The fourth album by Germany's the Dead Brothers
is an eclectic, at times slightly crazed, mash-up of country,
psychobilly, blues, fractured art rock, and anything else that seems to
come to mind. So in the album's first three songs alone, things veer
from the spooky, echoed, funereal slide guitar instrumental "Trust in
Me" to an assaultive, bluesy raver that sounds like the Mekons
in their country period to a completely unexpected piece of big-band
Gypsy jazz that sounds like it came right off the stage of the Hot Club
of Paris circa 1930. Then comes the cross-culturally inexplicable "I
Can't Get Enough," which sort of sounds like it might be a catchy little
country-tinged song, but there's an oompah-band tuba holding down the
bass and a jazzy little horn section floating in every so often.
"Mustapha" turns vaguely Middle Eastern tropes into a surprisingly Kinks-like
piece of character-study pop; "Am I to Be the One" and "Time Has Gone"
do the same things with country and Gypsy music, respectively, and
"Marlene" is a just plain weird reverie for backwards tapes, accordion,
and vocals that comes from the bottom of a well. So Wunderkammer
is a sprawling, at times deeply strange record that reaches across
several different musical cultures and eras to create an odd but
effective crazy quilt of influences. Remarkably, all of this coheres
into a solidly enjoyable listen.
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