Die Nerven (Orange) (Transparent orange v)

Description

Transparent orange vinyl version. So a black album, self-titled. No wolf adorns the cover, no: a black Shepherd Dog in front of a black background. DIE NERVEN is also a mood picture. And in the consistent vocabulary reduction of their lyrics, which remain vague enough to set impulses in the chaotic complexity of the present, the music has also become a mouthpiece for a discomfort with which one can identify in each of their pieces: DIE NERVEN, which are ten in form and content accomplished contemplations of the present with foam at the mouth, which are finally written as simplified narratives with sharpie on a white T-shirt, so that the color presses through and perpetuates itself on the chest pumping upset between anger and fear: EUROPA and ICH STERBE JEDEN TAG IN DEUTSCHLAND - like all lyrics 2018/19 originated and thus irritatingly visionary - reveal DIE NERVEN as part of a sheltered generation that begins to suspect that quite different times are ahead of them, and that the experienced suffering of others is inextricably linked to their own privileges. Therefore: NO MOVEMENT; rather: passivity and powerlessness because of the worsening conditions, counteracted by the force of the song! ALLES REGULIERT SICH SELBST exposes the slogan as a lie, makes the tipping moment into the inevitable chaos perceptible. GANZ EGAL tells sardonically about the satiety of a generation and sets to music the energy of a revolt against this state. Then, in the change of perspective, we experience - told with a certain cynicism - how the insights gained up to this point overwhelm the social media and reveal in them a malodorous, narcissistic decadence: EIN INFLUENCER WEINT SICH IN DEN SCHLAF. At the other end we become quite inevitably DER ERDE GLEICH - and the existentialism that has always driven DIE NERVEN finds a tremendous song power. If eight years ago it was called Nur fur eine Minute schweben (Floating for a Minute: FUN, Fin Du Monde/TCM 2014), the world has been spinning a lot faster since then: 15 SEKUNDEN are not EIN TAG, and yet these two pieces together tell of the absurdity and cruelty of late capitalism, complement each other in anger and melancholy. 180* then, in the end, also seems to turn on its own axis, looking back at what has gone before in the last 40 minutes and manifesting the themes of this painful, honest and fierce record: a present-day description - of the beginning of the end! Baby, put the car against the wall ...Also, DIE NERVEN love Mark Hollis (and so do I)