Barbara Morgenstern
The Grass Is Always Greener

The death of a father and a difficult relationship can drive a German girl to embark on a long journey around the world; they can overturn her existence and transition her from concerts in her own living room (Wohnzimmer) to an exhausting world tour, alongside Maximillian Hecker.

But traveling from one city to another, from one hotel to another, in a matter of days, there isn't time to think; there is only room to sketch quick watercolors, with the colors, scents, but above all the sounds of the places visited.

And it is here that the miracle happens: you can play in the most diverse places, from Tokyo ("Die Japanische Schranke") to Bombay, and feel at home at the same time; as if you never left your own apartment. And it is precisely here that we realize that what ties together the songs of "The Grass Is Always Greener," the fifth album of the little-known Barbara Morgenstern, is not a genre - the electro-pop, nor the predominance of the German language in the lyrics; instead, it's the arabesques of destiny guiding the slender hands of Barbara on her beloved piano; that destiny in which moments of happiness and sadness alternate in a continuity of which we often miss the meaning; and where everything can change in an instant ("Ein Paar Sekunden").
Starting from the electronic minimalism of To Rococo Rot by Robert Lippok ("Mainland"), Barbara identifies her original path, between Joni Mitchell and Telefon Tel Aviv ("Das Schöne Einheitsbild"), passing through the soundscapes beloved by Milosh ("Quality Time") and the cheerful sounds of Psapp ("Alles Was Lebt Bewegt Sich").

The end of the album is also the end of the journey that, inevitably, brings her back to her Berlin, the only place where she truly feels free; the only place where she truly feels herself ("Initials B. M."); even if the sun rarely comes out and, more often, it rains.