Nachdem die 105. Ausgabe der Spreewelle mit sehr viel diskotivem Bumms daherkam und sich dabei fast wollüstig an 90s Plastiksounds bediente, geht es auf der neuesten Kompilation weitaus handgemachter zu. In manchen Monaten reichen zwei, drei Lead-Singles aus, um die gesamte Tonlage der Spreewelle zu definieren. Zumindest die erste Seite erhält dann fast automatisch einen entsprechenden Signature Sound (neues Lieblingswort). Und weil das alles sehr passend ineinander greift, gilt diesmal ganz besonders: NEVER PLAY RANDOM.
Der Opener kommt einem sehr bekannt vor. Sind es nicht Ville Valo und Natalia Avelon, die da den Sommerwein singen? Eben nicht. Es sind Brett und Rennie Sparks aka die Handsome Family, deren „Far From Any Road“ den Vorspann zur unglaublich tollen Serie „True Detective“ untermalt und damit die für die Serie so passende Atmosphäre schafft zwischen Melancholie, Selbstzerstörung und Coolness. Die Nummer 106 startet also irgendwo Ende der 60er im tiefsten Südwesten Amerikas.
Annähernd die selben Harmonien und der selbe sich schleppende 60s Beat sind die Grundlage für Big Bois Mash Up „Mrs. Vanderbild Told Me „, eine Kombination seines „Mama Told Me“ und Paul McCartneys „Mrs. Vandebilt“. Das hat die eine Hälfte von Outkast in den letzten 10 Wochen regelmäßig gemacht: Eigen- mit Fremdwerk vermischen. Bei dieser Nummer ist das mit haarsträubender Eleganz gelungen. Auf Youtube lagern die restlichen Ergebnisse des Mashup Mondays.
Big Boi – Mrs. Vandebilt Told Me
Bei meinen kurzen Reisen in den Mainstream, zu denen ich mich aus Recherchezwecken verpflichtet fühle, wird es mir in aller Regel unwohl bis übel. Die Jugend von heute! Nur Geräusch. Kein Gefühl. Schlimm! Umso erstaunter war ich, dass auf einem dieser Top-40-Sampler Paloma Faith mit „Can’t Rely On You“ zu finden war. Das klang nach Anfang der 00er, als Retro das erste mal wieder schick wurde. Und: Instrumentalische Monotonie als quasi Gegenstück zum vielfarbigen Organ der Interpretin? Das kennt man doch auch irgendwoher. Natürlich. Pharell. Pharell an jeder Ecke.
Paloma Faith – Can’t Rely On You
Wir nähern uns dem Kern der ersten Seite. Und da kommen die Kooks gerade recht. Die bringen mit „Listen“ grade eine neue Platte heraus und haben dafür ihren alten Indiepop-Sound an den Nagel gehängt. Sie machen damit das einzig Richtige. Welche Bands der Klasse von 2005 sind denn in 2014 noch am Leben – und vor allem: relevant? Im besten Fall kann das musikalische Niveau gehalten werden (Respekt: Babyshambles), meist bleibt es dann aber bei einem lauen Aufguss ohne große Glücksmomente (Leider: Maximo Park). The Kooks‘ neuer Sound hat überhaupt nichts mehr mit der fast zehn Jahre alten Indie-Postpunk-Ursuppe zu tun. Es ist: Funk. Und das klappt in Kombination mit der sehr einzigartigen Stimme von Sänger Luke Pritchard sehr gut. „Down“ wird ein Hit.
The Kooks – Down
Im Anschluss zeigen St. Paul and the Broken Bones wie zeitlos der Sound ist, auf den die Kooks anspielen, und der zur Zeit aus jedem Subgenre des Alternativen herausschappt. Der kleine dicke weiße Mann singt, groovt und bewegt sich wie einst John Belushi. „Call Me“ gibt es kostenlos bei iTunes, die folgende live eingespielte Version hat aber mehr Feuer.
Joan As Police Woman ist gewissermaßen das weibliche Gegenstück zu dem Zappelphilipp aus dem Video. Wer schon auf der letzten Spreewelle ihren Beitrag likete, wird auch bei „Holy City“ hektisch mit dem Kopf nicken.
Joan As Police Woman – Holy City
Große Frauenstimmen, dahin verlagert sich der Schwerpunkt der vorliegenden Kompilation dann. Mit dem Schlüsseltrack von Kelis. Ihr neues Album „Food“ ist mit großem Abstand das Beste, was wir bislang von der New Yorkerin hören durften. „Caught Out Here“, „Trick Me“, „Milkshake“ – das waren alles grandiose Singles. Aber für viel mehr hat es nie gereicht. Endlich, endlich ist ihr ein großer Wurf auf Albumlänge gelungen. Dave Sitek von TV On The Radio hat Kelis es zu verdanken, denn er produzierte diese runde, dicke, fette Scheibe. Es ist unglaublich, wie viel Kraft und Tiefe bei gleichzeitiger Verletzlichkeit und Sinnlichkeit in einer Stimme liegen kann. „Rumble“ ist Ausdruck dieses Phänomens.
Kelis – Rumble
Bevor sich die Spreewelle im letzten Drittel der ersten Seite zu etwas luftigeren, leichteren Musikalitäten aufmacht, sei noch einmal das Mikrophon an Busta Rhymes übergeben. Ja, Busta Rhymes. Dessen „Colabo“ mit Q-Tipp ist derbster Rap und gnadenlos tight. Überraschend gut funktionieren übrigens die weggescratchten Unanständigkeiten, die in der Chart-Version von „Thank You“ zu hören sind. Und außerdem springt mein Herz, wenn Busta so weise Dinge wie die Folgenden sagt: „Boop-be-de-de-boff, zippity-boof“. Erstaunlich übrigens auch der Originaltrack „Thank You“ von Alicia Myers – und das vor allem songarchitektonisch: Auf mystische Weise bleibt die Strophe nach stürmischen Beginn im Beat verhaftet, für 2-3-4-5-6 Takte lang. Umso glockenklarer dann das Frohlocken, wenn sich Myers in den Refrain erhebt.
Busta Rhymes Ft. Q-Tip – Thank You
Zur Seite 2. Kennt Ihr noch Everything But The Girl? Das ist lange her. „Missing“ zum Beispiel wird in diesem Jahr 20 Jahre alt. Die Band gibt es nicht mehr. Aber Ben Watt, die eine Hälfte des Duos, macht nach einigen Irrwegen wieder Musik. Sein Album „Hendra“ ist erfrischend eingängiger Singer-Songwriter-Pop, der in vielerlei Hinsicht an Ben Folds erinnert. Die Songs werden allerdings mit deutlich mehr Ernst vorgetragen. „Spring“ ist ein wunderschönes klaviergetriebenes Kleinod, das jahreszeitlich passend die zweite Runde der 106 einläutet.
Ben Watt – Spring
Überhaupt das Klavier. Es ist das verbindende Element der zweiten Seite in diesem Monat. Portisheads „Roads“ macht mich ja eh immer fertig. So gefühlvoll, so schwer, so elementar gut. Überraschenderweise gelingt Zak Abel, seines Zeichens Stimmgeber vom aktuellen Garage-Projekt Wookie, eine sehr gute Coverversion.
Kelis bringt übrigens das Kunststück zustande, auch für die zweite, musiktonalitätsmäßig komplett woanders agierende Seite den passenden und prägenden Hit beizusteuern. „Bless The Telephone“ heißt die Nummer und ist ein dringender weiterer Auf-, bzw. Anruf, sich „Food“ zu kaufen.
Kelis – Bless The Telephone
Außerdem auf Seite 2: Elektronische Robotertränen für Damon Albarn, präzise Songkunst von Lykke Li und Weltschmerz in Slow Motion mit Andy Shauf. Happy Mai!
Andy Shauf – I’m Not Falling Asleep
Cover-Photo-Credits: Charly
Seite 1
[unordered_list style=“number“ number_type=“circle_number“ animate=“no“]
- The Handsome Family – Far from Any Road
- Big Boi – Mrs. Vandebilt Told Me
- Paloma Faith – Can’t Rely On You
- The Kooks – Down
- Nataly Dawn – Suit And Tie
- St. Paul and the Broken Bones – Call Me
- Kylie Auldist – I Will
- Joan As Police Woman – Holy City
- The Sound Defects – Da Da Da
- Kelis – Rumble
- Busta Rhymes Feat. Q-Tip, Kanye West & Lil Wayne – Thank You
- Panama – How We Feel
- MAUSI – Hideaway (Kiesza Cover)
- Todd Terje – Delorean Dynamite
- The Ting Tings – Wrong Club (Club Mix by The Super Criticals)
- Capital Cities – Patience Gets Us Nowhere Fast
- Damon Albarn – Heavy Seas Of Love
- SOHN – Artifice
Seite 2
[unordered_list style=“number“ number_type=“circle_number“ animate=“no“]
- Ben Watt – Spring
- Chromeo (feat. Ezra Koenig) – Ezra’s Interlude
- Zak Abel – Roads (Live Piano Cover)
- Jessica Rotter & Emily Colombier – Stay / Animal Mashup
- Andy Shauf – I’m Not Falling Asleep
- El Dee – Worst Case Scenario
- Lykke Li – Gunshot
- Kelis – Bless the Telephone
- Monogem – Wait And See
- Last Lynx – Curtains
- Big Scary – Invest
- Damon Albarn – Lonely Press Play
- Todd Terje – Preben Goes to Acapulco
- Breakbot (Featuring Irfrane) – Another Dawn
- London Grammar – Hey Now
- Small Wonder – Until I Open My Wings
- Ryan Lerman (feat. Nataly Dawn) – Baby It’ll Be Alright
- The Antlers – Palace
[latest_post post_number_per_row=’3′ rows=’1′ order_by=’date‘ order=’DESC‘ category=’kompilationen‘ text_length=“ title_tag=“ enable_video=’yes‘]
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