Keepsakes

Chronique

Longtime artistic and romantic partners Alexander Hacke and Danielle de Picciotto describe Keepsakes as their most personal work, focusing on friendship and their own connection rather than universal themes like the fate of mankind. The album was recorded in the Auditorium Novocento in Napoli, one of Europe's first recording studios, and the duo were able to draw from its vast, impressive collection of instruments, including a celesta previously owned by Ennio Morricone. Musically, it expands on the sound of their previous albums, mixing postindustrial rhythms and elements of dark cabaret with cinematic grandeur and captivating poetry. Opener "Troubadour" is a curious waltz with sparkling chimes and dulcimer melodies, sounding like a roomful of living toys dancing to a music box. "Aichach" sets suspenseful violins to surging electronics, as if soundtracking an imaginary chase scene. The horn- and harp-driven noir groove of "Anthem" is de Picciotto's ode to New York City, despite all of its traffic and pollution. "Mastodon," a dark soundscape blending throat singing, droning metal guitars, and sorrowful strings, sounds frightening at first but ends up as one of the album's most powerful moments. "Lovestuff," a nocturnal processional covered in cricket sounds, and the tense, dramatic epic "Song of Gratitude" are two of the album's most thankful expressions, though the duo prefer strange, mysterious tales over traditional love songs. Likewise, the line "You are the one I love my best until my dying day" stands out during "The Blackest Crow," another stirring, poetic song of everlasting affection.
© Paul Simpson /TiVo