Rob JUNGKLAS liet Google Translator los op ons artikel in ’t Flemish… Dit is het hoogst poëtische resultaat!

Rob Jungklas

6 september

My Belgian friend Antoine Legat’s review of Nothing To Fade. The strangled translation is lovely.

Blues Noir / Memphis Gothic / by blues and rock-driven singer-songwriting
Rob Jung Klas is a singer-songwriter with several lives. The versatile artist from Memphis, TN, tried to build oriented with rock ‘Closer To The Flame “(1986) and” Work Songs For A New Moon’ (1989) from a career in the seventies with the first CD he knew the attention keep going, “Make It Mean Something” became a hit, “Boys Town” was a video production by Godley & Creme and “Hello Heaven ‘was the soundtrack of the movie” The Principal “(with James Belushi and Louis Gossett Jr. ) Shortage of further success will have been at the heart of his decision to join the music, or at least the business side, back to back, though there are other factors played private nature emotionally and professionally. But blood is thicker it can not go: Rob came up with ‘Arkadelphia, followed in 2007 by’ Gully ‘in 2003. By ao Springsteen inspired rock had after the long incubation period made way for sultry intense blues noir ‘-Bruce suddenly flanked by Robert Lee Burnside – as dingy sound backdrop for pretty gloomy reflections, so laden with the seven deadly sins that they even the devil the shit body hunting.
Mythical grandeur and metaphors, steeped in emotion, yes, but at the same time very chthonic texts, based on observation and reality, and above all packed into powerful, immersive big music. Thus “Arkadelphia” and “Gully” his records which shall include the Nillies (or naughties) have “made”, though that vision still not commonplace long known because too little. That he could deliver it as live he showed brilliantly with his trio at the Tithe Barn at Duvel Blues 2009: he could not have come at a better festival stood, judging by the name, though his act of total surrender to fans of traditional blues might just too exotic. During our conversations Duvel Blues Jung Klas showed himself strung, art-loving intellectual with a great sense of humor, might lead one to suppose. More than his music The ensuing ‘Mapping The Wreckage “(2010) fitted well with its two predecessors, so that you can speak. Haste of a trilogy Then we lost Rob sight, but not fellow Marcie that when discussing ‘The Spirit And The Spine “(2013) made an apt description of such submissive Robs music that we can refer there. Good conscience to
Now there is “Nothing To Fade ‘fifth album of Rob Jung Klas since its reincarnation, and again that’s a hit, but we must hasten to say that the CD breathes a strikingly different atmosphere than its predecessors. Or should we speak of evolution, or even a shift? For voice, instrumentation and intensity and remain familiar territory, and quiet songs were also previously been on the menu. ‘Nothing To Fade’ is full of understated musings, in that a volcano ‘subdued’ can be, of course, interrupted only by a stray ‘Satisfied’, the only up-tempo song that joie de vivre of REM evokes. It is even almost a pastiche, or a very successful. Also ‘Cop For You’ and especially ‘Crawl The Moonlight Mile’ tend to be old school Jung Klas, but in the other five songs balladeer takes the helm. The fascination is no less.
The start is impressive thought in his stillness with the equally catchy as ethereal beautiful ‘Mary Sees Angels’ that takes its time to hypnotize the kind of song where the repeat button was. Then the tracks just referred to above. Come The last four numbers pick up the thread again the compelling sung ‘I Become “a maroon waltz structure and’ Madeline ‘(by Rob affectionately as’ Madeleine’ noticeable), and the heartbreaking, barely concealed desire sizzling slogan” I believe in love ‘that rises again and again from the rusty layer, framed with a’ hopeful ‘piano line. It is a typical and penetrating portrayal of extremes, something that Jung has Klas on the patent. For him, the old ‘lesson extrêmes se touchent’ no obligation motto. Pay attention to the half-stashed patter of Susan Marshall half (besides Marshall gives also well known here Reba Russell for vocal support) If you discover an equally overwhelming love song you lately, let us know …
After you expect a sledgehammer, a rousing grand finale, but the big music will be omitted. The small bare ‘Wonderful’ and ‘Everything That’s True’ keeping the muted mood. ‘Nothing To Fade’ has therefore a beneficial fade out like a calm summer day tending to the evening, when the crowds of the afternoon and the associated stress districts weather for introspection and nocturnal sleep. So already sounds very dreamy valve, all the passion churns subcutaneously in the end repeated “everything that’s true will not fade away.” Nails with heads, Rob!
Antoine Légat.

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