Monsters Sophia Kennedy

• 1 Animals Will Come 03:13
• 2 Orange Tic Tac 03:51
• 3 I Can See You 03:02
• 4 Francis 03:54
• 5 Seventeen 05:34
• 6 Loop 03:16
• 7 I'm Looking Up 04:03
• 8 Chestnut Avenue 03:31
• 9 Do They Know 01:47
• 10 Cat on My Tongue 03:37
• 11 Brunswick 00:55
• 12 Up 04:28
• 13 Dragged Myself into the Sun 05:19
• Total Runtime 46:30

Info zu Monsters

Exzentrischer Pop, der keine Grenzen zu kennen scheint und sich jeglichen Vergleichen enthebt. Mit ihrem 2ten Album greift die in Baltimore geborene, in Deutschland aufgewachsene Sängerin und Künstlerin auf ungewöhnliche wie ambitionierte Weise nach Sternen, die so eher sonst so nicht über deutschen Gefilden hängen. Sophia offenbart Abwechslungsreichtum und Wandlungsfähigkeit, bewegt sich durch dezent elektronisiertes, aber auch mit jazzigen Live-Drums, knarzig groovendem Bass, wabernden Gitarren, Klavier und Orchesterinstrumenten ornamentiertes Terrain, das auf ihre jazz-, soul- wie pop-affine Stimme ausgerichtet ist, die mit Doppelungen oder Effekten auch in einem verfremdeten Look für Thrill sorgt. Auch Sample-Passagen, getriggerte Drumkanonaden oder Backgroundchöre umspielen Kennedy innerhalb ihres postmodernen, zwischen Paradies und Apokalypse hin und her switchenden Jazz-Art-Pop, der gleichermassen anspruchsvoll wie griffig daherkommt. Die Musik ihres 2ten Albums klingt oftmals wie der Soundtrack zu einer zerfallenden Welt, die am seidenen Faden von Erinnerungen hängt.

Sophia Kennedy

Sophia Kennedy
Elegant, melancholic, sometimes menacing, with smoldering piano melodies, desolately whistling organs, and a jaunty jaw's harp loop; kissed by the golden Californian sun, or shrouded in gloomy, dreary fog: Sophia Kennedy is currently the most versatile composer in German pop music – not to mention the greatest singer. Her debut album "Sophia Kennedy" reveals her as a dramatic romanticist and distanced diseuse, as a deft lyricist and master of melody. In her eleven songs, she travels from doo-wop to dubstep, from classic crooning to breathless R'n'B, from Frank Sinatra to Beyoncé. Her talent for songwriting is deeply rooted in history, yet it seeks nothing but the present: both historically versed and timelessly beautiful at the same time.

Sophia Kennedy grew up in Baltimore. Upon arriving in Hamburg to study film, she instantly became a source of enchantment. On the single "Angel Lagoon", which she recorded in the autumn of 2013 with the keyboard-maestro Carsten "Erobique" Meyer, she sounded as lovely, enthralling and blasé like no other singer of the season. In the years that followed she mainly composed music for theater, feeling around for what would eventually become her own style: irony is not an important factor, it's more about appropriation and adaptation, and through effectively minimalistic means, to create space for the voice – for the singing.

Sophia Kennedy produced and recorded the album together with Mense Reents, best known for his work with Die Vögel and Die Goldenen Zitronen. Together they developed the spartan arrangements and electronic textures that determine the willfully dense sound of this album. Often, Kennedy's voice is the only instrument that pursues a harmonic development over the repetitive structures. Then she doubles and multiplies her voice and sings alongside herself in a choir. She shines with bold syncopation over a hobbling piano, as well as in the field of the melancholic lament that suggests a late Beach Boys ballad. This results in multi-dimensional, highly individual music, which easily escapes all the traps of inwardness: just as her lyrics unfold from seemingly simple wordplay to subjective confessionals without ever regressing into the euphuistic pathos of romantic self-reflection.

This is the first songwriting record to be released on Pampa Records, and yet "Sophia Kennedy" is perfectly at home on this label, which for almost a decade has been making the connection between tradition and modernity, avant-garde inventiveness and pop sensibility. One can detect different traditions and historical impressions in every track – yet you can forego all the analysis and simply enjoy the craftsmanship with which Sophia Kennedy creates an absolutely contemporary musical language from her knowledge of classic songwriting: "I want to take tradition to the limits, to where it becomes extreme," she says, yet it sounds so easy and not at all preconceived. The unheard-of refinement of this music lies in its apparent simplicity: "You just can’t be afraid," says Sophia Kennedy, "that it turns out to be pop music."

Dieses Album enthält kein Booklet