DOWN BELOW IT'S CHAOS

The sixth official Kinski album (in a somewhat confusing discography) was a transitional effort, moving away from the underground Psych-Rock of earlier recordings toward the more streamlined riffs of the band's later releases on the Kill Rock Stars record label. But in no way did the added structure compromise their music, which still sounded like an attempt to effect the greatest impact with the fewest possible chords, most of them played very loud.

Look at photos of the group and you'll see a quartet of musicians well past the first bloom of youth, but don't worry: they play like a much younger band. Proto-Punk guitar thrashes dominate, with a higher percentage of actual songs this time around, including the grungy ersatz title track, "Dayroom at Narita Int'l", no doubt the source behind the memorable NME blurb comparing the album to "Sabbath in a washing machine during a power surge".

We're a long way from anything like Progressive Rock, in other words, despite the evident brains behind the music, and several unexpected digressions. Note the savage guitar freakout at the climax of "Passwords & Alcohol"; the subtle flute embellishments introducing an otherwise raucous "Boy, Was I Mad!", and the oddly mutated rhythm driving "Child Had to Catch a Train", with an extra beat subjoining each meter.

They aren't really a Space Rock outfit either, although the album's brooding five-star finale "Silent Biker Type" comes close. The long instrumental track works like a bridge across time from counterculture Germany to post-millennial Seattle, in just over nine hypnotic minutes reaffirming an obvious Krautrock influence, absorbed like a xenomorph spore at close to genetic levels.

It's a powerful end to an already muscular album, and a reminder of the hidden strength often lurking behind an unassuming moment of musical repose.