The inevitable comparison with the Guano Apes: This busy as I know, never a keyboardist, whereas here (including Nasic) three are used. This results naturally in a more opulent sound, as it can be reached only with stringed instruments and percussion. Now I hang not on the theory that everything was a betrayal of the rock music, tried some form of effort or sophistication beyond lane E-Geklampfes. (Such theorists should stop listening to Punk.) It also bassy-gloomy, aggressive synth sounds were mostly used, which fit very well in the rock context. (Except. The title track As Jean Michelle Jarre already get more original in the seventies and less sterile electric sounds.) And: There are indeed also economically arranged passages that come through the contrast vividly advantage.
The most important, the voice. I'll be here for a surprise out even less than too Apes times. The root is the well-known, unique, diamond hardness (which if needed but can also melt), which is determined as with any other known to me this woman's voice to unfold in the context of hard, driving rock music. Fortunately, this is probably the well-established self-knowledge Nasics, because that is what takes place predominantly on this album. Some songs have a quiet yet powerful moments, without ballad Schnulz, there are the distinctive voice and the vocal intelligence front.
The only consistent ballad, "Stop the Crying", however, is the - not quantitatively significant falling - low point of the CD. At first listen bored, annoying later. And he who seeks, finds in the chorus also the only place on the album with 08/15-song.
For the rest of the album holds: Nasic explores the immense possibilities of their spooky versatile voice confidently out, varies original, nuanced precision, drives the music most of the time incredibly powerful on. Thousand horsepower in the vocal cords, but with (at least on the basis of this studio production) effortlessly acting voting control remains the force on the tarmac. The picture can be taken almost literally sings If Nasic maximum loud and rough - not crying because pitch and articulation will be lost at any point - that's the sound of a Formula 1 engine not far away [to an addendum at the end], about in the chorus of "The Name of my baby." At the other end of the spectrum is elfin delicacy. One need in amazement for a while to the decrease their own ears. That there is nowhere else, even this bandwidth is a unique selling point. Nasic has with her voice so many forms of expression that it comes at no point in the embarrassment, unimaginative conspicuously tremolieren - which employs many other, also highly acclaimed singers in each bit longer note to the perhaps not bad, but one-dimensional vocals slightly modify.
The songwriting is solid with two exceptions to very good. Striking melodies in dramatic dark to pitch that fit like a glove to the predominantly used coming, crystal clear and strong natural voice. In the credits of the Apes albums is not read, how much was the input of individual band members, so you can breathe easy here: Two of the best songs, "Sorry" and "Old Shack", taken from the sole spring of Nasic, so you probably can assume that they will not be dependent on co-authors in future projects in order to maintain the level. I have long bought any current CD more, in which such a long list of really good rock songs is: In the name of my baby, sorry, Fever, Mecasanova, Old Shack, Perfume (grandiose sequences with only guitar riff, ethereal vocals and syncopated drums in which the synapses in my hearing center every excited losfeuern towards analytical brain: "Care madman stuff here How do they do that?" And toward the Language Centre: "Somehow the enthusiasm to put into words, review enthusiastic on Amazon.com" ).
My favorite is "Sorry", although the vocals rather something is withdrawn compared to the rest of the album - but it is thought to hear three singers: a rapt high pitch, then clearly, melancholic-dramatic presentation and in between a casual-cool in very Nasic's own depths descending timbre. Strong music and voices-gloomy, tired-bass-heavy arrangement. Extremely successful. I have the thing belonging to dozens of times already, and still the anticipation increases after the first few bars. Is there division "Cool-Rock"? Now anyway.
The album is produced perfectly sound and technically at the level - only in "Big City", the bass too much of a good thing. The voice plays never contested lead role in the sound spectrum of the entire album, and that's when this singer also a must: Anything else would be a nuisance.
The Limited Edition with the videos I am running perfectly in Windows Media Player.
I do not agree that would rumgehaucht exaggerated - except in the second worst song, the title track. Yes, breathed in the second song half Bontempi plastic-noise and is about. Gift that went wrong. But that's about it.
I dare even a summary thesis: We can experience the impressive voice that there has ever been in rock music. If it were not for Sandra Nasic, you would have something similar to the rock music genmanipulieren. Janis Joplin, Robert Plant, Sonja Kristina, Jim Morrison, Grace Slick, Peter Hammill, Guesch Patti, Nina Hagen, Fish, Catherine Ringer were referenced respectable ranks.
I first wanted to dub the review: "The Callas of the Rock", but Callas had perhaps spend more precision of opera, but cover a much smaller stylistic spectrum. The comparison would therefore not do justice to the Nasic - despite comparable beautiful nose. (Do not come out now, it is all the praise due only to testosterone faith, because I had to Open Your Eyes - with exclusively involved open ears -. First amazed at the radio building blocks)
Five stars because the two failed Songs bite from any thread.
Addendum:
This newer readers do not think I would have written nonsense in the above comparison, the referred to the Formula 1 engine noise before the 2014 rule changes were made. The V8 engines with 2.4 liter displacement sounded more aggressive, more penetrating, more feminine than the now slimmed V6 engines with 1.6 liter displacement, the hum yes comparatively more comfortable.
