The Notwist - Sturm reviews
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| Pitchfork |
 It's only fair to cut film scores some slack and judge them as non-canonical diversions. They're dependent on missing imagery, and often released mainly as advertisements for the films. But when a beloved band's name is on the cover, we can't help but feel as if we're being promised a little more-- that the release has an aesthetic motivation beyond the promotional. If Hans-Christian Schmid's film, Storm, has fans, then perhaps this score will be useful to them. But it will do little for any but the most adoringly blinkered Notwist fans. It's so thin and generic that selling it as a Notwist record feels faintly deceitful, as it could be by anybody, for any moody indie film.
Brevity is great when it's focused around moving themes or a sense of development, but the microtonal squalls and static melodies the Notwist work in here need more time to sink in, and are unproductive when portioned out over 11 tracks in under half an hour. Perhaps they suit the film wonderfully. This is the Notwist's second collaboration with Schmid, so something must click there. But out of context, it just sounds like they gathered up all the usual haunting-soundtrack materials around them-- glockenspiels and bowed xylophones, minimal pianos and strings, pressurized electronic loops-- and failed to do anything with them except idle in a low gear. Certainly nothing offends the ear, barring perhaps the shrill ridges of tone that compose the entirety of "Simon". But the score comes to its quick conclusion with a distinct sense of, "That's it?"...full text |
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| Cloudspeakers |
| We held our tongues throughout it / One day we'll laugh about it", prophezeiten White Rabbits auf dem Opener ihres ersten Albums "Fort nightly". Und auch sonst sorgte die Band aus Brooklyn für...full text |
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| Insound |
| VINYL FORMAT. Comes with a CD! Germany's The Notwist compose the soundtrack to Sturm (2009), the motion-picture by Hans-Christian Schmid. The plot: Hannah Maynard, a prosecutor at the Tribunal in The Hague, manages to convince a young Bosnian woman to testify against an alleged war criminal. Amidst the inconsistency of political interests and threats coming from Bosnian Serb nationalists, she realizes that her opponents not only sit on the dock across from her, but are also found in her own ranks. For Sturm, The Notwist composed a soundtrack that creates a hypnotic, unreal ambiance with bowed xylophone, alienated glockenspiel, orchestra accordion and minimal electronics. All music composed and played by The Notwist, except "Vilina Kosa Version," composed by Daniel Glatzel and The Notwist, played by Andromeda Mega Express Orchestra and The Notwist. Comes with a silkscreen print cover and a 24-page 21x21 cm photo booklet....full text |
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