The success story of the DIY manufactory around the punk band Pascow seems to do without all the awkward compromises that comparable acts otherwise overtake on the way to the next level. Her own label (Kidnap Music) lets her stay in control and also pushes other acts (Acht Bucket Hühnerherzen, Akne Kid Joe). The halls that Pascow play in are gradually getting bigger, their last record JADE even got the band into the charts for the first time.
There is no question that SEVEN will also “work”. So it’s more interesting how much stability and aesthetic fidelity a punk band can take without it becoming redundant? The answer this album gives: Quite a lot. The 13 regular songs (excluding the disturbing 12-second miniature “Boris Blocksberg”) could be labeled as a service to customers.
How much stability and aesthetic fidelity to line can a punk band tolerate without it becoming redundant?
The desire for variation, which is very recognizable on JADE, focuses at most on (sound) details. Pascow’s urgent all-weather outfit – consisting of dry hardness, wit and emotionality pulsating beneath the surface – doesn’t shed its skin, but rather shows itself in its current splendour.
With so much friendly loyalty to the original, one is nevertheless grateful that female guest voices morph some songs into duets and know how to expand the band’s own canon. Beginners are therefore recommended the piece “Kingdoms in Winter” (featuring Apocalypse Vega). Then all the cards are on the table.
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