{"id":71003,"date":"2017-06-14T20:00:08","date_gmt":"2017-06-14T18:00:08","guid":{"rendered":"https:\/\/www.byte.fm\/blog\/?p=71003"},"modified":"2017-06-14T20:49:19","modified_gmt":"2017-06-14T18:49:19","slug":"kevin-morby-city-music-rezension","status":"publish","type":"post","link":"https:\/\/www.byte.fm\/blog\/news\/kevin-morby-city-music-rezension-71003\/","title":{"rendered":"Kevin Morby – „City Music“ (Rezension)"},"content":{"rendered":"

\"CoverKevin Morby – „City Music“ (Dead Oceans)<\/span><\/p>\n

7,0<\/strong><\/span><\/p>\n

Im April 2016 ver\u00f6ffentlichte Kevin Morby \u201eSinging Saw\u201c<\/a>, sein drittes Soloalbum, mit dem der Musiker, der lange Zeit Teil der Bands Woods und The Babies war, sein Profil als Solok\u00fcnstler weiter sch\u00e4rfte. Ein gutes Jahr sp\u00e4ter pr\u00e4sentiert der US-Amerikaner nun den Nachfolger \u201eCity Music\u201c, der laut Morby ein Liebesbrief an all die St\u00e4dte ist, die er nicht vergessen kann. Als Bezugspunkt dient diesmal nicht wie noch bei „Singing Saw“ der Mittlere Westen der USA, sondern das Greenwich Village der 1960er- und 1970er-Jahre, wo K\u00fcnstlerinnen und K\u00fcnstler wie Patti Smith oder Lou Reed rauchend auf schmutzigen Fu\u00dfb\u00f6den in winzigen Appartements lagen und an sch\u00e4bige Zimmerdecken starrten.<\/p>\n

Bereits mit dem Er\u00f6ffnungssong \u201eCome To Me Now\u201c bekr\u00e4ftigt Morby sein schwieriges Verh\u00e4ltnis zur Stadt an sich und besingt, dass er m\u00fcde geworden ist, auf sie zu blicken. Immer in Erwartung darauf, dass der Mond aufgehen m\u00f6ge, sein verl\u00e4sslicher Freund. Musikalisch ist \u201eCome To Me Now\u201c eine Fusion aus Folk und Schlaflied, mit sanften, glockenartigen Kl\u00e4ngen im Hintergrund, umrandet von einer Orgel aus dem 19. Jahrhundert. Dass Morby gerne gem\u00e4chlich in seine Alben startet, zeigte er schon mit \u201eCut Me Down\u201c auf dem Vorg\u00e4nger.<\/p>\n

Abgesehen von dem vertrauten Einstieg in \u201eCity Music\u201c gibt sich Morby experimenteller als bei fr\u00fcheren Alben. Die Einfl\u00fcsse von Country und Blues sind deutlich reduzierter, stattdessen gibt es mehr Surf-All\u00fcren. Bei \u201eDry Your Eyes\u201c spielt Morby mit der Wahrnehmung des H\u00f6rers, indem er die Gitarre nur auf dem linken, sein Gesang auf dem rechten Kanal zu h\u00f6ren ist. Erst am Ende des melancholischen Songs treffen sich beide und fusionieren zu einem leicht disharmonischen Gebilde. Beinahe ein lautmalerisches Weinen. <\/p>\n

Auch der titelgebende Song \u201eCity Music\u201c f\u00e4llt in Teilen aus dem gewohnten Sound von Morby. Wortkarg gibt er sich hier, \u00fcberl\u00e4sst stattdessen einer Gitarre das Rampenlicht. Es ist die Melodie einer schw\u00fclen Sommernacht, die den Song beseelt, aber gleichzeitig auch schon sehr nach Psychedelic mit Insel-Feeling klingt. Diese Stimmung erkundet Morby auch mit \u201eTin Can\u201c weiter, das ebenso sommerlich klingt und seine Liebe zum Surf-Beat offenbart.<\/p>\n

An dieser Stelle des H\u00f6rens f\u00e4llt aber etwas schmerzlich auf: Keiner der bisher geh\u00f6rten Songs ist einer, den man direkt danach ununterbrochen auf Repeat h\u00f6ren m\u00f6chte. Daran \u00e4ndern auch ein Song \u201ePearly Gates\u201c wenig, der das Ende des Albums einleitet und durch sph\u00e4rische Ch\u00f6re, eine Orgel und geschicktes Arrangement heraussticht. Es kanalisiert ein wenig den Charme, den andere markante Morby-Songs wie \u201eParade\u201c oder \u201eI’ve Been To The Mountain\u201c hatten. Als vorletzter Song ist das aber zu wenig, damit \u201eCity Music\u201c nachhaltig im Ged\u00e4chtnis bleibt. <\/p>\n

Ver\u00f6ffentlichung: 16. Juni 2017
\nLabel: Dead Oceans <\/a><\/p>\n

https:\/\/www.youtube.com\/embed\/7cKM3tfAsEo<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

Seine vierte Soloplatte sei ein Liebesbrief an all die St\u00e4dte, die er nicht vergessen kann, sagt Woods-Bassist Kevin Morby \u00fcber „City Music“. 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