FormatCDLabelSonorisGenreElectronic
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“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further.
The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG
| 1 | Kühe In 1/2 Trauer | 6:21 | |
| 2 | Paris, Morgue | 3:19 | |
| 3 | Anselm Weinbergs Flucht In Den Odenwald | 5:33 | |
| 4 | Rückplötzlich (Scheitze) | 2:48 | |
| 5 | Hammer/Zange/Hebel | 3:00 | |
| 6 | Default Value: Störeingabe | 3:48 | |
| 7 | 5/4/3/2/1/Wand | 1:11 | |
| 8 | Ekstase Des Sozialismus | 5:13 | |
| 9 | He's Afraid Of The Way The Glass Will Fall - Soon - It Will Be A Spectacle: The Fall Of A Crystal Palace. But Coming Down In Total Blackout, Without One Glint Of Light, Only Great Invisible Crashing | 6:39 | |
| 10 | Dumpfes Begleitegfühl | 4:05 |
“Vital and alive, complex and abstract, and yet remarkably approachable and engrossing, both P16.D4’s “Kühe In 1/2 Trauer” and “Distruct” entirely rewrite longstanding perceptions of how sophisticated a great deal of post-industrial music actually was.”
