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    It is not easy to explain why the band of the singer-songwriter Nils Koppruch, who died early, was always left out a little. There was never anything artificial about Fink, although their music snaked through genres like a snake. With their instrumental skill and reference craze (such as the Krakkel Kraftwerk cover “Autobahn” in folk corset) they did not form a billboard for record store sheriffs who value Roots authenticity. The starting point was in 1997 with the debut, “Vogelobservation in Winter”, a kind of German alternative country, thought primly, interpreted elegantly. The longing is palpable, but the romance is raven black.

    Morbid to the last crack

    “Hole in the World” was then already characterized by the new friendship with Element Of Crime and yet seemed clunky. The band line-up changed, Koppruch now spoke of “folk noir”. The creaky melancholy in the lyrics remained. “Mondscheiner” also lays it on much thicker with reggae and jazz. But it’s still cumbersome. Who would caption a radiantly beautiful song with a title like “He’s looking at her while she’s looking at him and he’s looking at the door”?

    The melodies sparkle more on “Fink” (“Don’t look at me”), but maritime metaphors cannot hide the laconic existentialism behind them. Opinions may differ on “Haiku Ambulanz” simply because of the children’s choirs. Less banjo, but even some electronics. That’s danceable, yes. And yet everything is morbid down to the last crack. “Bam Bam Bam” has something forgiving about it as the final work and after ten years it finally leads the Fink project into the safe haven of a self-confident Americana mixture with “hip swing”. Everything has been said, a sequel was probably not necessary. Only a few of the band’s albums were released on vinyl. Now they have been colored for this retrospective and remastered by Hamburger Schule producer and sound engineer Chris von Rautenkranz.

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