Credits
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Bruno Adams
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vocals, acoustic & electric guitars
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Phil Shoenfelt
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vocals, acoustic & electric guitars & dobra
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Chris Hughes
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drums & percussion
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Yoyo Röhm
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bass & double bass, piano on tracks 1, 3, 10, 14
organ on tracks 1, 3, 7, xylophone on tracks 11, 14
vibraphone on tracks 2, 7, 10, electric guitar on tracks 11, 14
spanish guitar on track 6
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Special Guests:
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Richard Ruin
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pedal steel guitar on tracks 2, 5, electric guitar on track 8
singing saw on track 2, harmonica on track 14
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| Rolf Hammermüller |
piano on track 5, 6,
8, 11 & 12 |
| Mike Strauss |
organ on track 5, 8,
9, 10, 13 |
String Section:
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| Anna Sofia Ulfsax |
1st violin on tracks
1, 7, 11, solo violin on track 6, 12 |
| Moritz Colitti |
2nd violin on track
1, 7, 11 |
| Emilia Renner |
viola on track 1, 7,
11 |
| Jonathan Weigele |
cello on track 1, 7,
11 |
String arrangements composed and conducted by Baxter Wilderbeast
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Tracks 3, 6, 8, 9, 12 written by Phil Shoenfelt
Tracks 2, 4, 5, 7, 13, 14 written by Bruno Adams
Track 1 music: traditional / lyrics: Phil Shoenfelt
Track 10 written by Jacques Brel (translated by Rod McKuen)
Track 11 music: Phil Shoenfelt & Yoyo Röhm / lyrics: Phil Shoenfelt
All songs arranged by Yoyo Röhm
Phil Shoenfelt's songs published by Hanseatic Musikverlag / Warner Chappell Music
Bruno Adams' songs published by Amboss Film + Musik
Recorded at planet-earth-recordings, Berlin and The Bunker, Berlin.
Produced and mixed at Dean Int. Studios by Baxter Wilderbeast.
Mastered at Lost In Space Studio, Berlin by Ingo Krauss
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Press Release
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FATAL SHORE - REAL WORLD
The new CD by Fatal Shore, REAL WORLD, sees the band taking the unique
sound of their first two CDs and developing it in a significant new
direction. The Melbourne Gothic-Blues soundscapes of The Fatal Shore
(1997), and the stripped-down, grungy rhythms of Free Fall (2004), are
still present, but have been overlayed with the rich orchestral
arrangements of producer Yoyo Röhm (D) to produce an album of rare
musical beauty.
The band’s two principal songwriters – Bruno Adams (AUS) and Phil
Shoenfelt (GB) – have drawn on a variety of influences this time, that
show their interest in many different genres of music. Black Venus, the
first track on the album, is an original version of the traditional
gypsy song Khamoro, a song which was featured in the 1970’s film Time
Of The Gypsies. Between A Heaven And A Hell is a grungy rocker, while
the title track, Real World, draws on soul and gospel influences from
the American Deep South. Blind Jesus, by way of contrast, takes the
listener south of the border into a mythical Mexico of the imagination,
while Vivi The Flea explores gypsy rhythms and Grappelli-influenced
violin, with its tale of a washed-up, world-weary burlesque dancer.
Throughout the album, these disparate influences are welded into the
unmistakeable sound of Fatal Shore. The unique drumming and percussion
of Chris Hughes (Aus) produces unexpected rhythmic twists and turns,
while multi-instrumentalist Röhm adds textures and colours that take
the band into altogether new territory. Coming from a background of
post-punk, Melbourne-Berlin Blues, Fatal Shore have produced, in REAL
WORLD, a gorgeously diverse set of songs that will take the listener on
a wide-angled trip through the hinterlands of popular music
REAL WORLD will be released on March 15th through the Hamburg-based
label Amboss Recordings, a new independent label started by Ralf
Schulze of Amboss Film+Music.
Fatal Shore will be on tour in Germany, Denmark, Czech Republic, Hungary and Austria throughout March and April 2007.
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Reviews
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Wer
in 11 Jahren nur 3 Alben aufnimmt, der scheint viel Wert auf ein
perfektes Ergebnis zu legen. Mit Sicherheit ist dies auch hier der
Fall; neben der räumlichen Entfernung der vier Bandmitglieder: Der
Exil-Engländer Phil Shoenfelt (Ex-Khmer Rouge und großartiger
Untergrund-Literat) lebt seit vielen Jahren in Prag, die beiden
Australier Bruno Adams (ex-Once Upon A Time) und Chris Hughes (der
Drummer von Hugo Race’s True Spirit) ebenso wie Bassist YoYo Röhm
(hauptberuflich inzwischen bei Les Hommes Sauvages) sind in Berlin
ansässig. Größtenteils balladesk gehalten atmet „Real Life“ denn auch
alles, was man bei diesen Zutaten erwarten kann, emotionale Tiefe,
Sentiment, den morbiden Charme des alten Europa gepaart mit der weiten
Melancholie des fünften Kontinents, die ähnlich das Werk der Triffids
oder Simon Bonney’s Crime & The City Solution durchzieht. Dazu
kommt, dass Shoenfelt ein zwar beinahe unspektakulärer, aber großer
Sänger mit dunklem Timbre, durchaus in einer Reihe mit Leuten wie
Leonhard Cohen, Scott Walker oder Nick Cave stehend ist. Aber auch
Bruno Adams ist deutlich präsenter als auf den Vorgänger Alben und
steht Shoenfelt gesanglich kaum nach, Höhepunkt hier das Duett der
beiden bei der Jacques Brel-Coverversion von „If You Go Away“. Die
meist von Phil Shoenfelt und Bruno Adams gemeinsam geschriebenen Songs
sind atmosphärisch dichte, dunkle Kurzgeschichten, wundervoll
arrangiert mit exzellenten Streichern an den richtigen Stellen, sanft
echoenden Hammond-, Piano- oder Vibraphonklängen und –hier kommt der
Poet Shoenfelt durch- weit über das übliche Rockschema herausragender
lyrischer Qualität. Zur richtigen Zeit wird auch das Tempo angezogen,
wie auf dem brillianten Desert Rocker „The Train Song“, oder dem
Border-Music gefärbten „Blind Jesus“. Große Empfehlung für Freunde der
Tindersticks, Leonhard Cohens, Nick Caves, der Triffids oder Les Hommes
Sauvages.(rh)
GLITTERHOUSE
Fatal Shore is a trio of exiles based in Central Europe. Australians
Bruno Adams and Chris Hughes were in Once Upon A Time whose majestic
‘Planetarium’ was recently covered by Mick Harvey. Yorkshireman Phil
Shoenfelt has a long, diverse history that began with Khmer Rouge in
early 80s New York. For their third album Real World they are joined by
multi-instrumentalist and arranger Yoyo Rohm and a string section. This
Real World is certainly dark and intense. Its soundtrack combines
something of the cabaret and something of the Australian gothic, taking
in blues, soul, and balladry. A profound seriousness is reflected in
Shoenfelt’s precise enunciated vocals, contrasting with those of Adams
who tends to the slightest of country inflections. Roiling, grunge-like
frenzies such as ‘Rainy Sunday Morning’ and ‘Train Song’, sit next to
beautiful serene pieces like the Cohenesque ‘Faithless’, the tender
‘Out Of The Sea’, and the reading of Brel’s ‘If You Go Away’. A
Mariachi element (and a touch of Wise Blood) pervades ‘Blind Jesus’
while gypsy music accompanies both the tale of ‘Vivi The Flea’ and the
opener ‘Black Venus’ which borrows its tune from the traditional gypsy
song ‘Khamoro’.
ROCK & REEL, Nick West, 2008
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