Paradigm Beach

With Paradigm Beach Max Paul Maria presents his third album and this one takes a partly daring step out of the cozy singer / songwriter cosmos, even if he does not want to deny his roots and his first two albums. These are called Figurines (2016) and Miles and Gallons (2013) and appear from today's point of view very mature and still form the basis for his music, which now, however, comes up with many other elements and a different direction in parts. Musically, Paradigm Beach picks up where Figurines left off: socialized in the sound and songwriting of the seventies, there are growly acoustic guitars next to airy playful indie licks, which are, however, consistently spun into complex sound fabrics. Cautious reminiscences of the Great American Songbook, a bit of Dylan, a bit of Elton John, the Felice Brothers, the psychedelic guitar work of a Jonathan Wilson always appear, however, only hinted at as a referential gesture to delineate the respective sound cosmos of the song. The band's years with the punk band Vizediktator are reflected in edgy political pieces like 'Cops', without being afraid of an international musical language and brass-supported big pop moments à la Adele ('A Silken Thread'). Malian Desert Blues ('Sidi Ifni 1974') fits without problems next to Tame Impala meets Led Zeppelin meets Nirvana sounds ('Paradigm Beach'). With great independence, still unnoticed niches of rock music are explored here and catapulted into the now with coherent songwriting and sounds.