Even the word handmade sounds right. The album was cut over the short course of two weeks around mid-December, with everything except the vocals and a handful of guitar solos laid down live by the trio from Berlin. So expect a few forgivable rough edges that will improve during live performances.
"We've tried to capture more of our live energy, which is why we've recorded almost everything together in one room with the amps turned up to the max," says Ted "Tiger" Tinski. "The songs are more diversified, the ideas feel more spontaneous."
Abra Kadavar almost plays like two EPs stitched together.
The top half of the album plays like most people would expect from Kadavar, except with a crispness that the band says is closer to their stage sound. The effect leaves off a little meatiness but is no less addictive as Come Back Life eases everyone into the album.
Although written months before the video, Come Back Life foreshadowed the band's ill-fated adventures across the United States in March. Their baggage was lost, there was no room in Austin when they arrived for SXSW, and the '64 Ford Galaxie they bought to get around blew up.
The laid back road track fits while giving up the first glimpse of how psychedelic rock can sound. Christoph "Lupus" (formally 'Wolf') Lindemann effortlessly lands the vocals, unencumbered by any distractions since he had already recorded his guitar work and bassist Javier Mammut is right on the mark in giving Kadavar its signature sound.
The second track, Doomsday Machine, kicks up the tempo with a tenacious and straightforward rocker. It's one of the best tracks on the album, not for breaking any new ground but for remaining grounded in a classic groove. Even the concepts are classic. It was inspired by Stanley Kubrick's Dr. Strangelove.