Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Botanica – Berlin Hi-Fi

What do you do when your last album was arguably the best single-disc cd of the decade so far? Maybe you flip the script. Maybe you do something radically different, that no one can compare to your most recent effort. Maybe, you make a pop album – or part of one, anyway. That’s what Botanica has done with their latest masterpiece (their trademark epic grandeur and snarling ferocity roars back and takes over on the rest of the songs). It’s an unabashedly romantic (and Romantic) achievement, lush and orchestrated, eerie yet sexy as hell. Put this on the night table beside the Al Green and the Moonlighters: it’s bedroom music for cold starless nights.

Botanica’s trademark sound welds their towering, passionate, keyboard-driven melodicism to a dark, savage reverb guitar attack, blending elements of gypsy punk, classical music and goth into a powerful, potently cerebral cocktail. On this one, they don’t even start a song in 4/4 until the album’s fourth song. The album opens with the stately Eleganza and Wines, a beautiful, rueful lament for a time and place lost forever, played in slinky 7/8 meter. As is so typical with Botanica’s songs, it builds to a towering crescendo and then fades to its central hook. (And Then) Palermo maintains the feeling of regret, a gorgeously romantic pop song in 6/8. The cd’s following cut, its title track is the most overtly 90’s style indie rock song they’ve done to date, a little out of character, but it works: a joyous shout-out to Berlin, where they’ve built up a substantial following, and it’s obvious that the appreciation is mutual. Remember the last time you left the country, how good you felt, how absolutely liberated? If so, this is your anthem. Next song: Concrete Shoes. Classic Botanica, haunting and desperate. “Save me now/Tie the rope around my neck and pull me up.” The footfalls of Christian Bongers’ bass quickly creep along as the guitar and organ roar, building inexorable momentum. On the following cut, I’m Lifting, the tension recedes to the background, but just a little bit: the rest of the band plays over and around frontman/keyboardist Paul Wallfisch’s central, haunting electric piano arpeggio.

Next up is A Freestyle Kiss to Hedy Lamarr (whose image graces the cover of the album), laden with sadness, melodies pouring in and overflowing the carafe, staining the tablecloth shiraz red. Then we get the frenetic concert favorite Someone Else Again, with its ascending bassline and Hollywood noir feel: David Lynch could use this for his next movie if it’s anything like Mulholland Drive.

The scorching antiwar song Waking Up clocks in at barely a minute and a half, a throwback to the furious politically charged power of Botanica’s career-defining previous album, Botanica vs. the Truth Fish. The album’s next tune, I Desire perfectly encapsulizes where Botanica is now. John Andrews’ scary reverb guitar plays the song’s central arpeggio as Wallfisch’s funereal electric piano tones reverberate against it and build to a firestorm of emotion.

The album’s most likely radio hit – and there are many to choose from – is its next track, Not a Bear: “more ambitious than your average bear,” as the lyric goes. “Why sleep when you could be wide awake?” It’s a curious question, with Andrews’ menacing guitar and Wallfisch’s organ lurking in the background, and it might be rhetorical. The alternative could be fatal.

More political gypsy punk (and a wildly frenetic, deliciously climactic violin solo) with How, which the band frequently uses as an aptly furious concert encore. Then the sarcastic, Nick Cave-inflected Fame, a savage blast back at the entertainment-industrial complex and all the rockstar wannabes who buy into it.

Then a return to the same reflective tone the album began on, with This Perfect Spot. The cd’s secret track is Eleganza and Wines rearranged for string quartet and it’s absolutely beautiful, a spot-on way to close this gorgeous, meticulously arranged and fearlessly intense album. This is not your neighbor’s whiny, tuneless indie rock. It’s not your father’s bloated, bombastic prog rock. It’s the soundtrack to your life at top speed, full volume, every synapse at full power. Why sleep when you could be wide awake. Albums are available in better record stores, at shows and online.

Frontman Paul Wallfisch is on tour right now with the “coalmine canary,” noir chanteuse Little Annie but we should expect at least one NYC area show this summer after they return.

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May 14, 2007 - Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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