uns

Upon further listening, however, UNS began to stumble over their own poses and smash their skulls in Zeitgeist. I breathed a heavy sigh of relief, and then turned the volume up. Synthpunk with a voice gesture between Peter Hein and Heinz Rudolf Kunze. LMGTFY, dear younger audience. Pieces that make one go crazy, in a triangle of dance floor, reading room and moshpit. Music that opposes the preset Tetris, which is currently bumping through every disco PA unquestioned. Music full of drive, anger and sex. Sometimes these pieces tenderly caress stupidity from the face of German pop music, then again they let the clap whip of self-flagellation pop on their backs. Soon it becomes clear: under the roar of references, the ironic evasive manoeuvres, with all skills, but the hell not-willing to use them, that there are some guys here who still have a lot of questions. And UNS do all of it because this is the only answer left. Joint, appealing fun against the rest of the world. In short, what you hear from them is a particularly sincere form of public masturbation. One that should be applauded because it encourages everyone around them to immediately reach into their own crutch with relish. By the way, miles away from the gray-haired Elder Statesmen sound of the indie generation with which they started back then. We are talking about people who kept up the game since the millennium switch with bands like Kate Mosh, SDNMT, I Might Be Wrong, Siva, Petula, Nonkeen or Clickclickdecker. But no, with UNS, it has to be loud and insane, here and now. Remember: it's 2018 and in all seriousness they rather wear some neon clothes than a wrinkle-free made-to-measure suit!  And hey, young people, when the uncle on the microphone comes across a little arrogant in a song like "Nackt Sehen", he just wants to bring you out of your shell. It is the veiled longing of an old grump in sight of his midlife crisis, believinging in the changeability of things once again, that breaks ground in this ode to the generation gap. Hand in hand with the loving admonition to the youth-kissed not to leave this advantage unused. The Beatles vibe and a Noel Gallagher memory guitar at the end is also a beautiful addition. Other central moments of their album: the Screamo excess in "Körper". The Faint meets Orchid or something. The synth riff in "Essen" - whoever comes up with something like that must have studied the greatest Van Halen hits meticulously. So crazy how then chanson-like softened Croon and hysterically roused chorus work against each other. "AWIMIK" - well we had that one already. Sound-wise an appreciation of the Art Academy for the development of Pop Culture and at the same time giving a shit about it, which immediately becomes a performance trick of it's own - a dilemma! You'd have to despair of it, if only you couldn't dance to it so well. "Von A Nach A" - an endorphin-foaming club-banger incl. sawtooth-acid-strobo-full board. "Das Haus" as a punked version of a presumably role model to The Rapture's "House Of Jealous Lovers.". Or "München", spiced with the freedom to refuse so particularly vehemently that the song won't play on the radio at all. (...but it will anyway, if somewhere in this world justice still prevails.)  The whole thing in a production that, if necessary, gently scans all the aching scars, but in the next moment already attaches big balls to the groove. The helping hands of Frithjof Rödel (studio), Tobias Siebert (mix) and Jan Driver (mastering) mesh together perfectly on UNS' latest album.    "Alles Was Wir Machen Ist Kunst", that's the conclusion, is UNS' second coming. But without a doubt the moment of their most unfuckable top form. Upon further listening, however, UNS began to stumble over their own poses and smash their skulls in Zeitgeist. I breathed a heavy sigh of relief, and then turned the volume up. Synthpunk with a voice gesture between Peter Hein and Heinz Rudolf Kunze. LMGTFY, dear younger audience. Pieces that make one go crazy, in a triangle of dance floor, reading room and moshpit. Music that opposes the preset Tetris, which is currently bumping through every disco PA unquestioned. Music full of drive, anger and sex. Sometimes these pieces tenderly caress stupidity from the face of German pop music, then again they let the clap whip of self-flagellation pop on their backs. Soon it becomes clear: under the roar of references, the ironic evasive manoeuvres, with all skills, but the hell not-willing to use them, that there are some guys here who still have a lot of questions. And UNS do all of it because this is the only answer left. Joint, appealing fun against the rest of the world. In short, what you hear from them is a particularly sincere form of public masturbation. One that should be applauded because it encourages everyone around them to immediately reach into their own crutch with relish. By the way, miles away from the gray-haired Elder Statesmen sound of the indie generation with which they started back then. We are talking about people who kept up the game since the millennium switch with bands like Kate Mosh, SDNMT, I Might Be Wrong, Siva, Petula, Nonkeen or Clickclickdecker. But no, with UNS, it has to be loud and insane, here and now. Remember: it's 2018 and in all seriousness they rather wear some neon clothes than a wrinkle-free made-to-measure suit!  And hey, young people, when the uncle on the microphone comes across a little arrogant in a song like "Nackt Sehen", he just wants to bring you out of your shell. It is the veiled longing of an old grump in sight of his midlife crisis, believinging in the changeability of things once again, that breaks ground in this ode to the generation gap. Hand in hand with the loving admonition to the youth-kissed not to leave this advantage unused. The Beatles vibe and a Noel Gallagher memory guitar at the end is also a beautiful addition. Other central moments of their album: the Screamo excess in "Körper". The Faint meets Orchid or something. The synth riff in "Essen" - whoever comes up with something like that must have studied the greatest Van Halen hits meticulously. So crazy how then chanson-like softened Croon and hysterically roused chorus work against each other. "AWIMIK" - well we had that one already. Sound-wise an appreciation of the Art Academy for the development of Pop Culture and at the same time giving a shit about it, which immediately becomes a performance trick of it's own - a dilemma! You'd have to despair of it, if only you couldn't dance to it so well. "Von A Nach A" - an endorphin-foaming club-banger incl. sawtooth-acid-strobo-full board. "Das Haus" as a punked version of a presumably role model to The Rapture's "House Of Jealous Lovers.". Or "München", spiced with the freedom to refuse so particularly vehemently that the song won't play on the radio at all. (...but it will anyway, if somewhere in this world justice still prevails.)  The whole thing in a production that, if necessary, gently scans all the aching scars, but in the next moment already attaches big balls to the groove. The helping hands of Frithjof Rödel (studio), Tobias Siebert (mix) and Jan Driver (mastering) mesh together perfectly on UNS' latest album.    "Alles Was Wir Machen Ist Kunst", that's the conclusion, is UNS' second coming. But without a doubt the moment of their most unfuckable top form.