PAB - Special Edition - Black Easter Festival 2015

special edition, April 2015 free of charge, not for sale quarterly published magazine

SE

GOETHES ERBEN + QNTAL + ROSA†CRVX ATARAXIA + SIEBEN + THE BREATH OF LIFE SCHNEEWITTCHEN + GRAUSAME TÖCHTER LISA MORGENSTERN + LIZARD SMILE HATCHLING + DARK POEM

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BlackEaster ival

www.blackeaster.be

fest

Black Easter festival is a new gothic festival

and organised by BodyBeats Productions,

in Belgium, focussing on true performers

with the help of some generous partners.

www.bodybeats.be

BodyBeats Productions is a Belgian promo-

since 2005. They are mostly known from the

tor & event organisation, providing finger

yearly BIMfest in Antwerp & many club con-

licking alternative and underground music

certs in & around Antwerp.

www.peek-a-boo-magazine.be Peek-a-boo is a Belgian alternative & under-

magazine, free of charge, with information

ground music & movie magazine. The

around upcoming events, music & movie

main purpose was to create a new kind of

reviews, interviews & photoshoots.

DarkEntries

www.darkentries.be

Dark Entries is an independent Belgian,

They provide information around upco-

Dutch music webzine with a focus on dark

ming events, music reviews, interviews &

sounds.

photoshoots.

www.blackeaster.be

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contents 04 HATCHLING

18

LIZARD SMILE

06

DARK POEM

20

GRAUSAME TÖCHTER

08

LISA MORGENSTERN

22

THE BREATH OF LIFE

10 SIEBEN

24 SCHNEEWITTCHEN

12 ATARAXIA

26 QNTAL

14 ROSA†CRVX

28

16

31 CALENDAR

TIME SCHEDULE

GOETHES ERBEN

colophon ORGANISATION

EDITORS

WRITERS (continued)

BODYBEATS Productions

Didier BECU

Paul PLEDGER

www.bodybeats.be

William LIENARD

Peter DOLPHEN Peter HESELMANS

Dimitri CAUVEREN

Ron SCHOONWATER

Wool-E Shop

WRITERS

Dries HAESELDONCKX

Benny CALUWE

Bunkerleute

Britta SCHMAGLINSKI

Frédéric COTTON

Chris KONINGS

Le Fantastique

Deejee KO-ËN

Ward DE PRINS Wim GUILLEMYN William LIENARD Xavier KRUTH

Didier BECU

PHOTOGRAPHERS

PARTNERS

Filip VAN MUYLEM

Dark Entries team

Fred GADGET

www.darkentries.be

Jurgen VANVLASSELAER

Gothville team

Koen DE BRABANDER

MAGAZINE & WEBSITE

www.gothville.com

Pascal VERLOOVE

Ward DE PRINS

Benny SERNEELS Marquis(pi)X

Peek-A-Boo Magazine • Citadellaan 70, bus 2 • BE-9000 Ghent • contact@peek-a-boo-magazine.be & promo@peek-a-boo-magazine.be -3 -

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How would you describe Hatchling to someone who doesn’ t know the band?

We started as a gloomy, minimalistic synthpop band, and over time have incorporated more and more electropunk vibes. Sometimes we are fast and loud, other times deep and cold, but always very much in love with drama, androids and deathrays.

There have been a number of changes of band members in the young existence of the band - how did that happen?

True, and that is without taking into account all the line-ups that never even made it to a stage. The truth is pretty boring, I’m afraid: mostly it is due to a lack of time, or different priorities – playing in a band doesn’t pay well. Also, some of the former members decided they wanted to focus on their own musical projects. Apart from that, I’m not an easy person to work with. I am very straightforward when it comes to reaching certain goals, and very protective when it comes to songwriting and arranging - I want to make all the decisions myself. That’s why we hardly ever ‘jam’ to get ideas for example – nine times out of ten it’s just mucking about. I guess that has put off a lot of (potential) bandmembers in these last two years.

You have extended from two to three members?

What is the reason?

I kept breaking gear because I was too abusive, plus we wanted to add more vocals, so a third member was the best option, both for the sound and longevity of the gear. Also, I prefer focusing on vocals and I get to do whatever I want on stage now, instead of having to run back to a synth every two breaths. I like it better this way. It wasn’t a purely practical decision though, it just felt like the right time to add another member. I also love the way it looks and feels on stage, it kind of reminds me of Human League.

Will you perform live as a trio or will you bring some extra musicians with you?

We are focusing on the core line-up of three for now. There is a lot I still want to do: one of the early ideas for Hatchling included an electric violin and we performed a few of our songs with a choir a while ago – which was awesome, loads of drama – but for now I’m happy with things as they are.

The music feels sometimes like a soundtrack... Are you guys movie lovers?

Movie lovers and soundtrack lovers. As I said before, movies get my creativity flowing more than anything else, as do video games. The right soundtrack can turn a good movie or game into a great one. I especially love the atmospheric stuff. To name just a few: Hans Zimmer’s ‘The Dark Knight’ score is pure art, as are Akira Yamaoka’s ‘Silent Hill’ OST, Jerry Goldsmith’s score for ‘Alien’ and Badalamenti’s work on ‘Twin Peaks’. I can go on for ages about this, but let us keep it at that for now.

What are your plans for 2015? Can we expect new work?

We are focusing on the live aspect at the moment, but there are some plans to release new stuff. I don’t want to make promises I can’t keep, but we would like to release a single at the end of 2015.

We recently posted some new demos by the way, check them out!

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HATCHLING You are based in Belgium, but the scene there is rather small – how hard is it to get some attention and/or gigs?

It’s difficult for any band at the moment, even the established ones. Belgium is very small, there’s too many bands and releases, and the alternative club circuit has no real budgets anymore due to heavy cuts in government funding - but that’s a different story entirely. Just being a good live band and releasing quality stuff isn’t enough. Every step takes a huge amount of energy compared to the results. Don’t get me wrong though: I’m not complaining. I like a good challenge and have some great people supporting me so I can keep my focus on the creative aspects. Some more gigs would be nice though!

Hatchling hasn’t been around for very long and we had a very rough first year, but we’re stronger than ever at the moment and I’m confident about what we’re doing.

Building a loyal fanbase is a lot more important to me!

What can we expect of Hatchling on Black Easter?

The new set is a mix of fast and loud electropunk versus deep and dark synthpop and perfectly fits my moodswings - I love messing around with contrasts and try to blur the lines between what is serious and what is not. Oh, and smoke, did I mention smoke?

eponymous first, ‘Transformer’ by Lou Reed, the first album by Gorillaz, the first two Sisters Of Mercy full albums and anything by Bauhaus. There is a huge list of albums and artists in general that have made an impact on what I (want to) do as a musician, so a real list would be endless.

Which band/artist should people learn to know?

Lili Grace! One of the most original line-ups (two sisters on electronics and cello) and sounds out there, and they are extremely nice people as well. I’m still absolutely in love with the ‘Evelyn Evelyn’ album by Amanda Palmer and Jason Webley – check them both out if you don’t know them! I’m also always in the mood for Horrorpops, and ‘Here Come The Brides’ (by the late Brides of Destruction) was the best hard rock album of the 00s - that no one heard about.

What do you want/hope to reach you with this band?

We want to keep performing and just do what we want to do. I believe it is highly important to do whatever feels right and keep growing. We are still evolving soundwise and I like to keep all options open - in a few years we might be performing pirate songs on double bass and laser harp, anything goes!

Wim GUILLEMYN photo © Gaelle de Craene

Are there other bands on Black Easter you are looking forward to?

I saw Rosa Crvx almost ten years ago and am excited about seeing them again. I found them very hypnotic and visually entertaining as well, so I’m curious about how they have evolved. In all honesty, most of the acts are new to me, so I’m just going to let them surprise me.

LATEST ALBUM EP “Other”

What is your favorite record of all time and please state why?

That is a though one. It all depends on my mood and on where I stand at that time of my life. I keep returning to a few: Alice Cooper’s ‘Love It To Death’, The Doors’

2013 Self Released -5 -

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Hello Raya and Sophie. I asked you this before, but with each interview, I hope you can reach new fans.

How would you describe Dark Poem?

Raya : The ‘Dark ‘ in our name stands for the Yin side: the dark, nocturna , sensitive, dreamy, dualistic, female... ‘Poem ‘ not only refers to the importance we attach to words, but more the poetry of life. We try to see the story and are always looking for beauty and coherence.

Frankly, I always think of Tim Burton when hearing your music. It is a fairy tale, yet a tad dangerous. Were artists such as Burton an inspiration or have they nothing to do with Dark Poem?

Raya : Fairy tale and slightly dangerous, that is a good description. Sophie : My favourite Tim Burton movie is Edward Scissorhands.

Raya : I would quite like to make music for Tim Burton.

He obviously has the genius Danny Elfman, but if we love Burton’s work, there is a chance that he also appreciates ours. Maybe we should send him a CD...

I would also like to mention another film that fits very well with how I see the world: Dark City by Alex Proyas, with the underlying message that the spirit itself creates our reality. In real life reality changes, especially in small things, but by working together we can achieve those really special things.

Music is an international language, yet we can not deny that you are a Flemish group. Do you know any Flemish artists who make music like Dark Poem. Are you unique in Belgium?

Raya : Unique or being ‘first’ is not important, that is just an ego trip. It often happens that multiple people get the same idea without knowing each other and this whole discussion about whose idea was actually first is pointless.

But ideas just hang in the air, they fall onto one’s head. Now, I’m one of the lucky ones whose head is wide open for such ideas and I am grateful for that. It could be that others in Belgium, or elsewhere, have similar ideas, but how can you be unique?

One can not measure that, can you? What is important is what you do, that the things you create are in balance with who you are.

Are you in touch with other artists ? I mean, do you listen to how others do it or is Dark Poem the exclusive world of Sophie and Raya?

Raya : Usually I feel an idea inside and try to translate that into music. Nowadays I listen a lot to radio Klara and classical music, I sometimes get ideas.

Sophie : Technically I am a layman, I usually start with the idea to create a certain atmosphere that I feel in my stomach. I listen to a lot of music, but I don’t analyze it. Of course, it will have an influence on the music we make.

Some people think that you are inspired by the psychedelia of the 70s. What do you think of that? And what does psychedelica mean for you?

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DARK POEM Raya : I do not really have anything with the 70s, simply because I was not born yet. For me it is a bit of an abstract term that I associate with brown and orange. Trunks with orange spheres or wallpaper with orange balls... that sort of thing. No doubt that it was an interesting time, just as any other era.

Sophie : I don’t really see that link, though I grew up with the records of my father of that period, the repetitive rhythms, reverb with Arab tonalities influenced our melodies and the use of exotic instruments can also be found in our music.

Who does actually what in Dark Poem?

Sophie : Raya mainly gets the ideas out of the blue and I mix them into music. But it can also be oterwise... it all happens very spontaneously and naturally. That is the luck if you are best friends for 20 years.

Raya : And then we have an army of friends, who are willing to lend their creativity or other skills to Dark Poem: Trauma Sutra Ka Sol XIX , Laura, Kolja, Alain, Mark or Sven... they all play their part in creating the Dark Poem magic.

The last time I spoke to you, you were talking about a new album. How far are you with it and will it be different from your debut?

Raya : Actually we wanted that album for some time, but we need to give it the time it needs. Last year, we worked hard on the new songs, but we also had other things to do. For example, we have cooperated with the mysterious project of Jean-Marc Lederman, The Last Broadcast On Earth. And we have spent a lot of time on making the Euphoria video clip, you can now watch it on YouTube. I hope many people will do so, as the world urgently needs a strong dose of cheerful madness.

You also attach great importance to visuals. You have a limited budget, but you spend a lot of money on making videos. How important is that for you?

Raya : We find the visual aspect of our shows very important. You are welcome to come and listen with your eyes closed, but for those who keep their eyes open, there also will be something to see.

Sophie : We are fortunate to be surrounded by artistically gifted friends, who like to share their ideas with us and work them out. This gives us the opportunity to be more than just a music group and it offers us a broader platform to tell our story.

What are your musical dreams?

Sophie : A performance in a beautiful ballroom with ideal acoustics, assisted by a choir and a group of dancers.

Raya : Yes! Or an auditorium with red velvet seats and cherubs on the ceiling. And unrestricted soundcheck time!

To whom will Raya and Sophie definitely look during Black Easter?

Raya : It is an incredibly interesting bill. I would like to see everything, but on top of my list is of course Sieben.

Matt Howden is one of my idols. I really get ecstatic when hearing the sound of the violin, especially when it is played in such a fantastic way.

Didier BECU photo © Marquis(pi)X

LATEST ALBUM “Tales from the Shades”

We know you in Flanders, but is there also response coming from abroad?

Raya : Thanks to the internet, we now have fans all over the world.

2012 Kinky Star -7-

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Hi, how would you describe the musician Lisa Morgenstern to someone who does not know you yet?

To describe my own music is more than difficult. I think that is a phenomenon that every musician is familiar with. All I can say is that I’m playing piano combined with strings and electronics. We are tumbling around somewhere between avant garde, neo-classical and a good portion of dark pop. My voice and my lyrics are mostly sad and it always creates a witches brew of intense and deep emotions.

Is Lisa Morgenstern a real band or is it more a project of yours with support...?

That is a good question. Now we are three people on stage. Benni Cellini (violon/cello/e-Cello), Katharina Parczyk (violin, second voice) and I (piano, vocals, electronics). I love to try out things with other musicians while recording in the studio. But first I’m writing the songs and then I figure out who and what else is needed. In the end the head is still my own name ‘Lisa Morgenstern’ - but I feel like I would be nothing without my fabulous accompaniment and ever since I met them, I don’t want to miss being a band on stage.

You have worked with Thomas Manegold to unite literature with music. Was it difficult? Was it for once?

Why should it be difficult? I think combining the different kinds of art is something really important. Music, paintings, dance, literature - everything – put it all together as much as possible!

I have often combined music with literature and spoken lyrics. And I think there is nothing more natural than that.

Words have a clear rhythm and colour, you can translate them into music very well. On the other hand I think that the transformation in the opposite direction - filtering words out of instrumental music - is more difficult, because it is the more abstract and a less concrete language which is needed to fill out all the space, where words sometimes miss to fill in expression.

Who or what are your main musical influences?

In terms of classical music maybe Debussy and Chopin. Susanne Sundfor is my strongest excuse to dare real pop songs.

And I feel strongly related to Soap & Skin.

But of course the list is much longer and complex, as I am addicted to finding new and different music, especially when you

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LISA MORGENSTERN need more time to understand it. I love those moments when a song suddenly opens a door and you dive into another universe, which is perhaps more real, than what we are aware of in daily life.

Last year, you released the interesting Metamorphosis EP. Is there new work on the shelf?

On the shelf are... bills to be paid. But I don’t care so much since I can say that composing has a higher priority. I had and still have problems with one hand and was not really able to play piano in the last months. But instead I found other instruments, like synthesizers and analogue modular systems. So I am still in a developing process. Well yes, I already feel that good kind of pressure to get new things ready.

And fortunately my hand is better now and my main instrument and I are reunited. Honestly - If I could, I would marry my piano. But the better solution would be to bring out new music as fast as possible. For now nothing is clear enough to give a prediction.

To what extent can we recognize the person Lisa through your compositions?

I would say completely. Composing for me, is something like cleaning my soul. And that is a process that will never end, never mind if somebody is interested in listening to my music or not. So, there is enough material. I don’t have to invent something new.

You are at a festival where you obviously stand between different bands. How will you handle that?

Do you adapt your set compared to a regular room gig?

I don’t really like to play on festivals, because usually I can’t get the right mood for my own music. But in this case it is something different: I can identify with the line up as a part of my personal past. Yes, I have to adapt our live show a little on some points, but not much more than every other band. And of course there are a few things that make it a really different situation – there are more people backstage and everything has to go much faster. But that is good, because I’m always struggling with moments when I have to sit and wait. I get more and more excited and go crazy and I have thoughts like: ‘what could go wrong?’ – and that is never helpful.

Are there any bands on Black Easter where you are looking forward to?

I’m very excited to meet Rosa Crvx. I’m totally mad about their art since many years. I think they are completely unique and I love the unspoiled ritual mood they create.

Wim GUILLEMYN photo © WieGlas

What is your favourite album or song of all time? Why So? That question is awful. More precisely – it is pure torture. For sure one possible answer could be: the whole ballet music of Prokofiev, ‘Romeo and Juliet’ and also ‘L’Oiseau de Feu’ and ‘ Le Sacre du Printemps’ by Stravinsky.

LATEST ALBUM “Metamorphoses” (EP)

Which band or composer should people know for sure?

That is easy for now: Arvo Pärt, Amon Tobin, Scott Walker. But I’m sure tomorrow I would add somebody else to that list.

2014 Periplaneta -9 -

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Let’s start at once: you called your latest album “Each Divine Spark” (2014) the finest and most fully-realised Sieben album to date.

An album recording is always the culmination of a lot of work. You try and bring together all the elements you strive for: the songs obviously, the arrangements of the instruments, their feel and power. Then, you add to this the process, (recording the whole damned thing!) there is a lot to contend with. I aimed for the best-sounding (sonically) record I have ever made, and definitely I think I achieved that. it was recorded in a lovely old brick-arched cellar, built in 1798, and was recorded old-school style, to two inch reel to reel and analogue tape. The more albums I make, the more I feel I’m getting the ‘space in between the instruments’ right, in the production.

We know you as Sieben, but since ‘No Less Than All’ from 2012 we see the name The Mighty Sieben on your records. Why? For fun reasons. Just something someone called me once ;) And it kind of stuck, though it is officially Sieben, I suppose. And I think the first time was with the release of Star Wood Brick Firmament, where I had my ‘evil-magician’ moustache phase, which didn’t last too long, but it seemed to fit the vibe of that album ;) Sieben played covers, like ‘Transmission’ (Joy Division) and ‘Heroes’ (David Bowie). Are those your idols ?

When is a song good enough for the Sieben treatment?

I don’t really have ‘idols’, though I think Bowie and Joy Division are great, and I love their music very much.

I occasionally cover songs, mainly because people seem to like it and it entertains them. And I enjoy it because it is a challenge, taking someone else’s song, his vibe, his spirit, and trying to transform it into your own, while still holding the essence of the original song. I enjoy the challenge, though covering other people isn’t high on my list of important things to do, far from it!

Can you tell our readers what the difference is between your Matt Howden project and Sieben?

Sieben is my main work; songs, utilizing looped violin layers and voice. I do this live. My Matt Howden work is studio based, and is basically ‘everything else that I don’t do as Sieben’. For instance, the work with my father and his poetry, or if I am remixing for a band, or adding a filmscore – I do all of these under my own name.

You have worked together (live) with acts like Leaf and Folk Noir. How did those cooperations start? Can we expect more Sieben with other bands the following years?

The Leaf collaboration came about through touring with Faun. I travelled with them and supported them on their European tour in 2007 (?), sometime round that period of time, anyway. Lovely people, and lovely to work with, so I always have time for whatever their latest musical project might be.

Can you tell us why you started to work with Job Karma on the (interesting) 7JK project?

I like to have several outlets for the different things I do, and this was a typical example of it. With 7JK I can explore material that is more electronic; and again, it is a challenge to find the right parts for these songs, if like me you are quite a ‘melodic’ vocalist – often such vocals can sound a bit odd over electronic music, so it is a nice challenge for me to work myself into the music. And again, I love working with Maciek and Aurel from Job Karma.

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SIEBEN You work together with your father (poetry). It must be a pleasure, but also a challenge to work together with him, or isn’t it? Can you tell us more about that?

It was certainly challenging to record his reading his poems; he would duck away from the mic at times, jingle the keys in his pocket (which ruined the recording), and generally he wasn’t used to the lengthy nature of the recording process. Often he didn’t see the point in reading anything again! But it was also fun, and something nice to do with one’s father. After recording him, I worked on the music alone, sending him the finished tape. The words of his poems have such weight and power that it was a pleasure to set them to music. Within that, there were such musical challenges, always trying to keep the words the focus for the listener, but creating music behind that wasn’t just bland or simple drone.

What are your plans for 2015? New projects, new music?

I have changed the ‘Sieben’ sound, aiming to develop further what I do. This is aided by a new swanky Pigtronix state-of-the-art looper and several new pedals, in-ear monitors and a new approach. Prepare for the new, heavy Sieben, folks! I’m in the process of creating a new Sieben album, but I have no plans to release it for a good while. I release a lot of material and thought I would have a break from this and just go away and create the best album I have ever done.

It won’t see the light of day unless I have that. Then we’ll see…

healthy Distrust. Currently I am listening to My Bloody Valentine’s Loveless, a beautiful, strange, messed-up album, fantastically bold and odd.

Which bands can you advise to Sieben fans?

I can definitely recommend Jo Quail (www.joquail. co.uk), not just because I recently had a new project with her, called RASP. We wrote, performed and recorded an album in two days, all before a live audience. It is her own, main work that I’m recommending, though; beautiful, haunting, thoughtful pieces of music, bedded in the looping of her cello. I would also recommend a local band from Sheffield, called Nachthexen; nothing released as yet, but a heavy Grinderman-style sound and strong songs.

What can people expect from your show on the Black Easter festival?

Sieben as never before! (Okay, I’ll play some old favourites perhaps, but the new sound is far more punchy, and direct). More than anything I’m looping much more accurately, mainly due to the in-ear monitors, and can make far more interesting sounds than ever before. The new material and the new sound make you dance ( you, not me) !

Ron SCHOONWATER photo © Marquis(pi)X

What are your most favourite albums? Why? I have all sorts of favourite albums for all sorts of occasions. I particularly like hovering, or tidying to The Birthday Party’s Prayers On Fire. I like singing along to Kate Bush, though not for a gig as she is too taxing! Joy Division and Magazine are always ‘up there’, as are (possibly more surprising to my listeners) Die Antwoord and Sage Francis, particularly his A

LATEST ALBUM “Each Divine Spark” 2014 Redroom records - 11 -

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Ataraxia is a Greek term, used by Pyrrho and Epicurus for a lucid state of robust tranquility. Is this the ultimate state you want the listeners to experience during a live concert?

The meaning of the word ATARAXIA is just like a path in front of us: we are walking on it. We could translate it as ‘vibrating balance’. Our music is not meant to stir up pathos. It functions in going deeper in order to touch the chords of our most primal nature: the one hidden behind our ego, our fears, our defences and masks. Through music we can re-live our most natural and spontaneous pleasure of being. Through the perception of beauty we feel the warmth and presence of those energetic forces controlling the cosmos.

At the very beginning ATARAXIA’s purpose was to eliminate all struggles inside us, as a sort of catharsis.

It was like a cry to be free, to be empty and to purify

from all what has become a barrier, to come to the original innocence. We had to be re-born: finding a new innocence after dealing with chaos and pain. We want to go back to a holy source. Purity and transparence in music goes with personal enhancement.

Last year Ataraxia performed regularly in China. Is their a special connection with the country or audience over there?

We toured for the very first time in China in 2010 and we returned in 2011, 2013 and 2014. All these tours were conceptually different. One of them was actually huge: we visited ten different regions of that enormous country. We got in touch with Chinese promoters and audiences after a re-issue of one of our albums. After that two Best Of’s followed and we had the chance to meet and play for a very receptive audience. They were sensitive to most ethereal and intimate songs as well. We played at beautifull venues and all was well organized. We really enjoyed all those experiences. There was no free time, but playing one day after the other with such a response was something we will never forget.

The concept album ‘Paris Spleen’ stands out on the Ataraxia repertoire – and one of my personal favorites -, how did this album start and will there be a follow-up of that kind?

PARIS SPLEEN meant irony, provocation, the bitter-sweet side of ourselves.

It started while walking along the boulevards of Paris - or any other big city – where we were confronted with two contrasting worlds: on one side the opulent and trivial world of consumer’s culture, on the other side wrecked souls full of rage and misery... So we returned to Baudelaire’s times and saw ourselves as visitors of those popular fun-fairs where freaks where obliged to show and sell themselves for survival purposes.

Even in these horrible and miserable conditions, life continued in the midts of all that pain and decadence.

A very innovative photographer, who lived at the end of the 19th, beginning of the 20th century, helped us with his shots, taken in popular quarters where the wretched ones lived. He avoided self-celebration in order to show - in a

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ATARAXIA very poetic way - the ‘other side’. We felt a deep urge to release this album and we did it without any effort and in a very short time. We needed this and went on with this project releasing a follower, SPASMS, in January 2014.

After this release we were astonished by the public reaction. In particularly with the live show many of them found their own world, history and memories or simply had fun and experienced ATARAXIA in a completely different perspective. We are gratefull towards all the listeners with whom we had the chance to share all of this! This gives us hope about the open-mindedness and self-irony of many listeners.

What kind of art form has the most influence on the music: books, paintings, poetry, sculptures,.. Or is it often a mix within one kind of theme, atmosphere?

And what is the impact of other art forms within the music?

We love poetry most of all. We are at ease when we adapt poetry to music. Sappho and several other Greek poets of the classic age were deeply inspired by nature. Their poetry was full of the visual and earing suggestions of the natural elements. They didn’t write complex, long verses to portray their feelings. They simply observed and lived through nature’s changes, the different lights of the day, the tides, the moon phases, the seasons of birth and death and translated all that into words. Every word embodies a color, a surface, a perfume. Their poetry was written to be accompanied by the lyre. It was bright, sensual and absolutely musical.

Another great influences are the landscapes, especially places full of energies or natural spots. Other forms of art inspire directly our music, as our music ispires other forms of art. It is a circular and creative process.

Historical musical influences are unmistakable characteristics of Ataraxia (e.g. medieval, renaissance, folk, celtic,..) Is this out of necessity to keep the music alive or because contemporary music has less to offer?

We have a special taste for tradional airs and themes but - in our opinion - all of this has to be transformed into something new. Sometimes it is quite hard to define what our music is, being the mirror of different personalities within the band. Since our first album we have rarely been interested in creating single tunes.

We have always enjoyed telling stories like modern minstrels: trying to filter what mythology, tradition and legends have handed down to us.

We have always chosen to release concept albums.

We have different personalities but share a common inspiration. These albums are always born on the basis of a collective inspiration or specific theme. A song usually comes to life as a powerful river running along our imagination till it finds a way to go out and start living among people. A traditional spirit meeting nowadays sensitivity.

Are there any specific themes or subjects that are still unexplored within the music, that may have a potential influence on future projects?

Music to us is hope, and hope is not a passive act as it engages all our power and will. Music is change, and change is the miracle of coming into being and letting go. We just need to cultivate our own availability to the GRACE OF THE EVENT. Mistery is transparent, sometimes you don’t need words. Listeners will enjoy this mistery of the coming projects.

Tom PLOVIE

LATEST ALBUM “Wind At Mount Elo” 2014 Arc Records - 13 -

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ROSA†CRVX A martial and apocalyptic atmosphere! The band brings us directly to the heart of things. Obsessional, never brutal, Rosa†Crvx explore the questions of life and death, of the anguishes and the human’s fears.

They face the darkness; at the edge of the abyss, their steps progress on an unknown way which exists in the dark and opens to the light when we understand that the only solution is in the acceptance of mysteries.

Irresistible, the sound of the band has something fascinating, a feeling of madness and power which arise from a direct experiment. Martial rhytms, cold piano sounds, marchingdrums in rolls, huge bells on stage, atmospheric guitars and strange choral voices emerging from hell, all are the flag of our fears, and a ceaseless reference to the essential questions: the Why and its mysteries. A band that is face to face with what we are, will be or will not be any more. photo © Marquis(pi)X

LATEST ALBUM “Trilogia” (Proficere + Noctes Insomnes + In Tenebris) 2015 Self Released www.blackeaster.be

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Hello. If my list of facts is right, then you celebrate this year you tenth anniversary. How would you describe this decade, both highs and lows?

Strobo: That is not entirely correct. Our first album was recorded in 1999, fifteen years ago. There are undoubtedly people around who saw us in previous years on stage. Looking back on the past decade, it strikes me how quickly things have evolved technically regarding the making of music. When I see that our last album was mastered in Berlin (by Erik Van Wonterghem) and that we could send it all over the world by internet, then….

Albi: No. We are 20 years on the run! (laughs) Personal heights: The support for The Mission and Red Lorry Yellow Lorry, Gotham Fest, playing in a crowded Devonshire Arms, while 500 yards further The Sisters

Of Mercy were doing their thing, the encounter with Carl McCoy backstage at Shadowplay Fest and then I forget so many other things. Lows: broken strings and cables, lugging with amplifiers and not enough gigs.

In all honesty, I really have a huge respect for bands like yours. You have to fight hard, the press coverage is minimal, you will certainly not become rich. I suppose there is only one reason: the love for music, right?

Albi: Check!

Strobo: Especially the development of new songs during rehearsal. That is a factor that keeps us going constantly. That process and playing live is something addictive. Unfortunately, the last few years there are less chances to do that.

Talking about love. So many things have changed. Everything is digital, a music collector is more rare than a philatelist.

Albi; I think that mp3 is a symbol of the throwaway society. The motto “I’m tired, so let’s delete it’ is easier than throwing away a whole collection of LP’s, not? Of course, the digital music also has the advantage that everything is easier to find, to listen to or to buy... You don’t have to underestimate the global reach that the net has created. Previously this was less evident. Then you had to beg people to buy your tape or single, go every day to the post office. I am a man of physical things. I love the smell of vinyl in the morning (laughs).

Strobo: Lots of systems change or even disappear, the music itself or play live for an audience, that is something that won’t go away.

Beat Nick: Man is a lazy animal and you can not stop evolution. If It is easier, it will be more popular. That being said, holding a physical object in your hand with your recording on it, does make it feel more ‘official’ and real.

If my memory serves me well, then Lizard Smile originated from This Vale Of Tears.

Only to say that you are among the pioneers of the Belgian goth rock genre.

Was the past so much better as they say?

Albi. Gothic Rock is dead to me or at least almost. At festivals like WGT, you would think differently, but still… But everything comes back. For instance,

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LIZARD SMILE take EBM. In the early 90s you had suddenly a gothic revival. It used to be better, but not different.

Strobo: I remember the period 2004-2008 as a very good period. Performances at Paradiso in Amsterdam, supporting The Mission and Red Lorry Yellow Lorry, performances in London... Also some very nice gigs on festivals of Bernd from Waregem or Kortrijk... It seems that the dark scene has shrunk in the past five years, and that fewer people are busy organizing things.

Beat Nick: Goth music HAS never been extremely popular in our parts - and certainly not in Antwerp.

I am a grumpy old man, so please forgive me. Now there are the social media, you have a hundred thousand sites and many groups. Everyone finds himself fantastic. How can you profile yourself as a band? How can you stand out among the others?

Everyone claims they do, I can’t see it myself...

Strobo: Honestly, I do not think that Lizard Smile was concerned with profiling, and that has never been so.

That is perhaps our lack of marketing instinct. We just make music as pure as possible, music that reflects our shared tastes and inspiration, and we hope that there are people who may be affected by this music.

Beat Nick: It may be our biggest flaw: we are not very good at selling ourselves.

In ten years time you have released three CDs. Every musician says that his latest release is the best. What do you think yourself of your discography?

Strobo: Indeed, I find the latest release also the best.

Beat Nick: I think it is only natural to consider your latest album as the best. Otherwise, what is the point of producing it? Strobo and I were discussing that a while ago. If I listen back to the early recordings, I sometimes ask myself what the hell we were thinking to do a song in that particular way. But as pointed out

by Strobo, it was exactly how we felt at the time. It was who we were. And that is actually not a bad thing at all.

Fans want to know if there is a new album on the way.

Strobo: I would rather say: come and see us and listen,

because there are always new songs which you only hear first when we play live. The inclusion of these new songs, we know that from experience, that can take a while.

Beat Nick: We have quite a few new songs in the pipeline. Enough for a new mini-album.

Suppose that tomorrow you may work for a major label, would you do that, or would you stay true to that punk DIY attitude?

Strobo: I refer to my previous answer. If a label ensures that we have enough studio time in a good studio to record an album, then please, yes!

Beat Nick: I see no reason to refuse such an offering.

It is not out of some principle that we do this, it is because we actually can produce things ourselves, instead of waiting for someone who gives us a chance.

You are a Belgian band. Is there also interest from abroad? I mean, you would fit perfectly on a label like Manic Depression....

Strobo: We are indeed in touch with Manic Depression.

Also with Resurrection Records (first through the shop in Camden, London, and now even by mail order) to distribute our records. And it is through the latter that our CD’s are now available at online stores in other countries. About Manic Depression, we already have played in all nearby countries, except France, so if there is still space in Paris, let me know.

Didier BECU photo © Marquis(pi)X

LATEST ALBUM “State Of Void” 2012 Reptile Recordings - 19 -

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GRAUSAME TÖCHTER Grausame Töchter makes electronic music to spread emotional coldness. The underlying music can not be classified, containing elements of Industrial, Ebm, classical, punk, soundtrack and much more. It is a dirty melange from the junkyard of past cultures. The lyrics celebrate greed, lust and egomania and want to express evil, to unknown paths in their/your own psyche. Bold dark souls and sadists and masochists will find pleasure in the music & performances of Grausame Töchter, but all others will highly likely be disgusted and nauseated. photo © Marquis(pi)X

LATEST ALBUM “Glaube Liebe Hoffnung” 2014 Dark Dimensions www.blackeaster.be

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The Breath of Life is around for decades. What has changed, you think?

Isabelle: Ha, ha ,ha , yes, more wrinkles here and there, more white hair (but this is actually great for me), etc...

Lots of things have changed throughout the years.

Better and worse things ;-) Phil: For sure, we all know that a lot of things have

changed during the last 30 years. This revolution is mainly in the music market and media, but a lot less in the music itself. What I found very disappointing is the lack of real desire and fighting spirit. I don’t say it doesn’t exist anymore, but it is rare. Music is more a game for a lot of young guys...Maybe that is what it is, finally. Let us go for a new round.

What would you like to do with the band if you could have carte blanche?

Isabelle: I would love to play much more live shows all over the world.

Didier Cz: I would buy a private jet, that would be easier to go on tour abroad.

You already have an extensive repertoire from which you can choose to make a setlist. How do you do that?

Isabelle: Well, we do have to make compromises about all the songs everyone in the band wants to play live.

There are songs we have to play like «Nasty cloud» & «Noamina», just because the audience wants to hear them. Then we try to have a good mix of new, old, sweet and bouncy songs.

You bassist left recently. How come? And will he be replaced?

Isabelle: Yes, Benoit didn’t have any pleasure anymore when playing live, so he decided to leave the band. Few weeks later we asked Phil, the former Breath Of Life guitarist, if he wanted to come back and we are very happy that he did. So when Phil plays the guitar on the songs he wrote, Didier the second guitarist, plays the bass and vice versa.

Phil: It is sad for Benoît, but he had some health problems and that is why it was unpleasant for him to travel and play live.

Now it will be a big challenge for Didier and me, because we have never played

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THE BREATH OF LIFE the bass on stage before. I don’t think I will be the best technical bass player, but I’m not the best guitar player either (laughs). However I give a lot of attention to the atmosphere I put in the songs. And anyway, I realise that I have a lot of pleasure playing the bass.

Can we expect new work from you in 2015?

Phil: After all these changes we will need a little bit of extra time to create new songs, so it is not easy to answer that question now.

Isabelle: A new album is not for this year, but it doesn’t mean we can’t play new songs live sometimes.

What can we expect of The Breath Of Life on Black Easter?

Isabelle: A great mix of old and new songs, full of emotion. But also a very special show because Phil Mauroy, the former TBOL guitarist, is playing with us again, so it is going to be a very special show.

were The Twilight Sad and Fuck Buttons...

Isabelle: My favourite artists ever remain Cocteau Twins and Dead Can Dance. Some of my new interesting discoveries are The Twillight Sad and Anna Calvi.

Didier Cz: It depends of the mood I’m in. For the moment, I feel more like listening to “heavy stuff”. A few weeks ago, I’ve been to Antwerp to see Monster Magnet, the legendary American “stoner rock” band.

It was really great. I also discovered an Italian band recently: Ash Code, and an English one: Esben And The Witch. Both are very good, I think. But I am also addicted to classics like And Also The Trees, Joy Division or Depeche Mode…

Didier BECU photo © Marquis(pi)X

Are there any other bands at the festival that you would like to see?

Isabelle: Yes, the line up of this festival is wonderful.

I hope to be able to see all the bands. It is always a great pleasure to see Sieben, Qntal and Rosa Crvx again.

Didier: I really like Rosa Crvx. Still an amazing show …

A kind of mystical experience.

LATEST ALBUM

Do you have a favourite album or artist? And which contemporary artist/band would you recommend?

Phil: Favourite ? I’ve been in London in December to see The Cure. Maybe they are my favourite, but it is not easy to answer that question. The last gig I saw was the “The Belgians” show of The Experimental Tropic Blues Band last Saturday, and the last CDs I’ve bought

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If you had to describe Schneewittchen for those who have never heard of you, how would you describe yourselves ?

Marianne: Great lyrics, good melodies and a lot of surprises.

Thomas: Lyrics and melodies with a purpose not to please but to surprise or even cast a spell. As soon as someone is leaning back, thinking about or enjoying the tranquillity of our gig, a big bang follows and makes him re-evaluate and analyse it again, enjoying the other side of Schneewittchen.

What’s the story behind the name ? Why did you choose the name of a popular fairy tale ?

M: We did not invent that name ourselves, the newspaper „Frankfurter Allgemeine Zeitung“ did it by describing us after seeing one of our performances, as a wacky Snow White (“durchgeknalltes Schneewittchen”).

You work quite often with classic song structures (although often with own interpretations/variations) – are the both of you classically trained or self-taught ?

T: No, we did not have a classical training, but we love classical music, like Wolfgang Amadeus Mozart.

M: You can/need to flirt with classical music to achieve some greatness in your own music. A great example is Queen.

Perhaps it is my interpretation, but when I relisten to your previous albums, it seems as if the electric guitar has vanished in favour of more musical song structures and a less harsh approach? True?

T: Indeed. We keep on developing and we have always been a band that uses whatever it needs to achieve the sound we want, what sound would suit the songs we are writing, without worrying about our Image.

M: We still do not have a certain image, which gives us the opportunity to use all kinds of variations in music, and which probably makes us unclassifiable.

In 2015, you will release a new album.

You managed to collect the required funds through a highly successful crowdfunding campaign. Is crowdfunding the new (or only) method for alternative bands in the 21st century, or was it a personal choice?

M: It was a great surprise to us that this campaign was so succesful and that we collected that much money. It was a fantastic confirmation that there are a lot of people that really want to hear our music. We were proud to start producing this new album, without hesitation, and I’m sure people will hear this as well.

T: Internet will be the only way for alternative bands. But to be able to reach your goals, you still need some good songs as a band. That will never change. Crowdfunding only works if you have a fan base, or have a lot of patience.

M: Momentarily, even some major labels are forcing their artists into crowdfunding to avoid major advertising campaigns.

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SCHNEEWITTCHEN Tell us more about this new album, and when will it be available ?

T: It will be our best album. (laughing) M: I guess everyone says that!

T: Without compromise, Marianne & I are very pleased with each song we already have produced. We are very proud of these songs.

M: The new album will be released in May, and I can already tell you, in premiere, the title of the new album: „Für die Liebe sterben“ („To Die For Love”).

You regularly perform on events within the LGBT community. Are you fond on that community or is your music just popular within parts of that scene ?

T: We are keen on every kind of love. To play at LGBT events in Germany is still a political statement. There is still no 100% equality and we protest against that.

M: Of course our music is also loved within the LGBT community, a fact that pleases us and gives us the opportunity to perform in more coloured scenes, which brings us back to the theme that we do not fit into any category.

What can we expect on the Black Easter Festival ? Will you perform acoustic ?

T: One or two accoustic songs for sure. We will play a typical Schneewittchen performance: loud, shrill, confusing and wild.

M: It will be a show which combines all elements, old and new songs, electronic and acoustic sounds, thoughtfulness and sheer joie de vivre.

Any other bands on the festival you are looking forward to ?

M: I am looking forward to see Goethes Erben.

T: I am looking forward to see the beautiful Lisa Morgenstern on stage.

What is your favourite record of all time and please state why?

M: I can´t tell you, there are just too many…

T: Of all time? It changes. Maybe something of the Beatles or Jacques Brel? I also don’t know…

Ward DE PRINS

The last months you have given a few acoustic performances. This is quite a difference with the recordings or regular shows. It must be a lot harder to perform that way, but I think that your compositions are suitable for acoustic sets. Have you never thought about recording an entire acoustic album, or perform permanently acoustic ?

M: (laughing) No, not always, but it is much easier for some songs. For example, the song “Gemeinsam Untergehen” only came through the acoustic version to its true greatness.

T: You forget that that is how we started, with piano and vocals.

M: But that is a long time ago…. And yes, I’m sure we will record an entire acoustic album, someday…

LATEST ALBUM “Keine Sekunde Schweigen” 2012 Sony Music Entertainment - 25 -

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Seven years is a long time to wait for a new album.

Why did it take so long?

Dr. Popp: It is really a long time, we spent a lot of time on our side projects and released several albums with Estampie, Al Andaluz Project and Vocame (all in all 6 or so - if I remember well). I had written some of the songs for the new Qntal-album already some years ago, most of them in Iceland, where I usually spend my summer holidays, but somehow we didn’t get the thing produced. Fil - our ex-keyboarder and producer - went through tough times - personally - and after a long period of trying to finish the CD, he decided to definitely leave the band in the beginning of 2014 in order not to block our work furthermore, I guess. Now we work with Leon Rodt, who is actually a neighbour of mine in Munich, and everything works very well. We just come back from a tour - we had a lot of fun and also the audience liked the shows… with ‘one word‘: Qntal is back!

When did you decide it was time to release a new Qntal-album? Can you tell us more about the recording process?

In the beginning of 2014, the collaboration with Fil was over. So, I remembered my neighbour Leon, we talked about the case Qntal, I gave him some of my songs, he locked himself in his studio and when he

came out again and presented his work, we knew: that is our man. After that everything went quite easy and fast. Some months passed and the CD was on the table.

How are the reactions so far on “VII“?

As far as I know, they are very very good. On the tour it was an amazing experience, that our fans, who have waited seven years, welcomed us back overwhelmingly.

That was a great feeling. Many many thanks to all of you, this is really our motivation to go on….

The poem ‘Tyger’ by William Blake was also recorded by acts like Tangerine Dream and Jan Wobble. Do you know these versions and why did you decide to put this poem on music as well?

I know the version of Tangerine Dream from the eighties, I think. It is brilliant, full of mysterious allusions, perfect to be set to music. I wish there would be much more versions than these few. Since Qntal applies the principle not to write its own lyrics, we do a lot of research on good literature - especially from early epochs.

How important is J.W. Waterhouse for you? Why did you use this particular painting for your cover? And why is the globe added in the centre of the painting?

When we were sitting together to discuss the artwork, I suddenly remembered a poster that a girlfriend of my teeny times had on the wall in her room. We spent hours in that room listening to music, smoking and much more. This poster was exactly the one we used for the album. It is foremost related to a very personal memory of mine.

Where do you find and how do you choose the medieval music and poems you use for Qntal?

Well this is the work of Syrah. She does a lot of research, she reads much literature of ancient times throughout the year and this is the way she collects poems and background texts. When we start to work on a new album, she gives me a self-made book with a lot of material, which accompanies my work the whole production long.

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QNTAL The other projects you are famous for, Estampie and the Al Andaluz Project, are medieval oriented, VocaMe is more medieval/classical/heavenly voices, and Qntal uses these elements for its electronic versions. What is the difference in approach? What do you like more and when do you know which poem or old song is good for Qntal, Estampie, Al Andaluz or VocaMe? The music of all the other projects is more hand-made.

We spent a lot of time in the rehearsal room, try out things and improve our musical skills. Qntal is a more lonesome work. A lot of the work takes place only in our heads and there is not so much concrete musical (rehearsal) work. When we talk about Qntal, it is all about conceptional aspects of the music.

The beautiful video of ‘Tenacious Love’ was shot on Danse Macabre. Can you tell us more about that experience?

Oh, my god - what a great experience in Catle Heinrichshorst with Fiona and Dirk. I want to take the opportunity to thank them again very very much and moreover I would advise everybody who has a tick for historical clothes and so, to visit one of their events. It is such a great event. Moreover we were so lucky with the weather and everything. I’m so happy that we could make this video on Danse macabre…..

Which bands can you advise to Qntal fans?

Don’t ask me such questions. First of all, my principle musical interest is classical and ethno music (I mean real ethno music like chants of Pygmees or Eskimos or so - things that nobody else is interested in). When you ask me about „popular“ forms of music, I’m so old fashioned. I would recommend the psychedelic branch of Krautrock (like Tangerine Dream, Popol Vuh and so), but also Dead Can Dance, very old stuff like „My bloody Valentine“ or even older „The incredible string band“.

Hey, dear friends, don’t take these answers too serious.

You know certainly much more about music than I do.

What can people expect from your show on the Black Easter festival?

A very charming drummer (as a female fan from Amsterdam wrote on our Facebook). Syrah and Mariko, two charismatic front women and myself - Dr. Popp on seven different instruments. Not to forget our nice nerd - Leon - on the synth and computer table.

Ron SCHOONWATER

What are your most favourite Qntal-albums? Why? My favourites are II, III and VII. All three were made under very special conditions. Nr II after the first one that was so successful. We knew that we wanted to continue and put a lot of energy and heartblood in the work. After II there was a break due to problems that we had with the combination of Deine Lakaien and Qntal. So, I split up with Ernst after some years and looked for a new producer. I found Fil, who was quite young at the time (about 2002) and he invested everything he had in his work with Qntal. Now we have a new producer, and there is a lot of energy and fun. We love our work with Qntal and go on with it.

LATEST ALBUM “VII” 2014 Drakkar Records - 27 -

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We are glad to find out that the Goethes Erben project is resurrected. What was in the first place the reason to put the project on hold?

Mindy and I decided to put the Goethes Erben project on hold, simply because we had nothing more to say, nothing that we still wanted to achieve in the form of that musical theater format. Through various circumstances, I felt the need to work on a new musical play.

What made you decide to bring the band back to life?

Was it on request of the fans?

During the preparations and the two performances of “Rückkehr ins Niemandsland 2014”, I have noticed how much fun it is to make music in a complex dramaturgy,

in the form of musical theatre. Partly due to some negative things in my life, I had the urge to develop in a more complex way than in the form of music, so I started writing “MENSCHENSTILLE”. To prepare the newly created band on the interaction in this new piece, I decided to play a few gigs and festivals, one in Antwerp. In contrast to the two performances of “MENSCHENSTILLE” in Bayreuth in October, we will also play older pieces at the concerts in Berlin, Antwerp, Leipzig, Cologne and Bayreuth (July). Goethes Erben will have 10 musicians on stage during the first 3 concerts and from July on, the live ensemble will be complemented with an 8-member dance ensemble, which is integrated into the dramaturgical concept of “MENSCHENSTILLE”.

What happened with Mindy Kumbalek? Is there a chance she’ll ever return?

Mindy and I have decided in consensus to stop Goethes Erben for a while. Prior to the anniversary concerts, I have asked Mindy whether she wanted to return to the stage, but since she has other interests and does not feel the need anymore to make music again, I decided to work further without her, but with former guest musicians and new musicians as a new live band. Whether Mindy will decide to return to the stage one day? I do not know, but life is full of surprises and anything is possible.

At the end of 2014 “Weg zurück” was released, a cooperation with Sara Noxx.

How was it to work together with her?

Sara Noxx asked me if would be interested in a duet with her. I said yes, and she sent me the draft version of “Weg zurück”, on which I worked further with the new Goethes Erben keyboard player Tobias Schäfer, with whom I already have worked within the band Henke. We wrote some additional arrangements and added several lines of text. The result can be heard on the Sara Noxx EP “Weg zurück”.

It was a smooth cooperation and it was fun and there will surely follow some other collaboration this year. Maybe even at the occasion of the Goethes Erben appearance at the WGT this year.

Back to the early years. I read somewhere that Bruno Kramm and Stefan Ackermann

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GOETHES ERBEN of Das Ich were involved in the early days of Goethes Erben. Could you explain how?

I have met Bruno and Stefan when I was in the Danse Macabre studios with “Le Coup Sauvage” to record “Nightmare home”. At the time I played keyboards for a short while within this band, and so I met Das Ich. I had a demo tape of “Der Spiegel” and since they were both excited about that piece, they invited me and Peter Seipt to record this piece, as well as “The End of 1989”. As Peter Seipt then left the band before further pieces could be finished, I have recorded “Der Weg” and “Stumme Zeugen” with Bruno. However, also this cooperation ended and we went in separate artistic directions.

In the early 90s Goethes Erben was together with Das Ich, Relatives Menschsein, Sopor Aeternus and Lacrimosa one of the leading Neue Deutsche Todeskunst projects. Since then the gothic scene changed a lot. How do you experience that?

The goth scene as it existed in the 90s is no more.

It was a small, manageable scene and there were no clubs with multiple dance floors. There was a scene and you danced on the music of the 80s as well as on gothic rock, Batcave, Middle Ages, EBM, etc. At that time, there was no separation of these genres within the club scene. The black scene was a youth culture that became a subculture. Today there are no more youth cultures, they are more or less extinct, probably because there is no identification anchor. At that time, the clubs and concerts and festivals were small and manageable. At the time no one wanted to be in the charts or to have their music discussed in media outside the scene. But then bands began signing to major labels in order to reach more people. But to achieve that, they had to be complacent and thus their music lost substance/essence. Goethes Erben, although certainly being successful, was never interested in a major label, due to the type of music and the topics we used, we never had mass appeal. In addition, with music

theatre one cannot entertain the masses, but merely inspire fans, only for themselves, identifying with what we did musically and artistically. So we do not have reached the masses, but we do have built up a loyal fan base that is travelling hundreds of kilometres to see a new musical performance by Goethes Erben, especially since “MENSCHENSTILLE” can not be financed as a tour due to the the complex stage construction and the specific requirements of the venue.

Oswald, is it correct that you worked in the nursing staff of a psychiatric hospital? Did this affect your lyrics?

As part of my training as a nurse, I worked for about 6 months in a psychiatric hospital. The song “5 Jahre” dates from that time. The dark side of our human existence has always artistically inspired me. I compose when I’m not feeling well, I write and compose to calm my soul, in order not to suffocate by what I have experienced. I only write when I have something to say and not to meet contracts with record companies or publishers.

You not only sang about Weltschmerz and Sehnsucht, but also criticised society in some of your work. Social criticism used to be important in pop music decades ago, later it mainly occurred in alternative music styles and nowadays it even seems to be of secondary importance. Do you also regret this tendency? And what could be the reason? Are bands careful to express harsh opinions in order not to offend any fans?

Many bands are very careful not to criticize or embarrass their fans in order not to lose them by unpopular statements. I never cared about that, I say what I mean and if it is not popular, then it is not popular. If I lose fans through my statements, then I’m not sorry, because then they have probably never understood what Goethes Erben is all about. The aim was to see the world as it is and to point at the dark side of it. Goethes Erben’s music hurts in order to feel better - 29 -

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after describing and understanding this darker side. For me it was always about reaching people and trying to translate the feeling that you are not alone with your thoughts or your pain, that others think so too. We are different but not alone. In a Goethes Erben concert you may cry or let your emotions run wild, something that wouldn’t happen at an EBM concert, but with Goethes Erben, it is important to be emotionally involved as a spectator. It is also important to use your own mind in order to make our world a little bit better. This includes observing live critically and to respond to things that are not OK, that are wrong and that you can change.

With the new project “MENSCHENSTILLE”, will there be a new Goethes Erben album?

That album has not been recorded and will not be recorded, simply because it can not be an album, since music theater also needs to be supported optically.

A remark that I heard a few times about Goethes Erben is that your theatrical live performances tempted the people as a total experience, but that your records, especially the minimalistic records from the beginning, failed to do that. Later records did have a richer instrumentation. Aren’t there any plans to rearrange, to rerecord those older tracks in order to revalue them?

On the DVD “ Rückkehr ins Niemandsland 2014”, we have rearranged a lot of older pieces and played them live. Currently I am not thinking about recording a new album. Perhaps now and then a single track as a tool to generate the interest in the new music theater piece.

But we will document “MENSCHENSTILLE” as the live performances will be filmed again and published as a DVD. Will you use crowdfunding for this DVD , like you did for the most recent Henke CD? There will be a DVD when the recordings, in terms of quality, warrant publication. Thus, this question can only be answered when the shows are over. The plan is, however, to publish a DVD. The public will experience the very intense theme of “MENSCHENSTILLE”: the loss of life, vitality and courage. This can only be experienced in a proper way during the performance itself.

Sonja Kraushofer (L’Âme Immortelle) will play keyboards/vocals during your shows in 2015? Will she remain a guest member or might she become a permanent member?

I have the intention to perform longer with the current ensemble, which also includes Sonja Kraushofer. But I’m at an age that I do not longer make plans for the distant future. The live plans with Goethes Erben will currently end with the last Festival on 25/12/2015 in Chemnitz, the Dark Storm Festival. For 2016, there are momentarily no further plans.

Your website says that there are 8 people in your 2015 live band. Will we still see them on stage in Antwerp?

Maybe dancers or a ballerina?

In Antwerp, the band will be a 10 piece ensemble on stage. Oswald Henke - words, Susanne Reinhardt - violin, Markus Köstner - drums & percussion, Cornelius Sturm - bass guitar, Frank Zeutschel - guitars, Tobias Schäfer - keyboards, Sonja Kraushofer - vocals & electric piano, Sue Ferres - violin & nycelharpa, Martin Höfert - cello, Jule Klimpel – voice.

Benny CALUWE photo 1 © Evangeline Cooper photo 2 © Julie Haelemeersch

LATEST ALBUM “Weg Zurück” (EP) 2014 Prussia Records www.blackeaster.be

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calendar 11.04 COALESCAREMONIUM INDUSTRIAL DECADENCE @ Bouche à Oreille, Brussels [BE]

A grandioso Gothic happening in a revamped monastery.

With Schwarzblut, Herrschaft, Candy Coated Circus, SiSeN, Alchemy and many others.

11.04 FESTIVAL @ Le Hangar [BE] ao. Marriages, Sonic Jesus, Flies Are Spies From Hell 11.04 UNDERGROUND WAVE II PARTY @ deKleine Hedonist - St-Jacobsmarkt 34 te Antwerpen [BE] 11.04 BLACK-OUT FESTIVAL & 80’S WAVE NIGHT @ Bibelot, Dordrecht [BE]

A Strange Cure, Evil Goat Riders, Hatchling, Heliophile 11.04 LAUDENER - LIVE IN CONCERT @ deKleine Hedonist - St Jacobsmarkt 36 te Antwerpen [BE] 18.04 BLACK PLANET’S AFTER EASTER PARTY @ Niche ( ex Rector ) Gent [BE]

DJ’s oa Zweef , F.A.P.noir , Myron DjVagabond DeSade 18.04 MELODIES DERANGER @ Muziekcafé, Muntstraat 5, Leuven [BE]

With DJ Malcolm Nix Doors 21h:00 Free Entrance!

18.04 NEW WAVE TOP 100 - 2015 KICK OFF PARTY @ Den Aalmoezenier, Antwerpen [BE]

met dj’s Mike Mayu, Albi Voombastic en Danny Dup. 25.04 HYBRID REVOLUTION @ The Pit, Minderbroedersrui 34 - Antwerpen [BE]

Euforic Existence: ‘existence beating morality’ album release party 25.04 PARADE GROUND - EX-RZ [RED ZEBRA] @ Movie Bielefeld [DE] 25.04 THE OBSCURE PLAYS BEST OF THE CURE @CLUB B52 @ club B52, Eernegem [BE] 25.04 BUNKERLEUTE PARTY @ Blauwe Kater, Hallengang 1, Leuven [BE] 25.04 NEW-WAVE-CLASSIX PARTY @ vooruit, balzaal, Gent [BE] 25.04 DEEP NIGHT I FEAT. KELUAR + POPSIMONOVA + ONRUST @ JH Wommel, Wommelgem [BE]

CD presentation of ‘DEEP’, a female oriented compilation released by Daft Records! + Full live shows of:

KELUAR (D) POPSIMONOVA (Croatia) ONRUST (B) 30.04 THE NEON JUDGEMENT + RADICAL G @ GC Den Dries, Kerkhofstraat 37, 2470 Retie [BE] 01+02.05 ▼•∆•▼ WAVETEEF FESTIVAL II ▼•∆•▼ @ JH wommel, Fort II 2160 Wommelgem [BE]

Selofan (Gr), Minuit Machine (Fr), Schonwald (It), Qual (Uk),

Lower Synth Department & Zweitbesetzung (De), Epic Dreams (De), Zwarte Poëzie (Nl), 09.05 THE INVITATION REUNION PART II @ Expo - Waregem [BE] 14.05 EUROROCK @ Neerpelt [BE]

Front 242 – The Orb – ASP – Oomph! – Apoptygma Berzerk – Kant Kino – The Bellwether Syndicate –

Stahlzeit – Vive La Fête – Diary of Dreams – Whispers in the shadow – Legend – Peter Hook – Tanzwut –

Suicide Commando – XMH -Alien Vampires – Star Industry – Lovelorn Dolls – The Juggernauts –

Lescure 13 – Stin Scatzor – Arbeid Adelt – Absolute Body Control – Crematory – Lacrimas Profundere –

Asrai – Customs – Crüxshadows – The Dallas Project – Monica Jeffries – The Neon Judgement – …

22.05 CHAMELEONS VOX (UK) + AESTRID @ Nieuwe Nor - Heerlen [NL] 22-25.05 WAVE GOTIK TREFFEN @ Leipzig [DE]

Agent Side Grinder (S) - Antimatter (GB) - Automelodi (CDN) - Deine Lakaien (D) - Evi Vine (GB) Fields Of The Nephilim (GB) - Fixmer/McCarthy (F) - Jo Quail (GB) - Keluar (D/GB) - L’ame Immortelle (A) Nosferatu (GB) - Samsas Traum (D) - Soko Friedhof (D) - Sol Invictus (GB) - Soror Dolorosa (F) The Exploding Boy (S) - Two Witches (FIN) - Unto Ashes (USA) - Wrangler (GB) - ...

29.05 FRONT 242 , PARADE GROUND @ La machine du Moulin Rouge, Paris [FR] 30.05 CEREMONY FESTIVAL @ Magasin 4 [BE]

Modern English (uk), Tying Tiffany (it), Organic (b), Geometric Vision (it) + 2 more names tba + dj sets 18.07 BLACK PLANET’S SUMMER DARKNESS @ Niche Club , Stalhof 5 , Gent [BE] 26.07 AMPHI FESTIVAL @ Cologne [DE]

a.o. VNV Nation , Front 242, The Mission, Diary Of Dreams, Goethes Erben, Samsas Traum,

Welle:Erdball, The Crüxshadows, Qntal, S.P.O.C.K.,...

29.08 WAVELAND @ Negasonic, Pontstraat 68, 9300 Aalst [BE] 18.09 TANZRITUAL FESTIVAL 2015 @ Erlebnisort Landsweiler Reden [DE]

DIE KRUPPS, L`ÂME IMMORTELLE PSYCHE, THE ETERNAL AFFLICT, FROZEN PLASMA CENTHRON,

STILL PATIENT?, MYSTIGMA, FAEY, SEELENACHT EQUATRONIC, DESASTROES, BLUTKRAFT 31.12 BLACK PLANET’S BAL MASQUE AT NEW YEARS EVE II @ De Kleine Beer , Beernem [BE]

DJ’s Zweef , F.A.P.noir , MyronVagabond DeSade , Dark Dave - 31 -

www.peek-a-boo-magazine.be

MANY THANKS FOR VISITING

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