Germany’s most missed pop star makes us dance with dancehall and afrobeats.
So it’s here: after almost 15 years, Peter Fox is releasing his second album. The album that was never meant to be. But he couldn’t keep his hands off it. So now LOVE SONGS follows. And indeed, love pervades Peter Fox’s typically vivid language.
Even if it is more of a diffuse love, which, as with Seeed and of course his first, legendary solo album STADTAFFE, repeatedly refers to Berlin, the center of Peter Fox’s life and projection screen. His partner is, for example, “Best of West Berlin” (“Tuf Cookie”), he celebrates being able to party again and that the “city is alive” (“Forget how”).
Peter Fox gives us a comforting companion for the apocalypse
But Fox also flies with us to other places, for example to Dubai on strings and synth modules, where he muses in an almost sugar-coated ballad manner that there is no “rain in Dubai”. He likes it better in Italy, where the secret album highlight “Toscana Fanboys” is headed, including a feature by none other than the Italian entertainment legend Adriano Celentano.
From the cypresses it goes to the first single “Zukunft Pink” with Etna singer Inéz, which was already celebrated when it was released and controversial because of cultural appropriation with dancehall and afrobeats vibe. Peter Fox gives us a comforting companion for the apocalypse.