Minimal music, maximal music, sound sculpture, field recording, chamber music, quiet beauty, harmony massif - they are all this and all this perfectly balanced. Furthermore, Kinn are renowned for their works in all of these areas. Labels such as Staubgold, Tomlab, Morrmusic, Beau Rivage, Autumn Records, Naiv Super and our own sinnbus have released their solo and collective works. Marcel Türkowsky plays the bass for the Au-revoir-rock-music-group Masonne and is a sound artist in his own right. The otherworldly precise multirhythms of Jan Thoben have their home with Gaston and Taunus. And then there is "Zweite Meer", radioplay artist, sound explorer and composer Frank Schültge Blumm's last album, which made Ralf Bei Der Kellen jubilate in German Spex magazine: "Let's hope Blumm never stops making music!"



Blumm does not stop making music. Everything's always just begun.



And so, after their self-titled debut (Tete-a-Tete, 2003), Kinn have reconstructed themselves. The new drums punch new dents into their sound, in which newly shredded words, sounds and chimes get caught gracefully. Many small parts, many loops and one-time notes merge into tracks and sketches, songs and miniatures. Executed matchlessly well, the melting of rhythm, harmonies, ambient noise and sound documents create a serene sensation, a spacious attraction. Released in the USA and Japan by Audio Dregs, it now enters other worlds via sinnbusrecords.



On "Karlshorst", Kinns collective biographies, their links to folk and minimal music, their slow motion yearnings, water measures and dynamic rapids exchange themes and sounds, interacting excellently. And all that pleasure in change, all that love for chance considered, Kinn's sophomore album is still always more than a study or a clever improv snapshot with minimalist flavour. "Karlshorst" is a record of stunning music, challenging your mind and making your heart spin. And - pr.......
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