The question, however, I asked myself in the days before release often enough, was whether the current Deutschrap at all (yet) a classic in this form need; takes the scene in times of creative genre mixes (Marteria, Tua) or subcultural transgressions (KIZ, Casper) at all as a manifesto 'purebred' rape? Or, to be aware of to formulate something sharper than it had actually meant is likely: If the subgenre of rap, whose pioneering Savas is undoubtedly, not long ago water under the bridge?
To have come to the point now: Who is 'Aura' has consulted, will confirm that this is of course nonsense. But who is dubbed as King of Rap, and as such also recognized by many, but it must also tolerate to face a little check things, critics view as the still experimenting newcomers.
That's why I was on the Enstiegssongs ('The last of my species', 'And then came Essah' 'aura') and at first listen a little bored. Sure, hardly anyone, wahrschienlich even no German rapper masters his instrument so well as Savas: Each syllable is deliberately accentuated and set Double Times are rocked in half-lines as if they were technical exercises or the final of 'And then came Essah' also staggered to impressive stanza statements. Bright Lights.
But that was never an issue.
At issue is rather, why should I listen to the content again what Savas has done for rap that he sees himself as one of the last of his kind and with 'the technology is that you usually only in the space' continuously finds. I know all that already, and these are certainly not the 'lyrical excellence', which promised us the cuts in the intro.
But then came the title song. And even cured the critics occupational disease Hating, because from this veirten track of the album, the listener understands only so really what Aura really want to be: A great declaration of love to rap. No more and no less.
'How shall I turn back now? I am too far gegang '
Is to pass the stratosphere, the stars are close enough to touch '
Rightly these lines were already subject of numerous posts on Facebook, because they bring exactly to the point, what is at stake in this album: That Savas flame for Rap shall not be quenched, and that he practiced music here to the pure love for her. From 'Aura' tilts album of the mood then in a lot more control and touch, unfortunately, here and there to pathetic direction, but also persönlchere much: 'go no more' with leads Savas not only the declaration of love continues, and scatters doing some personal anecdotes and persönlcihe a thought:
'Look, these verses are like letters that I send out,
addressed to the infinite moment '
'Times change, but the ideas remain resistant
Change your host and live on forever, I never want to go! '
The sung chorus to easily elektroiden Beat is beautiful spherical and perfectly fits such Lyrics. With 'Nothing remains' creates Essah then what is many never really succeeded in the ears with 'All For One': Writing a proper anthem. The Scala Choir, filmmakers certainly known for their contribution to Fincher's film 'Social Network', replaced the much too kitschy Kinderstimmnen here. And the kitsch Three Musketeers rhetoric of bygone days is here replaced by more personal messages:
'Nothing is more, if I do not go that route,
nothing is more if I continue to flee in front of me '.
That it again comes to rap at the sung way need not be mentioned. Savas that the underlaid with passigen march Drums Beat shelled out as it could have done barely a second, probably not. Clear, basically only continues here what he did in the title track.
Countered the song would be the 'voice' of catchte at least me of the dreamy synths Hall directly by Beat. Basically, it is exactly what the title suggests, Savas and its gold throat, with whom he liked to appear to not really get used to Youth Times:
'I thought it was exaggerated annoying,
Teacher sent me for her to read various competitions,
Did you peep you speak like an angel,
I thought that woll'n kidding me: Make the time myself! '
This loose narrative style of the formulations ago on a friendly footing, let us Reported appear vividly.
In addition to this erfirschenden and absolutely successful trip to the personal the album formative declaration of love reaches its climax in 'King of Rap / A miracle': A reduzerter Drum Machine Beat together 'The Message' sample in Hook, including textual homage to Grandmaster Flash's classic' It's a miracle, because they do not get me under. ' The nostalgic 80s-plate reverb completes the whole.
But from the second verse then is also the dark side of Savas' Passion. To stay in the linguistic context of that Liebeserklärng, you could but almost a bit of jealousy speak if he rolls Emo stereotypes and with HipHop fundamentalist questions à la 'This should be rap?' comes around the corner. Feels someone in his territory under threat?
He would definitely not, and even if he is sure mouthpiece for many of his fans with such subliminal Disses me ödet something always a bit. Rap is just evolving. And, in fact, for his sub-genre is Savas actually the 'Last Man Standing', as stated in the outro. A sub-genre that mainly relies on technology, quasi the L'art pour l'art of rap. Besides it comes naturally to atmosphere to the homage of the music that one lives and to the highest voice vocal claim. Content undertakes Savas though with 'voice' very successful trips away from the familiar. And the familiar, so the battlerap is, by winking self-portraits as 'Sarrazin's magic lamp, a Turk who speaks German' still used with some humor.
Deutschrap 2.0 includes much more than these elements. And is not less Deutschrap than what Savas does there. But Well, he says it himself he is indeed 'The last of its kind'. And, although he did not pronounce it right, even the best of this genre. And with albums like 'aura' he will yet again run through for a long time his cause at the highest level, and of course, to the delight of many listeners. A Classic? This will determine the time. Anyway, despite some content loops, a wonderful love letter to music the highest level.
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