Mosaik 2014 – that's how it is meant to sound. Arrangements that feel right, without me being able to map them out because all of the lines are woven together so intricately, and because the album was recorded mainly in a week of live sessions. Above all, this record has more. More rhythm, drums, percussion. More keyboards, better yet synthesizers that are immediate and cannot be turned away, sounds that demand something and yet retain great mystery. More off-kilter loops and more electrical storms. But it is all there to serve the same purpose: to make this the best Kreidler album of all Kreidler albums. There is a directness, and things come to the point while still leaving enough free space. There is longing, solace, fulfillment. In other words, big emotions.Mosaik 2014 – the record to put on before going out; the record to get you euphoric in anticipation of things to come. Then in the club, a surprise, the DJ plays Impressions d'Afrique. That whistle is new. The dance, a fury of drums, is bathed in sweat. At 5 a.m. in the taxi: please turn it up a little, I know this track. It's Mosaik, that melancholy feeling after the party, the slight intoxication, memories of the glances and the contact on the dance floor, as if by chance. The rattling accompanies me through the staircase and to the door. The night is somewhat restless. Luminous Procuress. A séance. Tableaus are carried past. It is not really threatening, but unsettling nonetheless. WHAT IS HAPPENING TO ME? Les lettres du blanc... [...sur les bandes du vieux b/pillard]. Doom Boys is evil, but not the overt, obvious kind of evil – this is not a Michael Moore record. It's about the cusp, the swell, the hidden, and forbidden, that which we do not know, but suspect, and the erotic. Borroughs, Brus, Crowley, Cronenberg – perhaps here we might agree on Kenneth Anger for fear and Lovecraft for love. European Grey and Marauder are the type of disco that got an entire continent swinging, from northern Italy via Marseille to West Germany. It is another idea of Europe, one which David Lynch would so much have liked to present to his American audiences. Zero – the set, gravity, tolerance. Griffith, von Sternberg, Morrow. Which culture was it again that founded algebra? And don't I finally have to mention André Breton? Awaken – Brass Cannon, the brass colliery that sounds the alarm and blows fanfares. The Chase. In hot pursuit through the streets of San Francisco, not by coincidence with the initials SF: Heinlein lights the fuse. Dystopia – there are so many independence days. Which ones should we forget about? Where should we start? And while we're here, only somewhat further south is High Wichita. It's not yacht rock, but it might be Los Angeles. I climb into the elevator from Venusia to Mercury Station. Mosaik 2014 – Music which ignores the 21st century. Music that simply glides from the 20th to the 22nd century. Music in the here and now. And for tomorrow. (Text written by: V. Luxemburgo / Translation: Alexander Paulick)
Kreidler: Mosaik 2014
Mosaik (Original Version) Kreidler 6'15''
Zero (Original Version) Kreidler 5'01''
Marauder (Original Version) Kreidler 6'43''
Brass Cannon (Original Version) Kreidler 4'25''
High Wichita (Original Version) Kreidler 6'29''
European Grey (Original Version) Kreidler 5'00''
Doom Boys (Original Version) Kreidler 6'17''
Impressions d'Afrique (Original Version) Kreidler 6'33''
Luminous Procuress (Original Version) Kreidler 4'23''