Leave it to the Germans to begin the monopolization of cinematic post-rock. Kammerflimmer Kollektief might have laid the groundwork, but Reuber is following through on the scope. Kintopp is composed of thirteen tracks mixed together to create an unhindered flow of sound from autumnal ennui straight through to nervous tic twitching and back again. “Brucke” and “Walzende Wirrnis” are at a crossroads for monolithic bass and tribal voices, the fusion of rustic and rock. The African motifs are resurrected later on “Tana Mit Mir” and “Fur Immer,” with layers of conga drums and chants. These culled sounds are interwoven with rock-sliding bass riffs, powerline hums and assorted electronic and organic afterthoughts. Only “Schlusskuss” exists as its own entity, isolated from the rest of the album by a couple seconds of silence. The track fulfills its role as exit music for this imaginary film, layering interwoven piano lines and building melodies.
The only real problem with Kintopp is that there might be too much going on. Reuber’s insistence on a constant stream of sound prevents any sense of languidness from taking over even momentarily; there are no moments of relaxation. Reuber should take notes from their label-mates Kammerflimmer on the art of inducing the lull, not to diminish the potency of their music, but to make the noisy apexes, by contrast, even sharper.