Kadavar Comes Back With Abra Magic

There is something unmistakably warm and authentic about the sophomore album from Kadavar, the follow up to their eponymous debut last year. Although some of the deep textures that heralded a return to the riff-driven, doom-like appeal of psychedelic rock are different, Abra Kadavar has a handmade feel.

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.


The next two tracks progress in a similar fashion, tripping along into the bristling Eye Of The Storm and bluesy Black Snake before the album takes a progressive turn. Dust and Fire are deceptively straightforward as the band transitions to psychedelic space rock with Liquid Dream introducing the organ.

Rhythm For Endless Minds keeps the organ swirls and the band drops in some distorts on Lindemann's vocals, to an otherworldly effect. While the album feels finished on the magical Abra Kadavar, The Man I Shot provides an epilogue of sorts with a stripped back and readily raw composition. The tenth track also carries a seven-minute plus time stamp, which is more than enough time to get lost inside it. 
Abra Kadavar By Kadavar Casts A Spell At 8.1 On The Liquid Hip Richter Scale.
Kadavar does one better than retro rock by making progressive rock thrive with a vintage vibe. While there are some obvious nods to the era, the Berlin trio never feel like they are trying to recreate something as much as they are just making music. What's even more promising is the album feels like Kadavar is just getting started. 
You can find Abra Kadavar on Amazon. The vinyl LP can be ordered from Barnes & Noble or download the digital album from iTunes. The tenth track is only available with the purchase of an entire album, but that is how Kadavar plays best anyway — with every track stacked back to back. Better yet, see them live.

Kadavar Has All Our Dusty Thoughts

Kadavar never talked about the style of music they wanted to make before they made it. They just walked into the practice room and starting turning out a heavy dose of hazy psychedelic that channels the 1970s heavy rock scene as if it were today.

But that doesn't mean saddling the band with a throwback moniker really fits either. They sound better than any retro project. The music is fresh, with a hint of krautrock. Every song rolls in like a blanket of smoke and hangs in the air.

Kadavar's self-titled debut lingers long after the last note. 

The album, cut in the studio owned by the drummer and recorded on analog, carries a classic blues-laden heavy rock jam rock that effortlessly grooves and chugs along in whatever direction feel natural. Expect to hear plenty of comparisons to Black Sabbath, Led Zeppelin, Sir Lord Baltimore, and everybody else critics can tag on to stories. None of the comparisons fit, even if the band would have fit into these band's lineups.

There's much more going on here than layering distorted guitars over a bass line that serves up some melody as much as rhythm. Much of it has to do with the way Christoph "Wolf" Lindemann balances his guitar riff and vocals, giving Rivoli bassist Javier Mammut more room to bridge the space between himself and Ted "Tiger" Tinski's impulsive drums. 

A rundown of what to expect from the brilliant debut album.

The album kicks off with All Our Thoughts, a four-and-a-half minute jam that introduces their powerfully convicted sound. The Berlin trio eases everyone into a hypnotic groove before breaking into a seafaring rock fable about an endless quest. Lindemann's vocals are relaxed; his guitar solo toward the end bristles.

Aside from the opener, the most chatted up track is Creature Of The Demon after its video debut. The song, loaded with guitar riffs, is exactly what you think it might be — a woman with all the seductive prowess of a succubus. She might haunt your dreams, but the reason isn't pretty.




The vintage film clips used to make the video help set the vibe. It was edited together by Lindemann, keeping the band temporarily true to their DIY attitude. It's in their roots, much like playing "the German way" has become the band mantra. Everything is relaxed, confident, and purposeful.

Black Sun has a masterful touch of doom rock, with Lindemann singing about those things in the dark reaching out for you at the edge between worlds. It's a convincing witness song with some of the finest guitar riffs on the album. I heard the demo last year; the polish improved every aspect of it.

Forgotten Past carries sound that's more raw than much of the album, with Lindemann's vocals a bit too distorted and some of the change ups occurring with a jolt. Goddess Of Dawn smokes, a creepy sacrifice song of sorts. And the 8-plus minute Purple Sage is a brilliant masterwork, brining in some space rock.

It is also the only song on the album that invited a fourth member. Their friend Shazzula Nebula, who guests in many bands (White Hills and Farflung among them), joined in to play the Theremin. She does it perfectly, creating many of the eerie space rock effects. It's the centerpiece of the open and end.

The Theremin truly sets the tone for this long play jam session. It also hints at something that doesn't always come across overtly in the album but is very much a part of Lindemann's passion for music. Atmosphere is just as important to him as riffs, lyrics, rhythm, or any other part of a song.

Overall, this is a must-have album for anyone who enjoys some vinyl-ready heavy rock. It's also a good reminder that music some people consider part of the past can be refreshed easily enough. There is plenty more to be mined from any genre with the right progressive approach.

Kadavar's Self-Titled Debut Shatters 8.9 On The Liquid Hip Richter. 

Add Kadavar to your watch list. What's especially great about the band, even as a three piece, is that it doesn't feel like Lindemann is strained when he balances vocals and guitar. And to Mammut's credit, part of the reason is pushing the boundaries of the bass.

The self-titled album Kadavar is available on iTunes. You an also find the album on Amazon. If you can splurge for vinyl, do it. There's an additional layer of warmth that makes Kadavar even better.