Good As New – as good as new – is how Germany’s number one roots songwriter, MARKUS RILL, presents himself on his new album. With a wink, of course, since his debut album was released back in the last millennium. And yet, he has perhaps never sounded as fresh, energetic, and distinctive as on his 15th studio album. With his newly formed band, The Troublemakers, he presents eleven songs that are powerful, moving, and surprisingly diverse: hearty country-rock, atmospheric storytelling, straightforward rock ’n‘ roll, groovy, humorous songs, gothic folk, and more – the whole spectrum of Americana songwriting.
Markus Rill hardly needs an introduction. Rolling Stone calls him a „German roots-rock master with a raspy voice“ and raves about his „brilliantly written songs that shimmer with ambiguity,“ the FAZ calls him „the most renowned representative of the Americana genre in Germany,“ and No Depression from the USA attests to his „great depth as a songwriter, producer, and arranger.“ The SZ writes enthusiastically: „When Markus Rill sings, […] a whole world emerges, the world of rock ’n‘ roll. Magnificent!“ No wonder, since Rill learned his musical craft in Austin, Texas, and honed it on several album productions with the studio aces of Nashville, Tennessee. This time, the newly formed Troublemakers (Benny Haupt – guitar, Sebbo Bach – keyboards & vocals, Chris Reiss – bass, and Konrad Patzig – drums) enhance Rill’s songs with infectious enthusiasm and imaginative arrangements.
It starts off well with the laid-back, earthy country rocker „Brand New Man,“ followed by the relaxed yet profound look back at youth, „(We Used To) Ride Our Bicycles.“ The presumptive hit „Walk In Light“ then powerfully jolts listeners awake. Written after Rill’s (mis)diagnosis of a serious illness, the song is a premature farewell to his daughter—moving and energetically rocking. The songwriter’s narrative strength unfolds in „A Night In Jerusalem,“ which recreates the biblical encounter between Nicodemus and Jesus in dialogue form and a shimmering atmosphere—with Joseph Parsons as his duet partner.
“Why Would I Want To” impresses with humor and groove and a razor-sharp slide guitar from Hank Shizzoe, while “Just Might Happen Yet” provides charming variety with its bouncy pop appeal and mischievous lyrics: “May not have reached my full potential but it just might happen yet.”
After that, the themes become more serious: The roots-rocking „Anny Got Angry,“ featuring backing vocals by Elizabeth Lee and Rebecca King, is inspired by the experiences of many women with abusive men. Following this, the long-simmering and finally eruptive „Daughter At The Water“ reflects the thoughts of an overwhelmed mother.
“Chasing The Wind” surprises with a crisp 6/8 time signature and Dylan-esque influences. “Wildfire Kinda Love”—already a live favorite—is an irresistible rocker with nods to Jerry Lee, Elvis, and the Georgia Satellites, before the acoustic title track, “Good As New,” which lyrically oscillates between solace (“no big deal”) and irony (“I’ll be good as new”), gently guides the listener out of the album.
Rill’s songs are presented with remarkable versatility by the Troublemakers, sometimes with traditional roots sounds, sometimes with decidedly more modern elements—whether grippingly rocking or layered and atmospheric, always with a keen sense for the right approach.
Good As New sounds direct, unpretentious, and mature. Markus Rill & The Troublemakers combine powerful rock energy with intimate moments, big stories with personal insights – a captivating album from a great songwriter with a congenial backing band.
