review by: Roberto Martinelli

Yes, that is indeed a picture of Bruce Lee on the cover. What's more, the CD itself has a band logo that incorporates an inverted cross with the number 666 on it. What this has to do with a) the photo of the band's studio with pictures of Lee and naked chicks all over the walls (no, not in the same pictures!), b) the strange mail order text with pictures of a finch, c) a pic with more kung fu fighting, d) a photo from the 70s of a nice looking couple in a Porsche in the desert, and e) anything else for that matter, is anyone's guess.

As the scatterbrained choice of art shows, the debut album of Bohren und der Club of Gore is the band's most varied, but also it's least strong. While the music on the album largely sticks to the style of dark, heavy lounge music present on Midnight Radio and Sunset Mission, there's a relatively aggressive vibe present throughout Gore Motel. Be very clear that I said "relatively", as the music is once again very mellow. It's just that this time there's a certain sense of evil and anger mixed in with the lethargy; eyes wild in a comatose body. For example, this on-amphetamines-and-downers-at-the-same-time vibe is present on the track "Sabbat Schwartzer Highway," which consists of maddening repetitions of a bass riff with false endings galore. Every time you think that, yes, the song's going to end now, it goes for another lap.

Other times, like on "Die Nahtanznummer, Teil 2" (The Slowdance Number, Part 2), Bohren uses sustained, quivering 70s horror movie-like notes that sound like they are played on an organ, giving this album a creepy flavor that neither of the other two Bohren albums has.

The creepiness hits its max on "Die Fulci Nummer" (The Fulci Number) as bottles click and the organ plays its biggest role, and on "Cairo Keller" (Cairo Cellar), which features cavernous, ambient bass and ghostly guitar notes with an industrial, steaming background from what I guess are the cymbals. The ambience reaches its peak on the bubbly, industrial clanging noise art track "Gore Musik."

There's definitely a strong late 60's, early 70s theme to this album, what from the aforementioned album art, but also in the music. Such is the case on the Scooby Doo meets the Doors track, "Texas Keller." But what's this? Is that… volume?… and… speed?!?! Yes. Bohren und der Club of Gore can actually play upwards of five beats per minute, reaching what must be at least 60 b.p.m (and using toms in the process, I should add) on tracks like "Der Maggot Tango" and "Texas Keller." Oh yeah, the track titles (don't forget that this is an instrumental band) are fucking stupid and totally great. (my favorite: "Dangerflirt mit der Schlagerbitch". According to my source, schlagerbitch means dominatrix, or something).

Due to the slight lack of focus present on this recording, Gore Motel may not be Bohren und der Club of Gore's best effort, but it's still a worthy and wacky acquisition.