MILOSH | THE CITY

LE PETIT PRINCE

You sometimes have to wonder why an artist hasn't risen to stardom yet. One of those still in mild obscurity is Michael Milosh, a classically trained artist with a rather unique sound hailing from Toronto, Canada.
Milosh's music is based on his his dreamy and calming voice combined with seemingly hectic and complex beats and cloudy melodies. The outcome is quite magical, close to a feeling of nostalgia like remembering your childhood.
The magic works also in his video to the song The City, that feels a little bit like Antoine de Saint-Exupéry could have directed it. Feels like a classic for young and old.
Marius Funk

Interview | BROKOF

"IST DA VELVET UNDERGROUND DRIN?!"



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Kalooga Magazine came across "Brokof" around the time when they released their debut album "softly, softly catchee monkey" this fall. At that time we were also in touch with another Berlin-based band called "Sorry Gilberto". The funny thing is that the latter are on Brokof's label "Goldrausch Records". Yes, that's right, the band owns its own label. And a studio, too. Isn't that practical?

The four musicians that form Brokof are all absolute pro's. But it is not only that they are particular about questions of production, compilation and arrangement. No, they also have that certain feel and sensitivity to them... You can hear it in their songs, feel it in the crowd when you see them live on stage and now there is also definite proof of it due to our 15 minute interview with the band.

Now, because there is already a very good and thorough video interview with Brokof somewhere out there on the web we decided to focus solely on discussing each of the ten songs on their debut album.

Hear the stories behind the music and find out how it all came into being!
eb

Interview | MARC A. THOMPSON

"NEW YORK IS WHERE HOME IS"



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For over 12 years the singer-songwriter Marc Anthony Thompson has been the central figure of a collective of musicians by the name of "Chocolate Genius Inc.". This year the band published its presumably last album called "Swansongs" (according to Thompson). For his first and only gig in Germany I got to talk to Thompson right before his show at Berlin's legendary concert venue "Lido" in Kreuzberg.

Marc Anthony Thompson has been in the music business for over twenty years - publishing two albums of his own as well as four others with the aforementioned project "Chocolate Genus Inc.". Making rock, soul, folk and jazz music Thompson got to work with some of New York's finest musicians. Marc Ribot, Philip Glass, David Byrne and Meshell Ndegeocello are only a few of them. Over in Europe Thompson has been working with musicians such as Vincent Segal and Seb Martel.

Thompson himself has been compared to quite a few very successful musicians such as Tom Waits, Jeff Buckley and Lenny Kravitz. In 2006 he went on tour with Bruce Springsteen playing shows throughout Europe and America.

It was a real pleasure to get to meet a man as witty, smart and thoughtful as Marc Anthony Thompson. Among other things we talked about his moving from New York to L.A., being on the road, writing music for TV and movie productions, touring with Bruce Springsteen and of course the making of "Swansongs". Please see for yourself!
eb

Interview | SIVA

"DIE IDEEN VERÄNDERN SICH GEGENSEITIG"



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Dieses Interview liegt inzwischen schon einige Monate zurück. Zwischenzeitlich hat es unser Magazincover geziert und erst kürzlich wurde es dort durch unser neustes Video-Interview mit der ebenfalls Berlin-basierten Band Sorry Gilberto "verdrängt".
Von dem Trio Siva wissen wir, dass es sich um drei sehr sympathische junge Menschen handelt, die allesamt in mehreren Bandprojekten aktiv sind. So besteht zum Beispiel auch ein Link zu einer anderen Größe in Berliner IndiePop-Kreise - I Might Be Wrong. Auch mit dieser Band haben wir uns schon vor geraumer Zeit für ein Interview getroffen, welches wir Euch hoffentlich schon bald an dieser Stelle präsentieren können. Bis dahin weiterhin viel Freude an dem bereits bestehenden Fundus!
eb

We made this interview already quite a while ago. Meanwhile it was on the cover of our little magazine where you will now find our latest interview with another Berlin-based band called Sorry Gilberto.
One more thing about Siva. The three of them are a bunch of fine young men. And so is their music. All of them have been active in various band projects up until today. Interestingly there is also a link to one of Berlin's most important IndiePop bands - I Might Be Wrong. And we're proud to tell you that we also got around to talk to them! Now, we'll do our best to edit it soon and put it online so you can find another goodie around here real soon! Meanwhile we hope that you will enjoy the archive of already exisitng articles & interviews!
eb

JJ | BABY

SWEDE DREAMS



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The nordic countries seem to breed good music: One of last year's biggest surprises comes with the Gothenburg-based formation JJ, consisting of the duo Joakim Benon and Elin Kastlander, who took the group's name from the French movie Jules & Jim.
Like their labelmates from the independent label Tough Alliance, JJ strongly derive from the dreampop movement, throwing in soothing vocals and atmospheric arrangements, while having quite a balearic vibe to their music.
However, the Swedes also take huge influence from the HipHop scene, using explicit lyrics strongly referential to US rappers, such as Lil' Wayne, whose voice-samples are found on quite a lot of the duo's songs (it is too bad that Wayne will be in prison by the time the Swedish artists tour the US together with The xx).
The song Baby from their first 12" EP sees the band at its best - a minimilast video fitting well with the melancholic, yet innocent and beautiful sound. For all of you to check out, whether you are in prison or not!
mf

Interview | NINCA LEECE

"THERE IS NO ONE ELSE WHEN I LAY DOWN AND DREAM"



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As we are about to meet with Ninca for the interview, I'm a bit excited. Will we recognize her? Fortunately it's not me interviewing her.. The Café has large windows. I immediately notice her approaching us from the other side of the street. Nothing's easier than that! Lively, with a charming smile on her face she enters the place and sits down right on our table. While the boys are still busy with preparing camera and microphone she admits that she had to rush a bit and that it's even warmer outside than she had thought. "It's always getting so hot under the pony", she tells me grinning, with her cute french accent and by the way talks about her fringe. I have to smile and ensure her that I know that very well. It instantly feels comfortable with this charming French girl. Everything about her is gaining. And we are starting our conversation. lb

Café Halifor is right on the corner of Schwedterstraße and Kastanienallee in Berlin. When we met Ninca there her new album There is no one else when I lay down and dream had just been released like two days earlier.
And, wow, we talked about so many things.. I mean, honestly, you have no idea how hard it was to cut this conversation down to 7 minutes of video... But still: It's enough time to get an idea about her background, the experience that she brought from her travels in asia and to find out about her collaborations with other musiscians, visual artists, filmmakers, about the new album, future projects, kids, Berlin and so many other things...! We hope you'll enjoy this as much as we did! eb

THEVIEWOFMATHEMATICS

ROBERT, YOU'RE IN

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Robert Heitmann kennen einige von Euch eventuell schon aus unserem Interview mit Kraków Loves Adana. Doch der junge Musiker ist vielseitig und nebenbei noch mit einem Soloprojekt unterwegs. Nachdem uns Robert den Namen seines Projekts ein wenig näher erläutert hatte, löcherten wir ihn noch ein wenig hinsichtlich seines musikalischen Arbeitens in dem offenbar sehr verschlafenen Städtchen, das den ritterlichen Namen Freiburg trägt. An dieser Stelle könnt Ihr Euch zudem ein eigenes Bild von seinem musikalischen Können machen. eb

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Deine unter dem Namen theviewofmathematics laufende Musik klingt wesentlich sphärischer, als der Name vermuten lassen würde. Trotzdem gibt es in deiner Musik immer wieder auch Dissonanzen.. Kannst du das ein wenig erklären?
Ja, je mehr man über diesen Namen bzw. Ausdruck nachdenkt, desto tiefer kann seine Bedeutung sein. Allerdings kann man ihn lesen und einfach nur interessant finden. So ging es mir, als ich theviewofmathematics als Titel für meine Musik wählte.
Ich glaube, dass die Dissonanzen in der Musik auf die Hörer unterschiedlich wirken. Wenn ich mich mit Leuten unterhalte, die meine Musik gehört haben, höre ich oft diese zwei unterschiedlichen Empfindungen. Entweder hören sie einige unerwartete Brüche heraus oder empfinden das Lied als etwas harmonisch Geschlossenes.
Vielleicht wirkt meine Musik also genau so unterschiedlich wie mein Name.


Wo setzt deine Musik an? Gibt es musikalische Referenzen, die für dich sehr wichtig sind?
Wenn ich Lieder anderer Musiker höre, achte ich sehr auf das Schlagzeug. Mir gefällt es, wenn das Schlagzeug weit im Vordergrund steht. Natürlich gibt es viele Musiker, die mich beeindrucken und inspirieren. Wolf Parade und John Vanderslice gefallen mir zum Beispiel. Zur Zeit höre ich gerne Lou Reed und John Cale.


Wie sieht dein musikalischer Alltag aus? Ist das Projekt theviewofmathematics überhaupt auch für die Bühne gemacht?
Ich beginne oft damit mir einen Schlagzeugrhythmus auszudenken. Gefällt er mir, stelle ich ihn auf Endlos-Schleife und beginne eine Gitarrenspur dazu aufzunehmen.
Wenn ich nun dieses kurze Stück spiele, ständig wiederhole und die ganze Zeit weiter machen könnte, weiß ich, dass es gut ist. Zumindest für mich.
Meine Musik ist für die Bühne bestimmt. Jedoch kommen dann einige Instrumente vom Band bzw. aus dem Computer. Dazu spiele ich dann Gitarre und singe. Ich mag diese Mischung aus den Klängen echter Instrumente und denen, die von Band kommen.

Wie lange läuft dieses Projekt jetzt schon?
Dieses Projekt läuft seit etwa vier Jahren. Zuvor habe ich Musik mit zwei Freunden in klassicher Besetzung, also Schlagzeug, Bass und Gitarre, gemacht. Da wir nun alle in unterschiedlichen Städten leben, gibt es diese Band nicht mehr.

Wie kann man sich die lokale Musikszene vorstellen, der du entspringst? Hat man in Freiburg für Indie etwas übrig?
Ich lebe seit fast drei Jahren in Freiburg und habe noch nichts aus der lokalen Musikszene kennengelernt, was mich beeindruckt hat. Und dabei ist es nicht so, dass ich mich nicht umhöre.
Ich komme ursprünglich aus der Nähe von Bielefeld. Vergleicht man z.B. die lokale Musikszene Bielefelds mit der in Freiburg,
so fällt auf, dass in Bielefeld deutlich mehr passiert. Vor allem für Musik, die man als Indie oder ähnliches einstufen würde.
Ich wüsste gern, warum das so ist.



Interview | SORRY GILBERTO

"IT'S GOOD TO LISTEN TO THE RAIN"

Gerade haben sie im Berliner Admiralspalast gespielt. Und ich habe mir gedacht, es wäre eigentlich interessant mal zu hören, wie es den beiden geht und was sie so machen. Vielleicht bekommen wir ja nochmal die Gelegenheit zu einem kleinen Gespräch in diesem Frühjahr. Allerdings haben wir uns vor einer ganzen Weile bereits einmal mit Sorry Gilberto unterhalten. Das war damals im Kauf Dich Glücklich. Dort spielten sie ihre teils melancholisch-nachsinnenden, teils unbeschwert-zwitschernden Melodien mit den unaufgeregten und wohl dadurch auch so herrlich lebensnahen Worten. Danach kam es dann zu dem kleinen E-Mail-Interview, dass ihr unter dem tollen Live-Video findet.
Anne und Jakob sind so sehr Berlin, dass man mehr eigentlich nicht beschreiben kann. Und sie sind fähige Multiinstrumentalisten, die ihr Können wirklich in diese Ihnen ganz eigene Richtung zu kanalisieren wissen.

eb



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Ich hatte ja das Glück, euch im letzten Jahr im „Kauf dich glücklich“ spielen zu sehen, was toll war! Könnt ihr ein bisschen von den Orten erzählen, an denen ihr auf eurer Tour gespielt habt? 


der seltsamste ort war sicherlich eine sportsbar in uddevalla/schweden, wo direkt neben der bühne auf nem flachbildschirm ein schwedisches ligaspiel lief. vor uns saßen die leute, die fürs konzert da waren. und daneben die fußballfans. die haben wahrscheinich gar nicht mitgekriegt, dass wir überhaupt existierten. ab und zu gab's nen aufschrei mitten in die songs rein, wenn ein tor fiel. wunderschön war eine house-show in paris im 5.stock, mit blick über die dächer. „café mir“ in oslo war auch toll. so eine art schokoladen von norwegen.



Welche Instrumente benutzt ihr vorrangig und was würdet ihr hinsichtlich der Instrumentation vielleicht noch gern ausprobieren?


jakob spielt gitarre, sowie sopran- und bariton-ukulele. anne spielt meistens bass und eine italienische orgel aus den 70ern namens rodeo37. und ab und zu spielt sie auch glockenspiel und diverse casios und eine blockflöte. jakob hat lust auf ein banjo und anne hat lust auf ein kinderakkordeon, aber jakob findet das zu zirkusmäßig.



Eure Songs schreien irgendwie nach Kindheit und dieser Idylle, die es vielleicht nur in diesem Lebensabschnitt so wirklich gibt. Würdet ihr dem zustimmen oder habt ihr beim Musikmachen eigentlich andere Intentionen? 


ein bisschen stimmt das sicher. vielleicht auch weil wir in den texten alles gleichwertig behandeln. es gibt nicht die trennung zwischen großen themen und alltäglichem. alles hat seinen auftritt. außerdem versuchen wir so einfach wie möglich zu sein und so jedem detail raum zu geben. und sie sollen leuchten. auch die traurigen sachen.



Wie gut kennt ihr beide euch? Und wie kam es schließlich dazu, dass ihr Sorry Gilberto gründetet? 


ziemlich gut. und als wir uns dann nicht mehr so gut kannten, hat anne bei sorry gilberto mitgemacht. es gab die band davor schon als ein projekt von jakob und einem freund. aber ohne auftritte und so. 



Ist Sorry Gilberto ein Alter Ego, ein geflügeltes Wort, ein Insiderwitz oder... Was verbirgt sich hinter diesem irgendwie tollen und passenden Bandnamen?


ganz am anfang (noch ohne anne), sollte die musik so ein bossa-nova-gefühl vermitteln. aber wir konnten so komplizierte musik gar nicht wirklich spielen. deshalb haben wir uns prophylaktisch bei der ganzen brasilianischen gilberto-dynastie entschuldigt. und jetzt ist es einfach nur der name, weil die songs ja ganz andere wege eingeschlagen haben. aber wir mögen ihn.


Wo ist dieses lustige Bushaltestellenfoto entstanden, das gerade euer Myspaceprofil ziert?


am treptower park. aber der kaktus ist da nicht gewachsen.



Letzte Frage bezieht sich auf Berlin: Gibt es eine Gegend in dieser Stadt, die für euch ganz besonders ist? Oder einen Ort, von dem man fast sagen könnte, dass er etwas Magisches an sich hat?


jakobs lieblingsort ist die brücke am ende der schwedter strasse, die über die s-bahn führt. da ist so ein tolles niemandsland, wo der prenzlauer berg auf den wedding trifft und gar nichts zusammen passt. außerdem kann man ganz weit gucken und es fühlt sich gut nach großstadt und nach provisorium an. 
anne mag das eisentor ganz am östlichen ende des görlitzer parks.

KRAKÒW LOVES ADANA

GUT DING BRAUCHT WEILE




An interview with KRAKÓW LOVES ADANA

Well, speaking quite frankly, it took quite a while for us to get this interview done. But having just read an article about people and their excessive time management, the general lack of leisure (I actually prefer the german word Muße) in our society and the brain's longing for a regular deceleration I actually don't feel so guilty about it. On the contrary: Certain things take time and that's just the way it is. Still we did our best to now serve you with our little ping-pong of words and thoughts. Deniz and Robert - the two souls behind the musical project - write melodramatic popsongs according to myspace. Also check out their Blog for news and insights about them.
Now, we can only say e-Mailing with Robert has been a pleasure and we'd really like to meet these two live in concert real soon. But now, without further ado - the interview we made. Here it goes:



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You already carry the word 'love' in your name- Surely that already tells a lot about you, doesn't it?!
In our case the word 'love' connects in one way two persons but also two cities. So there is even a lot of space between these
definitions. It is up to the viewer. Anyway it surely tells a lot about us...

Kalooga is made by people who are actually long drawn-out children. And children love secrets. Would you share a secret of yours with us? Something that you think is fitting for Kalooga. (We think that stories from the childhood, hopes, fears or little things that are important to you will also reflect you as musicians in a very interesting way!)
Robert: When I was a child i wanted to have a dog so bad. But at the same time I was afraid of losing that wish by growing up. That's why I decided to write my wish down. Although I don't have a dog yet I think it's a good way to remember the things you really wish for.

What is it like when you find an idea for a song? How does it happen? Is it as 'magical' as we might think?
Deniz: Depends on what you would call magical. it's a process which switches between doubts and lyricism. There's always a phase when I ( we ) think that we might never write a new good song again. Sometimes this period seems endless. But up to now the whole process worked. And when a song is written we love it forever.

Why do pearls have to bring tears?
Robert: My grandmother used to say that 'pearls bring tears'. That's why a bride should never wear a pearl necklace for her wedding she said. When we did the recordings for this song this superstition came to my mind again. So I started a little research on that and found another interpretation. It tells a story about some kind of poor and hard working people whose women only put on their pearls for special reasons. maybe a family party or something. Wearing these pearls made them cry tears of joy and appreciation.
Our song kind of makes me feel this and that way.

Who are your Strange Saints of Art?
Deniz: To categorize something as 'art' or to call someone 'an artist' goes along with a kind of canonization I think. Maybe it is just my imagination - but hasn't it always been this way, even in the past centuries? I do not think that this may change one day.
This is the strange thing about it.

I like that you think of yourselves as infinite and imperfect... You definitely have a lot in common with us!
eb



what we really need

2009 | THE MUSIC


The Dø | The Yeah Yeah Yeahs | The xx | Phoenix | Whitest Boy Alive | Florence and the Machine | R.E.M. | Soap&Skin | Peaches | KAMP! | Jean Poly | The Antlers | Mystery Jets | Antony and the Johnsons | Zoot Woman | Bat For Lashes |
eb


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Thom & Conor

LOVER I DON'T HAVE TO LOVE


Actually I was and am still listening to Thom Yorke's The Eraser, waiting, wishing, hoping. No, not for new new material (it doesn't always have to be new in order to fully serve our needs).

Originally I had planned to write a text dealing with the song, with lovers one doesn't have to love, how I got the idea for the video and why this song is so important for kaloogaphonic. Telling you all about the wunderbartraurige story told with this piece of modern poetry. Yes. ...But now listening to Analyse, Black Swan, Skip Divided, etc. I... just can't. Those songs are so demanding, absorbing, isolating. I'm really sorry. But here it goes:



I don't know.. maybe all this miscellaneous Bright Eyes/Thom Yorke post is good for after all is to prove that compromises often end up being neither fish nor fowl (I know I'm probably trying to save a boat that has already sunk but, please, forgive me and let the music answer all those questions never asked).
eb



RICHTER MEETS ROSIE

A ROSE IS A ROSE IS A ROSIE



When creeping from gallery to gallery and museum to museum on a longer stay in New York earlier last year one video piece by the German born American Hans Richter (*1888, †1976) stuck out for me in particular. Maybe it was because amongst those countless impressive and famous, but somehow very... expected pieces this one was like the lucky strike of a lucky fellow. Or like that sweet band called The Cars once put it: »...just what I needed«.
Why? -Because first of all I have to admit that I did not even know much about Richter and his work before stumbling across his 1926 Filmstudie. The video has a length of circa 4 minutes and I have to say: It really struck me as technically brilliant and -without exaggerating - unutterably beautiful. Within the exhibition Geometry of Motion at MoMA the 35mm film represented every single aspect of the unconventional "New Vision" which Richter, Moholy-Nagy, Duchamp and others had introduced in their time.

It was a total coincident (...good old friend shuffle mode...) that led to the combination of this piece and CocoRosie's K-Hole. Who would have imagined that aesthetically both fit so well and even make sense together in an artistic way. Please have a look at the video above: Maybe you will agree with us that there is a diagonal relationship, a clear analogy to today's experimental music by the sisters Sierra and Bianca Casady who form our darling band CocoRosie. If you disagree that's fine, too. Just let us know! Cultivating an inspiring exchange is what we're aiming for. eb



KAMP!

A NIGHT AT THE HILTON

Just like we promised we got to see KAMP! live on the tiny stage of NBI. Our friend Kate Boss booked them without knowing about our interview with them. And vice versa - we had no clue about the fact that he had booked them for Berlin Hilton when we started interviewing the boys from KAMP!

What does that tell us? Well, they really caught our attention. And when they finally arrived for their gig in Berlin last week it was a sensational success. People were literally freaking out. It was so much fun...

And even though Berlin Hilton has always kept its stage in dim lighting we were able to capture some impressions of the live-set. Here it goes (let us know what you think)! eb





DOWNLOAD: BREAKING A GHOST'S HEART EP



MIIKE SNOW

I'M STILL, I'M STILL AN ANIMAL


At least here and there we just have to give in to this longing to show things we like without further ado. That's why I'll simply lean back now, leave it at this and let you find out about a time when somebody's world was filled with darkness and that someone even stopped dreaming...






LIKE A STUNTMAN

ORIGINAL BEDOUIN CULTURE

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Ein Interview mit LIKE A STUNTMAN

Wie unschwer zu erkennen ist, haben wir uns mit Like A Stuntman ganz einfach in unserer Muttersprache unterhalten. Ist ja auch naheliegend. Gut, es war ein Schreibgespräch. Dafür ein sehr freundliches. Zuvor hatten wir uns mit Songs wie Stan Places und MC Sensation in diese ausgezeichnete, junge Kapelle verguckt. Und just in diesem Augenblick habe ich festgestellt, dass sie nun auch durch ein Gastspiel auf den Lieblingsliedern #13 der Intro geadelt wurden.

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Mich interessiert beim Betrachten eurer Seite gleich als erstes, wer denn hinter Eurem herrlichen Artwork steht und wie die Ideen dazu entstanden sind?
Das Artwork ist von Nooklab, was wiederum Sven aus der Band ist. Das auf der Myspace Seite ist Teil des Albumartworks und orientiert sich bestenfalls am Albumtitel 'Original Bedouin Culture', also Wüste, gleißende Sonne, Zelt, etc..

Könnt Ihr als nächstes vielleicht ein bisschen von Euren Ideen zu dem Video von On repetition we are berichten?
Das Video ist selbstgemacht und sozusagen unter sehr bescheidenen Umständen zu Hause entstanden, mit den Sachen, die da grade rumlagen. Wir wissen auch nicht was es bedeuten soll, es ist sehr rätselhaft geworden.

Sagt, kennt Ihr Euch alle schon aus Kindheitstagen?
Jein. Einerseits kannten sich Sven und Tobi, andererseits Christian und Matthias schon als junge Menschen. Allerdings haben Sven und Christian sich später auf einer schlechten Party kennengelernt und kurz danach Like A Stuntman gegründet. Die andern beiden sind erst später dazugekommen.

Der Name Like A Stuntman klingt auf schöne Weise kindlich. Wie kleine Jungen, die ihre neuen Tricks ausprobieren und einander vormachen..
Endlich mal kein Vergleich mit 'Ein Colt für alle Fälle'- nervige Serie.
Wie wir konkret auf den Namen gekommen sind, kann ich mich garnicht erinnern.
Programmatisch ist er eigentlich nicht- obwohl wir viel mit Klang und Produktionsbedinungen experimentieren und uns das tatsächlich gegenseitig vorspielen...

Und noch was, wenn man Zeilen liest wie fresh air is not the worst thing in town sowie die Titel der EP's reduce und park the trailer in the park, könnte man meinen, Like A Stuntman hätten eine ganz bestimmte Message an die Städter von heute - ist dem so?
Im Mittelpunkt steht natürlich ein starkes Interesse an Musik selbst.
Die ist immer wichtiger als Inhalte bzw Texte. D.h. hier transportiert die Musik nicht die Texte, sondern die Texte entstehen zur Musik und sind somit als klangliches Element, also Gesang, immer im weitesten Sinne ein Teil der Instrumentierung.
Von einer bestimmten Message kann man also nicht sprechen. Die Texte enstehen spontan, wichtig ist uns dabei vielleicht, daß sie nicht eindeutig, also mehrdeutig sind.
Fresh Air ist Not the Worst thing in Town war übrigens ein unüberlegter Ausspruch eines guten Freundes.

...und wie geht's dann in der nächsten Zeit weiter mit Like A Stuntman?
Wir spielen ein paar Konzerte, die es zu besuchen lohnt, denn live macht das extrem Spaß! Ansonsten unbedingt das neue Album Original Bedouin Culture besorgen und auf nächstes Jahr warten, denn dann steht, wenn alles gut geht, der nächste Release an.

Wir danken Euch für das schöne Gespräch und sehen Euch ganz bestimmt am 22.10. im Schokoladen! eb



EELS

THINGS THE GRANDCHILDREN SHOULD KNOW



The Eels are a phenomenon one can not simply put into a box and label "indie pop". Nope. But pointing out the importance of a band often ends up being nothing more than »praise gotten out of proportion«. So, just let me explain why we, why I picked this song for Kalooga.

First of all we felt the necessity to create a simple but beautiful little music video for it and secondly there was this urge inside of us to demonstrate that this song was and always will be very important for the following reason: It unfolds this middle-class, small town, average guy drama which makes it the embodiment of the melancholy blues sending shivers down your spine. Listen closer. It's an inner monologue taken from a very normal life, the process of growing older and witnessing the world and the people around you change in a slow and subtle but nevertheless very steady and sad kind of way. And of course you yourself change, too (!), which is probably one of the toughest lessons in life.

Alright, alright - enough of this. But at least have a listen and make up your own mind! eb



KAMP!

BREAKING A GHOST'S HEART

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An interview with KAMP!

Wow, I can't believe that this is how it all started a few weeks ago. If you don't mind, I'd love to send you a few questions over the next few days. And by now I almost feel as if I had known them for much longer already.. I'll take that as the best possible sign! They are - what we would call - Kaloogalomaniacs. Why? Well, because as you'll find out in the following KAMP! is a band that is true and passionate and intense and good. And on top of it all (hey, no kiddin', I'm serious about this!) they are probably the sweetest musicians we've been in touch with for a looong time. But now without further ado we're proud to present a band that will be here in Berlin in less than two weeks playing at NBI! Go see them if you get a chance, KAMP! is a band to remember!

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Hey Tomek! Maria Rybicka took this photo of you guys playing with paper planes. What was it that you really loved playing with most, as little boys?

We all grew up in a socialistic country. Most toys were rather old-fashioned or unattractive, but it didn't matter to us, every plastic soldier, every wooden pistol was a good impulse to play and have fun. We also made paper planes and threw them out of the window, we created sand houses and streets in a sand-pit and turned them into great cities. We played soldiers or Indians and fought against neighbourhood mates.

Of course, we often dreamed about Matchbox cars or Lego bricks, which in fact, appeared in polish toy shops in the late 80's. Sometimes our parents went abroad and brought some of them - it was a real festival of play and happiness. Besides we also appreciated intellectual entertainment like puzzles.

But the best toy ever is football. We can't part with it. It's a huge part of our relaxation before and after our gigs :)

Now, when I listened to songs like "Breaking a ghost's heart" or "Tristesse Royale" it really made me think about the teenage years in their uncompromising emotionality. Is there a particular experience you made as teenagers which later condensed in one of your songs?

Actually, our teenage years were more or less an extremly happy time, so we can't say anything about any particular traumatic experience that made our music sound so emotional.

When it comes to the titles you've mentioned, "Tristesse Royale" is actually much more about our teenage time, than all the others. We wanted to capture the feeling of beeing completely filled with the stuff you intellectually comsume, especially as a young person. The music you listen to, the books you read, the movies you enjoy and all the other things which define your lifestyle and attitude. It's also really hard to get rid of all those influences and sometimes it's like a burden you carry through the rest of your life and that's what the song is about. That's why there are so many qoutations like "life on mars" or "golden years" which refer rather to David Bowie, one of our main music heroes, than to the actual teenage years.

When it comes to "Breaking a ghost's heart", we can't really imagine how did we get so emotional and elegiac ;). But to be honest - this kind of feeling is immanent in our sensibility. These emotions are perfectly defined by classic songs such as "London calling" by The Clash or "I need your Love" by The Rapture. As you said - uncompromisingly emotional, bombastic and sublime. They give you power, they make you immortal ;). And we try to include such overwhelming sound in our music too.

Now, last but not least there is one more thing I am always curious about: The places people call their homes. Is there a particular place in your hometowns that you would always want to come back to, a bridge, a house, a tree,... something you wouldn't want to miss for anything in the world?

That's quite an easy question, but we needed a lot of time to anwser it ;) Altough we all try to act cosmopolitan and we feel quite free at the moment, we actually feel at home with our girlfriends and families - so quite a typical bourgeois cliché of a happy life ;)
We were all born in different cities, and everyone has another favourite place, but as collective and a band, we really enjoy spending our time and working in Tomek's summerhouse near Łódź. In a place, where we can't be disturbed by internet, television or any other shit. We've got a lot of space there, so we're able to collect all our music gear in one place. We can make a lot of noise even in the night time, cause there're no obsessive neighbours around, and when we get tired, we can play football, drink a couple of beers in the garden or have a walk in the forrest. Kind of a chilling experience, we really wouldn't want to miss.

Everyone, open your ears and hear how they're Breaking A Ghost's Heart. Wunderbarschön. eb



PATRICK WOLF

...AND I AM ALIVE

Tristan is a little boy. He is a very special little boy. And, yes, he is alive! As alive as a boy his age could possibly be! Now, please, go and listen to this wonderfully passionate Patrick Wolf song.. Isn't it somewhat great and rousing when he sings: The storm is come / And I am following {...} Forever young Those lines... they so consort with the vibe of what I think must have been one of the most memorable days of the year for Tristan.. You know, and even if those were the only lines of the song that really matched the little boy Tristan in the video - whose birthday everyone is celebrating out in the garden with an exhilarating game of colorful linens and bouncing balls - it wouldn't matter at all...



To Tristan, the amazing soccer player, lemonade salesman, collector of exceptional hats and stones. eb





M83

SATURDAYS = YOUTH

Kim and Jessie are those kids who used to play in their secret garden. They are the ones whose song can carry us away to those days we spent dressing up as indians, pirates and fairies and, oh, what have you--
Yes, sometimes all it takes is a sweet melody, a gushing chorus and a mellow voice. Not to mention that the beautiful video directed by Eva Husson couldn't be more fitting. It is exactly as dreamy as Kalooga Magazine which is probably also the reason why we fell in love with this song and the roller-skating girls and boys in Mrs. Hussons interpretation of it! One last thing: Please, anyone, tell us where on earth we can find those pink and yellow dresses and I swear we'll bring them back in fashion--





For our heroes, Kim and Jessie, with a craving for endless summers,
for those hours and hours of light-hearted joy...
eb