Berlin’s brooding post-punk darlings, Berliner Doom (a tempting mélange of ARM, Boris Guschlbauer, and Daniel WTO), have spilled their ink once more. As their much-anticipated album unveils, they offer us “Alte weiße Frau, Bitte schön” (roughly, “Old White Woman, You’re Welcome“), a fascinating cocktail of vintage punk vibes intertwined with the vivacity of Neue Deutsche Welle. It’s a dive into a labyrinth of privilege, power, and self-reflection, and a curious map for those eager to unearth their inner dynamo.
The yarn spun here is one of an ‘old white woman’ shimmying her way to the glitzy pinnacle of ‘Top of the Pops.’ Parallel in her ascent, there’s a dance with the ‘old white man,’ slowly matching him toe-to-toe in their dance of privilege and prowess. The climb is littered with the scrapes of pandering to others’ emotions, enduring drab counsel, and battling one’s own self-deprecation. This audial gem isn’t just a song—it’s practically a handbook for anyone, regardless of gender, seeking to realize, flaunt, and channel their inherent power.
The song carries the jagged bite of No Wave, combined with hypnotic loops reminiscent of Sleaford Mods. The beat is relentless—a persistent post-punk pulse that resonates deep, repetitive, and as unshakeable as that leftover stench from last Tuesday’s trash. Listen closely, and you might catch wisps of Delta 5, fleeting shadows of The Flying Lizards, and a swift homage to Kim Gordon’s iconic line from Kool Thing. It is pure fun.
Dive in!
Oh, the tales one could tell of Berliner Doom’s serendipitous beginnings. Picture this: a majestic oak tree tumbling near their inaugural rehearsal haunt. Boris, his spirit still humming from the Himalayan air, stumbled upon a drum set and whimsically floated the idea of weaving music magic. And just like that, in a whirlwind 48 hours, Berliner Doom emerged from the ether.
Through thick, thin, and the fickle whims of the music industry, Berliner Doom have surged forward, seemingly propelled by sheer willpower and their undeniable craft. They’re not in it for the lucre…no, their heartbeats are set to the pulsing rhythm of raw passion and experience.
Their magnetic allure has spiraled beyond Berlin’s gritty walls, all the way to Kosovo; ensnaring souls, wrapping audiences around their melodious fingers with a thrillingly bizarre musical portfolio juxtaposing sentimental serenades with visceral aggression. There’s a tinge of the dark and the dramatic, a hint of psychosexual co-dependence, even, that’s intoxicating and confounding.
Berliner Doom’s third record, Wer Das Hört Ist Doom (Anyone Hearing This Is Doom) features 12 tracks, all played in just under 10 minutes. Crafted amidst the chaos of the pandemic, it’s a tribute to their chameleon-like adaptability. Frontwoman Anne, splitting her hours between invention and impassioned melody-making, infuses their tracks with eclectic influences and snippets of her own life. Meanwhile, Boris Guschlbauer, with his seasoned touch and infectious wit, peppers in just the right riffy nuances. Then there’s Daniel WTO—less a drummer, more the heartbeat—keeping the whole ensemble in harmonious cadence.
The production of the project was expertly handled by several talented individuals. Marten Thielges of Proxy Studios took charge of the mixing, while the mastering was finely crafted by Daniel Husayn at the renowned North London Bomb Factory. Additionally, the striking artwork that accompanies the production was created by the artistic vision of Miriam Tölke.
Wer das hört ist doom is out now.
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