Kliemann hantiert textlich weiter mit eigensinnigen, gewitzten Reimen und singt anscheinend über alles, was ihn gerade beschftigt, sei es Geruch or die Frage, how alles in einer Minute passieren can. The closer "Schlaflied" introduces a genuine Schlagzeug and demonstrates again again how well such acoustic elements work in music. There is a lot going on on this album, and yet one does not lose sight of the fact that there is yet much more to come. (Conrads, Simon)
Kliemann portrayed a factory worker in the Detlef Buck film Bibi & Tina: Tohuwabohu Total. In 2017, he was seen in a guest role as a police officer in the mystery series Wishlist, as well as in a speaking role in the Minecraft series Antarktika. Both Webseries formats are produced by the public-licensed media outlet Funk. Am 29. Mai 2020, Fynn Kliemann's documentary, 100.000 â Everything I've Never Wanted., will be shown in German cinemas. Sein Plan war unabhaenglich, den Film unbedingt a diesem Tag zu f14hren. Kliemann's concept was stifled by the Corona-Pandemie, which meant that on 25. April 2020, his 80-minute feature film could be seen online for 24 hours. He had previously sold tickets and spent up to 25% of his earnings on local cinemas. [28] Since May 29, 2020, the documentary is available for free viewing on Joyn. [5]
Due to such indiscretions, the album seems to disintegrate. The two skits "Der Fltist An Den Morgengrauens Toren" and "Liebster Wahnsinn" seem to be randomly placed. Both contribute nothing meaningful to the album. "Liebster Wahnsinn" subdues the dynamic first third and therefore establishes the overall picture. "Der Fltist An Den Toren Des Morgengrauens" has no resemblance to its surroundings, not to the flinty Power-Pop of "Twingo" nor to "Ruinierung." Additionally, this demonstrates how critical the instrument's focus on the piano is. "Ruinierung" foregoes this entirely and instead constructs a seltsamen Meute-Abklatsch. Blser, a pointed Schlagzeug und Synthesizer ebben Tanzstimmung, which will never really materialize. The song is seductively leblos, but apart from the well-known Pfade, Kliemann is unable to summon his Strken. Even textually, he remains uncharacteristically savage.
He is a self-made man in the German music business: Fynn Kliemann gained notoriety via his YouTube channel and established his own Imperium without the assistance of the music industry. The Mulltitalent performs at numerous weddings â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â Kliemann etabliert bereits in Songs wie âWartenâ oder âLiebster Wahnsinnâ einen neuen Genre-Fass. Occasionally, he pumps the beats in the manner of contemporary US Hip-Hop, occasionally, he leans toward Streichermeeren, occasionally, he meditates on Piano-Klngen. What binds all of this together is his Reibeisenstimme and a passion for large melodies. âI'm not sure whether music is my world,â says the opener âEine Minute. No need to be concerned, Fynn; this is her.
