etb English
Theatre
Berlin International Performing Arts Center

Sorry Gilberto are Anne von Keller and Jakob Dobers from Berlin. They have traveled Europe since 2007, playing their way through clubs, theaters, bars, roofs and living rooms.

Sorry Gilberto can sound like the Velvet Underground and be reminiscent of Belle and Sebastian, but, at the end of the day, Sorry Gilberto is really only reminiscent of Sorry Gilberto.

Sorry Gilberto is back at English Theatre Berlin | International Performing Arts Center and they’ve brought their magical fourth album, Twisted Animals with them. With music for the dead of night and the light of day. With music for a film that anyone listening to the songs will want to make. They’re back with their euphoric melancholy, with songs that really tie the work of art together, that sound happy and sad at the same time. Sorry Gilberto remains true to itself, Anne von Keller and Jakob Dobers sing along to reduced, minimal instrumentation and remain a duo, always together, singing a duet. This is music you can move to, music like a dream.

The devil has the best tuna October 2016, Blog from Liverpool

New Music to Delight Your Ears.

Berlin duo Jakob Dobers and Anne von Keller aka Sorry Gilberto, have been serving up delightful little pearls of indie pop perfection for over 10 years. At the end of last month they released their new album, Twisted Animals, which is full to the brim of beautiful little nuggets of musical gold like their latest single, Yellow Sweater. It’s gentle, minimalist pop that finds beauty and significance in the humdrum everyday objects and event including a yellow sweater, a cup of coffee and the humming of bees.

It’s so soothing it should be prescribed by doctors to relieve stress and so beautiful it should be hanging in a gallery.

Watch Sorry Gilberto on YouTube:

Rolling Stone September 2016

Summen statt Posaunen: Minimalpop-Chansons mit viel Romantik.

Für ihr viertes Album stellen Anne von Keller und Jakob Dobers ihre Minimalpop-Chansons in etwas detailliertere Arrangements und buchstabieren Ideen aus, die auf früheren Platten skizzenhafter geblieben wären. Nun tritt die Romantik, die in diesem Werk immer genauso wichtig ist wie das Karge, ein wenig in den Vordergrund. Sie ist natürlich ohnehin das Herz in dieser Musik, die lieber summt als rausposaunt. Eine der besten Momente schafft “Into The Woods”, das eine hypnotische Spieluhrmelodie hat, sich anfühlt wie französisches Autorenkino und viel zu früh vorbei ist. Aber es gibt hier noch viele weitere kleine Wonnen. Die Schlichtheit legt frei, wie schön diese Lieder sind. (Jörn Schlüter)