Not even knowing how
to pronounce the singer's name is probably not a strong start, and hearing that
she mainly sings in musicals did not inspire confidence. However, the list of
collaborators on the front was highly impressive, and so I felt perhaps it wouldn't
be a complete 'mare of a week.
Ute Lemper is most
well known for her performances in musicals - she has starred as Velma Kelly in
Chicago for example, and won awards for this. She is critically acclaimed as
one of the best interpreters of Kurt Weill compositions, the German composer who
was the musical partner for the playwright and producer Bertolt Brecht.
Punishing Kiss was her first album where contemporary songwriters produced
songs for her, and we are talking writers of the calibre of Nick Cave, The
Divine Comedy, Tom Waits and Elvis Costello - grade A stuff. It's The Divine
Comedy who provide the backing band on the tracks too, showing an impressive
array of versatility. Released on Decca, the album peaked at 104 in the charts,
so wasn't a box office smash, but was probably never intended to be.
Little Water Song is
a Nick Cave penned track, and it's lyrical delicacy and morbid imagery is a
textbook example of the Australian's style. Lemper's soaring vocals add a real
weight to the narrative, playing the role of a drowning girl in love with someone
who "takes my breath away", in what is a stunningly beautiful song.
The Case Continues, a duet with Neil Hannon of the Divine Comedy, is one of the
standout tracks for me, with its light piano and harpsichord combining with a
powerful rhythm section driving the song. It sounds like the refrain from a
West End performance, not surprising given Lemper's background, but the
melodrama works exceptionally well, layered with some witty lines. The
Costello-penned Passionate Fight paints some vivid images, but isn't quite as
cohesive as it peters out somewhat, although there is a decent horn section in
there. Tango Ballad is the only actual Kurt Weill piece on the album, and
hasn't dated too well, sounding a bit sluggish. The contrasting voices of
Hannon and Lemper are powerful, but the story being told doesn't quite capture
the imagination. Couldn't You Keep That To Yourself is one of the more
traditional songs, with a fairly stripped back guitar and organ combination and
some nice double-tracked vocals. It's pleasant enough, but lacks a bit of power
against other tracks on the album. Streets of Berlin is a brooding number that
really showcases Lemper's flexible vocal range and style, but overdoes it
slightly. The Part You Throw Away is a highly Gallic tune complete with
accordion and meandering violin - it just seems to get a bit lost. Without
Lemper's captivating vocals it would fall far short, but she does enough to
stop it completely flopping. Split is a pulsating argument of a song, with
great vocal interplay between Hannon and Lemper. The energy provided by the
backing rhythm section carries the song, allowing the comedic and biting duet
to flourish. The Punishing Kiss has a nice tempo change throughout, and another
tight horn section. Purple Avenue is a Tom Waits number, and I would love to
hear him dueting on this, as I think their voices would juxtapose perfectly; as
it stands, it's slightly too saccharine, without the world-weariness that
Waits' voice would bring. You Were Meant For Me is wonderfully over the top,
and the breadth of sound really captures you attention. The crescendo, complete
with whispered French build up, is one of the best moments on the album.
This album was very
different to the sort of thing I'd normally listen to, and I did enjoy its
novelty. It falls a bit short after some very promising early tracks. Lemper's
voice is excellent, and I can imagine her being captivating on stage, and some
of the songs are perfect for her, but too much of it sounds like musical
numbers out of a proper narrative context.
Chloe's
album rating: 6
Chloe's
favourite track: 2. The Case Continues
Olly's
album rating: 6
Olly's
favourite track: 2. The Case Continues
Next week
we have 116. Live at Folsom Prison - Johnny Cash; another classic I don't know
too well.
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