Finally, the time has come again! How long did it take for new material to reach the fans amidst all the floods of best-ofs and live albums? As a long-time fan and companion of this band, I am very curious to see if Die Hosen can build on the surprisingly positive performance of their last album "In aller Stille." That’s why I have decided to continue my reviews this time in the form of a small logbook:
Friday, 04.05.2012, 6:01 AM:
Shit, it’s way too early to get up. But TODAY the new album is finally here! I can hardly wait, but I still have to deal with something called "work." The day is going to be damn long...
Friday, 04.05.2012, 1:50 PM:
YEAH MAN! After using my overtime to sneak out of work early, I immediately took the necessary precautions to enjoy the new record right away. While my computer saves the songs, I mentally massage my belly and let myself fall into my uncomfortable chair, reading through the booklet and getting momentarily captivated by the quite ornate cover (which is also included as a poster). I’m ready, let’s finally get started!
Friday, 04.05.2012, 2:45 PM:
The album is nearing its end after about 50 minutes. I have practically absorbed the lyrics and realize that they reflect the typical Hosen quality, although the focus has shifted significantly. Much revolves around love or old times and memories. This probably has to do with the 30th anniversary of the Düsseldorf band, but personally, I miss the political songs a bit. Only the notable songs "Ballast der Republik" and "Europa" express themselves politically.
Instrumentally, I am somewhat confused. Both the vocals and the instruments sound like "Hosen," but do not represent the band as such. The sound feels forced and heavily softened. The keywords "aggressiveness" or "hardness" probably describe exactly the feelings that I simply miss. The tempo has also been adjusted: The songs have clearly lost speed and now seem as if they want to make themselves wonderfully socially acceptable.
It is also noticeable that many songs have good choruses but only (if at all) mediocre verses (Europa, Reiß dich los, Zwei Drittel Liebe, ...). What is going on there?
Friday, 04.05.2012, 5:00 PM:
The album has gone through the speakers a few more times. By the second or third listen, you get a little used to the newer style, and I quickly load my first favorites onto the broken cheap MP3 player so I can gather some impressions on my way to donate blood. Especially the songs "Ballast der Republik," "Tage wie diese," and "Altes Fieber" have captivated me, although on the way to my destination, a strange feeling spreads: Somehow, the songs seem partially unfinished. Mentally, I follow the rhythm and melody, but often I finish the beat/song differently than the band did on the CD. It’s strange because the created atmosphere seems to exclude itself. This is probably because I am used to something different. This is particularly evident in the songs "Altes Fieber" and "Oberhausen," which lose a significant part of their charm because of this.
Friday, 04.05.2012, 5:30 PM:
I’m lying down with multiple needles stuck in my arm. Bored, I wonder if the blood collectors secretly work for vampires. Creepy!
Friday, 04.05.2012, 6:00 PM:
Hooray, later a few friends want to grill and drink beer! But before I start to sink into great euphoria, I listen to a few songs a bit more closely.
What are Die Hosen up to? Songs like "Schade, wie kann das passieren?" somehow feel "artificially" produced, as if they want to create the next best party hit. This football song seems to rely heavily on "Sing along with us" sing-along vibes. The song doesn’t fit into the image of Die Hosen at all. In contrast, the other football song "Auswärtsspiel" (on the album "Auswärtsspiel") is, in my opinion, much better (because it’s more aggressive, faster, harder).
"Draußen vor der Tür" is a song about Campino's father and the relationship they had. Similar to the song "Nur zu Besuch" (which is about his mother), the singer once again showcases his vocal skills, which, however, differ significantly from the other ballads. It’s not bad, but it doesn’t have much replay value because nothing really stands out.
These and some other "changes" run through the entire album like a bad conscience and simply won’t let you rest. You are constantly haunted by the feeling that the five guys have made some "leap" that they are trying to achieve at the expense of their own qualities.
Friday, 04.05.2012, 11:47 PM:
Lightly intoxicated, I go through the album again. Now the favorites stand out clearly, and I begin to differentiate more strongly between the songs. But not today, first it’s time to sleep...
Saturday, 05.05.2012, 1:00 PM:
Finally awake! I dreamed of strange things that scared me. I think it even had to do with vampires. Am I sick?
Saturday, 05.05.2012, 1:05 PM:
So, now I can give a somewhat clear picture. And yet it’s somehow split:
In my opinion, this album should (!) finally be the last one that the Düsseldorfer should bring out. The point has been reached that many musicians and artists cannot or do not want to see: You stand at a crossroads between what has distinguished you in the past and present and what you unknowingly become, which you either fought against in the past or might seem frightening (to whoever).
Even though the album is "okay," it ranks rather further behind the other albums as a whole. It simply lacks too much of what I associate with the band "Die Toten Hosen." Instead, the style feels too diluted and far too much like "Hey, we also want a piece of the success pie!".
Every fan of this band will have to form their own opinion. "Ballast der Republik" simply has too many points of contention that could lead to endless discussions.
I would describe this work as a "possibility" to finally celebrate a "somewhat worthy conclusion." After 30 years, countless albums, and one or another change, it is now time to finally draw the line before an "Okay" turns into a "Why the hell didn’t they stop earlier?!".
What remains are a mere 7 points. What a shame...
