Angizia - Kokon. Ein Schaurig-schönes Schachtelstück review
|Album:||Kokon. Ein Schaurig-schönes Schachtelstück|
|Release date:||February 2011|
01. Borstig. Schaurig. Flackernd.
03. Ein Quäntchen Gift
04. Graues Meer
05. Es Ist Leidenschaft.
06. Nichts An Mir weckt Begehr
08. Die Bratsche Klingt Nach Klammer Luft
09. Leise Feuer Brennt In Brunst
10. Sack Und Asche
11. Aus Traum Und Tanz. Ein Walzer.
12. Maß Für Maß
13. Der Verfall
14. Flammen Flüstern
15. Neigung Zum Nichts
16. Bühne, Still
Austrian avant-garde act Angizia had its very own course in the world of music. Yet, after their fifth attempt, Ein Toter Fährt Gern Ringelspiel, a long period of silence began. Seven years had to pass for the band to get back on track with Kokon. Ein Schaurig-schönes Schachtelstück, another multi-faceted work that tries to develop the next step upon the sound pathway they started forging since the marvelous Das Schachbrett Des Trommelbuben Zacharias.
Of course they have progressed since then and there's nothing close to metal music in here anymore (except for "Maß Für Maß"). Kokon is the natural continuation of 39 Jahre Für Den Leierkastenmann and Ein Toter Fährt Gern Ringelspiel. Angizia set sail once again in a vast ocean of sounds, emotions and depths filled with intensity, theatrical aura and utterly expressive interpretations. Apart from the elements coming straight from the aforementioned releases, you can't but witness references to Gogol Bordello, transforming the soundscapes from gypsy punk to a gypsy operetta show (due to the absence of distorted guitars) and a Tiger Lilies and Antony and the Johnsons aesthetic getting infused with the theatrical, neoclassical cabaret sound they possess. A post-modern anachronistic, no matter how contradictive it may sound, experience of German lyricism and creative genius implementing amusement park, feast and circus aesthetics through a paranoid and highly expressive collective of charismatic musicians.
Kokon is a more straight-forward release and another in depth and introspect work at the same time. A variety of instruments partake, such as the seductive piano, the beauteous viola, the cello, the acoustic guitars and the rhythm section (vivid bass lines and creative drums & percussion!), blending in perfect harmony with Michael's impenetrable core of ever-expanding, ecstatic dementia or more fragile side and Irene's floating, crystal voice. Of course you have to adore the spot-on, non-verbose and affected virtuosity or jamming parts that escalate the compositions whenever they make their grandiose appearance. A big plus has to be the very good and rewarding production, keeping a golden balance between the sound actors in the overall play and giving prominence to any instrument asking for it at the right time, in the right place, without burying the rest.
Angizia have a lot more to offer and I really hope that the next album won't take another seven years to come to the surface. As for now, I will keep on diving in Kokon's thin red line, somewhere between boiling tranquility and explosive drama, anger and melancholy, madness and serenity.
||Written on 15.06.2011 by "It is myself I have never met, whose face is pasted on the underside of my mind."|
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