Wer oder was ist eigentlich “Le Petit Mort“? Selbst eine kurze Internet-Recherche bringt einen da nur auf falsche Gedanken, sodass wir froh sind, dass uns zwei Mitglieder der Band etwas Nachhilfe in Form eines sehr ausführlichen Interviews geben. Und da heute auch noch Weihnachten ist gibt es hier einen Link als Geschenk…einen Link? Ja - einen Link! Der führt euch zum unveröffentlichen Video der Band zum Song “Revolutionsromantik“, den ein Freund der Band für sein Abschlussprojekt an einer Design-Schule erstellt hat. Also ran an den Speck und frohe Weihnachten euch allen!

1.) Band facts
- Name: Le Petit Mort
- Band members: Ole Nørup, Ian Ice, Casper Sennenwald, Michael Mirage
- Founding year: 2004 in Fredericia
- Residence: Copenhagen
- Current album: None

2.) Questionnaire:
- How did you become a band?
I (Michael) was introduced to working to electronical music on a computer and just started playing around with some tracks. Ole dropped by one day and said he sort of liked it and asked if he could join the process. It was mostly an experiment with the 80s sound of synth and drum machines in a lo-fi sort of electropunk way, but Oles skills with producing and sound sort of took it to another level. We did a few tracks on a more serious level but never got around to do anything with them. We moved to Copenhagen, not to make music but mostly because our hometown bored us. When Ungdomshuset at Jagtvej 69 in Copenhagen, Nørrebro was threatened with eviction by the Police, we did a support song for the house. At that point there was an illegal pirate radio station transmitting form inside the barricaded house that started playing our song a lot and suddenly we had an audience. I guess people liked it, even though it was pop, maybe because the lyrics were rather propagandistic (but still true) but it sort of gave us some energy to do some more tracks. We finished up some old tracks and got invited to play some support gigs for Ungdomshuset with all the other artists from that scene which was everything, punk, reggae, mash-up you name it, it was some amazing party’s. The plan had always been to get drums, bas, guitar, and synth players for the live set so we asked some of our friends if they would do it, and they where down with it. Back then it was Lisa Morgen(The Assassinators), Ellen Norvang (When Midnight Kills) and Casper Sennenwald (As We fight) who were onboard besides Ole and I and then we were a real band, sort of ha ha.
- How did you come up with your band name, what meaning has it to you/or how does it fit to your band?
I was reading a paper one day and came across the term “Le Petit Mort” I thought it was kind of cool and 80s sounding and took it. It is French slang for an orgasm, and directly translated means “the little death”. We found out that it probably is grammatically wrong and should have been “LA PetitE Mort” to be correct, but fuck that. Its just name to us I think, nothing that means something special, just like we have fun making up eccentric 80s sounding names for ourselves.
- How would you describe your musical style?
We have gone to a lot of changes sound wise. We started out rather electropunkish, and now its more electro pop with a touch of post punk. We have been incorporating more real instruments into the sound, to make it more live orientated. You wouldn’t know because you haven’t heard the songs we are working on he he.
- Which musical influences do you have?
Im personally very inspired at the moment by the beginning of the Neue Deutche Well area with bands like: Deutsch Amerikanische Freundschaft, Liaisons Dangereuse, Xmal Deutschland and all that beautiful stuff.
Ole who I compose the songs with are all over the place. He is sound engineer for these bands: The Kissaway Trail, Oh No Ono, The Late Parade, The William Blakes, BrodeBrixen and Twins Twins, and since he is on tour all the time it must be them I guess. He was just in Berlin and was at the last show with Moderat and cant stop talking about it so them as well I would say.
- What did you do before Le Petit Mort?
Ole and I didn’t play in anything that you would know of.  Ian (new bass player) is playing in the Swedish hardcore punk band “FY Fan” and Casper was in a metalcore band called As We fight.
- Are you now totally focused on music, or what also do you do?
No unfortunately not, We have been to busy with different projects so things have been a bit on the shelf the last years, but we are working our way back towards an album of some sort, I hope.
- At the moment there are just a few songs (or at least which we found out about) of you out - are you working on an album - what can you tell us about it?
Yeah we took down some of the old tracks from Myspace for different reasons. Some of them is being redone and there are a few new ones as well. We are working from a principle that it should be fun and its still a sort of experiment with the 80s sound, we now just draw inspiration from many different genres from that area. It’s very pop in the constructions, but still with some roughness sticking out here and there. The lyrics aren’t that propagandistic anymore. Ole and I have found a good way to work together with the lyrics, where I come up with something and he tells me its shit and then I rewrite them to fit the compositions way better.
- How did it come to the title “Clubkids and Queers”? What’s the story behind it?
Well its was after Ungdomshuset had been evicted by the police and the riots in Copenhagen had settled. There had always been a movement that did these crazy pirate parties in empty factories and places like that. The good people of that movement asked us to do a track for a compilation that they always put out, when thay had a pirate party and we made Clubkids & Queers. Its mainly about how everyone should unite at these party’s and have a good party with respect for each other.
- What are you as a band/musician doing at the moment?
Mostly trying to find time to finish the album. Ole is on tour a lot all over the world, which I envy him a lot. I did a cover track of Fear´s I love living in the city together with Pato(http://www.myspace.com/deadcityrocks) which might be on his next solo album called 808 Punk Rock. Ian, Casper and I have just started a rock thing called Go Go Chanel with a guy called Nicolai who played in Godless Wicked Creeps and The Defectors, and its quite fun.
- With which person would you like to work together and why?
Oh there’s a lot. I’m totally stuck on Robyn latest album, I love the production, and her vocals, but I don’t see that happening. Don’t know about the rest of the guys, but I know Casper and Ian wouldn’t say no to Lady Gaga haha.
- You made a remix for The Autumns - how did it come to that?
Its actually mostly Ole who did it. He was on tour with The Kissaway Trail in England supporting The Editors. The Autumns were also support on the tour and he hooked up with them that way. Really don’t know what happened to that track, I really liked it.
- Could you tell how you are working on remixes? What are the steps?
I really cant since we only did one and ole did most of it. I know he got the tracks from The Autumns and took a basis in the vocal “oh oh oh” part and build up around that.
- What is your thought of how a remix should be?
Well I think I depend on a lot of things. Sometimes a remix has a purpose to make a track suitable for the clubs and then its has to be a bit up-tempo and groove a lot. But I also enjoy the remixes where the purpose isn’t dancing but more an atmospheric approach. I think Trentemøller is good at combining those two things.
- 3 top albums 2009? Why?
Michael:
1. Karen O and The Kids – Where the wild things are soundtrack. Kidsvoices and Karen O, is all you need.
2. Balstyrko – Jagten på noget. Just fucking nice lyrics and atmospheres all over the place
3.  Lucy Love – Superbillion. She´s just representing the Grime scene like no one I Denmark ever did and she rocks a stage to pieces.

Casper:
1. Prince – Lotus Flower.
2. Arctic Monkeys – Humbug.
3. Kiss – Sonic Boom.

Thats all the response I got from the guys.
- What did you learn 2009?
That im more lazy than I thought, and that I should get my shit together.
- Your best personal experience in 2009?
Hmm, there’s a lot. But I would either be when I ended up in a swimming pool in a backyard 6 in the morning on a tuesday with Casper and Ian and 3 girls we just meet after singing karaoke(Step By Step, New Kids On The Blok) at this shit hole of a bar in city center. Or one of the wonderful dubstep clubs held by the notorious OHOI! Crew at Stengade 30.
- Your plans for 2010?
Get our shit together
- Do you have a list of wishes for Christmas - what’s on it?
Casper: Underwear and money to buy a new passport.

Michael: Hardcase for my laptop
- What is on your rider?
We don’t have one, but if we had there would be cheese and vodka+clubsoda I guess
- What do you associate with Bedroomdisco?
Well didn’t know about you guys until you contacted us, but was happy to see that Fagget Fairies was represented on here. I like their shit, and they are nice people.
- Who did fill out this questionnaire?
Michael and Casper on text messages

Thanks a lot Michael and Casper - we wish you merry christmas and a happy new year!

Für alle nun hier der Link zum unveröffentlichen Video zu “Revolutionsromantik”!

Spread Love For Great Music!

Eure Bedroomdisco

Psst, für alle, die noch kein Weihnachtsgeschenk haben. Der Bedroomdisco Adventskalender weiß Bescheid. Ziemlich gut sogar! Diese Scheibe gehört unter den Weihnachtsbaum!
Spread Love For Great Music!

I am nott techno.

(Boys Noize - Nott)

POWER. Ein unmissverständliches Statement mit dem sich Boys Noize zum zweiten Mal auf Albumlänge zurückmeldet. UiUiUi. Nicht Oi Oi Oi, denn Boys Noize wendet sich ab vom brachialen Clash, hin zum Techno.  Und bleibt dabei trotzdem unverkennbar. Die Rohheit der Elektronik, die Lust an der Störung, deren Grenzen Boys Noize kennt und sie gerade deswegen auch voll auskosten kann. Das war und ist immer noch seine Kunst. Auf Power wirkt diese sehr maschinell und als ein Spiel mit Fremdkörpern bzw. dem Fremden. Albumtitel wie  Jeffer, Gax oder Rozz Boxx zeugen davon.

Los geht die Platte mit Gax, a bit gay. Wabernde Synthesizer, Hawaigeglöckel, das später unterbrochen wird von ätherischem Roboterstimmengebrabbel. Dazu noch eine Art elektronische Panflöte, wie sie Edward Simoni nicht hätte besser einspielen können. Unglaublicher 90s Kitsch, aber genial.

Die erste Kontaktaufnahme mit einem technoidem Wesen gibt es dann bei Contact Me. Ich merke: ES will auch. Wohl Tanzen, denn bis jetzt ist Power eher Ironie als Wahrheit.
Jeffer und Starter. Ich nehme alles zurück und bin auf der Tanzfläche. Diese Synthis ballern dir sowas von Power ins Gesicht und in die Beine, dass alle Zweifel dahin sind.

Plötzlich schmiegt sich eine kühle 90s Synthylinie an meinen erschöpften tanzfeuchten Körper: Transmission, das stille Highlight der Platte. Neben mir sitzt David Hasselhof und legt seine Hand auf mein glitzerndes Polysterkostüm. Transmission Baby. Wir jagen im schwarzen Sportwagen über die Autobahn in Richtung Ferne. Die Nacht draußen rauscht an mir vorbei. Zeit für eine Auszeit.

Die folgenden Tracks sind sehr monoton und minimalistisch. Rozz Boxx ist der Soundtrack einer Schweißerwerkstatt. Ist mir aber egal. Hallo? David Hasselhoff?!

Nott, ist das Fazit der Platte.” I am nott techno.” Ja, das weiß ich. Techno wäre langweilig und zu einfach. Boys Noize mit seinem neuen Album Power ist mehr. Eindeutig. Nicht wahr, David?

Ach Moment, da ist ja noch Heart Attack , der letzte Track der Platte mit seinen surrende Synthiewänden. So schlimm wars auch nicht Muddi.

Boys Noize - Power
VÖ: 2. Oktober 2009, Boys Noize Records
www.myspace.com/boysnoize
www.boysnoize.com

Boys Noize - Transmisson:

Kurz vor Weihnachten möchten wir die besinnliche Stimmung nochmal ein bisschen aufmischen! Heute gibt es in unserem Bedroomdisco Adventskalender ein Interview mit den Hadouken! Die Grime-Elektroformation aus Leeds wird Ende Februar 2010 ihr zweites Studioalbum  “For The Masses” veröffentlichen. Es ist der Nachfolger des im UK schon viel beachteteten Debütalbums von 2008 “Music For an Accelerated Future”. Mutierte bei dem damaligen Albumsound, einem tosenden Gewitter aus Beats, Samples und Geschrei der Herzschrittmacher von Omi zum 1000 BPM Drumcomputer, so bekommt sie jetzt, zumindest im absurden Video der Vorabsingle “M.A.D” als Krönung noch eine Tracht Prügel. Und das ganze dann noch im GTA Hasenkostümstyle! Ob das auch auf den Gesamtsound der neuen Hadouken! Platte zutrifft erfahrt ihr jetzt im Bedroomdisco Mailinterview mit den Hadouken! Viel Spaß!

1) Band Facts

- Name: Hadouken!
- Band members + nicknames: James Smith, Nick Rice, Chris Purcell, Dan Rice and Alice Spooner
- Founding year: 2007
- Residence: London
- Current album: ‘For The Masses

2.) Questionnaire:

- What is the story behind your band name?
It’s taken from the Capcom computer game series ‘Street Fighter’ - it’s a special move where one of the characters fires a ball of energy at his opponent. We just thought it sounded energetic and exciting and different to most other band names.
- How did you become a band?
James started writing tracks in 2007 and recruited the band to perform his new material live. Alice is his girlfriend, he’d recently met Dan studying at University in Leeds who then introduced him to his brother, Nick who in turn brought Chris to the group.
- In which way did you come in contact with the labels, e.g also Kitsuné?
A lot of record labels got in touch with us direct in the early days. Our stuff was coming out back when myspace was really popular so a lot of labels discovered us and got in touch through messaging us on myspace, we never sent out demos or reached out to the labels ourselves.
- How would you describe your musical style?
Dance/rock
- Which influences (e.g. musical) do you have when producing?
Prodigy, Leftfield, Rage Against the Machine, Wiley/PAYG, Youngsta/Musical Mob, Riko Trim, JME, MC Viper/B-Live, Wizzbit, Wafer, Pendulum, DJ Krust, Dillinja, Oris Jay, TNT, DJ Zinc/BINGO, Mampi Swift & The Streets.
- Which lyrical themes do you cover in your texts? Why?
A lot of the lyrics on the first album are based on social observations, tales of everyday life inspired by the likes of Mike Skinner and Alex Turner. The lyrics on the new album have changed dramatically, they are a lot more mature and abstract.
- Your music is nothing for the faint hearted ;). Do you like the image of provoking and alarming listeners with your music?
Sure, it’s meant to be an aggressive and alarming sound because we feel that’s the most powerful sound to deliver in a live setting, we would like to make dance music that has the intense impact of a metal band and yet still have people able to dance to it.
- How do your songs come into existence/How do you produce?
James writes and demos all the tracks himself at his home studio and then takes them in to a proper studio and finishes them off, sometimes with outside help from another producer or engineer and getting the rest of the band to play in live instrumentation where necessary. On this album he worked
with Dutch drum and bass producers Nosia which was incredible, they are phenomenally talented guys and were really happy with the sound of the album.
- Will your new album sound more “mainstream” because you call it “For the Masses? Or what is the idea behind the albums title?
It’s actually called for the masses in reference to the mass of people that you get a gig or in a club, the music was written to be played to such groups of people. Hopefully people will be able to enjoy listening to it on their own at home or driving etc but it’s best appreciated in the live setting with a huge group of people out to have a good time.
-In which way did the production process of your new album change from the previous one?
As mentioned above we worked with Noisia on this record, this was the first time we had worked with one producer for the entire album, which means it has a lot more of a unified and consistent sound than the last record, where we worked with several people. Noisia also come from a dance, specifically drum’n'bass background, as opposed to rock and pop background of many of the producers we have worked with in the past so this inevitably had an effect.
- Can you tell us something about the video of your new single “M.A.D”? Where did you have the idea from?
The idea came from Martyn Thomas the director. He is a personal friend of the band that we have known for years and we have always wanted to get him to direct a video for us so we sent him the track and the cat and mouse idea was the first one he came back with. We loved it so much that we brought the mouse character on tour with us for a week and Martyn filmed a short comedy mock-documentary about his life on the road, it’s called ‘The Rise and Fall Of Swagger Mouse’ and it will be on youtube soon!
- Your favorite albums of 2009? Why?
So many great albums this year, some favorites: Tubelord, The Mountain Goats, The Maccabees, Mumford and Sons, Yeah Yeah Yeahs, This City, Twin Atlantic, The Ghost Of A Thousand, Fever Ray, The Horrors and lots more I’m excited about but haven’t had a chance to listen to yet!
-Which song makes you always dance – independent of the situation?
Paramore - Misery Business, it’s a favorite in the dressing room before we go on stage.
- What’s on your rider?
It’s very boring, just regular sandwich materials and crate of beer!
Who did fill out this questionnaire?
Dan

Thanks Dan from Hadouken! for answering our questions!

Und hier das ziemlich krasse Video von Hadoukens! neuer Single “M.A.D.”:

Heute im Bedroomdisco Adventskalender: ein Interview mit einem schlauen Burschen: Circlesquare!
Mathe war gestern. Geometrische Formen unso. . . BUH! Aber daraus ein Kunstprojekt entstehen zu lassen ist wiederum cool! Jeremy Shaw alias Circlesquare ist das gut gelungen! Anfang 2009 erschien sein zweites Album “Songs about Dancing and Drugs” auf !K7 in  Berlin. Eine laute, exaltierte New Rave Platte ist Songs about Dancing and Drugs wie der Titel vielleicht suggerieren mag aber sicher nicht.  Packt also die Neonknicklichter wieder ein. Anstatt die Tanzfläche nämlich zum Pumpen zu bringen, verweilt Circlesquare lieber arty und kühl am Rande der Tanzfläche. Im minimalistischen David Bowie Style reflektiert er das Partygeschehen vor sich, nicht abschätzend, lediglich distanziert. Versteht ihr nicht? Dann wird es Zeit für das Bedroomdisco Interview mit Circlesquare! Sehr erhellend! Viel Spaß!

1.) Band facts

- Name: Circlesquare
- Band members on stage: Jeremy Shaw, Dale Butterfield, Trevor Larson, Graeme Mitchell (visuals)
- Founding year: 1999 (2006 in its current state)
- Residence: Berlin, Germany
- Current album: Songs About Dancing and Drugs

2.) Questionnaire:

- What is the story behind the name Circlesquare?
It’s a ubiquitos thing - circles and squares, the most primary shapes. I think the initial idea was that it didn’t really impy anything, or color the music before you’d heard it - and that hopefully you’d a bit surprised when you did, even though you had had no real idea before.
-   How did you get into music making?
Just by being a super-fan really. By the time I was 10 I had a record collection full of Bowie and Pink Floyd records.  I played the bassoon in elementary school for 3 years and then dabbled with the guitar in and out of high school.  In 1997 I bought a sampler after hearing DJ Shadow’s Entroducing and then it just kept going from there.
-   How would you describe your style of music?
Slo-mo techno folk with dusty-fluorescent cold waves
-   You moved from Vancouver to Berlin. Why is the scene in Berlin more appealing to you?
There’s just a lot more of everything here - it’s a major, forward-thinking city where culture is still valued in a very high regard.  Vancouver, although beautiful and nice to live in, can be very conservative and often shows little interest, or at least little support for the arts…. This of course creates a strong underground, but undergrounds wear thin when the ceiling feels like it’s never going to open .  Plus, the proximity of Berlin to the rest of Europe is a major selling point and it’s just a wonderful place to be in general.
-   If one takes the albums title „Songs about dancing and drugs”. Why did you dedicate your album to these topics?
They’re two subjects that are incredibly prevelant in our times - in a lot of times, really.  Next to religion, they’re the most common ways that people seek transcendence and they’re activities that have inspired a lot of what I do - be it as a spectator or participant. There is so many aspects to each - infinitely inspiring and never without a new twist.  So, when I looked at the songs and lyrics I realized those were the most prevalent themes of the album (and have pretty much always been with Circlesquare) I thought it was a fitting dedication.
-   You have designed the cover artwork of „Songs about dancing and drugs” on your own. What do you want to express with it and how does it refer to your music?
It’s based on an art piece of mine which is the broken black light bulb hanging, but without the Circlesquare logo drawn on it.  It was from an exhibition I did in 2005 called Anti-Psych where I was discussing the death of the psychedelic experience in youth due to the newer, harder, faster drugs that have taken over America; making things like LSD look very naïve in comparison. So, the black light bulb represents about the cheapest, lowest-form of basement psychedelia possible; found in many a teens bedrooms everywhere throughout the 70’s and 80’s. Yet the bulb is broken, rendering its psychedelic capabilities useless, and poetically referencing the death of an idea. This is further analogized by the fact that crystal meth users smoke the drug out of shards of broken light bulbs.  For the purpose of the cover, I scrawled the Circlesquare logo on a new version of the piece and then shot it as a 3D photograph; perhaps in an attempt to re-introduce the psychedelic to the image… I’m not entirely sure, but I really like how it looks and I think it refers to the title of the album in many ways.
-   When one is opening your CD, you can read the sentence  „Best heard from the floor”. Why do give such an „advice”?
It’s said that on all Circlesquare releases since the first album on Output in 2003 -  it’s a bit of a play on words in that one might immediately think the dancefloor, but then upon listening, you may think of lying flat-out on the floor… on just standing on the floor. It’s actually very non-specific advice really, so it’s actually not much advice at all.  I like the idea of a band knowing the prime situation/loaction for their music to be heard in - or at least where they feel the optimum intent would be relaized.
-   Our favourite track on the album is the opening track „Hey You Guys”. Can you tell us how it came into existence?
Hey You Guys was a song that I’d had written completely in mind far before ever recording a single note of it.  The chorus actually came to me after me and some friends had taken a road trip to see David Bowie at the Gorge in George, Washington in 2002 - we got held up in border traffic for 3 hours and then were pulled over by the over-zealous customs officers and searched which ended up arriving at the show just as he had finished .  I was totally heart-broken. Then on the solemn drive home, I wrote that chorus in my head… so something very postive ended up coming out of a terrible day.
-   Can you name your 3 top albums of 2009? Why?
I actually can’t! I haven’t been listening to a ton of new music this year - while on the road we generally end up   listening to older records for the most part.  I can name some favorite songs of the year though -
The Horrors  - Sea Within a Sea
The Field  - The More That I Do
Neon Indian - Mind, Drips
Pantha Du Prince - Behind The Stars
Paul Ritch - Evil Laff (Konrad Black remix)
Grizzly Bear - 2 Weeks (Fred Falke remix)
Animal Collective - My Girls
Ben Klock - Subzero
Bat For Lashes - Daniel
What do you associate with Bedroomdisco?
A blog with great taste!

Thanks Jeremy Shaw aka Circlesquare for your answers :)!

www.myspace.com/circlesquare

Und jetzt gibts noch ein bisschen Slow-Mo- Techno-Folk auf die Ohren! Circlesquare mit Dancers:

Endlich mal wieder ein Türchen öffnen im Bedroomdisco Adventskalender. . .heute könnte es um Kalorien gehen, tut es aber nicht! Eher ums Verlieren:)

Denn bei dieser Frittenbude bekommste kein heißes Pommesfett mit Rot/Weiß, sondern ne ordentliche Portion Party und Beats. Die drei Jungs aus München drücken dir schwitzig - atemlosen Sprechgesang auf die Ohren. Prollig kommen sie zwar daher die Parolen über Parties und Drogen, doch sind sie deswegen nicht minder zutreffend auf unsere, ich nenn es jetzt mal romantisch “Jugendkultur”. Im November 2008 kam das Frittenbude Debütalbum “Nachtigall” auf dem Hamburger Label Audiolith raus, wo auch sonst!

Gutes Stichwort: Falls ihr es noch nicht mitbekommen habt. MORGEN, am Freitag, den 18. Dezember geht hier in Darmstadt im 603qm die große Audiolith Rave-Pogosause ab. Dabei sind natürlich Frittenbude, aber auch Live: Egotronic (Berlin), , One Foot In Da Rave(Hamburg), Rampue (Berlin), Ira Atari (Kassel) und auf Vinyl: Krink (Hamburg) & Das Audiolith (Hamburg)

Dat Janze wird präsentiert von eurem Lieblingsblog der Jetztzeit und der Zukunft: Bedroomdisco.de! Yeah! Wir erwarten euch!

AUDIOLITH FEST auf 603qm, Darmstadt! Beginn 21h, VVK 12€ / AK 15€!  Vorverkaufsstelle im AStA-Büro Darmstadt.

Mehr Infos hier und hier!

Jetzt aber erst einmal das Frittenbude Mailinterview, damit ihr wie immer intelligent abdääncen könnt! Viel Spaß!

1.) Steckbrief:

- Name: frittenbude
- Bandmitglieder + Spitznamen: wario adorf, franz maschiene, clepto jokl
- Gründungsjahr: 2006
- Standort: bayan
- aktuelles Album: nachtigall…2. album kommt im mai 2010

2.) Fragenkatalog:

- Was ist die Geschichte hinter eurem Bandnamen?
gibt es nicht, ist die erste idee die wir hatten und zack genommen die intention war das das wort fritten endlich pommes ersetzt…
- Wie kam es zur Bandgründung?
wir fuhren in einem auto mit defektem radio auf das pfingst open air und hatten lediglich eine cd mit beats von jokl dabei, die anderen beiden betankten sich
ordentlich mit schnaps usw. und begannen dazu zu singen und rappen, dabei entstand bereits der refrain zu unserem nonsenskonsenskondenzsong zucker.
das machte uns dann so sehr spasz, das wir uns eine woche später in einem bandproberaum eingeschloszen haben und einfach weiter machten.
- Wie ist die Zusammenarbeit mit dem Label Audiolith entstanden?
wir haben im juz dorfen zusammen mit egotronic gespielt, und an diesem abend den laden da komplett abgebrannt, sprich alle register gezogen, das gefiel dann den egotronix samt mitangereistem booker artus von lingenburg, man kam ins gespräch, aber mehr entwickelte sich an diesem abend noch nicht, da wir nach dem gig von unseren freundinnen nach hause geprügelt wurden, da wir uns alle drei heimlich davon geschlichen hatten…
artus und torsun haben dann, bei lars (das audiolith) mehr als ein gutes wort für uns eingelegt, da lars uns schon von einer remixcompilation her kannte und auch nicht so scheisze fand, lud er uns nach hamburg ein um ein konzert im hafenklang zu zocken… wir verstanden uns auch mit ihm auf anhieb äuszerst gut und tüteten am nächsten morgen per handschlag unseren plattenvertrag ein…
- Nerven euch eigentlich die ewigen Vergleiche angeblich nur ein musikalisches Abziehbild von Deichkind zu sein? Wie geht ihr damit um?
natürlich nervt das… wie wir damit umgehen? garnicht, unsere fans, freunde und musikerkollegen sehen das anders und daher bekommen wir das ja auch
auszschlieszlich von untallentierten musikjournalisten und teilzeitrezensionisten zu hören… eigentlich ist es uns auch egal was da in irgendeinem mag oder
auf irgendeiner musikseite steht, die schwitzende horde bei jedem konzert straft doch das alles lügen..das leben pasziert da drauszen und ist bunt nicht schwarz auf weisz… lustig ist auch, das keiner von uns dreien diese band anhört und in der regel musz man doch um zu kopieren sich mit dem  zu kopierenden auseinadersetzen…
- Ihr positioniert euch auch politisch, nämlich antifaschistisch. Warum ist es für euch so wichtig als Band politisch Flagge zu zeigen?
weil antifaschisten so sind…
da wir das ja auch im normalen leben tun, wäre, wenn wir es musikalisch/textlich nicht täten, ja einen teil von uns auszen vorlgelaszen worden, musik machen wir aber auf keinen fall um politische inhalte zu transportieren, wir sind musiker und machen musik der musik willen, wir können eigentlich gar nichts anderes, der rest ist beiwerk ob das nun eine politische äuszerung oder der wunsch nach liebe ist. ich persönlich mag politik überhaupt nicht, aber wenn schon politik dann links
- Was ist die Idee hinter dem Albumtitel Nachtigall?
das album ist ein album für nachts, das hört man nicht im büro oder beim chillen und daher wollten wir ihm einen namen geben, der das alles unterstreicht,
die nachtigall macht nachts wunderschöne musik und erfreut die nachteulen mit ihrer stimme, genau das haben wir auch versucht…
- Rein thematisch singt/rappt ihr viel über Drogen. Warum das?
das stimmt nicht… sie kommen zwar immer mal wieder vor, werden heroisiert oder verteufelt. wir wollen definitiv beide seiten der medaille zeigen und
wie schon gesagt, es ist ein konzeptalbum über das nachteben, mit einzelnen ausnahmen wie eben mi1000j oder pandabär, wenn drogen nicht vorkommen
würden wäre das wie wenn du aus kriegsbildern die waffen retouschierst.
- Wie enstehen für gewöhnlich eure Tracks? Wer z.B. ist für was zuständig, wo/wie produziert ihr?
jokl produziert den beat, dann haut martin seine gitarre dazu, dann wird das nochmal alles umproduziert, ansclieszend schreibt streuner einen text darauf oder kuckt welcher von seinen bereits geschriebenen texten dazu paszt, dann probieren wir das zu dritt im proberaum aus und nehmen das dann anschlieszend gleich auf, danach setzt sich jokl hin und mischt das ganze, dann nörgeln die anderen beiden was ihnen nicht gefällt bzw. weinen vor freude, evtl. macht jokl dann was anders, anschlieszend mastert das meistens plemo während er frieda krault.
- Ihr remixt auch viele Songs. Wie läuft so ein „Remixdeal“ normalerweise ab?
hier hast du die spuren und den text, macht mal was schönes… allerdings musz uns der ursprungssong auch gefallen, dann machen wir das.
- Rein stilistisch sticht Mindestens in Tausend Jahren klar vom sonstigen Albumsound heraus, sanfte Frittenbude sozusagen. Wie kams dazu?
mhhh..ja das schon, vom album hebt es sich ab, nicht aber von unserem sound denn der besteht nicht nur aus utzutzutz… die geschichte ist lustig.. jakob wollte eigentlich ein hammerbrett produzieren und das kam dann dabei raus, der text war schon länger fertig, als wir das dann zusammenfügten wuszten wir schon, dass das ein monster ist…
- Nächstes Jahr 2010 soll ein neues Album von euch kommen. Inwiefern wird es neu sein?
es wird rein akkustisch und wir haben uns für jeden song mindestens 19 gäste eingeladen. thematisch wird es sich weniger um das nachtleben, sondern viel
mehr um textilverarbeitungstechniken drehen, wie batiken, bleichen, häkeln, blaufärben usw.
- 3 Top-Alben 2009? Bitte mit Begründung!
- phantom ghost “thrown out of drama school”
einfach herrlich
- antipop consortium “fluorocent black”
komplette bombe, zwar nicht so experimentell und richtungsweisend wie tragic epilog oder shopping carts crashing aber wunderschön… raps top, beats top
- muse “the resistance”
queen 2.0 mehr gibts ned zu sagen
bester song des jahres ist
aber daniel merriweather “cigarettes”
da geht nichts drüber…
“but my clothes smell like cigarettes
and they used to smell like you”
- Was stellt ihr euch unter Bedroomdisco vor?
eifelturm und schubkarre
- Wer hat den Fragenkatalog ausgefüllt?
streuner

Jo Streuner von Frittenbude, vielen für deine Antworten!

www.myspace.com/frittenbude

Jetzt gibt es nochmal schön was auf die Ohren von den Jungs:

Frittenbude mit Electroficckkkkke:

2009 war ein gutes Jahr für die Great Lake Swimmers – zumindest hat es die Band um Oberhaupt Tony Dekker von sehr guten Kritiken und Begeisterung in Kennerkreisen, mit ihrem mittlerweile vierte Album „Lost Channels“ dieses Jahr zu sehr guten Kritiken und gesteigerter Aufmerksamkeit gebracht. Doch ob das wirklich das Ding der Band ist, sang sie doch schon auf dem aktuellen Album „Everything Is Moving So Fast“. Nachdem wir hier schon vor einer Woche ein Video von ihrem Auftritt im Kölner King Georg präsentierten, können wir heute stolz ein ausführliches Interview mit Tony posten, der laut eigener Aussage dieses Jahr lernen musste, dass er nicht unzerstörbar ist…

1) Band facts:
Name: Great Lake Swimmers
Band members: Tony Dekker, Erik Arnesen, Bret Higgins, Miranda Mulholland, Greg Millson, Julie Fader
Founding year: 2003
Residence: Toronto
Current album: Lost Channels

2.) Questionnaire
How did you start making music at first?
I started making music at a young age, by teaching myself how to play guitar, and then immediately started to write songs. Back then I was influenced by the DIY and punk movement. I didn’t feel that traditional musical instruction was necessary in order to express oneself.
Which musical influences do you have?
Over the years I would cite Leonard Cohen as one of my biggest influences, in both his writing and music. As a Canadian songwriter he holds a very special place for me. I see him as a guiding light, and a true master and servant of song.
Great Lake Swimmers started as a solo-project and became a band in 2003 - why did you decide to become a band?
As I started to play more live shows, I started to recognize the importance of having extra firepower. I crossed paths with many like-minded musicians while playing in Toronto, and eventually pulled together a band, to help underline the songs I was writing at the time.
Your band line-up changes ever since - why is that so and how would you say does this influence your productions?
The project has always come back to being about the songs, and we’ve had many people drifting in and out of it with varying levels of commitment. I think it brings a new dynamic to each new tour and album. I have found a good core of musicians in Toronto to draw upon now, and I hope our current lineup will be more stable. Still, it’s a strength, too, to continually be breathing new life into the songs.
Could you tell how you normally write songs and which themes trigger your interest in writing about them?
One of the main things that I’m trying to get at the truth of is seeking/finding a kind of spirituality in the natural world; that there is a kind of truth, or spirit, or hidden power in the wilderness. And to me, the wilderness can take on many different forms. I take my cues from the solitude of natural environments, but they often overlap and jar against other kinds of environments, too. I prefer to get into a quiet space to write songs.
Could you tell how the production of your latest album “Lost Channel” took place?
We basically set up a portable, impromptu recording scenario in specialized, unique acoustic places, some that took quite a bit of planning. We had tried to record as much material as possible in these places, and then take all of those tracks back to the studio (the House of Miracles) to sort it out and do overdubs. We also mixed the album there. In the case of “Lost Channels,” there was quite a lot of preproduction as well. There was a lot of thought put in to how the songs should be directed before we approached the definitive takes.
For the production you choose to record in old churches and other unusual buildings - what where the reasons for that and how did the people owning the buildings react to your request?
At first the reasons for recording in these spaces was purely acoustic, but over the course of 4 albums I started to recognize that there were other important factors as well. Making the effort to record in special places also adds an element of reverence for the creative process. I found that by making these efforts, we were able to draw an even greater performance out of ourselves. This type of recording is a creative means to a creative end, and emphasizes the importance of the process. I think for the most part, the owners of these buildings were very open to that and made us feel welcome there.
Our favourite song of “Lost Channel” is “Stealing tomorrow” - could you tell what the song is about, how you came up with it, if there is a story behind it and how it was done?
“Stealing Tomorrow” is one of the first songs I started working on for the new album. It is special to me because the lyrics inform the song structure, in that there are really no verses or refrains. I wrote this song over the period of about a year, with single lines coming intermittently. I am also very proud of Bob Egan’s pedal steel work on it.
“Lost Channels” get great critics and seams to be some kind of a break through internationally for you - how do you feel about it and does this change something for you?
I’m pleased that the album has been warmly received, but I don’t view it as some kind of breakthrough because I have been writing songs and performing for almost a decade now. I think it has been a slow and gradual process which has involved a lot of hard work, and I see this album as a continuation of that work. So basically, it changes nothing. It’s most important to me to try to maintain a level of heightened creativity.
As “Lost Channels” was released in april 2009 - are you already working on new songs? If yes - how far are you and what can you tell us about them?
I try to write every day, but we have been touring so much this year that it has made that necessary solitude a rare commodity. I’m still very much focused on the songs from Lost Channels and hope to start in earnest on a new writing cycle in the new year.
What did you learn 2009?
That I am not indestructible.
What was your best personal experience in 2009?
Visiting Newfoundland for the first time, which is a province on the east coast of Canada, was definitely a highlight for me. I hope to return there soon.
What are your plans for 2010?
We will be doing a tour of China in early 2010. We were also invited to perform at the Winter Olympics, which are being held in Vancouver, Canada this year. We’re also planning a special concert in our hometown of Toronto for February. Beyond that, I hope to continue work on new songs and hopefully another recording project.
What do you associate with the expression “Bedroomdisco”?
A party of one.
Who filled out this questionnaire?
Tony Dekker from Great Lake Swimmers.

Thanks a lot, Tony for slowing things down and taking the time to fill everything out! For everyone now once more - Great Lake Swimmers live @ King Georg, Cologne:

Es gibt solche verlorenen Tage, die man einfach nur aus seinem Gedächtnis streichen will. Letzte Woche Freitag war wohl solch ein Tag für die Thieves Like Us – denn an diesem Tag merkten sie, dass sie ihr ganzes Tour-Geld geklaut bekommen hatten. Also keine Rücksicht vor Kollegen könnte man beim Namen Thieves Like Us denken…Trotzdem nahmen die drei Herren den Weg nach Darmstadt auf sich und trotzdem spielte die Band ihren Song „Don’t Take Your Hands Away“ für uns! Somit hier Thieves Like Us im Bedroomdisco TV!

Passend zu unserer Adventskalender-Aktion verlosen wir in diesem Zusammenhang auch eine unterzeichnete Kopie des Thieves Like Us Albums „Play Music“! Einfach eine Mail an info@bedroomdisco.de mit dem Betreff „Diebe“ und wer weiß…vielleicht kommt die Bescherung demnächst auch unter euren Baum…

Enno Bunger
Mittwoch, 16.12.09 Frankfurt/Main - Ponyhof

The Late Call
Donnerstag, 17.12.09 Frankfurt/Main - Ponyhof

Mikroboy
Freitag, 18.12.09 Mannheim - Alte Feuerwache

Unser Tipp der Woche:

Audiolith-Fest (Egotronic/Frittenbude/Plemo Rampue/Ira Atari)
PRÄSENTIERT von BEDROOMDISCO.de
Freitag, 18.12.09 Darmstadt - 603qm

Ich bin Cherry Daiquiri - das ist aber nicht mein richtiger Name…

(Beth – Choke)

Seitdem seine Mutter ihn als Kind immer wieder von seinen Pflegeeltern entführte, scheint Victor Mancini seinen Platz in der Welt noch nicht gefunden zu haben. Er jobbt als Darsteller eines kolonialen Pilgers in einem Themenpark und verdient sich etwas dazu, indem er Menschen nach Geld fragt, die ihm das Leben bei einem seiner inszenierten Erstickungsanfällen retten. Viel Geld bleibt ihm trotzdem nicht, da er das Geld für die Pflege seiner mittlerweile an Demenz leidenden Mutter braucht. Seine Situation wird nicht unbedingt dadurch erleichtert, dass Victor an Sexsucht leidet und sich schon mit der gesamten weiblichen Krankenhausbelegschaft vergnügt hat. Mit der gesamten? Nein, es gibt da noch eine neue Ärztin, die erbitterten Widerstand leistet.

Victor-Darsteller Sam Rockwell (The Green Mile, Moon) spielt zumeist keine normalen Charaktere, genauso wenig wie Chuck Palahniuk keine gewöhnlichen Romane schreibt. Denn neben “Choke” stammt auch der Roman auf dem „Fight Club“ basiert aus Palahniuks Feder. Während „Fight Club“ Kultfilm-Status genießt, blieb es um „Choke“ allerdings etwas ruhiger – mal abgesehen vom Gewinn des Spezialpreis der Jury beim Sundance Film Festival 2008. So schließt der Film vielleicht nicht direkt an „Fight Club“ an, besitzt aber wegen seinem Witz, Charme und seiner Kreativität allemal seine Daseinsberechtigung. Denn als Mischung aus „Einer Flog über das Kuckucksnest“, „American Pie“ und vieler Coming Of Age-Filme unterhält „Choke“ bestens, wenn er vielleicht auch nicht lange im Gedächtnis bleiben wird. Denn trotz der heiklen Themen Sexsucht und Demenz bleibt der Film letztlich doch etwas zu brav (was nicht bedeutet, dass es wie für US-Produktionen üblich nichts zu sehen gibt) und behandelt dann letztlich eher Victors Suchen und Finden von Liebe. Das ist dann zwar sympathisch verpackt, kann sich aber leider nicht richtig von der Masse der Filme dieser Art abheben.

Choke (USA 2008)
Regie: Clark Gregg
Darsteller: Sam Rockwell, Anjelica Huston, Kelly Macdonald, Brad William Henke
DVD-VÖ: 16. Oktober 2009, Koch Media GmbH - DVD

Hohoho, der Bedroomdisco Adventskalender hat sich am Schlitten des dänischen Weihnachtsmanns bedient. Der trug nämlich, lange schon bevor seine eigentliche Mission startete, die Kunde von einer tollen Band aus Kopenhagen mit sich. Turboweekend nennt sich das dreiköpfige Gespann. Entsteht hier in Deutschland vielleicht ein Fragezeichen im Gesicht und denkt ein verwirrtes Etwas beim Namen Turboweekend eher an ein Saufwochenende mit Kumpels als an eine Band, so sind Turboweekend in Dänemark dagegen sehr bekannt. 2007 waren sie mit ihrem überaus erfolgreichen Debütalbum “Night Shift” als Best Act Dänermarks nominiert. 2009 veröffentlichten sie ihr zweites Album “Ghost Of A Chance”. Es ist ein düsteres, aber nicht minder tanzbares Werk; mit eindringlich-kraftvollem Gesang über 80s Synthisounds und klaren Basslines. Prädikat: Unbedingt anhören!
Im Bedroomdisco Interview plaudert Turboweekend Frontmann Silas Bjerregaard über die Anfänge als Foo Fighters Coverband, nennt BAAHH als Einfluss für seine Musik und freut sich über Origami! Viel Spaß beim Lesen! Und danach bitte freuen: Denn es gibt es noch einen exklusiven Remix von Turboweekend zum Downloaden.Huiiiiii!

1.) Band facts

- Name: Turboweekend
- Band members + nicknames:
Drums: Martin Petersen
Bass: Morten Køie
Lead Vocals and som keys: Silas Bjerregaard
Keys and Backing vocals (Live): Anders Møller
- Founding year: 2006 or 1996 depending on perspective.
- Residence: Kopenhagen
- Current album: Ghost Of A Chance

2.) Questionnaire:

- What is the story behind your band name?
We had started playing together again in the after a hiatus of a year, and the new band was all about playing late shows in night clubs, in between dj’s. That was what we wanted to do at the time, that was the challenge. And then we also wanted a name that could sound both Danish and English, so it seemed natural to pronounce everywhere.
- How did you guys meet and become a band?
We’ve always been a band. Almost. Morten and Martin have known each other since Kindergarden, and I joined the class in 4^th grade. We made our first band in 1996 playing covers of Foo Fighters and Nirvana, but also very quickly our own material. We renamed the band in the beginning of the Naughties, and at this point the music was more funky and jazz/souly with horns and rhodes. That band stopped around 2004-5, and then we started Turboweekend in 2006.
- How did it come that you were on tour with Who Made Who?
We know Who Made Who from Copenhagen night life, and have played with them once or twice back home, so when the album was released in Germany it felt natural to contact them and ask if we could support. They have been working very hard to build up a reputation in Germany, and we knew that their audience would be the kind that we would love to tap into.
- Which influences do you have when producing your music?
Bahh…
- You play with drum, bass and synthesizer. Was it clear for you that you wil not use a guitar? Why?
As I said before we’ve played in other bands with guitar. Both rock and jazz/funk (even acoustic singer/songswriter style). Turboweekend was based on what the three of us could do without involving any other people, and none of us are very good at playing the guitar. It’s really that simple. We have guitars in the studio and there is some guitar on the tracks, but it’s mostly as a sound effect, or to beef up a synthsound. In the beginning I (Silas) played most of the synth roles, while singing, and small parts where on back-track. In January 2009 Anders joined the band on stage, and has taken over almost all of the keyboard and synth parts, and even evolving and making new stuff. He’s originally a bass player, and we’re the first band he plays keyboards with, but his learning potential in this field is amazing. His new fetishes are MAX for live (where you basically program you own synths and plugins) and then building analougue modular synths from scratch!
- What is the story behind your new album name “Ghost Of A Chance”?
Not all, but most of the songs are about love that isn’t really there. Love that either once was, or that might be. Like a ghost of the past or the future. The title also plays on the idiom “Not a ghost of a chance”, which means “no chance at all”. We just removed the “Not” - But if you know the idiom, then it’s still there in your head.
- The sound of your new album somehow contains the idea of a 80s revival.
We’re not seeking a revival. We’re born in the 80’s and we’ve listened to a lot of music from the 80’s from David Bowie to Prince to Bob Marley to The Cure (list could go on), but we’re teenagers of the 90’s and partied to Pixies, Nirvana, Smashing Pumpkins, Prodigy, Jamiroquai, Tribe Called Quest, Aphex Twin and so many others (also the terrible ones that I won’t mention, but you know from the highschool party of your nightmare). For some reason I think people associate “unprocessed” synths with the 80’s. And sure we have some of those. We have worked with keyboards from the 70’s, 80’s and late 90’s like the Juno 60, the OSCar, and the Korg MS2000, but many times we have run them through out board effects (like Mortens effect pedals) to alter the sound and make it more organic. It could also be something in the songwriting, the kind of high energy synth/pop that was some common in the 80’s - But I think the 80’s tag hides a lot of other influence.
-What exactly fascinates you of the 80s synthie sound?
We’re not especially fascinated with the 80’s synth sound. Maybe it’s just the easiest to make J
- Which lyrical themes do you cover in your texts? Why?
My lyrics tend to focus on unfulfilled love or lust. I think perhaps because the feeling of commitment or attraction is mostly stronger when you either haven’t achieved your object of desire, or when you’ve somehow lost it. I always find it easier to describe the feeling of love, by describing the pain of not having it. That said, there are songs on the new album that talk about completely different stuff. Holiday for example is an ironic comment on the 9-5 work ethics that stops everything dead when the bell rings, and Up With The Smoke is a narrative about a mystical death and rebirth of identity, heavy with mythical images and symbols.
- After Hours is one of our favourite songs. What’s the story behind that song?
Well there are kind of two layers to the song. The first layer is just plain lust. If you’ve ever worked late and felt horny and wanted to make a booty call to the office, then you know what I mean. The second layer is about power. The power to seduce someone out of their senses and obligations. But who really has the power in this song? There is a waiting game between the person inviting and the person being invited up. That’s the darker desperate tone of the song. Who is really waiting for hours?
- How do your songs come normally into existence? Who does what or are you meeting in the studio and the songs emerge out of jamming?
We jam a lot, and then we usually record the jam with just one microphone just to get it down in a simple fast manner. When we have a couple of ideas, we start working more detailed on the best, recording bit by bit. But we have discussed before each album how to do it, and we do different things every time, to get to different results. We are starting to make new material in January, and this time we’ve booked a couple of weeks where we have no gigs and no other work to disturb, and the gear doesn’t have to leave the studio, so we can have everything hooked up all the time. I’m looking very much forward to it.
- Can you tell us something about your artwork for the new album? Who did it and what where your ideas behind?
The cover for Ghost Of A Chance was made by Hvass & Hannibal (photo by Brian Buchard). We have a long standing relationship with Hvass&Hannibal - actually Morten and Sofie live together -, and they also did the cover for our first album (Night Shift), and have done almost all our artwork (they also work with our friends from Efterklang). I think their idea was to create something with a lot of contrast in a subtle way. Cold, yet organic, mysterious, yet recognisable. I personally like how the origami-like ball in the middle is both mathematical, warm and colourful opposed to the cold, dark winter forest. And the luminous tent on the inner sleeve ties in with the Trouble Is video…
- Which are your favourite albums of 2009? Why?
Merriweather Post Pavillion (by Animal Collective), Ten Makes a Face (by When Saints Go Machine), and Machine Dreams (by Little Dragon). Haven’t heard the latest Bob Dylan yet, but it’s been getting great reviews and I’m a big Dylan fan….
-Which song makes you always dance - independent of the situation?
Lately “Down in LA” (Shazam remix) by Munk or “Show Me Love” (Laidback Luke & Steve Angelo remix) have been doing it for me. But a classic is “Could You Be Loved” by Bob Marley.
-What’s on your rider?
- Food (sandwiches + a hot meal), snacks (healthy - not too much candy), beer and booze, a bathroom + towels, a small stereo of some kind for pre-show warm up, friendly and competent venue crew, beautiful audience
- Who did fill out this questionnaire?
Silas Bjerregaard

Thanks Silas from Turboweekend for answering our questions!
www.myspace.com/Turboweekend

Und jetzt wollt ihr natürlich auch was haben, jajaja, iiimmer nur am abgreifen die Bedroomdisco Leserschaft. Wir machen es euch aber auch leicht. Wir stellen euch nämlich einen exklusiven Remix von Turboweekends neuer Single “Trouble is” zur Verfügung. Zum kostenlosen und legalen Download. Eher schon cool! Viel Spaß beim Tanzen!

Turboweekend - Trouble Is ( Holtoug Remix)

Die Musikvideos von Turboweekend sind eindeutig sehenswert und gesetzt den Fall sie laufen auf MTV, so würden sie 1000000 nervige Klingeltonwerbungen wieder wett machen. Großes Kino, ehrlich!

Turboweekend - Holiday :