Although the songs are in German, the language barrier barely matters – Raabe has a knack for creating the kind of music that entwines the listener into a reverie of melodious proportions. The album plays out like a stage production or play, the songs all unfolding as new chapters of a story. At times, certain songs seem to blend in together, but Raabe somehow makes that add to the appeal of the record; instead sounding bland, Kuessen Kann Man Nicht Alleine sounds uniform and cohesive, further establishing the theatre-like experience of the record.

The title track is a fun and upbeat, with Raabe demonstrating the pop cabaret style that he has perfected. The next three songs do not have defined edges and almost sound more like one long serenade, but that doesn’t take away from the songs themselves. “Ich Bin Nur Wegen Dir Hier” is grand and orchestral, and while it’s not too layered or overly produced, it still hits the mark. “Du Weißt Nichts Von Liebe” and “In Geheimer Mission” follow in this notion, with a touch of orchestral melancholy tingeing the peripheries of the songs. The mood changes with “Täglich Besser,” the organ trills adding a classical touch to the cheeky tune, and the fanciful “Eifersüchtiger Mann” evokes feeling of contemplation. Raabe not only delivers on the orchestral, fluid songs but also on his more upbeat numbers, such as the playful “Doktor, Doktor,”  “Krank Vor Liebe,” and the song with a little bit of everything, “Mit Dir Möchte Ich Immer Silvester Feiern.” In the latter, the track starts off dreamlike and illusory before casting itself into a big band cabaret sound.

For people not fluent in German, the music is charming enough to stand alone, but there’s no doubt that the real treat would be for people who can understand the lyrics as well. Raabe has an understated comedic poise in nearly all of his songs and while non-German speakers can go and become Google Translate’s new best friend when listening to Kuessen Kann Man Nicht Alleine, there are obviously going to be some lyrical facets that unfortunately get lost in translation. The lyrics add to the individual charm and characteristics of each song – in the title track, Raabe lists off all the things that he’s good at and capable of doing alone, such as beating himself at chess, spying on himself, hiring and firing himself, etc. Alas, to his great disappointment, the one thing he cannot do is kiss by himself… but since you’re here, would you like to give it a shot and join him?

“Ich Bin Nur Wegen Dir Hier” tells of Raabe’s interest in the object of his affection, and he even namedrops Brad Pitt when talking about all the people that came to see him, even though he is only interested in his amorata. In “In Geheimer Mission,” Raabe makes himself out to be the James Bond of music (“I’m on a secret mission/And sing only for camouflage/My weapon is the microphone/I say this as a warning”), and in the melodious “Krise,” he gives an almost fun take on depression. Not all songs are lacking in solemnity, though; “Du Weißt Nichts Von Liebe” talks about someone not knowing the meaning of love, “Wenn Ich Du Wär” finds him suggesting to trade places with someone so they would both know how the other feels, and the aptly named “Schlaflied” is a delectable rendering of all the real and fantastical things going on in the world, put together as a way to lull the listener into a deep sleep.

All the tracks on Kuessen Kann Man Nicht Alleine do well as individual tracks, but blend together even more beautifully as a whole. Raabe’s distinctive voice has an almost regal and posh sound to it and makes for the perfect complement to the story of the album. Each track hits every note you would want it to hit and you may find yourself surprised at how easy it is to listen to Raabe’s catchy orchestral cabaret.

For more info, check out: Max Raabe & Palast Orchester Official

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