(photo & allrights: ROMA DI LUNA / bandcamp)
° ° °
Nachdem mich die letzte Polica-Veröffentlichung (mit Stargaze) nicht wirklich von den Sesseln und Hockern gerissen hat, kommt mit
We Were Made To Forgive
die neue Scheibe von
ROMA DI LUNA
gerade recht.
Nach einer Auszeit von etwa acht Jahren haben sie mit ihrer neuen Platte ein paar ältere Songs mit neuen gemischt, bearbeitet und nun in Form gegossen. Auch das Roy Orbison-Cover Crying (vorab mit Video versehen und veröffentlicht) in einer eindringlich verzaubernden Form dargeboten findet hier seinen Platz.
Über allem schwebt wie selbstverständlich Channy Leaneaghs klare Stimme, hier ohne Vocoder, ohne Verzerrungen sondern größtenteils direkt, klar, eindringlich.
“It has been quite a long time since our last one. But here we are, all the original members, releasing nine new songs into the world and for the first time on vinyl. The title is a clue I suppose, but when all is said and done we are all connected. When we’re all in a room together we laugh, play better, laugh some more, are better. We’ve all done a lot of different things musically since our last release, and you can hear some of that in this new one. But you’ll find that same voice, heart and soul in there”.
In seinen leisen Momenten erinnert die Stimmung ein wenig an die Solosachen von Beth Gibbons, ansonsten finden wir hier ein eigenständiges und gefühlvolles Stück Musik, deren Herz uns ganz nah gebracht wird.
In ihren ruhigen Indie-Pop-Songs, die meist um Leaneaghs Stimme herum konstruiert erscheinen, steigert sich die Band ein ums andere Mal, es gelingen ihnen
einfach gute unterhaltsame Songs, die aufhorchen lassen.
Great Lies variiert in Tempo und Ausdruck, es geht um die unvermeidlichen Lügen im Leben, die man, im Nachhinein betrachtet, unter Umständen anders einschätzt.
Leise Passagen drängen immer wieder in den Vordergrund, fließen leise, leidend. Bevor sie von kreisenden Gitarren eingeholt werden.
Das folgende The Wire kommt mit treibend pustendem Saxophon. Macht Dampf, wirkt aber irgendwie verhuscht.
Aus dem üblichen Klangbild heraus fallen mit Decorations Of Independence und Horse+Card zwei Songs in denen männlicher Sprechgesang dominiert.
Ersteres ein fast beschwörend tönendes Lied, welches vom Ambiente her gut in eine alte Hafenkneipe kurz vor der Sperrstunde passen würde, das Abschlußstück eher zerklüftet.
We Were Made To Forgive
ist bereits das siebte Album der Band – man merkt sehr wohl einen überaus routinierten Umgang mit Klang, Instrument und im Miteinander, trotz der längeren Abstinenz, in der jedes Bandmitglied eigene Erfahrungen machen konnte, die hier nun gemeinsam in neu-vertrauter Umgebung verarbeitet werden.
° ° °
82/100
ROMA DI LUNA – We Were Made To Forgive
RDL Records, 6.4.2018
Estate Fair
Made To Forgive
Great Lies
Remind Me
Decorations Of Independence
The Wire
Wonder
Crying
Horse+Cart
° ° °
// in english:
After the last Polica release (with Stargaze) didn’t really rip me off my chairs and stools,
We Were Made To Forgive
the new album from
ROMA DI LUNA
appears just right in time.
After a break of about eight years, they have mixed a few older songs with new ones for this new record, edited them and now cast them into shape. Also the Roy Orbison-Cover Crying (pre-released with video) in an intensely enchanting form is presented here.
Channy Leaneagh’s clear voice floats above everything, here without vocoder, without distortions but mostly direct, clear, haunting.
„It has been quite a long time since our last one. But here we are, all the original members, releasing nine new songs into the world and for the first time on vinyl. The title is a clue I suppose, but when all is said and done we are all connected. When we’re all in a room together we laugh, play better, laugh some more, are better. We’ve all done a lot of different things musically since our last release, and you can hear some of that in this new one. But you’ll find that same voice, heart and soul in there“.
In it’s quieter moments the atmosphere reminds a bit of Beth Gibbons‚ solo pieces, otherwise we find here an independent and emotional piece of music, whose heart is brought very close to us.
In their quiet indie-pop songs, which mostly appear to be constructed around Leaneagh’s voice, the band increases over and over again, they succeed in
simply good entertaining songs that make you listen.
Great Lies varies in speed and expression, it’s about the inevitable lies in life, which, in hindsight, may be judged differently.
Slow passages repeatedly come to the fore, flow quietly, suffering just before they are caught up by circling guitars.
The following The Wire comes with driving and blowing saxophone. Makes steam, but somehow seems to fritter away.
With Decorations Of Independence and Horse+Card here are two songs in which male chanting dominates.
The first one is an almost evocative sounding song, which would fit well into an old harbour pub shortly before closing time, the final piece rather jagged.
We Were Made To Forgive
is already the band’s seventh album – one notices an extremely experienced handling of sound, instrument and togetherness, despite the longer abstinence in which each band member could make their own experiences, which are now processed here together in a new familiar environment.
guteshoerenistwichtig 