Frank: The new album “Kein Weg zu weit“ feels darker to me compared to “Aufsteh´n“ and sounds more like resignation. What is the reason for that?
Eugen: Darker, that may be true. Themes like World War I, the state of our world, or personal tragedies cannot be expressed in bright colors or cheerful terms.
I don’t see resignation in that, because moments of reflection and sorrow, which surely everyone of us knows, do not necessarily mean resignation in my view.
Frank: In “Entschuldigung“, aging as a musician or singer is reflected upon. To what extent is this a personal song? Did you feel more like a hero of a generation in your younger years?
Eugen: “Entschuldigung“ is not about musicians or singers; it is more of a general observation, because we all grow older, and it is understandable that this state can weigh on you when your own perception of vitality and youthfulness no longer matches reality.
I have never felt like a hero, let alone one of a generation. I didn’t necessarily mean myself with the heroes of that youth time; rather, I viewed it more generally, because every youth or new generation has its own idols or heroes.
Frank: You have two songs about World War I on your new album, “Gas 14/18“ and “1918“. Why did you address World War I?
Eugen: Commemorating this year, the 100th anniversary of the end of World War I, is a very important date for a significant event, because never before had the madness of armament and the pursuit of power come to such a point as in this unspeakable event. Feeling superior and looking down on other nations, there was no problem with wanting to subjugate or even exterminate other peoples.
The effects of WWI are still felt today when you look at the subsequent events: Nazi dictatorship, total defeat of total megalomania, German division, fall of the Berlin Wall, reunification...
All like pearls on a string with immediate relevance to each other and logical consequences.
As a result of World War I, gas weapons have been banned to this day due to their cruelty, and yet Assad is unscrupulous enough to use them today, even against his own population.
Frank: What is your stance on the fact that the Herero and Nama ethnic groups are suing Germany for compensation due to persecution during the colonial era?
Eugen: I cannot say, of course, in what magnitude such a thing should be treated monetarily, but the fact is that the German Empire committed genocide against the Herero and Nama, must stand by its guilt, and should help these peoples shape their way into modernity.
Frank: What do you want to express with the lyrics of the song “Lebensreise“?
Eugen: I don’t think it’s good to explain lyrics, as it limits the listener's imagination; moreover, I find it self-explanatory, so to speak.
Frank: With the song “Gegen die Wand“, I was reminded of “Christiane F. - Wir Kinder vom Bahnhof Zoo -“. How do you see today’s youth compared to the past? Has anything changed in your eyes, aside from all the technology?
Eugen: Youth has actually always had the same aspiration, namely to distinguish itself from the parent generation and to find or create its own paths and forms of expression. That is also the right of youth and drives both art and society forward. Technology is not primarily important; it is just a modern addition to the always same old problems of youth.
Frank: I find “Immerfort” a very powerful song that touches me. How can one regain joy in life after losing a loved one?
Eugen: The question of how one can achieve this can only be answered individually in such a situation. For myself, I can say that music was very helpful as an anchor in distress.
Frank: On your new album, I find your own handling of language and lyrics very noticeable. You also like to use older and less common words. Do these belong to your vocabulary, or do you also research words that sound good in a song line?
Eugen: They certainly belong to my vocabulary, but that doesn’t necessarily mean they are used in everyday language.
I don’t necessarily search for words that sound good in a song line. It’s more about describing a thought you want to articulate as accurately as possible. However, in the musical fine-tuning, it can happen that words are exchanged to make text passages more singable.
Frank: How is it for you to go back on stage again after so many years of stage experience? Are you still excited? Is it physically more demanding?
Eugen: Live concerts are usually very nice experiences. A certain excitement always remains, but it is nothing compared to the beginnings when everyone is initially insecure in the situation of presenting themselves in front of an audience.
And yes, as you get older, it also becomes physically more demanding, but I think with DIE SKEPTIKER, nothing of that is noticeable on stage yet.
