Close to the Glass
During the recording of Close to the Glass, Martin Gretchmann was more the mad-scientist than ever before, standing behind a small mountain of analog modular synths, not only playing but also manipulating the performance of his bandmates as they played. The strong connection and creative trust between band members allowed for the traditional lines between roles to blur more than ever before. With everyone playing anything, the band felt they could take their music anywhere, from sheer noise to kraut-rock beat pocket to arena rock ride out. Close to the Glass is also full of vocal leaps for Markus Acher, experimenting not only with effects but also with his range, leaving the comforts of his signature style to take this album somewhere new. “Run Run Run” is an electronic renovation of a simple blues song, every member of the band manipulating each other’s performance. This was the first song created for the album with its blend of classic approach and cutting edge execution, and it would set the tone for the rest of the recording process. “Casino” is a perfect display of the self-sampling freedom that went into the recording of Close to the Glass. What began as an instrumental by Micha or Andy, was resampled by Martin, then sung on by Markus and played live on tour. But when they went to record it for the album, it felt off until they played it as a band in the sparer final form it has today. “Kong” driven by its beat and anthemic guitar chords is The Notwist’s homage to ’90s indie-pop. The lyrics are a true story about a young Markus and his family trapped in their home by a flood, dreaming as hard as he could about being saved by superheroes as the water rose around them. Now in 2014, we find the most excited/exciting evocation of The Notwist releasing their most adventurous record yet. Proud as always to be on their long-time European label CITY SLANG, they are now over the moon to be on SUB POP in the Americas, a label that is home to dozens of their favorite bands and LPs. Here’s to one and all enjoying Close to the Glass, a record that feels as good in expensive headphones as it does in the trunk, a seamless soundtrack for that movie always going on inside you. MP3 download included with all vinyl releases.
The Notwist's first full-length since 2008's The Devil, You + Me is their first for Sub Pop. On it, the German electronic band's identity feels increasingly cloudy.
The Notwist’s new record sounds very much like the German quartet’s previous work—beats glitch, guitars strum, lyrical desperation chills. “We want to be you,” Markus Acher sings shakily on “Signals,” the album’s opener. When he then sings “We want to light your screen,” the primary theme of Close To The Glass sinks…
A record drenched in pleasure that you can feel in the pluck and the warp of each note - a love letter that celebrates the art of honing a sound to such a perfect and enjoyable level.
As far as songs go, “Close to the Glass” and “Kong” make for a bizarre set of twins.
The Notwist have been around for long enough and have such a solid discography that it's easy to take them for granted.
Where some bands trade in vitriol, the Notwist prefer icy chill. Their sound is clinical and emotionally lobotomised – you can imagine it being produced, drip by drip, in a bright white laboratory somewhere deep under the ground.
For over two decades, the Notwist have demonstrated their German pop efficiency or, say, "Kraftwerk" unerringly writing songs with earworm quality hooks and melodies.
The career trajectory of German polymaths The Notwist has always been one of steady evolution and mutation.
Review Of "Close To The Glass" By The Notwist. The album will be out February 25th onSub Pop/City Slang/Spunk. The Notwist play 2/24 in Bremen, Germany.