Q: The work “Innenfrost“ consists of a total of 21 songs. What was the
process from the first idea to the release?
A: That can't be answered easily; I have been writing music pieces for years. Some go in completely different directions, which I don't want to elaborate on now. I also always need instrumentalists who can play or develop my basic ideas with their know-how. I don't play any instruments myself; ideas are only captured with a master keyboard and computer, and the computer has to correct what I lack in playing ability. It sounds a bit silly, but some nice things come out of it. Furthermore, I use sample guitars for sound support, which works quite well for demos. Nowadays, there are samples of all instruments recorded by professionals that can be used. However, you still need to have the idea for a song or arrangement yourself. So it's not like the computer does everything; you have to input what you want in the end.
For a guitarist, it's definitely better to hear guitar sounds in a demo than piano sounds.
When a melody comes to me, I write a fitting text, and later the whole thing is set to music.
Recently, I saw on Facebook that the vocal recordings with Marleen from Bonsai Kitten (editor's note: sings on three songs on “Innenfrost“) were already three years ago. So it was a long journey, but now I'm happy with the result.
And considering how long it took, it has turned into two different albums, both of which I like.
Q: How did the separation of the compositions into a rock and a
symphonic album come about? What criteria did you use for the classification?
A: It somehow developed quite harmoniously because I had rock titles and, among other things, piano pieces that I thought wouldn't mix well. Furthermore, I found such pleasure in the instrumentation of piano and cello up to orchestral accompaniment that the desire for more quickly grew in me, for another record, so to speak, because it became less and less suitable, in my view, to be mixed with the rockier pieces.
Gillian Bane, the co-composer and instrumentalist of the symphonic album, quickly ignited in me the desire for more from our collaboration. Without her, the album wouldn't have existed in this form, which I would find very unfortunate, as I really like this record. It is completely different from the stuff from Die Skeptiker, or even the rock album, which I think is good too.
The first track on the symphonic album “Wir zogen fort,” a piece with metal guitars and orchestral sound, could have easily been on the rock album, but because of the opulent orchestra and the calm conclusion at the end with guitar and cello, it was more of a piece for the album without rock songs for me.
The guitar, bass, and drum arrangement was taken over by Dominik Glöckner, who also recorded all the tracks on the rock album by himself.
Two tracks from the symphonic album I actually wanted to use for Die Skeptiker, “Vergeigt” and “Leckgeschlagen,” but I couldn't wait until we were ready as a band to release a new production from Die Skeptiker. So I asked Gillian to compose and record an orchestral version as accompaniment for both tracks as a test, and I was so taken with the result that the two pieces naturally made it onto the symphonic album. I am very pleased with how well the orchestral accompaniment works and think Gillian did a great job. I could never have achieved that alone, as she is very knowledgeable about composing orchestral pieces, which has greatly enriched me and the album.
Q: On the “Symphonic Album,” you opted for a powerful rock or orchestral metal sound. How did that come about?
A: It's actually only metal in the first piece; otherwise, it runs completely with orchestral accompaniment, or reduced with piano and cello. But it's true that in “Leckgeschlagen,” for example, in the intro, when the fat brass comes in, it has a metal feel. I find opulent orchestral sound absolutely fantastic, and when you mix that with electric guitars, as in “Wir zogen fort,” the sound can't get much fatter. That's a style that I find very exciting.
Die Skeptiker will and should always remain punky, but on my solo paths, I can take any direction if something good comes to mind.
Q: You also recently published a poetry collection titled “Innenfrost.” Do you see yourself more as a lyricist or as a songwriter in general?
A: My main strength certainly lies in the area of lyrics; compositionally, I am rather moderately gifted. I only create music pieces when a melody comes to me, to a text, or just like that. This is not permanent or rather rare, which is why it takes a while for a title to mature with me.
The text almost always takes precedence, for which I then look for an accompaniment.
Sometimes a melody comes to me to which I sing spontaneous words, which are then formulated into a meaningful whole.
Writing lyrics comes easily to me; writing music is significantly harder or difficult for my musical abilities, although I also derive great joy from it. Without support from good instrumentalists, I would have a small deficit. But it is also a lot of fun to collaborate with other good people and inspire each other.
I have been writing poems since my childhood; that comes easily to me, but when it comes to setting them to music, I often rely on good instrumentalists.
Q: Some songs on “Innenfrost,” especially on the rock album, also fit well with your band DIE SKEPTIKER in my opinion. What criteria did you set for why a song made it onto “Innenfrost” and not onto a new album by DIE SKEPTIKER?
A: There were various reasons for considering a solo album; on the one hand, the piano pieces that I can't imagine at a Skeptiker concert, and then there is the aspect that some lyrics from someone in the band were rejected as unfeasible. Since lyrics are very important to me and there are themes that I absolutely wanted to present in musical form, I came up with the idea of a solo record.
Ultimately, it is also clear that such a discrepancy must have consequences. I never intended to make a solo album; it was basically just a temporary solution. Now, however, thanks to the great people I got to know during this production, it has turned into two albums.
If we had realized various titles, as originally planned or considered, with the band, there would never have been a solo album. Now we are restructured, and I have two records that I am very happy with despite the unwanted starting situation.
Q: Many songs on “Innenfrost” remind me of songs from the 1920s in terms of lyrics. To what extent was this era or other times a model and orientation for you when writing the songs?
A: I can't quite understand that; I have over 100 CDs from artists from that time, and I don't see the connection you mentioned. Of course, there weren't just things like “In der Bar zum Krokodil” or the very famous little green cactus, but also more serious themes, but I can't grasp the kinship you are talking about. However, I have no problem if other listeners might share the same feeling. I consciously did not orient myself to anyone or anything, but draw themes from my experiences and imagination.
I have no role model for anything, neither in music nor in terms of lyrics. But that doesn't mean one is free from unconscious influences.
Q: In my opinion, your voice is very special, full of volume and power. How did you learn to give your voice so much volume and power?
A: I had singing lessons with a private teacher a long time ago until I could no longer afford him, who helped me a lot, in contrast to a previous 2.5-year training at a state music school, which was completely unproductive.
Daily singing exercises are carried out to keep the voice supple; exceptions are only allowed in case of illness or severe hoarseness; one must not let any sloppiness creep in if one wants to pursue this for a long time.
Q: In the songs, I often hear and feel longing, whether through lyrics or music. What do you want to fulfill for yourself in the coming years? Are you working towards something specific?
A: At 64 years old, I find myself in my last life round and want to show a few more facets than just the “political screamer” before I have to drop the sails.
The band gives me immense joy and will be pursued as long as my strength allows, but there are also other things I would like to release into the world before it eventually comes to an end.
That was also the impetus to publish a poetry collection. For next year, I plan to release a second book, and if time allows, I will write a band biography. There is too much unfair and outrageous writing by outside authors, so I want to present my view of things and the historical events and episodes as a corrective - for a more objective opinion formation.
Before the biography, however, we will finally work on a new album for Die Skeptiker.
Q: Will there be live concerts where you will play the songs from “Innenfrost“?
A: I will suggest to the band to prepare some of the pieces for the planned spring tour 2024, which I believe is quite feasible, to include them in the Skeptiker's program.
Let's see how we can manage that together.
I don't want to promise anything, but we will work on it.
