Reviews (page 2 of 7)
This album is like listening to the soundtrack of a musical if all the songs were the ones that no one cared about
Punishing Kiss I don’t know Ute Lemper at all and I resisted looking this up until I’d given this a listen. I get what she is going for - that musical, theatrical, 60s cinematic, cabaret, Weimar Republic, interwar, slightly seedy, decadent, melodramatic, orchestral, torch song vibe. The problem is it sounds very dated to the late 90s/early 2000s, and consequently it lacks any sort of atmosphere or any evocation of anything it's aiming for. Rather than sophisticated decadence it sounds more like soulless ham fisted schmaltz. I also really don’t like her voice or her vocal mannerisms. I get that the songs require that theatrical vocal style and those talked asides, and while she has a strong voice it has a quite unpleasant nasal brutality to it. Alongside all that, I found the songs pretty uninspiring thematically, lyrically and melodically, even if they were written by people I like, like Nick Cave and Tom Waits. It was a bit of struggle to make it through the third listen, but You Were Meant For Me was the only one that really stood out, the only song where the sound, arrangement and vocal all coalesced to conjure up a dramatic and nicely overwrought whole. I do actually like Neil Hannon and the Divine Comedy, but his records, while obviously influenced by this type of music, have some wit and charm with a much more considered sense to them. Like I say I get what they were going for, and if you are into the musical theatre vibes of the German Elaine Paige singing Cabaret and Kurt Weill then I guess it’s a good listen, but I found it a bit of an uninspiring irritation. Reluctant to go 1, even if I’m tempted, so I’ll stick with a 2. 👊💋 Playlist submission: You Were Meant For Me
WHY DOES THIS GUY LIKE THE DIVINE COMEDY SO MUCH
Brand new to me. First 2 songs YES! 3rd song not so much. As it goes along I still prefer the opening songs . Reminds me of Holly Cole at times. All in all there are some enjoyable moments, particularly The Case Continues and Split but in the end I'm left wondering as I have from time to time with this list; why this artist? why this album? 2.5 🌟
Ute Lemberg has a fantastic voice and the collaboration with The Divine Comedy is an interesting one but the album doesn’t have enough of a spark to sustain your interest.
If this were a Broadway musical it would be closed on opening night.
You’re 10 years old. Your mom drags you to a department store. She looks at clothes, she looks at furniture, she looks at appliance, she looks at shoes. You’re being dragged around wondering “when are we going to be done?”. Finally get to checkout, nearing the end (in this case, the last song in the album). But then she chats up someone and you’re stuck waiting again (why is this song so long). “When will this misery end” you think to yourself. This is the soundtrack to that feeling.
cringe
That’s a no.
Oh wow. Nick Cave, Elvis Costello, Tom Waits, and the Divine Comedy? I just know that Robert Dimery came in his pants after reading that "songs by" blurb on this album cover. Here I was thinking that I would never have to hear Neil Hannon's voice ever again. Silly me! I'm fucking dumb. I should've known that Robert Dimery wouldn't be able to keep his hands off of all those men! But hey, this album isn't all men! I mean, you've get the head of this whole album herself, Ute Lemper, to give this album some woman points. So with all of these sources of talent (and also Neil Hannon), how did this album turn out? I don't like it. Why is that? Let me tell you! I'll start with the one thing that I actually can kind of praise to an extent. That's right. There's only one thing. The instrumentation is alright some of the time. It has this cabaret vibe that I haven't heard in many other albums on the list yet. It still sucks sometimes though. The last song wasn't very pleasant on the ears. Alright everybody! Time for complaining! I'm not a fan of Ute Lemper's singing. It's not my thing. It's like she read somewhere that people like Björk for her unique singing and tried her best to do that only for it to just be kind of annoying. I also think the times where Neil Hannon sings here are kind of annoying as well. At least he's only on a few songs. The album's too long. It just is. I don't feel like going into that because I have to save my bitching space in my head for the thing that I hate most from this album. The songwriting fucking sucks! You'd think with people like Tom Waits and Nick Cave involved that this album would be thought-provoking in some ways, right? Well, too bad. The only thought these songs provoke is "Why am I not listening to better music right now?" The sex lines are just as gross as the ones on the Divine Comedy albums. Why are there multiple songs that say breast or breasts? And of FUCKING course, there's a song that mentions a horse. Although, to be fair to that one, Neil Hannon didn't actually write that song, so I can't make fun of him for showing off his horse fetish on this album specifically. Just look to my Divine Comedy reviews for that one. Welp. Guys, gals, non-binary pals. We had a good run. I haven't felt this way since Snivilisation back in November, but I'm upset that I had to listen to this album. The sheer fact that the people behind this list had the balls to include an album like this just because of it having collaborators that already show up way too much on this list just pisses me off. You know what that means? For the first time in 2025, I'm giving this album a solid 1/5.
I checked how much listening time I had remaining on this album multiple times. It was always another fucking hour. This is so so SOOOO bad
This album was weird, and not in a good way. I couldn't wait for it to be over lol.
ASS
1. uuater - 1.5 2. caze - 0 3. fight - 0 4. die - 1 5. keep - 1 6. berlin - 1.5 7. auuay - 1.5 8. zplit - 1 9. kizz - 0 10. purple - 1 11. me - 1 12. zcope - 0
Interminable over-orchestrated plodding pompous schmaltz. Theatre kids were a mistake.
About halfway through the first song, I thought to myself this album might be a hard one to get through, and I was more right than I could have known. This is so, so bad and weird. It’s such an extraordinary kind of terrible that at some moments it loops all the way around to kind of being hilarious. But mostly, it’s just god awful schmaltzy cabaret singing set to shitty music with bizarre nonsense lyrics. As a reward for making it almost all the way through the album, you’re rewarded with the last track, a nearly-11 minute masterpiece on composing the most unlistenable garbage of all time. Part of me thinks that surely, this is some kind intentionally terrible performance art - if that is the case, I’d have to rate it pretty highly for nailing what it set out to do. But with no evidence to confirm this idea I have to take this album at face value. Most of the albums from this project that I’ve given one or a generous two ⭐️, I at least vaguely understand why someone else would like it, but not this one. Not only is this album not for me, I’m pretty sure it’s not fit for human consumption. I almost respect how completely and entirely hateable this album is, but mostly I just completely and entirely hate it. 1/10
I think pacing this album over two days was the worst thing I could do honestly
Holy shit, it's the holy grail of bad albums. This one's on the bad albums list on this site, and I was curious why. I started listening, realized it was in that same category of weirdo cabaret type music that I can't stand. My first thought was that she was like a female Tom Waits (derogatory). Towards the middle of the album, I looked at the cover: SONGS BY the following artists, a rogues gallery of some of my most despised artists that I've had to listen to on this list [I'm leaving out Philip Glass and Kurt Weill since I don't know them]: - Nick Cave (recently wrote about how I'm over him, pretentious prick) - Elvis Costello (had a couple decent albums, but wafty fart music, also he ruined that dope elephant cover by saying the N word on a song, cringe lord) - The Divine Comedy (can barely believe this one but he's all over this album, easily the worst artist I've learned about through this process, two albums with no redeeming qualities, again - pretentious prick music) - Tom Waits (the godfather of this goofy cabaret stuff, he's got a cool voice but it's not enough to make me sit through the spectacle, couple decent albums though) - Scott Walker (the first artist on this list to get a true 1 star review from me, he redeeemed himself elsewhere but good lord that album sucked) So I guess this album is like the Avengers but for hoity-toity musicians that I can't stand. Seriously, this list of artists is collectively responsible for EIGHT of my (only) 27 albums to get a 1 star review. Check my summary page, their names are almost all in my "Worst Artists" list. I'm honestly impressed. If only they squeezed in a Dagmar Krause feature. I'm keeping two tracks for posterity, but this is going in the dumpster where it belongs. Punishing piss. Favorite tracks: Passionate Fight, Scoop J (actually a cool song). Album art: White woman in black trenchcoat, standing by an industrial silo or tank of some kind. Is this the terrible music factory? That looks like their employee list there. 1/5
I don't understand what's going on, nor do I want to!
Dramatic and strange, but not in the way that I actually like. Many of these tracks would fit in a bad Phantom-inspired musical. I feel vaguely guilty for subjecting the cat to this album.
Inorganic and stiff, nice execution but with as much soul as elevator or mezzanine music. Was going to give it a 2 for the execution but meh
What is this about to be! Also thought that was Gillian mfin Anderson. Oh. This is a German woman who starred in cabaret and played Velma in Chicago so I’m immediately primed for obsession…. And the Viennese production Cats. Jfc. Now I need to hear Cats in German. AND tours an homage to Marlene Dietrich based on their chats?! Anyway settle down and listen. // God I fucking love theatre.
Increíble. Nunca le había entrado a Ute y no sé cómo serán sus otros discos, pero este me pareció de un dramatismo y teatralidad imposibles de resistir: canciones con arreglos orquestales espectaculares, la increíble voz de Ute y algunos duetos muy sorprendentes. Fan de Punishing Kiss.
This is high Art and might be hard to consume. Give it some space ... Yes to Ute being on the list. I've seen her live. O have this album. She is amazing. But sometimes hard to listen to. Her instrument does extreme things and is pushed to sounds and styles you're unlikely to hear anywhere else. Plus we all need some good Cabaret and Kurt Weill from time to time to bring respite from all the pap and pop out there. In rarely I the mood for Ute. But she is perfection, a comforting and chilling contradiction for warmth and cutting ice in a single voice A master of her craft. Singular. essential listening and an essential station for all music pilgrims.
Not my cup of tea
Thoroughly enjoyed this.
Figo, molto figo
This is brilliant but shouldn’t be listened to all at once. Each song is a work to be considered all on its own.
Very theatrical, but what a feelingand voice. 5 stars
Diva. C'est chill, jazzy, Broadway vibe
UMA MULHER! MEU DEUS T^T FAVS (top 3): couldnt you keep that to yourself, split, you were made for me mençoes honrosas: little water song, the case continues, streets of berlin, the part you throw away, punishing kiss, scope j. gente um album MUITO lindo e muito interessante, nao entendi pq ela nao é a main creditada em todas as musicas mas enfim. YOU WERE MADE FOR ME é a musica MAIS linda q ja ouvi aqui e ouso dizer q foi oq fez com q ela entrasse nessa lista, MUITO FODA!!! a outro tem quase 11 min de duraçao mas tambem é um arraso de começo ao fim, esse album é muito bom MESMO e nossa senhora AMO!! nota final: 5/5
Really interesting and unique. Amazing vocal performances paired with some really interesting instrumental stuff. 10 minute closer was really cool as well. overall 9/10 for me
Never heard of this, went in blind, and loved it
Had no expectations outside of recognizing Cave and Costello, but this ruled. Lemper has a fantastic singing voice and the songs were very interesting. It kinda felt like I was listening to the soundtrack of a musical, even if it doesn't seem like that was the purpose of the album. Loved it and wanna listen to more similar music in the future.
Neuetdeckung für mich!
The Case Continues single handedly brought it from a 4 to a 5
I love this album so much. 10000/10
Fantastic
I enjoyed that so much that I listened to it twice in a row.
Legendär
Wow; this is exactly the kind of discovery this list was made for. Ute’s voice is stunning - instantly evocative of Patricia Kaas, and at times even Kate Bush. The production and orchestral arrangements are just gorgeous, and I was surprised to find that it includes heavy involvement from The Divine Comedy. Favourite tracks: everything.
Gorgeous music and vocal interpretation. I feel like I went wrong somewhere in life for not having known Lemper up until now.
Alluring and easy, but exciting. Really loved it!
Going into this, I already know that I like The Divine Comedy, so hoping for good things. Right, as stated above, I already like The Divine Comedy, and I'm a huge fan of Björk, Tori Amos, and Kate Bush. So this is exactly the kind of thing that I'm into. I can get why it isn't for everyone, but I don't care, I love it and that's all that matters to be honest. Will definitely check out more of her work.
Fantastic album! Ute Lemper's voice is powerful and theatrical, with songs that have a mixture of classical, singer-songwriter, and dark cabaret. With songs from Nick Cave, Tom Waits, Kurt Weill, among others, it was an absolute joy to listen to.
this album was so beautiful, her voice made me think of a disney villain, i can’t explain why lol. so many great names on this one
Kinda sorta loved this. Five for originality. Five for chanteusery. And a big five for the line, "if sex were an Olympic sport we'd have won the gold". 5
actually highkey big fan - came out of nowhere, awesome!
What a top tier lineup! Incredible voice, amazing composition, what's not to love.
So...THREE days after remarking that I hadn't heard any theatrical German women in this project after 900 albums, I get to hear another? Yay!
Has it gotten a bit dramatic recently? Not that there is anything wrong with that happening…
I'm pleasantly surprised to see this here, hot on the heels of Dagmar Krause's Tank Battles just a few days ago. I picked up Punishing Kiss on CD about 20 years ago, not knowing much about it --- I knew a bit about Lemper's theater credits and was intrigued to hear her collaborate with Nick Cave, Elvis Costello, Philip Glass, and Tom Waits. (I didn't know The Divine Comedy and Scott Walker at the time but thanks to this project I do now!) Lemper is a great singer with incredible range and a flair for dramatics. The album feels dark and a little creepy and definitely worth its place on this list.
Really terrific! Ute Lemper’s interpretation of these songs had me entranced. Yet another album I likely would never have encountered but for this project.
J'ai vraiment vraiment bien aimé, c'était une super découverte. Les chansons sont très bien choisies et très bien interprétées, et l'orchestration en mode intense est fort bien employée. Une cool façon d'aborder les chansons à la Tom Waits ou autre qui peuvent parfois manquer de musicalité.
Really love the voice, old style cabaret singing on Tom Waits and Elvis Costello is something I never knew I needed. What I didn't need was dude from Divine Comedy singing on here at all and his songs just really dull the whole record. The Kurt Weill written song I get but it isn't for me, I can't knock it for that though so it's a 6.8 for me
вау вот это вау оч оч круто
Una genialidad
weird!
Wow, I wasn’t expecting that! Of course I know who Ute Lemper is: the German singer who went to the US to make it big – and make it big she did. As the saying goes, 'a prophet is not without honour save in his own country'. She performs musicals, jazz and Brecht-Weill songs. But an album like this? With Nick Cave, Tom Waits, Elvis Costello and Scott Walker as the songwriters and The Divine Comedy as the backing band (and songwriter). The result is a sombre, emotional avant-pop masterpiece of singer-songwriter music. The crowning glory is the lengthy 'Scope J.', written by Scott Walker. At over 10 minutes long, it is austere and profound — the antithesis of commercially accessible, light jazz songs. Some editions of the album also feature an additional Scott Walker track, 'Lullaby (By-by-by)', as a bonus. Another 11 minutes of uncompromising artistry. This is an album that really is a must-listen.
Overall: 4.1 (rounded to 4) Consistency: 4.41 Originality: 4 Enjoyment: 4.5 Virtuosity: 4 1. Little Water Song - 4 2. The Case Continues - 5 3. Passionate Fight - 4 4. Tango Ballad - 4 5. Couldn't You Keep That to Yourself - 4 6. Streets of Berlin - 5 7. The Part You Throw Away - 4 8. Split - 5 9. Punishing Kiss - 4 10. Purple Avenue - 4 11. You Were Meant for Me - 5 12. Scope J - 5
This is so theatrical. It makes me think of musicals from the 80s like Les Mis or Phantom of the Opera, complete with a psychotically dissonant 10 minute wrap-up. I really liked it.
Bah oui hein c'est bien
Sounds like bjork. I appreciate the craft, but the content isn't always compelling.
I wanted to take the piss out of this, in Cabaret...in Cabaret.. but I really enjoyed it. A fine collection of tunes and produced by Scott Walker. The synergy of Brecht/Weill/Walker/Costello/Waits et al works, a real pleasant surprise. This sort of stuff is not usually my cup of tea but I'd recommend this deadbeats.
I don't get why the ratings are so low. The album is a little long but it's also really good, especially the Philip Glass and Scott Walker written songs. This is the closest they'll ever get me to care about Divine Comedy though.
Why? I think it’s good. Like a musical. And many acquaintances on the cover.
I really like the over-the-top cabaret style. And Lemper's voice is superb for this type of project. You Were Meant For Me is an absolute powerhouse of a song and I found Scope J to be the perfect haunted ending.
"You Were Meant For Me" sold me on this album as a whole. Also it's super funny to get The Divine Comedy on this album after my last experience with them (Casanova). I'll be back to this album, especially for that song.
Had never heard of this album or Ute Lemper. I am a fan of some of her collaborators here, including Nick Cave, Elvis Costello and Tom Waits. Enjoyed this on first listen.
Blends styles unlike anything I've ever heard. It's a beautifully crafted, melancholic, and kinda Bondsian. I'm digging it!
3.5/5
01/04/2026 1. little water song - lovely orchestral start... not sure how to feel about this one! the lyrics are a bit weird, but i really like them. the actual music doesn't do anything for me though. 2. the case continues - nice start! production feels a little dated though... same as prev, doesn't appeal to me much :/ *3. passionate fight - liking this one a lot more than the previous two immediately... love the horns! love the little instrumental <3 beautiful!! *4. die dreigroschenoper: tango ballad - definitely dated at the start. not bad though! neil hannon! looove the lyrics! really getting into this one now! phenomenal!!! <3 <3 <3 5. couldn't you keep that to yourself - love the organ! the lyrics are realllly nice again :) nice! *6. streets of berlin - very atmospheric start... reminds me abit of the pink room from the fwwm soundtrack... 7. the part you throw away - can immediately see the tom waits influence lol. i am liking that about this album! loving her vocals and the strings in this one!! goes really nice with the accordion :) *8. split - oooo loooving the start!!!!!! neil hannon again! two minutes in and this song was made for me!!! loooooving it <<<3333 9. punishing kiss - love the start again! nice :) 10. purple avenue - loove the lyrics! *11. you were meant for me - french? looove the guitar! love how dramatic this is!! maybe going on a bit long, but still really liking it! 12. scope j - wow! very tense! definitely a bit too long and probably wouldn't listen to it again in the near future, but definitely interesting!! didn't know anything about this album before listening, just that i'd vaguely heard of the name ute lemper and that i already loved some of the music by alotof the people involved so was very excited. was initially a bit concerned, but absolutely picked up after track three and i loved it!!! whoever gave this an average rating of 2.41 kill yourselves!
viel beter mee dan verwacht... gelukkig was dit geen musical muziek, maar meer cabaret achtig... duetten zijn minder sterk dan solo nummers
3.5
Although it sometimes sounds as an anime intro it's also eerie, haunting and beautiful.
Ute Lemper’s voice and name are weirdly pretty special to me as a lover of theatre and a girl who obsessed over the minute distinctions between different cast recordings of Chicago. Ute Lemper did the best All That Jazz since Chita Rivera, as far as 13 year old me was concerned. that being said this album is very long and ridiculous. i cant even tell why its in here. But I appreciate it. It’s theatrical and that’s precious to me.
Très sympa
# **Punishing Kiss** by Ute Lemper: An In-Depth Review Released in 2000 on Decca Records, *Punishing Kiss* represents one of the most ambitious and polarizing projects in Ute Lemper's career—a deliberate pivot from her established Weimar-era cabaret repertoire toward contemporary art-pop. The album is essentially a curated songbook featuring unrecorded compositions by Elvis Costello, Nick Cave, Tom Waits, Scott Walker, Philip Glass, and The Divine Comedy, with Neil Hannon's band serving as Lemper's primary backing musicians . --- ## **The Collaborations & Concept** The album emerged from executive producer David Sefton's suggestion that Lemper approach modern songwriters who shared Kurt Weill's sardonic, politically charged sensibilities . The timing aligned perfectly with the 2000 centenary of Weill's birth, allowing Lemper to build what she called a "repertory of today" while honoring her interpretive history . The Divine Comedy's involvement proved central—Neil Hannon and Joby Talbot co-wrote three original songs ("The Case Continues," "Split," and "You Were Meant for Me"), arranged a modern version of Weill and Brecht's "Tango Ballad," and provided orchestral indie-pop backing throughout . Hannon duets with Lemper on "Tango Ballad" and "Split," adding conversational intimacy to the theatrical proceedings . --- ## **Musical Content & Production** ### **Style & Arrangements** The production, recorded at The Town House in London in 1999, blends traditional cabaret orchestration with early-2000s pop sensibilities . Joby Talbot's string arrangements are particularly noteworthy—on Nick Cave's "Little Water Song," the strings evoke a watery grave, while the title track features what one reviewer called a "grating, cathartic synth blare" during its massive instrumental outro . The sonic palette shifts dramatically between tracks: from the boozy, Tom Waits-influenced noir of "The Part You Throw Away" to the minimalist, droning experimentalism of Scott Walker's "Scope J" (which runs over 11 minutes on the Japanese edition) . ### **Vocal Performance** Lemper's voice remains the album's gravitational center—dark, brooding, and unrelentingly theatrical. She modulates her delivery to match each songwriter's aesthetic: adopting a sardonic bite for Costello's cerebral wordplay, a haunting stillness for Cave's drowning narrative, and operatic intensity for the Weill material . --- ## **Lyrical Themes** The album's thematic architecture centers on **romantic dissolution, urban alienation, and fatal intimacy** : - **"Little Water Song" (Nick Cave/Bruno Pisek)**: Perhaps the album's most harrowing moment—a first-person account of a woman being drowned by her lover, observing her own death from underwater with surreal, poetic detachment: "my pretty breasts are piled high with stones... and tiny little fishes enter me" . Lemper described being "completely blown away" by the demo's minimalist power . - **"The Case Continues" (Hannon/Talbot)**: Frames a breakup as a noir murder mystery, showcasing the album's penchant for narrative theatricality . - **"Punishing Kiss" (Costello/Cait O'Riordan)**: Explores desire as retribution—the kiss as both allure and punishment . - **"Tango Ballad"**: The Weill/Brecht standard about a pimp and prostitute reminiscing over shared sins, updated with modern pop rhythms while retaining its moral ambiguity . The lyrics consistently privilege **dark, intellectually satisfying narratives** over emotional accessibility, with references to "big red balloons" (heads), Olympic sex medals, and theatrical violence creating a decadent, occasionally absurd atmosphere . --- ## **Critical Reception** ### **Praise** - **AllMusic** described it as "highly stylized art music given a pop element," praising Lemper's interpretive depth . - **MusicOMH** highlighted the "beautiful vocal harmonies" in the Hannon duets and Talbot's haunting string arrangements . - **The Baltimore Sun** awarded it 3.5/4 stars, noting her "graceful, passionate delivery" . - **Suono** gave perfect 10/10 scores for both artistic and technical merit, calling it "an oasis in the desert of current music production" . ### **Criticism** - **NME** delivered a notoriously scathing 2/10 review, describing Lemper's vocals as "horsey braying and murderous screams" and declaring "It's intolerable. I cannot sleep, my love" . - **CultureVulture** praised individual tracks but noted Scott Walker's "Scope J" devolved into "overindulgence," becoming "nearly unlistenable" . - Multiple listeners on RateYourMusic found the album "dated" to its late-90s/early-2000s production, with some describing it as "soulless ham fisted schmaltz" rather than sophisticated decadence . - **The AV Club** critiqued the title track's "grating, cathartic synth blare" as overbearing . --- ## **Influence & Legacy** *Punishing Kiss* occupies a unique position in the cabaret revival of the 2000s, bridging Weimar traditions with contemporary indie sensibilities . Its inclusion in *1001 Albums You Must Hear Before You Die* (2010 edition) cemented its status as a cult favorite, particularly among enthusiasts of interpretive vocal music and theatrical pop . The album expanded Lemper's audience beyond musical theater circles (she had starred in *Cats* and *Chicago*) toward alternative music fans, while reinforcing her reputation as a versatile interpreter capable of navigating multiple songwriting personalities . Live performances integrated these songs into theatrical "little stage shows" evoking pre-Nazi German cabaret satire . --- ## **Pros & Cons** ### **Strengths** | Aspect | Assessment | |--------|-----------| | **Songwriting Pedigree** | Unprecedented collection of unrecorded material from Costello, Cave, Waits, Walker, and Glass—arguably the strongest songwriter lineup on any cabaret crossover album of the era | | **Vocal Interpretation** | Lemper's chameleonic ability to inhabit each songwriter's aesthetic, from Waits' gutter poetry to Glass' minimalist austerity | | **Theatrical Cohesion** | Despite multiple authors, the album maintains thematic unity around romantic darkness and urban decay | | **Arrangements** | Joby Talbot's orchestral work, particularly on "Little Water Song" and "The Case Continues" | | **Duet Chemistry** | Neil Hannon's contributions add wit and conversational relief from Lemper's intensity | ### **Weaknesses** | Aspect | Assessment | |--------|-----------| | **Pacing Issues** | At 57+ minutes, the album can feel "a song or two too long" with Scott Walker's "Scope J" testing listener endurance | | **Production Dating** | Early-2000s "super shiny production" and synthesizer choices have aged less gracefully than the material itself | | **Tonal Heaviness** | The unrelenting seriousness occasionally misses humor in the material—some Costello and Waits tracks benefit from lighter interpretive touches | | **Accessibility** | The theatrical vocal mannerisms and "absurdist cabaret" atmosphere can alienate listeners expecting conventional pop or even traditional chanson | | **Divisive Vocals** | Lemper's vibrato and dramatic delivery are acquired tastes—described by detractors as "nasal brutality" or "theater kid" aesthetics | --- ## **Conclusion** *Punishing Kiss* is ultimately a **curator's triumph** rather than a conventional artist statement—a testament to Lemper's ambition to bridge cabaret history with contemporary songwriting. It works best when approached as a songbook showcasing remarkable material that might otherwise have remained unrecorded, delivered by a vocalist with the technical command and dramatic intelligence to honor its darkness. The album's divisive reputation stems from its refusal to compromise: it demands acceptance of its theatrical excesses, its dated production choices, and its relentless emotional intensity. For listeners willing to inhabit its world of drowning lovers, noir mysteries, and punishing desire, it remains a singular, if occasionally exhausting, achievement .
This was such a surprise. Never heard of her in my life. Campy, dramatic, over the top, crazy lyrics, weird music…I loved it.
oddly enjoyable
Album No. 0169 on my list. As a German, I had been aware of the existence of Ute Lemper before listening to this, but I had never consciously listened to any of her music. And phew. I really have no idea what to make of this album. On the one hand, I find it quite cool to be honest. Interesting voice, interesting music, something between classic chanson and Björk. Really artsy, really interesting. On the other hand, some songs were borderline annoying and despite very big international songwriters collaborating here (Nick Cave, Elvis Costello, Tom Waits, Neil Hannon), some of the lyrics were quite dull to be honest. But then again, some of the songs were really cool! Actually, if I follow my gut feeling, I am rather glad to have discovered this rather than annoyed by the less good songs. And besides, the thing is well produced and some of the instrumentation is pretty cool (you really can hear the Divine Comedy influences here). The album gives away many "Berlin vibes", whatever that means, and not in a bad way. I'll add "Little Water Song", "Passionate Fight", "Tango Ballad" (from Brecht's/Weill's Dreigroschenoper; glad some German classics made their way onto this)", and "Streets of Berlin" to my playlist. 4/5 stars (my fifth album of 2000 and the first one not receiving 5 stars, interestingly).
Only Walker proves to be too weird to pull from the brink of nonsense. The rest of the songs here prove a good voice and the right arrangement can do wonders. Cabaret at its best.
I played the hell out of this one back in my record store days. I was surprised to see it pop up here - it never got much traction in the States. I was also surprised to find out the tracks in the US version are in a different order. I absolutely love "Little Water Song", but I don't think it works as well as "The Case Continues" for an album opener. The only track I tend to skip is the last one, "Scope J". I think it would be great on an album of similar songs, but is a bit jarring on an album of somewhat theatrical somewhat pop songs.
chevere pero no ha envejecido bien creo, suena muy de su época
Whoever curated this list just had to sneak one more Elvis Costello album in without telling us! I listened to the whole thing half-asleep but my first impression was that it kicked major ass, luv the vocals, it's dreamy.
I understand this album has been quite divisive on here. But as a fan of broadway and theatrical music, I enjoyed this album. It was bold, funny, and dramatic, and Ute has a great voice. The instrumentals and guest features were all good. By the end my interest was beginning to wane, and the final track really dragged, But overall the experience was positive.
Some great arrangements of amazing songs with great collaborations. It was all a bit the same though. Still enjoyed it.
Eine großartige Sängerin, die Cabaret-Pop mit ihrer Stimme Leben einhaucht. Für Musical-Liebhaber mega, meine Musikrichtung ist es nicht. Aber für die Gesangsleistung und das Arrangemant gibt es von mir 4/5 Sterne.
4.3
Her var det mye rart. Jeg er kanskje litt for snill her, men jeg hadde det så gøy med denne skiva!
It's like an album full of Bond themes, I like this a lot
Atmospheric, grand in scope, sounds like a musical soundtrack. Big ideas mostly landed. Can't say it's my jam but credit for the effort.
Sounds a bit like Kate Bush. Excellent taste in cover tunes.
Ciekawa płyta. Musicalowo-kabaretowa. Mroczna, trochę jak klub w piwnicy. Z własnym charakterem i stylem. 6.5/10 równane w górę, bo mam dość tego jak generyczne bywają tu albumy.
This was really interesting. I had never heard of Ute Lemper before, nor has I really heard any of these songs before, as far as I know. I got the impression from the album cover that most (all?) of them were covers of songs by other popular artists, but I definitely didn't hear any of those artists' sound in this -- the sound of this record was very distinct, even if I can't say for sure much about whose sound it is. Ute's voice sometimes reminded me strongly of Barbra Streisand and sometimes of Bjork, and I really enjoyed the vibe of the record. Each track seemed to be its own thing, but there was something very tangible that held them together in a cohesive unit, mostly due to the strong vocal timbre that Ute possesses and displays on this album. I listened to the whole thing twice, more because I wanted to really soak it in to know what it was I had listened to than because I loved it. I thought it was very interesting, but I doubt I would ever listen again. Four stars.
How much am I **really** supposed to care about Ute Lemper? That's a mean sort of question, I realize — and the first time I asked it, to my peers, it was a **lot** meaner. It **is** legit, though, the one I asked myself when I first saw this album. I mean, judging a book entirely by its cover, I had to wonder if this album was even on here for her at all. Look at how it proudly boasts that it features songs from Nick Cave, Tom Waits, Elvis Costello, The Divine Comedy ... all the favorite artists of the people who use this website! It did sort of give me the feeling that the editors of the book saw all of these names, spooged their pants and slapped it in here without a second thought. And I can figure that kind of reaction was the one Ute was hoping for. From the little I've glimpsed at her discography, it seems she'd mostly been doing covers of songs from musicals. That must be a fine gig, but I can't imagine it'd get you too much critical respect unless you were just **that** good at it. Maybe, I imagine, she figured this would be her "serious album." She'd bring in all of these serious, critically beloved songwriters, alongside The Divine Comedy to provide instrumentals, and maybe on their combined strengths she'd finally get some real, serious praise. That's all mere speculation, of course. The real story might just be that Ute and the guy from The Divine Comedy wanted to work together. I mean, one hole in my "desiring critical respect" story is that ... well, alongside how she still covers a couple of songs from musicals (though more serious ones, written by Philip Glass and whatnot), none of the songs on here are exactly ... cohesive together. Frankly, all of the songs on this album might as well be covers for how they all sound like they come from different shows. There's no real through-line here. And when you take all of that together with how Ute herself didn't write a single word on this album ... well, what am I supposed to take away from all of this? Who even **is** she? And why should I care? Well, here's one answer: Ute Lemper, as it turns out, is an actress. A stage actress, even, who's won awards for appearing in productions of 'Cabaret' and 'Chicago.' She's got some bonafides — and, well, it certainly explains some of her earlier albums. Just as it also happens to explain what exactly is going on here on this album. No. You're not supposed to care about **who** Ute Lemper is. Because that's not the point here and that's not her job. Simply put, Ute is here to be an actress, and be the vocal catalyst that brings these songs to life. And I understand, this can be kind of a hard concept to grasp. These days, who an artist is and the details of their real life often play **huge** roles in this music. Hell, on some albums the "lore" of an artist is the only thing that matters (T-Swizzle). And besides, I'm the kind of person who often thinks context matters; nothing exists in a vacuum, and knowing the details behind some songs can often make them better. But there are some exceptions. There are some songs and albums where, hey, you **don't** hafta know all the details in order to appreciate them. They could help you deepen your appreciation, but it's perfectly valid to take them on a surface level for what they are. And that, to me, applies pretty well to this album. I think it'd help, honestly, to think of this album less as an album and more as a cabaret show. A singer's gonna come out and sing some good songs — and it could be anybody singing these. It's the songs, ultimately, that matter over everything. Not that the performer is **entirely** unimportant, let's be clear here. A good performer could heavily elevate the material, just as well as a bad one could bring it down. Luckily, I think Ute is a good performer (what with her stage bonafides and all). I don't ever find her **that** incredible, to be frank, but as far as doing her job goes, I think she did pretty dang well. It's a nice voice, honestly. As for how the songs themselves go ... well, it's a bit mixed, although I ultimately lean towards being more positive than not. There are some songs with some dark, James Bond-style instrumentation, and I dig it all the way and then some. There are some that're just ... fine, and I can't really give a hoot about them one way or the other. There's the two Tom Waits wrote, which, yep, from their first seconds sure sound like Tom Waits songs. And then there's the one Scott Walker wrote as a closer, which, I mean, is strange and I just wasn't able to get into as much as I would've wanted to. I'd've maybe've liked the album to've ended on the previous track, I'unno. But, yeah, that's the size of the album. Even if I can't say it made me any more interested in who Ute Lemper is as a person, I feel I can safely say that this album isn't just here for the names on the cover. Sure, they help, obviously — but I think it's more here as a credit to Ute's skills as an actress than anything else. Sure, I wouldn't exactly say it's anything I'd be dying to come back to. As a show I get to see one time, however ... it's a nice show worth taking in. By far the least punishing kiss I've ever been given.
I’m at a 3.5 that I’ll bump up to a 4, but I was struggling with this album for a while. I do think she could do a better job of projecting more of her own voice onto these tracks, as opposed to settling for following some of the guides that it seems like she was given on the vast major– hold on, sorry, I think I started without some extra context. Let me rewind a little bit so you can try to figure out where I’m coming from. This is an album with a cavalcade of contributions from other artists on the list, mostly with instrumentation from the Divine Comedy (who do a great job throughout), and tracks submitted by themselves, Elvis Costello, Nick Cave, Tom Waits, & Scott Walker, among others. It’s lead by German singer / actress Ute Lemper, who I have never heard of, and yet has a pretty darn good voice & a pretty darn good resume, namely in musicals. She didn't help to write *anything* here though, which is surprising; she's mostly here as a vocal catalyst for the tracks, and given the "cinematic" nature of the album, the fit works. This album is a set of 11 tracks (and then one utterly avantgarde piece by Scott Walker) that all feel like they’re taken from musicals / operas, and some of them are! “Tango Ballad” is from the Threepenny Opera, & “Streets of Berlin” is from a play called Bent, about the persecution of homosexual men in Nazi Germany. Of course, you’d never know any of this unless you actively looked up some of these tracks, and… yeah, that’s my immediate major issue with this album. A lot of these songs exist in their own space, without any leading context. It is really noticeable throughout this album, straight from the beginning – “Little Water Song” is meant to be a contrasting track, showing a sort of wondrous beauty to the underwater scenery this lady is going through… as she’s being drowned to death by her lover, slowly losing consciousness. That dichotomy makes for a very good track, if you can get the context. I had to listen to it twice to fully get there, and I came out of it thinking the track should have opened with some kind of audio design to note a struggle, and really set up the track more fruitfully. This is my big issue with the album, and one that it takes a while to overcome, arguably never really doing so, given that it's all in slightly better writing. For the vast majority of tracks here, I think even just 30 seconds of sound design to add well-needed context would make a lot of these tracks click better. My other issue with the album comes in the disconnect between tracks, and that’s part of the risk of having this many cooks in the kitchen, especially with such a broad style between them, and without any real "authorship" from Ute Lemper. Since this isn’t a concept album where all of the tracks connect, it feels more like jumping from scene to scene in a bunch of random different musicals, and I immediately felt that disconnect once “The Case Continues” happened; at first, I thought it might’ve been a continuation of the same drowning murder from the opening track, but instead it’s a track about a clingy heartbroken lady desperate to keep a boyfriend who broke up with her over the phone, with the worst (but also funniest) lines on the album: “My only crime was passion, wild and uncontrolled / If sex were an Olympic sport, we'd've won the gold”. How do you go from a lovely orchestrated track about the dichotomy of seeing beauty as you’re drowning to “but we should be having SEX right now, damn it!” to a (very good, mind you) James Bond-esque instrumental? Granted, that issue becomes far less prevalent after “Streets of Berlin” (and trust me, the whole album improves exponentially by “Streets of Berlin”), but the first 5 tracks here don’t feel like they fit together at all. “Passionate Fight” is fine; it needs more work, but it’s a decent song about a guy who’ll never be satisfied by any one night stand he’ll get. “Tango Ballad” is really roughly structured, probably from being an English translation of German lyrics, & I could not get a single thing out of the lyrically incoherent “Couldn’t You Keep That To Yourself”. Elvis Costello, you’ve done better, man. The only thing that acted as a saving grace through the first 5 tracks is that the Divine Comedy do a great job with the instrumentals, and that Ute Lemper has a great voice. Seriously; she does a great job of keeping this album from falling apart. I do think she could do a better job of projecting more of her own voice onto these tracks, as opposed to settling for following some of the guides that it seems like she was given on the vast majority of these tracks (literally, stealing Elvis Costello’s inflections on most of the ones he wrote), but it’s not a big deal. The instrumentals & her vocals combined made each track still feel like a good listen, at the very least. Thankfully (and I do mean *thankfully*), those vocals / instrumentals are finally met with some songwriting chops & just the tiniest extra hint of context / setup in each track that makes the whole album click much better starting with Tom Waits’ “The Part You Throw Away”. “Streets of Berlin” is good, by the way, it’s just desperately in need of the context I mentioned earlier. Tom Waits’ songwriting style does wonders here, for a track about relationship advice after a breakup with some good imagery & an Italian instrumental, and it’s the spark for a back half of the album that’s good enough to that’s good enough to pull this thing from a 3.5 (that I likely would've bumped down) up to a 4. “Split” just rocks; super fun back & forth. “Punishing Kiss” is probably the most ‘eh’ track in the back half; the first two verses really needed to be flipped to set up the context of a woman using a TV show as escapism for her life, but it’s explained decently enough, with a damn good instrumental to it. “Purple Avenue” is just lovely, and thanks again to Tom Waits for some vivid imagery. “You Were Meant For Me” feels like a “Defying Gravity”-esque climax, and while it still desperately needs some opening context, her vocals are stunning & the way the instrumentation swirls around her as the centerpiece of the “scene” makes for a fantastic listen. I was genuinely stunned it didn’t end the album. “Scope J” is… strange. 11 minutes where I have almost no idea what’s going on, fully avantgarde, and Scott Walker’s production work here feels like a far cry from the Disney-esque baroque tones of “Scott 2”. Yet, I found myself kinda sold on the avant-garde nature of it all, as if the desperate thoughts of someone trapped in Russian captivity (from some war, I dunno when) & the lack of peace that comes with it were all brought to life in audio form. That was my interpretation, anyway. It’s a fascinating listen, and far, far removed from the rest of the album, yet I think that disconnect makes it stand out in a way that works as a closing track. It doesn’t fit at all, and yet, it worked for me. If this had stayed at the same quality level as the first 5 tracks throughout, I probably would be at a flat 3. As it stands, it's a 3.5 that will go up to a 4 based on how much I liked the back half. Frankly, it's kind of a miracle. I'm not even wholly sure it’s earned it, given that it's effectively a mishmash of tracks from a bunch of different artists to help up prop up Ute Lemper as opposed to an album where she has any kind of an actual, established "authorship". It's definitely bothersome, but other artists have made whole careers out of being ghostwritten (like a certain Canadian rapper), so I can't fault it too badly here. It does, however, make me wonder if she has any actual writing talent of her own. I don't really know if I need to find out. Ultimately, something about the album from “Streets of Berlin” onward clicked for me far more – maybe it’s better instrumentation / lyricism across the board, maybe it’s the smallest amount of context helping the tracks lyrically, and maybe it’s just the more energetic nature of the back half covering up more of the flaws. I can’t really figure it out, but I don’t think I want to. I just know that it was more enjoyable, and that’s all I need to justify it. There’s really not an actively bad track here (OK, “Couldn't You Keep That to Yourself” kinda sucks, but shh), just some baffling early flow between tracks that doesn’t work, but it ended up winning me over on account of its musical strength. Nowhere near enough to get a 5, but I think it's an earned bump up to a 4 regardless, and I am genuinely glad it's on the list. I cannot believe this album made me write my longest review.
3,83 - An manchen Stellen wird leider übertrieben, aber in den besten Momenten wurde ich von der Stimme weggeblasen. Besonders die Duette funktionieren toll zusammen. Highlights: The Case Continues, Tango Ballad
Imagine a decadent, smoky cabaret bar in Berlin, with a leering MC and a spot lit stage as Ute Lemper walks up to the microphone and brings the house down with an astonishingly varied set. We get Brecht and Weill cabaret classics, surreal whimsy from Neil Hannon, noir detective tales from Nick Cave, and New York minimalist opera from Phillip Glass, as well as songs from Elvis Costello, Tom Waits and Scott Walker. This was a real treat on a gloomy Monday!
My interest was immediately piqued when is saw the list of songwriters who contributed to "Punishing Kiss", each of whom I like and admire. "Little Water Song" is a delightful opening track. A lovely sweeping arrangement, lush orchestrations and beautifully sung. The remainder of the album pretty much follows suite, maintaining a consistently high quality throughout. A thoroughly enjoyable, delightful album. With repeated listens this could make a five star rating, but on first impressions it achieves four stars. 1 "Little Water Song" (5/5) 2 "The Case Continues" (4/5) 3 "Passionate Fight" (4/5) 4 "Tango Ballad" (5/5) 5 "Couldn't You Keep That to Yourself" (4/5) 6 "Streets of Berlin" (4/5) 7 "The Part You Throw Away" (3/5) 8 "Split" (3/5) 9 "Punishing Kiss" (4/5) 10 "Purple Avenue" (4/5) 11 "You Were Meant For Me" (5/5) 12 "Scope J" (4/5) Total - 49 Average - 4.08 147/1001 77/147 albums reviewed were new to me.
I'll admit that it took me a long time to listen to this one (aka almost 7 months) because I was pretty put off by the appearance of the album, and I wasn't really sure what to make of it. That being said, I really enjoyed this album. It ended up being exactly what I wanted to listen to tonight, and she's got a beautiful voice. Also The Divine Comedy was credited on a bunch of these, which felt kinda full circle cause of his own album that was on this list. But yeah solid album, I was really surprised by it. Favorites: The Case Continues, Die Dreigroschenoper: Tango Ballad, You Were Meant for Me
I really liked this!!! She has such a beautiful voice
3.5/5
3.7 A few thoughts. -I liked this quite a bit more than I thought I would; very interesting throughout. -I think The Case Continues could be a pretty good Iron Maiden song if they took a run at it. -You can tell the songs the guest songwriters collaborated on. -Some of the lyrics felt like that SNL skit where Fred Arimsen and Kristin Wig are unprepared singer/songwriters. -And you would have to be an absolute psychopath for this to be your favorite album that you listened to over and over again.
A spiritual journey through a variety of artists to support Ute Lemper's dream album.
This was actually quite and enjoyable listen
Should have been a 5. I liked the album but that last track is 10 minutes of awful. Rest of it is good though.
I really enjoyed this album! I knew about her growing up she seemed exotic & otherworldly - I feel like this is how Fiona Apple will sound when she’s older - superb talent, unique sound interesting musician
Didn't know Ute Lemper but had come across The Devine Comedy on here before and really liked them. This album seems to be very controversial here, lots of people hating it. I don't, rather enjoyed it. Have added Ute Lemper to favorites for future listening.
I wish I hadn't listened to this literally right after The Dark Side of the Moon, because nothing will ever be a 5 if you listen to it right after that. But it's a 4. "avant-pop cabaret" is not a genre I was familiar with (though I should have known "written in part by Elvis Costello" would be part of that), but it worked for me.
Lounge opéra c’est vraiment fun, bien aimé !
Definitely going against the grain on this one. I thought it was a really good listen.
Really good.
Wow. Great vocals and arrangements, beautifully curated songs too.
This was so bizarre! I felt like I was listening to the soundtrack to an avant garde musical.
I was confused. I thought this album was from a musical based on the lyrics and tone of the music. Nope. It's a style they went for. lol I don't hate it. It's an interesting choice.
I was given one of Lemper's earlier albums to listen to and really liked it. I was a bit disappointed she didn't break through to the mainstream. There's some wonderful singing on here but I could do without the last track.
Beautiful voice and fun instrumentals. Little slow for me and repetitive but nice!
This album is just so much better than the average rating suggests. Yes, it’s a bit musical theatre / operatic, but that’s not surprising when you consider who is involved. What it also is is brilliantly performed, and musically strong. Just give it a fair crack of the whip.
I feel like I've already listened to this once, but decided it was worthy of a closer listen. And yet here I am again, distracted as before, and feeling like this album is more compelling than my attention has served it due. Oh well. An interesting cast of characters have been employed here: Nick Cave, Elvis Costello, Tom Waits, Philip Glass (to name a few). And the songs themselves are uniquely composed and on the whole quite nice. I feel like this album, while not something I would go all in for, was a pleasant enough listen that was quite varied. Certainly a bit theatrical sounding at points (e.g. Purple Avenue), but as I was discussing with Kev, I feel like it maintains a certain genuine air that prevents that from distracting. I'm a 4 / 5 on this one. Worth coming back for another tour at some point.
Some pretty great singing with all very unique songs. This was loaded with guest appearances for singers on each song also. Probably the best I have ever heard Elvis Costello sing (had to get a dig in on him) The last song gave me the goosebumps with how creepy the piano and that alarm sound were. This was an incredibly unique album which ad me engaged the entire time with its variety. Pretty high 4 for this one
I didn’t know Ute Lemper before, but this was an excellent surprise. It’s a very intriguing and audacious album, with a dizzying array of influences, and yet a very distinct personality. Ute Lemper blends sultry cabaret music, baroque pop, neo-classic and film noir soundtracks in a unique way, magnified by her incredible voice. It gets even weirder with the lyrics – a strange mix of grotesque sex jokes and dark narratives. It’s reflected in the production, which oscillates between cheesy and disquieting. It’s like the soundtrack of a lost Bond movie no one dares to release because it ends with a BDSM orgy in Venetian masks. The list of talented people who have worked on this album is also super impressive – Nick Cave, Tom Waits, Elvis Costello, and even... Philip Glass ?? The whole album felt like a guilty pleasure, and I suspect it’s exactly the way it was intended to be appreciated. I also understand how some people would hate it ; I actually even surprised myself by liking it. A hard album to rate. In the end I’ll go with a 4* because fuck it, so many albums on this list are generic 60s rock or 90s Britpop bands, it makes me super happy to hear something different for once.
Fabulous music known to very few outside Europe.
Of its time. A bit OTT maybe.
reminds me of Patricia Kaas
This was another album with really cool and unique singing. Really enjoyed it. Worth a return as well
Not my favourite genre/vocal style but cracking songs. The Costello and Waits songs are easy to spot. Listened twice and will go back to it. I liked it when she rocked out a bit!
Kind of all over the place... But I like it
Surprisingly good
This is exactly the kind of thing I was hoping to find more on this list. So far, there has not been much that surprised and pleased me like this album (Ágætis byrjun is really the only other one I can think of). An album that isn't perfect, but that is interesting and unique. One that has something to say in a way no one else would. An album I otherwise never would have encountered. I don't need to like everything on the album (I don't in this case, though I did enjoy most of it), I just want to learn and listen. The Threepenny Opera "Tango Ballad" arrangement is so cool--I liked it even better than the original. I love the reimagined instrumental accompaniment, with all those ethereal synth sounds. I was hoping to enjoy the Philip Glass track more. I hate to say it, but it really does sound like stereotypical Glass--just throw in a couple arpeggiated sextuplet lines and call it a day. It was good, but I'm disappointed it wasn't more interesting. I don't like Neil Hannon's voice. He sounds straight out of Volbeat or another heavy metal band, and I don't think it meshes with Ute Lemper's cabaret style. I think I would've rated this album a 4 anyway, but his part definitely would keep me from bringing this up to 5. The delicate instrumentation on "Purple Avenue" is beautiful. Honestly, Ute could be singing almost anything over it and I would enjoy it. "You Were Meant For Me" is lovely, dramatic, spectacular. The heavily orchestrated instrumentals and Ute's semi-operatic flair on this track go together wonderfully. It reminds me of a film score. "Scope J." probably isn't something I would go out of my way to listen to again, but I did enjoy listening to it. The dissonances were disturbing in a way that perfectly encapsulated the haunting lyrics. Music like this is proof that good music doesn't have to be enjoyable: it can be disturbing, harsh, throught-provoking. Overall, a pretty cool album that borrows heavily from its cabaret roots. That means it is kind of absurd and melodramatic at times, but I can appreciate it for what it is.
This one really surprised me. The features are incredible, like Nick Cave and Elvis Costello AND Tom Waits on one album??? And the songs were incredible. The melodrama, the lyrics, the instruments. Wow I loved this one
This was a funny one. I suspect those who are taking this list seriously are upset by this selection. I can see people crying “why did I have to hear this. They should have just given me my fourth Bob Dylan album”. In fairness to those people I don’t know why this would be on here. I’d probably give this a 2 if I was grading this seriously. But I think I’m going to be a troll here, as this made me laugh a lot today.
Ute Lemper beeindruckt mit ihrer kraftvollen Stimme und der düsteren, sinnlichen Atmosphäre des Albums. Die Songauswahl ist interessant, doch die Produktion wirkt stellenweise zu glatt, sodass einige emotionale Tiefen verloren gehen. Tolle Stimme und tolle Songs.
a prolific stage and screen actress/singer from germany id never heard of in my life, presented on this list with what is essentially a more modern, more left-of-dial version of an old standards record, with some pre-existing songs and some new compositions from the extremely striking lineup listed on the cover. i think the two most distinctive parts of this (other than the general offbeat/artsy quality of the material itself) lead right into eachother...first is the arrangements by the divine comedy, which even for my standards can be a Lil Gloppy in their cabaret takes on the material but are always v distinctive. a lot more variety in instruments, volume, and style than ud maybe expect, and its just a lot More Arranged than ud expect from something thats supposed to be a vocal showcase. thankfully the second distinctive part is just how well lemper holds her own in this often bombastic soundscapes...without ever going overly loud or frantic herself she remains the clear center of the sound, her acting chops always take the dramatic lead. would tbh be difficult to get the impulse to listen to this all the way thru again lol it can be a Lot even for me w/ my very theatrical-friendly palate . but yea throw this in the collection of cool little music pockets id prob never encounter without this list!
I would love to write some sophisticated review about why it's good but in all honesty, I just really like her voice. Standout tracks are: Streets of Berlin Die Dreigroschenoper: Tango Ballad (took me about 5 minutes to type that out) Little Water Song Downside is that when it gets to the title track I think the songs drop off in quality, but the songs before make up for it so it's ok :)
I love Lemper's voice. So powerful and unique. Shades of Björk. Accompaniment is unsurprisingly good; not understanding the "cabaret" criticisms. Maybe there's a bit of the feeling of a film soundtrack, and lyrically it gets a little goofy, but it's Scott Walker, Elvis Costello, Nick Cave and The Divine Comedy. What did you expect? Some songs are weaker than others, of course, but overall, it's a great listen; diverse, detailed, and lush.
Feels like a musical but it ultimately isn't and has no thesis statements. Not every album has to have one, but unfortunately I have got really into music that does have that.
This is not an album I think I ever would have listened to without this generator. When I started the first song I worried I was in for a whole album of showtune-esque songs that I would begrudgingly have to sit through. And while I felt most songs did have a show tune aesthetic to them mostly because of Ute Lemper's voice (Ute actually did star in musicals), they are so dark and moody and strange enough for me to disregard that feeling. They also oddly feel as though they are covers of songs the artists featured on them would have already released. The song Nick Cave is featured on sounds like a Nick Cave song. The Elvis Costello song exudes Elvis Costello while being sung by Ute. The Tom Waits song sounds like Tom sung it to Ute first and then she spun it into her own. The music is very well orchestrated and while sometimes also feeling a bit showtune-esque, it comes as no surprise that the backing band was The Divine Comedy who I have not had a chance to dive into their entire discography but based on the one album I know and enjoy (Bang Goes the Knighthood) they too seem to lean heavily into a musical sound without being too annoying about it. I can't stand musicals unless they are dark and bizarre and this album feels like it could have soundtracked one of the darkest most bizarre musicals.
At first I thought to myself, "I know 1001 albums is a lot, but how did this one make the cut?" But after continuing my listen it started to grow on me. Yeah it's cabaret music. Yeah it's background music to a romantic scene in a film. But it's a little more than that. This album is more than the sum of its parts. Ute's voice is great but pushed too hard sometimes, the lyrics are a little campy in a few spots, and the backing band isn't incredible. And some of the mixing on a track or two felt off. But all of this leaves the listener with a raw human experience. An album that isn't just a cabaret singer singing the songs. It's a cabaret singer telling you their story. And I think there's something very special about that. 4/5
Chad.
Surprised at the hate, I enjoyed this
Unique album and songs
J'ai beaucoup aimé cet album un peu rétro, tellement assumé dans ses ambiances, à la production foisonnante et riche, avec une superbe voix.
When this came up I got excited, seeing how many artists were involved. I'm sure there's a scenario or setting where this just slays, but it's not through my computer speakers while I work. If anything, this is another album that I think makes me realize how rinky dink the idea of streaming music or rating/reviewing is. I feel like we don't deserve this music. It's clear a lot of life and craft went into them. It's not them, it's me. I'm rating myself a 3.5 on this one. Really digging Passionate Fight. May we all find a passionate fight within ourselves. PS I'm so curious who is in charge of giving genre labels.. 😂 this is just "pop" huh?
A tad too long, but a stellar combination of Lemper's vocals and the always enjoyable Divine Comedy.
It unfortunately ends up being too long, but the overall aesthetics and ideas are great. Lemper’s vocals are mesmerizing and the songwriting is stellar - even though it’s difficult to keep up the pace when opening the album with a Nick Cave-song and the powerful “The Case Continues”.
Cool
Title says it all.
Nawet ok
One word. Class.
Discount Kate Bush. Fun and out there, but not so fun and out there. Love a good lady ballad though.
You can't lose with Tom Waits and Nick Cave on it
I really enjoyed this album, more than I thought I would.
I really enjoyed The Part You Throw Away. Split is a really solid song. Purple Avenue is another great one. Super cool album.
I am not sure the editors of 1001 know much about Cabaret or Broadway, and I’m not sure many of us do either. So here’s 4 stars from someone who has no business judging this album, because it had the air of quality and some stand out lyrics and some high class contributors.
Wow, quite a ride for 9am on a Thursday morning. Lemper's vocal range is dramatic, tonally perfect, and she builds the cadence like a movie plot within each track. Not something I'd listen to for the pure entertainment but I'd buy a ticket to see/hear her live especially in a theater production.
interesting sound and collaboration with other artists. Overall interesting.
4/5 - a little much; like an opera that’s tense the whole time
This was pretty great. Teutonic balladry working with some of the best songwriters of the time (and Elvis Costello).
Honestly, oddly enjoyable. I saw the negative reviews and feared the worst, but it was fun. The whole cabaret vibe is a bit cheesy, but it's endearing, too. The whole thing is played off well and I found myself enjoying it as long as I didn't think too much about it.
This is some beautiful melodic rock. I can see this as a precursor to bands like Evanescence.
That was certainly a lot of fun. Cool epic closing track as well.
super easy listening, unique voices, and beautifully crafted from beginning to end. kind of listened in the background, so i can't give it 5.
one of those haunting and cinematic albums. kind of like if leonard cohen was a woman. pretty cool though
Passionate voice, brought me in
Another strange out of the blue genre. Sounds like the soundtrack to a stage musical. Very dramatic expressive vocal works
Dark and moody but not that memorable
Þetta er alveg ljómandi plata, sérstaklega þegar hún er að vinna með Neal Hannon eða syngja Elvis Costello. Og lokalagið er mjög töff. Nick Cave lagið í upphafi mætti missa sín. Má mæla með.
Super lovely!!
Really special, and interesting this one. A melting pot of indiepop, classical music, Celtic folk, cabaret. Not sure if I get it, but it is nevertheless appealing in a Strange wa.
Outstanding music, not sure about the 'winning gold in the sex olympics' though.... Hilariously I just looked up who did the theme for the IT Crowd today because of someone commenting on an IT Crowd meme I did on the Talking Heads page that it sounded like Gary Numan. It was Neil Hammon, who participated in this album (including the 'sex olympics' song). HAHAHA
Every song sounds like a musical. Some are pretty good.
December 16, 2023
3.5/5 wowzers those are some lyrics
Damn. What a voice. I listened to a lot of musical theatre stuff as a kid, so this didn't put me off the album. The orchestration was so gorgeous, and melodically, it was interesting. This album isn't just for any occasion, but that's okay. A worthwhile listen for sure!
4/5. Had no idea who this was but the Broadway background shines through and surprising it translates so well through a studio album. This was really good with dramatic and well-written songs from multiple artists, through Ute's powerful voice with great instrumentation following her lead. Felt like I was listening to a play, missing the talking parts in between the songs.
Lyrics were intense music was good
What a squad! This is a very cool art music collaboration from artists I'd never have put together. I guess I can forgive Elvis Costello for being a total derp.
This album is so cool! It's like if Mitski was in a Disney movie. And of course Tom Waits. It feels very dramatic and showey like it's part of a gritty broadway musical, I'm here for it.
Wow, I liked this much more than I expected. I figured this was going to be a 3 after reading description. Instead, I found the album captivating from start to finish. She has a very dramatic singing style that just works. I've been listening to the album for days and want to keep on listening. I'll call that a 5. Favorite tracks: Little Water Song (great start to the album - pulled me right in), The Case Continues, You Were Meant for Me (particularly the ending), and Scope J (mysterious, somewhat bizarre, but I really liked it). EDIT: In retrospect, I think I scored this too high. I enjoyed it, but definitely shouldn't be a 5. Rescored to a 4.
Weird, kind of intangible. Really not my vibe, but sort of awesome.
Thought I’d hate it but the humour and gothiness pushed me through
Je ne connaissais absolument pas (mais beaucoup des invités des compositeurs, si par contre). Excellente découverte. Je n'ai pas aimé /Die Dreigroschenoper/ mais tout le reste c'est ma came (notamment /little water song/ et /you were meant for me/). Impressionnante maîtrise vocale, bonnes instrumentations.
Nice surprise, really like the songs and the atmosphere, so 4 stars. If her voice was a bit rougher like Lotte Lenya singing Weil/Brecht it would have been 5.
Strong 7
love the Divine Comedy so this was a pleasant surprise - another commentator called it "James Bond themes about normal life" which sums it up well. Enjoyed this a lot!
Operatic wonderment, 4 stars.
The first couple of songs were very good. Especially Lempers's interpretations of Nick Cave's Water Song and Kurt Weill's Tango Ballad were spot on. I didn't like some of the later trackson the album, although that has more to do with the source material (e.g. two numbers by Tom Waits). The album is expertly arranged, and Lemper is givig her all with her versatile and powerful voice. It's a pity that some of the songs are not all that interesting. 3.5/5
Someone I’d never heard of before. But taking a glimpse at the cover, I notice a lot of artists I dig, so safe to say, I was intrigued! And the record turns out to be pretty cool, there’s a dark comedic nature within songs that I liked. But also some very frail moments with great orchestral scoring. Pretty good! 7,5 out of 10
So interesting. The Divine Comedy are one of my all time top five bands and yet I did not know they had collaborated for this. Just a really interesting listen.
Lots of musical talent contributed to this album! Split was a great duet, I liked Purple Avenue as well. The sound and style of the album wasn't really to my taste overall, but I won't knock the album for that.
Great if you love show tunes.
It’s a 4.
Interesting album to rate. Obviously they are covers, but there is artistry in their selection and arrangement. Surprisingly enjoyed it all. It was baroque and a bit goofy at times. But the record is good and the songs stitch together to tell a story.
Nick Cave, Elvis Costello, Tom Waits ja vielä Neil Hannonkin mukana, what's not to like? Kovin kaunista tämä, eeppista ja oopperallista olemaan kuitenkaan liikaa mitään näistä ollakseen selkeästi pop-musiikkia. Aivan varmasti kuuntelen uudestaan.
Like it
It says a lot for an artist when some of the greatest songwriters of your era write an album’s worth of songs for you to perform. It’s fun listening to the songs and trying to guess who the songwriter is. I can hear Nick Cave’s voice in the epic first song and I was sure that he must have done his own version, but apparently not. The one Philip glass contribution is easy to pick out as is the first Elvis song. The Case Continues, by Neil Hannon is maybe my favourite on the album - I especially love strings. My co-judge and I saw her perform this live at Massey Hall in 2001 with a bunch of Kurt Weill and Jacques Brel songs thrown in, so I have a slight bias.
This was great. I liked how eclectic and witchy the sound was. It reminded me of Ys by Joanna Newsom but less consistent.
sonzão de muito sentimento, grande produção
Unexpectedly I really enjoyed this. 4*
This is beautifully arranged. Vocals are very emotive and the storytelling is really nice. Very intimate. VERY caberet. Feels like I'm in a latenight candlelit club filled with smoke. Purely for vibes, I like it. The songwriting just makes it better.
Talbot: The Case Continues
4/5 this is some good shit. very powerful
A strong voice, a style of music you don't hear every day and an armada of famous songwriters.... This album has all the ingredients for a great experience and it doesn't disappoint
Wow, what a voice! Each tune, although I guess very broadly in the "pop" category, is also sort of operatic/Broadway show-tune-y, and her talent is there to pull it off. Sounds like a very interesting person, too.
Fantastic singing, poetry and writing. I think Ute gets too much credit here, though. She's got an amazing voice and is unique talent. But the people who wrote the songs, and the guy who re-envisioned them should get at least 50% of the credit, in my opinion. That aside, still a four star album.
Rad and a little mad, this was epic
Последние два трека!
I liked this alot. Zo rustig, zo mooi, een echt verhaal in het album, een beetje musical een beetje niet. Ik ga dat zeker nog eens opzetten. De tango ballad ging gewoon hard
Tango Ballad: Quando canta il tizio della Divine Comedy non so perché mi ricorda le colonne sonore di Akira Yamaoka, tipo quella di Silent Hill 4 In conclusione: Sono in difficoltà sulla votazione. I primi due pezzi m'hanno fatto pensare che questo album sarebbe stato un 5, purtroppo però manca di consistenza, che è anche comprensibile considerando la quantità di gente che ha partecipato. Ute Lemper è senza dubbio talentuosa, forse a tratti esce troppo la sua vena musical e diventa un po' patetica, però dall'altra parte il fatto che è anche attrice le dona un'interpretazione che quando funziona fa venire la pelle d'oca. Purtroppo nella maggior parte dei pezzi non fa click però con qualche eccezione tipo Little Water Song, The Case Continues o You Were Meant For Me. Che dire, peccato, nei punti più alti è sicuramente da 5, purtroppo però la media è così così. Mi sento comunque di premiarlo con un 4.
This was an interesting listen. Interesting in a good sense. Ute Lemper had a great voice and she puts a lot of emotion in these songs. This is not an essential must hear album though
Great voice, just not my kind of music
I can completely understand why someone might hate this. I like this. It’s essentially another Divine Comedy album and I liked the other two. You can clearly tell who wrote each of these songs even without having the credited clearly. The Elvis Costello songs could have been done by him and the Nick Cave song has his fingerprints all over it. Little Water Song also has vocals that feel like Bjork could have done them well. This sort of schmaltzy cabaret is entertaining with some really funny lyrics. Favorites were Little Water Song, Tango Ballad, and Split.
Interesting (as one would expect from Neil) without being instantly loveable. I definitely feel like a better person for having listened to it, so I will be able to nod along should it ever come up in conversation in future. Wouldn't make it onto my 1001 list though.
Havde 0 forventninger, aldrig hørt om det før. Synes sgu det var meget cool, mærkeligt og ret unikt
She’s a great vocalist. The Divine Comedy got on my nerves, though.
Heard the name but don't think I know any of her work. I have always enjoyed the Divine Comedy so came into this with an open mind. Definitely an interesting listen. I think it's one which needs a few plays to really get. Didn't like the last track much. Others were a bit musical theatre which was fun but you need to be in the right mood.
I am unfamiliar with her, but her cabaret-pop styled covers are interesting. Pitchfork: n/a Rolling Stone: n/a Best songs Little Water Song The Part You Throw Away
Yeah, not my kind of music. She has a good voice, to be sure.
This was interesting. Lemper has a big theatrical voice that made me think she would be great for singing a theme song for a James Bond movie. She didn’t quite win me over. I added the title tune to my playlist.
Has several songs that should put it at 5 stars, but overall doesn't feel like a 5 star album.
Lots of great songwriters on here; Tom Waits, Scott Walker, Nick Cave. She has a pretty good voice and the last song here was pretty cool actually
Nice! Far outside my usual listening, but a very nice album overall. Makes me wanna watch more cabaret.
Did not really care for any tracks until "Streets of Berlin" then I saw who wrote it and was like "oh that's why haha." Couldn't really figure out if I liked her vocals or not. I think they just might not have been my thing.
Rlly gas but not for me! Like the coolest musical sound track ever?
This album is a bit tragic because it could have been incredible. The production is kind of, off. The best way I can think to describe it is like Ute's vocals were pasted on top of something intended to be an instrumental and the vocal production was haphazard. Coupled with an apparent lack of someone producing the vocal performances, it all comes off as somewhat unnatural and unbalanced. It sucks because the underlying idea of this album had solid bones to work with. .... The case continues is rad!
i almost wanna rate this 4 out of spite. the truth is, i can't imagine i'm going to relisten to much of this. but the reviews are wayyy too harsh, it's cohesive and fun and full of drama. let's all live!
Il faut probablement que je lui offre une nouvelle écoute, mais j'ai passé un bon moment. Sacré casting à l'écriture, à mon avis l'album est là pour donner un point supplémentaire à Costello dans cette liste... Playlist pick : Talbot: Split
This isn't nearly as bad as I was anticipating, nor as bad as he site's consensus seems to think it is. That isn't to say that I've found my new German muse. And this whole style isn't really my cup of tea. But at least I found it engaging throughout.
The arrangements and lyrics are great, but like…
What a weird album to end this entire endeavour on
beautiful voice
not nearly as bad as the reviews would make you believe. you get some questionable lyrics occasionally, but for what it is, it's damn good. mrs. Lemper's voice is killer and the arrangements are real pretty. its greatest sin is being a little overly long, but "Scope J." is a good reward for you patience. you've just gotta meet it where it's at.
This album was an interesting prospect as i love The Divine Comedy, but this album has either slipped my mind or i missed it entirely. Ute’s voice brings an almost theatrical feeling to a lot of the songs, which makes me sad the we are never getting Neil Hannon’s Father Ted musical. Punishing Kiss is the highlight for me, skipping along and was surprised to see this was an Elvis Costello song. You Were Meant for Me, runs it close with its stomping broodiness. These two aside the album works best for me when Ute and Hannon are duetting, but this could just be my obvious Divine Comedy bias. Overall an interesting listen, but not one i would be rushing back to as a whole, more likely to just listen to the select tracks.
This peaked my interest from the moment I saw the array of artists who had written the songs - and the frequent appearance of The Divine Comedy. I wasn’t sure if it would be my thing when it began but, as it went on, I found myself quite enjoying it. You can hear the musical theatre influences throughout which, in parts, makes it all go a bit warbly Liza Minnelli; in general though, this was likeable and interesting.
As someone who believes Neil Hannon of The Divine Comedy can do no wrong, I was looking forward to hearing this. Ute's voice completely threw me on the first song though. It was a bit Bjork-adjacent and while that should be right up my alley, I really wasn't sure about it. The moment track 2, The Case Continues, started however, I was fully on board - that song was genuinely great, all stabbing strings and Bond-y. Later discovering it was one of the ones written by Neil Hannon made a whole of of sense*. By track 4, Tango Ballad, Neil the vocalist arrived. Oh, how I love Neil's voice and the really weird way he delivers lyrics - both loungey and jumping around all over the place at the same time. Their voices mix really well on some Bertolt Brecht lyrics. On the second track to feature Neil vocals (Split), true to form, I loved it then checked Wikipedia and found out it was another track he wrote. I'm nothing, if not consistent in what I like (speaking of which, I also loved You Were Meant For Me, the final Neil penned song). I think this album taught me that I like Elvis Costello songs if they're sung by Elvis Costello, but I'm not so bothered if anyone else is taking a run at them. Don't get me wrong, I really did grow to like Ute Lemper's voice over this album, but it did veer into Bonnie Tyler territory in places and I don't think that meshes well with the Elvis Costello tracks. Her delivery of the Tom Waits songs I enjoyed more (and I loved the instrumental of Punishing Kiss). Rating this is difficult. I really, really loved parts and then was completely indifferent to other parts. I think this would get a 3.5 from me, and I genuinely agonised over moving the rating down or up right until the last second, but I don't think it's a 4, so: 3/5 (*After falling a bit in love with The Case Continues, I discovered a live version sung by Neil from an Oui FM Session from 2001 on YouTube, and I might love that even more)
Kluven. Bitvis ok, bitvis sämre än ok. Lite kul att man kan höra soundet från tex Nick Cave och Ton Waits (efter att jag tänkt på det ska tilläggas). Jag väljer att fria denna gång!
Erikoista oli tämä uutte lempperi. Vähän niinku elokuvamusiikkia tai perinteistä ranskalaista laulantaa. Siinoli mielenkiintosiakin kipaleita, mutta tuskin tämä jatkoon menee.
Kovin hämmentävää artpoppia. Paikoitellen siistejä juttuja mutta valtaosin ei ehkä oma juttu.
lol this album has such bad writing but i think it's kinda cool. would i listen to it again??? besides the nick cave song, probably not. but i actually kinda liked this
I have been meaning to listen to The Divine Comedy forever (two albums in this book....) because I think I'd like them. This doesn't feel like a super representative survey of their talents -- BECAUSE IT'S NOT THEIR ALBUM!!! I pulled out the Tom Waits songs immediately, he has a distinct style. The Scott Walker track is my favorite thing here and very wild. Overall it's OK.
German cabaret singer. Mildly spoken-word at times, but MUCH more melodic than, say, Leonard Cohen or Tom Waits (who incidentally is featured throughout, with Elvis Costello, but I think it is more instrumentally). Not something I would voluntarily go listen to but a nice exploratory discovery. Wish we could rate with 1/2 points - this would be a solid 3.5.
This album was a lot more of a cabaret sounding album that I was expecting. It was a nice change. Good artist that Ute Lemper was collaborating with.
an odd listen but pretty captivating
Actually a 2 for my enjoyment level but I appreciate that it was weird
Her voice is nice. The album makes me think it was a musical. It's got that kind of vibe to it, or at least that's what my brain is saying. It's alright. I won't listen to it again most likely. Not a bad listen at all it's just not my thing.
일단 유튜브로도 스포티파이로도 들을 수가 업고요(이유는 모르겠음) 비공식적으로 올라온 오디오를 하나하나 들었고(9번 트랙은 아무리 찾아도 없어서 못 들었다) 아무 느낌도 안 듦
I think this album is unfortunately less than the sum of its parts. Each individual song I thought was very neat, with songwriting credits by a myriad of artists I love and plenty of influences from sources like cabaret, musette, baroque pop, and tango, but as a whole it didn't go together as well as I hoped. That said, the closer Scope J., with its very obvious Scott Walker writing credit, was easily the highlight, and if more of the album was like that it'd easily reach or surpass 4 stars.
I didn't hate this! Was it the most consistent record, no, but each song offered a different scene that kept the whole experience pretty engaging. Loved the French moods in Purple Avenue and You Were Meant For Me. Standouts: The Case Continues • Passionate Fight • Punishing Kiss • Purple Avenue • You Were Meant For Me
Weird album for me because individually, it has everything I like. I love melodrama, string arrangements, lush production. I love Scott Walker! However, there is just too much going on in this album. Ute Lemper has a generational voice and I understand cabaret is its own style. Many times it felt like the auditory equivalent of being beaten with hammers. If the lyrical content had been more hard hitting or interesting I think it would've saved this for me - kind of like Evita - but it was absolute lyrical nonsense for most of this.
Weird record. I don't love her voice, mostly because she makes the songs sound like they were B-sides from any random Broadway soundtrack. But I kind of like the songs themselves and wish they were recorded by Nick Cave and Elvis Costello and Tom Waits. I probably won't revisit this, but I'm not sure I quite understand the vitriol from some of the reviews of it either. 6.5/10
Bien aimé sa voix, et pourtant les feats de l'album faisaient pas rêver. Trop long par contre
not a fan of cabaret
It's a collection of show tunes
awful spotify tagging that'll mess up my lastfm aside, i actually liked this one quite a bit. i like her voice, i like the instrumentation, i like the dark and melancholy tone... i don't really know what else to say. i just enjoyed it i see people complaining that it's too "cheesy," "theatrical," or "dramatic," but i found that to be the best part. it brings to mind the image of a woman hugging her large coat around her and looking wistfully out into who-knows-where as the wind whips her hair around, and it's so fucking corny and outdated, and that's what makes it good. like of course the song with french lyrics features an accordion in the outro. she's literally looking camp right in the eye i actually wish it was even MORE melodramatic because it lost my interest for a bit in the middle. maybe it's because i spent my entire teenagehood in my school's choir and theatre departments. once a theatre kid, always a theatre kid. we should all have more fun fave track: the case continues
this was very interesting, almost like a movie soundtrack style of songs but not quite
Well made and an interesting album, but probably not something id listen to again.
Ambitious, partly good, also strange at times.
Is this gonna punish me?? I've heard how boring it is by a lot of the reviewers here. Actually, this sounds more like a musical. It cycles between relaxing and unnecessarily operatic. That last song though just solidifies this album as a bit too “much” 😭 (2.5-3).
Not sure about this. A number of guest artists involved, some of whom I like, some I really don't. It's described online as avant-pop, amongst other genres. Cabaret elements I suppose too. I did not love it.
Definitely odd. I can appreciate the quirkiness, but ultimately it didn't hold my attention very long. 2.5/3
Struggle to rate this one. Very mildly interesting, and I didn't actively dislike it. Lemper's vocals had the chance to shine at a few points. Felt like I was at a club while a singer performed in the distance, but I wad too distracted to care. I struggle to say anything positive or negative, as it just kinda faded into the background. So, 3 stars I suppose.
I enjoyed this; she's got a lovely voice, the songs are pretty chilled and Neil Hannon's a genius so that helps a lot. Shame it's got a lower rating here than it should but that's misogyny and people who are too stupid to like The Divine Comedy for you
Very skillful but didn't like the music
Pleasant enough, some good arrangements but not sure I'd follow up with more listens
Oh wow, I know of 4 of those artists that it mentions on the cover. Most of them from here. Starfish for eyes. lol Funny how the album art can look German, which apparently she is. Hm, that first song was pretty. Tango Ballad, is cool. Kurt Weill is on this one. I clicked on his name, and his top song is Mack the Knife. I thought that was Bobby Darin. I just clicked on Bobby Darin, man they did a good job casting Kevin Spacey as him in Beyond the Sea. Wow that lead me down a rabbit hole that uncovered what a douche bag Spacey ended up being. All kinds of crazy sexual assault allegations!!
This album really isn't my thing but I didn't really dislike it either. I have to say the more the songs sounded Broadway it worked for me, such as "Tango Ballad" and "You Were Meant For Me". The production was fine for what it was i guess really what gets me is for the most part this doesn't strike me any higher than a typical Streisand, Minnelli, or Brightman performance... Maybe a touch of fry to add grit, but I mainly just found this fine performances for what they were. This just seems like one of those albums that may or may not add with further listens. There is some interesting material within, but not much grabbed me out right. And the Walker track at the end probably was a little bit too out there for me. (6.75) ★★★
I'm not too high on this. It's a bit theatrical for my tastes. The Nick Cave song was the highlight and had my hopes up for the rest of the album, but sadly the rest was a mixed bag for me. The two Tom Waits tracks were solid and the Scott Walker track was weird enough to pique my interest, but the others didn't really do too much for me. 3 stars.
3.5
Was going into this with not the highest of expectations but it ended up vorsprunging above them ever so slightly. Ute has a pretty evil yet rich, expressive, weirdly sultry voice with a bit of gravel not unlike Mai Yamane from the Cowboy Bebop soundtrack. This whole album could easily be The Real Bertolt Brecht Blues. If there’s one goofy voice that sullies the experience then it’s Neil Hannon on the tracks that he’s on. Neil… stick to producing, as Ice Cube might say. Although you have a star-studded list of doomy gloomy songwriters helping out, the ten-minute Scott Walker one at the end really takes the evil cake. Almost a 4 for that one alone.
I really enjoyed this one. Such a great variety of music, some with an old - timey vibe and some felt more modern. Will listen again!
Great voice from someone I don't think I've heard of. Made me think of a few James Bond openings. She was a particular taste but I can't find fault with it, just not for me at the moment
Glad to hear some of these singers, - not quite of jazz, pop, or rock, not really chanson - not sure what this genre is called, it's not really a genre I'm too into but I've enjoyed scott walker who did similar. Also brings in friends of the list Elvis Costello and the Divine Comedy to sing the hell out of weird shit. A worthwhile expiriment.
nothing that i would choose to listen to for myself but i kinda enjoyed nevertheless. also never heard of her here in germany
Unusual collaborations
A nice change of pace
This is the sound of those cheesy montages from '90s karaoke. Some real goofy, sanctimonious and theatrical stuff here, but I kinda don't mind it? It's nice to listen the orchestral backing, and there are some real laugh out loud lyrics here. I can only imagine how scrunched up the singer's face must be during every vibrato. Male vocals on this are pretty terribad though...
Nice. Good voice, interesting songs, the male vocals didn´t really work for me. But nice, overall.
Happy to give this a go, especially with the involvement of such an interesting range of big name collaborators. Mixed results with some tracks much more successful than others. Ute Lemper's voice is strong and distinctive. The final track of the album was screaming and awful which was a shame as many other tracks were much better. It's the sort of album that warrants further listening to reveal it's depth.
Btec divine comedy
Better than expected, I guess. Not sure I liked the singing, and the mixing and instrumental performances felt strangely soulless... I must admit some of the compositions were pretty nice or interesting
This is like a classical and pop crossover and I believe its filled with covers, going off of what Wikipedia says with the songwriting credits. It's a meh album, to be completely frank, there's just not a lot to go off of. There are of course some cool orchestral parts, but that's a more here and there thing rather than an album packed with it. Definitely one of those albums where one listen is enough listens. Highlight Song/s: "Tango Ballad" and "Passionate Fight"
406/1089 - I didn't like it at all but thought it was well done and competently sung and recorded. Just not a fan of music theater-y sounding stuff and found the mix between that and alternative rock a bit jarring.
Soft but powerful, smooth singing, really good instrumental parts. This album was a really fun listen. I wasn't expecting all the artist who joined on different songs but they did a great job of adding to the album and the atmosphere. Not an everyday listen for me but an interesting album that definitely has its merits when in the right mood.
Love her voice and this was well arranged. Props for all that. Not something I’d listen to again.
Album #1,055 Theatrical music with guest stars. I thought I would hate it. I didn't. Ute Lemper can actually sing, unlike the singers on some of the albums I've had recently.
Angra encontra 007 mas perde a guitarra
Quite good.
Favorite Track: The Case Continues
listened way too early and too hungover, super interesting form
Me initially: Why does this sound like I'm listening to a Broadway musical? Oh, because Ute Lemper was a stage actress specializing in cabaret. And that's what you're getting in this album. I didn't hate it, but it's also not my bag. 2.5/5 rounded up to a 3.
This has some moments, but the last few songs really undermine the whole.
This is definitely not for me. Very over the top cabaret. But the singer is strong with sophisticated arrangements and great production, so I'm glad it exists and def belongs on this list.
Nice
Het duurde een tijdje voor ik wist wat ik hier van vond. Ergens hoor ik de cabaret invloeden en Ute Lemper in die rol is niet te ontkennen. Het ligt soms aan de gastartiest, de opener met nick cave is geweldig, maar af en toe is het zo over de top theatraal dat het album mij een beetje kwijt raakt. Ik vond het leuk, maar zou het niet zo snel nog eens opzetten. 6/10
Whoa. A lot of people involved in this album lol
This was a strange interlude compared to the other stuff here. It was interesting and had really solid vocals.
Despite taking three years of German in high school and two years in college, I’ve never heard of Ute Lemper before. However, I’m somewhat familiar with quite a few of the songwriters listed on the cover of this album, and I’m really curious as to how this album is going to sound. I can understand why this album has a pretty low average ranking, but I thought it was fine. As a whole, the album is a touch boring and uneven, but it’s saved by some really beautiful arrangements and a handful of songs that really stand out. The most consistent thing on this album though was Ute Lemper’s vocals, which I thought were really great. I wasn’t a huge fan of the two Divine Comedy albums that I reviewed, but I do think Neil Hannon has a great voice, and the songs that he was featured on were some of the best songs on the album. My biggest complaint with this album is that some of the songs were pretty boring, mostly because they just didn’t have any emotional weight to the singing, and the arrangements were a bit dull. Those songs weren’t particularly bad, but they just weighed this album down. Some notes on my favorite songs on the album: I really loved the arrangement on “The Case Continues.” The vocals were great, and I loved the strings. The intensity of the music was fantastic, ,and there was so much happening with the strings as the song went along. I wasn’t expecting Neil Hannon's vocals on “Tango Ballad,” but it was awesome to hear him singing. I liked the tinkling of the piano, and the pattern of the vocals was great. This song had a great, haunting sound that I really liked. Ute’s take on “Streets of Berlin” was great. The emotion in her singing was fantastic, and the arrangements were really good too. “Split” was my favorite song on the album. Ute’s harmonies with Neil Hannon were awesome, the arrangement was outstanding, and I especially enjoyed that keyboard (?) playing that was underneath the other music. I liked the intensity of “You Were Meant For Me.” The strings were great, and the vocals were awesome too. While I don’t fully understand why this album was on the list, I thought it was interesting, and I enjoyed listening to it.
Incredibly crisp, modern production with a variety of different moods. The piano and electric guitar really shine. Lyrics and vocal performance are generally strong, but do falter from time to time. Listened to: walking around Shkoder. Favorite tracks: Purple Avenue, The Part You Throw Away, You Were Meant For Me
Un po' troppo lirico, anche meno... Comunque non è indifferente. Alcune sonorità ricordano i VDGG