Do you know D.C.?
Get our free newsletter to stay in the know about local D.C.
Despite some similarities between last year’s excellent crop of “post-rock” bands (Laika, Long Fin Killie, Pram, etc.) and early-’70s kosmische Musik, none of 1995’s post-rockers shared their inspirations’ absurdist humor. Faust once recorded a ditty called “Why Don’t You Eat Carrots?,” Neu! placed 78 r.p.m. tracks on 33 r.p.m. albums, and Can’s improv-oriented music gained levity and charisma from Damo Suzuki’s ad-libbed lyrics. The German twosome Mouse on Mars not only has the correct heritage but the proper sensibilities to be considered true Kraut-rockers. “Saturday Night Worldcup Fieber” and “Omnibuzz” from Mouse’s second album don’t feature any loopy lyrics, but they are surrealistic forays into technologically based music. The distinction between techno and technology is important, because other than the single “Bib,” this isn’t music you can dance to. The distorted drums and radio-wave melody of “Schlecktron,” the space-age bachelor-pad dub of “Papa, Antoine,” and the rubbery triphop of “Stereomission” sound best in a controlled atmosphere featuring strategic lighting, strong mixed drinks, and gravity-free social interaction.Christopher Porter