Compact and furious work of the old masters

After the departure of their singer already second after every 16 years, Hugh Cornwell and Paul Roberts, the Stranglers are since May 2006, again in four occupation and experience in their own words a creative heyday. Bassist JJ Burnel found in Baz Warne (guitar), the long-awaited creative songwriter counterpart, which he had lost by Cornwell's departure in 1990. So the two have now also taken on the role of the lead vocal. Vocally to Warne fits better in the Sound as a front of him Roberts and the back singing Burnel we are in some tracks on Suite XVI even high in the golden age of the band in the late 70 to mid-80s. Dave Greenfields nimble keyboard acrobatics, Jet Black's violent drumming (with 68! The oldest rocker in the biz), Burnels Pusch basslines, Warns lively, cutting guitar are screwed up on Suite XVI. The 16th studio album of course, sounds like no previous Dandelion Wine albums, one of the hallmarks of the British music institution. The fast, partially incredibly dense verwobenene Sound runs like a compact, sometimes almost painfully melodious emulsion through the ear canals, often so focusiert that the game has to be repeated several times in order to really perceive the many nuances and shades of music can. Encouraging creativity thrusts are surprising style and rhythm changes, for example, after two and a half minutes in the opener Unbroken, the final sequences of See Me Coming or the middle part of Summat Outanwt. The album has virtually no dropouts, singled out as the highlights are the slower, gitarreske Bless You (Save You, Pare You, Damn You), somehow a grandchild of Stranglers hits Golden Brown from 1981 without being able to remotely compare to the monumental Relentless and furious with his Western feeling, or pop pearls like Barbara (Shangria-La) or Shes Slipping Away potential future singles. Should not go unmentioned I Hate You, a fun song in the best Johnny Cash style (yes, JJ Burnels musical tribute to the old masters and even textual allusion to Cornwell?) Which would have been even a highlight on Cash's famous American Recordings. The British Music Chameleon has got more wrinkles on the body than some young hyped miracle force, but does not need a long time to hide the musical outing - more a matter of noticing and of personal taste, but not the objective quality.