Leipzig’s experimental duo AUA returns with “Allies,” a track that deftly navigates the chaotic terrain of political alliances and the thirst for validation. As the third offering from their forthcoming album Painkiller No. 1, set for release on November 8th via Crazysane Records, “Allies” stands as a testament to AUA’s evolving sound—melding post-punk urgency with krautrock’s relentless rhythms.
“‘Allies’ is one of my favorite tracks on the new record,” shares AUA’s Fabian Bremer. “I’m impressed by how Henrik pulled off such a stunning video in no time—and on a tight budget of just 15 euros (the cost of three rain capes). The song explores how the desire to be right by gathering a following can lead to a loss of control. It’s a reflection on the complexities of power and influence, where seeking validation can result in unintended consequences. In the video, you’ll spot our live bass player, Steffen Smirny, but the original bass track was laid down by the incredible Sally Brown. Working with Sally was a fun experience, and we’re super grateful for her contribution! Huge thanks to the team at Schlachthof Wiesbaden for letting us film at the venue, and a special shoutout to Steffen and Dennis for making it happen!”
“Allies” unfurls as a succinct atmospheric piece, humming and buzzing with an experimental fervor. It evokes a parallel universe where John Lennon and Yoko Ono plunged into post-punk experimentation with Bowie’s during his Neu! influenced post-Berlin transformation in New York City—a genuine new-wave avant-garde anomaly. The percussion is nimble, the rhythm section taut, propelling the track with an insistent groove. Keys shimmer with a vintage allure, nodding to the idiosyncrasies of The Residents and the mechanical allure of Gary Numan, all while weaving in threads of prog-rock and krautrock ethos.
The accompanying visual is a study in minimalism. Cloaked in translucent raincoats, the band performs within the stark confines of a black studio, intermittently bathed in flashes of color. The song’s ominous title intermittently asserts itself on the screen’s periphery, enhancing the disquiet. The imagery is layered, mirrored, occasionally offering top-down perspectives—a timeless artistic statement that resonates with the track’s tense and surreal ambiance.
Watch the video for “ALLIES” below:
With Painkiller No. 1, AUA concludes a compelling trilogy that charts the evolution of their sonic landscape and artistic vision. Following the introspective depths of The Damaged Organ (2022) and the kinetic exuberance of their debut I Don’t Want It Darker (2020), this latest opus by multi-instrumentalists Fabian Bremer and Henrik Eichmann stands as a testament to their dynamic creativity and the resilient bond of their collaboration.
Crafted between the intimate spaces of their home studios and the seclusion of a remote cabin, Painkiller No. 1 emerges as an intricate mosaic of sonic diversity and sophisticated songwriting. It reflects the duo’s relentless pursuit of movement and transformation. Motorik beats and arpeggiated synths remain the backbone of their compositions, evident in tracks like “Disconnected Bliss” and the eponymous “Painkiller No. 1.” Yet, there’s an expanded sonic breadth here—the vocals take on a more prominent role, lending a human touch to the mechanized soundscape in songs like “Scenes of Quiet Life” and “White Sharks.”
Building upon their signature blend of ethereal vocals, crisp percussion, vintage synthesizers, and lo-fi guitar textures, AUA ventures into new territories. They draw inspiration from the psychedelic eruptions of Portishead and The Beatles, and the moody, intricate arrangements of Autolux and Broadcast. The result is an album that pushes the boundaries of their established aesthetic while maintaining the warbling grit that defines their sound. Each track is a meticulously crafted journey, revealing the duo’s maturation as both musicians and narrators of abstract sonic tales.
Following their collaboration with Annika Henderson on “Islands Song” in 2022, Painkiller No. 1 features contributions from esteemed artists. Sally Brown (Plattenbau, Anika) infuses “Allies” with her distinctive, gritty bass tones, perfectly complementing the song’s krautrock-inflected post-punk energy. Jobst M. Feit (Radare, Death By Gong) enhances the psychedelic pop allure of “Terminal” with a lush, grooving low-end. Longtime collaborator Dominik Fink delivers some of the album’s most memorable bass lines on tracks like “Walking Mystery,” “Glowing One Pt. 3,” and the expansive “No One Calls,” which closes the album with almost six minutes of weightless melancholy.
The partnership with mixing and mastering engineer Magnus Wichmann brings a newfound clarity to their production, balancing polish with the inherent grittiness of their sound. Visually, the collaboration between Fabian Bremer and Serbian artist Mihailo Kalabic continues, with Kalabic’s surreal digital sculptures providing a striking counterpart to the album’s nuanced themes.
Set for release on November 8th, 2024, via Berlin’s independent label Crazysane Records, Painkiller No. 1 will be available on LP, CD, and digital formats. To commemorate the trilogy’s completion, a limited 3×LP box set featuring all three of the band’s albums will accompany the release.
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