2023-11-01 05:58:51
Fabian Altstötter has presented himself as Boyskiller with Love Is 2019 and Massifs of Me (2021) above all deserves the reputation as an absolutely worthy torchbearer in the darkness behind Scott Walker. One Star but is now striving noticeably beyond this status.
Before we discuss why One Star does not fall into the category of a transitional record, but rather represents an absolutely round growth album in its development, or how fascinating Altstötter’s deep voice still is, it should first of all be explicitly emphasized how fabulous the ensemble of fabulous musicians behind it Boyskiller conjures up (with the ex-Sizarr-Frontman) has created a record that works from the smallest, meticulously constructed details, which allows you to discover something new with every pass and is captivating even when the songwriting leaves the pure practicality here and there: it is purely musical and sound-technical One Star terrific!
For his second work he wanders Boyskiller Now, in any case, moving further towards ambient pop with increasingly electronic aesthetics beyond the red wine-heavy avant-garde jazz cellar, looking for and finding perspectives where the piano is no longer the primary supporting element next to Altstötter’s suffering crooner-baritone, the arrangements are more elaborate and meticulously equipped beyond the embellishment go beyond the atmosphere and fundamentally support the entire sound space One Love in an intermediate world that is at the same time more broadly accessible and yet clearly eludes consensus, the homogeneity of the Boyskiller‘s aesthetics are staged in a more contrasting manner and the graceful majesty of the constructions is constantly contrasted by otherworldly, intricate shades.
It’s not all immediately apparent, but there is an immediate familiarity – because of the eclectic, associative nature of the references that always seem tangible, but of course also because of the aftereffects Love Is.
Know Finally, it feels like it takes over relatively directly from the previous album, cultivating a creaky suspense in the shadows cast by the longing vibrato before the opener blossoms in spurts, an orchestral grandeur in which apocalyptic drama develops, but remains unreal soft and pleadingly ensnaring: everything seems to be in spite of it here The graceful posture always has a latently broken slant that runs parallel to an immanent beauty – attractive in an unwieldy way, artfully displaying a well-measured pretentious extravagance, which is certainly a more polarizing matter of taste than before.
Sensation sounds like the arrangements were by Lanas Salvatore to a Bond-Theme in der Arctic Monkeys-Lounge slipped away as an elegy that incongruously evades barrier-free consumption, and that is outstanding Nothing Is Holy has a wheezing hectic simmering under sedatives, in which the bulbous, breezy brass players like in These New Puritans around the feedback of a toy walkie-talkie, and the chorus, gliding down its simple melody, suddenly conjures up a catchy tune that is as unlikely as it is all the more enduringly captivating: a ghostly magic!
The strings and percussion in Air On the other hand, it sounds like you’re walking into a dark room and scaring up all sorts of insectoid creatures, while Altstötter strolls dreamily and plays his own version of Mum‘s Trip Hop constructed. Ribbons shuffles even further in this direction over its beat, landing closer – and above all more skillfully – thanks to the ethereal, feminine backing vocals and the imaginative strings! – with Björk, as one would expect non-Icelanders to be able to send an organic artificiality into the cosmos.
The double out You (Everywhere) and Burdens offers an oppressive alternative reality in which Depeche Mode with David Sylvian first from Haxan Cloak are seduced into chamber music opulence and then subcutaneously booming and subcutaneously dive bombastically into industrial in the hands of James Blake. The abyss remains omnipresent.
And yet it is One Star no bleak isolation, but a look forward. Okay, one Thrashers Swath As an elegant piano piece, in other hands it would be a black hole of melancholy, but here it is actually a kind of hopeful breath of fresh optimism before My Fear Is But a Looting Game as a morning-thawing folk-acoustic ballad set against threatening Americana textures, the horizon truly and without relation clears as a balm in love, which means that the following title song not only functions as a conciliatory reminder of where Nick Cave, standing in front of a soulful background, is with the current ones Collapsing new buildings could come together, but also dissolves the two album titles somewhere as a coherent unit, after which, symptomatically, only an unfulfilled, pleading look forward can remain: “Why don’t you let a star fall down onto me/ I’m standing here with my open arms ready to catch it/ Ready for an embrace/ Why don’t you give me that star?“
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#Jungstötter #Star #HeavyPop.at