at their wooziest and most incomprehensible were in fact the equivalent of power pop. Right from the start, with the mix on "Prelude to Amber Pays the Rent" rendering the cymbals all crystal-clear while the guitars become a morass of compressed waves of chaotic doom drone before settling into sculpted, treble-filled space rock zoneout, it's perfectly obvious that this five-piece know exactly what they want to sound like. With vocals throughout the album barely comprehensible, sounding like they've been not so much recorded as broadcast from a distance, the resultant aesthetic effect on songs like "A Wilderness, Except by Sight," especially given its catchy chug underneath all the noise, feels all the more unusual. In contrast to much of the album is "Theme from Diana," the concluding half-hour long number which pulls out the most exploratory parts of the other songs for inspiration, adding collages of spoken word samples that bubble up and down through the performance. The resultant jam clearly tips its hat toward everyone from Pink Floyd to Spacemen 3 and Tool, but, especially thanks to the increasingly powerful drumming and a rampaging conclusion, finds its own voice. Best title on the album probably has to be "Sportsfister," just for the sheer number of potentially wrong associations the term calls to mind.

Die Verbrechen der Liebe, Geisha
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