Because You Wouldn't Play Tennis With Freddy
by Princessin Hans
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Digital Album
Immediate download of 10-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.Buy Now €9 EUR or more
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Limited Edition CD with Screenprinted Cover
The genuine article! Eerie, lush designs screenprinted by Swiss artist Tatjana Erpen - each individually numbered copy is a unique piece of art in a limited-edition run. Each is assembled by hand by the band themselves. The industry-quality disc was produced by Sony Austria, and each copy comes with a booklet insert by Berlin designer Fritz Grögel with full lyrics and liner notes, and which opens out to a poster format.
Includes immediate download of 10-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire. -
1. |
Unsatisfying Ending
01:40
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2. |
Costumed Love
04:39
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3. |
Frauenschlachter
03:52
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4. |
Tennis With Freddy
02:45
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5. |
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6. |
Drunk
03:54
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7. |
Naufrage
03:45
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8. |
There, There
05:24
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9. |
Slowly Growing Deaf
02:55
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10. |
Radfahren
03:33
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about
"A punch-up between Antony Hegarty and The Sex Pistols who have become the biggest queer proponents of Berlin chanson."
Zitty, November 2011
“[Princessin Hans] don’t only know how to counteract clichés, they also know how to write topnotch melodies and have a knack for offbeat arrangements.”
taz, June 2012
ALBUM REVIEW
A new genre needs to be created for Princessin Hans: Queer Jazz. And "queer" can just be crossed out again straight away - the music is simply good Jazz. The album, with its unwieldy rejection in the title, impresses on so many levels. Hans Kellett (vocals) and Jörg Hochapfel (musical genius) have recorded an album that strikes every mood, and which oscillates between the grave and the beautiful, between broadly grinning and deeply touching.
The musical arrangements are complex but never narcisscistic, playing adeptly between chanson, jazz ballad, polka and improvisation. Han's voice is sometimes a force of nature, sometimes as carefree as Sally Bowles, and then once again fragile like an old, beautiful, cloudy glass in the garden shed.
All of this is the pervasive strength of the album: Princessin Hans have the grandeur, the skill and the neccessary panache to become the Next Big Thing - and act of the kind we haven't heard since the early Georgette Dee. At the same time they are fresh, vivacious and up-to-date, Berlin and international.
What would Sally Bowles be doing these days? She'd surely be Princessin Hans' greatest fan!
Text: Didine von der Platenvlotbrug
Hugs & Kisses, April 2012
Zitty, November 2011
“[Princessin Hans] don’t only know how to counteract clichés, they also know how to write topnotch melodies and have a knack for offbeat arrangements.”
taz, June 2012
ALBUM REVIEW
A new genre needs to be created for Princessin Hans: Queer Jazz. And "queer" can just be crossed out again straight away - the music is simply good Jazz. The album, with its unwieldy rejection in the title, impresses on so many levels. Hans Kellett (vocals) and Jörg Hochapfel (musical genius) have recorded an album that strikes every mood, and which oscillates between the grave and the beautiful, between broadly grinning and deeply touching.
The musical arrangements are complex but never narcisscistic, playing adeptly between chanson, jazz ballad, polka and improvisation. Han's voice is sometimes a force of nature, sometimes as carefree as Sally Bowles, and then once again fragile like an old, beautiful, cloudy glass in the garden shed.
All of this is the pervasive strength of the album: Princessin Hans have the grandeur, the skill and the neccessary panache to become the Next Big Thing - and act of the kind we haven't heard since the early Georgette Dee. At the same time they are fresh, vivacious and up-to-date, Berlin and international.
What would Sally Bowles be doing these days? She'd surely be Princessin Hans' greatest fan!
Text: Didine von der Platenvlotbrug
Hugs & Kisses, April 2012
credits
released 25 February 2012
All songs written and produced by Jörg Hochapfel and Hans Kellett
All lyrics written by Hans Kellett, except ‘Frauenschlachter’ by Gerta Fahrngruber and ‘Tennis With Freddy’ by Jörg Hochapfel and Hans Kellett
Lead & backing vocals, musical saw: Hans Kellett
Piano, bass guitar and vocals: Jörg Hochapfel
Cello: Karsten Hochapfel (Tracks 7 and 10)
Cello: Dave Sills (Tracks 1, 2 and 5)
Drums, percussion: Rudi Fischerlehner
French horn: Samuel Stoll
Guest vocals: Suki Osman
Tap dance: Xania Keane
Trombone. Geoffroy Dabrock
Vibraphone: Charlotte Birkenhauer
Whip: Jasco Viefhues
Recorded by Tito Knapp @ Eugen Studios, Berlin
Additional recording by Uwe Haas (www.uwehaas.de)
Mixed by Uwe Haas
Mastered by KimKen (www.kimkenstudio.com)
Album illustration and screen printing by Tatjana Erpen (www.tatjanaerpen.ch)
Album booklet by Fritz Grögel
CD layout by Julia Friese
All songs written and produced by Jörg Hochapfel and Hans Kellett
All lyrics written by Hans Kellett, except ‘Frauenschlachter’ by Gerta Fahrngruber and ‘Tennis With Freddy’ by Jörg Hochapfel and Hans Kellett
Lead & backing vocals, musical saw: Hans Kellett
Piano, bass guitar and vocals: Jörg Hochapfel
Cello: Karsten Hochapfel (Tracks 7 and 10)
Cello: Dave Sills (Tracks 1, 2 and 5)
Drums, percussion: Rudi Fischerlehner
French horn: Samuel Stoll
Guest vocals: Suki Osman
Tap dance: Xania Keane
Trombone. Geoffroy Dabrock
Vibraphone: Charlotte Birkenhauer
Whip: Jasco Viefhues
Recorded by Tito Knapp @ Eugen Studios, Berlin
Additional recording by Uwe Haas (www.uwehaas.de)
Mixed by Uwe Haas
Mastered by KimKen (www.kimkenstudio.com)
Album illustration and screen printing by Tatjana Erpen (www.tatjanaerpen.ch)
Album booklet by Fritz Grögel
CD layout by Julia Friese
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"Princessin Hans" is a band from Berlin with core members Hans Kellett (vocals) and Jörg Hochapfel (piano). Hans has been active in the Berlin queer and punk scene since 2003 and was described by the French press as "the perfect mixture of Pamela Anderson and Rasputin" after performing at Moulin Rouge, while Jörg spent the past years ignoring the borders between Jazz, Pop and Experimental Music. ... more
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