Friday, January 11, 2008

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Made in Deutschland 2007 (4): Wir Sind Helden

Wir Sind Helden are without doubt the group of "indie rock" Germany's most popular with 1.2 million copies sold in just two albums. They are also responsible for them in spite of a new "Neue Deutsche Welle" which saw bands like Juli Silbermond, or try their luck (with large marketing budgets reinforcements majors who know a good thing) using the same formula " rock band with singer ", with much less talent. Many were waiting at the turn after "Die Reklamation", their debut album full of pop beads but they did not disappoint in delivering "Von Yesterday An Blind" album a bit more calm but very successful. They were there not too far off the beaten path but succeeded the feat to make at least as well as their first attempt, proving the passage they were not mere "One Hit Wonders." They said they also ironically the first single from the album, "gekommen um zu bleiben" (come to stay). Their humor and determination not to "take the lead" is actually one of the aspects that made this band so endearing.

We are in 2007, the ersatz have more or less disappeared along with the euphoria of this new stage and Wir Sind Helden released his highly anticipated third album. Unfortunately for them and for us this time is a slight disappointment. I still can not get used to their new single "Endlich Ein Grund Zur Panik" despite a clip amusing pastiche of Japanese science fiction films. They give a little impression of seeking a new way with titles like this one or "An die Arbeit", leaving little to pass what they do best. If it was their first attempt they would most likely bred hero (sic) and saviors of the German pop quality that is only their third album, and we were accustomed to better. Difficult to assess independently of the disk heredity. It is (very) good quality with little pop tunes in the purest vein Wir Sind Helden as "Der Krieg kommt schneller zurück als of denkst" or "The Geek" and they vary their formula with success by borrowing shamelessly Interpol guitars on "Labyrinth" or riffs mixed with the Babyshambles brass on "Die Konkurrenz". Only for the first time there are also titles soulless, automatic pilot, such as "Hände Hoch" and "Soundso" which also seem to be the same song and do that bitterly recall their past successes. An album in half shade so that probably suffers unfairly mais ses illustrious Aïeux qui pris pour ce qu'il est reste un album de qualité. Peut-être est-ce une sort de transition. Esperon que ce soit pour le meilleur.

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