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«Dear God, let me be damned a little longer, a little while.»
William Faulkner

Messed up relationships, rushes, deadly excesses. David Lynch is known to be the master of all this. And so is Orson Welles, who got himself drunk with a bottle of Scotch and spent the night roaming around his house, sleepless, typing delirious notes. Or Jim Thompson, the “Master of Noir”.
Franky Silence’s latest work is full of swearing, moaning, ranting and raving. The protagonists know that they’re lost, but they don’t care anymore – they just continue.
Sabrina Troxler and Adi Rohner, a young artist couple, are Franky Silence. They have dedicated themselves to traditional American song writing, thus “Fallen” is characterized by gloomy references to blues, Folk Noir and Vaudeville-Chanson.
Gently carried by the quiet sound of the accordion, the opening track “Fallen” draws the listeners into the melancholic universe of Franky Silence. “Last Night” by contrast is a hot feverish dream, mystical and dark. Many others have put their hands on “No one knows” and failed miserably. But not Franky Silence. By bringing in the banjo and clarinet, the straight desert rock song written by Josh Homme and Mark Lanegan is reborn as a swinging Southern Gothic-Ballade. The EP’s closing song “I have to go” would easily pass off as a Traditional of the Great American Songbook.

 

The Ghost Orchestra with bass clarinet, accordion, banjo, marimba and waterphone creates an authentic soundscape – wistful and dark deserts, missed opportunities and thrown away happiness drifting over them. Desperados and fallen angels are travelling towards new horizons, which might bring salvation or, more probably, once more failure.

Skillfully composed, consistently arranged, with playful harmonies and chamber music subtleties, the band consisting of Nik Mäder, David Bokel, Simon Rupp, Christian Bucher and Vincent Glanzmann rumbles through a dimmed universe of sound. A sound, which could just as well unfold in a shabby theatre in the American Bible belt.
To round off the artistic oeuvre, Franky Silence brought in Pablo Haller, who (for the second time after Franky Silence’s  much-praised debut “Recordings For Imaginary Movies“) provided poetically condensed, hallucinogenic words for Troxlers alterable voice.

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