"Heroes" like in terms of its design and dramaturgy, be a continuation of "Low". Mood and expression of the "Berlin" plates, however, differ (the talk about the "trilogy" of these two albums plus "Lodger" I can not understand really personally, because "Lodger" namely also includes experimental units and Brian Eno but was otherwise included in Montreux and rather is a collection of songs, without the conceptual and visionary implications of "Low" and "Heroes"; but people like trilogies, see "Good things come in 3", Huey, Dewey & Track usw.usf) -. "Low" as an antithesis to Bowie's cocaine excesses addressed implosion, the retreat inward and accordingly sounds almost catatonic (not only on the instrumentals, just "Sound & Vision" sounds like, when would life fully adopted into the inner world of the artist). "Heroes" is a lot more to the outside, but without reason to want the same talk to the world. A drive through drop-outs and strange birds. The protagonist of the paranoid Metropolis Disco of "Beauty & the Beast" is probably one of the people to whom you on the dance floor or wherever, rather keeps a safe distance, because you get such a time bomb feeling. "Sons Of The Silent Age" - They are among us, they have their own reproductive and life cycles, but they keep to themselves. To "Heroes" Bowie himself eventually wants to have been inspired by the observation of a young pair of lovers who always met at the Beliner wall. Whether this is so true or not - "Heroes" is, which is often spoken, but you'd rarely encountered: THE PERFECT SONG. Brokenness, despair, beauty, hope and all embedded in an arrangement that reflects those emotions, bears and sublimated. Something there's only once in a lifetime. By the way: What is the whole trutschige Verzücktsein ABOUT GERMAN song? Because I think it is rather with Heinz Rudolf Kunze-who published a prior decades, quite wonderful essay on Bowie said that this would be one of the few moments in which Bowie sounds frightening unsouverän - In addition, the translation would be stupid. Well done! I must always think of Nicole as in 1980 with wins "A little peace" the Grand Prix and sings the song in 3 different languages after her coronation. Every new language is with ARTIGEM - anxious applause "Wow, nice touch!". That's kitsch and not fit to Bowie. "V2-Schneider" has vocoder distorted Fantasy vocals that make up out peels until the last quasi-stanza of the title - a tribute to the power plant Florian Schneider, played at a marching rhythm and then even the mention of the German ground-floor Rocket from the 2nd World War - well, Bowie and his Rumgespiele with fascist images ... but the music, the title, the image of the power plant and the fact that she named Bowie as great influence, are fascinating as a combination without question, by Bowie's consistent times not to speak against the grain getutetem saxophone. "Sense of Doubt" is next to "Warszawa" the catchiest of all instrumental songs that made Bowie & Eno: 4 descending chromatic tones, large rooms, a few synth surfaces - all that is needed to create a highly visual, oppressive and dystopian piece of music to create, the ever contemplating "Alien" and "Blade Runner". This record belongs, as the saying goes, in every household well-stocked.
