Sankt Otten - this band is probably one of only a few German heirs to the throne when it comes to the sound that made a little scene some 50, 60 years ago so impactful that it flodded the world we know with sounds unheard of before and in some way never again achieved anywhere ever since. We are more than happy and proud to give you the premiere to their next single “Filterkaffee und Finsternis”!
First of all, one should be aware that this is not just a project by some nerds, but by some nerds that have been in this business for more than 30 years and who know that in this business they will forevermore remain a niche thing, but they still keep on for they love what they are doing and the music they are giving us as Sankt Otten; please not that these two guys have also been part of one of my all-time German bands Pendikel so in that sense this premiere is even more of an honor for me.
However, this is not a fanboy writing some lines about “Filterkaffee und Finsternis” (“Filter Coffee and Darkness”) but somebody who is awed by the structures of the whole new record Tote Winkel (“Blind Spots”): Sankt Otten have never sounded more like the devilishly good Düsseldorf-scene of the 70s and equally as much like a modern (analog) Synthwave artist. When listening to the track one can basically see Florian and Ralf nod in acknowledgement because there is somebody to carry the torch. One may moan that Sankt Otten are doing nothing new with their synth-infused Krautrock that relies so much on fine-tuning and the little twists and turns of the melody on this track. Yes, you may moan - but does with take anything away from the amazing individuality of this sound 50 years after its founding period? No, it doesn’t because Oliver and Stephan take this sound and by twisting the nods and knobs a little bit create a highly enigmatic and truly energetic version of modern Krautrock. Their songs are embellished with little details and even if you might want to call upon them for plagiarizing, please notice that their use of tiny details with a little field recording or sample here, a slightly less crystalline and more vibrating cymbal there and many other similar elements embodies a real great mix. The really remarkable production by wizard Rafael Anton Irisarri is as important for the efficiency and success of this record as is the once again simplistic yet playful cover by Daniel Castrejon. Irisarri’s work makes this record sound more organic and naturally flowing as any other Sankt Otten record before and Castrejon’s cover places it within the sequence of geometry-based covers since 2020’s Lieder für Geometrische Stunden.
I also do not want to leave you without telling you about the other Sankt Otten record released on the very same day as Tote Winkel: Klemm and Otten collected and assembled some of their cover versions on this record and man, they are breathtaking as each is simultaneously both - the original artist as well as the Osnabrück-based duo. Their versions of songs by Donna Summer, Grauzonen and A Flock of Seagulls are amazing, but their covers of Bowie’s “Heroes” and the Wipers’ “Doom Town” should become instant classics in a fair world. But is this place a fair spot? I ain’t sure, neither are these two guys but none of us (should) care!
Tote Winkel, this semi-monolithic Phoenix rising once again from the ashes of German Krautrock will be released this on June 6, 2025 and you can pre-order the record from the Denovali webstore. There you can also purchase Hymnen und Helden; neverthelessindulge yourselves now in the warmth of “Filterkaffee und Finsternis”!
