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The art of Kammerflimmer Kollektief is deception. It is a persuasive and seductive art, resulting in incorrect assessments and doubtful perceptions. It is an art of disorientation and misdirection. In the Kollektief’s current production Désarroi (disorientation), their 10th and wildest album, they do it again: Welcome to the Kammerflimmery!

Right from first track, the Kollektief leaves its referential indicators. Heike Aumüller's free, unsentimental Harmonium played with a Sehnsucht (like a Free Jazz counterpart to Reggae producer and Melodica master Augustus Pablo), followed by Johannes Frisch’s magic double-bass, creaking and free-wheeling. Shortly after a dash of Swedish Biker-Rock passion, that makes you forget the benedictions of modernity – for a moment at least – until we come to the end of Désarroi, where we are brought back into the blessings of concrete- solid realities.

Clear articulated comprehensibility is definitively not one of the aims of the Kollektief’s sign systems. Rather, it masters the ancient art of secret-keeping, and it does it in times in which everyone reveals all of their intimacies without asking the rest of humanity whether or not we’d like to know them. The Kollektief clips musical and cultural fragments out of their cultural frameworks and pieces them enigmatically together. They have worked on this amalgam of FX-Cultures, Psychedelica, Free Form, Dub, Improv, and ritual activities for a long time. These elements are gradually connected and placed in an opaque, vertical system, about as (non-)coherent as the constitutional laws of an alchemistic proto-science can be. The Kollektief takes only what is of use. And what is of use has usually a mythical crux. What was once a bass becomes a creak. What was once a voice becomes a phoneme. What was once a guitar becomes a gnarly notion of “something strummed”. At the same time, the special effects.......
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