OHMS

Obviously being relatives, Daniel Martin Diaz and Damian Diaz from Tucson, Arizona, are representing the TREES SPEAK core. They are showing a rather interesting concept, which is composed by a symbiosis of vintage and future-oriented. I mean, on the one hand, musically this is deeply influenced by the prior Krautrock phase. And then, the band name says it all by the way, the whole project is also referring to a somewhat (still?) fictional approach. Which is dealing with biotechnologies that will store processed data in plants. Hence, to be expected, the overall sound should fit this boundaries in some way or another, or what? They are delivering a collection of 17 mostly short downtempo sound sketches, snippets, running with a range from one to five minutes, which in total makes a vinyl length. And this, since having produced their debut in 2017, is a deliberated approach, comes as a distinct trademark.

How does it sound? 1960/70s rooted German crews meet modern neo krautrock followers - Neu!, Cluster, early Kraftwerk ... and Hedersleben, Lumerians, Electric Orange in the same way, to name some culled band references. TREES SPEAK are supported by several like-minded musicians here. Though unfortunately I could not yet reveal who plays which instrument. Acoustic drums, diverse guitars, bass, synthesizer, organ, Mellotron, saxophone repectively clarinet, that's what I could determine somehow, when it comes to the used stuff. The general flow, I'm sure there is a deeper sense intended. Hallucinative, looping impressions and hynotic motoric rhythms are merged. No random track order, I would say, most of them are cross-fading.

For example the triple Nitrous Cross, Shadow Circuit and Blame Shifter, this comes perfectly arranged, makes my day especially. I'm delighted, still. Simple however evocative sequencer lines and melancholic synth patterns give me the shivers. In its entirety this appears to be entertaining and brimful of ideas. Not a copy-cat case of the good old times. Yeah, rooted in the past, though equipped with contemporary sound quality and composing attitude. Just take the prominent and album closing Witch Wound including jazzy saxophone snippets, very much in the vein of neo krautrockers Electric Orange. This one appears on an extra bonus single, if you are deciding to purchase the vinyl version from the associated Soul Jazz Records label. This music grows on me with every listen. Definitely a soothing sound experience. 4.5 stars.

Hey if you want to hear a modern instrumental take on bands like CAN, NEU!, CLUSTER, Brian Eno, early KRAFTWERK and the like you need to check this brother duo out. I'd also mention the more modern RADIO MASSACRE INTERNATIONAL as a reference. The Diaz brothers are from Arizona and while those seventies acts are good comparisons these two guys have made this music their own. Inspired by these legendary bands but sounding surprisingly original. I was curious as well to see them on the Soul Jazz label out of Soho, London but that company had decided to add some electronica bands to their label. To quote the band "Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs and sequences to take one inward." Two multi-instrumentalists but mostly a drum/electronics duo who add six guests here with bass, guitar, trumpet and sax. The latter plays organ and keyboards as well. Not a lot of information in the liner notes on any of their albums and I get it, they want to make it about the music. While the Electronic sub-genre would fit this band I'm glad they are in Krautrock it's a good fit.

So an almost 44 minute album with 17 songs but many of these songs blend into the next without a gap. A melancholic album over all with the electronics dominating but I love that they mixed the drums up high in the sound. It just sounds surprisingly good this way in contrast to the electronic beats. A good example is the opener "Soul Sequencer" and it's the longest at 5 minutes. The drums arrive before 2 minutes and I'm shouting "Here we go!". Prior to this synths hover and pulse before electronic beats arrive along with guitar expressions as it builds.

Some really nice bass on this album from Gabriel Sullivan who pops up on most if not all of their albums. And I have to mention those trumpet expressions and sounds that bring RMI to mind who I mentioned earlier. The sax is also inventive and if it's him playing the electric piano on a few tracks then thanks man! After my first two spins I realized it's going to take some time to unlock this one and it was probably the sixth spin that it started to stick. Love that run from track seven to track thirteen along with the closer. So much adventerous stuff in there plus the electric piano and horns.

I have to mention "Sadness In Wires" just a feel good song with the drums, bass, electronics and more that build. "Sleep Crime" is great and how about those trumpet expressions. Amazing sound too with the next track "Knowing This" with a jazzy vibe. Electric piano, steady beats, atmosphere, bass and more. "Splendid Sun" is a beautiful and spacey tune. "Out Of View" reminds me of early FLOYD with the sinister bass line and dark sound. And I do like that closer "Witch Wound" for the horn, electric piano and that it turns powerful late.

This has really grown on me. I'm a huge fan of these two and look forward to listening to their next three albums over the coming weeks.