B. FLEISCHMANN - Angst Is Not A Weltanschauung

From his first piano lessons in 1983 to his subsequent study of rhythm in 1988, all the way to his live debut with various bands in 1991, Bernhard Fleischmann's path is a collection of musical experiences united by an artistic conception of music.

His output is rich in references to Mitteleuropean culture with strong electronic and industrial undertones; his decision to go solo only in 1999 also points to a very strong sense of purpose, which, by later introducing different elements, has made his sound less experimental and more immediate.

Bernhard Fleischmann offers a set of sonorities that are pleasantly recognisable without ever being predictable; his art-rock, with its distinctive electronic traits, brings him close to figures of the calibre of John Cale and Brian Eno, especially in their pop excursions.

Electronic contamination is the main framework of Fleischmann's sound, which deconstructs a varied array of influences ranging from country to jazz, celebrating the musician's encounter with the song in its purest form. It's no coincidence that the line characterising the opening track "Hello" sounds like a manifesto of intent: "hai un microfono, hai una voce, hai una melodia, hai un foglio di carta bianca…", that is, the main ingredients for a good song: the track unfolds over a few piano notes and synthesized orchestration, reaching an intense communicative level.

Emotions develop and multiply in the following "24.12", a splendid electronic ballad with seemingly joyful rhythms that shows the artist's incredible expressive potential; the lyrics are remarkable, building on the anticipation of Christmas shopping a two-way dialogue (the female voice belongs to Marilies Jagsch) that encapsulates the emptiness hidden behind consumerist ritual.

It's the instrumental tracks that offer the most elaborate solutions, with a highly communicative minimalist language. Excellent is "The Market", which with just a few rhythmic elements builds a hypnotic sequence full of physicality, while "Last Time We Met at a T&TT Concert" risks losing cohesion in its attempt — ultimately successful — to absorb a richer instrumental ensemble.

But towering above them all is "Phones, Machines And King Kong" by Daniel Johnston, the album's most dramatic and intense moment, its voice full of despair carrying the melody all the way to the splendid, original and disorienting electronic inserts.

More straightforward is the dreamy "Still See You Smile", a soft pop song that, alongside the nocturnal "In Trains", represents the most normalised side of B. Fleischmann's new sound.

A successful album that satisfies the expectations of its fans while also opening the doors to new converts, thanks to a set of original, enjoyable tracks with excellent instrumental and vocal performances. Worth noting, alongside Marilies Jagsch, is the presence of the excellent singer William Van Ghost.

“Angst Is Not A Weltanschauung!”, then, is a record that convinces and charms, despite the predictability of some sonic choices and a slightly uneven songwriting. Bernhard Fleischmann hasn't made his masterpiece yet, but this latest project shows more than a glimmer of one.

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16/12/2008