Schneider TM - Zoomer
(Mute)
Schneider TM is electronic one-man band Dirk Dresselhaus. Dresselhaus' first album, Moist was fairly unique in the sudden influx of German electronic rock that happened four or five years ago, it's small perturbation on the norm being a heavy house influence. The followup, Zoomer, comes four years after Moist and finds Schneider TM focusing on a less unique style, producing standard electronic pop music.
Schneider TM's electronic pop music is largely mediocre. "Reality Check" and "Cuba TM" are standard fare: futuristic lyrics, altered vocals, and looped beats. As always, the care needed to write and incorporate lyrics causes the backing music to be flatter and less well developed. These carefully incorporated lyrics are hardly inspirational though, "Reality Check" even referencing The Matrix. Yeah, we get it, "the future."
There are two really great songs, however, "999" reminding the listener what made Moist such a great album and the flawless pop execution of love lament "Abyss." "999" whips the listener around in a maelstrom of swirling keyboard noise, as a ticking, jittery click track keeps the song fastly moving forward. "Abyss" is a warm and textured disco anthem, with a persistent base line and cascading keyboard melodies accented by "eww-ew-ew-ewww"s.
On the other end of the spectrum, "Turn On" continues the trend of above average electronic artists working with below average MCs to make below average rap songs. "Turn On" has horrible lyrics like "my foot fell asleep, my nose and ears block, all the weirs open with the tearbag." Dresselhaus' music is no better; he is trying to make a backing track to a rap song, and shows there's a reason why he hasn't made a name for himself making backing tracks for rap songs. Simple pulsing tones and a completely uninspirational click track... as if I needed any more reason to start listening to my old A Tribe Called Quest, Black Sheep, and Gang Starr tapes again.
Much like Tarwater, the first album released by Schneider TM outside of Germany seems unique and original—Dresselhaus just being himself—and the followup seems like Dresselhaus is trying to make what he thinks the British and American press want him to make. The Germans are better off just being German; leave standard British and American electronic pop to those who do it best.
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