Das Leben ist kein Weichspülmittel (German Edition)

Meaning of "weich spülen" in the German dictionary

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Saubere Leistung und gute Einstimmung auf mehr. Ich muss ehrlich sagen, der wirkt etwas schwach auf der Brust. Headbangen ist hier garantiert! Das wird der Hit auf den Konzerten, ich sehe schon den gewaltigen Moshpit vor meinem geistigen Auge. Ein Highlight auf dem Album.

PERTNESS - Frozen Time (Highland Metal)

Leicht verzerrte und singende Gitarren. Der Song strahlt Kraft aus. Wenn die Nummer aber dann mal in Fahrt ist, dann ist sie schnell und treibend. Die Band gibt noch mal alles und mir bleibt nur noch zu sagen: Seit nun schon 18 Jahren existiert die Formation aus der Schweiz nun schon. Die Songs sind sehr rhythmisch aufgebaut jedoch nicht zu kompliziert. Im Vordergrund steht eine sehr starke Gitarrenarbeit gepaart mit geilen Gesangsmelodien.

If you are looking for originality then this Pertness is nothing for you, I can already say that. These four guys from the Swiss alps have listened very well to their neighbours from the north. Everything is very responsive and the epic atmosphere is perfectly preserved, thanks to the help of keyboards. The songs are exciting and have interesting breaks; singer Tom Schluchter has a great voice that really suits this sound.

But if you are looking for more variety, no unfortunately then this is nothing for you. I must also say that the CD cover features beautiful artwork, it really fits with this band. These Swiss positively surprise me. Time for a closer introduction I think, will be continued. The fantasy artwork in the cover caught my eye from the very first glimpse and I chose to review this release without even checking the music label saying Euro Power Metal.

It is not a secret that I am not a fan of this genre and many times in the past I have buried similar albums since I believe they sound pretty much alike. On the other hand there can always be surprise in places that you rarely visit. And what a delight that was! The mid tempo builds a hearty epic atmosphere that I dare to say little has to do with the nowadays simple-as-hell approach of the majority of the Euro Power bands.

All those years did not go in vain since the band sound extremely solid possessing a distinct sound that is capable to distinguish their music identity from the crowded Euro Power Metal scene. PERTNESS have matured from their debut release by producing more complicated compositions making one step further from the simple sing-along recipes. As I said the vocals has some from Chris Boltendahl's reading but this is not the only connection with GRAVE DIGGER; the guitars have been strongly influenced from the German band especially in the epic parts of songs like "Decline", "Walk Alone" and "The End" where the minimal keyboard work built the tension that seeks salvation through the guitar distortion.

The highlight of the album is by far "Remember Their Faces"; the main melody is mind blowing and will make push the 'repeat' button many times. The galloping rhythm is of course given in the early MAIDEN way and lead to the killer chorus and the addictive guitar melodies. The six minutes of this song are simply not enough to enjoy the excellent guitar work and the fast tempo breaks. This is not an album just for the Power Metal fan; it is recommended for all the classic Heavy Metal fans out there! Zwar gibt es bei den Eidgenossen mit Excelsis eine durchaus vorzeigbare Band in diesem Genre.

Pertness liefern dazu eine echte Alternative. Dabei klingen Pertness nicht selten nach Dark At Dawn, falls die noch jemand kennt. Ich werde im Folgenden nur die markantesten Songs des Werkes benennen, aber Fakt ist, dass die meisten Nummern mindestens 7 Punkte Niveau haben. Kein echter Ausfall dabei. In Sachen Hooklines kann die Band noch nachlegen. Gut Ding will scheinbar Weile haben. Gebt den Jungs ruhig eine Chance. Es kann sich lohnen. Nun, man sollte mit Superlativen nicht um sich schmeissen, im Fall von " From the Begingin to the End" ist dies jedoch mehr als angebracht. This means great hooks Listen to "From the beginning" or "Invissible chains" or "Foggy dew" and enormous power all songs.

The sound is perfect "swiss quality" and a must for a band like this. A very funny idea by the way: In fact all fits perfectly together, so we will excuse the one one and only weak song "Walk alone". Die Herren aus Bern musizieren schon eine ganze Weile zusammen und bringen nun nach ihr zweites Album auf den Markt, das vor Melodie und Power nur so trieft.

Bei "Invisible Chains" geht es erst mal mit flottem Power Metal los, bevor es dann um einiges ruhiger und emotionaler wird. Einen richtigen Battle Song haben die Herren mit "The Legacy" an Bord, der was leicht hymnenhaftes besitzt und dann werden sie nach dem epischen Anfang mit "Decline" wieder voll genial, denn hier wechselt sich kraftvoller Metal mit treibender und flotter Power ab. Wieder sehr verspielt kommt "Walk Alone" daher, aber auch die Geradlinigkeit kommt nicht zu kurz, da geht nach vertrackten Breaks mit treibenden Riffs richtig die Power Post ab.

Dieses Album strotzt nur so vor Kraft und wird die Alpen beben lassen. Soilchroniques, France - From the Beginning to the End. Pertness hails from Bern, Switzerland and started back in In they recorded their first demo CD. Fans had to wait for a long time due to studies, education and some other circumstances for their second album 'Seven Times Eternity' A song like "My Prophecy" shows that they can be fast, heavy and epic in just one song.

The band is able to write epic songs with nice melodies and heavy edgy riffs, like in the song "Walk Alone".

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The highlight of the album is the track "Remember their Faces", a song with folksy elements and a very contagious melody-line - resemblances with the band Sabaton can not be denied here. Perhaps the band is not original all the time, but they do create a style that will be liked by many. With this album they must be able to find a spot on the scene somewhere between Sabaton, Hammerfall and Grave Digger.

Nonostante siano in giro da una vita si parla di come anno di nascita! Questo certo non significa che i Pertness non risultino interessanti: Das geht jetzt wieder stundenlang nicht aus dem Kopf. Song auf der CD. Das ist halt die absolut starke Seite der Band und mancher wird sagen, wo sind denn vertrackte oder verschachtelte Songs? Quasi soundexperimentell gibt man sich mit "Decline" und bleibt doch im traditionellen Metal. Live ist das vielleicht ganz ok, aber auf CD belanglos.

Dazu ein dunkelblaues Tray in den Farben, die im Bild verwendet worden sind. Da passt wirklich alles zusammen.

Tutti i brani si assestano su dei coinvolgenti mid-tempo senza disdegnare accelerazioni speed. Die Gitarrenthemen lassen einen richtig mitfliegen, um die Songs ganz zu erleben. Die Drums werden tight und punktgenau gespielt, sie erzeugen dadurch noch mehr das Feeling, gleich losziehen zu wollen.

Sie schlagen mit ihrem Sound in die gleiche Kerbe. Mundo Rock, Spain, — Seven times eternity. Rock Hard, — Heft Nr. Sie sind mit Herzblut bei der Sache, aber weniger komplex und virtuos. Angelfire — Seven times eternity. Representing the heavy metal hinterland of Switzerland, Pertness are celebrating 15 years of existence this year.

Amazingly, 'Seven times eternity' is the band's debut. Perhaps it was named after the length of time it took for them to procure a record deal? Be that as it may, Kathargo Records is a generally dependable label for fans of high-quality traditional European metal, so I quickly sought out this Pertness CD upon its release. Let's explore the perticular pertinent facts pertaining to this band. Oh, and in case you're wondering, yes, Pertness is in fact a word in the English language.

It means the quality of being lively, sprightly, bold, or saucy, all great terms to describe a Swiss heavy metal band, right? The limited press I've seen on this Swiss quartet describes them as heavily influenced by Running Wild. That may be true, but it would be incorrect to describe them as a clone of Rock'n'Rolf and his merry band of mercenary pirate conscripts. The celtic melody in the intro track, "Doomed", is highly reminiscent of Running Wild, and occasionally guitar themes emerge on other tracks "Riders of heaven part 1" for instance that sound like something Herr Kasparek might have penned, but let's not get carried away with that comparison.

The single most accurate band comparison I can give you is vintage Crystal Eyes, especially with respect to the Swedes' outstanding 'World of black and silver' CD from I love that Crystal Eyes CD, so this comparison is high praise, indeed. Catchy, peppy, uptempo dare I say sprightly? Keyboards are present in a limited capacity, vocals are gruff but clear, and the pace definitely tends toward the faster side of European power metal.

These ingredients render this CD a highly entertaining listen from top to bottom. The only real drawback to 'Seven times eternity' is the band's over-reliance on choir parts that frankly leave something to be desired. There's a real art to making choirs sound majestic and powerful see Hammerfall, early to mid-period Blind Guardian, or those Sielck-produced Paragon CDs for examples of bands who excel in this department.

Pertness have invited 4 dudes to share backing vocal duties with lead vocalist Tom Schluchter. The choir parts are okay, but the backing vocalists' voices don't mesh well with Schluchter's, leaving him too far out front. The result isn't awful, but it does became a bit grating. It appears that this CD is a self-produced affair, given the booklet's silence on the matter, so the imperfections in the choirs may simply be the result of a lack of an experienced knob-twiddler running the board during the recording sessions.

This wouldn't be a glaring weakness if the choirs only appeared sporadically, but it seems like every single song features a big sing-a-long choir part repeated way too many times. The net result is that the subpar choirs bombard the listener's ears over and over again. Even if these choirs were brilliantly performed and produced, the sheer numerosity of them would produce choir fatigue. I like Schluchter's gruff, expressive voice he's maybe a bit like Kensington from Sencirow crossed with Rolf Kasparek and Joakim Broden of Sabaton , so there's no reason to try to mask it with all these backing vocals when he's perfectly capable of carrying a chorus effectively himself.

It would be a pity to allow this minor gripe to obscure the big picture, which is that Pertness have released a fine debut CD that is sure to appeal to fans of speedy, melodic, anthemic traditional European power metal with "happy" elements. I enjoy 'Seven times eternity' a great deal, and will eagerly anticipate hearing Pertness's next output.

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Just as labelmates Deja Vu experienced a major creative breakthrough between their debut CD and their sophomore effort, I'm confident that Pertness are capable of pulling off a monster CD next time around. At the very least, it's guaranteed to be sprightly, bold and saucy, right?

Detlef, Germany — Seven times eternity. Selbst das Intro ist nicht einfach "nur" eine Einleitung! Kann man nicht besser machen!! Haut in die selbe Kerbe, ist etwas schleppender. Tempo wechselt immer mal wieder, kommt von langsameren Teilen kraftvoll in schnellere, treibende Abschnitte hin zum Refrain. Losgehende Gitarrenriffs die knallen.

Wieder Melodie ohne Ende. Refrain etwas langsamer - um so mehr geben die Gitarren danach wieder Gas! Langsamere Songs — eigentlich nicht so mein Ding. Sehr druckvoll und packend. Macht keine Gefangenen - knallt sofort! Wo nehmt Ihr diese geilen Melodien Her??? Mann, wieder sooo'n Hammersong! Gitarren, die aggressiv entweder im Hintergrund lauern, oder druckvoll im Vordergrund agieren.

Melodie, Tempowechsel, Melodie, geiler Refrain Wieder etwas langsamer, mit Druck. Geile Gitarren - Melodien. Wieder etwas "Geige" zur Melodieuntermalung - grandios! Die Cd ist zu Ende Und wo bitte sind die "schlechten" Songs? It needs to be: For reasons that were both political and practical, little was known about the Stasi before This was evident, for example, in the British dailies: Christa Wolf famously found herself embroiled in such a scandal in and there has been a steady stream of accusations and rumors involving other writers, poets and artists.

It is not just those in the cultural sphere who have been caught up in the web of accusations: Reputations have been ruined — rightly so, in some cases. Articulate and self-analytical, Wolf was able to survive the furor surrounding her negligible relationship with the Stasi; others, such as Gysi, who was accused of involvement with the Stasi by Marianne Birthler, the Federal Commissioner for the Records of the Ministry of State Security, have been more vociferous in their denial, with Gysi accusing the media of inaccurate and unprofessional reporting and contending that the allegations were politically motivated.

In a few cases, the allegations proved too much to bear: The enormous numbers of people directly or indirectly connected with the Stasi naturally meant different levels of involvement and the burden of guilt varied. Rather than abating, the issue of culpability continues to provoke debate and acrimony as was evident in the response to the revelation that as many as 17, former informers are working as civil servants.

Eastern audiences may not have had much appetite for films which addressed precisely the problems that they themselves faced and in which they were implicated; western audiences, meanwhile, may not have been encouraged by either the subject matter or choice of genre. As with other films of this period, Die Vergebung considers the consequences of state policy on the east German population even after its demise. But the film is neither an environmental drama, nor a simple critique of the Stasi. It is the harm done to individuals who are unable to forget or to forgive that is central to the film.

Victims remain scarred by their memories. Unsure as to the reasons for his imprisonment and reluctant to believe that his brother-in-law revealed to be a former Stasi employee may have betrayed him, he remains intense and introspective, unable to communicate with his family and unwilling to question anyone directly.

Wo ist die Wahrheit? Wo der Frieden ist, da ist die Wahrheit. The director is therefore reluctant to adduce information and the plot relies as much on implication as exposition, but the truth finally remains elusive. While she attempts to remember details that might bring to a close her investigation, others prefer to repress the past.

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Paradoxically, the truth that she feels is necessary, if she and her family are to move on, is evaded by others for the same reason. Rarely has any film on this topic received uniform praise.

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These alternative accounts have not always been well received. It was not only columnists who were indignant: To focus on the perpetrators and not their victims was for several reviewers questionable, even irresponsible.

It was not only columnists who were indignant: To focus on the perpetrators and not their victims was for several reviewers questionable, even irresponsible. Other films received more hostile attention. Ich liebe Dich , criticizing the film, which traces the relationship between a Stasi prison officer and one of the inmates, as both unrepresentative and deeply insensitive to the victims of the Stasi, and questioning the veracity of the real- life story on which the film was said to be based. Ich liebe Dich generated such criticism when both the book by the actual protagonists, Regina Kaiser and Uwe Karlstedt, and an earlier documentary film about the couple, 11 und 12 Till Harms, , had not provoked any such disapproval.

Das Leben der Anderen: Das hat es - leider - nicht gegeben. Der Stasi-Vernehmer als Held: Wie wollen wir die Menschen sehen? Instead of using original period garments, the costume designer relied on a volume of photographs of Croatian artists from to Do these liberties with surface detail undermine the value and worth of Das Leben der Anderen?

This is not, after all, the first historical drama to include anachronisms and inaccuracies. While audiences may view such films with some awareness that these are products of the entertainment industry and not faithful accounts or the result of careful scholarship, the fact remains that history films are for many people an influential source of information. In omitting or altering certain details, Donnersmarck naturally exposes himself to criticism. The indignation provoked by some of the liberties taken is not simply a question of east German pedants or revisionists spotting inaccuracies and anachronisms and thus wishing to undermine the film though this was motivation for some.

As a text that is relevant to ongoing debates about identity, memory and history, Das Leben der Anderen would inevitably be analyzed as much as by historians and politicians as by film critics. The fact that Donnersmarck was so willing to discuss the film and the GDR provoked more responses than might otherwise have been the case. The recurring issue of who is qualified to narrate GDR history reflects the salient struggle between history and memory, a conflict that is often characterized as one between east and west, between subjective experience and objective analysis.

The respected journalist Christoph Dieckmann has, for example, highlighted the fact that the GDR past is often narrated by west Germans. Das ist unsere Vergangenheit. But not everyone was convinced by this conversion. The film critic Jonathan Romney was among those for whom this development did not ring true: Much less is said about Dreymannn.

The film takes place in — so where was he in when the GDR regime did not allow Wolf Biermann to return from a West German tour, leading nearly all great East German writers to sign a petition protesting this measure [? The first of these is, on the face of it, rather innocuous:

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