 |
|
B. Fleischmann, "Welcome Tourist"
Morr Music
"02/00" starts out with a perverse line of distorted rhythm and melodybefore a brilliant wash of feather-weight synthesizers and piano glideinto position and wash away all sense of perversity. The entire albumfollows suit and the result is as harmonious and complex as it issimple. Each composition is a layered affair; they are equal partsdistortion and clairty and filled to the brim with simple, wistfulmelodies and lighthearted instrumentation. Live instrumentation ismixed with electronic elements in a perfect blend; neither distractsfrom the other and the simplicity of the blend almost completelyeliminates all notions of difference between the two. Sumptuous groovesand vacuous sound effects collide and blend with eachother while moregentle and natural sounds rise above everything like a fine mist. "PassBy" thoughtfully plays out an easy-going piano stroll repeated over andover again above a crunchy (but slick) rhythm section full offuturistic cars passing eachother by at high speed. The mesmerizingeffect the two contrasting parts cannot be emphasized enough: BernhardFleischmann has found a way to make dissonance harmonious. Thoughinaccesible sounds are featured in every song, they never crowd themost attractive features of the album. They're used nimbly and withcaution but they add to each composition in a significant way. Thebusy, work-like commotion of "Until the Real Thing Comes Along" iscontrasted by the guitar and vibraphones that glide over the topnaively. It's as if I'm being carried away from all the stress andfrustration of the working world slowly enough to hear its death fadingaway behind me. All of Welcome Touristis filled with catchy and memorable sounds, but it also features warpedsounds that are just as intriguing. "La Desir" and "Sleep" (twopreviously released songs) are mixed to feature vocals right at the endand surprisingly the addition of lyrics so late in the album works verywell. The second disc is a single 45 minute track featuring Fleischmannon a large variety of instruments and Martin Siewert on a pedal steelguitar. Live drums, piano, leaking noise, funky rhythms, a soulful andnocturnal sax, and resounding guitar drones throw themselves up andagainst eachother only to quiet themselves into simple instrumentalduets, solos, and collages. It's a monument of a performance and italmost steals the show away from the rest of the album. Welcome Tourist puts me in an incredibly good mood everytime I listen to it. -
"02/00" starts out with a perverse line of distorted rhythm and melodybefore a brilliant wash of feather-weight synthesizers and piano glideinto position and wash away all sense of perversity. The entire albumfollows suit and the result is as harmonious and complex as it issimple. Each composition is a layered affair; they are equal partsdistortion and clairty and filled to the brim with simple, wistfulmelodies and lighthearted instrumentation. Live instrumentation ismixed with electronic elements in a perfect blend; neither distractsfrom the other and the simplicity of the blend almost completelyeliminates all notions of difference between the two. Sumptuous groovesand vacuous sound effects collide and blend with eachother while moregentle and natural sounds rise above everything like a fine mist. "PassBy" thoughtfully plays out an easy-going piano stroll repeated over andover again above a crunchy (but slick) rhythm section full offuturistic cars passing eachother by at high speed. The mesmerizingeffect the two contrasting parts cannot be emphasized enough: BernhardFleischmann has found a way to make dissonance harmonious. Thoughinaccesible sounds are featured in every song, they never crowd themost attractive features of the album. They're used nimbly and withcaution but they add to each composition in a significant way. Thebusy, work-like commotion of "Until the Real Thing Comes Along" iscontrasted by the guitar and vibraphones that glide over the topnaively. It's as if I'm being carried away from all the stress andfrustration of the working world slowly enough to hear its death fadingaway behind me. All of Welcome Touristis filled with catchy and memorable sounds, but it also features warpedsounds that are just as intriguing. "La Desir" and "Sleep" (twopreviously released songs) are mixed to feature vocals right at the endand surprisingly the addition of lyrics so late in the album works verywell. The second disc is a single 45 minute track featuring Fleischmannon a large variety of instruments and Martin Siewert on a pedal steelguitar. Live drums, piano, leaking noise, funky rhythms, a soulful andnocturnal sax, and resounding guitar drones throw themselves up andagainst eachother only to quiet themselves into simple instrumentalduets, solos, and collages. It's a monument of a performance and italmost steals the show away from the rest of the album. Welcome Tourist puts me in an incredibly good mood everytime I listen to it. -
