Salewski II - Chansons
Sing, Salewski said, sing whatever you want. And so I did and so did six others. These are modern Chansons, where every singer or noisemaker is offered up a tailored, musical meandering on a silver platter to do what thou wilt with it. The input of each respective singer put a lid to the already lush, almost orchestral, tracks, be it Inida Kreuz with her Albanian Strand II singsong, Pico Be’s textual Sulukule, Manuela Rzytki with her tongue-in-cheek real French chanson Ceci n’est pas une pipe, or Rosalie Eberle and her operatic lush excessive screams in Weniger, unto Autoboy’s autotune summer hit Epuscrular. And even the entire absence of a throat coined Monolith,that is the rumbling, clattering voice of Anton Kaun. Secretly, even Salewski’s vocal organ finds its way onto the record, disguised as Agnostoman, singing a Mantra I and I, Anna McCarthy speaks of Ghostdrivers and limbs that are seemingly just Painted On in a hypnotic manner, as is coincidentally or not, the case on most of the songs on this album. Chansons sung and spoken by people that Salewski regards as having a voice, in one way or another, that can accentuate and elaborate on the music he produces on his own, and which was subsequently mixed and produced together with Albert Pöschl in his echokammer studio. Salewski’s perfectly pre-produced percussion and synthesizer landscapes are all played by the master himself; recorded on a 24-track in his very own hazy front room, whilst sun rays shone through penny plants and cast long shadows on eggshell-colored rugs and that’s what it sounds like in all its eclecticism. He is a musician and person who does not need much to make much. A minimalist with a heart of gold. And that is what this album is: A box of jewels that mess with your mind and soothe the soul, simultaneously.
– Anna McCarthy