The single and accompanying video is fragmented, surreal, and mysterious – a cinematic flair with an unsettling psychedelic
twist. It brings to mind arthouse horror; the breathless pause in a film as suspense builds. Given Sven’s and Jakob’s broad backgrounds, TAUMEL is musically diverse. Their first album
embraced a jazzy, slow minimalist instrumental sound through a quartet of piano/Rhodes, guitar, flugelhorn, and drums. The compositions are full of contrasts and breaks, with special
attention to storytelling.
...everyone’s control is impressive. They are able to create an atmosphere which you are thrown into as soon as you press play.
Nothing is hurried, everyone is locked in, and the empty space creates the unnerving feeling that comes with doom jazz.
The debut release from act Taumel is a dreamy, sprawling half-hour exploration into ambience and minimalism that allows the listener to sink into its
soothing sense of dread.This release is, although soft, brimming with dissonances, unsettling atmospherics and drones. As the inaugural episode of a larger musical cycle titled ‘Traum’
(dream), which is promised to form a coherent idea upon its conclusion, There Is No Time To Run Away From Here is to be the first of many. ...this third track could soundtrack a horror
film. Although several instruments play melody lines, the Flugelhorn particularly shines here, providing a coldness to the passages that evokes the sombre emotion of what could be a
funeral setting. Structured meticulously, one has the sensation of being gently pulled into the depths of the void before slowly released back to reality when listening to this as a whole
– which you certainly should do. ‘There Is No Time To Run Away From Here’ seems unassuming on the surface, but is no easy listening, evoking powerful emotions... Taumel have certainly set
a high standard early on and I, for one, await the next part of ‘Traum’ with bated breath.
It’s mainly found in the moody looseness of the free flowing and meandering movement within the music and the knock-on wood clack of the
slow beating percussion at the heart of it. There’s certainly some spice within the instrumental themes and you can tell a story is unfolding, its just up to you to match the sound with
the images in your head. There’s excellent tonality here, the production is crisp and clear and the tracks subtle build-up in volume takes you completely with it until it finally ebbs out
and silence is restored for a while. Although as I mentioned this is on the fringes it does cross over into other places, a hint of Bristolian trip-hop is found in ‘Away’