Artist: Uberfall
Label: Fazzul Music
Release: 1989
Rating: 4.5/5
After two outstanding albums that shone out of the eighties like beacons of musical hope, Uberfall are back with their third record, simply titled Nr. 3. It was hard to imagine Markus Stauss and Pit Kayser could come up with anything better, but that’s exactly what they did. For the Swiss duo, this record marks the peak of their creative process, thanks above all to the solid foundations laid by the first two releases.
The album is split into two sides (on the LP). The first side is all about the lyrics and shows off their talent for sarcasm, humor and top-notch melodies. Popular music (rap included) is a favorite target, and Uberfall pick it apart in such detail that they actually come up with better “bouncy tunes” than the “real” pop acts, plus lyrics soaked in over-the-top optimism, sarcastic of course. The second side is entirely instrumental and presents Uberfall as superb melodic musicians, improvisers and composers. In terms of musical delirium the second side offers a bit more, but the album works best as a whole, when you can feel the contrast between the two halves.
So why is Nr. 3 so special? Maybe it’s simply that everything clicked here, while before there was still plenty of room for improvement. Maybe Stauss and Kayser matured as composers, and the whole lineup sharpened their arranging and playing chops, often cheating themselves out of the joy of improvisational nirvana for the sake of the music. That’s exactly where they shine: in reworked compositions, expertly built into flawless wholes, where the music flows effortlessly yet still follows a consistent musical mindset. So you basically get a highly structured piece of work that still keeps the sense of fun and general madness Stauss so often shows off with whatever buddies he happens to be playing with. In a way, we hear improvisations that feel composed and songs that feel improvised. Composition and improvisation have become inseparable partners, flooding each other’s veins so you can’t tell them apart. That’s because the music just pours out of these guys without effort, comes from somewhere primal and lands on the musical canvas without any preconceived idea of how the finished piece will sound.
Uberfall are at their best when their music is laced with a hint of sarcasm. And you don’t only feel that in the lyrics, which often give us a sense of “taking the piss” out of mainstream currents (not just musical ones). The same duplicity shows up in the music, just as convincingly – often through over-the-top cheerful melodies tied to dark avant-garde passages and jazz-rock outbursts. On this record their music gives you everything: it makes you laugh, it makes you think, and it has you wondering which universe these crazy guys came from, since they seem to have found a completely fresh approach to music.
It’s as if Uberfall knew what kind of record this would be, because they didn’t honor it with their own playing alone – guest musicians made their presence loudly known too. Stauss got himself another sax player, a violin chimes in now and then with its gentle little voice, and on bass Stauss’s friend Jean Chaine reigns in his own specific, virtuosic way. With these additions the album gains even more weight, and you could say the whole thing adds up to the unbeatable release in their catalog.
For everyone who thought the late eighties and early nineties were a true dead zone for progressive-minded music, look no further than this unique album by Uberfall for some musical enlightenment. Sure, they’d already paved the way with their previous two records, but here everything snaps into a brilliant yet equally effortless piece of art. If you’re looking for the beginning of Markus Stauss’s genius (maybe mostly with Kayser’s help, admittedly), this record is it.
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After releasing two outstanding records that shined out of the 80s like a beacon of musical hope, Uberfall returned with their third album, simply called Nr. 3. It was hard to imagine that Markus Stauss and Pit Kayser could come up with something even better than previously, but that’s exactly what they did. This album marks the peak of Uberfall’s creative process, which is the case probably in no small degree due to the fact that the two previous albums laid the groundworks.
The album is made up of two sides (LP), which create quite a different impression. The first side is lyrical and exhibits their talents for sarcasm and great melody. In particular popular music takes a pounding here, as Uberfall carefully take it apart, bit by bit, so that they essentially end up with far better “dancing tunes” than pop performers. They also tackle the lyrical aspect. The words are overly optimistic and naturally full of sarcasm and tongue-in-cheek. The second side is purely instrumental and shows Uberfall as great melodic players, improvizers and composers. In terms of musical ecstasy this second side offers a bit more, but the album is at its most effective as a unity, when the contrast between both sides can be felt.
So what makes Nr. 3 so special? Perhaps it’s simply the fact that everything came together and clicked on this one, when there still seemed to be some room for improvement earlier. Maybe both Stauss and Kayser matured as composers and the entire ensemble matured in their arranging and playing abilities, often denying themselves the pleasure of improvisational bliss for the good of the composition. That’s exactly what shines here – the “engineered” compositions, expertly crafted into flawless wholes, where the music flows effortlessly, but still follows a consistent train of thought. Therefore you basically have a very structured piece of work, which still retains a sense of fun and general craziness, so often exhibited by Stauss and whatever teammates he chooses. In a sense, you often get improvisations which seem composed and composed parts which seem improvised. Composition and improvisation have become inseparable partners,which fill the veins of one another, so that we can’t tell them apart. This is due to the fact that the music seems to come effortlessly from these men, oozing from their veins onto their musical canvas, without any preconceptions about the sound of the finished work.
Uberfall are best when their music is filled with a sense of sarcasm. This isn’t only due to the lyrics, which often convey a feeling of “taking a piss” out of the mainstream scene (not only musical), but their music displays this ambiguity just as convincingly, often through the use of over-the-top happy tunes, combined with really dark avantgarde passages and bursts of jazz-rock. Their music gives you everything on this effort – it makes you laugh, think and consider which universe these guys came from, apparently finding a totally fresh approach and sound.
It was as if Uberfall had known what kind of record they were making. Not only did they grace us with their skills, but some exceptional guest musicians made their presence felt as well. Stauss got a fellow saxophone player, the violine sometimes chimes in with its gentle caress and another feature attraction is Stauss’s friend Jean Chaine, who shows off his virtuosic bass skills. These addition give the album added weight and thus an unbeatable album in their discography was created.
For anyone who thought the 80s and early 90s were a dead zone for trully forward-thinking music, look no further than Uberfall and their one-of-a-kind album Nr. 3. Sure, they paved the way with their two previous albums, but this is the one where everything really comes together in a string of brilliant, yet lighthearted compositions. If I were to look for a place where the genius of Markus Stauss starts (with help from mostly Kayser), then it should be with this record.
Lineup
Pit Kayser – keyboards (synthesizer), vocals
Markus Stauss – saxophones, synthesizer, vocals, extras
Andi Muckenhirn – drums, percussion
Guests: Jean Chaine – electric bass, Caroline Fahrni – violin, André Müller – alto & baritone saxophone
Production
Uberfall
Track list
1. Ãœberfall
2. So froh
3. Nah und Fern
4. Positives Lied
5. Treibsand
6. Sprachlos
7. Eiszeit
8. 24
