Certainly not. Whoever listens to the new disk, understands quickly that the robbers civil history so, and otherwise had to be retold with bid instinct. Even in the past, the original duo Kunze / mare had already completed piece by piece for trio and quartet in order to go to the next step can.
Now there are fewer than 23 new songs, wider and deeper than created it would have been possible with the old line, and with a more precise and warmer formation of stylistic varieties. The range of guitars and percussion makes the compositions sound, without dampen the enthusiasm. In addition, Heinz has a lot more time and inclination to piano. However, the move away from the rough, sweaty sound of its predecessor in no case result in smoothed perfectionism. We are here continue in civilian clothes, but it is in civilian clothes 2.0
We get an album that in turn comes unparalleled in decades and countless albums comprehensive HRK Discography. Actually is not there a single song that could be confused. Many songs are as fresh and concise that they are reminiscent of the early Sturm und Drang period Kunze, as the unique selling point of the artist was still an awakening experience. But enough talk shop. Let us now on the superficial description of nearly two dozen songs.
First, the album starts with three songs that could be something like this landed on the previous album. Robber civil 2.0 therefore builds a bridge and is breaking new ground first biding. The first song is a country ballad with a lot of text. Heinz tells the story of Robert Limpert, brought to the narrow-mindedness of a dead system killed. A nightmarish story because true.
Even the "liar", a tribute to the Texan Townes Van Zandt, the Heinz has learned to love late, comes largely without new ingredients, but presents itself as wonderfully sung, largely supported by a mistaken soulful bass, slow confession that takes due sparse instrumentation mainly in the depth space. You can taste the dusty blues formally. We heard here already a discreet wailing lead guitar that would have been on the last album a violin.
It follows "do not come from Alabama," a rather unspectacular Blues, the regular listeners is still strongly reminiscent of the percussion mechanism of Wolli mare.
So far we are still quite usual in the fairway. But now comes the first Hammer, "rosemary" impresses with fantastic guitar arrangements, set to an interplay Pichl / Schmomerus that we certainly had in civilian clothes so not yet. We get a very strong impression on what enrichment can represent for civilian clothes, the lead guitar of Ralph King, because another form of stress buildup takes place. "Rosemary" develops a momentum of its own, rears up, captivating the imagination.
"The way you are" is a beautiful, very Reclaimed, almost naked love song quite a bit of "Elixir" remembering and concentrating on the essentials.
With the next issue Heinz has left a very long time. A tribute to the South commander General Lee, I no longer get out of your head. An enchanting country number with a lot of wit and charm. Incredibly well made and immortalized with a magnificent stamp of Martin Huch. Never before has me a Country number so packed, which is also due to that country really is not my cup of tea.
Then there is deep black and evil: "30 percent" plays on the basis of pounding piano and plaintive solo guitar with only seemingly perverse Orwellian mind games supposedly elitist circles. I mean the way in to the song a bass theme of "The Wall" recognize and also have a few animated sequences from the movie in my head, the. With the marching hammers namely
"By the sea stand" is the complete program of contrasts. A friendly piano, high and benevolent singing and not just philosophical image of a lonely beach. If I recommend the feathery song to unwind and let go for daily exercise imagination, this happens in all seriousness.
"Below and Above" spread immediately hectic, begins with a breathless harmonica, driving, hunting, chaotic. The characteristic phrase is "The added time comes faster than you think". Reminds me a little of the way, "Daredevil" and would also have a great rock song delivered.
"Greif already" begins with a distinctive flute and transported a medieval-like lyricism, but holds between her waffling passages repeatedly from the role falling rates. Between the verses logs the flute again and continues to compete with a gong on.
The first page includes a grand piano ballad that is supported in the final phase of discreet Tubular Bells. The real highlight, however, the resourceful percussion. Hilko Schomerus works here namely, among others, floating in the water pumpkin halves. The song is called "Be a for-nothing" and breathes lyrically and musically very far.
Actually, we would have heard a great album and would now start all over again.
And it would be a band album with the gain, the label would have verbeten also without question that at this point is just half. But civilian clothes is not only arose because of artistic independence, but also to the high output of the Songwriters HRK be fair to and including without double albums that would be impossible on the other stage.
The second disc starts the same again groovy straight on: "Ponderosa" squints at least lyrically winking a bit on Dylan's classic "Maggie's Farm", but this translated into current millennium. The soft percussions drums and bass to ally with a difference, and there is an awesome guitar solo.
"Daddy has money" is a rather simple country number, which deals with the effects of the poor / rich scissors on our education system and its increasing inequalities. Something surprised me that the song is suddenly fades. But since he is not just one of my favorites, I can live well.
Now we get a real Tango presents: "It is difficult" is actually not easy to digest and makes me cautiously asking whether the second disc may can keep the level not quite. That will indeed prove to be a huge mistake, but if these 23 songs long distance should have a smaller trailer, then I would situate him in these minutes, but are also created by.
"Bread of gold" would nicely fit into the time of the peace movement, but is naturally-date even today. Great lyrics, great melody, a wonderful flute theme and a perfect ear candy production.
Then Blues is given again: "Death" is a bizarre little story whose output is similarly surprising how the re-hide the songs. What a pity, but it can not be denied that this very suppression of the Kafkaesque story gives the spice. The pounding rhythm section controls just like in a tunnel and is suddenly gone.
"Rogue actors" is even a completely new Kunze. The song goes in the direction of bar jazz and swings like the sow. Even a monkey cool whistle, you should have sent discreetly through an effects unit, finished the song that incidentally depicts a murder in which the victim falls into bizzare gratitude. Basically, it makes little sense to describe such an atmospheric statement from a song with words. For me it's definitely a song to fall in love.
"Welcome dear killer" is the most explosive and most political number, whose interpretation I want to pass a precaution because I'm afraid that people might also seize beyond the necessary differentiation of the song. Who wants to knock Heinz a bit into the pan, will still select next "Thirty percent" this piece for it.
It again follows faster ballad with elle long text whose subject matter can not be determined so pretty. If "My lawyer and I" is a common thread in, then that's just the unfortunate lawyer.
The second big piano ballad evokes memories of early exploits as "Lisa" or "people go on". Ralph King is working here actually from the second stanza with similar guitar effects like Mick Franke at the time and played a beautiful solo.
It follows immediately added a number that goes through the roof: "I want to failure" is hard funky and wonderfully arranged. These certainly most versatile instrumented song I had a crush on right away, especially him or herself also a wonderful organ sound here.
Between my favorites and the finals there again simple structured country named "The problem is". On the really cheerful mood but Heinz sings quite a statement.
The final number, "only what you can not let Tu" is a dreamy piano ballad in which it comes to the breaking up of encrusted structures and the mental and actual immobility. The song is more insistent and moving because it was omitted to any ingredient. No keyboard track, no bass, no rhythm, just the piano and an extraordinary vocal performance, then silence.
One is very clear. The little side project that had begun even 10 years ago as a "sausage and schadenfreude" as a kind of cabaret music with Duo-size is increased to the heavyweight division. The previous one could, perhaps, mainly because the proportion of spoken texts, just let pass as cabaret again, especially as the corresponding live program could pull the country even without much effort. "Focus" is no longer a minor art. The arrangements are to be sophisticated, production and mixing the result to experiment highlighting the many facets. Peter Pichl, who had also been involved with Heinz including the pre-production of the last band album, this can now traumwandlerisch read them and realize how the song may be designed from the eyes.
It would be desirable now that the success story, their distribution is assumed by the time the big house SPV, can also be brought adequately to the people. Who dare, after all, to take the name from Kunze Cover. It has rarely been so much Kunze, as in this double album.