My Greek professor, wanting to quote Nietzsche, once told me that the greatness of nations like the Hellenic or German one is based on the ability to combine Apollonian and Dionysian spirit.

Now, as for the German Max Raabe, I'm not quite sure what's Apollonian about him; surely this man must have a sharp mind and two... um... a lot of guts and the desire to take risks. I imagine you are not familiar with the Palast Orchestra and Raabe's feminine way of being a singer. I won't give you any spoilers. I don't want to ruin the surprise. Listen to the album. Done? Now we can discuss it.

No one would have imagined that the first random German you'd meet would, with a voice evidently like that of a maiden smoker, rearrange all the most beautiful (awkward...) pieces of the discommercialhomosexual music of the '80s-'90s. Want some names? Right Said Fred (gabber with lipstick), Ateens (Eh?), Salt-N-Pepa (EH???), Soft Cell (Reminiscences from Lucignolo?), Eurythmics (they are saved...).

Of course, an orchestra covering some of the flattest and ugliest pieces ever in the music scene of the last three decades isn't exactly appealing; in truth, things are a bit different. Personally, I greatly appreciate the light but well-structured style of the Palasters... every piece is quite enjoyable, the sound isn't weighed down by brass instruments, and it partially relies on electronic components. Compared to the original counterparts of the individual pieces, there's an attempt to emphasize the sound itself much more, creating amusing effects that highlight the inventiveness (and the flair, come on) of these guys.

Wanting to make a comparison with Richard Cheese, Max Raabe's guys seemed to me to be much more technically skilled, less crude, with an extreme sophistication that completely overturns commercial production and opens new pathways of musical language. In this regard, I have deep admiration for those who rearranged the compositions.

But should we talk about the singer? I would be embarrassed to record an album with that kind of voice. Not him. But Max Raabe is the missing touch to the Palaster Orchester to conceptually turn a good project into something unequivocally brilliant. My only doubt is whether Raabe truly wants to make fun of his "sources of inspiration" or if he genuinely has something to pay tribute to them...

The best-performed pieces are "Tainted Love" (Soft Cell), where, although generations of saxophonists are desecrated, the final effect is spot-on. Or again, "There Must Be an Angel" (Eurythmics), where (very faithfully, it must be said) strings and woodwinds weave a dreamy and ascetic landscape. "Uptown Girl" is the merriest piece, where even a certain orchestral technique is highlighted by our dearest winds. For Moulin Rouge lovers, there's also a rather vulgar "Lady Marmalade" of the already vulgar song by Pink and Aguilera (I believe...); a mess, but it had to be mentioned for lovers of the genre...

Going to take stock of the album's judgment, my opinions are conflicting... musically the score would be between 1 and 2, precisely due to the flatness of many tracks; however, one cannot but reward the excellent way in which they have been rearranged; as well as the enormous innovation brought by this orchestra, which debunks myths, breaks traditional barriers of music, joins opposites, reworks, works, studies, commits.

And I'd give another half point to Max Raabe, not so much for absurd singing technique, but for the irreverent firmness with which he presents himself at concerts, impeccably, and with which he recorded this (and other) albums. Moreover, by listening to it over and over, you'll end up finding it endearing...

A musically mediocre album, not very Apollonian, very Dionysian, very whimsical, very fun, very original. A discovery to be shared with friends.

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