Annett Louisan - Teilzeithippie (Gold Edition) (2025) [Hi-Res]

New edition with bonus material (remix / live). Teilzeithippie is the fourth studio album by German chanson and pop singer Annett Louisan, released in October 2008.

The aesthetic, which fuels a good portion of Annett Louisan's success, dates back to a time when people in this country still talked about long-playing records and meant a coherent, self-contained collection of songs. Timelessness can and must be acknowledged, especially for the 31-year-old's fourth album. However, and this is one of the innovations after three successful albums and more than a million records sold, she no longer clings to pop chanson. A newfound nonchalance must have been the premise for Teilzeithippie. Both in Louisan's outward appearance, as well as in terms of content and, above all, in her personality – towards a perfectly formed pop song that stimulates the gut more than the head. A rediscovered lightness permeates her vision of using the German language in a pop context. With Teilzeithippie, you could say she's returned to her roots. To the woman and the girl who continue to blend within her. Evidence of this is immediately provided by the opening track of the new album, "Das schlechte Gewissen," with its allusion to Louisan's biggest single hit to date, "Das Spiel." The thematic connection to Gunnar Graewert's composition "Gekommen um zu sagen" is no coincidence; after all, it concludes with the realization that settling down ultimately only means short-term happiness.

Is Teilzeithippie characterized by hedonism? Absolutely, and in abundance! However, beneath the hedonistic surface lies a fundamentally empathetic person who, in a swinging, bittersweet country rhythm, offers the sexy loverboy tips for the time afterward. The coffeehouse shuffle "Die Siezgelegenheit," written by her longtime composer Hardy Kayser, underscores the play on shame and inhibitions with the observation that it's nice to blush when someone says something offensive to you. Annett Louisan's voice still sounds like a supporting element in each of her songs, no longer so brazenly placed in the foreground, but instead making room for a broader understanding of melody and rhythm that looks far beyond the confines of European styles.

How refreshing that Annett Louisan and her lyricist and producer Frank Ramond are exploring their collective idiosyncrasies even more this time, both in terms of content and music. A new looseness has taken hold, manifesting itself in the consumerism parody "Ich brauch Stoff" in the strutting brass arrangement, to which Louisan lends additional irony with a wide-screen pop chorus, and in "Die nächste Liebe meiner Lebens" with an almost crooner-like vocal nonchalance. The music is more aggressive and freed from formality, as the Beat Revolution of the 1960s echoed in "Ich bin gegen" underscores. The extent of revolution possible in the age of digital calendars, when one can only be hip when one isn't being good and obedient, is expressed in the title song, "Teilzeithippie," whose music was composed by Martin Galopp, a guest on Annett Louisan's last tour. Louisan's most beautiful love song to date is also embedded in the Canadian's music, which, after all the experimentation in matters of love and sex, closeness and distance, ends with the realization "Auf dich hab ich warten." The first single from the new album is "Drück die 1," composed by Alexander Zuckowski.