Well, they certainly didn't rush things, did they. Then again, it was never part of the Kreidler plan to launch straight into the follow up to Weekend, their well received debut album which won them friends right across the map. Last year's live shows and the 12inch Fechterin were proof of their adventurism. And so to the new album, moving into a world which demands new forms of expression for the Kreidler musical vocabulary.
The title itself reflects a certain dualism: The park recalls the atmosphere of Weekend whilst Appearance represents The Unexpected, The New, a confrontation with the not yet known, symbolised by the vague shadow found on the record cover. Through the music runs a thread of foreboding, rhythms chop and change, melodies come and go within or without the safe house of a song. From thread to threat. Barely identifiable, this latent sense of shift surfaces in almost innocent details: the chirping of crickets, hiss and crackles, a short bassline such as that in Necessity Now which fades out with the track before it can take hold...this is Kreidler in their element, better than ever. The illusion of chance gives way, on repeated listening, to the realization that everything is in its rightful place. Take the drum sounds on Good Morning City for example, or the way that Tuesday builds like a soundtrack in miniature.
If Appearance and the Park describes an unexpected meeting, then the music is no less a union of abstract and concrete, new-found points and processes of connection. Little wonder that Coldness spills out of instrumentals into a vocal song, logical listening progression in the direction of a hit. Music in its complexity as a game of distance and proximity, distancing and closeness. Crossing borders on all sides. A world coloured by stunning exactness of expression.
Meanwhile, something else is happening in this record beyond its sense of foreboding, another way of handling this confrontation. A strange kind of solace or consolation lies in the references to Banana Yoshimotos poetry and how it deals with the incalculable, or the way insects serve to protect in Dario Argento's Phenomena. Detlef Weinrich calls it a way of accepting things. A framework - essentially Japanese, perhaps, for coming to terms with, and getting on with life. Not passive, but a hyperclear mode of perception, both disarmed and disarming. Ways of seeing which find their musical parallel in Au Pair and Coldness, distant and yet provocative melodies you can listen to time and again. Expectations surpassed. If what its all about these days is exactly that, figuring what its all about in the light of increasing matter-of-factness, creating something personal, individual, something different in a sea of indifference and likeness, then Kreidler have done more than succeed with this, their second album.

sales-sheet