Black Lipstick - Converted Thieves

Black Lipstick Converted Thieves Label Glitterhouse Records Erstveröffentlichung 01.09.2003 Format CD Lieferzeit 1 – 3 Werktage Preis 6,95 € (inkl. MwSt. zzgl. Versand)

Eigentlich ist das Punkrock, so wie die Talking Heads oder Television Punkrock waren. Böse, kurz hingerotzte Gitarrenriffs, einige spindelige Soli drüberlegt, stoisches Drumming (hier: Elisabeth Nottingham) und ein gottgegebener Bari- bzw. Monoton, der tausend mal mehr Eindruck als sämtliche gecasteten Ausdrucks-Tremolierer zusammen.
Kritiker von The Village Voice bis Seattle Weekly sprechen Black Lipstick die gleiche Klasse wie ihren naheliegenden Einflußgrößen zu - eine kurze Liste der großen Trash-Poeten des Rock: Velvet Underground, Television, Modern Lovers oder The Fall. Durch einen Time-Tunnel gejagt, der das alles in die Moderne beamt. Und durch charmante, unangestrengte Vortragsweise geadelt. Klingt ein wenig, als käme es aus New York – kein Wunder, dass Time Out New York ihre Debüt-EP „The Four Kingdoms Of Black Lipstick“ gar „eine der zehn besten Veröffentlichungen des Jahres 2001“ nannte.
Aber Texaner sind es, die dieses Debütalbum zusammenzimmerten. Gebildete junge Menschen (der Sänger ist Anwalt), aber durchweg ohne Job und notorisch Pleite. Aber, zu allem entschlossen, nahmen sie ihre Geldsorgen („Ease Back“), ihr Schamgefühl („Hot Sinners“) und ihre Zweifel („Dirges Are Downers“) als Zutaten und würzten sie scharf mit kleinen Siegen („Serpents“, „The Memorial Day Miracle“) und ewig währenden Wochenenden („Corporate Happy Hour“, „Yesterday’s Horoscope Was Right“).
Musikalisch schwankt das Album von dunklem Mäandern zu leuchtender Weißglut zu erhabenem Gitarrenstakkato – eine Dynamik, die ausschließlich durch von Menschenhand betriebene Instrumente denkbar ist – mit vom Herzschlag geführten Rhythmen und Gitarrenlicks, die sich anfühlen wie zwei Finger in der Steckdose. Solos, die simultan die falschen Noten treffen und gleichzeitig Melodien meißeln. Die Tiefe von „Converted Thieves“ unterscheidet Black Lipstick von ihren „Garage Rock”-Zeitgenossen – und der unkomplizierte, sehr texanische Party-Spirit grenzt sie ab von all den mürrischen Apologeten moderneren “Art-Rocks”. Nennen wir es „Rock-Rock“! (rh)

On their debut album, Converted Thieves, Black Lipstick tackles the great themes: blowing off work, getting Fþd up, getting by, fate, divine intervention, death, determination, stealing girlfriends and keeping them. Thankfully, itþs done with the fiery passion, biting wit and fucking blazing riffage these lofty subjects deserve. A little background... Singer/guitarist Phillip Niemeyer grew up eight blocks from Doug Sahm in San Antonio, Texas. After being kicked out of the elementary school choir and twice failing to qualify for the high school talent show, Phillip learned to sing by belting along with the only examples he had –- those "singers who couldnþt sing," as David Berman put it. He does more damage with his God-given monotone than the whole cast of American Idol. But do not confuse his vocal limitations with sarcasm. He means every word.Elizabeth Nottingham played drums for the first time the very day Black Lipstick started and coaxes her beats out of days spent driving around with her windows down, listening to the hip-hop/R&B station BEAT 104.3.Travis Higdon steps to the mic on a few songs and is responsible for most of the major riffage. He also adds the occasional (and occasionally convincing) drunk Nicky Hopkins impersonation on piano. Steve Garcia joined the band just two months before they began recording Converted Thieves and proves himself the rightful heir to the Telecaster bass he bought from Mike Watt for $150 (true story). Steve also acquired the bass amp Watt used on Double Nickels but pawned it to pay rent. Critics from The Village Voice to Seattle Weekly placed the band on par with its vaunted influences, a short list of rockþs great trash-poets (VU, TV, Modern Lovers, the Fall). Time Out New York named their debut EP, The Four Kingdoms of Black Lipstick, one of the ten best releases of 2001. Still, praise does not pay the bills, and the band was (is) broke. During the recording of Converted Thieves, Travis was on the dole, Beth made below minimum wage, Steve couldnþt even afford a phone and Phillip was the only attorney in town commuting by bus & bicycle.Yet, determined, they took their money troubles (“Ease Back"), shame ("Hot Sinners") and doubts ("Dirges Are Downers") as ingredients, seasoning them with small victories ("Serpents," "The Memorial Day Miracle") and eternal weekends ("Corporate Happy Hour," "Yesterdayþs Horoscope Was Right"). The result is a serious record that seriously wails. Converted Thieves is a voice from the present urging one to live in the now, and it rocks like a labor of love on its day off. Musically, the album swaggers from dark choogle to incandescent shimmer to soaring guitorchestra -- a dynamic only achieved with instruments motored by human movement -- with rhythms that heartbeats envy and guitar licks that feel like steady sips from a cold beer. Solos simultaneously hit wrong notes and carve symphonies. Lyrically, low puns mesh with high motives to craft a tone that is serious for its refusal to take itself seriously. The depth of Converted Thieves sets it apart from the band’s "garage rock" contemporaries, and the group’s unpretentious, all-too-Texan, party spirit distinguishes them from dour practitioners of "art rock." This is “Rock Rock,” made to matter by people who care -- deeply, passionately and truly. As promised in “Voodoo Economics,” Black Lipstick will uplift you higher. So roll the windows down and turn the AC on. This is one for the Jeeps, for the walkmans and for summers that last 20 years.

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