Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement digital
Téléchargez cet album dans la qualité de votre choix
Langue disponible : anglais
B. Fleischmann's work tends towards the gentler side of an already gentle enough label, Morr Music -- as part of the continual staking out of a post-techno/IDM space for singer/songwriters that would have been called lo-fi in another life, though he's definitely part of a strong trend that still hasn't received its full due. On the nine-song Angst Is Not a Weltanschauung!, Fleischmann's understated arrangements and performances touch on many other styles and templates -- hints of C-86 via the Field Mice and shoegaze are especially strong, notably on the swooning "24:12" with its central bassline -- but possibly one of his best qualities is simply how he uses his guest singers, especially Sweet William Van Ghost. His voice, a low-pitched, slightly quavering but not weak instrument that he uses excellently, creates a definite Lee Hazlewood feeling which duets with Marilies Jagsch like "In Trains" further emphasize. Fleischmann's own singing on two songs is fair enough in comparison, but perhaps the most intriguing choice of performer is Daniel Johnston, who reworks his "King Kong" into a new number, "Phones, Machines and King Kong," his immediately recognizable voice sounding all the more fragile and beautiful against Fleischmann's chopped-up drone keyboards and shuffling beats. Also, for all the album's low-key impact, it's quite theatrical as well, almost melodramatic -- but where a band like the Arcade Fire pumps up that quality to almost absurd degrees, say, here there's always a sense of careful control, as on songs like the instrumental "Last Time We Met at a T&TT Concert," whose skittering beats and mournful swell of accordion drive the arrangement forward to a sudden drop out of sound, suspending everything almost in mid-air.
© Ned Raggett /TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
B. Fleischmann, Composer, Performer - Sweet William van Ghost, Writer
Morr Music Morr Music
B. Fleischmann, Composer, Performer, Writer
Morr Music Morr Music
B. Fleischmann, Composer, MainArtist - M+S Industries, MusicPublisher
Morr Music Morr Music
B. Fleischmann, Composer, Performer, Writer
Morr Music Morr Music
B. Fleischmann, Composer, Performer, Writer
Morr Music Morr Music
B. Fleischmann, Composer, Performer - Daniel Johnston, Composer, Writer
Morr Music Morr Music
B. Fleischmann, Composer, MainArtist - M+S Industries, MusicPublisher
Morr Music Morr Music
B. Fleischmann, Composer, MainArtist - M+S Industries, MusicPublisher
Morr Music Morr Music
B. Fleischmann, Composer, Performer, Writer
Morr Music Morr Music
Chronique
B. Fleischmann's work tends towards the gentler side of an already gentle enough label, Morr Music -- as part of the continual staking out of a post-techno/IDM space for singer/songwriters that would have been called lo-fi in another life, though he's definitely part of a strong trend that still hasn't received its full due. On the nine-song Angst Is Not a Weltanschauung!, Fleischmann's understated arrangements and performances touch on many other styles and templates -- hints of C-86 via the Field Mice and shoegaze are especially strong, notably on the swooning "24:12" with its central bassline -- but possibly one of his best qualities is simply how he uses his guest singers, especially Sweet William Van Ghost. His voice, a low-pitched, slightly quavering but not weak instrument that he uses excellently, creates a definite Lee Hazlewood feeling which duets with Marilies Jagsch like "In Trains" further emphasize. Fleischmann's own singing on two songs is fair enough in comparison, but perhaps the most intriguing choice of performer is Daniel Johnston, who reworks his "King Kong" into a new number, "Phones, Machines and King Kong," his immediately recognizable voice sounding all the more fragile and beautiful against Fleischmann's chopped-up drone keyboards and shuffling beats. Also, for all the album's low-key impact, it's quite theatrical as well, almost melodramatic -- but where a band like the Arcade Fire pumps up that quality to almost absurd degrees, say, here there's always a sense of careful control, as on songs like the instrumental "Last Time We Met at a T&TT Concert," whose skittering beats and mournful swell of accordion drive the arrangement forward to a sudden drop out of sound, suspending everything almost in mid-air.
© Ned Raggett /TiVo
À propos
- 1 disque(s) - 9 piste(s)
- Durée totale : 00:54:48
- Artistes principaux : B. Fleischmann
- Compositeur : B. Fleischmann
- Label : Morr Music
- Genre : Pop/Rock Pop
Morr Music Morr Music
Améliorer les informations de l'albumPourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.