In Kinematik, each member is a module in a machine. “True creativity comes from restricting yourself,” explains the quartet. It’s an approach to composition that drives almost all hypnotic forms of music, including the motorik instrumental rock that’s Kinematik’s weapon of choice.
With the German experimentalists Can as their idols, Kinematik tries to break down the conventions of guitar music: they deliberately use one guitar rather than two, instead relying on synthesizers and electronic gadgets. A more punk mentality is hard to come by: «We do things the wrong way, so that helps a lot.»
For this reason, Kinematik are hard to place musically. They alternate between improvisational psychedelic rock, pulsating electronic music and cinematic post-rock. If you wonder how the quartet sounds on a stage, just listen to «Ala’» (2016), which is recorded on analog equipment and is their only album thus far (the follow-up is supposed to be just around the corner).
What you are going to miss from simply listening at home, however, is the beautiful and haunting visual art of Cynthia el-Hasbani that accompanies the concerts. Instead of taking the easy and usual way out – throwing together some bits and pieces that might fit well – Cynthia is almost a part of Kinematik: Her animations are created in the rehearsal space. As such, Kinematic is not just genre-crossing but also medium-crossing.
Text: Kim Klev