As there are some comments asking for subtitles, here they are: starting at 1:00 TS: The band is the same - almost. Charis Karantzas joined as the new guitarist... and somehow there has then been the idea of making another album of which I already knew the direction it should head to and what I liked of my old one ('Vilnius') - something a little secret, ellegic, mantra-like produced and then I had started writing and realised that all the songs became a lot darker, meaning that they, in the end, all involve the idea of death. Now I know, I would like to make doom-folk. That's also how I came back to Moses, who then said very accurately: 'okay, understood, the brightest colour is black'. That has been his first comment. MS: Yes. The base-colour was known then, and it had been clear there'd be no major, so there is not even the chance of irritation and you know: it'll be gloomy. MS: Okay, we have an amazing bass-sound and an amazing keyboard-sound and we made the piano a bit more dull as well, so we can start now if we wanted to. MS: Amazing first half! MS: You can say a lot about "Das Lied vom Ich". In the rehearsal studio we knew already it'd have to be the first song on the album. Not just because of its lyrics but also because of the part in which the scream comes up. So it was clear: we have three minutes until the scream, which we have to make incredibly believeable. And making such a song makes a lot of fun. As said, Tom then had the idea of adding a sound of explosion, so he took his shoe and outside in the hallway with a big revibaration we recoreded it with a mobile phone, because it has a nice limit (techn. term?) and it sounds amazing. Just like the shot of a pistol. And it makes fun to put this into production - so a lot of things harmoned together. Of course, if you know there'll be this part, how do you do it? Do you tell the singer to step a bit away from the microphone or do you say 'let's just try it, even though it'll drag a lot'? This drag was build in 1958 and then it goes through some devices, maybe only a bit younger, and then you realise - if the singers puts all in and doesn't move away from the mic - what years of collected drag sound like. And if gives you goose-bumbs. TS: I remember it a little different. I thought it was almost a bit crazy to be able to whisper and to scream into the mic. And at the beginning, I also stepped a bit away. And I also think, I remember that in the take we used in the end, you went to the machine and purposely overdrove it - or did you underdrove it? In one take, I scream and Moses sort of jumps there and overdrives it. MS: Well... I didn't jump. I think we have it on tape. It was filmed as you know, and exactly that take where you do exactly that. If I jumped there - okay, then I'm more anxious than I thought. TS: I can recall when I tried it first with the band and they all looked at me very astranged - they just usually do a very different kind of music. 'Why does he scream at me from my back like this?' And then even without the correct pitch... something you have to get used to. And I was covered in sweat and was ashamed of myself, but somehow I knew it needs this moment. MS: And I really, really liked it. After hearing it for the first time, I knew: this'll be the first song. I need this right at the beginning. TS: The order of the songs... that was magic made by you as well. I remember when we had already recorded everything and were sitting in the studio, listening to the tracks and you already knew the order which we never changed until the end. Especially decisions such as putting the most fragile song "Aljoscha" after this very loud (lit.: noise-orgy) song. I just love it! MS: But this idea was borrowed. But from the Beatles at least. From Revolver, I think. Taxman is very loud and dragged and then there's a strecht-quartett, like: 'huh? where's the drummer?' 'oh, that doesn't exist anymore'. I liked that and there's the idea borrowed from. [at the beginning of the "Aljoscha"-part they just talk a bit about chords and speed and Moses says from the off how very much he likes the song.] TS: Everything this boy yearns for - and that is not much - is the beauty of life. Feeling safe and experiencing unconditionally love from the parents, knowing there s someone loving you the way you are. The song is inspired by a Russian movie called 'Loveless' that portrays exactly such a story about a boy, growing up in modern Russia. His parents are getting divorced and do not notice that one day, he is not there anymore, because the boy realised he can only exist if he disappears. And this is a very sad realisation. I wouldn't say it's beautiful, but it really touches me a lot, so I have to write about such topics. TS: During work, I realised the song ("Heller Schein") works a lot better if it is about manipulation in a realtionship, where someone enters the head of the other so deeply that he/she loses control and because of repetition doesn't even know what is true anymore. They lose hold and do not remember what is true and whether they might be a bad person. They do not think someone wants them something bad - they are very pure people. That's because there's this bright shine (German: "Heller Schein")... and you don't know how much this abuse changes someone's character and washes away all the good and pure. Or that it'll be discouvered - that's the fear of a person manipulating: that'll he'll be discovered and left alone then.
Düstere Gedanken und Bilder, Tragik, Tod und Leid gehören zum Leben dazu. Viele Menschen möchten davon nichts wissen. Möchten all diese Themen aussperren oder finden es befremdlich, haben Angst davor. Versuchen ihr Leben vor all der Dunkelheit zu verschließen. Für mich, als sehr melancholischer Mensch, der mit vielen dunklen Themen zu kämpfen hatte und auch noch hat, ist das irgendwie gar nicht möglich, bzw. möchte ich es auch gar nicht. Das wäre, als würde ich einen wichtigen Teil von mir auslöschen wollen. Umso mehr liebe ich es, wenn Menschen es schaffen all die Dunkelheit und diese Schatten in Form von Kunst auszudrücken. Es schaffen ganz authentisch und pur ihre Art, wie sie mit all dem umgehen und was sie dazu fühlen so loswerden, dass es mir hilft mit Erlebtem umzugehen und ich sein zu können.. Das klingt ein bisschen seltsam, ich weiß. Tom's ganze Ausstrahlung, seine Art zu singen und Dinge zu sehen, berührt mich sehr. Es macht mich oft traurig, aber gleichzeitig ist es beruhigend. Denn es fühlt sich schön an, wenn andere Menschen diese Welt in einem ähnlichen Licht sehen. Tom ist für mich ein großartiger Künstler, weil er eben so pur und so authentisch ist, und als sagenhafter und durchaus berühmter - wenn man mich fragt, hätte er noch viel mehr Aufmerksamkeit verdient - Schauspieler, trotzdem so echt und so er ist. Und deshalb ist auch nicht wichtig, ob alle Töne getroffen werden. Es ist perfekt, weil es echt ist.
großartig! großartig! Rilke-Touch auf Schwarzer Saat. Ein Album zum Zelebrieren. DANKE. Meine große Sehnsucht: Ein Epithymia-Abend in München (z. B. Ampere/Muffathalle). Bitte bitte kommt.
Sehr interessant! Das Album trifft den Nagel in vielen Dingen auf den Kopf, sei es nun Themenauswahl, Ausdruck oder ähnliches. Es ist einfach erfrischend zu sehen, dass Musik gemacht wird, hinter der Ideen und Gedanken stehen, und die dennoch immer Deutungsspielraum für den individuellen Hörer lässt well done
As there are some comments asking for subtitles, here they are:
starting at 1:00
TS: The band is the same - almost. Charis Karantzas joined as the new guitarist... and somehow there has then been the idea of making another album of which I already knew the direction it should head to and what I liked of my old one ('Vilnius') - something a little secret, ellegic, mantra-like produced and then I had started writing and realised that all the songs became a lot darker, meaning that they, in the end, all involve the idea of death. Now I know, I would like to make doom-folk. That's also how I came back to Moses, who then said very accurately: 'okay, understood, the brightest colour is black'. That has been his first comment.
MS: Yes. The base-colour was known then, and it had been clear there'd be no major, so there is not even the chance of irritation and you know: it'll be gloomy.
MS: Okay, we have an amazing bass-sound and an amazing keyboard-sound and we made the piano a bit more dull as well, so we can start now if we wanted to.
MS: Amazing first half!
MS: You can say a lot about "Das Lied vom Ich". In the rehearsal studio we knew already it'd have to be the first song on the album. Not just because of its lyrics but also because of the part in which the scream comes up. So it was clear: we have three minutes until the scream, which we have to make incredibly believeable. And making such a song makes a lot of fun. As said, Tom then had the idea of adding a sound of explosion, so he took his shoe and outside in the hallway with a big revibaration we recoreded it with a mobile phone, because it has a nice limit (techn. term?) and it sounds amazing. Just like the shot of a pistol. And it makes fun to put this into production - so a lot of things harmoned together.
Of course, if you know there'll be this part, how do you do it? Do you tell the singer to step a bit away from the microphone or do you say 'let's just try it, even though it'll drag a lot'? This drag was build in 1958 and then it goes through some devices, maybe only a bit younger, and then you realise - if the singers puts all in and doesn't move away from the mic - what years of collected drag sound like. And if gives you goose-bumbs.
TS: I remember it a little different. I thought it was almost a bit crazy to be able to whisper and to scream into the mic. And at the beginning, I also stepped a bit away. And I also think, I remember that in the take we used in the end, you went to the machine and purposely overdrove it - or did you underdrove it? In one take, I scream and Moses sort of jumps there and overdrives it.
MS: Well... I didn't jump. I think we have it on tape. It was filmed as you know, and exactly that take where you do exactly that. If I jumped there - okay, then I'm more anxious than I thought.
TS: I can recall when I tried it first with the band and they all looked at me very astranged - they just usually do a very different kind of music. 'Why does he scream at me from my back like this?' And then even without the correct pitch... something you have to get used to. And I was covered in sweat and was ashamed of myself, but somehow I knew it needs this moment.
MS: And I really, really liked it. After hearing it for the first time, I knew: this'll be the first song. I need this right at the beginning.
TS: The order of the songs... that was magic made by you as well. I remember when we had already recorded everything and were sitting in the studio, listening to the tracks and you already knew the order which we never changed until the end. Especially decisions such as putting the most fragile song "Aljoscha" after this very loud (lit.: noise-orgy) song. I just love it!
MS: But this idea was borrowed. But from the Beatles at least. From Revolver, I think. Taxman is very loud and dragged and then there's a strecht-quartett, like: 'huh? where's the drummer?' 'oh, that doesn't exist anymore'. I liked that and there's the idea borrowed from.
[at the beginning of the "Aljoscha"-part they just talk a bit about chords and speed and Moses says from the off how very much he likes the song.]
TS: Everything this boy yearns for - and that is not much - is the beauty of life. Feeling safe and experiencing unconditionally love from the parents, knowing there s someone loving you the way you are. The song is inspired by a Russian movie called 'Loveless' that portrays exactly such a story about a boy, growing up in modern Russia. His parents are getting divorced and do not notice that one day, he is not there anymore, because the boy realised he can only exist if he disappears. And this is a very sad realisation. I wouldn't say it's beautiful, but it really touches me a lot, so I have to write about such topics.
TS: During work, I realised the song ("Heller Schein") works a lot better if it is about manipulation in a realtionship, where someone enters the head of the other so deeply that he/she loses control and because of repetition doesn't even know what is true anymore. They lose hold and do not remember what is true and whether they might be a bad person. They do not think someone wants them something bad - they are very pure people. That's because there's this bright shine (German: "Heller Schein")... and you don't know how much this abuse changes someone's character and washes away all the good and pure. Or that it'll be discouvered - that's the fear of a person manipulating: that'll he'll be discovered and left alone then.
❤❤❤❤❤❤❤❤ THANK YOU VERY MUCH!!
Thank you so much❤
THANK YOU !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Super spannend, das darf gern noch zur Maxi-Doku erweitert werden. 😊
Das habe ich auch gedacht… 😉
Düstere Gedanken und Bilder, Tragik, Tod und Leid gehören zum Leben dazu. Viele Menschen möchten davon nichts wissen. Möchten all diese Themen aussperren oder finden es befremdlich, haben Angst davor. Versuchen ihr Leben vor all der Dunkelheit zu verschließen. Für mich, als sehr melancholischer Mensch, der mit vielen dunklen Themen zu kämpfen hatte und auch noch hat, ist das irgendwie gar nicht möglich, bzw. möchte ich es auch gar nicht. Das wäre, als würde ich einen wichtigen Teil von mir auslöschen wollen. Umso mehr liebe ich es, wenn Menschen es schaffen all die Dunkelheit und diese Schatten in Form von Kunst auszudrücken. Es schaffen ganz authentisch und pur ihre Art, wie sie mit all dem umgehen und was sie dazu fühlen so loswerden, dass es mir hilft mit Erlebtem umzugehen und ich sein zu können.. Das klingt ein bisschen seltsam, ich weiß.
Tom's ganze Ausstrahlung, seine Art zu singen und Dinge zu sehen, berührt mich sehr. Es macht mich oft traurig, aber gleichzeitig ist es beruhigend. Denn es fühlt sich schön an, wenn andere Menschen diese Welt in einem ähnlichen Licht sehen. Tom ist für mich ein großartiger Künstler, weil er eben so pur und so authentisch ist, und als sagenhafter und durchaus berühmter - wenn man mich fragt, hätte er noch viel mehr Aufmerksamkeit verdient - Schauspieler, trotzdem so echt und so er ist. Und deshalb ist auch nicht wichtig, ob alle Töne getroffen werden. Es ist perfekt, weil es echt ist.
großartig! großartig! Rilke-Touch auf Schwarzer Saat. Ein Album zum Zelebrieren. DANKE.
Meine große Sehnsucht: Ein Epithymia-Abend in München (z. B. Ampere/Muffathalle). Bitte bitte kommt.
Tolle Produktion und ein wunderbar gelungenes Album.
Künstlerisch hohes Niveau!
Bravo Tom Schilling und Band !
citizen rights and freedom, children rights❤❤💝💝💖💖
omg what great king of talent!!!!!!! love
Beste Entdeckung seit Jahren! Am WGT gesehen und intravenös reingelassen❤ 🖤💜🎶🦇 Dankbar für jeden einzelnen Song auf dieser Platte 🙏
2:24-2:36 würde mir schon im loop reichen, um ne hymne zu zimmern 😃
melancholisch und deep!
grüße, m. friedrich 🤙🏼
Hab euch eben entdeckt und das gefällt mir sehr sehr gut
Sehr interessant!
Das Album trifft den Nagel in vielen Dingen auf den Kopf, sei es nun Themenauswahl, Ausdruck oder ähnliches.
Es ist einfach erfrischend zu sehen, dass Musik gemacht wird, hinter der Ideen und Gedanken stehen, und die dennoch immer Deutungsspielraum für den individuellen Hörer lässt
well done
Sehr schön auch, dass es endlich mal wieder ein deutsches Album mit Tiefsinn gibt. Ich dachte man kann hier nur noch Trallala und Hopsasa …
Wow!! Me a encantado todo y ahora ver un poco de lo que llevó a crear tremendo arte me hace sentir más cerca y mucho más humanos a Tom y la banda.
🎈
Kunst.
Vinyl gekauft, wird an einem besonderen Tag gehört. Ich freue mich schon.
No entendí nada, pero igual se va a ver♥️
Genius 🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤🖤
Mir gefällt es.👍🏻👍🏻👍🏻
die Doku ist echt geil gemacht!
ihr könntet auch musik für babylonberlin machen !!
No subtitles? 😥
So sad this doesn’t have English subs. Would love to watch the video - but I studied German only for 1 year in school.
Don’t worry, there is an English translation in the comments!
and why do YOU have so much fear?