Artist: Uberfall
Label: Self-released
Released: 1994
Rating: 4.5/5
Uberfall are a Swiss outfit that was active in the late 80s and early 90s. Since they’re Swiss, it’s only natural to assume Markus Stauss has a hand in it, and you’d be right. Markus once again plays a key role in the music of this avant-garde jazz-rock trio and even chips in with some vocals (on “Nah und fern” he wins us over with a bit of rapping, too).
“So uferlos im Abendwind” is actually a compilation of their first three studio releases. Stauss and Kayser are behind all the compositions, and plenty of them are built around synth themes, which is very unusual for Stauss’s projects, since those tend to be more organic, but the change is definitely a breath of fresh air. The dominant styles are avant-garde and jazz-rock, with some cabaret, funk and even pop thrown in. This music is hard to compare to anything else, but I’d say the gloomy atmosphere and the vocals in places recall the early work of 5uu’s, back when Curt Wilson was still the singer. Mostly, though, it’s hard to pigeonhole, because even today it sounds fresh, new and original. It’s dark and witty, positive and critical, and refined all at once.
I already mentioned the band occasionally strays into pop, but it’s pretty obvious that it’s a parody, not a celebration of pop music. You can see it in the lyrics too, where they poke fun at the shallow nature of pop lyrics. Even though pop is the last thing they’re trying to make, they pull it off remarkably well, since the melodies are really strong and the music is super tight. If mainstream pop sounded this sinister, yet goofy and playful at the same time, I’d happily listen to it. As it is, the parody is far more convincing. But don’t think the album is just a parody. That’s only a small part of it, mainly some of the vocal bits, which are fairly rare anyway. This is wildly inventive music that doesn’t take itself too seriously. It’s too inventive to be popular (which is also the point) and not so blatantly funny or accessible that it would win over the masses. So, mission accomplished.
Even though it’s a compilation, it’s absolutely worth digging into, because the studio albums can only be had on LP through the label Fazzul Music. If you’re into something unconventional, fun and full of imagination, you’ve come to the right place. And don’t let the German lyrics put you off. It’s mostly instrumental music that overshadows the vocal parts, though those aren’t pushy either, they’re actually fun and fit the music nicely. Of course, it helps if you understand German, since the lyrics can be clever and sarcastic, but you don’t need that to enjoy the music. Either way, this is an album that fans of experimental music that’s still accessible really should hear.
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Uberfall is a Swiss band which was active at the end of the 1980s and the start of the 1990s. Seeing as it is Swiss, it’s natural to assume that Markus Stauss would be involved and you wouldn’t be wrong to think so. Markus again plays a vital role in the music of this avant-garde jazz-rock trio and actually contributes some vocals as well (he even raps on “Nah und fern”).
“So uferlos im Abendwind” is in fact a compilation of their first three studio efforts. The compositions were all done by Stauss and Kayser and a lot of them are based around synthesizer themes, which is a peculiarity for Stauss’s projects (which usually sound more organic), but a refreshing change nevertheless. The prevalent styles are avant-garde and jazz-rock, but we also hear hints of cabaret, funk and even pop. It’s hard to compare this music to anyone else, but I would say that the dark mood and vocals on some pieces remind me of early 5uu’s with Curt Wilson on vocals. Still, for the most part this is impossible to classify because it sounds so fresh, new and original even today. It is dark, humorous, positive, critical and sophisticated at the same time.
As I’ve said, the band occasionally delves into pop music, but it is fairly obvious that they’re making a satire of it rather than glorifying it. This can also be seen in the lyrics, where they mock the casualness of pop music. Even though pop is the last thing they want to do, it’s clear they do it really well as the melodies are immensely strong and the playing very compact. If mainstream pop would sound so sinister, wacky and playful at the same time, I’d gladly listen to it. As it is, a parody of it is that much more convincing. But don’t think this is all this album is. This is only a small portion of it, specifically some of the vocal parts, which are scarce as it is. This is highly clever music, which doesn’t take itself too seriously. It’s too clever to be popular (and that is its purpose) and also not so directly comical or accessible to appease the masses. Their purpose has therefore been achieved.
Although a compilation, this is a very worthwhile purchase as the studio albums are only available through Fazzul Music on LP. If you want something unconventional, amusing and highly imaginative, look no further. And don’t let the fact that the lyrics are in German deter you from delving deeper into their music. For the most part the album consists of instrumental sections, which overshadow the vocal segments, even though they’re not obtrusive and actually provide entertainment and fit in really well. It’s an advantage if you understand the words because they can be quite clever and sarcastic, but it isn’t a necessity in order to enjoy the music. In any case, another album that should be sought out by any fan of experimental yet accessible music.
Lineup
Pit Kayser – keyboards, vocals
Andi Muckenhirn – drums, percussion
Markus Stauss – saxophones, keyboards, vocals (2, 14), effects, extras
guests: Jean Chaine – electric bass, Caroline Fahrni – violin, André Müller – alto and baritone saxophone
Production
Peter Wustmann
Tracklist
1. Treibsand
2. Nah und Fern
3. Positives Lied
4. Happiness
5. Kulturbetrieb
6. So froh
7. Sprachlos
8. Uferlos
9. 24
10. Eiszeit
11. Oh Mensch
12. Alles klar
13. Alles im Griff
14. Rock
15. Abendwind
