2023-10-05 09:10:00
The Viennese band WERCKMEISTER impressively demonstrates their versatility on their new album “Maruschka”. While the music on the previous album “Kairos” (2022) was still framed in clear song structures, had a guitar-driven band sound and was rather dark in tone, the new, once once more strong-character songs from the group around the singer and songwriter DAVID HOWALD show themselves in their own The sound was now significantly reduced and the mood was brighter and more conciliatory. In an interview with Michael Ternai, David HOWALD and FLORIAN HÜMMER talk regarding their break with rock ‘n’ roll, their new musical approach and turning outward.
Listen to your last album “Kairos” and your new “Maruschka” immediately becomes clear that you have a slightly different musical accent.
David Howard: The album is definitely more reduced, although the production is more differentiated and multi-layered. In addition, the electronic content is higher than on the previous album. I would say “Maruschka” is a bit more elaborately produced overall. We basically recorded the last one live.
With the new material, the aim was to create something that revolves more in itself, slowly unfolds and deepens – and that doesn’t use the usual tricks and song structures, but rather in circular, mantric patterns. The songs also contain fewer guitars, moving even further away from rock ‘n’ roll clichés than was the case on the first album.
Was this break with rock ‘n’ roll while simultaneously planning to move in a different direction a conscious decision?
Florian Hümmer: There was no conscious decision to break with rock ‘n’ roll. It was more the case that the first two songs on the new album, which are more in the electronic direction, were available quite early on. They were so well produced in the early stages that we didn’t see much reason to make a band version of them now. So I think the musical direction of the album came naturally. Can you sign this, David?
David Howard: Yes, you can say that. In general, I would say that this time we had the courage to leave the songs on this rather sparse and unexcited level and to give space to the electronic, sometimes repetitive beats, sounds and loops. Sometimes it’s just better to leave things in a minimalist, seemingly more primitive form.
I think the songs seem much more thought out because of all the little details.
David Howard: Normally it’s the case that a song idea is watered down twice. Once when you record it with the band, and then once more when you record it in the studio. [lacht] This time there is – if at all – only one dilution or reflection step. Or none at all. Seen this way, I would even say that the new album is less well thought out. But it comes across as a bit more focused and targeted as there are only seven songs this time. There is already a big gap between them in terms of genre. The musical breaks on “Maruschka” are perhaps even harder and more noticeable precisely because of the scarcity.
Was this musical and stylistic openness one of the basic ideas for the album?
David Howard: As with the last album, we had a lot of song material at our fingertips. The aim was to make a coherent selection that, despite its heterogeneity, works in an unmistakable and authentic direction. Our first album was accused of being too diverse. “Maruschka” is even more diverse in many ways. So I wish everyone who already had problems with the debut a lot of fun with it. [lacht]
“The album is certainly an authentic representation of what we have inhaled musically over the years.”
Florian, you have known and worked with David for ages. What was different for you regarding making this album?
Florian Hümmer: That everything somehow happened between extremes. On the one hand, for example, there is this one central, albeit last-placed song, “In the Spring of the Chimera,” which we and the band created almost from nothing. On the other hand, there are the more heavily produced songs that are electronic-heavy and initially didn’t take up much time in the rehearsal room, but then required even more time in the studio looking for the right sounds. These two tracks are represented on this album and are often even intertwined.
David Howard: But you have to be honest and say that this is the music we listen to. We now have a few years of music reception under our belts and a lot of preferences. The song “Paloma” is a classic analog song that might have been recorded in the seventies. It’s easy to hear that Velvet Underground-Influence out. Other role models like Björk or Autechre are reflected in the more abstract pieces and in the building blocks of certain pieces. In this day and age, I think all of this can exist side by side and within each other. If you do it in such a way that the analog songs don’t come across as nostalgic vignettes, but rather openly, then it works. And that was somewhat the goal. The album is certainly an authentic portrayal of what we have inhaled musically over the years.
I find it exciting that you stand by where you come from musically and don’t deny that your role models do influence your music. Does not happen often. But how much do you believe this album is the next step towards the real thing Werckmeister-Sound?
David Howard: It’s definitely a step towards that. But at the same time, I hope we never get there. [lacht]
Florian Hümmer: It is basically not possible for us to cut off these influences. What you hear naturally comes out in your own music. And the more complex the influences you have, the more complex your own art becomes. Of course, this is all reflected in some way. In general, I am of the opinion that not only all these genre classifications are rapidly disappearing these days, but also the discreetly closed media and disciplines are increasingly disappearing.
David Howard: Yes – actually you would have to consciously limit yourself to avoid that. What we do is look for our own synthesis, for a sound that doesn’t exist yet. And I believe that we have succeeded in this step with the new album. It’s somehow more extreme in its own way than the first one, mostly because of the way it’s put together. At the same time, paradoxically, it’s also more accessible, I think.
What are the topics you cover in your new songs? For example, on the last album a big theme was that you, David, became a father.
David Howard: On the last album it was actually becoming a father and the feelings associated with it that created a good strand of songs. The other strand was a strong introspective. The texts often resembled a kind of inner monologue, a contemplation, which were certainly also influenced by the external circumstances at the time – pandemic, lockdowns, etc. Now it’s more of an outward turn. Many of the songs on the new album are love songs in the broadest sense. You might say the songs are little odes to the people who are around me and accompany me. The song “Little to Nothing,” for example, is regarding a friend who died very young. That was a long time ago, but it’s something that’s come back up. Other songs are also simply regarding romantic love, such as my relationship with my girlfriend. And these themes, in turn, of course also had an influence on the music and the colorful sound of the album.
When it comes to developing the songs, how much, David, do you actually listen to the band and their input. How can you imagine that?
David Howard: Of course there are certain songs that I wrote and which the band performs. Some things also arise directly in the collective, as with “In the Spring of the Chimera”. Basically, with us it’s similar to many other bands: There is a main songwriter. But I feel like the longer we play together, the less I give any instructions. Basically, Florian plays what he wants anyway, and so does Bernhard. They don’t even listen to me anymore anyway. [lacht]
Florian Hümmer: When you play together for longer, things take on a life of their own. Everyone has their role in the band structure, their own pattern that the others know works.
David Howard: A lot of things just happen on their own. You have developed a common grammar and can use all possible colors and mix them however you want. When we first started, it was definitely a much more lengthy and wordy process.
Thank you very much for the interview!
Michael Ternai
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Werckmeister live
05.10. Café Wolf, Graz
10/13 Port city, Klagenfurt
20.10. Album release show, RKH, Vienna
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