Due to the diversity, it is difficult at first glance, to make a recommendation for which ears this first work would be best suited.
Whether one is inclined towards the country, rock, folk, rockabilly and jazz: a buy recommendation, it is all because this album is a nice change to the daily monotony. "Harms & Chapel" dare to leave the beaten track and is free to experiment from any pressure to succeed. The reader should also be warned that it may happen that do not like all the 14 present songs straightaway.
Opens the album with the driving piece after us, the deluge. Both the strength of the individual instruments, as well as the distinctive voice of Chris Harms unfold exactly in the right places their strengths. Whoever expects to find in the next 13 songs a repeat of this style, which was once again reminded that the total album can be no stamp impress due to its versatility, or wants. If you're getting into it, you will definitely enjoy it.
Dirty, filthy, wicked and rough as the myth of Hamburg St. Pauli, home of the Combo, happens to be - it goes into the next song When love Monster on.
In To the last man, Tobias Mertens (drums, percussion) and Chris Harms (vocals, guitar) seem a little too fight for the supremacy. This sometimes takes quite exciting features and the listener can always re-decide who will probably win.
Rosenbluth takes us back to the time when ships still made of wood and men of steel were so St. Pauli in its most traditional form. Such songs are not actually written today. But Mr. Harms, who appears responsible for the profound texts of the entire chapel pieces, proving that it still goes, and it's good.
The direction is set and you are on a musical adventure trip, until you finally reach the end The Ship of Fools, where you will be greeted by the cheerful distinctive clarinet playing of Le Comte Caspar von Coppelius. The lyrics are in the style of "Fettes Brot" or "Deicide" offered free to tart, North German Art And just should be a cover. You pays tribute to the original from Reinhard Mey tribute, but sounds fresh and not fitted and fits so perfectly well into the entire album.
Conclusion:
Even if one is inclined to to go one way or another title on the search for his own catchy, so you should still take the time to work every single piece with its instrumentalist shades and let the stories told in her head, with the richness and diversity of the German language to be told.
Perhaps it is true that such a thing can only come if you look at any sales forecasts or own high artistic aspirations subjects. And possible that this proves even as the recipe for success par excellence. The need would have the German music scene all time, that here again by sweeping a stiff breeze!
