Izvođač: Uberfall
Izdavač: Fazzul Music
Izlazak: 1989
Ocjena: 4.5/5
Nakon izdavanja dvaju izvanrednih albuma koji su se osamdesetih blistali poput svjetionika glazbene nade, Uberfall su se vratili s trećim albumom, jednostavno nazvanim Nr. 3. Bilo je teško zamisliti da bi Markus Stauss i Pit Kayser mogli smisliti još nešto bolje, ali upravo su to napravili. Ova ploča kod Švicaraca označava vrhunac kreativnog procesa, za što je posebno zaslužna izgradnja čvrstih temelja prvim dvama izdanjima.
Album se sastoji od dviju strana (na LP-u). Prva strana je s tekstovima i pokazuje njihove talente za sarkazam, humor i izvrsnu melodičnost. Na tapeti je posebno popularna glazba (i rap), koju Uberfall detaljno secira do tolike dubine da zapravo stvaraju bolje “poskočnice” nego “pravi” pop izvođači. A tu su i tekstovi koji su prožeti pretjeranim optimizmom, naravno u sarkastičnom smislu. Druga strana je potpuno instrumentalna i prikazuje Uberfall kao odlične melodične glazbenike, improvizatore i skladatelje. U smislu glazbenog delirija druga strana nudi nešto više, ali album je najučinkovitiji kao cjelina, kad se osjeti kontrast između obaju dijelova.
Zašto je dakle Nr. 3 tako poseban? Možda je riječ samo o tome da se ovdje sve posložilo, dok je prije još bilo dovoljno prostora za poboljšanje. Možda su Stauss i Kayser kao skladatelji postali zreliji, a cijela postava se usavršila u aranžerskim i izvođačkim sposobnostima, pa se za dobrobit glazbe često uskraćuju za užitak improvizacijske nirvane. Upravo u tome blistaju – u prerađenim kompozicijama koje su stručno izrađene u besprijekorne cjeline, gdje glazba teče bez naprezanja, a ipak slijedi dosljednu glazbenu misaonost. Tako zapravo dobivaš vrlo strukturirano djelo koje ipak zadržava osjećaj zabave i opće ludosti, što Stauss tako često pokazuje sa svim mogućim kumpanima. U određenom smislu čujemo dakle improvizacije koje djeluju skladano i skladbe koje djeluju improvizirano. Kompozicija i improvizacija postale su neraskidivi partneri koji plave vene jedan drugome, tako da ih ne možemo razdvojiti. To se događa zato što glazba iz tih ljudi navire bez truda, dolazi iz njihove iskonskosti i preusmjerava se na glazbeno platno, bez ikakvih prethodnih predodžbi o zvuku dovršenog djela.
Uberfall su u najboljoj formi kad je njihova glazba prožeta primjesom sarkazma. To se ne osjeća samo u tekstovima, koji nas često pune osjećajem “zajebancije” na račun popularnih tokova (ne samo glazbenih), nego se ta dvoličnost primjećuje i u glazbi, i to jednako uvjerljivo – često upotrebom pretjerano veselih melodija koje povezuju s mračnim avangardnim pasažama i izljevima jazz-rocka. Na ovoj ploči njihova ti glazba nudi sve – nasmijat će te, nagnat će te na razmišljanje i na pitanje iz kojeg su svemira došli ti ludaci, jer su naizgled otkrili potpuno svjež pristup glazbi.
Uberfall kao da su znali kakva će ploča ovo biti, jer je nisu počastili samo svojim sviranjem, nego su svoju prisutnost na veliko zvono objesili i gostujući glazbenici. Tako je Stauss dobio još jednog kolegu na saksofonu, svojim nježnim glasom povremeno se javlja violina, a na basu na svoj specifičan virtuozni način kraljuje Staussov prijatelj Jean Chaine. S tim pojačanjima album dobiva na težini i može se reći da je iz svega nastao neprikosnoven izdanak u njihovu katalogu.
Za sve koji su mislili da su kasne osamdesete i rane devedesete doista mrtva zona za svaku progresivno orijentiranu glazbenu djelatnost, za glazbeno prosvjetljenje ne tražite dalje od ovog jedinstvenog albuma skupine Uberfall. Istina, put su si utrli već prethodnim dvama izdanjima, ali ovdje se sve slaže u briljantno, a jednako tako lakoću djelo. Ako tražiš početak genija Markusa Staussa (možda doista uglavnom uz pomoć Kaysera), onda bi to bilo na ovoj ploči.
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After releasing two outstanding records that shined out of the 80s like a beacon of musical hope, Uberfall returned with their third album, simply called Nr. 3. It was hard to imagine that Markus Stauss and Pit Kayser could come up with something even better than previously, but that’s exactly what they did. This album marks the peak of Uberfall’s creative process, which is the case probably in no small degree due to the fact that the two previous albums laid the groundworks.
The album is made up of two sides (LP), which create quite a different impression. The first side is lyrical and exhibits their talents for sarcasm and great melody. In particular popular music takes a pounding here, as Uberfall carefully take it apart, bit by bit, so that they essentially end up with far better “dancing tunes” than pop performers. They also tackle the lyrical aspect. The words are overly optimistic and naturally full of sarcasm and tongue-in-cheek. The second side is purely instrumental and shows Uberfall as great melodic players, improvizers and composers. In terms of musical ecstasy this second side offers a bit more, but the album is at its most effective as a unity, when the contrast between both sides can be felt.
So what makes Nr. 3 so special? Perhaps it’s simply the fact that everything came together and clicked on this one, when there still seemed to be some room for improvement earlier. Maybe both Stauss and Kayser matured as composers and the entire ensemble matured in their arranging and playing abilities, often denying themselves the pleasure of improvisational bliss for the good of the composition. That’s exactly what shines here – the “engineered” compositions, expertly crafted into flawless wholes, where the music flows effortlessly, but still follows a consistent train of thought. Therefore you basically have a very structured piece of work, which still retains a sense of fun and general craziness, so often exhibited by Stauss and whatever teammates he chooses. In a sense, you often get improvisations which seem composed and composed parts which seem improvised. Composition and improvisation have become inseparable partners,which fill the veins of one another, so that we can’t tell them apart. This is due to the fact that the music seems to come effortlessly from these men, oozing from their veins onto their musical canvas, without any preconceptions about the sound of the finished work.
Uberfall are best when their music is filled with a sense of sarcasm. This isn’t only due to the lyrics, which often convey a feeling of “taking a piss” out of the mainstream scene (not only musical), but their music displays this ambiguity just as convincingly, often through the use of over-the-top happy tunes, combined with really dark avantgarde passages and bursts of jazz-rock. Their music gives you everything on this effort – it makes you laugh, think and consider which universe these guys came from, apparently finding a totally fresh approach and sound.
It was as if Uberfall had known what kind of record they were making. Not only did they grace us with their skills, but some exceptional guest musicians made their presence felt as well. Stauss got a fellow saxophone player, the violine sometimes chimes in with its gentle caress and another feature attraction is Stauss’s friend Jean Chaine, who shows off his virtuosic bass skills. These addition give the album added weight and thus an unbeatable album in their discography was created.
For anyone who thought the 80s and early 90s were a dead zone for trully forward-thinking music, look no further than Uberfall and their one-of-a-kind album Nr. 3. Sure, they paved the way with their two previous albums, but this is the one where everything really comes together in a string of brilliant, yet lighthearted compositions. If I were to look for a place where the genius of Markus Stauss starts (with help from mostly Kayser), then it should be with this record.
Postava
Pit Kayser – klavijature (sintesajzer), vokal
Markus Stauss – saksofoni, sintesajzer, vokal, dodaci
Andi Muckenhirn – bubnjevi, udaraljke
Gosti: Jean Chaine – električni bas, Caroline Fahrni – violina, André Müller – alt i bariton saksofon
Produkcija
Uberfall
Popis skladbi
1. Ãœberfall
2. So froh
3. Nah und Fern
4. Positives Lied
5. Treibsand
6. Sprachlos
7. Eiszeit
8. 24
