No youth without pain

Can you make him really to blame? That the boy at the tender age of twenty-two makes a music that draws its history and power from the painful life experience of slavery and racial segregation, which thus more than many other varieties of rock misfortune and despair made the basic theme and makes? Larger faults are not known from the CV of Jesper Munk, the son of Rainer Germann (Cat Sun Flower) is likely to have even enjoyed a rather protected childhood. Many a picture and some line still leave a smile, as he, for example, for the video to Courage Of Love the attitude of feral Outlaws nourishes and carefully pulled down by the dismal Pampa draws, or as his guilt for the failure with whiskey from the barman and cocaine from a friend stunned (Guilty). But when Blues only thing old men would, because you only boast the appropriate Vita it would arm appointed to this music.

No White Stripes, Jack White as this model had founded with just 22, also started from the fabulous Benjamin Booker, 22, the world would know absolutely nothing and even Munks great advocate Jon Spencer would lack decisive years in the biography. Let us better believe that the Munich-born himself now seen a lot of heartache, youthful anguish and anger (which always weigh as heavy as it perceives the one to which they relate). So no matter whether he knows the Reeperbahn only by hearsay or from personal experience, there is also in the songs from his new, second album is a good measure of power and passion, enough anyway to his stories willingly buy out the boy. The sound eliminated anyway doubt that he has mixed together because together with Jon Spencer, Sebastian Weiss (aka. Sepalot / flower pot) and producer Mocky on dirty riffs pounding drums and soulful Georgel, earned some respect (that many in the end only to a double album was to accommodate, is to name almost cheeky).

A scratchy, decrepit voice so that startlingly reminiscent not only of The Parched Well at King Krule, rich background, economical wind and a lot of virtuoso verschrägter guitar noise can Munk his instrument to elicit a variety of sounds that impressed. The grooving times very casual like Shakespeare And Heartbreak, barmt and vibrates to the old school to the heart softening theres no rehab for Lovers (Clean) or rattles and pounding dry in the best voodoo style for It Takes Two, there could be a variety of examples mentioned, giving the album a versatility and freshness, which can be found in this age probably only very rarely. Distrust is misplaced because, rather the fear that the boy might be too fast too big and his talent to sell too cheap. On the other hand, some negative experiences have never hurt anyone, Munk had fortunately it takes (see above), to process it profitably in its own way. mapambulo: blog