As my Vorrezensenten also I hear out a return to the small form in longing. The large number of new songs has been designed in its substance from the solo guitar, the broad orchestral gesture has gone away, and although this it was that has taken me (on Melancholia) final for Klaus Hoffmann, I feel about the new trend no regrets. That probably has a lot to do with the texts that also seem to me more focused and modest, with smaller Auschnitten and greater clarity in their imagery. And in yesterday finds Klaus Hoffmann even finally into telling back! Longing is the album known, The simple things would almost better fit for me - the title of a song which spoke through his close fast melody and by a pulsating ostinato in the piano really musically most likely represents a Aufhorcher in verse part.
Otherwise the album to my ears contains compositionally not really much new: I was even briefly tried to hear exactly which earlier songs the melodies and harmonic turns come, from which he has composed the new songs; some phrase you can already at first listen flawlessly finished singing. At first, this might provide a bit of a disappointment, the second already it raises mild familiarity, the third then go the new songs like everyone else in the large, distinctive Klaus Hoffmann cosmos in which it does not matter what from what stage or what album comes, and in any case develop in the lives of their own favorite songs beyond all tamper-evident categories.
And what contributes longing to this cosmos in particularly is: authenticity. This goes so far that the song I dream myself to you out ohrenscheinlich without cuts and was recorded in heavy colds state, with a broken voice, matte uncertain amount and mumbling Text uncertainties (see. Booklet). What seems irritating at first, makes the second just the special appeal of the song, and points out that not an embellished, forever-young face, but the content of sincerity is the focus here.
Why, then, is in the second stanza added this smooth synth cloud? This is the only real weakness I want to attest to the album, in my view: that Arranger Hawo bleach could not really mitvollziehen the step to the simple things or wanted to. I admire him very much for inventing the warm, elegiac orchestral style of the last seven albums; the way, as he has from the building blocks piano, guitar and orchestra (each in both acoustic and synthetic form) always designed new combinations and dramaturgy, (eg on the albums Spirit and The Sweet Life) is not unlike masterfully to call. , Here, however, where the guitar-based singer-songwriter style returns and the orchestra consequently completely displaced to bleach seems still can not be solved by the introduction of the widths sound, but fills any gaps with synthetic orchestral sounds on. The lilting you are doing me good sound, the electronic wind actually still pleasing fresh and crisp (whereby a comparison with all furniture worth crazy by Roger Cicero, which is in significantly similar melody Baßbewegung and stylistics also with the impact of the feminine in life a man employed), but the constant blur carpet begins to annoy me quite fast (not later than the wonderful piano ballad mutmachenden Your dream); the artificial oboe solo on It all starts again after all (after all instrumental gems of recent years, especially the exquisite performances of Till Brönner) with all due respect really under Hoffmann's level. The natural ease of purely acoustic interplay between guitar, bass and piano remains in the pretty pearl love was always there, unfortunately, an isolated incident. Too bad, because Bard brother Reinhard Mey has (strongly reminiscent of the me last named song by the way) with his longtime arranger Manni chandelier the way to acoustic modesty solved clearly voiced. By guests from the folk scene, for example, on accordion, whistle, percussion or string quartet At this point I would our good old friend Klaus Hoffmann once wish the experimental openness to new friends.
