Izvajalec: Uberfall
Založba: Samozaložba
Izid: year
Ocena: 4.5/5
Uberfall je švicarska zasedba, ki je delovala konec osemdesetih let prejšnjega stoletja in v začetku devetdesetih. Ker so pač Švicarji, je normalno, da predpostavljamo, da nekakšno vlogo igra tudi Markus Stauss in s to predpostavko se ne bi zmotili. Markus ponovno igra ključno vlogo v glasbi tega avantgardnega jazz-rock trojca in celo prispeva nekaj vokalnih delov (na “Nah und fern” nas navduši tudi z rapanjem).
“So uferlos im Abendwind” je pravzaprav kompilacija njihovih prvih treh studijskih izdelkov. Za vse kompozicije sta odgovorna Stauss in Kayser, veliko pa jih je zasnovanih okrog sintetizatorskih tem, kar je zelo nenavadno za Staussove projekte, ki so ponavadi bolj organski, a sprememba vsekakor pomeni osvežitev. Prevladujoča stila sta avantgarda in jazz-rock, slišimo pa tudi nekaj kabareta, funka in tudi popa. To glasbo je težko primerjati s katero drugo, a rekel bi, da mračna atmosfera in vokal na nekaterih delih spominjata na zgodnje stvaritve skupine 5uu’s, ko je bil pevec še Curt Wilson. V glavnem pa je glasbo težko kam uvrstiti, saj še dandanes zveni sveža, nova in izvirna. Obenem je temačna in duhovita, pozitivna in kritična ter tudi prefinjena.
Že sem dejal, da skupina občasno zaide v pop glasbo, a je precej očitno, da je to parodija in ne poveličevanje pop glasbe. To se vidi tudi v besedilih, kjer se norčujejo iz površinskega značaja pop besedil. Čeprav je pop zadnja stvar, ki jo želijo narediti, pa to počnejo izjemno dobro, saj so melodije zelo močne in glasba sila kompaktna. Če bi mainstreamovski pop zvenel tako zlovešče, a obenem tudi norčavo in igrivo, bi ga z veseljem poslušal. A je v tem primeru parodija precej bolj prepričljiva. A ne mislite, da je album le parodija. To je le majhen del, v glavnem nekateri vokalni deli, ki pa so že tako ali tako bolj redki. To je skrajno domiselna glasba, ki pa samo sebe ne jemlje preveč resno. Preveč je domiselna, da bi bila priljubljena (to je tudi njen namen) in ni tako neposredno komična ali dostopna, da bi zadovoljila množice. Potemtakem so svoj namen dosegli.
Čeprav je to kompilacija, se vsekakor splača poglobiti v njo, saj se studijske albume da dobiti le na LP-jih preko založbe Fazzul Music. Če vas mika kaj nekonvencionalnega, zabavnega in polnega domišljije, potem ste prišli na pravo mesto. Prav tako vas ne sme zmotiti, da so besedila v nemščini. V glavnem gre za instrumentalno glasbo, ki zasenči vokalne dele, čeprav ti niso vsiljivi, so celo zabavni in dobro dopolnjujejo glasbo. Seveda je prednost, če nemščino razumete, saj znajo biti besedila pametna in sarkastična, a vse to ni potrebno, da bi uživali v glasbi. V vsakem primeru je to album, ki bi ga ljubitelji eksperimentalne glasbe, ki pa je vseeno dostopna, morali slišati.
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Uberfall is a Swiss band which was active at the end of the 1980s and the start of the 1990s. Seeing as it is Swiss, it’s natural to assume that Markus Stauss would be involved and you wouldn’t be wrong to think so. Markus again plays a vital role in the music of this avant-garde jazz-rock trio and actually contributes some vocals as well (he even raps on “Nah und fern”).
“So uferlos im Abendwind” is in fact a compilation of their first three studio efforts. The compositions were all done by Stauss and Kayser and a lot of them are based around synthesizer themes, which is a peculiarity for Stauss’s projects (which usually sound more organic), but a refreshing change nevertheless. The prevalent styles are avant-garde and jazz-rock, but we also hear hints of cabaret, funk and even pop. It’s hard to compare this music to anyone else, but I would say that the dark mood and vocals on some pieces remind me of early 5uu’s with Curt Wilson on vocals. Still, for the most part this is impossible to classify because it sounds so fresh, new and original even today. It is dark, humorous, positive, critical and sophisticated at the same time.
As I’ve said, the band occasionally delves into pop music, but it is fairly obvious that they’re making a satire of it rather than glorifying it. This can also be seen in the lyrics, where they mock the casualness of pop music. Even though pop is the last thing they want to do, it’s clear they do it really well as the melodies are immensely strong and the playing very compact. If mainstream pop would sound so sinister, wacky and playful at the same time, I’d gladly listen to it. As it is, a parody of it is that much more convincing. But don’t think this is all this album is. This is only a small portion of it, specifically some of the vocal parts, which are scarce as it is. This is highly clever music, which doesn’t take itself too seriously. It’s too clever to be popular (and that is its purpose) and also not so directly comical or accessible to appease the masses. Their purpose has therefore been achieved.
Although a compilation, this is a very worthwhile purchase as the studio albums are only available through Fazzul Music on LP. If you want something unconventional, amusing and highly imaginative, look no further. And don’t let the fact that the lyrics are in German deter you from delving deeper into their music. For the most part the album consists of instrumental sections, which overshadow the vocal segments, even though they’re not obtrusive and actually provide entertainment and fit in really well. It’s an advantage if you understand the words because they can be quite clever and sarcastic, but it isn’t a necessity in order to enjoy the music. In any case, another album that should be sought out by any fan of experimental yet accessible music.
Zasedba
Pit Kayser – klaviature, vokal
Andi Muckenhirn – bobni, tolkala
Markus Stauss – saksofoni, klaviature, vokal (2, 14), efekti, dodatki
gostje: Jean Chaine – električen bas, Caroline Fahrni – violina, André Müller – altovski in baritonski saksofon
Produkcija
Peter Wustmann
Seznam skladb
1. Treibsand
2. Nah und Fern
3. Positives Lied
4. Happiness
5. Kulturbetrieb
6. So froh
7. Sprachlos
8. Uferlos
9. 24
10. Eiszeit
11. Oh Mensch
12. Alles klar
13. Alles im Griff
14. Rock
15. Abendwind
