Laik Tors


Laik Tors is the third album from the Sheffield-based trio. It follows their eponymous debut and follow-up “Adios Al Futuro”, both of which featured in Prog Rock “Top 20” charts and helped establish the band as a vital voice in modern progressive music. Both attracted some enthusiastic reviews, neatly summarised by “they seem to encapsulate and deconstruct the entire history of British avant-rock in one fell swoop”.

This new recording is a natural progression, building on and refining their core sound, which features a combination of composed and improvised music. The trio have many overlapping musical influences and a shared love of improvisation. However, it is the melding of their individual styles that brings it together within a modern context.

Commentator Sid Smith says:

“Is it jazz? Is it rock? Is it folk? Is it prog? Is it electronica? The answer is all of the above and probably a lot more besides. Not that Das Rad care and neither should you. Energetic, incisive and infused with an inquisitive, passionate spirit, Das Rad create music that goes where it needs to. Do what you can to join them on that journey.”

The album is available now on Discus Music. and as downloads via bandcamp


Confident and brimful of exciting, disparate yet interlocking ideas… Das Rad sound like nobody else… this music has that very rare quality to my ears: edge. Such a delicate balance of equilibrium and free-fall. Consummate musicianship (only to be expected really). Buy it and listen to it often. John Cratchley via bandcamp

Martin Archer continues to spin the bike himself and offers Laik Tors (Discus 119) the third disc with DAS RAD, the improg trio with Nick Robinson on guitars (who after a young and wild phase with They Must Be Russians in the 80s since the 10s a spring awakening as Nick Robinson Loops and in Lost Garden with Andy Peake). More vital is the harmony with Steve Dinsdale on drums and Archer on Woodwind & Synth Bass, whereby all three still operate with keyboards & electronics. Their iconography is ambiguous because it leaves open whether they use the hexagram to summon or ban a devilish servant Ruprecht, whether they frighten the children in a riot-fueled manner or, on the contrary, encourage them to play with razor blades and seduce them with the Smoke of Hell. With ‘Kapow!’ and ‘Kaprise!’ In any case, they start a ‘mental cinema’ in which ‘Satanic Particles’ make ‘tired of life’ lively again. They approach their ‘offtwerk’ quite solemnly, as an anthemic triskel with a synth bass pulse and archer as half a brass orchestra, with jazz core cacophony, goofs, crooked tones and beats. Delicately-tempered things spinning to stormy fanfares, synth and guitar sounds are chirped by the keys. In this witch’s guide, 3 means three times 3, human work and a diabolical contribution that shimmering and clinking drives away any tiredness that gets things rolling. With an undaunted beat, melody-like suction, lava flickered over by the guitar, fragile reminiscences of folklore, with flute and baritone sax, acoustic and trill guitar, glockenspiel and psychedelic intensity. ‘Mauger Hay’ grooves a rocky furrow, melodic-melodic and grumpy, with guitar-like vortex and childlike ghost singing. The title track brings a thin soprano sound and finds its way into a drum march through percussive and electronic turbulence and distorted guitar and powerful organ pathos. ‘Starvation Hound’ as the final long track then pulls out all the stops again, with fuzz guitar, growling bass, highest and anthemic multi-sax tones and again organ in a splendid range and an extreme finish by Robinson. Kapow! Rigobert Dittmann – Bad Alchemy #112