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Kreidler were formed in Düsseldorf/Germany in 1994. – They have been asked to remix artists such as Einstuerzende Neubauten, Depeche Mode and Faust among 20 others and cooperated with artists like Klaus Dinger (NEU!), Add (N) to X, Young Gods, Theo Altenberg, Momus, Leo Garcia, Pyrolator and Chicks on Speed. – Their music has been used for high profile fashion shows (Chanel, Lacoste, Giles Deacon), films, theatre and dance performances. Andreas Reihse about their new album TANK (out March 4, 2011): » A simple plan: five days recording, three days mixing. One would hope that after over fifteen years of playing together, we might have acquired a certain degree of dexterity. We call it concerted action, or stringency. In the knowledge that one can rely on the other. Even for the last album “Mosaik 2014” we shut ourselves into the Kreidler’s own Shed in The Park studio in Cologne for five days without any warm-up and began recording. In the end we wound up discarding the first pieces, but from Day Two onward there was enough on tape. The digital mixing then dragged on for twelve months, however. This time was meant to be different. The band was geographically divided equally between Berlin (Alex Paulick, Andreas Reihse) and Düsseldorf (Thomas Klein, Detlef Weinrich). For a preparatory session, we met for three days in June in the ballroom of Festsaal Kreuzberg, in the capital, Berlin. The actual recordings are to take place in September 2010 at Tobias Levin’s Electric Avenue Studio in Hamburg. The attitude, however, remains thoroughly Rhenish. The idea behind the simple plan, of course, is rock’n’roll – the energy of a live show captured on record. But it must sound good. Especially the drums. And Tobias Levin is the man for the job, a master of miking and a multiplier of the moment. We know what we want: first take, no shake. Followed directly by mixing in Kreuzberg with Hannes Bieger, namely analog, on tape. A bit of editing work was needed nevertheless, and in the end the post-production lasted eight days. But that we can live with. So what do the pieces mean? Well, the titles may offer a few hints. A dystopia? In some places, perhaps. A positive utopia? In other places, for certain. A description of the present time? Even that. But give us a little time. It’s still so fresh. We’re still so close to it. It’s easier to talk about technical matters, about the distinctive compositions, and the arch they traverse, two times three over the course of the album – Kreidler think in terms of records and in the arithmetic of the great disco albums: NEU! 75, Saint Tropez or Patrick Cowley, examples from the ranks of legendary six-song albums – or talk about the unpolished wildness in Tobias Levin’s studio met with the controlled artificiality of a Hannes Bieger, all mastered to the appropriate dimensions by Bo Kondren, or talk about the unsettling sublimity of Andro Wekua’s painting, in which the whole thing is packaged. “Tank” is a continuation of Kreidler, of course. Indeed, “Tank” does relate to the narrative of “Mosaik 2014”, but “Tank” also deals with the break from that narrative. And in some respects the album recalls our very first effort, “Riva” from 1994, which may lie in the pace of its development, or the fact that we have tried to keep the structure of the pieces simple and direct, that we used the computer more as a canister, a container or a vessel and less as an operating room. And of course, the fact that Kreidler has once again become a four-piece band, a band with a clear understanding of roles: a drummer, a bassist who can also reach for the guitar, a keyboard player and a man for the electronics.«




Bureau B(2011)