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4.0 von 5 Sternen
Wildes Herz mit melodischer Musik, 3. September 2009
Die Geschichte der britischen Wildhearts ist voller Turbulenzen: Interne Querelen, ernste Alkohol- und Drogenprobleme und mehrmalige Auflösungen. Aber seit dem zweiten und selbst betitelten Combackalbum The Wildhearts vor zwei Jahren geht es volle Kraft voraus. Alte Probleme scheinen überwunden zu sein und mit einem stabilen Lineup aus alten Weggefährten, sowie dem amerikanischen Bassisten Scott Sorry (Amen, Brides of Destruction) dreht es sich bei Bandleader Ginger und Co. wieder um die Musik.
Und diese hat sich über die Jahre immer wieder ein wenig verändert. Mal mehr oder weniger stark im Punk verwurzelt war man schon immer. Zu anfangs vielleicht noch etwas ungehobelter, aber doch melodisch, zu Beginn des aktuellen Jahrtausends schon fast poppig und zuletzt sogar mit einem schon fast metallischen Einschlag und verspielt. Anno 2009 hat man sich wieder etwas weiter entwickelt. Die Punkwurzeln sind eher rudimentär erkennbar (z.B. "You are proof that not all women are insane"), aber stets vorhanden, wenn auch oft sehr poppig, wie bei "The only one", das doch etwas käsig geworden ist. Aber trotz seiner eindeutigen Radiomachart, besitzt der Song immer noch mehr Eier also die Legion an amerikanischen Pseudo-Poppunks.
Generell sind die Wildhearts auch wesentlich abwechslungsreicher. Chutzpah beginnt mit einem relativ harten, metallischen Riff, das in einen treibenden Rocker mit lässigem Mitsingrefrain übergeht. Das folgende "Plastic Jebus" ist nicht weniger einprägsam und ist ein richtig moderner, aber guter Rocksong. An eingängigen Hooks mangelt es auf der Platte auch zu keiner Sekunde, was die Stärke des Albums ist. Und die teilweise erkennbare Beatles-Affinität unterstützt das auch noch (u.a. "Low energy vortex", "Tim Smith"). Dazu wirft man hin und wieder unauffälliges, hintergründiges elektronisches Blubbern, ein wenig Bombast, sowie ein U2-Gitarrensolo ("John of violence"), ein paar stimmungsgeladene Oh-Ohs ("Mazel Tov Cocktail"), sowie ein bisschen Wahnsinn dazu. Dieser scheint spätestens beim abschließenden Titelsong "Chutzpah" endgültig durch. Hier bekommt man eine wilde, punkige und treibende Strophe, eine verfremdete Bridge, Metallica-artiges Geriffe, sowie einen langen Ausklang mit einem Bon Jovi-Gedächtnissolo gleich auf einmal. Gewöhnungsbedürftig, aber trotzdem irgendwie nett.
Und nicht nur nett, sondern ziemlich gut und keine Dreistigkeit ist das Album am Ende auch geworden. Fast erscheint es Anfang September schon zu spät, denn mit coolen Songs wie "The Jacksons Whites", "You took the sunshine from New York" oder "Mazel Tov Cocktail" sorgt man für jede Menge guter Laune und ein sonniges Gemüt. Bleibt nur zu hoffen, dass die Wildhearts endlich auch mal ihre Lorbeeren ernten können. Denn verdient hätte es eine der unterbewertesten englischen Bands zweifelsohne.
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5.0 von 5 Sternen
Musical gourmets the world over..., 27. August 2009
... will treasure this band for a long time to come, and I'd like you to be one of them. If you haven't heard of this bunch - which is most probable if you don't live in the UK or at least Japan - here's a short introduction.
The Wildhearts blasted onto the London rock scene in the late eighties, evoking awe and awkward comparisons everywhere, from 'The Beach Boys jamming with Metallica' to 'Cheap Trick meets Slayer'. Everyone agreed, however, that big riffs and huge melodies seemed to play a part.
Everyone also was to find out soon that, if you consistently expect 'more of the same' of your favourite band, The Wildhearts are not for you. Unless of course, your definition of 'the same' is sufficiently broad, say 'great music with big riffs and huge melodies'. From pop to metal, punk to industrial, with song lengths ranging from 1 to 13 minutes, the band incorporated whatever suited them into their music.
But while they got off to a promising start with a major label contract, a second stage headline slot at Castle Donington after the first album and constant press coverage, it wasn't meant to last. Their consistently brilliant musical output was gradually overshadowed by the Rock'n'Roll soap opera the band staged - and it isn't worth delving into it once more here. Finally, in 1998, the band was put on hold indefinitely.
With front man, lead vocalist and more-often-than-not-lead-guitarist Ginger being responsible for almost all of the song writing as well, it was easy to dismiss other band members as mere side men with regard to the creative aspect of the band. However, the quality of the various side projects that evolved during the hiatus showed the tremendous talent resting within the group.
So ever since the band reconvened in 2001 - initially a road no less rocky than before, resulting in various line-up changes - Ginger consistently seemed to push the whole gang for more contribution to all aspects of The Wildhearts. On this, the third album of original material after the reformation, it finally all comes to fruition with shared lead vocals and song writing contributions by the whole band.
The Wildhearts never were the greatest of innovators, at least not in the sense of being musically groundbreaking. They have no 'Strawberry Fields Forever' in their repertoire. But then, they don't have a 'Revolution #9' either. They always excelled, however, at bundling together whatever floated their boat in the Rock'n'Roll world of the previous 15 to 20 years in a unique way - a kind of Listener's Digest, one might say - instilling new freshness and vigour into familiar fare.
As ex-bassist Danny once said, Ginger seemed to 'shit great songs'. If I may elaborate on this subtle observation, it seems as if The Wildhearts take their time in tasting and digesting new sonic fruits before they noisily excrete their versions. Occasionally, they do it all over the original inspirational source. From a great height.
Consequentially, the band more than ever incorporate nu-metallic sounds on this album and echo the pop punk that got exceedingly popular in the 90s. Still, it never seems like a bunch of old geezers trying to keep up but blends in perfectly with the trademark Wildhearts sound. The overall sense of modernisation on this record is not too far from Mötley Crüe's 'Saints of L.A.', except that The Wildhearts are far superior songsmiths.
Jacob Hansen's huge yet sharp production preserves their usual massive punch while making the ingredients more distinguishable. The underlying growl of detuned guitars gives the album a common identity as well as providing a sense of menace for the lighter, poppier songs. The same goes for some of the - unfamiliarly omnipresent - keyboards and sound effects. While I'm unsure whether they might make the songs age less gracefully, they're the most daring step The Wildhearts have taken sound-wise since their 1997 album Endless, Nameless, and I salute them for it.
Their covers album released last year showed a preference for simple sounding riffs peppered with rhythmic intricacies, and the band follows suit on Chutzpah. In fact, the shenanigans on the title track make it abundantly clear that simplicity is a choice for the band and not imposed by limitations of skill. Drummer Ritch almost steals the performance on this album, weaving a thick magic percussion carpet throughout.
None of the songs outlasts its welcome and most stick to relatively simple structures. Whereas in a sizeable share of the previous oeuvre new melodies and riffs would pop up at every corner of the track, making the aural ride equally audacious and chaotic, the riff count is slightly restrained here in favour of concise song writing. Still, the Wildhearts still pack enough more ideas into this short album than many contemporaries manage to come up with in three.
Beside Ginger's familiar versatile pipes and guitarist CJs melodic leads and harmonies, bassist Scott's powerful singing and rough shouts are showcased on this record and enhance The Wildhearts already considerable vocal armoury, best heard on the stand out track 'Low Energy Vortex' and the equally impressive funky stomper 'Plastic Jebus'.
All of this contributes to the fresh, vivid feeling of the record. What truly makes Chutzpah shine, though, are once again the melodies. Ginger and co always had a knack for writing a pop hook, as shown here by 'You Are Proof That Not All Women Are Insane' and 'Mazel Tov Cocktail', the latter essentially a song about the fear of being alone in the guise of a Stonesy party track with an endearing acoustic guitar solo. The signature tracks of this album, however, contrast waves of riffs with choruses that have an airy, almost dreamy nature, just set against a rock background - to stunning effect. The intro to 'Low Energy Vortex' allows a glance at the great ballad that the chorus melody could have become. And as the mood swinging title track, after lashing out like a crazed beast at everything that comes too close, sails away in a Guns'n'Rosesque fashion, your finger already hovers over the repeat button.
After nigh on 20 years, The Wildhearts keep changing while sticking to their guns at the same time, which is fitting for a band that has both Bowie and The Ramones among its musical idols. This band deserves the status and recognition of either. Get yourself some Chutzpah and tell your friends to do the same.
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von Pearl Jam
![Strike Back [Explicit]](http://ecx.images-amazon.com/images/I/617DLs%2BeIkL._SL500_SS90_.jpg)
von The Wildhearts
von The Wildhearts
von Wolf
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