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REVIEW: FEUILLETON - ELECTRIC Soaring solos from Thompson
2/20/2013 (updated 2/22/2013)



Spins: Electric Soaring solos from Thompson

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CD of the Week: Richard Thompson,The Song of the Sad Sunday

Between the Middle Ages and twelve-tone music, with great riffs and always on the verge of melancholy: Richard Thompson can be seen on the album "Electric" late style.

Sometimes one wonders whether because there is no one who falls into the man's arm. Whether it things get out of hand if he really still knows which rests on the foundation of the song he plays as straight, and whether he cares that his guitar playing ever farther away. Of a certain "Sally B." he sang, a woman who beat all in the spell, and in the beginning was the voice still connected to the same tune with the guitar. But then takes the instrument, the metric scheme expands as much as possible, and gives an idea of ​​his runs, the original harmonies at best. That the whole thing ends in a brilliant feedback is somewhat surprising. Somehow instead the starting point is reached. And the musicians, so you imagine, now needs to take a break.

Folk fiddle without bliss

Four days would have taken the pictures of his new album "Electric" says Richard Thompson, of the eleven songs with drummer Michael Jerome, bassist Taras Prodaniuk in the studio of producer Buddy Miller grossed almost in real time and with only a few overdubs. The process is Thompson familiar, since he was a teenager co-founded the British folk-rock group Fairport Convention, from the seventies to pursue a solo career and later (his songs sometimes alone in the garage ("Front Parlour Ballads") or in a series of concerts "Dream Attic ") commenced. In recent years, he wrote a review about a talent contest in hell did a program on "1000 Years of Popular Music" on tour, or participated in an ensemble for Renaissance music - it's no coincidence that he "Electric" out and again accesses accordion and hurdy-gurdy.

However, because the stylistic diversity of the board not on the instruments is limited because Thompson's compositions are fed visible from all possible sources of medieval and twelve-tone music, the matter could go wrong easily.In the worst case threatened a hastily rehearsed, indecisive, but splayed mishmash.

Who inserts the CD, experienced the sheer opposite. There is the use of traditional folk music, every breath is expelled from Irish-sounding fiddle bliss.Since songs are like the powerful work "Stony Ground", the shimmering melody is by selectively used vocals amplified selectively emblematically, up from the tirade about the humiliated old love fool ("silly old man with his teeth all gone / poking his nose where it do 't belong) "creates an elaborate fabric.There are the many solos of electric guitar that accommodates individual motifs and it turns freely floating, which can appear and disappear individual melodic lines and their often very slightly overdriven sound acting leaves no habituation.

Beguiling and gruff

Thompson's long enough in the music business to know what effect such irritations and how crucial they are in favor of songs that stay fresh longer. So, in the musical emphasizes nimble, the text erztraurigen ballad "Salford Sunday" perpetually tiny delays, and the swelling of Thompson typical bells have in the separation song "Another Small Thing In Her Favour" a correspondence in as economical as efficiently employed Hi -Hats by drummer Jerome. Even Thompson, whose guitar playing is much admired, has long published no more drive, which can boast so many great riffs like this. Whether "Stuck In The Treadmill" or "Good Things Happen To Bad People", the song that could have been released as a single, as it still singles were - that and how these songs get the guitar from the beginning its clear direction, characterizes the character of this enormous plate.

On the other hand, there are songs like "The Snow Goose", the show once again Thompson's skill with soothing dose of sentimentality. The artist, who has in the past decade, sung again and again about the resort or the friends of his childhood, described the London of the sixties or lovers who smashed through time in the English countryside as migrant workers ("Beeswing") balances, particularly in his tenderest songs habitually on the fine line between loss and sadness, between beauty and kitsch sad -. a ridge, which he almost never exceeds For that reason alone, because his guitar playing is too complex, especially in these songs, as that could be the thing tired.

"Electric", so beguiling as gruff, is a masterpiece of a piece. And if you wanted to see a mature style here, so that is from experience as well as fed from the exuberant joy of controlled experiment. No one falls into the man's arm. Luckily.

Tilman Sprecklesen, Franffurter Allgemeine Feuilleton

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