Christian Steiffen – God of Schlager

Christian Steiffen God of Schlager

Do you really want to listen to an album called God of Schlager ? Yes, you want. But only if Hardy Schwetter is the interpreter. The 48-year-old Osnabrücker already found his niche as a Christian Steiffen in 2009 and still has enough ideas for longplayer no. 3 to justify this further output of frivolity. With Gott of Schlager , after four years of studio break, there are ten new tracks the world has been waiting for. A forty-five minutes of pure excesses. Finally!

In fact, the term “god” is not even that exaggerated. He has everything on it. Turn off the vocals, there is again Musikantenstadl in pure culture. Pissy Weichspülcountry, a lot of Hammond organ, Schunkelrhythmen and other horror performances are here shamelessly set in fluffy songs. Is there the singing and voice, it makes the whole thing a bit cheesiger. But Steiffen would not be Steiffen if the lyrics did not tip it all over and you’re always torn between embarrassing touch and laughing fits.

As a hanger “Party is here” hardly better. The opening evolves after a few runs to possibly the grooviest Steiffen track to date and is now available on every good indie party playlist. Scrubbing allowed – “The party is in you! The rhythm is under crontol! “. Where you are is a party! Yes man! With the remaining ditty of the plate it would almost resemble a spoiler, if every word twist is betrayed. What is hidden behind the gay “How the wind”? Which winds are meant? The fact that “I break into the night” has to do with celebration, is also only secondary here. “In love, engaged, married, squandered” already gets the price for the best song title in 2019 and is not stingy with issues like anal sex. Do you have to talk about it? “In Budapest at the Schützenfest 1810” is wonderfully abstruse, macabre and hilarious. And finally, the fine gentleman in “The New Year” presents the future anthem for all New Year’s Eve.

Steiffen goes one step further on the new record and does not just play the card out to find yourself really horny, but also pretty good to shit on other idiots. Thus, the artist beats several flies at once: the irony of the Schlager genre, the strong exaggeration of his own performance as an artist figure, the clever integration of small modern sounds and the message to better accept oneself. So there’s motivation and depth, if you like it.

To get the curve in the direction of big chart success and a five-digit audience, the music of Christian Steiffen is also on God of Schlager still too special and not suitable for everyday use. He stays true to himself and is rarely really pop, has a few well-watched situations to tell and is probably next to Alexander Marcus the only personality in the German music business, which may be so cool uncool. “Horny Slice,” as my dad would say.

And so it sounds:

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Categories: Review