Following hot on the heels of the sensational “Hyenas” album, you might think that this would be just retreads, leftovers or jams – but you'd be sooooooooooo wrong. In fact, it's probably the most mature, dynamic, thought-out, well arranged album that the band have produced to date. Take the opener, “All Encompassing Positive” for exhibit A. Against a backdrop of gently chiming guitars, slowly lurching Wildhouse-go-Velvets drums and deep resonances, Sheila intones this haunting vocal to give the song a real sense of dark emotion. The vocal is multi-tracked for a more celestial feel as the rhythm marches slowly on amid the chiming guitar backdrop. Then, without warning, the drums drive, the guitars rage and yodelled vocal lets loose – this all lasts about 5 seconds before it reverts to the main body of the song once more – bizarre but brilliant. This sequence is repeated further on, only now there's a searing feedback guitar and then this huge sounding squall of electrifying guitar depth – and, once more, it lasts all of five seconds. It's black and white in stark contrast and is simply superb. Then we get to “Coffin Factory” as the guitars ring out and the Can-Velvets-Neu styled drumming fires up. This time, Paul intones the vocal over a massively driving sea of crushing guitars, chiming lead guitar and that Liebezeit-styled hypnotic drumming. As the song steps up a gear, the harmonies appear from Paul and Sheila as the shards of guitar achieve storm force proportions and the whole thing spirals only to drop back down as the drumming continues unbroken, only for the whole thing to fire up once again, the contrast between the languid vocals and the inferno of drums and guitars simply as good as it gets. “Doug And Billy” is the sound of “Krautrock Velvets” asa song flows into motion that wouldn't have sounded out of place on the legendary “Velvet Underground and Nico” album and actually manages to evoke that past while at the same time sounding fresh, alive, strong and vital. The strong and haunting vocals from Paul and Sheila are harmonised and sung over a toing and froing of dramatic drums and chiming guitars – a short piece then it's over. “Ave Mutantes” opens with the trademark sea of Wildhouse guitar rage before the tumbling, rattling drums come in from Sheila, the guitars lightly riff and sing, while Paul's half-awake vocal supplies the song. Pretty soon, though, we are plunged into a sea of guitar attack as the Neu-like drums drive along the bottom of the ocean and, once again, short and sweet, the song abruptly ends. “Imaginary Party” is a Cale-esque Velvets styled slice of bizarreness as the light guitar chimes ring out amid backdrops of fx and slowly driving, lightweight drumming, all particularly gorgeous and emotive, not something you expect to hear from The Wildhouse, but played to perfection. After nearly ten minutes of this instrumental excellence, gradually strengthening as it goes, suddenly a voice is heard – a conversation piece that recites the words in a naturally coloquial manner and a seriously Cale-esque slice of Velvets-inspired wizardry, over the unceasing splendour that is the chiming guitars and softly drumming backdrops, all sounding uncannily like something you might have found on Ash Ra's “Starring Rosi” album, only more cohesive. After this, it's time to turn the lights out, fire up, light the engines and set the controls for the heart of the blazing supernova, as The Wildhouse unleash “When Beatles Were Liars”, a searing slice of heated guitars and rock solid drumming set against an overlay of harmonised singing to dramatic effect before the whole thing sinks into its wordless chorus, as the driving backing thunders away to jaw-dropping effect. If this wasn't spectacle enough, the group only go and up the anti by accelerating the propulsion and going into warp drive as the song and instrumental backing climb higher and higher and higher. “More Stars” opens with rippling electric guitars, cymbal splashes and more intoned vocals sounding perfectly mournful over the chiming guitar and full-sounding percussive sea. Another guitar emerges, this time playing a high register lead over the top. It then drops down to leave the main body of the arrangement to continue onwards, all absolutely exquisite. “DC3” is a nearly all instrumental, seriously lengthy, track that showcases the total Krautrock side of the band as the driving drumming underpins the immense sea of squalling, riffing, fx-laden guitar panorama that is not at all overpowering, full of early Gottsching-esque lead guitar breaks with the whole thing comes across as a hybrid of “Freak 'n' Roll” styled Ash Ra Tempel and “Hallogallo”-styled Neu, and it's absolutely stunning. Finally, the album powers to a jaw-droping finale with the huge cataclysm that is the sound of “Die Wildhouse” as the storm rages, the guitars fire up, the drumming threatens to explode and the track sees the album out in a burning flame of Krautrock-styled guitars-driven, drum thunder Wildhouse magic. Overall, it's sensational stuff, not a less than engaging second on the entire album, and the absolute essential purchase for any fans of the aforementioned bands.