I have to admit that I'd previously never been a huge fan of Tarwater, despite their being an integral part of the German electro/pop scene with a direct connection to one of my favorite groups in the last five or so years: To Rococo Rot.
For some reason, the bits and pieces I had heard over the span of a few of their discs just did not appeal to me, although all the key "cool" elements were there: slick, programmed minimalist grooves augmented with drum kit; simple and punchy bass lines occasionally performed on the upright; lush layers of synthesizers drawing out interesting chord progressions. With their recent move to the Morr label, I can now say that I've quickly fallen for them thanks in part to the subsequent release of their brilliant The Needle Was Traveling disc. All the same elements as before are present, only now with a clearly defined direction, clever hooks, swifter tempos and catchy guitar riffs figuring in more heavily on their tunes. The duo of Bernd Jestram and Ronald Lippok spent the better part of a year working out a pile of compositions; the thirteen originals on this disc having a definitive pop song structure in comparison to older material. Throughout the disc, various guests (some of whom had just happened by Jestram's studio during recording) turn up on a bevy of instruments including violin, cello, guitar and (of course) the trombone to tastefully augment the already voluptuous tracks. Lippok's deadpan, near-spoken word vocal performances, although a juxtaposition in comparison to the instrumentation, are well-supported by the backing tracks and are perfectly blended into the mix. Perhaps it was the move to the Morr label that raised the bar for Tarwater to yield such a strong collection of tunes and become more song-oriented rather than just turning out musical beats. For the disc's token cover song, the timing couldn't have been any better in choosing Minimal Compact's "Babylonian Tower." With a heavier guitar/bass combo and lower-key treatment, Tarwater have cleverly transformed it into an ominous musical metaphor for the U.S. superpower's encroachment of the Middle East. Although there's no measuring when musicians and bands have "paid their dues", Tarwater are poised for a well-deserved break out of their micro electro/dance club scene to take it to the world stage. Can I get an Amen?
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