Erstellt am: 1. 9. 2014 - 16:54 Uhr

Pale Noise

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Anbei der Beipackzettel bzw die Liner-Notes zum Album.

Guided tour through "Pale Noise"

Our fourth album, titled "Pale Noise" is mostly about escapism into a very certain mental state of mind, that promises less social pressure, passiveness and less responsibilities. The reason why i called it "Pale Noise", is, because i had to find ways to fall asleep during some rough period of insomnia in Estonias winter months of 2013. It somehow happened that i generated some grey-brownish noise which i listened to to find my rest for several hours. I got into different colours of noise pretty deep and used them just like any other music instrument while i was writing and arranging the songs for this album in between January and December 2013. In the end i also wrote my masters thesis at the Academy of Fine Arts in Vienna on that whole topic, analysing the effects of different colours of noise used in music. Anyways, i will give you a short guided tour through the 10 songs of our new album.

1. Pale Noise

The opener of the album starts with some noise i recorded sitting in the passenger seat on a plane from Vienna to Tallinn. The noise, a mixture of what you get from the engines and the air conditioning, somehow always manages to knock me out within minutes. I fall asleep and feel great knowing that everything that might happen within the next hours has nothing to do with any of my actions. After some time on that first track we start singing about this feeling: passiveness, reduced distractions, softness, no voices, no communion. Since this song is the intro to the second song, after the acapella choir ends, some synths start to play into song number two.

2. Linnahall

For quite some time I refused myself to compose anything that sounds like pop music. Up until i wrote this one i made many songs like the 9th song, that i will write about later. So one day i went for a walk somewhere around Tallinn, as that vocal melody came to my mind and i started finding lyrics to it. Believe it or not, it was so cold the ink in my pen froze and i couldn’t write the lyrics down, so i had to repeat them over and over again until i got back home. This formed the vocal arrangement, which is now the centrepiece of the song. The lyrics are about not wanting to be part of any creative industry and therefore quitting everything i do. But since pop music sometimes manages to change my mood, i decided from that point on, that there shall be pop songs on the album as well. So i made that song consisting of two drum sets and a simple distorted synth-melody, underlining our vocals.

3. Distance

Classic post break-up song telling about the need for distance. I wanted to make it sound like "Stella Maris" by Einstürzende Neubauten and Meret Becker, but in the process of rehearsing it turned into that powerchordish piece.

4. Meteor

This one is about three sorts of changes: The metonymical change nothing changes except the name for something. The metaphorical bye which is really meant to be a "farewell". And a meteor for us all - the sudden end of everything and a big sigh of relief. A few days after i wrote this song, there was this meteor strike in Russia and there were clips of it all over Youtube. That was kind of scary.

5. Antenatal

This song is about finding a save place with somebody you like while the universe crashes and it is a bit inspired by Lars van Triers "Melancholia". Beyond that I stole a tune from the band "Text” (a split up part of "Refused”) for the very silent part in the middle. I just always loved the stillness in that "Text” song, just before some madness happens. Ethereal post punk that might be.

6. Grey Formations

I guess this song is some sort of peak on the album. I wanted to have one song that simply tells about taking off in a plane and never wanting to land. Or the need to keep on leaving places because of the fear of settling down. As a kid of the 80ies I often saw myself on the back of "Fuchur" from "The NeverEnding Story" riding through the clouds to the sound of Klaus Doldinger and Giorgio Moroder. This was a major inspiration for the sound - arpeggio synth bass, synth strings, bells, two drum sets and heavenly light vocals.

7. Leaning Duets

The title "Leaning Duets” was first used for a piece of dance-performing couples by dancer and choreographer Trisha Brown. The wavy synthesizers, the heavy beat and the archaic guitars of our song powerfully speed ahead while I sing about relationships that lost their balance. This song is the last one on Side A, meant to leave a mark and set a sharp contrast to the songs that follow on Side B.

Dust Covered Carpet

8. All Of You

Side B starts laid back with slow drums, delay guitars and a duet of a sad cello and an even sadder saxophone. When I wrote that song I kind of thought about my dearest friends and people and their struggles in life referring to me as someone who will always try to help but being in need for help at the same time. So for more than eight minutes you can wallow in the certainty that you are not alone - if that helps.

9. Polar Romantic

13 minutes of foggy, cold, minimalism. I wrote a few songs like this one, as mentioned above, before I started doing pop-music again. What I wanted to create was an endless, soft, ambient composition soaked in noise, with as little lyrics as possible. This song is supposed to really slow you down. At the end a choir of sleepy people joins the blurry reverb that the instruments have left behind.

10. Held In Distant Hands

Some more noise before a wobbling, engine-like surface stretches out underneath the vocals that seem to be far away or maybe even have left the album already. Warmer synths appear before a heavy drum opens up for one last optimistic vocal part, for you to dream of happiness.