Unheilig - Puppenspiel
Let me start with why 'no'. If you expect nothing but fireworks such as of „Das2Gebot” or „Zelluloid” the album might disappoint you.
It strictly follows Unheilig music line: rhythm, dynamism, momentarily harsh guitars and catchy passages the Graf is famous for, plus interchangeable ravishing and lyrical atmosphere... yes, it's all here and it's of perfect quality, nothing has changed in this respect.
But, it's nothing new. If you'd expected a sharp turn, surprise, novelty – well, it's not here. No, no, and once again NO.
Still, the question is: to what extent it's a drawback. If you believe constant changes and experiments are crucial, then, truly, you may accuse Unheilig of the lack of such new, unusual ideas. On the other hand, the follower of the approach „do not play more than you have inside of you, just enrich it” or „why change good things?” will definitely appreciate and like „Puppenspiel”.
The album surely features several gems (though, I'm afraid, not of „Maschine” class:), e.g. rhythmical, very dancy „Fang mich auf”, strongly guitarish „Puppenspieler”, or firm, definite „Kleine Puppe” (perfect, strong beat plus deep, hard-bitting vocal of Graf and the controversial 'la la la”:), interesting, a bit gloomy and pugnacious „Lampenfieber” and the bonus piece „Spielzeugmann”.
We are also offered some heart-rendering pieces, soothing with its gentleness where Graf's voice gains the quality of the warmest blanket at the coldest night: „Sei mein Licht”, „An deiner Seite” or „Der Vorhang fällt”. The quality of such songs always makes me wonder how the warm, soft, sensual, moving, appealing and magical can be the vocalist's voice if properly used and framed... after all, even a diamond fades in a poor case... and Graf seems to have obtained the knowledge how to enchant the listeners with his velvety and a bit hoarse voice. The perfectly weighted proportion of depth, power, warmth and coldness (not to mention the technical mastery) stands for the strongest advantage of the vocal.
„Puppenspiel” also includes the songs of „the center” of a moderate pace, featuring more instrumental games, characterized by music solutions that scope attention, for instance „Spiegelbild”, „Feuerengel” „Dein Clown” (fantastic intro, really hard grip :), „Die Bestie„ or instrumental „Memoria”.
Which pieces representing two sides of emotional coin Graf is playing with did I love most? „An deiner Seite” - the voice infiltrates and reaches deep down enhanced by frugal, discreetly accompanying melody – for marvelous demonstration of lyrical strength and heart-rendering, so well-known ravishing power. On the other had we've got dynamic, absolutely stunning bonus track „Spielzeugmann” and „Puppenspieler” where the vocal and beat speed are intertwined in a fantastic way, seasoned with sullen guitars and the pace so smashing that it gets you off your feet.
Generally speaking, the album is a bit like a good poem of an author whose output is close to you: it doesn't show all its trumps all at once , but in the course of reading it reveals unexpected layers of meanings and introduces a familiar soundscape... The music is perfectly harmonized, it presents technical artistry and it is greatly balancing through various tints passing from lyricism to rock blast. If you add the lyrics basing on Graf's experience to it ( well, even the title suggests a certain philosophical context) then a remark „a good, well-prepared album” comes almost immediately. And naturally.
Even if I had expected a surprise, „Puppenspiel” didn't fail me... and besides, I feel like a marionette too... though I sometimes try to break strings.
