Gustav Gurke – Von Sternen und Scherben

Basel-based artist Gustav Gurke spreads his sonic vision across ten tracks. Admittedly, it’s not particularly complex; after one or two songs, you’ve probably got the hang of it. Straightforward synth-soaked pop compositions merge with the quirky poetry of German indie bands in the tradition of Tocotronic or Die Sterne. These are observations of everyday life, cleverly written with a pinch of satirical sharpness.

Somewhere between pop and 80s flair, Gustav Gurke often finds a melancholic, wistful core. A sound we know from artists like Drangsal or Betterov—or, to invoke a legend, Falco. Just a little more kitschy.

But that’s not necessarily a bad thing, which is why I let Claudius Skorski, as Gustav Gurke is known in civilian life, soothe my ears with his everyday poetry. He tells of robot lawnmowers and the decline into bourgeois mediocrity, of wannabe rebels in Calvin Klein underpants, of longing and love.

And yes, at this point, it’s certainly worth questioning why I’m writing about Von Sternen und Scherben at all, given that its essence is German poetry and I’m reviewing it in English.

**Gustav Gurke begs the questions: When does irony become cringe?** Credits: Rosa Knecht

But as I listen to the often pumping and driving Schlager beats on the album, I find myself wondering: when does irony become seriousness? And have we taken this irony, with which we keep everything at a comfortable distance, too far?

But even with Gustav Gurke, I’m not sure if a definitive answer can be given here. His music, which is so appealingly catchy precisely because it plunders Neue Deutsche Welle and Schlager with such relish and shamelessness, is not entirely self-assured. There is an ironic wink that reassures the inclined millennial that they can still celebrate the ‘boomer sound’. When does irony become cringe?

At the same time, the album’s appeal also lies in its satirical exaggeration, the intelligent sister of irony. And here, Mr Gurke often hits the nail on the head, or rather the sore spot. Celebration and food for thought at the same time—even if it’s just a debate about the necessity of irony.

Von Sternen und Scherben sometimes shines brightly in the night sky. Roborasenmäher, Eis, Krokodil and Lass mich nicht im Regen stehen are crisp and compelling tracks. Here, the biting commentary, relatable observations, and the captivating compositions create colourful explosions.
These are joined by songs that don’t reach quite such heights, but don’t fall completely flat either. (Sidenote: You can track the development of the album opener since there is an early version of Blütezeit on YouTube, performed by Gustav Gurke & Peter Paprika.)

All in all, a solid work, a good debut album, and that’s why I’m giving it four out of five stars. However, one thing is clear: either you like the sound... or you loathe it. But you have and should try it out, so you know in which camp you belong.