From the opening track of 'Wunden gibt es immer wieder' Sankt Otten make their intentions known. Stephan Otten..s echoing rhodes piano falls over golden drones as Oliver Klemm drapes his elegant trademark guitar through the track like a neon waterfall. The album represents a marked progression from the bands earlier output. It draws upon the heart of their previous forays into dark melancholic trip hop yet discards the form. In doing so the band have managed to present a musical vision that is even more epic, cinematic and noirish and distinctly their own.
Over its eleven instrumental tracks the album presents such an immensely crafted and expansive landscape. From the buzzing twilight halo of 'Taschensymphonie', the magisterial lament of the title track and the urgent, dramatic ambience of 'Der Groove des guten Gewissens' 'Wunden gibt es immer wieder' is a slow burning, intensely orchestrated piece of maximalist minimalism. The albums hypnotic melancholia is undeniable as it turns lost moments into cinematic anthems.. This is music made for film made for music and an album only Sankt Otten could make. 'Wunden gibt es immer wieder' is the follow up to the immensely successful and critically praised 'Wir koennen ja Freunde bleiben'. Here the last copy!
