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Mirror Man |
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Witchcraft Of Failure |
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BLAINE L. REININGER Nine Times
Blaine L. Reininger needs no special introduction. He is an American post-punk, new-wave and alternative pop singer, songwriter, musician, multi-instrumentalist (particularly violin), writer and performer. He is known for being a member of the group Tuxedomoon since 1977 after co-founding it with Steven Brown and, latterly, for a notable music and theatre career, both as a soloist and contributor to other artists' recordings, including The Durutti Column, Snakefinger, Anna Domino, Savage Republic or Paul Haig. After learning the violin and guitar during childhood and studying music theory in San Francisco, Reininger formed with the band Tuxedomoon with composer, singer, musician and college-mate Steven Brown and appeared on early albums such as Half Mute, Desire and Suite En Sous-Sol before departing early in 1983 to pursue a solo career. He permanently rejoined Tuxedomoon in 1988 and has subsequently appeared on more recent recordings such as Vapour Trails, issued in 2007 by independent label Crammed Discs. Nine Times is Blaine's all-new album, following up last year's Ghost Festival on Klanggalerie. Like its predecessor, it is a mix of classic Reininger songs and pieces of a more experimental nature. Full tracklist: 1. Alles Wissen 2. First Day 3. Home On The Strange 4. Instazone 5. La Ville Avec Un Fleuve Enterré 6. Mirror Man 7. Some Sequencers Are Bigger Than Others 8. Nine Times 9. Pain Perdu 10. Tat Tvam Asi 11. Two Sheds 12. Temper Tantra 13. Messidor Lojban 14. Witchcraft Of Failure. Price: € 20,-/copy incl. worldwide shipping.
Mehr oder minder im kompletten Alleingang eingespielt, atmet das alles so sehr den Geist des Alten Europas, dass einem MAGA-Fan beim Anhören mit Sicherheit schlecht werden dürfte. Und allein das sollte ein guter Grund sein, diese Platte zu kaufen. (Westzeit, June 2025)
Reiningers music is very accessible and pleasantly sounding. His combination of rhythms, synthesisers, vocals, guitar and violin sounds in a few instances as Edward Ka-spel but with the expanded sound of The Legendary Pink Dots – if you get my drift. Reiningers voice is more flexible, with the same drama as Ka-spel, but also crooning like being in a nightclub, up front, or folk-like (mainly when he uses his violin in the foreground), or sounding like a 1950s cabaret singer, always supported by a range of synthesisers, sequencers and rhythm machines. (Vital Weekly, August 2025)
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