|
|
|
|
|
|
|
|
|
|
|
LP
|
|
MAX 015LP
|
Let's keep it short: The eponymous "It's All" is The Von Duesz's most impressive song to date. Since their label debut Garant (MAX 009CD), The Von Duesz represent live performed club music in the niche between electronica, Kraut and jazz. Now they intensify their open approach by transforming it into sublime pop -- a change that suits them extremely well. Even if "Alert Me" shows that Florian Schäffer, Henning Rice, and Ismail Oezgentuerk are still experts of improvisation, combined with the perfectly-staged arrangements particularly of "It's All" and "The Eye," they give M=Maximal a truly elaborate record. "It's All" is characterized not only by Oezgentuerk's plaintive baritone vocals but also by its sparing drums and infiltrating Moog sounds, evoking a profound and decelerated pathos -- as if Caribou and The Notwist were having a studio session to record a little hit song. Three artists accepted the invitation to put a new perspective on this gem. Egokind, well-booked Berlin sound scientist, adds even more deepness to the mix and makes a proposal on how Burial's vocal cuts could sound in daylight. Truly more of a rework than a remix is the track by Gebrüder Teichmann, who strip the original song by focusing on drums and adding dissonances. The final track is made by Christian Borngräber's and Ulrich Hornberg's project More Of Radical Architecture. Their M.O.R.A. remix presents a retro-futuristic and uptempo version of "It's All."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MAX 009CD
|
M=Maximal presents the second album by The Von Duesz. Live performed club music, dancefloor-jazz deep as dark house, a sound like a warm cave: with this three-piece band, electro-organic music from Germany gets a projectile which taps the pulse of the age. Animating the monotony of minimalist electronic music with errors, improvisation and physical energy, their "dancekraut" becomes the soundtrack to plunge, turn around and start to shake. Garant celebrates the delight in playing Krautrock, revived by the danceable beats of this young decade. The Von Duesz present thirteen heavy-seated tracks, joyfully piling up textures and layers that represent 40 years of electronic music. Whereas the single "The Worst Has Yet to Come" sounds yet Caribou-esque, right around the next corner hides the tone of Matthew Herbert, making room for dark house music ("Diesel") on the one hand and post-rock on the other, to finally find itself in the arms of "Feuilleton" -- a cinematic piece of the '70s with a subtle gush of original instruments like Polymoog, Multimoog, and the Minimoog. For a warm analog album, which was entirely improvised and ornamented with only a few overdubs, the tracks turn out to be immensely confident and occasionally so fine, that some loose ends almost become pop. After their self-produced first album Dynamo, Ismail Özgentürk, Florian Schäffer and Henning Rice bring their technique of real-time composition to a new level. While on their debut they wafted and carefully felt their way, The Von Duesz now manages to become voluminous. In the studio, they continued the free-spirited approach they started live: a balancing act that led them to a variety of renowned venues in Germany, to the highly-acclaimed Fusion Festival to jazz festivals and back again, proving there's no contradiction between jazz and the underground, between German influences and international sounds, between improvisation and catchy clarity.
|