"Tumult", Herbert Gronemeier's new album, is pop at this moment. That is, the German media usually speaks, plays, boasts and interpreters. Why can not you say, it is nice to have this kind of consensus bard that has been confidently combining the mood of the Germans in songs for more than thirty years and set the feeling for the upcoming and upcoming debates.
It started in 1984 with the album "Bochum": the show "Men" ("Hard Hard / Take It Easi" and "Soft Inside") released the traditional model of the sample provider long before parental leave and sabbaticals .
In the 1986 album "Sprungungen", "Kids on Power" was called, a request that came to an end in the late nineties, when the middle class allowed the child to turn from being a minor to an anti-authoritarian non-member.
Politics began with the album "Chaos" (1993). The play "Die Harte" is well known, a musical reaction to the firing of the Rostock-Lichtenhagen fires. "Difficult in the brain, soft in pear and without support, simple and small," said the real snails, but at that time there were still extreme omissions, which were punished by the majority of the great punishment. Today, at least mentally, bound and bourgeois borders, and therefore Herbert Gronemeier and the whole country are upset.
The intensity with which newspapers, magazines, radio and television stations boast a new album is now, however, terrible. It's as if Gronemeier is uniformly durchdekliniert valid for the left-liberal mile Canon Common Sense. The record contains songs about the suffering of refugees, the challenges of dual citizenship, the strengthening of rights, the honorary condemnation of a sharp left, which gives the path "not a millimeter to the right." But it can be asked whether, from the far left, the movement to the right would not mean a step to the center where common sense is a political reason.
"Sharp anger, a jerk, a little mafia is cleaned up." It's a fear that he thinks he must be clean and always brutal and meaningful, "says the song" Case of the Falls. "This is a brilliant prose between Brecht and Helena Fischer, you can only nod. And if most of the songs on the album were not very dreaming (the home-based organs of the eighties can do it better), then you would actually nod because Gronemeyer's records always invite you to sing together and sing together.
A constant praise for this artist is also scary because it covers contradictions. In the past few weeks Herbert Gronemeier emphasized that the concept of a leading culture is "stupid", "there is no culture culture". However, with his love for Bohum, accentuating the legacy of Ruhrpot, his legendary film role as soldier Vehrmacht in the original German series Das Boot, his proverbial lines ("Aircraft in the Belli"), he characterizes a significant part of the younger German cultural history. If someone wanted to explain to a stranger that sensual and moral Germans could become, he should only be given a few Gronemeier albums.