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Skipper : Magazin Für Lesbische Lebensfreude Band

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Skipper : Magazin Für Lesbische Lebensfreude Band Musik Objekttyp: Group Zeitschrift: Skipper : Magazin für lesbische Lebensfreude Band (Jahr): - (2004) Heft 1 PDF erstellt am: 10.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch J MUSIK Gabriele Müller her friends I am Disco Wir kommen zum Thema Gender und Musik und wollen euch rhythm /rrngr and her Erst recht, wenn man sie live erleben kann. So geschehen im August am Genfer Over- fr/enc/s vorstellen. Pauline Boudry, Sara Yohn und Linda She-Wolf, allesamt wohnhaft ground Festival. Auf dem legendären Genfer Partysehiff und vor grandioser Kulisse stell- in Berlin, spielen seit nunmehr drei Jahren in dieser Zusammensetzung. Abwechselnd ten die drei Berlinerinnen ihr Album / am D/sco dem schweizerischen, mehrheitlich sehr mal den Drum-Computer, den Bass, die Sampler, das Xylofon oder Megaton bedien- jungen und trendigen Publikum vor. end, machen die drei jungen Frauen elektronische, poppige und höchst tanzbare Mu- Die ersten Takte und Paulines Stimme unterschieden sich doch sehr von dem tech- sik. RHF spielen mit den Geschlechterrollen und parodieren gängige Klischees. Sie set- noiden, unterkühlten Sound der Vorband - das Publikum wirkte irritiert. Noch tanzte zen sich kritisch mit der Gesellschaft auseinander, singen über lesbische Liebe, quee- niemand. Nur ein paar Minuten später hatten rhythm /r/'ngr and he/- fr/'ends die ren Alltag, Politik, Arbeitsleistung, den eigenen Körper und fragen sich ernsthaft, was Zweiflerinnen überzeugt. Wummernde Bässe, eindringlicher Gesang, «queere» sie heute anziehen sollen. Leichtfüssig, engagiert, frech und mit einem Flauch Glamour. Projektionen im Hintergrund und drei äusserst präsente, selbstbewusste Frauen auf der Die Musikerinnen verzichten ganz und gar auf den erhobenen Zeigefinger. Das macht Bühne - die Party hatte begonnen. sie sympathisch und man möchte ihnen (und uns) noch viele weitere erfolgreiche Alben Pauline flirtete gekonnt und lässig mit dem Publikum (sie gab fast ein Heimspiel wünschen. - deutlich waren die Stimmen aus dem Lausanner Lager zu vernehmen) und lächelte dann und wann verschmitzt ihren beiden Kolleginnen hinter Gitarre und Synthie zu. Charmant, charmant. Linda bearbeitete unterdessen wie ein Berserker die Gitarre, stän- dig in Bewegung, die Haare bald klatschnass. Sara, das äusserst gelassene und extrem coole Gegenstück, stand hinter ihrem Synthie, zog «ihre Sache» durch, ohne auch nur einmal eine Miene zu verziehen. Höhepunkt war - na klar - als das in Berlin als Hit ver- erschienen: lO.Mai 2004 standene / am D/sco gespielt wurde. Jetzt gab es auch für Tanzmuffel nichts mehr zu Label: Kitty Yo (Rough Trade) halten. Die drei offenbar sehr verschiedenen Charaktere zusammen auf der kleinen Bühne www.kitty-yo. de haben ihre Wirkung nicht verfehlt. Der Auftritt wie auch die einzelnen Songs wirkten Die Website der Damen selbst: äusserst lebendig und frisch. Da hatten wohl beide ihren Spass am Konzert - das http://sites.knup.de/rhythmking/ Publikum und die drei erfolgreichen Musikerinnen aus Berlin. Der Veranstaltungsort in Genf: http://www.bateaugeneve.ch/ Eine französische Konzert- besprechung: http://www.lecourrier.ch/modu- les.php?op=modload£tname= NewsPaper£t3 8296 Die Anzahl Steuerräder zeigt unsere jeweilige Bewertung an. (Scala 1-5) MUSIK EflCHE Gabriele Müller «Fatherfucker» Rock'n Roll und Sex darstellen. Sie ver- Des Stars eigene Homepage: geht sich gleichermassen an den Klischees www.peachesrocks.com/ im grossen Musikzirkus. Wenn seit den Riot Das Label Grrr/s - The T/oie, L7 und Babes in Toy- www.xirecordings.com/peaches/ /and haben es unmissverständlich vorg'e- Das Ex-Label macht - ein provozierendes Selbstveiständ- nis von Frauenbands wurde, http ://www.kitty-yo.net/index2. vorgetragen dann setzt Peaches dem die Krone auf. Da- php?show=artist£tid=16 bei pendelt die werte Konzertbesucherin Eine Fan-Seite massiv zwischen «kann man der da vorn das http ://www.fatherfucker.net/ alles zutrauen» und einem zufriedenen in- neren Grunzen über die enttarnte Rock-At- titüde «ich habe die grösste Gitarre». Aus meiner Sicht war nochjedes Peaches-Kon- zert, dass ich besuchte, ein Erlebnis. Will sa- Nach ihrem fulminanten Debütalbum The An ihren Konzerten - eher One-Woman- gen, ich möchtejeder nahelegen, die ihr mu- Teoc/ies o/Peacfces kommt die skandalum- Shows - wird jedes noch irgendwie Zwei- sikalisches Herz an rotzffechen Beats ver- witterte Performerin (und Wahl-Berlinerin) deutige zu einer eindeutigen Lektion in Sa- bunden mit bis an die schmerzgrenze rei- auch auf ihrem Nachfolgealbum Father- chen «sex on the stage». Nicht nur wird der chenden Gender-Aufräumarbeiten verloren ./weher gewohnt bissig und aggressiv daher. Frage nachgegangen, wie provozierend kann hat, selbiges zu tun: Auf keinen Fall den Das Spiel mit den Geschlechtem, die Um- Frau auf der Bühne das alte Verhältnis von nächsten Peaches-Auftritt verpassen! kehrung der Geschlechterverhältnisse und das aggressive Behaupten der eigenen se- xuellen Lust bleibt das Thema der Kanade- rin. Licky licky / Sucky sucky / Nobody here can tell me they don't wanna fucky fucky - die Texte durchgängig eindeutig, wenig verspielt, eher derb, aber im mer voller Frau- enpower und mit einer gehörigen Portion beissender (Selbst)Ironie. Sie ist es auch, die allzu Schlüpfriges nie ins Peinliche abglei- ten lässt. Wummernde Bässe, krachende Gitarren und viel Elektronik-Trash zusammen mit Pea- ches kräftiger Stimme, die einem gleich beim Opener Unmissverständliches in die Ohren brüllt, machen Pafher/wcker (inkl. Duett mit Iggy Pop!) zu einem der besten Alben, die das Jahr 2003 zu bieten hatte. Renée Schauecker tert das Bedürfnis nach der Wiederholung Offizielle internationale Homepage: durchs Hirn. «I leam from you how to hide» H (\/e. vC f î www.pjharvey.net - Liebeskummer wird mit solchen Zeilen (LIBQ ^ ® sauai I Offizielle deutsche Homepage: kaum bewältigt. Aber das Ende naht un- http://artists.universal-music.de/ weigerlich - auch die längsten 44 Minuten pjharvey Musik sind einmal vorbei. Doch wir haben der liebenden noch einen Dienst 1W PJ Traurigkeit in England: zu erweisen: «Tape the broken parts together, www.pollyharvey.co.uk And limp this love around». Dann ist die fast Label: beklemmende Aufmerksamkeit für diese http://new.umusic.com/flash.aspx Platte mit letzten schwermütigen Takten vollbracht. Das Cover und Booklett verdienen ein ex- tra Steuer. Frau Harvey hat sich hier sehr Treibt im erstem Stück noch ein abgehack- Albums. Langsam rollt der Song auf dich passend selbst porträtiert. Seit der Erfindung ter Takt den zerbrechlich wirkenden Gesang zu: «Love the drug I'm needing» - wer kennt von Digitalkameras jeder ihr gutes Recht. Es von PJ Harvey an, rhythmisiert das Tem- dieses Gefühl nicht. Und um jedes Missver- wirkt authentisch und passt damit hervor- po im zweiten Stück spürbar. Der Gesang ständnis zu vermeiden, schliesst die Zeile ragend zum Album. bleibt die ganze CD über intensiv wie im- mit «Got to keep this feeling». Nur um im mer. Es gelingt nur schwer, die Platte ne- nächsten, kurzen Stück auf «I have no time Wir empfehlen: Kaufen // Hören oder Ver- benbei laufen zu lassen. Sie wird beijedem for hate or love» umzuschwenken. Nichts schenken - Fünf Steuerräder gibt's für die Hören besser, intensiver - auch das ist nichts anderes als ihre Akustikgitarre hat sie dafür Musik und die Gestaltung. Label: Univer- Neues bei PJ Harvey. bei sich. Und wir hätten es nicht mit Polly sal Island Records, 2004 Neu ist, dass sich die sperrige Indie-Köni- Jean Harvey zu tun, wenn sie nicht umge- gin aus England auf ihrer siebenten Schei- hend in die nächste emotionale Umklam- be erstmals selbst produziert. Herausge- merung einsteigen würde - «I saved your kommen ist ein beeindruckendes Stück mu- voice from the telephone, I play it back on sikalischer Selbstbetrachtung. - Bis auf die the message machine.» Es ist nicht so, dass Drums hat sie komplett selbst Hand an die PJ sich nur in einem Song über das Leiden Instrumente gelegt. Das Ganze klingt ex- an der Liebe aufhalten möchte. trem überzeugend. «It's You» - das zehnte Stück - ist wieder ei- ne fragil wirkende Bitte, deren explizite Ver- «The Life and Death ofMr Badmouth» - wo- zweiflung ein Piano, über einen einfachen mit auch immer dieser Herr den Zorn von Bass gelegt, bewirken lässt. Im «hoffnungs- Frau Harvey auf sich gezogen haben mag losen Königreich
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