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   Betancorband: Hispanoid: Presscuts

[Tracks]   [Info]   [Press]    [Order CD]



Release Date: 17.03.2006
EAN/UPC: 705304658925
TT Catalogue No: 4487


  • "In the Mid-West of Germany the Popette Betancor (the definite article is part of the name) is well known because she belongs to the notables of the cabaret scene. Who ever saw her live never forgets her. At her shows she plays the trumpet and with her Betancorband she also makes music. Music that abruptly stops with the words „I interrupt here“. Of course that’s silly but at the same time full of verve and passion. Who for example always wanted to see Funny van Dannen with his whole band won’t go wrong with the Popette Betancor. Songs like „Universal Tellerwäscher“ could – despite the tango rythm – be written by her (but it’s from the „Sterne“). Betancor’s own songs aren’t just funny and absurd but are full of precise details and every day life observation. The small but brilliant Betancorband scrimmages in various music styles. And „Material Girl“ from Madonna in german is a hit."
    Jazzthing, Rolf Thomas, april 2006

  • "Meanwhile one gets used to the fact that it’s more or less impossible to classify anything in the music business. Everyone poaches where and how he can. That’s why a chanson singer can afford to operate under the name „Popette“ and at the same time call herself cabaret artist or marginal cover artist with cosmopolitan ethno influences. Mrs Susanne Betancor comes from the Mid West of Germany and now lives in the capitol. And that’s why it perfectly matches to arrange the current repertoire in an international way and amalgamate it with german lateral thinking. One moment Mrs Betancor is a Cindy Lauper with Cha-Cha-ambitions the other one a german Grace Jones, that picks up Piazzola, avowedly integrates Neil Young in her compositions, slates the good old argentino master Gardel by interpreting his music in surf style or successfully rearranges Elvis Costello. Sometimes it might appear as being on the verge of cabaretistic fooling but it’s never superficial. She definetly masters the high art of musical mutability. That’s why you just have to like this german-spanish conglomerate on the basis of quirky pop if not loving it."
    www.sound-and-image.de, april 2006

  • "Drunken western hero meets bossa nova rythms. That’s how you could briefly describe the new album of Susanne Betancor, better known as the Popette Betancor.
    The Popette now simply calls herself Betancor, to be precise: Betancorband. That already shows us that something is different. And we get to know what it is pretty quick. It’s because the former predominant instruments piano and trumpet now sometimes are replaced by perfectionist jazzy electric guitars, sometimes by strumming steel guitars. But it works. It sounds like a drunken western hero at the camp-fire who you quickly embosom."
    aviva-berlin.de, Silvy Pommerenke, 14.3.06

  • "The Popette tells strange stories about bizarre contemporaries, we already know her for that. But never before did she wash so maturely between tango, blues and latin rock..."
    TIP, march 2006

  • "The Popette found her place – as the minnesinger of a damaged idyll."
    Abendzeitung

  • "A sentence that suffices to cave in an idyll. But that’s how it is in art as it is with beauty: It just starts to get interessting when it grits. And Betancor throws a spanner in the works of banality with particular delight."
    Hamburger Abendblatt

  • "...and if sometime an exemplary creation of the human race will be shot into space: her work will be part of it."
    Bonner General-Anzeiger

  • "She doesn’t know fear of enemies. Her musical sophistication protects her like a bullett-proof vest."
    Kieler Nachrichten

  • "Something different is the appearence of the half-spanish ex resident of the city of Essen Susanne Betancor who after a respectable odyssey through the cabaret-scene has now settled down in Berlin. With a compact and tight band she brings her chanson-burger with bar-jazz-soda, pop-caviar and a little bit of texmex chilly to the night-time takeaway. The good old mixture of kitsch, elegance and intelligent lyrics is still tasty and when you just start to wallow in a song a pitfall opens up. No discount-cynicism but healthy sarcasm, if anyone still knows the difference. All of that joined by highlights of pop-history: unusually good and hot covers of Piazzola, Sterne, Madonna and Costello."
    www.terz.org


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