Great listen-only album with partly questionable band sound

Hannes Wader is on this album consistently poet, composer and singer: Just a songwriter, as he is in the book. That's in his great work, however, something of a rarity, he has also released many albums as an interpreter of other pieces. The previous four regular studio albums since the turn of the millennium had besides his own compositions always have a (sometimes small, sometimes large) part to cover songs, translations, foreign settings of texts etc. are the fans ready for 100% Wader? Hopefully, for the quantity and quality go hand in hand to Sing!

A common theme on this album is the view in the past, memories are. But that's not new to Wader. He looked old-fashioned as wanted at a young age. This source of inspiration is obviously not yet been exhausted for the poet. For example, waders is tribute to his Irish folk influences as a reminder of an Ireland trip in adolescence constructed (Folksingers rest).

Have we therefore dealing with kitschy nostalgia? Not at all, because the well-being with changes always with sounds. So is accounted for as in various choruses: one changes, past is past and for me no turning back. A typical Wader motif because that nothing stays as it was, he sings prominent way since 1972nd

Also for the singer-songwriter genre are not uncommon wader on Sing autobiographical lot about themselves. All the songs of the album we encounter the lyric I partly only as an observer or a side note, but mostly as the main acting figure. That this I sometimes literally equated with the real Wader is beyond question, but sometimes the limits to further spun fiction are blurred, which may make it more exciting.

In Where I come about processed Wader its origin from the lower classes and combines it with rampant thoughts currents around the topic. He can also be seen from its typical darkly humorous side. The song stands out further by the fact that it is the text of the album intense and chanting has in the verses. A Talking Blues within the meaning of The tanker king however, it is not, but quite composed and rhymed, even if the verses with all their Enjambements act almost like prose. For this, the whole thing is presented rhythmically, together with an ingenious spectacle in his voice, as one would have expected quite Wader, but not necessarily expected of them would.

In contrast, the stands immediately following for you: A sincere, positive love song and the calculated from Wader which can act (unlike, say, his friend and colleague Reinhard Mey) sometimes pessimistic and tend to retain with your personal content of this type. The song comes up with a beautiful melody that partially interesting strikes unexpected ways.

Ever should be mentioned that in Waders compositional style the vocal melody is often on its own in the sense that it not only serves to transport the text, but also in itself is interesting. Such unexpected swerve and waders characteristic long-held high notes are also included.

This does not mean that the music is heavy going: Almost poppy, catchy melodies will also be presented. Especially some choruses boast catchy quality.

What about political songs, with social criticism? Even though this aspect is only a small part of Hannes Waders work, he is met with a certain expectation but often to express themselves on political issues. Who has such hopes for the new album, although not get anything like a pithy socialism would have her (In spite of this III, 2005) offered, but should be happy about one thing or another song that makes you think.
In all only an illusion scary stories are behind supposed idyll uncovered (Bright Lights!) And at the end one has yet smooth dealing with neo-Nazis as their enemy Wader still sees. The motto only bill applies to a certain extent also for the song in the morning on the beach, where the listener or the audience the relaxed-sounding music and the text of the first verses suggest anything else than the bleak end with food for thought on the subject of European refugee policy.

A qualitative sagging in the songwriting there is not a mature performance on this 61-minute album!

However, only negative are the partially dubious arrangements. If anyone knew anything about Hannes Wader and purely on the basis of this album was going to a concert, this person would probably expect a country-pop-rock show with band. Fortunately it is not so, and who wants to see the artist live only with guitar, that can still do. In great contrast to the minimalist tradition Sing is now neither economical nor arranged too guitar-heavy. Ultimately, it is not new that in Waders studio albums many musicians involved (in some cases for decades, the same people), but the opulence appears to have exceeded the to-lot-of-Good-point in some songs to sing. Especially drums and percussion sometimes seem out of place; and one has the impression that some songs a dramatic dynamics artificially imposed on the production, they really needed were not as text and basic accompaniment were already powerful enough, without in each verse came to other instruments. A good song does not lose in the core course by questions of studio production ultimately quality.
And so could those fictitious example person who never heard of Hannes Wader, by its charismatic voice and unique way to write songs, even after listening to Sing will be a big fan.