2023-09-26 08:27:02
The Styrian trio HIDDEN BY THE GRAPES has been up to mischief for a long time and continues to impress with electrifying rock music somewhere between post-punk, noise rock and grunge. Regardless of genre classification, the new album OPUS (Kruse Kontrol Digital) impresses with its meticulous sound tinkering, breaking conventions and authenticity. BERNHARD JAMMERBUND (drums) and RICHARD KAHLBACHER (BASS) in conversation with Sebastian J. Götzendorfer regarding language barriers, the status as an eternal insider tip and the wine-soaked atmosphere on the Croatian-Slovenian border.
If you follow your work, probably the most pressing question first: Why are your texts suddenly predominantly in German instead of previously English?
Bernhard Jammerbund: For this album we rented a house on the Slovenian-Croatian border to write songs and did nothing there other than work on songs. For whatever reason, Chris suddenly sang Falco and STS lyrics over them as his first attempt at the songs. Just like that. A variety of Austro-pop stuff. This resulted in some vocal lines that we liked and the dialect text placeholders remained for a relatively long time until we decided to use them Bulbul, thought: why not? It wasn’t a conscious decision to mix English/German, it just suited us.
Does that mean that instead of a conscious decision, placeholders have become top dogs, so to speak?
Richard Kahlbacher: Well, Chris also said that he liked the idea of not translating in his brain, but rather formulating things directly without translation.
In the wine-soaked atmosphere in the house at the time, it happened more by chance, but it showed him that he might definitely write German. To be honest, I expressed some resistance at first, but then eventually came to terms with it and now I’m convinced of it. Furthermore, it was one reason why the rest of us also appeared – minimally – as copywriters. Because the language barrier no longer existed so much.
As an observer of the Austrian music scene – keyword: picture book, Wanda – you might think that artists are now consciously making a switch to German lyrics, but it sounds like for you it was more “old quarrels” that were at play .
Richard Kahlbacher: That was always my argument as to why we shouldn’t do it [lacht]! Because then everyone would say: “You’re just doing that because it’s ‘in’ right now”!
However, is it due to a certain Austropop influence? Ultimately, it’s no coincidence that you hear Falco and STS.
Bernhard Jammerbund: There are some things in classic Austropop that we all like. STS, a lot of things from Danzer, Ambros, etc. But overall it was more of a happy coincidence than a constructed decision. I had Bulbul in mind, as they also mix English and dialect all over the place. So we thought, “Why not?” I’m now very happy with how things are going and I think it actually sounds very natural.
“There’s this beautiful Tocotronic song ‘You can only sing regarding sex in English'”
‘Of course’ is a good keyword. I think it doesn’t sound constructed at all, but on the contrary very authentic. On the topic of language barriers from before, the following comes to mind: In my opinion, there are two effects: on the one hand, as mentioned before, as a copywriter you are much more directly connected to your own thoughts, feelings, etc. when you write in German. On the other hand, it always seems to me that a lot of the music I like would be much less liked if it had German lyrics. Because the distance and mysticism, as well as the seriousness that arises from the language barrier, disappear. What do you think?
Bernhard Jammerbund: This is a difficult thing.
Richard Kahlbacher: Absolutely, I see it that way too. There is this beautiful Tocotronic song “You can only sing regarding sex in English”. That’s exactly what it’s regarding and I think Dirk von Lowtzow was right [lacht].
The opener “The Awful German Language” of course also has this theme.
Bernhard Jammerbund: Exactly, the song itself mixes German and English in the lyrics. Bernd Heinrauch, who we recorded with, ultimately suggested the order of the songs – partly because we mightn’t quite agree on it ourselves. Because this song became the opener, it naturally steers the lyrical concept more in certain directions.
What importance do the texts have for you in general? How important is the message and lyrical content of your music to you?
Bernhard Jammerbund: I would say that this is pretty important to us.
Richard Kahlbacher: Yes, especially increasingly important. At the beginning of our career they were actually unimportant and now they are becoming more and more important. Personally, I also think that Chris has become much more confident as a copywriter over the years. And funnier too. For example, I think the lyrics to “Heart opens” are great, with all the allusions.
Are you also influenced by literature? I heard the line “Crime and Punishment” somewhere.
Richard Kahlbacher: Influenced might be too big of a word – although I can’t really speak for Chris there.
Bernhard Jammerbund: I don’t know either… I wanted to ask him that myself [lacht]!
Richard Kahlbacher: I know he read the book!
“Opus” is only your fifth album since 2006. When is it? Hidden By The Grapes Have you reached the point where you say “It’s time to go back to the studio, we have something to say”?
Richard Kahlbacher: This time we wanted to create a large pool of song ideas, which was around 30 to 40. We wanted to take it slowly and not rush anything. After demo processes, there were ultimately 10 songs for the album.
Bernhard Jammerbund: The ten songs have seven different moods on the guitar – adjusting to this once more and once more following songwriting breaks slowed down the creation of the album in my opinion. Even if it was very good for the songs!
“It sounds so beautifully colorful and full, and at the same time, as noted, it sounds earthy.”
What is the process like in Bernd Heinrauch’s studio – especially if he is also a producer? I like the very analogue, earthy and natural sound. It seems a little over-produced to me. It exudes a similar charm to stumbling into a pub and a casual rock band is playing.
Richard Kahlbacher: We always record the basic tracks with three people – sometimes with and sometimes without a metronome. In a first step, basic vocals and guitar overdubs are added. Partly involuntarily, because someone else always had Corona and we had to postpone studio sessions, many details were created once more at home following the basic sessions, in unplanned studio breaks. As a result, the album actually refined itself iteratively over months.
Bernhard Jammerbund: Bernd Heinrauch generally likes to work in such a way that he always takes breaks between recording sessions. During these breaks he tinkers around a lot, tries things out and so on. What I really like regarding his production is that he includes synthesizer pads everywhere in the background, lots of voices, lots of percussion. It sounds so beautifully colorful and full, but at the same time, as noted, it sounds earthy. I’m really happy with it, he’s really good at it.
Does that mean he, as a producer, continued to work on your songs independently?
Bernhard Jammerbund: Exactly! The whole Corona break originally bothered me a lot, but looking back, it really benefited the songs. In the studio you often think at first that some take or something similar is really great and when you take a little distance, it’s often quite different.
Richard Kahlbacher: For example, the use of the Jew’s harp in “Heart opens” was also initiated by Bernd Heinrauch. Suddenly we got a new version ‘out of the blue’ with a Jew’s harp solo [lacht].
“If someone on site can play the Jew’s harp, they can always join in with the song!”
The live implementation of the Jew’s harp solo has already been meticulously planned?
Bernhard Jammerbund: We actually played the song live with the Jew’s harp once – a friend of ours was there. If someone on site has a Jew’s harp with them, they can always play along with the song [lacht].
I still have a few questions regarding the future. Firstly, why are you such an eternal insider tip?
Richard Kahlbacher: Good question. Maybe we didn’t have the necessary luck, maybe we made wrong decisions.
Bernhard Jammerbund: In a way it’s a charming name, but it might also be a bit more in terms of concerts, how easy it is to book and so on.
You have played almost 300 concerts. What keeps you going?
Richard Kahlbacher: Quite simply, we like doing it! Making music is such a creative thing. Writing new songs, experiencing how something like that grows and comes into being. This is one of my biggest motivations.
Bernhard Jammerbund: It’s the same with me. It’s a cliché, but not only are we in a band, we’ve also been best friends for ages. It’s simply fun to be creative together. Even at smaller concerts, we often find a lot of meaning behind it when talking to people in the audience.
Where do you actually see the future of guitar music? It seems like the same five remaining dinosaurs always headline major festivals.
Richard Kahlbacher: I think there’s always something new coming up. This comes and goes in cycles. I also think it’s becoming a bit more feminine. Fortunately, there are some good examples of this in Austria, such as Cryptic Commands from Graz or My Ugly Clementine. For example, this year at the Lido Sounds Festival they demonstrated real rock star qualities on a huge stage. Basically, I always find music outside of electric guitars interesting.
Bernhard Jammerbund: My answer also fits the previous question regarding the eternal insider tip. Maybe it’s a contributing factor that we’re largely stuck in 90s music – which isn’t exactly the most popular thing in the music scene these days.
Finally, what are your plans for “Opus”?
Bernhard Jammerbund: After the release we will play two release shows in Graz and Vienna. The hope would be that we would play more once more in the spring and summer of 2024. We’re doing a lot more DIY now than with the last album and ultimately it’s just a matter of how hard I put myself into it.
Richard Kahlbacher: I would simply like “Opus” to find an audience and be heard widely.
Thank you for the interview!
Sebastian J. Götzendorfer
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Hidden By The Grapes live:
29.09.2023 glam (feldbach) w/ drive air
14.10.2023 OPUS RELEASE SHOW @ music-house (graz) w/ lambda
09.11.2023 OPUS RELEASE SHOW @ venster (wien) w/ nepomuks, heroine whores
16.11.2023 the league (kromeriz / cz)
17.11.2023 operation (ostrava / cz)
13.01.2014 chelsea (vienna) w/ curbs
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Links:
Hidden By The Grapes
Hidden By The Grapes (Facebook)
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