Horror jazz, doom-noir jazz, funeral jazz... WTF. Damn that lingvoshit.
Just a great band making great music.
But have to admit - relax baby be cool in their conception sounds really close to necro...
One is true: Lynch-addicts will drop their pants.
***
GORE MOTEL 1994
About: '‘Gore Motel’ was Bohren and The Club Of Gore's debut album, dating from 1995. It features 12 tracks of their trademark, gorgeously dark instrumental soundscaping, with a stark, twisted, slow-moving aroma. Once again, fans of Twin Peaks MUST check this out!'
(Boomcat)
GORE IT
BUY IT
***
SUNSET MISSION 2000
Review: 'The music that Bohren makes has fallen under the heavy metal/doom rubric, but this is both inaccurate and unfair to the band and its music. While the former members of hardcore legends 7 Inch Boots, Chronical Diarrhoea, and Macabre Farmhouse may have once played fast and heavy, on Sunset Mission they completely drop the metal overtones that appeared on Gore Motel and stand resolutely in the late-night jazz-noir camp. The cover of the album shows night descending on the wet streets of a residential/industrial landscape. The music included within is for a couple of hours later, when there is only darkness and the breath of a saxophone to keep you company. Reminiscent of Trevor Jones (Angel Heart) or Angelo Badalamenti's soundtrack work (especially for Mulholland Drive), Bohren & der Club of Gore rely on understated Fender Rhodes, piano, double bass, gentle brush work on drums, and a lilting tenor saxophone. Sounding like a long suite collectively improvised and not a collection of individually composed songs, Sunset Mission showcases the contributions of each member equally. Morten Gass' stunning keyboard work is balanced by Christoph Closer's emotional tenor sax. Underlining each track are Thorsten Benning's subtle kit work and the slow-motion groove of Robin Rodenberg's double bass. And while it is easy to fall into hyperbole when describing Bohren's music, they themselves are masters of the restraint necessary for this type of jazz to work and be compelling. This is slow, dark, and especially lush jazz, perfect for a booth at the back of a narcoleptic lounge, with a cigarette slowly burning down past the filter, watching secret lies being passed between one-night lovers.'
(James Mason, AMG)
MISS IT
BUY IT
***
BLACK EARTH 2002
Review: 'Germany's Bohren & der Club of Gore are a black metal fan's lounge jazz act. Or, for those driven by the more extreme side of noir-ish ambient material, these cats lay it out with musical instruments (and a Mellotron), painfully slow and muted tempos, and a relentlessly gloomy atmosphere worthy of the first Black Sabbath album. Originally issued in 2002 on Wonder and now re-released by the great Ipecac label, Black Earth is, by the very nature of what it is, a classic. Black Earth is a wrenching, turtle-like crawl through the vast darkness of jazz balladry and unreservedly bleak nihilism. The song titles say it all: 'Midnight Black Earth,' 'Crimson Ways,' 'Maximum Black,' 'Vigilante Crusade,' 'Grave Wisdom,' 'The Art of Coffins' -- you get the idea. All of that said, however, this music is infectiously delicious, darkly sensual, and the only tonic for a lonely brooding night. The quartet of drummer Thorsten Benning, saxophonist and pianist Christoph Closer, Mellotron operator, pianist, and Rhodes piano king Morten Gass, and double bassist Robin Rodenberg began life as a death metal hardcore act in the 1980s. Seeking a more original sound, they gradually gravitated to this incarnation of musical brilliance and mysterium organum. On most tracks, a shimmering Rhodes piano plays repetitive lines and chords and receives a deathly kiss from snares, cymbals, and the occasional bass drum before being adorned with the sparsest of Mellotron lines, paced with an excruciatingly tense groove by a low-tuned plucked or bowed double bass, and finally sung over with mournfully sensual tenor saxophone à la Ben Webster. The tunes are all long, drawn-out affairs, with aural images of abandoned streets and buildings on foggy nights, or steamy sewer grates inviting only the most desperate lovers and recreational killers and thieves out to roam through the blackness together. It's so delicious, so overwhelmingly intoxicating and sickly sweet that it suffocates the listener with the twin scents of sex and death. Indispensable macabre listening.'
(Thom Jurek, AMG)
BLACK IT ONCE
BLACK IT TWICE
BUY IT
***
GEISTERFAUST 2005
Review: 'The doom rock card, the lounge jazz card, and the slow crawl card have all been played by various reviewers to describe Bohren & der Club of Gore's unique form of instrumental music. None of them has ever truly fit the band, and now even less than ever with Geisterfaust (Ghost Fist), their fourth effort, released three years after Black Earth. Even slower and more stripped down than before, the music loses its doom-laden atmosphere and becomes something eerily similar to the Necks' then-recent efforts, namely Aether and Mosquito/See Through. The stretches of silence, the resonating chords, the cyclical melodic developments, and the paradoxical atmosphere of tension (what will happen next?) and relaxation (it is, after all, extremely smooth music, no need to be so tense) all point to the Australian trio a thousand times more than anyone on the roster of Ipecac, the label that reissued Black Earth to worldwide attention a year before Geisterfaust came out. Then again, people who followed Bohren's (d)evolution from doom metal to minimal jazz-something will not be surprised by this new step. Some will find it lacking some punch, but given a few listens, it grows on you, especially thanks to the 20-minute 'Zeigefinger' and the 12-minute 'Mittelfinger,' both masterpieces of subtle, disquieting nothingness. The concluding 'Kleiner Finger' is the real shocker: a pure jazz ballad, with a full beat (i.e., with both a downbeat and an upbeat, instead of only cues) and a sultry sax solo. And so the most conventional piece becomes the oddest-sounding one. One can't see where Bohren can go from here, but in the meantime, Geisterfaust makes a very unusual and fine listen, even though most of their fans will agree that it's not their strongest release.'
(François Couture, AMG)
FAU IT
BUY IT
***
Thanx 2 neurotic
Just a great band making great music.
But have to admit - relax baby be cool in their conception sounds really close to necro...
One is true: Lynch-addicts will drop their pants.
***
GORE MOTEL 1994
About: '‘Gore Motel’ was Bohren and The Club Of Gore's debut album, dating from 1995. It features 12 tracks of their trademark, gorgeously dark instrumental soundscaping, with a stark, twisted, slow-moving aroma. Once again, fans of Twin Peaks MUST check this out!'
(Boomcat)
GORE IT
BUY IT
***
SUNSET MISSION 2000
Review: 'The music that Bohren makes has fallen under the heavy metal/doom rubric, but this is both inaccurate and unfair to the band and its music. While the former members of hardcore legends 7 Inch Boots, Chronical Diarrhoea, and Macabre Farmhouse may have once played fast and heavy, on Sunset Mission they completely drop the metal overtones that appeared on Gore Motel and stand resolutely in the late-night jazz-noir camp. The cover of the album shows night descending on the wet streets of a residential/industrial landscape. The music included within is for a couple of hours later, when there is only darkness and the breath of a saxophone to keep you company. Reminiscent of Trevor Jones (Angel Heart) or Angelo Badalamenti's soundtrack work (especially for Mulholland Drive), Bohren & der Club of Gore rely on understated Fender Rhodes, piano, double bass, gentle brush work on drums, and a lilting tenor saxophone. Sounding like a long suite collectively improvised and not a collection of individually composed songs, Sunset Mission showcases the contributions of each member equally. Morten Gass' stunning keyboard work is balanced by Christoph Closer's emotional tenor sax. Underlining each track are Thorsten Benning's subtle kit work and the slow-motion groove of Robin Rodenberg's double bass. And while it is easy to fall into hyperbole when describing Bohren's music, they themselves are masters of the restraint necessary for this type of jazz to work and be compelling. This is slow, dark, and especially lush jazz, perfect for a booth at the back of a narcoleptic lounge, with a cigarette slowly burning down past the filter, watching secret lies being passed between one-night lovers.'
(James Mason, AMG)
MISS IT
BUY IT
***
BLACK EARTH 2002
Review: 'Germany's Bohren & der Club of Gore are a black metal fan's lounge jazz act. Or, for those driven by the more extreme side of noir-ish ambient material, these cats lay it out with musical instruments (and a Mellotron), painfully slow and muted tempos, and a relentlessly gloomy atmosphere worthy of the first Black Sabbath album. Originally issued in 2002 on Wonder and now re-released by the great Ipecac label, Black Earth is, by the very nature of what it is, a classic. Black Earth is a wrenching, turtle-like crawl through the vast darkness of jazz balladry and unreservedly bleak nihilism. The song titles say it all: 'Midnight Black Earth,' 'Crimson Ways,' 'Maximum Black,' 'Vigilante Crusade,' 'Grave Wisdom,' 'The Art of Coffins' -- you get the idea. All of that said, however, this music is infectiously delicious, darkly sensual, and the only tonic for a lonely brooding night. The quartet of drummer Thorsten Benning, saxophonist and pianist Christoph Closer, Mellotron operator, pianist, and Rhodes piano king Morten Gass, and double bassist Robin Rodenberg began life as a death metal hardcore act in the 1980s. Seeking a more original sound, they gradually gravitated to this incarnation of musical brilliance and mysterium organum. On most tracks, a shimmering Rhodes piano plays repetitive lines and chords and receives a deathly kiss from snares, cymbals, and the occasional bass drum before being adorned with the sparsest of Mellotron lines, paced with an excruciatingly tense groove by a low-tuned plucked or bowed double bass, and finally sung over with mournfully sensual tenor saxophone à la Ben Webster. The tunes are all long, drawn-out affairs, with aural images of abandoned streets and buildings on foggy nights, or steamy sewer grates inviting only the most desperate lovers and recreational killers and thieves out to roam through the blackness together. It's so delicious, so overwhelmingly intoxicating and sickly sweet that it suffocates the listener with the twin scents of sex and death. Indispensable macabre listening.'
(Thom Jurek, AMG)
BLACK IT ONCE
BLACK IT TWICE
BUY IT
***
GEISTERFAUST 2005
Review: 'The doom rock card, the lounge jazz card, and the slow crawl card have all been played by various reviewers to describe Bohren & der Club of Gore's unique form of instrumental music. None of them has ever truly fit the band, and now even less than ever with Geisterfaust (Ghost Fist), their fourth effort, released three years after Black Earth. Even slower and more stripped down than before, the music loses its doom-laden atmosphere and becomes something eerily similar to the Necks' then-recent efforts, namely Aether and Mosquito/See Through. The stretches of silence, the resonating chords, the cyclical melodic developments, and the paradoxical atmosphere of tension (what will happen next?) and relaxation (it is, after all, extremely smooth music, no need to be so tense) all point to the Australian trio a thousand times more than anyone on the roster of Ipecac, the label that reissued Black Earth to worldwide attention a year before Geisterfaust came out. Then again, people who followed Bohren's (d)evolution from doom metal to minimal jazz-something will not be surprised by this new step. Some will find it lacking some punch, but given a few listens, it grows on you, especially thanks to the 20-minute 'Zeigefinger' and the 12-minute 'Mittelfinger,' both masterpieces of subtle, disquieting nothingness. The concluding 'Kleiner Finger' is the real shocker: a pure jazz ballad, with a full beat (i.e., with both a downbeat and an upbeat, instead of only cues) and a sultry sax solo. And so the most conventional piece becomes the oddest-sounding one. One can't see where Bohren can go from here, but in the meantime, Geisterfaust makes a very unusual and fine listen, even though most of their fans will agree that it's not their strongest release.'
(François Couture, AMG)
FAU IT
BUY IT
***
Thanx 2 neurotic
We can hardly believe it, Bohren Und Der Club Of Gore’s diaze-jazz masterpiece finally touches wax some 16 years since the original CD first cast its long shadow over our evenings. Quite simply; a must-have for fans of Lynch & Badalamenti soundtracks!!! After spending so much time with this essential record it’s become even harder to sum up its impact as it just defines a whole sound.
Bohren And Der Club Of Gore Sunset Mission Rar Full
Sunset Mission by Bohren & der Club of Gore. Publication date 2000-02-25. 08 Bohren und der Club of Gore - Black City Skyline.ogg download. GORE MOTEL 1994 About: '‘Gore Motel’ was Bohren and The Club Of Gore's debut album, dating from 1995. It features 12 tracks of their trademark, gorgeously dark instrumental soundscaping, with a stark, twisted, slow-moving aroma. Once again, fans of Twin Peaks MUST check this out!' (Boomcat) GORE IT BUY IT. SUNSET MISSION 2000 Review. Bohren & Der Club Of Gore - Sunset Mission // Full Album by IVAo published on 2016-07-11T14:16:06Z 1 - Powler 2 - On Demon Wings 0:05:03 3 - Midnight Walker 0:12:05 4 - Street Tattoo 0:19:23 5 - Painless Steel 0:29:15 6 - Darkstalker 0:35:01 7 - Nightwolf 0:40:45 8 - Black City Skyline 0:57:17 9 - Dead End Angels 1:03:07.