Schlagenheim is beyond weird. Schlagenheim is a legitimate one of a kind record. Schlagenheim is a masterpiece. ed_and_thestone explains why bmblackmidi's debut is an essential listen.
, and failed, to nail it down: “They’re simultaneously an art rock act, a post-punk group, a noise band, a free-jazz ensemble, and an improvisational outfit that’s somehow both tight and loose at the same time.” I later described them as “Parquet Courts-meets-a-free-jazz-combo-with-Donny-from-The Wild Thornberries-as-a-lead-singer” and meant it as a compliment. A friend who disliked theirfrom Iceland Airwaves 2018 said it sounded like two layered Korn songs mixed by a pretentious art school kid.
Neither description is any closer to the actual truth. Now that I’ve listened to listen to the British foursome’s debut record,, some 30-odd times, I still can’t do any better of a job describing these nine maniacal songs. I don’t have the music theory background to even begin to parse out the record’s absurdly difficult guitar technique or insanely complex time signatures and write about it with any sort of authority. Hell, if Ryley WalkerThere is so much we don’t know about black midi’s music.
surprises at every turn, never settling into a predictable flow. Cathartic crescendos arrive out of nowhere—“Speedway” is a masterclass on how to consistently deny the listener what they’re waiting for. Greep’s vocals are frequently indecipherable—he might as well be singing in a different language altogether. If their mission was to release a truly unpredictable collection of songs, they nailed it.
And that was the biggest fear going into this record: How could their incredible live sets work on an album? While everything gets dialed back a bit, Simpson’s drumming in particular , these nine songs are still a wonder to behold.
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