Plastic (album)
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| Studio album from Oomph! | ||||
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Publication |
October 11, 1999 |
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| Label (s) | Virgin records | |||
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Format (s) |
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Title (number) |
13 |
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running time |
52:33 |
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Furthermore:
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Oomph! |
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Studio (s) |
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Plastik is the sixth studio album by the new German hardship band Oomph! . As singles were the white light and fever coupled.
History of origin
Dero had started taking classical singing lessons three years earlier , which allowed him to expand his vocal spectrum, which in turn increased the musical expression of Oomph! advanced. Pure anger, as Flux put it in Sonic Seducer , which had previously only been contrasted by instrumental pieces , was accompanied by new facets of emotion. In Zillo he added that development was “a characteristic of art and music” and that no one tried to repeat what had worked on the previous album and maybe also was successful. The main concern of the band, however, remained with Plastik to draw attention to grievances. The title was chosen because it applies to our living environment in many ways, such as indirect communication instead of face to face, or the ideals of beauty that many emulate, often through cosmetic surgery . These examples, to which the word “plastic” can be applied in the figurative sense (namely for “artificial”), also have a direct reference to plastic, since the keyboard or the cell phone housing is made of this material, as is the ideal of beauty pretending dolls Ken and Barbie .
In an interview with Deutsche Mugge , the interviewer Flux spoke about the commercial success that had started with plastic , but the latter only located the big breakthrough in the time of the single Augen . He also said about the collaboration with Nina Hagen: “The contact was actually very easy. We wrote this song and found that the song would be even better as a duet. Then we thought about who with Dero's voice could even keep up with German singing, and the name Nina Hagen was immediately mentioned. Everyone then said: 'It probably won't work.' Our publisher happened to be Nina Hagen's publisher, […] I had the number from her house in Ibiza, dialed the number and got it on the phone straight away. I was very surprised and my heart pounded. But she was very relaxed and was happy about the call. She already knew the name 'Oomph' and immediately said: 'I think that's a great idea. Send me the song. ' If she likes it, she said, she will of course be happy to participate. Well ... and two weeks later we were in the studio in Cologne and recorded the vocals. It was all very uncomplicated and a great experience for us to be able to stand in the studio with such an icon of German rock and punk music. We recorded the song in two days. The nice thing about Nina is that she can actually offer all possible facets of singing ... from opera singing to rock and punk to 'little girl' or Zarah Leander, she can do it all. Back then we recorded the song in many different versions so that we could choose accordingly. At the time of the recording, we were so overwhelmed by her vocal possibilities that we wanted to save everything first. "
Track list
- The white light - 4:01
- Do you know me? - 4:44
- Scorn - 4:01
- No more air - 3:59
- Hunger - 4:11
- Nothing Is Real - 4:00
- My dream - 4:34
- Always - 3:46
- Golden Heart - 4:30
- I Come Alive - 4:23
- Fever (with Nina Hagen ) - 4:13
- My Own Private Prison - 4:13
- The White Light (Refraction) - 1:56
style
Frank Rummeleit said in the Zillo , Oomph! have “staked out their terrain between the cornerstones of hardness, silence, melodies and emotions” and fill “this space with lyrical, vocal and musical pulsing life”, thus revealing an unmistakable individuality that the term Neue Deutsche Hütze does not do justice to. He would rather summarize the style as "Emo-Metal-Electro".
The new German hardness expert of rock hard , Wolf-Rüdiger Mühlmann, considered the discussion about the correct style name to be of secondary importance. It doesn't matter whether you reject the term “New German Hardship” and prefer “Electro-Metal”, the fast-paced, radical and rebellious make them pioneers and frontrunners in their field.
In the Musikexpress the descriptions “Teutonic industrial pop” and “electro metal” were used. "Between Gothic and Metal , the dark squires have made their way with strings and synthesizers," said Rolling Stone .
reception
The reviewer of the Musikexpress wrote that there were still “steam riffs” and “sizzling synths”, but now there was also a higher degree of catchiness, which couldn't be criticized. He awarded 4 out of 6 possible stars. The sister magazine Rolling Stone heard rumbling instruments to "simple-minded refrains", which was only enough for 2 stars.
Wolf-Rüdiger Mühlmann found the sound modification subtle, balanced and catchy. The former coldness and angularity have given way to "a certain warmth, an organic, voluminous power that sounds both modern and down-to-earth". He awarded 9 out of 10 points. The overall editorial rating of Rock Hard was 7.8 points, which meant a solid 4th place in the list of new releases for November.
In Sonic Seducer , the album achieved an average score of 7.3 points (using the same point system as in Rock Hard ), making it 2nd among all new releases. Thomas Vogel, who scored 8 points, said: “A real step forward for the German electro-metal company. Melody finds a certain harmony here with dosed heaviness. ”In addition to further words of praise for the songwriting , there were also voices in the ten short reviews that criticized a lack of esprit or an alleged ingratiation to the masses.
Matthias Mineur wrote for emp-online : “There were times when the national press didn't even know which category to put the Wolfsburg Oomph into. Wrong record company, wrong image (Industrial? Metal? Alternative?), And Rammstein didn't exist back then either. Everything is different now. Rammstein explain in about every 3rd interview that Oomph was definitely the godfather when the sound was worked on intensively at the time. Then Virgin made the VW townspeople a lucrative offer, and now Oomph have finally found their own sound. And it turns out to be less harsh and technoid on "plastic" than on the previous discs. Unfortunately, the metallic effect has also been scaled back, the emphasis on pop music has been placed more in the foreground. This may be beneficial for the radio suitability of the material, but it makes it lose some of its pressure and intensity. The increase in melodies that has taken its place only partially compensates for this obvious shortcoming. Does anyone here really want to reach the VIVA target group? "
Web link
Individual evidence
- ↑ a b Carsten Böhme: Oomph! Back to the future . In: Sonic Seducer . October 1999, p. 76 f .
- ↑ a b c Frank Rummeleit: Oomph! Communicative individualists . In: Zillo . October 1999, p. 50 f .
- ↑ Marcus Schleutermann: Ken and Barbie are thirsty . In: Rock Hard . No. 151 , December 1999, p. 56 f .
- ↑ Interview with Deutsche Mugge
- ↑ a b Wolf-Rüdiger Mühlmann: Oomph! Plastic . In: Rock Hard . No. 150 , November 1999, dynamite. The cracker of the month and the ass bomb, p. 104 f .
- ↑ a b (pb): Oomph! Plastic . In: Musikexpress . No. 525 , October 1999, panels from A - Z, p. 76 .
- ↑ a b Oliver Huttmann, Jörg Feyer: Oomph! Plastic . In: Rolling Stone . No. 61 , November 1999, Short Cuts, pp. 106 .
- ↑ The judgment 11/99 . In: Rock Hard . No. 150 , November 1999, Richter scale, p. 102 f .
- ^ The Blast of Bow, Soundcheck . In: Sonic Seducer . October 1999, p. 116 .
- ^ Criticism on EMP