“Autoservice” opens like a digital daybreak and builds into hazy-half flashbacks and half-dream like lullabies it’s playful outro and unorthodox “behind the scene” sound effects highlight the band’s ability at improvising, and how they ride a soundwave for as long as it feels right. The “Space” is provided with tracks that other electronic acts may not have been able to produce. It’s the track where the drums – and particularly the cymbals – are given permission to overpower the keys, and it’s a confirmation that they don’t take lightly. “Random Resonant Arp Disco” and “C-Beams” follow similar drugged-up disco, dance-friendly patterns, with the former reminiscent of Metronomy’s frequent forays into electronic instrumentals and the latter showcasing the duo at their most harmoniously hectic. As guitars and sharper effects are added into the mix, the final minute encourages comparisons with The Prodigy too.Ī juddery loop (slightly leftfield of Moroder) also opens “How To Hide Yourself”, which builds in a similar way, yet sounds even more Kraftwerkian – but only if a classic rock drum kit had traded places with the robots’ drum machine. Loops like Kraftwerk open “Maxwell’s Waves”, following Hütter and co.’s lead of making the plain sound pioneering, before beating it with, erm, beats. The influence of those European pioneers is clear on Synths +… ”Maxwell’s Vibes” is pure synthetic orchestration surrounded by beaten skins when you also learn that both halves of the duo (Ed Chivers and Graham Sowerby) sit behind drum kits on stage, with vintage technology surrounding them, the vision for this project is an 8-bit, organic version of crystal clear.
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When you learn that AK/DK’s first gig together (organised by krautrock legend and ex-Can member Damo Suziki) was an entire unrehearsed, improvised, hour-long series of beats and beeps in various guises, the album makes a lot more sense. Made up from a multitude of electronic drips and tricks, with organic drums playing alongside the keys, AK/DK’s debut provides the noise, with space for progression, collaboration and interpretation. As with High Voltage and Let There Be Rock, Synths + Drums + Noise + Space does what it says on the tin. By switching curly ‘c’s for kicking ‘k’s and guitars for synthesizers, AK/DK deliver an eleven-track collection that (like their almost-namesakes) offers chaos and creation, yet with a few more moments of calm than Angus and co are known for.
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