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METROPOLITAN SUITE

MARTIN HALL/CHRISTIAN SKEEL
CD
MARTS 2001
MNW (MNWCD361)

Metropolitan Suite er et klassisk orkestreret værk, som Martin Hall i 2001 udgav i samarbejde med billedkunstneren og musikeren Christian Skeel. Pladen var Hall’s første udgivelse siden det guldplade-sælgende Boel & Hall-album.

Albummet indeholder 25 musikalske fin de siècle-vignetter. Elektriske instrumenter var bandlyst under indspilningerne, en arbejdsmetode der sikrede albummet sin eksklusive wieneratmosfære.

1. My Argentine Rose (1:52)
2. Opium and Sugar (1:10)
3. Stating the Obvious (1:17)
4. Plaza Flesh (2:31)
5. A Vulgar Display (1:42)
6. She’s My Goodbye Europe (0:58)
7. Unzipping the Abstract (1:11)
8. The Moon’s a Balloon (1:24)
9. The Mephisto Effect (1:36)
10. An American Tragedy (1:04)
11. Walking on Eggshells (1:59)
12. Natives of the Gutter (1:10)
13. Animal Emotion (2:04)
14. The Circus Comes to Town 2:18)
15. Young, Vain and Beautiful 1:52)
16. Pieces of Venice (1:23)
17. In Chambers (1:13)
18. Subject to Injury (0:51)
19. Pink and Fuzzy (1:03)
20. Eichstadt (2:23)
21. A Lonely Impulse of Delight (0:44)
22. Pristine (1:27)
23. Greed (2:10)
24. A Résume Highlight (0:35)
25. Tomorrow Belongs to Me (1:14)

MY ARGENTINE ROSE

She’s a cool breeze of discontent
She’s like a story that never ends
She’s my Argentine rose
She’s such a delicate rose

See the twenties within her eyes
Eternal stardust that never dies
She’s my Argentine rose
She’s such a delicate rose

She’s my melancholic maybe
Come and save me
Come and set me free

OPIUM AND SUGAR

Don’t flatter yourself
You died a long time ago
Opium and sugar helped me along

Now my heart is closed
To your bourgeois repertoire

So
I know your face
But no
I can’t relate
To the things that you say

STATING THE OBVIOUS

Hey
I don’t know what to do
I’ve
Fallen in love with you

Would you mind if I stated the obvious?
Would you mind if I did it again?
Would you mind if the sky fell apart?
Left us caught in the thunder and rain

Hey
I don’t know what to do
I’m
So in love with you

PLAZA FLESH

Show me your true desires
Show me your plaza flesh
Pictures of people dying
Seem to have no effect no more

I don’t really give as much as a toss anymore
I just want to hide away, never beg anymore
I don’t really count the days or the hours anymore
‘Cause she’s gone, gone, gone, gone, gone
‘Cause she’s gone, gone, gone

Come now, inject the daylight
Come here, each little girl
At first, I just want to kiss you
But then I want it all
I want excess
Your plaza flesh

A VULGAR DISPLAY

I don’t know where to start
Never ever seen such a vulgar display
Losing mind, losing heart
Never ever want to fall in love again

No new sights to be seen
Sailing on the ocean of arrogant dreams
Chasing nightmares away
Trading any reason for lost yesterdays

Don’t spread your stars
Around this perfect moon
Don’t spread these stars
Around this perfect moon

SHE’S MY GOODBYE EUROPE

She’s my goodbye Europe
She’s my goodbye to the world
She’s my goodbye Berlin
She’s a goodbye to a thousand girls

UNZIPPING THE ABSTRACT

I believe in sincerity
I believe in it all
I believe in the good life
I believe in encores

I believe in forevermore
More and more

I’m unzipping the A-B-S-T-R-A-C-T
The libido-re-mi-fa-sol

THE MOON’S A BALLOON

The moon’s a balloon
That hangs in the room
The moon’s a balloon
All broken and blue

Where will it be tomorrow?
Where will it be by then?
Where will it be tomorrow?
Where will it end?
Where will it all end?

THE MEPHISTO EFFECT

Now that you’re losing yourself
Now that you’re so far away
I want you to leave me
To never believe me

Now that your porcelain skin
Is cracking apart from within
I want you to love me
Forever think of me

Licking your sugartrace skin
Stirring up one final scene
To ensure and correct
The Mephisto effect

AN AMERICAN TRAGEDY

Your mouth’s so open your brain spills out
You’re everything I can do without
But I love you
For a moment
Of despair

When Johnny comes marching home tonight
He’ll find his beloved in tears of delight
She’s wearing that beautiful smile again
Cause I loved her
And I left her
To him

WALKING ON EGGSHELLS

Walking on eggshells
Finding my way to you
Midnight in Dresden
It’s such a depressing view

From Café du Monde the music still flows
All the way back to Rwanda dust roads

But where are you now?
Where are you?

I can’t seem to find myself
I can’t seem to find nobody else

NATIVES OF THE GUTTER

Never thought that I’d lose you again
To the thunder of the open day

Never two of a kind, me and you
Natives of every gutter we choose

ANIMAL EMOTION

I want to reach out and grab any pink cloud
I want to shoot them all down
I want to put you inside of that pink cloud
I want to push you around

Gonna show you animal emotion
Gonna show you automatic motion
Gonna raise a little locomotion now

I want to show you invisible cities
I want to waste images
I want to ride into sunsets on horseback
I want the world in a kiss

THE CIRCUS COMES TO TOWN

The circus comes to town
Ballerinas and clowns
Nothing new but the pain they provide for us all

I don’t give second thoughts
To the waves of applause
Pop a valium and chill
Art for art’s sake and the thrill
When they all end up crying and sad

I feel so glad
I feel so gay and marvellous
I feel refreshed for all of us
I feel like I am someone else
Someone better than myself
But then I’m not

What about me?
What about you?
What about us?
What are we going to do?

YOUNG, VAIN AND BEAUTIFUL

Young, vain and beautiful
For you I’d change it all
Your oral services

See you
Nowhere
But where my heart is

All blue
For you
For me too

PIECES OF VENICE

Hey-hey
Get a sailor and a priest
Hey-hey
Tame the world beneath my feet

Pieces of Venice
Pieces of Venice
All cool and mellow
I told you I’d love you
I’d love you
I’d love you

Is it Paris in the spring?
Hidden underneath your skin
Is it just another dream?
Hidden nowhere even near you?

Hey-hey
Be a soldier for a day
Hey-hey
Keep the enemy away

So alcoholic
So diabolic
So metastatic

IN CHAMBERS

We’re in chambers
Just like you wanted
We’re alone now
Until the end
Can I ask you that single question?
Can I ask you not to pretend?

SUBJECT TO INJURY

She’s so subject to injury
She’s so frail

Poor impulse control
They just don’t care how old she is

PINK AND FUZZY

Pink and fuzzy
Carved out of make-believe
Dreaming of good times
Working in coal mines
Breaking my heart

Pink and fuzzy
Not that you need to be
I’ll pay you off

A LONELY IMPULSE OF DELIGHT

A lonely impulse of delight
Raising Cain down the borderline
I don’t know, I don’t know
Words of the virus and words of the host
I get so tired without even trying

PRISTINE

I can’t forget
The words you said
Your voice, so loud
Your talk, so foul

Maybe the sea will hush my heart
Maybe the sea will wash away the stars
Within your eyes

Pristine
The mother of bad things
Pristine
Conveyor of nothing
Pristine
I never believed you

Pristine
Pristine

The day will come
My will be done
Forevermore

GREED

Famous last words
A playlist encore
Lips red as blood
Give me some more

Bad gene behaviour
Seems like my saviour
Hunting and shooting
Your tinseltown beauty

Love me for me
Love me for my greed

With pockets full of stars
Forgetting who you are
Your imitated gods
Were never quite enough

And these mighty dresses
A photographic session
With jazz age believers
The skyscraping feelings
Where have they gone?

TOMORROW BELONGS TO ME

Thunder on the sky
I wish it’d last forever
Caught within the night
You don’t know what it means to me

Set ablaze any sails
Aragon, Mandalay
Now I know that tomorrow is mine
Yesterday’s far away
Nothing left of today
But I know that tomorrow belongs to me

“Et eksklusivt værk … En højstemt europæisk sangcyklus.”
Politiken – Kim Skotte (25. marts 2001)

“Halls stemme er mere nuanceret og kropslig, end jeg erindrer nogen sinde at have hørt den … Et gribende komponeret og smukt forløst projekt.”
Information – Ralf Christensen (27. marts 2001)

“Martin Hall har til alle dage tilhørt den kategori blandt danske kunstnere, som aldrig har leflet for publikum eller tilfældige trends. Dette er ubetinget en styrke, og det har gennem årene resulteret i en stribe anderledes udgivelser. Hans aktuelle Metropolitan Suite er ingen undtagelse … både spændende og fremadrettet.”
( * * * * * )
Jyllands-Posten – Uffe Christensen (27. marts 2001)

“Martin Hall overgiver sig aldrig og har på mange måder med sine højstemt filosofiske tekster og insisteren på følelsen i sangstemmen og afsendelsen i hvert eneste projekt vist sig som en modig kunstner, der går sine egne veje. Også på dette overraskende personlige syngespil for kirkerøst og kammerorkester.”
Berlingske Tidende – Per Reinholdt Nielsen (27. marts 2001)

“En sand æstet: Hans CD er meget forfinet … Glimrende.”
Aktuelt (27. marts 2001)

“Det er utrolig flot – og også lidt dekadent – musik, som Martin Hall har lavet. Den er kraftig inspireret af klassisk musik, og hvert enkelt nummer er spækket af følelser og stemning.”
Kalundborg Folkeblad (31. marts 2001)

“CD’en er det første, vi hører fra Martin Hall, siden succes-samarbejdet med Hanne Boel. Metropolitan Suite ligger langt fra denne popplade, for suiten, der består af 25 musikalske vignetter, er et klassisk instrumenteret værk produceret af lyd- og billedkunstneren Christian Skeel. Sammen har de skabt et værk, der afdækker musik, danskere ikke tidligere har betrådt …”
Aarhus Stiftstidende – Uffe Normand (1. april 2001)

“Martin Hall er en ener. Dansk musiks svar på filmens Lars von Trier …”
Fyns Amtsavis (6. april 2001)

“En fremmed, men kvalitetsmæssigt højt placeret fugl i det danske musikliv.”
Vejle Amts Folkeblad – Erik Andresen (21. april 2001)

“Ein aussergewöhnliches Werk …”
(10/10)
Schwarzeseiten (26. april 2001)

“Ett verk … Dekadent.”
Musikindustrin (25. maj 2001)

“Mycket begåvad … Hall trivs bäst på den tunna linjen mellan patetisk och geni, denne gång lutar det åt geni.”
( * * * * )
Västerbottens Folkblad – Carl Rehnberg (29. maj 2001)

“Man ledes i de 25 numre gennem alt fra forelsket patos og overstadige emotionelle festfyrværkerier til sarkastisk vrængen og direkte uhyggelige, frysende lydlandskaber. Musikken skaber rum, der giver Martin Halls stemme væsentlig mere udfordring, end den har fået længe, og det udnyttes … Når historiebøgerne skal skrives, vil Metropolitan Suite mageligt overskygge en hel hylde fuld af Danish Music Awards.”
Geiger – Rasmus Steffensen (juni 2001)

“Konst med pretentioner: Martin Hall er så pretentiös, at man skulle kunna storkna. Nej, sluta inta at läsa! Observera orden “skulle kunna…” Vad Martin Hall gör, oavsett om han ägnar sig åt musik, litteratur, och/eller konst (ofta samtidigt), är at han ställer krav. Han har pretentioner: båda på oss, som tar del av hans konst, och på sig själv, som mångkulturskapara. Han har en brinnande uttrycksvilja og en lika brinnande tro på att det han har at uttrycka är viktigt. Det måsta ut! Han är en evig eld, som plötsligt och plötsligt och plötsligt flammar up … Högre kvalitet har knappast någon dansk popinspelning nått up till. Årets album … ”
Kvällsposten – Bengt Eriksson (20. oktober 2001)

Christian Skeel: Flygel
Martin Hall: Vokaler
The Vista Dome Ensemble: Orkester

Design: Kenneth Schultz
Foto: Casper Sejersen

Mindre end et år efter Martin Hall’s guldsælgende samarbejde med den danske sangerinde Hanne Boel udgav Hall og Skeel albummet Metropolitan Suite, et “labour of love”-projekt der havde taget de to herrer tre år at færdiggøre.

Med titler som “Walking on Eggshells”, “Unzipping the Abstract” og “Plaza Flesh” var varedeklarationen klar – dette var en lystbetonet opdagelsesrejse ind i vaudevillens og kammermusikkens litterære forgreninger, ikke en hitlistesøgende samling popsange.

Projektet var med Halls egne ord den perfekte opfølger til Boel & Hall-succesen, men trods mange fine anmeldelser var Metropolitan Suite selvfølgelig dømt til at forblive en nicheudgivelse. Sagt på jævnt dansk så var projektet måske nok en kunstnerisk triumf, men ikke desto mindre en kommerciel katastrofe, der kostede hans nye pladeselskab MNW en del penge.

Albummet bød på en enkelt single, “My Argentine Rose”, der indeholdt det instrumentale bonusnummer ”Pantomime Bloodline”.