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The family attitude strikes again! How could we resist if two members of two of our favourite bands, VOLT and FLU.ID form a new band?  BOMBEE didn´t risen from the ashes of these two outfits but have been a complementary outlet for Boris Kaiser (ex-VOLT-drummer and cajon & keys in Bombee) and Roeder (bass in FLU.ID & Celan and acoustic guitar in Bombee) to lay focus on what you can call the flipside of a coin that is their way of musical expression. With the addition of Alexandre DeFlandre and Markus Altmann on cello, Bombee take the challenge of sparse instrumentation leading into suspense and intensity. And they in fact receive and deliver.

Without trying to focus too much on Roeders and Boris´ former bands, whose musical approach was completely different the achieved contentual goal isn´t that much different: Bombee create deep and somewhat dark atmosphere rooted deeply in brittleness and perishabilty of the human soul. If you have some enthusiasm for the later work of Johnny Cash as well as Bonnie »Prince« Billie and if you feel a connection to the creations of bands like Son Volt, The For Carnation, Son Volt and even Calexico you would understand, where Bombee come from and go to.

It is in fact the sparse instrumentation that clearly sets the pace and mark here and applies Occam´s razor. Bombee have become masters of this attitude. With two albums already under their belt they now have found their path. While their debut Beach Boys Back From Anchorage once was a mix of challenge and search, the second self-titled one could be lumped under the Singer/Songwriter moniker without exception, now »Black Keys« can be classified as effort by a band that has found what they were looking for.

With the addition of Markus Altman on cello the instrumentation that now is acoustic guitar, cajon, cello and vocals cant be more efficient.

With Hannah Murray of Ex-A WHISPER IN THE NOISE- and WIVE-fame adding her skills to two songs the gate even swings more open wide. The band’s songs impress through Roeder’s very sensitive guitar playing, Kaisers sparse but effective cajon work and from de Flandre’s vocals that are able to bury themselves under your skin.  The archaic atmosphere this skeleton of tone is creating gets crowned by deep and dark cello work as being a crooner right beside the voice and taking the step forward from being a fundamental part to a carrier of the song sometimes. In »G« this attitude reaches an unexpected climax when Bombee dive into a full Postrock wall of sound, topped by Black metal-like shrieks. This song by this moment sheds some different light on what Bombee is all about and couldnt be better placed.

For the love of music in general you should give this album a close listen, take some time, open a bottle of red wine, lean back and dig into the structures and textures of »Black Keys« an acoustic compendium of the highest quality in soulfulness.