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Loft Concerts präsentiert:
VVK AUSVERKAUFT!!* AK AUSVERKAUFT!! *zzgl. Vvkgeb.Event empfehlenTICKETS Ausverkauft / Sold Out
That Slut cuts unorthodox paths goes without saying. And it’s clear now that their excursion into the world of theatre was as much a beginning as it was an end.
Following their version of Brecht’s 'The Threepenny Opera', which received considerable acclaim on international features pages, and four years since 'All We Need Is Silence', the band that refuses to be pigeon-holed is back with kettle drums, trumpets and thunder-claps; … with an album whose title you can interpret any way you like; … with an album that articulates in unmistakable fashion just why Slut has carved out a special role for itself in the indie scene.
The period of purism and reduction is gone; Slut has found a new playground – an arena of evidently gigantic proportions. The spartan instrumentalisation of recent times has given way to a plethora of sounds (choirs, accordions, strings, a musical saw, piano, brass and the now obligatory apocalyptic 'wall of guitar noise') that appears to be beyond most bands, here or anywhere else for that matter.
According to the band, there was never a concept for 'StillNo1'. Slut’s sixth studio album simply took on a direction of its own, no questions asked, but with a few demands on the listener: Kreuzberg rather than Weilheim, a throw of the dice rather than a fixed plan, and a new hand on the levers – having gone through several producers in a matter of weeks, the band opted for Oliver Zülch (The Notwist, Die Ärzte) whose philosophy corresponds exactly with the band’s own premise: don’t talk, just play. The result is a wilfully uncultivated yet surreal and potent piece of music which the band finds difficult to explain in hindsight. But here’s an attempt:
"The last studio album had a certain audible finality about it and – without putting too fine a point on it – the band had to come to terms with the fact that it had entered a sort of vacuum. We’ve released a new album now for two reasons.
First: by the end of 'Threepenny Opera', we had stepped into a new world, lost a legal battle with Weill’s heirs, and recorded an album we were proud of. And we knew we had just completed a four-year preparation period: preparation for what became 'StillNo1' this summer.
Second: a vacuum produces low pressure which starts to suck up anything and everything in its path. When we arrived in Kreuzberg four years after 'All We Need Is Silence', our own vacuum was full to the brim – all the ingredients were already in there and had even had a chance to ferment over the course of time. All we had to do was remove the lid. Everything that went into the melting-pot spoke for itself and at some point escaped any attempt at control on our part. We were allowed to play along, but only according to the rules long since set out by the, as yet, unchristened album. In the end we produced fourteen songs, eleven of which appear on 'StillNo1', the rest later. A degree of finality? We’ll see!"
SLUT (D)
Support: LILY ELECTRIC (D/DK)
Support: LILY ELECTRIC (D/DK)
Di 03.02.
Konzert
Doors 19:00h Start 20:00hVVK AUSVERKAUFT!!* AK AUSVERKAUFT!! *zzgl. Vvkgeb.Event empfehlenTICKETS Ausverkauft / Sold Out
SLUT
Following their version of Brecht’s 'The Threepenny Opera', which received considerable acclaim on international features pages, and four years since 'All We Need Is Silence', the band that refuses to be pigeon-holed is back with kettle drums, trumpets and thunder-claps; … with an album whose title you can interpret any way you like; … with an album that articulates in unmistakable fashion just why Slut has carved out a special role for itself in the indie scene.
The period of purism and reduction is gone; Slut has found a new playground – an arena of evidently gigantic proportions. The spartan instrumentalisation of recent times has given way to a plethora of sounds (choirs, accordions, strings, a musical saw, piano, brass and the now obligatory apocalyptic 'wall of guitar noise') that appears to be beyond most bands, here or anywhere else for that matter.
According to the band, there was never a concept for 'StillNo1'. Slut’s sixth studio album simply took on a direction of its own, no questions asked, but with a few demands on the listener: Kreuzberg rather than Weilheim, a throw of the dice rather than a fixed plan, and a new hand on the levers – having gone through several producers in a matter of weeks, the band opted for Oliver Zülch (The Notwist, Die Ärzte) whose philosophy corresponds exactly with the band’s own premise: don’t talk, just play. The result is a wilfully uncultivated yet surreal and potent piece of music which the band finds difficult to explain in hindsight. But here’s an attempt:
"The last studio album had a certain audible finality about it and – without putting too fine a point on it – the band had to come to terms with the fact that it had entered a sort of vacuum. We’ve released a new album now for two reasons.
First: by the end of 'Threepenny Opera', we had stepped into a new world, lost a legal battle with Weill’s heirs, and recorded an album we were proud of. And we knew we had just completed a four-year preparation period: preparation for what became 'StillNo1' this summer.
Second: a vacuum produces low pressure which starts to suck up anything and everything in its path. When we arrived in Kreuzberg four years after 'All We Need Is Silence', our own vacuum was full to the brim – all the ingredients were already in there and had even had a chance to ferment over the course of time. All we had to do was remove the lid. Everything that went into the melting-pot spoke for itself and at some point escaped any attempt at control on our part. We were allowed to play along, but only according to the rules long since set out by the, as yet, unchristened album. In the end we produced fourteen songs, eleven of which appear on 'StillNo1', the rest later. A degree of finality? We’ll see!"