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There is something audacious about a band which flaunts its influences in such an obvious way. Given that Berlin band Camera have toured the UK at least once as the backing band for Michael Rother of Neu and have also jammed with Dieter Moebius of Cluster, you would be correct in assuming that there is a heavy Krautrock (or motorik, or whatever the right word for this compelling repetitive rock music is nowadays) feel to their music.

However, on 'From the Outside', the opening track of Remember I Was Carbon Dioxide, something so bold happens that you have to give them credit for the sheer cheek of it. The track begins with a typically steady beat but the synths play a drifting melody line over the top, which becomes more familiar with each listen, until you start to ask, "hang on, is this actually Autobahn?"

It's as if they thought that comparisons were inevitable so they planted this little musical joke to tease the critics; a fact that isn't surprising when you hear about their nickname of 'Krautrock Guerilla' after their habit of playing unauthorised pop-up gigs at underground stations or, notoriously, in the toilets at an awards ceremony.

Fortunately this album isn't just a re-run of music that has gone before. In a similar way to Follakzoid last year, or even Stereolab in the '90s, they have mined the rich seam of German experimental music and let it inspire them to make something of their own.

Whilst their debut album Radiate! was improvised in the studio, this time the core duo of Timm Brockmann and Michael Drummer lead their assembled guests through a varied and inventive collection of tunes.

Pieces like 'Parhelion' take the tempo down and are all the better for it, and the gradually building layers of noise manage to create something which manages to sound both ominous yet beautiful.

'Roehre' has a brutally grinding bass riff at its heart, underneath a squealing melody line, and it's an undoubted highlight, as is the blatantly motorik 'Synchron', whilst 'Trophaee' adds some powerful sheets of guitar to the familiar pounding beat.

It isn't all 4/4 though, and 'Ozymandias' works well as an ambient atmospheric piece with the rhythm removed, whilst the cycling '4PM' interlude sounds like a drummer trying to frantically chase the beat. Perhaps the biggest surprise is the gentle acoustic intro to ''Vortices' which gives way to a lovely squall of noisy guitars.

The album is mostly instrumental, apart from the atmospheric and brooding '2AM' which features a mysterious spoken-word vocal, and the urgent yet beautiful closing track 'Hallraum' which has some barely audible voices as background. Whilst there is no escaping the Krautrock influences, Camera have at least updated that sound with their own imagination, punky energy and a willingness to progress. If you enjoy the music of those German bands mentioned at the start of the review, you should get something out of this energetic 21st reboot of the genre.

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