Q2

Artist: Q2
P: 2013
It's refreshing to observe that after all what I hear there are surprises which shine here and there. And “Asteroid” from Q2 is a very beautiful one. Yes, this is not the usual kind of Berliner style, even if we sense the roots of vintage Berlin School growing beneath the underground touch, the Krautrock movement. And it's one of the main reasons which explains the big charm of this opus splendidly signed by Frank Husemann and Sunny Vollherbst. I like these structures in continual movement, no matter the tangents, where every hidden recess amazes, because of their unexpected moods or because it is just simply very beautiful. "Comet" will seduce you right from the start, the title-track will attract you by its subdued melodious approach and when, when you will be hooked by "Planets", you will finally be conquered by this simply charming album that is “Asteroid”.

Artist: Q2
P: 2014
Tiere is a very Teutonic electronic rock album where Q2 transforms simplistic hymns into monuments which cement our ears with simple things which are very attractive”
When I looked at the artwork of “ Tiere ”, I had as a movement of surprise. And not in the best sense of the word. Drawings of animals, because Tiere = Animals, fixed on cardboard by childish hands! Let's admit that it is kind of unusual. I had the impression to look at the first drawings of my children. A little as if we were thrown years behind. And this is a little the feeling we have when listening this 2nd album from the German duet Q2 . Contrary to Asteroid , which was a lot more of a progressive kind, Frank Husemann and Sunny Vollherbst concocted us an album where the simplicity is the base of everything. “ Tiere ” is a very Teutonic electronic rock album where Q2 transforms simplistic hymns into monuments which cement our ears with simple things which hook the attentions, even if the duet likes to insert dysfunctional elements into some superb melodies which amaze, both by their spontaneity and by their efficiency.
And that begins with " Wolf ". The first oscillations get lost in an union of percussions and guitar chords which drum and spit a very catchy Teutonic rock. The introductory rhythm is hooking immediately the ears, the senses and makes stomp. Riffs comes to peck at this moderate race while that clouds of ether are floating by pads, just to remind us the basis of EM. The rhythm remains steady. This is light lead in the ears. Minimalist? One can say, just like all of the rhythms which beat in “ Tiere ” moreover, but with fine variances which delight the listening. Here, Frank Husemann 's guitar, and even if his play remains sober, distorts the race of "Wolf" with just enough subtleties in the tones of his six-strings to make subtle changes in the pace just as much of the knocks of those robotics percussions. I quite liked it. I had the impression to hear a James Bond hymn played all crooked. It's a great e-rock, a pure earworm, a la sauce Kraftwerk . And even if the spirit of Kraftwerk is floating all over the 8 tracks of “ Tiere ”, we have difficulty in identifying the era. I would say that it's pre- Authoban or still The Man Machine times, like " Kater " where the rhythm is as much fluid and the melody is incredibly catchy. The music and the melody is anchoring in the ear, even if its finale is as much indomitable than a cat in heat. " Schmetterling " also offers a beautiful melody weaver of earworm. The keyboards resuscitate these old analog tones which charmed, like these old organs that were lying about in almost every family in the 60's. The rhythm is hopping, elastic with bass chords which grumble and percussions which spit white noises. " Bieber " takes back a little the cybernetic beatings of " Wolf ". It's a mixture of e-rock and synth-pop with a bass line livelier than the percussions and a guitar which is less harmonious than on " Wolf ". A little in the genre of " Loewe " which is heavier, more indocile with a guitar full of wah-wah effects. " Fledermaus " is a darker, a little less accessible where the percussions sculpture a continual thunder and where the waves of guitars and synths draw the sensory languages and the threatening mass movements of bats. Let's say that the music reflects aptly the idea behind the title. And it's also true for " Schmetterling " by the way. All the opposite of " Kuh " which is a kind of very catchy rumba, while " Alder ", which is a little bit in the same style as " Fledermaus ", draws marvelously the winged movements of an eagle. The rhythm is rather ambient at the beginning. It prepares its flight on slow dark keyboard pads. And a little as the eagle, which it is exactly the sense of the track name, the music fits the flight of the bird of prey which glides like the quavering percussions and the impulses of a bass line. The wings adjust their swiftness, bringing the nervous and tremulous rhythm of " Alder " to the top of its destination. And it's the descent.... Ambient and psychotronic. Two elements which decorate with aptly and shades a pleasant, and audacious at times, album which reminds us a little the genesis of EM.
Sylvain Lupari (December 22nd, 2014)