Each year Austria’s music industry pats
itself on the back with the Amadeus Austrian Music Awards. And although there
hasn’t been all that much to celebrate in the past few years (a cynical me
would say decades), there is currently a new surge of energy, a new spirit, and
new talent, which truly gives cause for hope. Wanda, 5/8erl in Ehr’n, Conchita
Wurst or Parov Stelar, to name just a few, show how much diversity and what a
high standard Austrian music has to offer at the moment.
What I couldn’t understand, though, was how
Bilderbuch could be so completely overlooked by the Amadeus people (nothing
less than Band of the Year would have been appropriate as far as I’m concerned).
This is a band that plays to sold-out crowds throughout the German-speaking
area. A band that – together with Wanda – has triggered a state of euphoria in
the country and given Austrians something they can be proud of, or even – and
this is virtually unheard of – brag about. And Bilderbuch’s album “Schick Schock” is an
achievement in itself: an album that sounds thoroughly international (apart
from the language), is flawlessly produced down to the smallest detail, that
oozes humour and intelligence – one might even call it a pop masterpiece.
Much has been written and said about the
band’s image and attitude, especially that of lead singer Maurice Ernst. So cocksure,
so irresistibly arrogant, so sexy … but at the end of the day, we mustn’t
forget, in the midst of all that praise, that these four young men from Kremsmünster have also
made a brilliant album.
These
are my top 5 “Schick Schock” moments:
5th
place
There are so many memorable lyrics on the
album that I can only pick out one or two on behalf of the rest. “Du hast den
Schick Schock / Weil dich mein Schick schockt” (“You’re in chic shock / ‘Cause you’re
shocked by my chic”) is just one example of Maurice Ernst having fun with words
and sounds. The same goes for the line “Ein Rebell, Rebell, Rebell / Wie ein
Hund auf der Jagd” (Feinste Seide), where
the repetition of the word Rebell
simulates a dog barking (bellen).
Humour and intelligence – a magnetic combination.
4th
place
The unconventional (in pop at least) use of
mixed metres in Barry Manilow. The
guitar intro is normal enough, but when the vocals come in, the bars are put
together like this: 4/4 – 4/4 – 2/4 – 4/4 – 2/4. And inserting the title “Barry
Manilow” into the first of these 2/4 bars creates a kind of spaced out moment
in which we’re drawn out of reality, only to be plonked back in
two seconds later. I have no idea how Bilderbuch got the idea for it, but it
certainly proves that they have musical intelligence.
3rd
place
The song Schick Schock starts with Maurice Ernst trying to get a girl to
admit that she was checking out his ass. This is followed by the “plop” sound
made by the volume key on a Mac, as if there were someone going “Wait.
Did he really just say that??” Love it.
2nd
place
At just under 4.5 minutes, OM can certainly take its time building
up – and does so with relish. New elements are introduced at regular intervals,
such as the guitar riff at 1:25, and the swelling synth sound that adds density
at 1:58. But the wickedest moment is 3:06, when, after a break, a new riff takes
over and M.E. adlibs over it. Instructions for use: Must be heard at a sufficiently high volume!
1st
place
Maurice Ernst’s first “Yeah” in Maschin. Just says everything.
Find the German version of this blog post
at http://zartbitter.co.at/allgemein/unter-der-lupe-schick-schock-album-bilderbuch/
Schick Schock on iTunes: https://itunes.apple.com/at/album/schick-schock/id945014383
Bilderbuch on YouTube:
Maschin (live): https://www.youtube.com/watch?v=vsvrABRqgI8&spfreload=10