As a one on one yet gone forever was

How much is this album deserves to wear nothing but the band name, was felt to his appearance, and 10 years later, certainly with certainty: The white man is the final Tocotronic album, it is one of the very very few plates which over 10 years even ever again walk in my CD player, without ever getting bored me, it is the manifesto of the 2nd generation of Tocotronic albums after having "KOOK" the transition from the Schrammel ends slogan machine in fuzzy post rock Spheres were executed. "KOOK", so great was the shock for some 3 years ago, was in its orientation but not quite consistent, "Let There Be Rock" for example, still strongly reminiscent of the classic Tocotronic song, the tracklist is still bulging, although already clearly announced with pieces such as "The Gift" or "17", the new monstrous size.
On "Tocotronic" this way was then really gone over. Although Rick McPhail was at it, was on the tour with on stage, yet his influence on the album is not really to feel, instead of its pearling guitars that "... Pure Reason" to the fore from that shape the white album nor the gently sloping licks that you already got to hear KOOK, such as at the beginning of "Lead me gently" or "cloud of ignorance", and since then I painfully miss. So it is to be located immediately as an album of the original line-up, even if the method adopted in the previous electronic paths were leveled to the motorway here. This combination is great attraction: The electronic soundscape bows with trombones and trumpets in front of the still quite simple, but in their Stoigkeit more stood firmer Instrument Parts as monuments. Songs like "Hi Freaks", an absolute heart of the album can be, caused by just relaxed as uncompromising flow and repeating sound spaces that absorb the listener away. The eternal, monotonous hum at the beginning of "Free Hospital" takes to the point exactly on the one hand comfortable, deep but then somehow slightly troubling captivity anticipate that will preoccupy the narrators later in the song. In "Here's the proof" experimented Dirk von Lowtzow for the first time with his voice, by the sharp "s" at the end of the line seconds moves on, and the program is again music. It is built on the album an air of distance, with repetitive midtempo beats, with voluminous surround sound, with a distance of loud instruments to the events that might be described as a soft thunder. What sounds in theory to sterility, leads in practice exactly the opposite, it envelops the listener, no longer lets go of him, pulling him with and deeply into himself.
A Tocotronic-review, which manages to tens of lines without reference to the texts? That alone should perhaps suffice as proof of the greatness of this plate, but well: While the music the texts on the one hand reflects perfect accents and interpreted, but it takes away a huge part of sharpness, leading to interesting points of friction. Clear theme of this album is so imprecise it then but remain in the actual text of the uprising, the confrontation with society. Some pieces in this respect are small blender, "Everything will be on fire" makes no reference to street fighting and chaos days, but is a flawless love song. One sees that sometimes quite apocalyptic terms not often want 1: 1 translated (as it then also in "Neues vom trickster" 1: 1 is pronounced). Clearly, the line of approach to the criticism of the DC circuit in "Hi Freaks" or "Lead me softly", at the equally open as unusual because completely resigned "Protest Song" "The cloud of ignorance", the for all postal '68 generations applicable inconsistency of beliefs and letztendlichem action "to you Closer" and the magnificent "shadow cast no shadows" in "The evil book" and "Neues vom trickster", on the disillusionment in preparing the ground and performing romantic relationships in, at the Enge and the spite of being different in "Here's the proof" and "Urgency is always". Although this is the common thread that permeates almost anywhere on the album to the surface, it remains associative and ambiguous, who could say whether or not the feel-good effect of wood cores and the clock in "Free Hospital" for the true time off and relax or the internment on the Magic Mountain or just for profane Eingelulltsein is? You are welcome to think ahead.
Is there a hit? Most likely is it, "This Boy is Tocotronic" in question, which as since "KOOK" usual for the first single, the biggest pop appeal brings, but musically clearly settles the rest of the album. Nevertheless, it is a very nice song with its non-judgmental, and at the same time insulating immediate description of the absolute "now" -experience know then but seamlessly fit into the album.
If for Tocotronic ratios hitherto unusual strong conceptual design, with only 13 instead of 16+ pieces, only 60 instead of the last to "KOOK" 80 minutes duration and a despite the electronics excesses still striking simplicity, one could get the impression that "Tocotronic" narrow, limited and "small" acts as "KOOK". But exactly the opposite is the case, "Tocotronic" comes with a width, a force, a dignity that literally blows away a. I would not have expected that the "masterpiece" "KOOK" could be surpassed and was flabbergasted when it "did Tocotronic" seemingly effortless.
The White is the best Tocotronic album better than '' Pure Reason will never win ", or" surrender "better than" Sound and the Fury "anyway, but it's not necessarily the best" to start with ". Anyone who wants to get a Tocotronic plate because it "The world can no longer understand me" from the indie disco knows, should necessarily be "digital is better" or "We come to complain about" access, in the latter case Be warned that there is incredibly fast catchy, but similar afloat again from the head. Who wants to get to know the "new" Tocotronic after transformation 98/99, should calm start to the album, with the change began, namely "KOOK", which is also a very, very great album. But the White they no longer get topped. Betting?