»All the violent acts of the past centuries appear to have been thought of anew.
A promise is a promise: eschatological paradises lurk behind the black holes of the universe.«
(Heinz Emigholz, Die Basis des Make-Up No 391)
It was originally intended to be an entirely different album. Indeed, KREIDLER had already completed a new LP just prior to recording European Song. Initial sessions in Mexico City in early 2016 evolved into a record that was in many ways lighter, more minimalist and certainly more playful than the band's work of recent years. They put the finishing touches on the mixes in early November and a mastering session was booked. Then came the brutal shock of the US election. It seemed to solidify everything that was going wrong with the world. The times of uncertainty, violence and xenophobisms had attained a new quality. A cartoon villain, the evil corporate manipulator disguised as a refreshing amateur, a "man of the people", lured the masses with unconditional hate speech and now enters the world-political arena. One could say it only reached a new quality on a symbolic level: It had happened already in the UK, as it is ongoing in Turkey, in Russia, as it happens with rightwing extremists all over Europe, in Germany, in Hungary, the Netherlands or France, to name a few. Paradoxically (or rather obviously) they share the same core "values“ with the government of Syria, the Arabian dictatorships, and of course the IS. Some post-leftish cynics are comfortable arguing that now the enemy is visible, and now action will speak – as if it wasn't visible before.
In their 23 years of existence, KREIDLER have often made music that might be described as "dystopian". And here we are today, faced with the much greater likelihood of all those nightmare scenarios becoming excruciatingly real. Suddenly KREIDLER’S previously intended new album felt wrong for this universe. The deci....... więcej