Karl Mohr | The End Of The Line

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Rock: Goth Electronic: Experimental Moods: Mood: Brooding
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The End Of The Line

by Karl Mohr

Dark rock and orchestral sound swamps, loaded with ear candy. From the sheer gothic power of UFO to the morbid overtones of the Powder Blue Vampire, this is solid dark mood music for fans of searching, experimental music.
Genre: Rock: Goth
Release Date: 

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1. Unidentified Flying Object
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7:11 $0.49
2. Milkwood
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2:02 $0.49
3. No Stars No Moon
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3:33 $0.49
4. Kleines Feuerstueckchen
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4:15 $0.49
5. Impostor (Drag Race Version)
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3:02 $0.49
6. Have You Seen My Rabbit?
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3:00 $0.49
7. Can Your Remains Be Buried With Mine? (Victor Version)
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9:26 $0.49
8. Blown Away (Version 2000)
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3:49 $0.49
9. Powder Blue Vampire
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3:45 $0.49
10. Rock and Roll Robot (Die Umkehrung)
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4:11 $0.49
11. Elevator
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3:37 $0.49
12. The Distance Is Killing Me
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3:57 $0.49
13. Danni Girl (Houses of Pompeii Version)
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14. Can Your Remains Be Buried With Mine? (Fresh Disco Porker Gas Re
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2:01 $0.49
15. The End of the Line
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8:18 $0.49
16. Ausserirdisches Wesen, UFO
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Album Notes
The dark deadlands... mostly. Dark rock and orchestral sound swamps. Features english and german versions of the goth smash "Unidentified Flying Object".

This full-length release of dark rock and orchestral sound swamps is loaded with ear candy. From the sheer gothic power of UFO to the morbid overtones of the Powder Blue Vampire, this is solid mood music for listeners of experimental music in the gloom zone.

Product Details:

Compact Disc, manufactured, shrinkwrapped.
12-page black & white booklet in jewel case.
1:14:00 duration. 16 songs.
Released August 15, 2000.


Kritik: KARL MOHR / The End of the Line / 2000 / Eigenproduktion / Kanada / New Dark Rock

Karl Mohr ist ein experimentierfreudiger Solo Kuenstler aus Kanada. Ist der Beginn mit "Unidentified Flying Object" mit typischen Death Rock Klaengen noch als einigermassen Eingaengig zu bezeichnen, werden die Songs im Laufe des Albums wesentlich experimenteller. Dabei spielt Karl nicht nur mit den Instrumenten und der Elektronik, sondern auch mit seiner Stimme. Dabei liegt er zwischen dunkel verspielt und schraegen Intonationen. Besonders interessant klingt die in Deutsch gesungene Version von "Kleines Feuerstueckchen". Gesamplete Vogelstimmen und eine Kirmes Melodie leiten "Milkwood" ein. Ein instrumentales Stueck voller versteckter Impressionen. Mit "No stars no moon" gibt es ein duesteres, schraeges Intermezzo, welches an Nick Cave erinnert. In "Imposter" singt Karl im Zeitlupentempo, Saxophonklaenge und ein verqueres Instrumentarium in betonter Langsamkeit gespielt sorgen fuer Gaensehautatmosphaere. Ein Spieluhr dient als Einleitung fuer das traurige "Have You Seen My Rabbit". Nachdem auch "Can Your Remains...." in ruhigem Gewaesser schwimmt, gibt es mit "Blown Away" einen schraegen Pop-Song. Karl Mohr schafft es mit seinem rauhen Stimmbaendern, in fast fluesternder Manier das menschliche Gehoer zu umschmeicheln. Sehr getragen erklingt die verschrobene Ballade "Powder Blue Vampire". Ein Album welches voller Abwechslungsreichtum in keine Schublade passt. Ein Werk, welches die Schoenheit in wirrer Harmonie transportiert. Gelungen und vollkommen eigenstaendig.

Source: http://www.amboss-mag.de/ =========
Review: KARL MOHR / The End of the Line / Independent / Goth, Rock

An interesting work put forth from Canadian electronic artist Karl Mohr. He covers so much territory on this one release that your head is left a wee bit spinning after hearing it. Mohr kicks things off with the oh-so-catchy "Unidentified Flying Object," a smooth electronic number with a great beat and melodic flow, which leaves one completely unprepared for the more barren sounding numbers like "No Stars No Moon" and "Impostor." It is the raw quality of Mohr's vocals, in contrast to his accompanying music, that helps make this CD as intriguing as it is. This one would no doubt fit nicely into any Nick Cave fan's record collection, as it has its dour, goth-y moments indeed. But let us not pigeonhole Mr. Mohr's work; he extends beyond the realms of gothdom and gives an almost epic feel to his recording. Going from up-tempo electronic tracks to slower-paced ones, he also manages to throw in a few noisier works and a few that recall old-style cabaret numbers. In grouping all of these together in one package, you almost feel as if you've been taken on a very strange journey. Lord only knows from where this man draws his inspiration, but I don't suppose he's ever bored.

(Coreen Wolanski)

Source: Exclaim Magazine July 9th 2001
Review: KARL MOHR / End of the Line / Independent

In many regards, Karl Mohr is a difficult artist to accurately describe in a single paragraph. At one end, he seems to be the bastard offspring of Martin Atkins, Stephen Groth, Roger Waters and David Bowie. At the other, he is a neo-goth tragedian folk hero crooning lyrics that could only have come from the splattered mind of a psychedelic renaissance man. His latest, End of the Line, is simultaneously a triumph and a disaster. Mr. Mohr considers it his "gothic electronic masterpiece" - a loose concept album that embellishes upon the age-old concepts of love, loss, betrayal, insanity, death and, of course, extraterrestrial visitation. The disc opens with the powerful, Apoptygma Berzerk-like "Unidentified Flying Object" and leads onward to the carnival-swamp ambient sludge piece, "Milkwood." The record then heads to "No Stars No Moon," an operatic astrology ballad, followed by the German-crooned pub rock ditty "Kleines Feuerstueckchen." Needless to say, the album marches across uncharted terrain. Intoxicating and perplexing, lopsided and addicting, epic yet silly, End of the Line will have you scratching your head in both amazement and confusion all the way through. Is it genius or garbage? That you will have to decide. I think it's both. Still, it's worth its weight in sheer cult obscurity.

Reasons to Buy: Your favourite artists are David Bowie, Pigface, Frank Zappa, Apoptygma Berzerk and post-Wall Pink Floyd.

Best Listening Experience: "Unidentified Flying Object" and "Powder Blue Vampire."

(Ryan Bartek)

Source: Real Detroit Weekly
The following songs are a strange mix of experimental electronic instrumentals and poetry. In a way, 'The End of the Line' reminds me of Pink Floyd's 'The Wall', only much more abstract... Some of the songs almost sound like pop songs, such as "Kleines Feuerstückchen". "Have You Seen My Rabbit?" stands out as a depressive lullaby for Pugsley and Wednesday Addams. "Can Your Remains Be Buried With Mine?", which I assume to be the ballad on the album, is more depressing than any song I have ever heard, despite the circus-themed musical.
- Comatose Rose


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