Dagobert “Bon Park” album – laut.de

loud criticism

Cult and trash aesthetically organized.

Philip Koss review

Television program guides traditionally distinguish between the terms “feature film” and “television film,” with television films also being feature films. Anyone who hasn’t understood the difference before will feel it when listening to Dagobert’s new CD “Bonn Park”. The Swiss’s poetry corresponds to the television movie record, and the accompanying music follows the soundtrack’s recipe for exaggerated strength and natural sadness. While feature films are produced so effectively that you don’t think about the imaginary wall between fantasy and reality and allow yourself to be drawn into the story, in so-called telefilms, it is perfectly fine to constantly notice that you are “only” watching television, the sofa is the truth and the plot of fiction. In this sense, Dagobert celebrates the daily carefree spray. The simplest programming of a synth layer based on the NDW model is sufficient for this.

Always watching the ’80s, Dagobert’s counting rhymes in electro-pop outfits remind us of Stefan Reimler or the Trio. The songs appeal to our inner desire for a comfort zone. It flares up when worn to relax and close. “Love calms us down“, is the basic statement in”indivisibleWords that give more weight to teamwork (“.I want a woman who wants me“,”Why why why why“,”my married wife‘) and her (dull) memory (“)I leave you“,”All dreams must dieThese songs are not good for parties, because they enjoy staying in solitude with the thievery desire for self-pity.

The alpine lyricist limits all opportunities for metaphors by dividing his choice of words into clear and unambiguous clarity. It corresponds to theatrical dialogues, or rather television films: “There will be no one in my life / Who is better for me / Than you– Everyone understands it. So to speak, the opposite of the forced metaphors that flutter around our ears from long to Oerding in the category of relationship and dreads who do not want to be successful. Synthesizers are obligatory here. In contrast to such works, the Swiss songwriter was the author of his numbers But the result was less commercial. Last year’s album “Jäger” turned away from the record industry, “Bonn Park” appears on Record Jet, an infrastructure to serve artists who don’t make a record deal.

The one-dimensional story scene, at its weakest, leads to ideas that are flatter than music. in “my married wife“The following constellation prevails: the man (the narrator) loves the woman,”You want a child from me” And the “This gives trouble/sometimeOn the way to the solution evokes the hostile hero of the play: “But I’m not stupid / I’m just going to kill the guy.“One might find it surprising at this point how one might approach pop songs today, that the addiction to the sacred harmony of the genre is broken so destructively and brutally:”I’ll widow her / Then I’ll be her husband (…) Hey, people locked me up / Because I’ll be a killer soon / Then I’ll shoot him dead (…) No, I can’t do that.An inner monologue in theatrical theatrical style.

the universe is atheist“The pandering orchestra says, the edgy drummer and the vocalist in the chorus”A day like never before‘, musically very close to Spandau Ballet songs like ‘True’ or ‘Gold’. Meanwhile, ABBA’s ‘Mamma Mia’ rocksI want a woman who wants me“with, where”da la la da la la la la la-Chorus unfortunately has lost the brilliant hook. One can very well imagine the song in a tourist tavern in Sylt, where ‘With Mint I’m Your Prince’ or ‘Ten Little Jägermeister’ is chanted.”stay here this timeMichael Crete reveals the undulating pop music that was long thought outdated.

I leave you“It makes very nice saxophone sounds,”Ole John Roth“A hymn of praise for one’s profession (“I just need the music‘) and offers cheerfully harmless pop music at its best (with a Scorpions nod). So, while ‘Bonn Park’ (named after a friend of Dagobert) is very entertaining, it dabbles here and there in the finer details. The example when you encounter line-filler material that forces an incomplete train of ideas on a scale or repetition of avoidable words reveals low vocabulary flexibility.

The album was eventually highlighted and raised the record well above average -“comet song“.”I’m approaching at 200 kilometers per hour‘, says Berlin by choice. It seems rare for someone to present themselves as guilty in the first person and describe their feelings (“Everything about me is so warm“). Just as rarely would someone venture to play a church organ based on Emerson and Lake & Palmer. More demanding than what Alan Parsons does today, the number depends on the benevolence of an AP project.”I may destroy planets / I am alone / No one understands me / I am a galactic stone‘ sings Dagobert. He’s so quirky, unexpected, always nostalgic and calcified, so charismatic and so self-confident that he really convinces.

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