Sabrina Ascacibar Bill & Eve

1-CD Digipak (4-plated), 9 tracks. Total playing time approx. 29 mns.

• ‘Bill & Eve’ is waltz, milonga, blues, chanson, rumba – quite a wild mixture.
• In all these songs Sabrina Ascacibar caresses, hurts, spoils us with her voice, and yet she never looses her authenticity.

Bill & Eve are driving through the night. A goner calls out for redemption. Three men are leaving St. Domingo never to return.
Eve takes her revenge by singing the blues. Later she spends the night with a taxi driver. In the depth of the sea a mermaid devours
her beloved.

Sabrina Ascacibar`s new album is even more surreal and surprising than the previous two, ‘Ahoi!’ and ‘Wo Bist Du?’
The theme in ‘Bill & Eve’ is again “travelling” – or, to be more precise, it`s about being on the road but never arriving. The road
is a symbol – like life, it`s about the journey, not the destination.

Musically, it is waltz, milonga, chanson & blues – quite a wild mixture. This is music that transports you from one place to another,
and creates the space for your imagination. “There are many ways to live and love” …says Ascacibar.

Sabrina Ascacibar, born in Dakar (Senegal), brought up in Buenos Aires, studied acting in New York. Today she lives in Hamburg,
Marseille and the north of Spain – we can hear her theatrical background in her music, and also her South American roots. She
sings, speaks, breathes in many different languages: English, German, Spanisch, Italian, French. The characters in her songs are
presented in a clear and poignant way.

In all these songs Sabrina Ascacibar caresses, hurts, spoils us with her voice, and yet she never looses her authenticity. Sometimes,
briefly, she seems to give way to others, like Tom Waits or Edith Piaf, always using the right moment for it. She is unpredictable,
sometimes playful, daring. As we follow her, we sense that she encourages her spectacular musicians to do the same.
There are magic moments at the Sendesaal Bremen, where these performances were recorded live in 2012 and 2013.

Guitar & banjo: Sönke Rust
Bandoneon: Christian Gerber
Drums: Andreas Prögel
Contrabassoon & bass: Henning Stoll
Voice & guitar: Sabrina Ascacibar


Track Listing:
Bill & Eve • La llorona • Bang Bang • Santo Domingo • Dialogue • Bill • Pick up • Dansons la valse • Los ejes de mi carreta 

Bill & Eve – the title song: Eve is standing at the roadside with a bottle of gin in her hand. Then Bill drives along and says: “Get in the car, you make sense.” That`s strong, and it makes sense; you travel with them for 5000 nights. The music is good. Banjo,bandoneon, an unusual combination, but it works. It sounds like a roadmovie sound- track. So far everything seems to be alright but then somehow the road takes an unexpected turn. 

La llorona – a Mexican traditional: a goner is begging to the Llorona, a mysterious mythological figure in South America. They say she wanders around the streets at night weeping and looking for her chidren that have been killed. 

Then we find ourselves in a Spaghetti Western: Sonny Bono and Cher`s Bang Bang (“My baby shot me down”), but in Italian. A shim- mering guitar, High Noon. Children are playing, they shoot at each other, dust on the road, that`s how these children play. Is it all real? Eve bursts out in anger. 

Santo Domingo – an old German Schlager, sung in the sixties bei Wanda Jackson, No. 1 on the charts in 1965. Sabrina Ascacibar pre- sents it as a little existential emigrant story with a rumba rhythm and a twinkle in her eye. 

Bill is a blues with contrabassoon, guitar and bandoneon – Eve’s pas- sionate retaliation with Bill. 

In Pick Up Eve orders a taxi, but not for the first time. She ends up gi- ving herself up to the driver. “....start the engine slowly and I`ll sit on your lap....” An old school ragtime. 

Dansons la valse is a song written by 17 Hippies, a band from Berlin. A dreamy waltz – A mermaid honey-traps her lover into the deep water to devour him. Tremolo guitar sounds with a breathless ban- doneon solo. 

Los ejes de mi carreta, the last song, a milonga campera from the Argentinian composer Atahualpa Yupanqui: the best company of an old man travelling on his wagon is the squeaking noise of his cartwheels. “Everybody tells me to anoint the wheel axles of my cart. Why should I, when I like the company of this noise.” The road is long...

Sabrina Ascacibar

Ascacibar - sounds like the South Seas, salt water and tropical islands. Longing, soul-sellers and port divestments. Maritime, through and through.

No wonder she starts to sing from the sea sometime, her ancestry is full of sailors, captains, freebooters and adventurers. The sea was literally thrown into her cradle.

This is exactly what Sabrina Ascacibar sings about, and she does it with a passion and a devotion and honesty as if she were the reincarnation of Lale Andersen on the Bounty.

For over 70 minutes Sabrina Ascacibar takes us to the ocean, up to the starry sky above, and back down to its depths. She is sometimes the pithy sailor, sometimes the coquette sailor's bride, sometimes the shy but dangerous mermaid, an expedition through the musical setting of shipping at all times.

Pre-war maritime hits or hits of the conservative 1950s, and from La Paloma to Aloha Oe, from the old song to the new tearjerker, much is woven into a sounding, colourful mosaic. Fine sailor's yarn, sewn with little poems, anecdotes, full of poetry, wit and myths. Modernized, with electric guitar, electric bass and electric harmonium and analog keyboards, but not overdriven by electronics, samples, digitality. Novel, but deeply nostalgic, yet melancholy and cheerful at the same time.

And it's about hope, the hope that the pop song also wanted to convey in difficult times. A little unsuspecting diversion amidst all the rubble. Ascacibar wants to rehabilitate the often frowned upon songs of the time after their demise, and literally plucks them to pieces with the changeability of their octave-rich organ. Freddy Quinn's famous Mary Ann gets a somewhat rebellious rubbing voice, Lolitas sailor, let the dreaming be desculpted by stirred slide guitar.

She slips into a full soprano of the radio years, interpreting Iradiers La Paloma as Edith Piaf sang a duet with Nina Hagen. And in between big opera and small bourgeois ballads, light-hearted jazz elements and casual shower songs. All the classics, from classic to over-excited, just now and here.

The moving waltzes in Spanish, the sultry tangoes in German, the Caribbean Habaneras, plus spherical thunderstorms of sound under water and a little lullaby at the end. "Too much modernization," she says, "does music no good, its yearning sound, its depth and heaviness.

"The Hamburger Morgenpost raved about Sabrina Ascacibar's maritime Kammerrevue. "Wonderful", judged another great pop nostalgic: Ulrich Tukur. There were real applause from the demanding Hanseatic audience, night after night.

Sabrina Ascacibar tells more sounding stories than just singing. However, the fact that she is now moving to sea is not just a facet, it is almost the vocation of the sailor's descendant. The most beautiful declaration of love to the sea in a long time!

 

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