The Breakdown
The Black Cat’s Eye – these are glaring fuzz, bass and drum riffs, interwoven chord pickings and
lead guitars rooted in the blues – sometimes screaming, singing or rough. And above everything,
the instrumental and song melody hovers almost like a hymn.
With their musical style, the band, founded in Frankfurt am Main/Germany in 2018, is directly
linked to the ’60s and ’70s – the great era of psychedelic rock. In this way, the five-member
musician collective approaches their songs with a keen sense of experimentation. The result is a
world of sound lands into which you can completely immerse yourself. Time plays no role here,
which is why a single piece can last 13 minutes.
With their debut The Empty Space Between a Seamount and Shock Headed Julia, The Black Cat’s
Eye made a notable impact on the scene in 2023 – an energetic and atmospheric album that
uniquely fused psychedelic and post-rock elements and quickly sold out. Now, two and a half years
later, the Frankfurt-based quintet returns with their new album, Decrypting Dreams of Weird
Animals and Strange Objects.
Once again, the band navigates the borderlands between psychedelic rock, krautrock, and post
rock. Their sound oscillates between hypnotic drive, dreamy guitar textures, and dynamic arcs of
tension. The album consists of six tracks, each a sonic journey lasting between five and ten
minutes. A notable development is that two band members contributed to the songwriting:
Alongside guitarist and band founder Christian Blaser, bassist Jens Cappel wrote half of the
material. His powerful, direct style perfectly complements Blaser’s atmospheric approach. Blaser
comments: “On the debut, I wrote all the songs. As the founder of the band, my initial focus was on
setting a musical vision and direction. Jens wasn’t yet as involved in the creative process at that
point, even though he’s an extraordinarily talented and prolific musician. He regularly releases
excellent music on the Bandcamp pages of his own projects, like The Black Black Paint. When it
came time to write new material for the second album, Jens brought in some truly fantastic
demos.” Stylistically, the new album – like its predecessor – blends classic ’70s influences with
contemporary rock. Echoes of Can, Motorpsycho, Neu!, indie and stoner rock can be heard, along
with nods to David Gilmour’s guitar aesthetic. The music is instrumental, with one exception: Jens
Cappel provides vocals on the final track, The Magic Ballon.
The album’s title – Decrypting Dreams of Weird Animals and Strange Objects – is as enigmatic as
that of their first record. Blaser explains: “The title was inspired by a fascinating concept from the
American TV series Westworld. In the series, humanoid robots are programmed with feelings and
dreams. But as they become more human, they spin out of control – so the programmers begin
analyzing the source code they wrote, searching for errors in artificial thoughts, feelings, and
dreams using computer programs. Translated into our reality, the title is meant to be ironic. Our
modern technology gives us the illusion that we can fully control every aspect of life. Self
optimization and the commodification of the self become the highest goals. But it’s a false illusion –
we are only tiny fragments of a greater whole that we can’t comprehend. Against this backdrop, the
question arises: What can art contribute to our perception of the world? What meaning lies in
expressing oneself through music? Through technology, mathematics, physics, and pure reason,
we don’t truly get closer to the miracle of life or the meaning of existence. What remains are rituals,
incantations, ecstasy. Music, dance, painting, stories – they momentarily reveal the core of life,
realign our connection to it, and link us to the universe.”
The album was once again recorded at Tonstudio Bieber in Offenbach am Main. Studio owner and
fellow musician Oli Rüger – who has years of experience recording guitar-based bands – handled
the recording. The basic tracks were recorded live with the full band over three days, then later
enriched with overdubs. Rüger also co-produced the album. Cappel notes: “Oli has a knack for
striking the perfect balance between raw, heavy, and delicate sounds, without ever losing sight of
the bigger picture.” Final mastering was done by krautrock legend Eroc – a fitting choice for a band
that not only sees itself as part of the ’70s legacy but actively seeks to carry that tradition into the
present.
The monochrome cover art underlines the music’s dark atmosphere. It reflects the band’s
conceptual approach to treating music not just as sound, but as space, concept, and visionary
narrative. The cover image – a seemingly endless spiral symbolizing DNA structures and eternity –
was designed by Italian graphic artist Daniele Stochino. The gatefold’s inner artwork combines this
motif with an illustration by Berlin-based graphic designer and musician Max Emil Hurlebaus, using
vibrant colors to create bold contrasts and new visual perspectives.
The songs:
“Hell Bent for Sæther” opens the album with intense guitar duels and razor-sharp riffs that build
atop a driving motorik beat. The track crescendos into a striking guitar solo before taking a brief,
spacey breather – only to gain even more momentum afterward. In the grand finale, dissonance
and melody merge into a tense, climactic peak. The title – a wordplay referencing Judas Priest’s
Hell Bent for Leather – is a tribute to the Norwegian band Motorpsycho (Motorpsycho’s bassist is
called Bent Sæther).
“The Walls of Crystal Keep” continues the colorful array of relaxed yet suspenseful sounds.
Dreamy melodies, floating Mellotron layers, and a laid-back West Coast groove invite listeners on
a rainbow ride. Acoustic guitars meet wistful lines and shimmering wah-wah effects.
“Unicorn” closes out Side A – a track that could easily have come from a 1970s Swedish Silence
Records release (think: Kebnekajse). Following a brief guitar intro, a heavy bassline kicks in
alongside catchy twin-guitar themes, which evolve into driving unison passages and melodically
Nordic-flavored lines. The flow is repeatedly interrupted by unexpected drum breaks and virtuosic
tom-tom patterns, before culminating in a rousing finale of drums, guitar, and bass.
“Sternenfels Space Gate” kicks off Side B with a distorted, pulsating bassline that weaves through
a groove somewhere between indie rock and disco-like elements. Verses and choruses are
dominated by a memorable fuzz guitar melody, which ends with a surprising twist. The song closes
with prog-inspired drum breaks and dissonant riffs.
“Everywhere I Rest My Head the Ground Is Shifting” is another long, atmospheric piece. It unfolds
a cinematic soundscape where tranquil, ambient passages interplay with powerful, driving drum
grooves. This dynamic tension draws the listener in from beginning to end, with the music
constantly revealing new facets. The blend of meditative stillness and energetic bursts creates a
sonic journey that demands – and rewards – close attention.
Finally, “The Magic Ballon” brings the album to a relaxed and initially almost trippy close. As the
only track with vocals, it follows a semi-ballad structure: after a calm first part, a more assertive
second section unfolds, combining melodic guitar work with laid-back drum grooves and
unexpected breaks, culminating in a rocking fuzz guitar solo. A fantastic conclusion to an album full
of fresh ideas and unexpected turns.
Verdict: F**k yeah……and that was going to be my review, but let me elaborate, ‘The Black Cat’s Eye’ bring a solid collection of tracks that take you take you on an emotional roller-coaster through their superb musicianship and writing skills. From rolling fast paced rockers to Hazy, delicate arrangements that soar above the clouds. One of those special albums that has each members heart and soul poured into it. Played with a wonderfully spontaneous flow that rewards you with each listen, a reward of something new, another intricacy to appreciate within its magnetic allure. Track it Down.
Tracks:
01 Hell Bent For Sæther
02 The Walls Of Crystal Keep
03 Unicorn
04 Sternenfels Space Gate
05 Everywhere I Rest My Head The Ground Is Shifting
06 The Magic Balloon
Christian Blaser – Guitar, Keyboard, Vocals
Wolfgang Schönecker – Guitar
Steffen Ahrens – Guitar
Jens Cappel – Bass, Keyboard
Stefan Schulz-Anker – Drums
OUT NOW: available @ https://theblackcatseye.bandcamp.com/ / THE BLACK CAT´S EYE – DECRYPTING DREAMS OF WEIRD ANIMALS AND STRANGE OBJECTS — Tonzonen Records
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