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And the Golden ChoirAnd the Golden Choir
Album: Another Half Life
Label: Cargo
Tracks: 12

It took Tobias Siebert 5 years to record his incredible solo debut album "Another Half Life". The album seems to consist of two halves: The first five tracks are quiet, lyrical, melancholic and wonderful pieces of music that have an almost classical touch to them. In track 6 we wholly unexpectedly get offered an upbeat pop song: Tomorrow might bust today. Hard to believe he recorded every instrument and all the harmony vocals entirely by himself and all of them live. It's followed by New Daily Dose with a rather cheerful, catchy chorus that you want to sing along with instantly. Also the next two, Choose to Loose and Dead End Street have a good pace and a nice lively beat. With the next track, Hunter of Souls, we are led back to two more quieter songs and simultaneously to the most dramatic song of the album: Angelina, followed by the ideal final track: In Heaven. It consoles us and leaves us with the feeling all will be well in the end. Lyrically, it refers back to the opener and title song "Another Half Life".

This album is more than a row of 12 songs. It's a well-built musical journey that one man invites us to join. (It's probably due to this character of an introspective journey that I couldn't help being reminded of a substantial piece of the German classical song kanon: The Winterreise (Winter Journey) by R. Schubert.) Tobias Siebert takes us by the hand and invites us softly with his first "half song", not even a minute long. We then join and are emotionally completely drawn in by his fine compositions, his fantastic, mostly falsetto vocals, his personal and beautiful lyrics and by an amazing live sound, so natural and sometimes even a bit clumsy, clumsy in a wonderfully charming way. Maybe clumsy as a drummer, he is an absolute professional regarding to creating an entirely irresistible overall sound. He uses all sorts of sound effects, none of them produced digitally. He strictly kept to the Danish film making rules of Dogma: no corrections in the production process. So all we hear has been recorded with a multitude of instruments, all played by himself, all recorded live, no corrections. No corrections necessary though when someone knows exactly what he is doing.

Dagmar Brudnitzki