Alwa Glebe

Alwa Glebe was born in Hannover (Lower Saxony, Germany). During the 1980s she spent some time in San Francisco, Glasgow, Hamburg, Kiel and Berlin before she moved to the South of Germany. Alwa Glebe has been active on the music scene since the late 1970s. In 1979, she formed the German-British New Wave band Index Sign, released two albums with the legendary NO FUN Records and went on tour with the Scottish band Simple Minds. She was involved in several music and recording projects in and outside Germany before she studied design in Hamburg and philosophy and German literature in Hannover and Berlin. In 1993, she published "poems", a now out of print collection of verse. From 1997 to 1998 she recorded her first CD album "debüt", released in 1999, and from 2000 to 2004 her second CD album "Will-o'-the-wisps" (in German, "Irrlichter") which was released in 2005. In April 2006, Cuptose records re-released "debüt". She is currently working on her third CD album to be released later this year. (REVIEW (Michael Wozny, Virus Mag, New York, July 24th, 2006) - - - As our world grows more chaotic and depraved, the otherworldly voice of Alwa Glebe becomes all the more enchanting. And if "Debüt" is less isolated and untouchable than "Irrlichter", it is never less than perfect. If anything the moments of warmth on "Debüt" act as bridges into Alwa Glebe's soundscapes.Originally released in 1999, we are re-introduced to Alwa Glebe's "Debüt" after the flawless "Irrlichter". "Debüt" is a serene emotional travelogue, which taints you with it's ten portraits. All of them containing Alwa's icy strain of melancholy but also warmer familiar musical elements to capture the listener. Like a ghost holding a lollipop, their is well placed ear candy to give "Debüt" an odd balance. Starting with the slow and mirthy "Destiny", the pattern is established. The voice and piano are accompanied by a marching beat and warm heavy bass. Familiar elements that bring the listener to the remoteness of Alwa's voice. The music bridging the distance between performer and audience. The music carries this pattern throughout "Debüt". "Sinn", relies on a steady new wave drum machine, then leads into an almost chill out room piece. "Anfang", allows a tango introduction to weave an accordion throughout the song. It's upbeat tempo lasting until the brief piano ballad "Trauer". "Trauer", a lone piano and voice song reminiscent of Diamanda Galas, is aided by adding a trace of whimsy to the starkest track. "Erkenntnis" brings us back to the suave and spartan groove of David Sylvian. "Liebe" relies on a bell chime, that brings thoughts of snow and children's fables to our memories. "Melancholie" allows a whispher of congas to hide underneath the heavy dungeon swing of the bass line. A sliver of Ry Cooder style guitar allows the wandering "Glück" into human but chilly deserts. "Nichts" the sorrowful acappella intro is faint and momentary, before adding shuffling beats and guitar. "Ende" a piano ballad that is isolated and desolate is also hymnlike, lending a familiarity and closure to "Debüt". Their is no hiding the deep seated sorrow of Alwa Glebe's voice, but on "Debüt" the familiarity of the musical elements, allows you to find a ghost inside of you. "Debüt" is a temporary respite from the noisy and disorganized world. It's transportational tool is Alwa Glebe's voice, which taints the listener because it is so uncommon and unforgettable. Although there is no other albums to re-release in six months time, Alwa Glebe is scheduled to perform songs from both "Debüt" and "Irrlichter" in 2007. I humbly await the respite.Alwa Glebe possesses the voice of an apparition. And on "Irrlichter" it passes through the deep grooves and minimalist arrangements to leave the listener feeble and desolate...The nine songs on "Irrlichter" weigh in at a brief but complete 43 minutes. The duration spent with the understated and tasteful 80s imbued post rock buoying the inconsolable nature of Alwa Glebe's lament. There is no need to comprehend German to understand the melancholy seduction inherent in her songs. In fact not understanding the language might prevent you from succumbing to despair. The startling and chilling sound of the unearthly voice of Alwa Glebe is so definitive that it can't help but define "Irrlichter". A variety of sounds and tempos are subservient to Alwa Glebe's voice. Brushwork and cymbals on "Was wäre wenn", jangling ringing guitar on "Irrlichter", and polyrhythmic percussion on "Nichts ist mehr, wie es war" - these sounds only provide vessels for the dire ethereal sound of Alwa's voice. Sometimes the music reinforces or provides counterpoint to her voice but never do they eclipse it. On "Komm mit mir", she playfully whisphers words over seductive rhythms pounded on echoing wood chambers. The result is a encompassing womblike structure that is then punctured by icy drone dispatches. Or the dance feel of "Wahnsinn" that is brusque and urbane which is utterly negated by the slow droll lyric delivery. The feeling of an abrupt passenger standing still in the opposite direction of traffic during rush hour, simple and confrontational. The album closer "Ich weiß" is perhaps the ultimate display of her voice. On it the hurried near mumbled delivery is so fast that it functions as vocal and percussion. The only thing that can offer a rivalry for her unique talent is herself. A perfect portrait of desolation, "Irrlichter" should be sought out by listeners whose tastes veer towards Anna Domino, Marianne Faithfull, Grace Jones or Nico.(REVIEW, Michael Wozny, Virus Mag, New York, 09 Feb 2006)