s​/​t 2003

by Echokrank

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    The LP was released in 2003 on Klangkrieg.

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"I cannot describe this. Imagine the most simple and obvious synthetic sounds coming from the cheapest of noise-making machines (children's toys, LED-games, cheap digital watches) of the last three decades being used to make instrumental pop-music. Impossible, is it? Well, on “Echokrank”'s debut you'll find 13 great tracks filled with it. Makes me want to crank out my Sega Game Gear. Or better yet, try to restart my ol' Atari 600 and take some serious drugs. It is the weird beat of little LED-games from the eighties fighting each other. Or do you remember these semi-mechanic games that used batteries and LEDs and knobs and springs to trigger maybe a bowling-simulation or a moonraker-rip-off? These sounds. And they will definitely annoy you at first, until suddenly you find yourself dancing to these sounds; sounds you never thought were danceable before. Far from the evil butchery of some noise-techno-hacks, who are content with producing the most evil and harsh techno beats sometimes adorned with a few bleeps and feeps here and there, Echokrank roam through harsh techno with a childlike fondness of both simple melodies and ridiculous synthie-sounds. This is not to say, that noise-techno-hacks with harsh and evil humour and the target of wiping clean each and every dancefloor they are ever invited to, are worse or less interesting. There are some, who I'd call pure genius (like this one). Freaky, but pure genius. Only they sometimes lack in humour, and humour is necessary for survival. I have no idea, how to describe the humour of Echokrank, but there is a lot of it within these 13 tracks. Starting from the name – “Echokrank” – which can be figuratively translated as sick from or with Echo, but is actually symptom experienced by deep-sea-divers. It goes straight to track-titles, such as “assword required” or “slower pussycat wait wait wait”. And it definitely doesn't end in posing as post-war hookers in a bombed out part of town. Or is that posing as housewife-drag-queens in a big building project in former eastern-Germany? The record grows with them. The tracks get “better” on the second half of the record – which can mean two things: Either, the break-ups, cut-ups and structure gets more and more interesting and the sounds used become a little weirder and at the same time more easily swallowable. There suddenly appear holes within the bubbly surface of the tracks, making them a little less stable but therefore more appealing. My favourite track is number seven, called “tempo”, due to its almost dubby beat, the squishy and time-modulated organ-sounds and because it is the only track with something closely related to vocals. But “tempo” mainly stuck in my mind because it uses a lot of weird hooks and fillers. Or the tracks get better, because the listener starts to slip into the strange universe of Echokrank, becomes accustomed with the laws of gravity working here and realizes the beauty. Or a mixture of both. If you would draw a map of all the electronic music around, this wouldn't fit in anywhere or be close to anything I know at all. If the record wouldn't be so great anyway, I'd give two thumbs up for that alone." (Cracked 2003)


released April 1, 2003



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Echokrank Berlin, Germany

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