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| <center> Samir H. Köck </center> | | <center> Samir H. Köck </center> |
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| Elvis Costello hat sich mit den Roots zusammengetan. Das musikalisch famose Album „Wise Up Ghost“ versucht, die Protestsongkultur ins 21. Jahrhundert zu beamen. | | '''Elvis Costello hat sich mit den Roots zusammengetan. Das musikalisch famose Album „Wise Up Ghost“ versucht, die Protestsongkultur ins 21. Jahrhundert zu beamen. |
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| <center><h3> Elvis Costello and the vague fears </h3></center>
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| Elvis Costello has teamed up with the Roots. The musically splendid album "Wise Up Ghost" tried to to beam protest song culture into the 21st Century.
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| "He does not believe that books and albums could change the world", says Elvis Costello. Such statements are to him as his narrow suits. "We had no great theory except the old idea of the musical dialogue" so mumbles only one who has more often brought the same to its limits. At about his collaboration with opera singer [[Anne Sofie von Otter]]. However, positive fell from Costello's collaborations with [[Burt Bacharach]] and New Orleans legend [[Allen Toussaint]].
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| So when it became known that he makes common cause with The Roots, nobody was very surprised: The band of the brilliant drummer Ahmir "[[Questlove]]" Thompson is considered the most virtuosic hip-hop combo of history. She herself has a so ethereal folk-elf like Joanna Newsom blood pumped into the veins. Nevertheless, mention also The Roots coyly to the fact that they have been trying to "Wise Up Ghost" to make a song cycle, in a similar manner reflects the hangover in the U.S. population as the famous soul concept albums of the seventies. For modern ears classics like [[Marvin Gaye]]'s "What's Going On" and Curtis Mayfield's "There Is No Place Like America Today" sound, yes, strangely ambivalent, sometimes naive. The reality is become more complex.
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| "Of course we don't have great answers," Costello stirs from: "For the lyrics this time I have more like a reporter worked." Among the techniques which he used, among the refined self-quotation. In daring grooving "[[Stick Out Your Tongue]]" at pictures from "[[Pills And Soap]]", which was once inspired by hip-hop icon Grandmaster Flash repeat. In addition, it appear set pieces of "[[Hurry Down Doomsday (The Bugs Are Taking Over)|Hurry Down Doomsday]]" and "[[National Ransom (song)|National Ransom]]". Costello plunged deep into his work, brought to light metaphors that won new hotness in changing contexts. Such recontextualization characterizes the whole crux of protest present: The old slogans fit too well to current situations.
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| For "[[Cinco Minutos Con Vos]]" is Costello went into the year 1982, when for a few weeks aufbrandete the Falklands War between Britain and Argentina. One of his great songs back then was "[[Shipbuilding]]", an attempt to address the otherwise shadowed existence of shipyard workers in light of the tragedy of war. Now Costello told an Argentine fate, a farewell forever, and admits: "It is of course a little strange when I 25 years later write a song about the situation at that time, but the reason is simply that similar techniques of oppression today on behalf our security be used. Under the protection of the argument that you are fighting against terror, many crimes are committed. "Although he does not explicitly mention Edward Snowden, he laments the fact that people have to pay idealism with their personal well-being. "Obviously something is in the background in front, before you should be afraid," he says cryptically.
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| As grim the grooves of the new album sound, lyrically Costello usually remains vague. Catchy slogans like "Phony prophets offer hope, that's a different kind of dope" are faced with passages that must fill the listener with their own imagination. The social conflicts are palpable using musical collisions between hip-hop and rock, sweet soul and jazzy dissonance. Songs like "[[Sugar Won't Work]]" and "[[Walk Us Uptown]]" are of subliminal threat. Nevertheless, the urgency in Costello's singing reflects ultimately only reflects the general helplessness. "If I could believe, then I know I might" it says at the very end.
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| Running on Literary also demonstrates the nostalgic cover design in a famous paperback series of City Lights bookstore in San Francisco, a center of stubborn counter-culture of the sixties. Their clear slogans one would wish sometimes again.
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| {{Bibliography notes footer}} | | {{Bibliography notes footer}} |
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| *[http://en.wikipedia.org/wiki/Die_Presse Wikipedia: Die Presse] | | *[http://en.wikipedia.org/wiki/Die_Presse Wikipedia: Die Presse] |
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| {{DEFAULTSORT:Presse 2013-09-17}} | | {{DEFAULTSORT:Vienna Presse 2013-09-17}} |
| [[Category:Bibliography]] | | [[Category:Bibliography]] |
| [[Category:Bibliography 2013]] | | [[Category:Bibliography 2013]] |
| [[Category:Die Presse| Presse, Die 2013-09-17]] | | [[Category:Vienna Presse| Vienna Presse 2013-09-17]] |
| [[Category:Deutsch]] | | [[Category:Deutsch]] |
| [[Category:Newspaper articles]] | | [[Category:Newspaper articles]] |
| [[Category:Album reviews]] | | [[Category:Album reviews]] |
| [[Category:Wise Up Ghost reviews]] | | [[Category:Wise Up Ghost reviews]] |