Uppers & Downers Gold Star

Album info

Album-Release:
2018

HRA-Release:
06.09.2018

Album including Album cover

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  • 1Crooked Teeth04:22
  • 2Half The Time03:54
  • 3Chinatown03:50
  • 4Baby Face03:08
  • 5Uppers & Downers04:53
  • 6This Is The Year03:21
  • 7Dani's In Love02:54
  • 8Friday Nights02:57
  • 9Does It Ever Get You Down?03:06
  • 10Get It Together (C'mon)02:34
  • 11Beneath The Wheels03:35
  • 12Where I Will Be03:06
  • Total Runtime41:40

Info for Uppers & Downers

Singer/Songwriter-Stücke mit modernem Twist. Neben CG Roxanne and The Nightmares ist Gold Star das zweite Outfit des kalifornischen Americana-Musikers Marlon Rabenreither. Er startete dieses 2013 in seiner Heimatstadt Los Angeles. Gold Stars drittes Album "Uppers & Downers" verbindet musikalisch wenig mit den beiden herzerwärmenden, sehnsuchtsvoll klingenden Vorgängern. Bewegten sich diese mit Gitarre und Mundharmonika in den Fahrwassern eines Neil Young oder Ryan Adams, geht Rabenreither auf "Uppers & Downers" einen Schritt weiter, indem er Tempi und Stile kreuzt. "The idea was to achieve a deeper scope, a more dynamic range", so der Künstler. "Slow songs, fast songs, less genre specific, capturing all the moods." Die zwölf, von Nicolas Jodoin produzierten Songs entstanden in den historischen Valentine Studios, wo schon Größen wie die Beach Boys, Frank Zappa und Jackson Browne ihre Alben einspielten. Für Rabenreither eine außergewöhnliche Erfahrung. Nicht nur, weil er erstmals mit hochprofessioneller Ausstattung aufnehmen konnte, die Einrichtung verlangte ihm auch das Äußerste ab: "Old studios are these rare sacred spaces, like churches. It forces you to meet these expectations that you wouldn’t push yourself to under less pressure. Time is valued there, and you know the people who were in there before did it right, so what are you doing?"

Marlon Rabenreither, Gesang, Gitarre




Gold Star
Gold Star’s Marlon Rabenreither grew up in L.A. with a native son’s sense of what’s real and true and a childhood fascination with the Beatles, teaching himself to write and play a special kind of stark guitar-noir Americana that soon got him opening for Ryan Bingham and an admiring Lucinda Williams. On his new Autumn Tone release Big Blue—named after the ramshackle Hollywood home where he produced and recorded the album—he shines and redefines the sound of his self-titled 2013 EP and his 2015 full-length Dark Days to reveal an autobiographical work as influenced by writers like Fante, Baldwin and Chandler as it is Neil Young, Leonard Cohen, Wilco or Elliott Smith. If you didn’t know better, you’d think it was one of those lost classics—but really it’s just a long letter from a young singer/songwriter both weary and wise beyond his years.



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