The Bavarian band known for a love of tinkering embraced a fresh ethos, ditching remote collaboration for a collective recording done in a week

‘It all went so fast,” Markus Acher says. “We’ve never been this fast at making a record.” He is sitting at the far end of a sofa in the Notwist’s Munich studio. On the other end is his brother Micha Acher; next to them, Cico Beck, who joined the band in 2014, balances on a stool. For a group known for meticulous studio craft, speed is an unfamiliar sensation. For most of their career, the Notwist have worked slowly, layering, revising, rethinking, as if wary of committing too soon to anything at all.

Formed in 1989 in the Bavarian town of Weilheim, the Notwist began as a heavy metal trio before evolving, over the next decade, into one of Germany’s most distinctive bands. Their breakthrough album, Neon Golden (2002), married indie songwriting to electronic textures, shaped largely by then-member Martin Gretschmann, also known as Console or Acid Pauli, in a way that felt inward-looking and strangely expansive. Its influence travelled far beyond Germany, securing the band a place in the canon of early-2000s indie experimentalism. Pitchfork named Neon Golden one of the best albums of the 2000s.