KadavarRough Times

Germans Kadavar want you to believe they stepped through a portal from San Francisco, 1974 and into today. For them, the last forty years of rock history never happened. So they heap on vintage analog synths, fuzzed up guitars and thin ol’ drums like they were recording in the Rolling Stones Mobile. By the way, they are still cut up about that Montreux Casino fire.

Though much of their 70s worship is simple fuzz rock and thousand-pound drums, their spin on late psychedelia (sorry guys, applications for the Nuggets compilation closed…before you were born) Into The Wormhole is a greened out mindtrip of DMT-level proportions. We hear feedback upon feedback like we’re floating through Jon Pertwee Doctor Who titles. Freestyling guitar jams are captured like a sunset and slathered over with Instagram vintage.

The Lost Child…It’s a psychedelic symphony. Music a slick 70s spy might chase a femme fatale to.

Die Baby Die is spinning top heavy blues ala Black Sabbath and Blue Cheer, rounded off by Christoph “Lupus” Lindemann’s reedy snarl. Other songs aren’t so fruitful with personality, though; Vampires could be inserted into a bargain bin Mastodon offering, Words of Evil a pre-Dio era Black Sabbath offcut.

One of the outstanding tracks is the trilling, French New Wave style soundtrack piece The Lost Child. It’s a psychedelic symphony. Music a slick 70s spy might chase a femme fatale to. The retro rock revival wasn’t just a flash in the pan (cough, Wolfmother, cough) and Kadavar are more than capable of being the movement’s poster children. Hang in there, baby!

STICK THIS NEXT TO: Witchcraft, King Gizzard and the Lizard Wizard, Gypsyhawk
STANDOUT TRACKS: The Lost Child, Into The Wormhole, Die Baby Die