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NEW ALBUM "HEAVY GOLD" OUT JANUARY 29 (AUSTRIA)/ APRIL 16 (GER + CH)!
You will love it!
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The albums "Velojet", "This quiet town"and "Heavy Gold" can be ordered on:
iTunes
Wohnzimmershop
AMAZON
Of course you can also get them on our shows!
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OUR LATEST VIDEO FOR GIVE UP THE GHOST, SHOT ON 8MM!!
STORY, CAMERA: RENÈ MÜHLBERGER, EDIT: JESSICA LIND
Velojet: Heavy Gold And The Great Return Of The Stereo Chorus
“Heavy Gold” is the first part of the title of Velojet’s third album, and it was chosen prudently, since something existential shall be depicted here: The heaviness, i.e. the labour, the permanent pressure weighing on us begets the beautiful, the glistening, and finally: money – hardly anyone can do without it – and vice versa, clearly enough. What use is the best, the most original idea, if it is put into practice only half-heartedly, or not at all? We could make use of the old saying: “No pain, no gain”, but maybe it's more apt to bring into play one of the new Velojet songs: "The Money We Get Is the Price We Pay". Or, to put it differently once more: “Believe me, I don't wanna spend my lifetime waiting for the things that won't come. That weighs me down like heavy gold." ("Heavy Gold")
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The strings, a novelty in Velojet’s sound structure, were arranged by bassist and singer Marlene Lacherstorfer and Hans Wagner. The latter, together with three members of his quintet Neuschnee, contributed cello, violin and viola. Unobtrusive and by no means sickly sweet, the string arrangements are way more than mere embellishment, they are part of the songs and as such take these songs to a different level. Obviously, Neuschnee are going to be in on the next tour, and since Velojet’s live concerts are fully fledged, yet melodious rock shows, we are keenly awaiting the things to come.
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"The corridors are filled with memories / They stick with you like the smell of gasoline", run the first lines on "Heavy Gold and the Great Return of the Stereo Chorus" and set the agenda for the record. This is, if you like, a “negotiating the past”-record, one that fights fire with fire and that invokes the ghosts of the past: “The chaos came just like a ghost”, as another line reads; and in order to get a more distanced view and to observe things from without, some songwriting was even commissioned. Hubert Weinheimer contributed the lyrics to “The Great Return of the Stereo Chorus”. “I told Hubert I had to come to terms with some memories at that moment”, says René, “and wanted to have things retold by an onlooker. That way he kind of tailored the text to fit me.”
René might consider Album No. 3 as a “black, dark” record, and it might be true that it doesn’t sound as happy-go-lucky as its predecessors. But not as blithe does not mean not as bright – gleaming like gold it is, I daresay, the best Velojet record so far. With every note played and with every word sung Velojet sound exactly like Velojet; irrespective of some chord progressions that could have their origins in the Beatles and some reminiscence to Bowie in his glam-phase. It’s hardly possible to pay a greater compliment to a band. Listen and hear!
Christian Kisler, English: Sebastian Schmid
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„VELOJET sind mit ihrem dritten Album (.) düsterer, erwachsener und besser geworden. (.) Pop vom Feinsten!“
(SLAM, 9 von 10 Punkten)
„Ohne in Lärmorgien abzugleiten, wechselt das Gesamtbild oft zwischen Wave, Americana und Soft Rock. „A Hole Under Your Feet“ würde gar ins Repertoire von Oasis passen. Cool!“
(Westzeit)
„Von einem Album wie „Heavy Gold & The Great Return Of The Stereo Chorus“ ist man jedenfalls bestens unterhalten, und es birgt das Potential, ein echter Indie-Tipp zu werden.“
(Legacy Magazine, 12 von 15 Punkten)
„Indierock, straight aber üppig, überschwänglich und doch glasklar. Wenn VELOJET aus England kommen würden, wären sie als „The next big thing“ längst zu Tode gehypt worden.“
(Melodie & Rythmus)
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