Jan-Simon : The German instrumental rockers of Kalamata came up with a little innovation when naming their songs. There have been bands who gave their lyricless songs ornate, twenty words or more titles whereas other bands simply gave them a serial number. Kalamata adds to this their own interpretation of the acrostychon: all seven songs on the eponymous debut of this Hildesheim based trio have a one word title. Together these words form a sentence, which is about as much deeper meaning as can be given to the songs, created in the good old German interpretation of Kyuss-style desert rock. If this reminds of Colour Haze, spot on, because that band has become the benchmark for modern interpretation of this particular type of stoner rock. There are many similarities, such as the lazy atmosphere and slow, careful building of the often long songs. But there are also differences: most songs contain heavier rocking than with the big brothers from Munich. Take ‘Die’, the fourth track of the album, which starts with unadulterated sludge metal riffing more similar to Mastodon than to space or stoner rock. Combined with the jazzy segments in ‘Soon’ and other songs, this leads to a very distinct mixture that has many influences but as a whole is rather unique.
The big downside of instrumental music in general – and that of Kalamata in particular – is the limited distinction between the various songs. Kalamata suffers from that, no matter how German-solid the songs are and how professional de production is. If it lacks a personal signature, it will have to come from songs themselves and they are not catchy enough for the album to create an overwhelming impression. For that, the band should loosen all impediments and just let it all hang out. It is the only way to make an indelible impression.