Das französischen Produzententeam Marc Collin und Oliver Libaux sagt sich: „Was einmal geht, geht auch zweimal“ bzw. „Einmal ist keinmal“ und verlängern ihre New Bossa-Wave mit einem neuen Album – und nur graduellen Veränderungen.

Nouvelle Vagues selbstbetiteltes Debüt-Album schaffte es aus dem Stand heraus zu einer der beliebtesten Abkühlungs-Platten des Jahres 2004. Mit der einfachen und genialen Idee, plastik-poppende 80er Jahre Disco-Füller in ein mit Blaumeisenbezwitschertes Bossa-Nova-Gewand zu stecken, beerbten sie das brachligende Chill-Out-Land, das keiner so recht neu bestellen wollte, wofür es aber in diversen Lebenssituationen immer wieder Bedarf gibt: Etwas zum Entspannen nach der Tanzerei, etwas zum Imponieren beim Candlelight-Dinner, etwas zum Untermalen in sperrigen Small-Talk-Situationen.

Nun, weniger als zwei Jahre später, hat man sich entschlossen, einen Nachfolger zu produzieren. Die Inhaltsstoffe für das erste Album sahen so aus: Die zarte, manchmal rotzig-freche Stimme der französischen Grazie Camille, Klassiker des New-Wave, die unmöglich in das Konzept zu passen scheinen und einfache, prickelnde Bossa-Nova-Rhythmen.

Daran hat sich für „Bande a‘ Part“ nicht viel geändert. Aber wenig. Und dieses Wenige ist erwähnenswert, weil ja sowieso nur das Wenige den Reiz bei Nouvelle Vague ausmacht.

Zunächst einmal hat man das Gefühl, dass die Songs einer gewissen Albumstruktur folgen. So wild zusammengewürfelt wie auf dem Vorgänger, sind die Stücke längst nicht mehr. Das fällt an zwei Stellen auf: Die ersten drei Tracks fügen sich butterweich zusammen: „The Killing Moon“, „Ever Fallen In Love“ und „Dance With Me“ plätschern unaufgeregt aber wunderschön im selben Strom. Auch am Ende des Albums kommt es zu einer ähnlichen feinen Anordnung: Da passt alles zusammen: Die Dynamik, der Sound, die Attitüde.

Fast allen Songs auf Bande a‘ Part ist zudem gemein, dass sie wesentlich freier und ungezwungener klingen. Die Natur des Covers bringt es ja eigentlich mit sich, vorgegebenen Strukturen zu gehorchen und auf ein Stück Freiheit zu verzichten. Diesen Druck hört man dem 2004er Album wesentlich deutlich an. Nur an zwei Stellen knickt die Unbekümmertheit ein. Von Bauhaus‘ „Bela Lugosi’s Dead“ hätten die Franzosen ebenso die Finger lassen sollen, wie vom schon im Original unerträglichen „Dancing With Myself“. Die Billy-Idol-Nummer wurde bis zur Unkenntlichkeit verändert, was prinzipiell ein richtiger Gedanke ist. Der gewählte Musikstil kann nur einem Wortspiel verschuldet sein: Der Song erklingt in einem Sound, den man „Rockabilly-Idol“ nennen könnte und klingt einfach nur aufgesetzt, künstlich und unausgereift.

Es gibt eben doch Grenzen. Nicht jedes beliebige Stück aus vergangenen Dekaden übersteht den Flirt mit den gewieften Produzenten. Welche das sind, lässt sich wahrscheinlich nicht vorhersagen, denn wer hätte gedacht, dass gerade „Fade To Grey“ im Korsett der Franzosen so gut funktioniert, ja, besser noch als im Original. Begleitet wird Camille dabei quasi nur von einem Akkordeon, das stur die wenigen Akkorde des Visage-Klassikers hoch und runterspielt und dabei fast unerträglich in die Länge zerrt. Der Text und die Musik bilden hier eine prächtige Einheit: „Fade To Grey“ klingt bedrohlicher und bedrückender als im Original und drückt ja im Grunde auch eine Grundangst des Konzepts Nouvelle Vague aus: Ein Projekt wie dieses läuft ganz natürlich immer wieder Gefahr, in langweiligen Grautönen zu verschwimmen: Sobald Stille mit Stillstand verwechselt wird, ist Nouvelle Vague gescheitert. Genau diese Balance herzustellen, gelingt nicht immer. Wenn es aber solche gleißend-helle Momente wie das träumerische „Let Me Go“ gibt, dann kann man sich sogar auf das nächste Album von Nouvelle Vague freuen. Da verzeihen wir dann auch die grade zum Ende des Albums sehr nervigen Wellenwasservogelzwitscher-Kinkerlitzchen, die wir doch hoffentlich mit der Zugrabetragung der Cafe-del-Mare-CDs los geworden sind.
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