Offene Türen

In which Roedelius' familiar loops appropriate the guitar-driven sound of the 60s.
 
It can't be. But, yes, five tracks on Offene Turen really do sound like a sideways nod to Jimi Hendrix or The Doors. His penultimate album for Sky Records and the first after departing Germany for Vienna, this is one of his more untypical, if intriguing, albums of the period, thanks to the contributions of producer and guitarist Eric Spitzer Marlyn who essays some molten, raunchy, stuttering riffs and drums that invoke blues-y 1960 freak outs (but looped Teutonic-style, of course). Perhaps loosely inspired by an afternoon with their record collections, it's something of an acquired taste, a shotgun marriage of American blues and baroque keyboards. In between the rowdier tracks, Roedelius essays some delicate keyboard workouts in his now familiar style. Thinking about the album title, which translates as 'Opening Doors': whereas as Jim Morrison wanted to 'smash down the doors of perception', Roedelius seems to infer that he'd rather prise them gently open.

Source: Stephen Iliffe