Chicago indie rockers top last year's solid Pre Language with the most suffocating, prickliest post-punk they can manage.
These Chicago indie rockers cut three LPs doing PIL the way Interpol did Joy Division: all the gloom but none of the snarl, with mopey persistence taking its place. On Kone, they go full krautrock and subsequently come into their own. The 15-minute title track takes its time summoning creaking U-boats and air raid sirens from guitar squall as cymbals swell and crash overhead.
A down-tuned riff and vocals drowned in delay circuits and angst, together introduce something resembling a melody around the 6:30 mark, but it isn’t until the surf rock of “Kontakt” that Kone offers anything resembling a song, though even that doesn’t last. Disappears is far more interested in whipping up the most suffocating, resonant, prickly post-punk tempest anyone can manage 36 years after “Frankie Teardrop” and judging by these bearings, they’re well on their way.