Frank Dommert’s debut album, released in 1990, was one of the first significant volleys from Cologne in the new decade. His history stretched back through the second half of the eighties, as he’d already released a number of cassettes via his label Entenpfuhl, and had collaborated with Hirsche Nicht Aus Sofa (H.N.A.S.), the Aachen-based surrealist-noise-junk outfit led by Christoph Heemann and Achim P Li Khan. Their connection with English cut-up/industrial project Nurse With Wound (NWW’s Stapleton released an early H.N.A.S. album on his label, United Dairies) can be heard in Kiefermusik as well, a disorienting collage which, as Dommert says, “is pretty much a [LSD] trip, intentional and in a large portion, unconscious.” Dommert’s music has a peculiar logic to it that marks it out from the pack, though, perhaps due to his growing fascination with “Art Brut and naïve stuff”. Kiefermusik is simultaneously a rough-as-guts album of collapsing architectures and an intelligent, sensitively sculpted masterpiece of editing, with Dommert winding a psychedelic spool around loops that could spin out into eternity.