The Robocop Kraus - They Think They Are The Robocop Kraus

It’s kind of refreshing to discover that a band with a weird German sounding name are actually from Germany. In the world of quirky indie-disco-pop-punk such a name is almost too perfectly fashionable. As it is there isn’t much else besides the right to claim such a weird name which sets The Robocop Kraus apart from bands like Franz Ferdinand and Art Brut. It’s there in the disco-punk style, it’s there in the self-described “angular” sound, and most noticeably it’s there in the droll-delivery and vocal style of singer Thomas Lang (complete with pronounced European accent, although this can once again be excused due to German origin).

To be fair The Robocop Kraus seem to have been in this game a lot longer than some of their more popular contemporaries. This is their fourth full length album, as well as a number of EPs and shorter releases since 1998. Perhaps the name of They Think They Are The Robocop Kraus is a subtle response to the way popular music seems to have come around to what they have been doing. But the important question is, in this current musical climate, are they doing enough to keep themselves unique and fresh?

They Think They Are… is The Robocop Kraus’ first release on Epitaph records, and the move to a bigger record label seems to have made an impact on the sound quality of the release. It is their first record working with a producer, namely Pelle Gunnerfeldt (Status Quo, The Hives), and the quality of the production work is clear, giving clarity and a sense of energy to every song. The record also has a driven pop focus, with strong melodies and choruses balancing out the quirky electronic blips. They Think They Are… is at least as strong as any other albums in this style at the moment, and hopefully for The Robocop Kraus it may get them some exposure to an audience who are now ready for the sounds they produce.

Lead single You Don’t Have To Shout is certainly dancy enough, and You Don’t Need a Doctor has a great combinations of vocal and keyboard melodies. Tracks like A Man’s Not A Bird and Concerned, Your Secular Friends are great examples of the social commentary throughout the album which is one noticeable feature the band have over their contemporaries. But it is tracks like Life Amazes Us Despite Our Miserable Future, where they slow things down and try mood writing rather than hiding behind disco dazzle which are the only ones to stand out from the rest of the album, which sounds very familiar very quickly.

The Robocop Kraus may have arrived before the fashion wave of disco punk, but now that it’s here, without adding something new to their mix to keep ahead of the pack, they’re in real danger of getting lost amongst the crowd.

(Originally published on FasterLouder)