Langkamer – ‘Langzamer’ album review: a bizarre but beautiful blend
THE SKINNY: Some records are tough to put your finger on. This is one of them. As soon as Langkamer’s confusingly named album Langzamer starts, the opening riff feels gritty, like something that wouldn’t be out of place on a grunge track, and yet, because of the clean surroundings and delicate vocals, the song bears almost no resemblance to grunge. It turns out this is an example of a new emergence of genres.
An alternative version of country, also known as “bootgaze”, is starting to find its feet. In that sense, Langzamer has the potential to be a pretty pivotal record. It remains unclear whether that will be the case, as the luxury of time is required to thoroughly understand the impact of an album like this. However, as a standalone listening experience, Langzamer is an absolute joy.
As a general rule, the album feels incredibly polite. Each note almost asks permission before it’s played, and when vocals come through, they do so in a way that borders on apologising for breaking the silence. However, thanks to hints of distortion, effects on certain vocal melodies, and a healthy dose of variation throughout this album, the record also demands the attention of its listener. You lean in, intrigued, never pulling away from a profoundly enticing sound.
When it’s got you, you also find it has plenty to say with poignant philosophy like, “Do I even enjoy the thing I enjoy?” Alas, like any album that is true to its tone and doesn’t overdo it on the production side of things, some tracks fall a little flat. For instance, ‘Taking Stone’s To Joe’s House’ blends into the background too easily. However, as a general rule, this record is packed with delightful, individual songs that absolutely warrant a second listen.
It’s hard to tell whether this will kick start a trend of bootgaze or act as a deciding moment in the genre’s inception, but until then, Langzamer holds its own as an album you can sit back and enjoy—innovative, hooky and full of depth.
For fans of: Something a little bit country, and something a little bit rock ‘n’ roll.
A concluding comment from future bootgaze fans: “This record was the turning point.”
Langzamer track by track
Release date: October 16th | Label: Breakfast Records | Producer: Ben Woods
‘Heart of Tin’: The riff that kicks the album off is quite low and droning, almost as if it could be grunge-like if the right effects were applied. With only a slight bit of fuzz, along with clean bass, drums, and delicate vocals, this song is a sweet-sounding indie number, but not quite as we know it. It’s an interesting shift, which is lovely to listen to. [3.5/5]
‘Aberfan’: The “gaze” side of “bootgaze” really shines through on ‘Aberfan’. The distortion and layered vocals provide a wall of sound that is completely impenetrable, but that doesn’t matter; you wouldn’t look over that wall even if you were tall enough. The song is simultaneously soft and heavy, inaccessible and easy to grasp. It’s a wonderful contradiction in itself, one that might divide audiences but has certainly won me over. [4/5]
‘Movement’: It begins with the steady plucking of acoustic guitars, light percussion, and a heavily distorted vocal. The vocal melody is quite quick and rushed, and the country element of this song shines through more than it has on tracks prior. It’s a toe-tapping number—country rock meets noughties indie, a bizarre and enchanting mix. [3/5]
‘Richard E Grant’: A track that sounds like it’s been plucked from a small venue in Leeds circa 2009. Upbeat, light hints of distortion, lyrics that need to be read to be learned in a way that people will be committing them to memory in their bedrooms. Begging for an audience, ‘Richard E Grant’ feels as nostalgic as they come and a very specific type of wonderful. [4/5]
‘Salvation XL’: If a forgotten cup of tea could make music, it would sound like this. Luke warm and full-bodied, this track sounds like it feels sorry for itself, pining for a hand to hold and an ear to listen to it. Despite being slow-moving, the song is full of life and something that you would be happy to revisit. Slower numbers are often filler on big albums, but not in this case. [4.5/5]
‘Taking Stones to Joe’s House’: An upbeat song that is easy to move to. Compared to some of the other tracks on this album, ‘Taking Stones to Joe’s House’ feels like it’s lacking in something ever so slightly. That’s not to say it’s a bad song, but it falls through the cracks slightly compared to the rest of the record. [2.5/5]
‘At The Lake’: Plucking guitar and isolated vocals try to recall memories far away and faded. Lost conversations from evenings past are reeled off like bullet points in this ode to memories. The deep-sounding harmony on the track is a highlight; a Leonard Cohen-like basso cantante provides depth that most lakes would be envious of. It’s a track that glides from start to finish, and you miss it when it’s over. [5/5]
‘Double Island’: A short and sweet folk ballad. Emotive lyricism and an elongated string section are easy listening. While it may not be a stand out on the album, at less than two minutes long, it’s also a difficult song to find fault with. [3.5/5]
‘Flight’: As a bit of a busier song, it feels like we are dipping our toes into the “gaze” element of “bootgaze” once again. The guitar is distorted, and the chords merge slightly together. The small string runs in the track are reminiscent of noughties punk music if you turned their amps down. The ability of these songs to feel large and anthemic while still being stripped back and fragile is very impressive. [3.5/5]
‘Bluff’: The album ends on a high. On a record where fragility, vulnerability and transparency have been delivered in excess, ‘Bluff’ is the most emotional song by a long way. It almost feels rude to talk about a song so minimalist and private; to do so would be out of line, like overstepping a boundary and walking into a room with a “No Entry” sign. Just experience it and be moved. In fact, do that with the whole album. [5/5]
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