MIT - Coda
It is difficult to talk of German music without immediately thinking of ‘Krautrock’, such is the immensely considerable shadow that particular genre casts. When one considers the vast and diverse array of artists that have been enraptured and influenced by the hugely innovative and experimental cluster of musicians and bands that emerged from West Germany throughout the late 1960s and 1970s; the immensity of the influence of Krautrock cannot be overstated. It is therefore both uplifting, yet entirely understandable that the debut from Berlin based teenage minimalist techno punks MIT takes many of its cues from the work of NEU!, Can and Kraftwerk.
However, ‘Coda’ is more than a mere retread and celebration of previous Krautrock glories. MIT have spent the past couple of years sharing stages and honing their sound through touring with a plethora of electonica’s finest featuring Simian Mobile Disco, Von Sudenfeld and Shitdisco and have emerged with their own brand of “minimal electronic punk”. The album begins with an angry, belligerent, throbbing slice of electro in the shape of ‘Beispiel’; fading in slowly it develops into a pounding, pulsating opening to the album, building forcefully throughout before the incessant thumping of tribal drums ultimately give way to cantankerous cries from vocalist Edi Danartono Winarni.
It is a fierce and uncompromising opening. Yet, through the course of ‘Coda’, MIT adequately demonstrate they are not exclusively restricted to speaker juddering urgency; their sound is ambitious in its outlook, expansive and in parts diverse. Whilst they clearly specialise in producing thrashing explosions of noise (‘Rauch’ is a particular highlight, driven by along by a series of interlocking twisting, veering synths), they seem equally adept at creating ambient, mesmeric soundscapes (‘Zwei’ is a fine example of MIT at their more leisurely, a laid- back groove, featuring some delicate synth touches and a hypnotic, soothing melody). The undoubted highpoint of the album is ‘Kleur’ dragged along by some fiercely propulsive drumming (think of Stephen Morris’ uncompromising attack on Joy Division’s ‘Unkown Pleasures’) it is a head-splittingly intense, industrial workout in which recurring synth melodies, concentrated rhythm’s and screeching vocals compete for attention. However, it is clear that despite these standout moments, ‘Coda’ contains some obvious ‘filler’ material, particularly culpable is ‘Gebaut’ which resembles little more than listless, electronic noodling and several of the tracks appear to meander horribly off course and verge on self-indulgence. The album closes with the title track which builds gradually and unerringly, seemingly with the intention of bringing both the track itself and the album to a climatic and cataclysmic finale.
However, just as you are anticipating one final, intoxicating head-rush through a truly stomping conclusion; the track disappointingly chooses to fade out rather than provide the desired shattering climax. It is a below par and underwhelming to a decent debut album, one which suggests that MIT are not yet masters of their craft. Given their relative youth, it is possible that they will return bigger, louder and bolder in future.