...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Inspirująco, innowacyjnie - faustowsko: legenda krautrocka uwielbia brud, stąd też tytuł płyty.
Faust to niezaprzeczalnie jedno z najważniejszych w historii objawień muzycznych, obok Can uważani są za prekursorów krautrocka, dla fanów industrialu pozostają wciąż ikoną, na którą wciąż powołują się kolejne pokolenia muzyków.

Poprzez zawirowania personalne w ciągu ostatnich kilku lat mamy jednak do czynienia z dwoma, równolegle istniejącymi i równoważnymi Faustami - jeden dowodzony przez Jochena Irmlera, drugi przez Zappi W. Diermaiera i Jeana-Herve Perona, który wydaje się być bardziej aktywny.

Nowy album Faust, nagrany przez Zappiego, Jeana-Herve oraz Jamesa Johnstona (Gallon Drunk, Nick Cave & the Bad Seeds) i Geraldine Swayne jest niezwykle hipnotyczny, psychodeliczny, dadaistyczny, transowy i brudny...., czyli to, do czego Faust przyzwyczaił nas już od 40 lat! Udało im się także uchwycić na tej płycie nagranej w studio energię swoich energetycznych koncertów.



Of all the Krautrock pioneers, Faust have made the most unpredictable, contrarian, and sometimes just confounding music. Their biography is pretty complicated too. Disbanded in 1975, they reunited in the 1990s, only to split into two groups-- both called Faust-- a decade later. One, a rotating collective lead by founder Hans Joachim Irmler, released an album last year called Faust Is Last that was thought to be a swan song but never officially confirmed as one. The other, centered on founders Jean Hervé Peron (bass) and Werner Diermaier (drums), has also shuffled members but since 2007 has been a quartet with guitarist James Johnston and singer/keyboardist Geraldine Swayne.

Given that confusing history, the most surprising thing about Something Dirty, this lineup's first studio album, is how solid it is. Not to say it's predictable-- looping jams shift into subdued mediations, thick noises fall to near-silence, and loose sprawl morphs into accessible tunes. But there's a distinct cohesion to these songs and the way they move together. Nothing feels wilfully obscure or defiantly abrupt; each pause or shift in momentum serves a purpose. Something Dirty plays like a well-paced movie, with tonal arcs that dissolve into each other, cut back and forth, and build repetition into crescendo. It's often the kind of abstract mood-soundtrack that comrades Popol Vuh once mastered for the films of Werner Herzog-- but with Faust's sound-stories, pictures aren't really necessary.

If Something Dirty has a weakness, it's that Faust set their own bar too high. The first three tracks-- a grimy rocker, a Pink Floyd-ish psych-out, and a soaring symphonic jam-- are so well-crafted and timed, it's hard to imagine the band holding to that standard for another 30 minutes. But it's fascinating to watch them try. They revisit peaks more than a few times, winding through Swayne-led torch songs, ambient noise-scapes, and a pair of stunning guitar destructions called "Dampfauslass 1" and "Dampfauslass 2". All those moves show up in closer "La Sole Dorée", which melts Swayne's echoes into crunchy feedback, ending with a hard-cut to silence. That sudden stop is the only moment on Something Dirty that could be called a gimmick, but it feels oddly right. A fade-out would be too easy-- better to bluntly suggest that there's more music beyond that final frame, and encourage the rumor that this version of Faust is far from finished.

Marc Masters


Faust have been a part of my sonic diet for a decade now, and whilst I was rather reluctant to sample their later output, I did finally overcome my preservations - going slightly overboard buying a couple of albums from the 90s along with this one. My fave from these guys is their masterly futuresque, dirty and gritty 4th album. Something wonderful happened: Everything erupted. The tigers broke free, as Roger put it a long time ago, but in regards to this particular band: how long can these orange creatures keep roaming the streets without adapting some form of altered behaviour?

Something Dirty is what you would expect a Faust album to be: expressive, buzzing, twirling, mechanical and improvisational. Listening to any sort of Faust record after their famous 4th has become an almost predictable experience, and here I am treading lightly, because even with the improbable foresight of one Nostradamus - you'd be hard pressed to actually know beforehand what lies around the corner in Faust's music. Often jagged and boisterous - fiddling around with insect noises, beetle choirs, little tiny charades played by an electric ant army hammering away on metallic grasses and minuscule congas. -No it's not about being able to spot the coming twists in the music, but rather to do with being fed the same sort of dish throughout a period of nearly 40 years. I'm being pretty hard with Faust here, but that is only because I love them dearly. It's like a record with The Rolling Stones if you will - you know what to expect, and if you by some miraculous chance get surprised, feel overwhelmed by an altogether new listening experience, then damn! What a thrill! More power to them! Maybe I'm missing the point here, because I still listen to this album with a great deal of pleasure, and had it not been a 2011 release, I'd most likely award it with a full 4 star rating, but I still feel like they could do so much more had they tried something a little different.

The big question though is, how does one even begin to do something differently within the confines of Faust's music? The music is damn near as challenging and thrill seeking as it gets. Now having spent a good amount of time with this album, and listening to it on my way home from work this afternoon with bloodied skies and shaking trees in the side of the road, -something struck me: What really lets this album down is its production. One only needs to dig out the original IV album to hear where it came from. The tunnelling buzzing synths worming along in the music to the distorted harking coughing guitars - the overall sound quality is still deeply rooted in a moment in time where all of this was new, out on a ledge and dangerous. Personally I think this band doesn't need to change one iota of their material apart from the production, but again this is coming from a long time fan, and if you happen to be a Faust virgin and reading this, then you should forget everything I've just said and just go ahead and buy this, because it really is a formidable album and one that paves the way into this remarkable artist just as well as any other of their most recent efforts.

Imagine a post apocalyptic world - where human cyborgs form a band out of leftover musicians, blenders, smashed up televisions and every little insect in sight. They play odes to the industrial nature of our long lost society - taking their inspiration from the crackling surfaces of nuclear power plants, abandoned factory halls, scrapyards and ash grey burned down electronic stores that blink and twitch in stroboscopic neon cries. Apply each of these individual images with the appropriate instrument - be that screeching trash can synths, bare naked metallic rumbling drums or the heavy breathing ghost like bass lines - and voila: you've got Faust!

This is a fine way to start your voyage into the magic of Faust, and whilst still feeling a bit disappointed that they didn't try anything new, I happen to enjoy this record immensely. On a personal level I am giving Something Dirty 4 stars, but this isn't the 70s any more, and I honestly think the industrial production could be swept under the rug for a change - only to welcome something new, preposterous, out there, beautiful or whatever - instead of something dirty, which I've heard a hundred times before.

Guldbamsen



..::TRACK-LIST::..

1. Tell The Bitch To Go Home 5:53
2. Herbststimmung 5:37
3. Something Dirty 7:13
4. Thoughts Of The Dead 2:10
5. Lost The Signal 8:43
6. Je Bouffe 1:27
7. Whet 2:07
8. Invisible Mending 2:16
9. Dampfauslass 1 3:21
10. Dampfauslass 2 2:34
11. Pythagoras 2:11
12. Save The Last One 0:19
13. La Sole Dorée 5:16



..::OBSADA::..

Piano, Electric Piano, Synthesizer [Synthesizers], Percussion, Guitar, Organ, Vocals [Vocal], Psaltery [Psalterion] - Geraldine Swayne
Recorded By – Johann Scheerer
Voice, Bass [Basses], Acoustic Guitar [Concert Guitar], Cavaquinho [Cavaquiño], Performer [Flame-thrower, Goatshooves], Trumpet, Psaltery [Psalterion], Vibraphone [Toy-vibraphon], Drums [Marching Drums] - Jean-Hervé Péron
Drums, Percussion [Metal] - Zappi W. Diermaier
Electric Guitar, Synthesizer [BC8 And MS-10 Synthesizers], Electric Piano [Wurlitzer Electric Piano], Organ, Piano, Theremin [Theramin] - James Johnston




https://www.youtube.com/watch?v=ChGjJk0bXi0



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