In diesem etwas anderen Detektiv-Roman aus Tel Aviv gibt es zwei feste Größen, die immer und immer wieder auftauchen:
Raketenalarm, die Suche nach einem Schutzraum und der Knall der zerstörten Rakete.
Und Sex. Denn Masi Morris, ex-Polizistin und nun Privatdetektivin, kann nur dann klar denken wenn sie Sex hatte. Also hat sie diesen mehrfach am Tag, mit wildfremden Männern, mit Dauerbekanntschaften oder – wenn es hart auf hart kommt – mit sich selbst.
Das macht diese kleine aber feine Story aus Israel schon etwas anders. Dazu eine Gesellschaft, die ziemlich anders gestrickt ist (als das was ich hier in meiner Heimat kenne).
Ein Jugendfreund bittet Masi seine verschwundene Frau zu suchen. Die jedoch ist die Tochter eines reichen (extrem) und einflussreichen (noch extremer) Unternehmers, der seine Finge auch in jede Menge Schmutz hat.
Zum Glück soll die Polizei von alle dem nichts mitbekommen, also hat Masi freie Hand ihre unorthodoxen Methoden durchzuziehen. Mithilfe ihrer Rechercheure sucht also jemand der nichts mehr hat (vor allem keinen Dienstausweis) eine junge Frau, die alles hat.
Das ganze hat ordentlich Tempo, ordentlich Härte und ganz viel Details: Über Tel Aviv, über das Wetter und über die Schnitzeljagd die Masi hinlegt bzw. am Ende hinbekommt.
Der eigentliche Spannungsbogen ist dabei gut gesetzt: Die Familie Schechter gibt nur mysteriöse, zu entschlüsselnde Tipps und Masi muss jede Einzelheit, jedes Blatt Papier und jedes Foto mühsam von anderen interpretieren lassen.
Das aber verpackt Daria Shualy ironisch und witzig, mit Figuren die alle Ecken, Kanten und einen Hau haben.
Happy End? Auf keinen Fall so wie der Leser es am Anfang glaubt.
Bin gespannt auf mehr!
What makes those you’ve mentioned, and Mazi, so different to most female protagonists?
“They kick ass and they verge on comic book superhero. “
This is why it’s not surprising that Shualy’s plans for PI Mazi Morris are so big. She wants to turn the novel into both a book series and a TV series or film: “I’m already writing the second book. And I’ve already been approached by a few TV production companies, but I’ve decided to put that on the back burner for now because my top priority at the moment is being translated to as many languages as possible.”
Aus: The Tel Aviv Review Of Books
PS: Das Original heißt “Kali Barak”, das ist Englisch für “Lightning Tool”. Keine Ahnung wie da im deutschen “Lockvogel” angekommen ist. Überraschenderweise macht “Lockvogel” dann aber doch Sinn…
PS: Das Original Buch hat ein Cover bei dem mir L.A. Confidential in den Kopf kam…
Another DIY show at the Pretty Vacant HQ, this time with a young band from south of Hamburg and Tanju with his Racoonery, they missed the bill at the first one due to Covid.
Büller Bü from Schneverdingen kicked off the early evening and it was their first show. Ever. And then facing largely – next to a home town contingent – a bunch of old farts that have seen it all. Twice. But luckily the Pretty Vacant HQ is all about low key, all about DIY and a chance for everybody.
For me they still have a long way to go, the drummer seemed more a liability than an asset and by and large they have not found their sound, their unique whatever that glues them together. Some of the songs did not work at all for me, some had actually well crafted elements (and worked best when i had my eyes closed).
Not a surprise to the expert lot was their sole cover song, their name somewhat gave away that they have a liking for Hüsker Dü. They got friendly applause and support and i guess they where happy to have mastered the first ever gig.
Next Tan LeRacoon & Racoonery, Tanju’s current vehicle for music. Some of my friends have been full of praise but also noted that it may not be down my mu-sick-al alley. But as the Racoonery is made up half by people i have trusted in the past, when it came to music, the venture did have some credit with me.
What did i get? First and foremost Tanju, dressed like a Gentlemen that has fallen out of time, taking the lead. And Rudi, Michael and Malte as expert addition towards the creation of something that is indeed slightly different.
The internet has it down like:
[Tan]...was was called Gothic Soul, Glam Dub, weird indie folk, psychedelic freestyle, baroque pop, a total piece of art, a punk rock Van Morrison.
Tan would contradict it all. He is long enough in the game to know old school power pop to electronica, young enough to still have the urge and hunger to go out there and create something new.
And and on top this incarnation of the Recoonery has the sound much more bare bone, edgy and Rock'n'Roll (of the NYC dirty side), much more Power Pop and less Folk (though it still carries the more silent elements).
How did it sound? It sounded like this:
Within the set they also had a veritable hit: A steady single strong chord played by the band on top of a steady mechanical drumming – stretched out “forever” to allow Tanju to venture back/forth/up/down.
That was a cool one (and damn, forgot to ask what the name of the song was). It sounded a wee bit like this old beauty out of Dutchistan:
Ivy Green is considered to be one of the very first Dutch punk bands. Singer Tim Mullens wrote the song “I’m sure we’re gonna make it (Wap Shoo Wap)” in 1972. At the time he was only 14 years old. Living in the small town of Hazerswoude-Dorp he unknowingly created a proto-punk masterpiece using just one guitar chord (and a half).
It fitted the band perfectly and if it was a nod off the Ivy Green song than hats off to Tanju for the idea and delivery (and the sole Dutchie in the audience loved it!).
At the end Tanju closed the set with a very personal, very heartbreaking song for a fellow old punk from Hamburg about to loose a long health battle. As many in audience know him, the chorus was carried on by the lot.
Whilst ending somewhat on a sad moment, it was another super friendly DIY showcase, another worthy effort that Eugen (congrats, Granddad) and Mike put together. Thanks for your efforts, outside the beaten track.
Whilst some scooted over to the Hafenklang for more live mu-sick, i scooted home to have a final sundowner on the surprising away win of the mighty FCSP.
A double surprise on two fronts: First, i fell for Bleakness since i stumbled across them by chance online. And sure was eager to see them. Second, i never thought i would get to see M.I.A. in Hamburg. Ever.
Bleakness opened the evening to a rather small turnout, as there where at least 3 conflicting shows in walking distance from the Hafenklang on Friday, that had partial overlap with respect to audience. But as ever, a mere luxury problem in the big city.
Having been listening to Bleakness already i was eager to see what is on the menue…
… and bang, somewhat a disappointment. My favorite song from their recent LP was missing! An outright scandal! Why the heck did this one miss the cut?
It is not only a great song for the mu-sick, it also carries great dark lyrics:
( (c) Bleakness 2022)
Live, boy, they are simply great. And thus can even drop such class songs from the set. Whilst the sound was not 100% perfect, you could feel that with their simple 3 piece setup they can create a near perfect blend of early 80s Post Punk (some said “Killing Joke“, i more leaned to “Wipers” – but any of these references would work) and very hard hitting and well paced Hardcore (in the non-NYHC sense).
Even within a single song they are able to venture between various styles and package that with sufficient umpf:
I was so glued, that i did not take a video shot – so big hugs to Beno for lending this one. It was also great to see that on stage they delivered with broad smiles, making the energy they put into it pretty much visible.
Audience reception was somewhat stereotypical Hamburg, very shy and held back. Maybe the sound anyway does not cater for enthusiastic and frenetic dancing, maybe it is more for the introvert connoisseur. But i could sense more than just listening, i felt quite some appreciation around me.
For me, Bleakness worked live as much as they did please my ears with recorded output. They are slightly different to the other great French bands recently that pair Oi! with Wave but they fit into the same bin. A bin worth to go though! As they had records on sale, i was determined to later score vinyl and to thank them for a great set.
And, frank, i would love to see them again, maybe with a wee bit a better (clearer) sound and better lights. And less stage smoke, as to me it adds nothing to a show.
After a short changeover M.I.A. took the stage and kicked off like this:
That’s “Beautiful World (But Not For Me)” from their 1987 Flipside LP “After The Fact“. Fun fact: Weird System (from Hamburg) even released a German version – so much in demand were they back then!
Shortly after that record M.I.A. did split up and called it a day. And ever since singer Mike Conley passed away in 2008 following a tragic accident i thought that it was all done and dusted. Me forever holding on to their records (that i played up and down in the 80s) as outstanding example of a slightly different California Hardcore sound.
But never ever getting a chance to see them.
Fast forward to 2024 and it is Nick Adams singing and strumming the chords, Larz Pearson pushing it forward hitting those drums and Paul Schwartz handling the heavy 4 strings (and occasional singing).
And all of them are from the pre-1987 incarnation of M.I.A.
What was immediately apparent was the absence of the unique voice of Mike Conley and the lack of singers presence in the middle of the stage.
On top it felt like that Nick somewhat found it difficult to sing and play guitar at the same time. Chatting with him after the show he confirmed that it is indeed tough to manage but that they had made a conscious decision to play as original members only.
In hindsight i’d say it was the right decision. Stay self & true i guess. Also they did not try to 1:1 recreate the sound of the 80s and thus effectively – like some other bands – come across as cover versions of their earlier self (or, worse, misplaced in time).
Speaking of covers, they included “California Dreaming” too (as it was a standard in their set back then):
The more they played, the better it sounded and the better it came across. Reception by the audience was more outgoing than with Bleakness, i guess there were many older people like myself eager to finally see them and all came with own memories of the songs (up to and including being able to sing-a-long to some).
My wild guess is that young people today have no clue how important, how good and how present M.I.A. had been over in the US of A in the 1980s. Little fun fact:
Yes, they played on the finALL Descendents bill. I would give a lot if finally i would be able to fix up my DeLorean to get there!
Towards the end they also threw one of my favorites in, “Boredom Is The Reason“:
Yet another song that did set them apart back then and a nice sing-a-long:
Hatred and destruction, it seems so cruel
Don’t wanna be a part of it or be like you
You wear a swastika to shock and offend
It’s become so passive, just another trend
Why do you do it?
Why do you try?
You’ve got no answer
It’s just your instinct in life
Boredom is your reason
You beat up your own kind, refuse to unite
Because you’re so stubborn, because you don’t like
Your mindless fights, they don’t stop a thing
You’re just a loser living in a dream
(c) HIPR Music
Was the set a "Show Of The Year" contender? No, i guess not.
But it was a worthy and humble effort to give people in Europe a chance to reconnect with the past, delivered well. And at the end of the set i was no longer missing a singer in the middle of the stage, to that extend it turned out a pleasant surprise.
M.I.A. -Setlist (Hafenklang, Hamburg, 27.09.2024)
Someone from the audience noted that the set was criss-crossing the records (and thus incarnations) rather random and he was not too happy with it. From where i sit that does not hold true, in contrast – i don’t necessarily like the idea of playing like all 3 LP’s back to back in pressed sequence.
And anyway, the above setlist in the last section is pure gold:
What you hate: Boredom, Hippies, Las Vegas and When It’s over.
My kinda humor!
Thanks M.I.A. for finally coming over and surprising me, much appreciated!
As ever when a band convinces me live i scored vinyl. Bleakness was a sure thing, the M.I.A. re-released stuff i did let go as i have all their stuff including the Lost Boys Double-LP. No need to get it again, though the packaging looked excellent.
You can score these beauties and more from Bleakness at our local trusted dealer Sounds Of Subterrania in Hamburg or from Sabotage Records in Bremen. They are worth it!
Great evening, would have deserved +30 up to +50 folks and a younger contingent. But a perfect package with a pleasant balance between new/modern and old/modernized – as such #thereaintnuthinbetterthanlivemusic!
