Joachim Witt - Bayreuth III
In the past Witt always proofed his state as an exceptional artist who walks his own way, without consideration for musical borders, genre limitations or press expectations. After listening to Bayreuth III it soon becomes obvious - this recored makes no exception. The gate into the world of Bayreuth III is opened with "Dämmerung" (perhaps again a hint of Witt's admiration of Richard Wagner). Seagulls, harbour-sounds together with beautiful violins and shiny trumpets create a wonderful introductional atmosphere.
The following songs are faster and heavier, but never loose the fascination of the whole concept that is Bayreuth III. The sound is always unique, you would never want to compare it with any other artist. It's the great combination of wind instruments, classical instruments, calm and sometimes oldfashioned nuances, but then again always a good level of heavy guitar support that makes the Bayreuth-experience so special. Witt didn't want his music to sound "modern", it somehow transports the feeling of timeless fascination, sometimes it even sets you musicaly back in time. It's always worth to concentrate closely to the music to hear the many astonishing details in each and every song. In "Hundert Leiber" for example the beginning consists solely of a cembalo play, a famous instrument of the Baroque era that's no longer used these days. In "Abendrot" there is a very interesting arangement of violins and eguitars, each alternating in leading the melody. The e guitar in the refrain of "Ich spreng den Tag" becomes slightly transposed down with every repetition, a simple but effective idea, the song sounds really impressive. The overall music sounds often "wide" and like in a Wagnerian opera. This is where the rare opportunities lay that could have improved this record. Throw out the electronical voice of "Dämmerung"'s outro, it's just unnecessary, and almost the same with "Abendrot", i'd rather changed the electronical motif at the end with a pure violine arrangement playing the very same notes, but it's ok. No need to be perfect, after all there's always some different tastes and likings.
Although songs like "Wem gehört das Sternenlicht?" and "Wo versteckt sich Gott?" could be potential super hits, it's the high quality of every single song on Bayreuth III what makes it so special and creates it's fascinating atmosphere. In fact, i wouldn't even call a single song weak or unsuitable for the concept. Nevertheless, in between there are again and again real treassures like "Ich spreng den Tag!" with a great viola counter voice to the e guitar and meaningful text lines. "Tiefenrausch" is a beatiful ballad, to dream and reflect. As a contrast followed by "der Turm "Edelweisspiraten" (only on the limited edition) that deals with national-socialism and comes in a harsher sound cloaking. In conclusion i'd say the playlist was done very well.
The album closes with another beautiful ballad, named "tief in der Tiefe" which comes in a calm mood with powerful vocals and the same musical background as "Dämmerung", it closes the circle of Bayreuth III in perfect harmony. The 13 titles of the album unite the complete range of Witt's Bayreuth sound galery: Heavy guitars alternate with well written melodies, orchestral force, electronic sequences... Each song is more than a short-lived ear worm, and fits well in the overall concept. The lyrics of the album are down the line of highest quality: The use and abuse of power, sociopolitical threats and the search for identity and solutions are pervasive in each song, the nerve of the time is successfully hit and Joachim Witt's metaphorical language knows to please. Between rage and pain, melancholy and power, he created a worthy ending of his Bayreuth trilogy.
Each time the cd ends, all i want is to press the repeat button of my cd player again and enter the world of Bayreuth once more. Joachim, thank you very much for this beautiful masterpiece!
If i could give away a "SuperPick UltraChoice Award", no doubt it would be the first time to do it! Highly recommended.
10/10
Reviewer: Tobias Weigl
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