The Notwist’s latest album Close to the Glass kicks off with “Signals”, an eerie and almost alien-esque croon. Immediately it begins pumping out meandering beeps and boops with a quiet “shh” whispered softly. We aren’t sure where this is headed, it feels other-worldly, as if these sounds we hear are some sort of communique from an alien-like creature broadcasting it’s latest transmission. Finally, we hear that voice that we know so well, that soft coo from Markus Acher telling us he wants to be us, he want to be just like us.
Close to the Glass is the Notwist’s first full-length album since 2008. It’s quite possible in the band’s six-year hiatus they were abducted by curious extraterrestrials and ordered to convey this subliminal message to us, but that’s probably just my conspiracy theory paranoia showing. Instead let’s assume the Acher brothers, along with the rest of the band, have spent this gap gathering inspiration for the new record. Unfortunately the latter would have made for a more consistent and less forced source of influence.
It is not until we get to “Kong”, that we begin to recognize these are the same musicians responsible for The Devil, You + Me. The sporadic electronic beeping stops, a tambourine softly jangles and lively guitar strums welcome us to the liveliest track on Close to the Glass. Inspired by Acher’s experience of being trapped by a flood in his childhood home and fantasizing a superhero would come and save his family, “Kong” is filled with a hopefulness that feels both warm and familiar. As Archer chimes “my dear Kong, please help…I know you’re strong” it’s easy to recall our very own innocent pleas for superheroic assistance.
Too soon the bright spot on Close to the Glass gives way to yet even more heavily electronic tunes. Only now they’re aren’t supernatural as much as they are somber. Themes of rolling the dice and striking out are sadly conveyed in “Casino” with “there’s something wrong with me” chanted repeatedly. Then fingers against steel strings open up “From One Wrong Place to the Next” transmitting more feelings of despondency and self-pity as “this is the dream I bought” dominate the lyrics.
Finally “Run Run Run” grabs our attention with simple melody and a punchy drum beat. This track seems the best at showcasing the band’s growth, achieving a great balance of electronic and indie without seeming overly fussed. Deep bassy drums and an occasional burst of brass warm the playful xylophone. The track closes out with a sequence of hearty claps and it’s over too soon. It is then that we finally understand what they were trying to achieve with their latest album. Sadly, this is the only track that hits the mark.
Overall Close to the Glass wavers between the Notwist’s use of technology and their indie rock roots. It’s hard to get on course with where the album is headed. Tracks like “Kong” make us long for catchy yet tender musical substance while others (“They Follow Me”) leave us with vacant ambient droning devoid of any character. Most of the album feels like Acher has drawn from inspiration that doesn’t exist, we listen at his attempt to make himself feel something he genuinely doesn’t. Wistful undertones, although apparent, do not come across in any meaningful or moving way. This plays out as such a strong contrast to the pain he made us feel with gut-wrenching songs like “Pick Up the Phone” and “Consequence” from 2002’s Neon Golden. The Notwist have been better at making us feel, afterall that’s one of our favorite things about them, but with Close to the Glass the only painful sentiment coming through is how obvious it is they aren’t getting to us at all.
Rating: 3.5/5