KAELTE: Aus tiefen Höhlen

Release year: 2023
Label: self-released

It’s always nice when an artist takes something we say to heart. In our review of German Kaelte’s previous release, the EP Alle Teufel Sind Blutsbrüder (here), we requested the next release be a digipak or a jewel case instead of a cardboard slipcase. Lo and behold, they heard us and the new album Aus tiefen Höhlen is a digipak.

We jest, of course: we don’t really delude ourselves into thinking that our words had any impact. But still, we are happy: the digipak does make a much more positive impression than a slipcase. It makes the whole thing a lot more album-y, you know?

The digipak in contrast to the slipcases isn’t the only thing that has changed. No, for this album, the duo behind Kaelte – Sven and Franziska Martin – have revamped the sound quite heavily. Recorded in the studio of Michael Tellbach of neofolk/post-industrial outsider act Art Abscons, apparently the duo also enlisted Tellbach’s assistance with various instruments. The result is a much more complex, varied sound.

The album kicks off with a couple of tracks which are almost more goth rock/post punk than neofolk of any kind. With prominent electric bass playing classic goth rock bass rhythms, electric guitars and more traditional rock/pop percussion, there’s definitely a more rock vibe to some of these tracks.

Still, scratch at the surface, and you’ll soon discover it’s still Kaelte beneath the surface: acoustic guitars and Sven Martin’s baritone are still defining elements. The neofolk hasn’t gone anywhere.

On the whole, the sound has developed in a positive direction. Not that there was anything wrong with the previous EP, but this sounds more fleshed out and fuller. Die Täuschung Lächelt is probably the best song by Kaelte I’ve heard, and a prime example of how well the new approach works: melancholic, goth-type electric guitars weave melancholy vibes all over the album, and Martin seems to exert himself more than before, resulting in perhaps his most expressive vocals to date. Bright synthesizers pierce the melancholy, like rays of the autumn sun.

Some other tracks focus less on melody and what could perhaps be characterised as more traditional rock structures, opting for slower, more abstract and less tangible forms; more atmosphere, less catchiness. Whilst Kaelte’s skill at creating atmospheres has increased – this album sounds like autumn! – some of these latter tracks don’t really do much for me. They work well in the background, but don’t offer much for concentrated listening.

However, this debatable shortcoming considered, I feel that Aus tiefen Höhlen is artistically a significant step forward for Kaelte. Perhaps it can’t be called purebred neofolk anymore, but so what? In broadening its scopes, Aus tiefen Höhlen adds much to Kaelte, whilst still retaining the quintessence. That slow, languid sadness, the feel of the cold autumn air and the beautiful patterns of autumn leaves on the ground. That’s what Kaelte have always sounded like to me, and it’s so much stronger on this album than before.

So, whilst not a perfect album, and whilst leaving room for improvement, Aus tiefen Höhlen is quite clearly a good development. It offers a fuller, even more confident sound, and contains Kaelte’s best track so far. Not bad, eh!

Visit Kaelte on Bandcamp or Facebook