Deichkind - "Who says that?"
(Sultan Günther Music, since 27th of September)
You know how things like that happen. You sit somewhere in the pub or in the electronics store and in the house complex comes "Versace" from Migos. Everyone chuckles and mocks the brand-name stupidity of the US rappers: "Versace-Versace-Versace-Versace". Until then suddenly one has a flash of inspiration and forms a new line from the phonetically contracted refrain: "Who says that?". Already a new Deichkind hit was born.
The fact that Migos stood at least a bit godfather, revealed by listening carefully in rap towards the end of the title track of the eighth dikling LP - and also elsewhere on the album, when popular hip hop chart music is dialectically wadded.
"Win Profits", for example, compels the loser mantra at Hamburg Cathedral with repetitive hits like "Gucci Gang" - and tickles the same consumption-critical message that the singles "Right Good Stuff" and "Things" carry. " Things make you crazy, things make you rattle, girls get things out of the clutch "is just one of countless punchlines with which" ordinary people can become kings on Twitter "for months, as Linus Volkmann so aptly wrote in" Freitag ".
Since 1997, when they emerged from the fish soup, 5 star deluxe and The Tobi & the Bo-made primordial hanseatic anarcho rapeseed and made garbage bags to the stage outfit, Deichkind are the masters of intellectual nonsense-Mucke. To the core of the band, which consists after several transformations of singer and founder Philipp Grütering (crypto Joe), DJ Henning Besser (La Perla) and MC Sebastian drought (Porky), have long joined rhetoric and discourse pop heavyweights like Rocko Schamoni, Olli Schulz and Doors / State Act Chief Maurice Summen. The latest videos also feature actor and party DJ Lars Eidinger as associate band member. After the departure of rapper Ferris MC, he becomes the face of the hip-hop group that has borrowed from techno the anonymity of the protagonists. Deichkind are somehow also the German Daft Punk, which even musically always hinhaut, you can hear tracks like "Sonata in F-Doll" or "Quasi" from the new album.
They are brutal, bass-heavy party grooves like these, which make Deichkind a unique phenomenon in German pop. You have to dance to these beats, you can not help it, but you can also think. At the mostly spectacular Deichkind concerts, the discourse fans meet with the dumb cheeks. The band is perhaps the only pop-cultural interface between aspiration and etiquette, whereby the question of who is actually the dumb-jaw remains unanswered: we or the? And who says that?
Andreas Borcholte's playlist KW 40
MIRROR ONLINE
Playlist on Spotify
1. Deichkind: Cliff hanger
2. Gaddafi Gals: Temple of Love
3. GAMS feat. Mick Harris: Yanari
4. SQUERL: The Dead Just Do not Want The Today
5. Cliff Martinez: Jesus And The Snake
6. Elias Hauck: I do not care
7. Paul's Jets feat. The situps: Los Angeles
8. Kim Gordon: Air BnB
9. WIVES: Hit Me Up
10. Huey Lewis & The News: Love Is Killin 'Me
From this exhaustion of the sense of truth, which prevails in the fake news era, draw Deichkind the brutal electronic sounds drowning titletrack, the perceived certainties in the spin of a questioning machine throws - from "so do not come in here" to "We are reunited "from" immigrants are dangerous "to" stupidity is not hereditary ". At the end there is the threefold ironic realization: "From now on I believe only what is right". Harhar. "Who says that?" Of course, it has the potential to become a slogan in general parlance, as has been the case with Deichkind objections like "Leider geil" or, this summer, "richtig gute Zeug". Lines like "Streams are my reality" from the serial junkie swansong "Cliff hanger" or neologisms like the "Autonomobil" from the SUV brat disso "Finally Autonom" still have them in bulk. Who can do it?
Rammstein maybe. The fact that they - in a different spectrum, but with similar staging appetite and ambiguity - play in the same league as the Rummsrocker, they broach with their "Germany" tribute "1000 years of beer" so congenial that one longs for a joint appearance - as Deichstein or Rammkind, it does not matter.
"No party" finally manages the trick to transform party Ennui into a killer party track. So you can reach the aging (Deichkind are no longer the youngest), demonstratively cynical Been-there-done-that-saying big-city crowd and pours corrosive acid at the same time about this ridiculous pose - which exactly celebrates this audience then, of course, with connoisseur nodding ironically - very big pop dialectic. The best way to get to the point - of course - Deichkind himself with a "of course" quote: "No thing, Digger, that thing has swing." (9.2) Andreas Borcholte
Price query time:
30.09.2019, 10:27 clock
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Deichkind
Who says that?
label:
Sultan Günther Music (Universal Music)
Price:
EUR 12,98
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Angel Olsen - "All Mirrors"
(Jagjaguwar, from 4 October)
Stay, go, turn around, get away ... and keep on scraping. From a study of algebra and physics was in Angel Olsen's CV so far not talk, but with motion vectors, she knows like no other. Known as the Dark Folk Lady, the 32-year-old North Carolina musician, with "All Mirrors," now opens the grand ballroom for the cross-and-sweep of love geometry.
Olsen's fourth album has so many movie credits that it probably only needs to count more licensing dollars in the next few years. The first song, "Lark", places the omens clearly on drama: funeral march, timpani, strings, crescendo. Take a breath, then fate tales, Hitchcock strings, Monster Crescendo. At the end the violin cascades fall from the sky like a kamikaze attack. Prisoners are not made. "Dream on!" Olsen recommends to her ex-wife.
As a result, she is not too bad to rhyme "alone" on "on my own", and it does not seem a bit tasteless. Rather a trace too aufrezelt. The album is definitely fur coat and not bomber jacket. It's so obsessively broken I-and-you-boxes, the staging is so opulent that in this Tearjerker Festival a song like "What It Is" almost out of the ordinary. The looks almost kirmeshaft schunkelig and mischievous. Olsen explains the difference between the sex and love vectors: how easy it is to get, how difficult to stay.
Through all of this, the echo of great American songs resonates. Olsen's grunge guitar only breaks through the heavy, velvety sound curtain here and there - she too, a prop in an Americana tableau, like the "high noon" atmosphere that "Summer" suddenly summons. With "Endgame", Olsen finally distinguishes itself as the inventor of new bar jazz standards. "I needed more than love from you," she breathes with so much Chet Baker flutter in her throat, as if a stuffed trumpet would stir up the smoke in a subtle way. Then do it too.
In such moments, it becomes very clear: Here, someone demonstrates how we like to imagine the love and the suffering in the dating app era. From a failed Kaffeeklatsch to the next level fuck, until something stops just before breakfast egg - all the nonsense appears here larger than life on the screen of a sensitive soul.
May one believe the staging? Was Angel Olsen better than the confessional cleric of yore, or is she now, as a scriptwriter, director, and actress of herself? You do not have to decide that. "All Mirrors" wants to be big cinema. And that's it. Keep handkerchiefs handy! (8.6) Arno Raffeiner
Price query time:
30.09.2019, 10:22 clock
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Angel Olsen
All Mirrors (Crystal Clear) [Vinyl LP]
label:
Jagjaguwar / Cargo
Price:
EUR 22,99
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Gaddafi Gals - "Temple"
(3-Headed Monster Posse / RecordJet, since September 27th)
Everything that is ultramodern right now, here it comes: minimal R & B, mixed genre art, migration background, queerness, capitalism criticism, repetitive Sprechgesang, humanoid vocal filter, front women, Future-Hip-Hop boom! All this. And in the form of a music album by the band Gaddafi Gals, who see themselves more as a project than as a band, because that's not quite as modern anymore.
"Temple" is the name of the debut that follows the celebrated EP "Death Of Papi" of 2017 and represents the height of time both in terms of content and music. Gaddafi Gals was founded in 2016 and consists of Blaqtea (also known as Rapper Ebow), Slimgirl fat (member of Nalan381) - and Walter p99 arke $ tra. Resident in Europe, more precisely: Munich, Vienna, Berlin - the axis of coolness so to speak. Their sound, on the other hand, is global, dissolved in the 5G network, along with associative sermons on the post-bling-bling era, outlander samples, and piercing vocal lines. It's a bit scary and a bit cheesy. That's how you imagine the apocalypse.
The curiosity about the album had been well established. The "New York Times" listened, the German press anyway. Last year, the Gals played in the Berghain canteen, and at the SXSW in Austin, Texas, they were part of the German delegation. And in the fall of 2018, they exhibited their performance and their merchandising concept store "GG-World" in the Artothek München, an installation in which they asked questions about the fragility of the concept of subject, the capitalization of art, the branding of individual attitudes and possibly also to the presence of pop and music culture ". Blaqtea / Ebow was also involved in the play "Revolt, She Said, Revolt Again" at the Berliner Esemble, which "questions the status quo of the relationship between women and men".
"The album should also make a difference - on the aesthetic, musical or political level," says the rapper. At best, his modernity becomes more than just a direction. It's already great . (7.7) Laura Ewert
Price query time:
30.09.2019, 10:17 clock
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Gaddafi Gals
Temple
label:
recordJet
Price:
EUR 13,30
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Seeed - "Bam Bam"
(BMG Rights Management / Warner, from 4 October)
The story of "Bam Bam" was basically over almost one and a half years ago. In May 2018, the news of Demba Nabe's death came. He died unexpectedly at the age of 46. As one of the three singers and founders of the eleven-member Berlin thick-trousers collective Seeed, he had once again taught the German Hans the nod and shuffle, with dancehall vibes, purple suits and marching band guitars. Nabé and his colleagues invented a form of urban homeland music that clearly defined their territorial claim syncopically: "We are Seeed, and that is our territory."
Just three weeks before Nabe's death, Seeed had announced a big tour in the fall of 2019. It was sold out in no time at all, as well as the appearances in August and September 2020 in Berlin's large open-air locations, the Wuhlheide and the Waldbühne, three evenings in a row. With such a starting situation a new album is of course no advertising measure for the ticket service mafia, even if business insiders say something like that for year and day. Seeed proved to themselves and the world that they can operate beyond such market strategies. A new album is what a band like Seeed obviously needs least of all.
But here it is. And it wants to do "Bam Bam". Ten musicians, ten new songs and an interlude. The pre-performance was solid, the first three singles landed in the German charts between 42nd and 66th That was enough for a bit of playlist presence and a few cracked egos. "Bam Bam" is obviously useless - but not completely wrong.
Listened to on the radio
Wednesdays at 23 o'clock there is the Hamburger Web-Radio ByteFM an intercepted mixtape with many songs from the discussed records and highlights from the personal playlist of Andreas Borcholte.
It's even better than the funk rock circus that was last released seven years ago for the album "Seeed". The distorted guitars have been abolished again, the beats are more transparent, the winds have plenty of room for their elephant trunk power, reflection on the core competencies stop. The songs are about "Gldild" and self-talk like, "Is that the deal, please give it to me!", Although it remains pretty undecided whether this is to be understood as ironic tips against materialism and Immerweitermachen or more in the sense of a Definition of Key Targets.
If in doubt both, and if not: no matter. A certain insignificance is already part of the Seeed concept, it has always been, even if this is usually concealed with terms such as "Caribbean", "Sport cigarette" and "Hacky-Sack". The Überhit "Thick B" appeared in 2001 and works 18 years later just as well, because the Berlin Summon builds on an all-time weather reporting logic. "In the summer you do well, and in the winter it hurts" - that also fits, even if the B-feeling consists only more of city marketing and gentrifidingsbums.
It is precisely this unsophisticated universalism that is the reason for the relevance of this band. It has ensured that people in city parks now laughingly fall off slacklines instead of joining the Young Union - and have proven to make life better in this country. From this point of view it does not matter if there is not much left in the setlists for Wuhlheide and Waldbühne of "Bam Bam". The concert tickets are already gone, and the attitude behind this music is consensus for much of society. So not as useless as this album. (5.9) Arno Raffeiner
Price query time:
30.09.2019, 10:25 clock
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Seeed
BAM BAM
label:
Bmg Rights Management (Warner)
Price:
EUR 17.99
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GAMS - "GAMS"
(Karlrecords, since 27th of September)
Who wants to know the same after sex, as he was, needs too much feedback. But even outside the bedroom, it is a common disease to want to see his performance often strengthened, or be it after a social media opinion fart. But in rock music, feedback has been a desirable sound event since the Beatles consciously used squeaking for two seconds in the intro of "I Feel Fine" in 1964. Feedback occurs when the signal passes from an amplifier back to a microphone or to a pickup, such as an electric guitar, and then mills back into the amp. This is the male-phallic cycle that turns your finger on a string into a world-shaking quake. Feedback, feedback in German, is a therapeutic noise that shifts omnipotent fantasies into the arts and relieves the life.
Guido Möbius and Andi Stecher succeed with their duo project GAMS something amazing: a delicate, breathing, minimalist grooving feedback album. The guitarist and sound artist Möbius and the drummer Stecher set the whine of once mighty speaker towers in pulsating soundscapes full of meadows, quite poisonous ferns and hip-swinging grasshoppers. Not only in the first track, "Tremslo", the duo docked at Krautrock, also because Yuko Matsuyama recalls as a guest vocalist reminiscent of the onomatopoeia of Damo Suzuki at Can.
Analog effect devices, which are pedals on the floor of many guitarists, trigger the feedbacks at Möbius, they are controlled, rhythmic and even tonal. Stecher thinks up grooves to it, there is no permanent experimental jingling and squeaking to squeak.
In the course of the album, the music insists stronger. On "flutter" the overdriven pin pricks sound hotter. The mood tilts slightly to panic on "Economics" when the Drones roar softly and drag the drums threatening until it briefly loses its shape towards the end. "Rumba" then plays happily with rhythms, but also with psychedelic overtone rows, until the effects sound like a Kalimba, sometimes like a Jew's harp.
For the last two tracks comes the Briton Mick Harris, who worked with Napalm Death. "Yanari" creeps like a heavy snake from the meadow towards the steppe, a nice, dark mid-tempo groove sets in after just over a minute, before that the air flickered from two overlapping feedbacks. And oh, now comes a deep bass: Stoner Rock! But even this short leggy gets soft knees and follows the sounds of unexplored areas. Only in the last number does GAMS sound the way it would have expected from the beginning: free from a firm pulse. Möbius and Stecher recorded the music separately. The result is the proof that you can listen even better with a bit of distance. (8.5) Tobi Müller
Price query time:
01.10.2019, 14:16 clock
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GAMS
GAMS
label:
Karl Records
Price:
EUR 3.49
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Rating: From "0" (absolute disaster) to "10" (absolute classic)
