Stylistically, "Greyscale" appears on the one hand as a typical camouflage album that continues the instrumental structure of its predecessor in an impressive way. On the other hand, are numerous references to current trends of electronic pop music, but also to their own history visible. "End of Words" could also apply to the second "Hurts" album his place, while "Count on me" would fit well -plate not only because of the participation of Peter Heppner on a "Wolfsheim". In other songs I think - sometimes clearly, sometimes very subtle references to the camouflage albums "Relocated", "Sensor" and "Spice Crackers" but also to "Exciter" and "Playing the Angel" of "Depeche Mode" or " Foot of the Mountain "from" A-ha "(RIP). In addition there are also many new facets that show how versatile the artists are. A variety of which they should make use increased on subsequent albums.
Celebrates Melodic "Greyscale" especially melancholy that is repeatedly interrupted by rather mysterious or urgent motives. The lyrics are in their highly variable length, but mostly explicitly. The main reasons seem to be love, loneliness and the call for self-reflection and inner strength. Interpretations or the rating the extent to which the texts are shallow or deep, each left to itself. In terms of pace, the album acts medium-fast, only the advance single "Shine", "if" and especially the very rapid "Misery" stand out in this regard. The structure of the title follows mostly the classical scheme intro / verse / chorus / verse / chorus / intermediate part / Chorus / Outro.
The instrumentation is complex and very high quality. In most titles with multiple audio tracks are used that combine softness and roughness together in an elegant way. Guitar and piano put in several titles matching contrasts to the synthetic sounds, in "Still" a children's choir comes the orchestra Babelsberg, in "End of words" used. Overall, the sound is similar to the previous "Relocated", differs from this, however, by the strong use of basses, the times of the other nuanced instrumentation in most songs, are sometimes placed under very dominant.
The aforementioned versatility could be counteracted by two factors somewhat. First, the album sounds a bit too uniform in the first passages regarding melody and instrumentation. I opened up only after repeated, attentive listening to the numerous subtleties in instrumentation and structure. Given the dominance of medium-fast tempo this could be criticized, in fact. The second aspect is also a novelty is the repeated use of melodic motifs. "Shine", "Count on me" and "if" are similar in the chorus, which I already noticed at the first hearing. Given the euphony of the subject, this is acceptable, but it is unusual. The same applies to "Greyscale" and "Still". But more on that later.
Personally, I appreciate the song material as a good to very good. "Shine" was the right choice for pre-publication, because it combines adequate artistic standards with a considerable catchiness. Melody, lyrics and instruments skilfully combine sensitivity and power and create an elegant opener, which belongs within the discography of the strongest. The following "Laughing" takes out pace and hope and replaces them with a subtly aggressive melody that gives the similar stored text form.
"In the cloud" require few words: A typical camouflage song wonderfully sad and despondent. Very beautiful is the contrast between instrumental Stropen and chorus. The following "Count on me" replaces the despondency of his predecessor through determination and perseverance. An impressively condensed in music Statement of love and fidelity. The dialogue between Meyn and Heppner is extremely melodious and its high accessibility and involvement of a well-known artist, the extraction should be considered as a single.
The energy of "Count on me" is abruptly terminated with "Greyscale" and transferred to the mysterious, sensuous and Spherical. Melodic it seems to me in a positive way very atypical even more than "Confusion" or "Funky Service". In its quality and meaning it corresponds to "74 minutes": On the one hand it is wonderful for themselves, on the other hand an indispensable necessary reconciliation to succeed. "Still" is the highlight of the album for me. Introduced by piano sounds, quickly assumes the Babelsberg Orchestra and celebrated, accompanied by subtle synths, melodic and lyrically this exceptionally beautiful title. Glorious is also the dialogue between voice and instruments: like two stars in the infinite darkness so near and distant at the same time. A Masterpiece.
The finale of "Still" is followed by a complete change. The aggressive "Misery" ticks all the boxes. Extremely fast, rough-electronic and melodically very beautiful, it acts on the one hand as a tribute to the 80's, however, appears very current in the same passage. Of these contrasts between tracks of the album could have been one or two more tolerated. The following "Leave your room behind" acts like a sharp retreat to gentler, conciliatory tones. Here, however, the melody is deceptive, because the text points rather to leave or task.
It is interesting textual development since "Count on me". The admission of eternal love and fidelity to doubts, supplication and finally the farewell.
"Light Grey" is preparing a change of mood. This seems appropriate since the mood technical contrast between his predecessors and successors would have been very large. "If" swings melodically back into melancholy, which also supported the text, in the apparent existence is portrayed in isolation and solitude. A rugged elegant title, but its full effect only after repeated listening and back is something within the album.
"End of words" acting lyrically like a continuation of "if" and increases energy strongly. The instrumentation is very complex and powerful and wonderful support the increasingly pressing expectant supplication of the text, the Markus Meyn insistently gives shape. For an excellent title that but a little ... seems ambiguous to me because of its obvious proximity to the album "Exile" from "Hurts". The celebrated energy requires an adequate reduction. This accomplished "Dark Grey", the de facto a continuation of "End of Words" is. The final "I'll find" leads into darkness melodic and lyrically in utter lostness. It is as if here the story started with "Count on me" led to a sad end. A part of the album Moody and fitting conclusion, which is, however, far inferior to my ears "Pompeii", "In your ivory tower", "Space Train", "You Turn" and "How do you feel".
Overall, "Greyscale" become a very good album, which has some impressive moments and to hide behind any of his predecessors needs. Melodic and lyrically it's very nice, but would have to be a little more varied in terms tempo and instrumentation. The already raised by some reviewers criticism, the album is very or too pop, may well be accepted. In fact, "Greyscale" strikes me as the "poppigste" album of the band, since none of the predecessors - not even the highly successful "Voices and Images" - so quickly is very catchy. However, it should be noted that adequate sales proceeds are, after all necessary to amortize the costs and to open the band a prospect for future projects. I push the guys all the luck for a big sales success.
Friends of electronic music is strongly recommended "Greyscale". However, unbound listeners should give him a chance. It is worth it.
4.25 stars that I aufrunde and issuance of comeback bonus 5.
