{"id":7588,"date":"2020-10-20T16:47:25","date_gmt":"2020-10-20T14:47:25","guid":{"rendered":"https:\/\/kessel-tamerus.nl\/Esthers_Blog\/?p=7588"},"modified":"2024-06-16T15:53:30","modified_gmt":"2024-06-16T13:53:30","slug":"melanie-mau-martin-schnella-through-the-decades","status":"publish","type":"post","link":"https:\/\/kessel-tamerus.nl\/Esthers_Blog\/cd-recensie\/melanie-mau-martin-schnella-through-the-decades\/","title":{"rendered":"Melanie Mau & Martin Schnella – Through the decades"},"content":{"rendered":"\n

Als je deze recensie liever in het Nederlands leest, kun je hier klikken<\/h3>\n\n\n\n
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Melanie Mau and Martin Schnella<\/em><\/strong> are no strangers to the prog experts. They are among others part of the German prog band ‘Flaming Row’. Melanie and Martin have previously released two albums with covers. These were ‘Gray matters’ (2015) and ‘Pieces to Remember’ (2018). Now ‘Through the Decades<\/em><\/strong>‘ is out, it contains 14 acoustic covers. You won’t only hear prog classics by, for example, Genesis and Yes. But Melanie and Martin were also inspired by the (prog) metal of big bands like Pain of Salvation and Metallica.<\/p>\n\n\n\n

The opening track is ‘Dancing With The Moonlit Knight<\/strong>‘ (Genesis.) Just like the original, this one also has a vocal intro. After some sentences the music is added. This version has of course similarities with the original, but it is clearly a very own interpretation. Maybe you have to get used to the colour of Melanie’s vocals. She has a very own, but beautiful colour of voice. The vocals with Mathias Ruck and Martin form a good melange. The sound of vocals and music is nice and clear, moreover it is well distributed over the headphones. Secretly there are quite a few layers, so you have to listen a few times to recognize them all. The twists and turns from quiet to faster and the other way around, go fine. Percussion and flute provide a touch of folk. There is a beautiful interpretation by, and alternation between, the different instruments.<\/p>\n\n\n\n

Although it is quite clear that it is ‘Running Up That Hill<\/strong>‘, this is a completely different version. Not only the rhythm is different, also the timbre and atmosphere are different. This is less poppy, but it still invites you to sing along. The multiple vocals form a solid blend again. The end is wonderfully clear and echoes for a moment. We have come to ‘Harvest Of Sorrow<\/strong>‘ in decade number four. Again, the different instruments and the vocals form one whole. The balance between high and low tones in vocals and music is also good. The cello is subtle, but beautifully added. In the end it is the baritone guitar that creates the harmonious contrast with the vocals.<\/p>\n\n\n\n

A Queen cover, that’s daring! Everyone knows ‘Don’t Stop Me Now<\/strong>‘! And maybe you think: “Hands off everyone!” Yet Melanie and Martin have dared to do this.\u00a0 With amazement I am listening, music and vocals are enormously different! Surprisingly but certainly successful.<\/p>\n\n\n\n

They also set the bar high with ‘Kayla<\/strong>‘. Because this is from the super prog band Flying Colors. Although these voices form a beautiful melange here, they seem to fit together less perfectly than those of the Americans. But this is mainly a matter of getting used to, as the song continues, the comparison fades. There are all kinds of small details in it, which you may not notice at first. I am positively surprised!\u00a0<\/p>\n\n\n\n

The subdued intro of ‘And You And I<\/strong>‘ touches me. Moments later the music has a folk influence, the tempo increases a little bit. The changes between the subdued and the a bit faster are beautiful. Multi-instrumentalist Marek Arnold is guest musician in several (German) bands. The same applies to this cover of Yes, here he plays saxophones and clarinet. I am fascinated by the polyphonic start of ‘Reasons’, because this is a Pain of Salvation cover. The emotion in vocals and music slowly increases, this is built up beautifully. Here too a piece of chaos can be heard, some sentences are clashing. There is a beautiful rest inserted. The sudden end is well played.<\/p>\n\n\n\n

‘Creeping Death<\/strong>‘ is both deliciously rhythmic and melodic. It takes a while before I recognize Metallica. If you don’t know any better you might just think that this is the original, the end is beautiful. With the German ‘Als Ich Fortging<\/strong>‘ this album ends after 74 minutes.
Melanie has a unique sound, which you might have to get used to. The singing together with the men is beautiful, also when they sing a cappella. The sound is very well distributed over the headphones. Unnoticed its\u2019s sometimes more complicated than you might expect with an acoustic album. Some of the covers are so tricky that you might have to think for a moment what the original is. Sometimes this takes some getting used to, others feel immediately good or even very good. Melanie and Martin took quite a risk, but I am positively surprised. With passion and respect for the original they made 14 beautiful and specific versions. <\/p>\n\n\n\n

(85\/100) (Gray Matters<\/a>)<\/p>\n\n\n\n

Website: Melanie Mau & Martin Schnella<\/a>
Facebook: Melanie Mau & Martin Schnella<\/a>
Bandcamp: Melanie Mau & Martin Schnella<\/a><\/p>\n\n\n\n

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