The Magnificient Seven: Kombynat Robotron

A New Sound

A lot can happen over the course of seven years. Northern German kraut, psych, and jam rock enthusiasts Kombynat Robotron have not only released seven longplayer alongside multiple other publications such as splits, tapes, etcetera. The band from Kiel has undertaken a serious development which began with ambient, loosely structured longtracks. Gradually, releases by Kombynat Robotron were coined by more structure, coherence, and the albums’ themes became more visible; you may find Frohe Zukunft to be a great example for that. Furthermore, they abandoned the false kyrillic notation of their band name. But with their seventh longplayer in seven years, Kombynat Robotron have quantum leaped forward. This is the new sound, this is the revolution of the modules, this is AANK!

Between Haze and Sobriety

For the first time in the band’s history, we can hear vocals on a Kombynat Robotron release. And the voice of guitar player Jannes Ihnen is not even the central part of what has changed in the soundscape. Without neglecting their hazy, psychedelic, and sedating style, Kombynat Robotron have adapted a very clear and sober look on their environment and the contemporary situation of our universe.

With Ikarus being the central climax of AANK, Kombynat Robotron hereby present a full revolution of their own performance. From the activating opener Staub (which may or may not be a tribute to The Rolling Stones‘ Jumping Jack Flash) over the calm interlude Aank Ma, AANK implodes in a massive vortex of 1980s dark punk and dragging psychedelia. Between Ikarus and Unbehagen, the listeners may feel trapped amidst an area of tension between Hawkwind or Vibravoid and EA80 or Abwärts. Towards the ending, AANK only gets darker but the psychedelia remains despite the cold.