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Interview September 19th 2014

Interview September 19th 2014 歌词

歌曲 Interview September 19th 2014
歌手 Sopor Æternus & the Ensemble of Shadows
专辑 Interview September 19TH 2014
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[00:00.000] It's two o'clock in the morning.
[00:02.273] On the Friday the 19th september.
[00:06.673] Ah,2014.
[00:08.839] This is interview for the obskure magazine 23#.
[00:14.651] and the question by Mr.Tassy.
[00:22.139] Question number one:
[00:26.550] You explain on your official site that MITTERNACHT and POETICA work very well together and are "related".
[00:34.602] It reminds me of what you had said to me when POETICA was released,
[00:39.002] the fact that the album was your Poe,
[00:41.664] your connection to Poe.
[00:44.604] Is MITTERNACHT related to POETICA because it is particularly autobiographical?
[00:51.466] AVC:Yes, I think that Poetica and Mitternacht do belong together.
[01:04.290] Well, at least to a certain degree...
[01:06.783] and, yes, Mitternacht is autobiographical ...
[01:13.521] but then again,
[01:14.663] so are all my albums.
[01:15.971] I have always written only about myself,
[01:20.838] I have never done anything else.
[01:23.632] I mean, keep in mind that SOPOR is nothing but self-therapy.
[01:27.755] It has always been. Besides,
[01:33.071] what's the one thing that all aspiring writers are being told?
[01:36.618] To bloody stick to the things that you know ...
[01:39.952] and, well, in my case ...
[01:43.481] the only thing that I truly know and understand ...
[01:47.175] well, sort of, anyway ... is myself. So, yes,
[01:52.116] all my work is entirely autobiographical.
[01:55.189] Including Mitternacht.
[02:00.061] I think another reason why both albums kind of belong together ...
[02:05.571] or, well, maybe not belong together,
[02:07.436] but certainly work well together,
[02:10.466] is because one followed so closely after the other.
[02:16.717] I have said this before,
[02:17.658] but every album is not only a consequence of the one(s) that came before,
[02:26.643] but it's also a preparation of the one(s) to follow.
[02:33.741] The thing about Poetica was ...
[02:40.092] is ... that it ended on a very sad note,
[02:45.177] and I couldn't leave it like that.
[02:51.812] You know, depression may be kind of romantic at the age of 16 ,
[02:57.140] in a twisted sort of way,
[03:00.417] but, believe me,
[03:01.470] it certainly isn't anymore when you have reached my age.
[03:05.884] To tell you the truth,
[03:06.817] I was terrified. I was really afraid.
[03:09.995] I could not leave it like this,
[03:12.869] I could not let this final note linger,
[03:18.891] echo for all eternity,
[03:21.744] without dissolving, re-channling it ...
[03:29.325] because I just couldn't go on like this anymore.
[03:35.731] I could not allow this to be,
[03:39.327] because I felt ... I feared ...
[03:47.281] that it would be the end of me.
[03:49.835] I had to find a solution.
[03:51.897] Quickly.
[03:55.828] Which might also explain why I was under such an enormous pressure ... and why,
[04:05.004] consequently,
[04:07.425] this album was (and still is) so very important to me.
[04:15.458] In fact,
[04:17.659] and that's perhaps a strange thing to say ...
[04:20.526] considering the contents of my past albums ...
[04:26.104] but I can't remember ever having felt such a feeling of urgency about an album.
[04:33.139] Or maybe I have and I just forgot about it,
[04:35.027] which I tend to do. So...
[04:39.082] I know I am repeating myself,
[04:41.545] but ... in my case ...
[04:46.194] there is no separation between life and art.
[04:51.402] And I believe this is true for every artist,
[04:53.793] or every true artist,
[04:54.618] regardless of talent and/or skill ...
[04:57.320] and, really,
[04:58.162] there shouldn't be a separation.
[04:59.481] How can there be?
[05:01.383] Life and art ARE one.
[05:03.567] They are the same thing.
[05:05.928] They influence each other,
[05:07.276] as they are forever intertwined ...
[05:10.359] because they are the same thing.
[05:17.959] So, as I tried to find a solution to my ... umm,
[05:22.358] situation ...
[05:25.916] I encountered something that caused me even greater pain.
[05:30.163] I mean, it was ridiculous.
[05:32.157] There I was hoping to change things for the better,
[05:34.804] but it only got worse.
[05:40.089] I hadn't felt so extremely miserable in a long time.
[05:45.088] There were days when I was crying on my way home ...
[05:50.338] in broad daylight ...
[05:53.307] and those were the good days.
[05:54.853] On others I couldn't even get out of bed.
[06:02.168] But ...
[06:02.655] ...it was all neccessary.
[06:04.835] Again, this may sound strange to some people,
[06:10.976] but ... I am eternally grateful for this.
[06:15.007] I learned things that I not only had never encountered before...
[06:27.872] but that I tought were impossible.
[06:31.304] Yes, it was painful ...
[06:35.450] but it was also very interesting ...
[06:39.430] and very educational.
[06:43.392] Question number two:
[06:46.467] Can you explain the fact that you needed to explore the question of loneliness and the need for companionship at this moment of your life?
[06:58.838] AVC:Umm ... no ... things just ... happened.
[07:06.706] It was meant to happen.
[07:09.696] It was simply time,
[07:11.663] I guess.
[07:14.534] A natural consequence of the things that had happened before.
[07:19.902] I don't wish to appear rude,
[07:21.328] but I really cannot be more specific.
[07:24.885] After all, the details are really nobody's business.
[07:31.241] It's just ... when I left the,
[07:35.840] umm, "other side" (to put it this way) to re-enter the ordinary world,
[07:44.968] which I had abandoned so many years ago,
[07:48.645] I was instantly reminded why I had left in the first place.
[07:53.457] I just didn't belong here,
[07:56.373] I had no part in this.
[07:58.126] No place in it.
[08:02.555] It's one thing to be alone on the other side,
[08:05.591] where there are creatures,
[08:08.138] things, you can surround yourself with ...
[08:11.240] or even create to a certain extend ...
[08:14.969] but being alone in the hostile ordinary world ...
[08:19.077] well, that is different, and I cannot recommend it.
[08:23.999] So, my first reaction was to turn around on the spot and go straight back into darkness,
[08:30.525] but ... I couldn't ... not this time ...
[08:36.403] because that wouldn't have solved anything.
[08:39.442] It would have meant stagnation,
[08:42.329] and, ultimately, death.
[08:46.198] So I kept on walking.
[08:49.570] And that was ... yes,
[08:54.121] almost two years ago now,
[08:56.123] and it's kind of ...
[08:58.853] I hate the word amazing,
[09:01.192] I really do ...
[09:03.501] but, looking at it now,
[09:07.489] that's really the best way to describe it ... umm,
[09:11.303] the things that happend in those two years,
[09:15.919] I honestly would never have guessed could happen.
[09:18.922] I really thought that they would never even be possible.
[09:27.508] number three:
[09:30.849] Where did the idea to record a cover version of ��La Prima Vez�� come from?
[09:39.897] AVC:Oh, the idea?
[09:41.938] Uff, I don't know.
[09:43.391] It just developped,
[09:45.435] as it is with art.
[09:46.938] You know, it grows.
[09:52.045] But what I can tell you where I encountered this song for the first time.
[09:58.359] I was watching Wim Wenders' dance-film PINA,
[10:04.062] and on the songtrack there is a version of that song by ... umm,
[10:07.799] gawd, what's his name ... Logan 5 ...?
[10:14.326] No, wait ... Owain Phyfe ... feifei? ...
[10:24.826] I don't know, whatever his name is pronounced.
[10:30.468] I had never heard it before,
[10:32.314] but I immediately liked it.
[10:34.936] It had a beautiful melody,
[10:36.513] and that's what drew me to it,
[10:38.008] that's what caught my attention ...
[10:40.268] and, as it is often the case with these things.
[10:44.331] Sometimes, you may not neccessarily know what it is at first,
[10:50.675] the thing that attracts your attention.
[10:54.795] Quite often it's entirely subconscious.
[10:56.730] But once you take a closer look at it,
[10:59.385] you see what connects you to it.
[11:03.062] You see the relevance it has for you.
[11:06.813] number four:
[11:10.762] I have to ask you the same question for "Bang Bang"
[11:14.402] why did you chose this song?
[11:18.892] AVC:To be perfectly honest ...
[11:22.008] I cannot remember.
[11:24.255] I really can't remember what gave the impulse ...
[11:29.869] and that is actually a good thing,
[11:31.417] because it means that the problem ...
[11:33.741] or inner conflict,
[11:35.316] if you wish ... has be solved ...
[11:38.284] - dissolved.
[11:43.041] It's a strange song to begin with.
[11:45.354] Silly even in the original.
[11:47.419] I mean, it was written by Sonny Bono ...
[11:51.149] but for whom exactly I don't even know.
[11:53.972] Either Nancy Sinatra or Cher.
[11:57.417] I don't know who came first.
[12:01.612] Iit doesn't really matter,
[12:04.150] anyway. Both versions are great.
[12:05.740] Actually, Cher has many great songs.
[12:09.677] I mean, "Gypsies, tramps & thieves" is fabulous ...
[12:16.458] but, of course, I cannot do that.
[12:17.720] I mean,
[12:18.346] for one the music sounds kind of like SOPOR anyway ...
[12:23.314] to a certain degree,
[12:25.100] so that would be pointless.
[12:26.776] And, let's face it,
[12:29.641] I wasn't born on the waggon of a travelling show.
[12:34.115] Thank goodness for that.
[12:38.483] But back to BANG BANG ...
[12:41.121] yes, it's a bit of a strange song ...
[12:42.636] and, in my case,
[12:44.307] it doesn't just refer to one particular thing or person,
[12:48.987] and even keeps changing perspective.
[12:51.971] It's more about a state of mind,
[12:57.159] if you wish.
[12:59.601] A neurotic notion ... a dependency ...
[13:03.216] the sort of thing I dealt with on the Triptychon of Ghosts.
[13:09.033] The interesting thing for me,
[13:10.719] however, was that initially I thought I would ...
[13:14.086] well, maybe not mock it,
[13:15.664] but be kind of ironic about it.
[13:19.380] Basically like I did it with Bonnie Tyler's "Holding out for a Hero".
[13:25.869] But when I was in the studio I couldn't do it like that.
[13:31.564] I had to do it seriously.
[13:33.903] It was the only way.
[13:36.366] And it makes sense, because there is no irony on the album at all.
[13:40.994] And that's actually a thing that Mitternacht has in common with Poetica.
[13:46.816] number five:
[13:49.915] Do you consider “Confessional” the heart of the album?
[13:57.962] We can understand the chorus,
[13:59.933] the mantra of the song,
[14:01.275] in a lot of different ways.
[14:03.005] Is that a form of supplication?
[14:09.319] AVC:Yes,
[14:10.067] it is the heart of the album ...
[14:11.827] and THANK YOU for recognising ...
[14:15.134] and yes,
[14:16.568] you may very well call it a prayer.
[14:20.755] number six:
[14:24.258] Is the album-title “Mitternacht” a reference to the heart of the night,
[14:29.771] the symbol of the moments when the feeling of loneliness is at its strongest?
[14:37.426] AVC:Yes.
[14:39.566] It's like a Dark Night of the Soul.
[14:45.757] number seven:
[14:47.742] When you sing ?Beautiful?,
[14:49.797] do you think about someone in particular?
[14:53.970] AVC:Sorry, but that I cannot tell you.
[15:01.033] But, it is more than meets the eye ...
[15:05.024] it's a little more complex than it might appear at first glance.
[15:11.578] It seems to be very simple ...
[15:13.464] and it is simply ...
[15:15.523] but it's not one-dimensional.
[15:23.353] number eight:
[15:26.350] You sing in a totally new way on certain songs like ?
[15:32.949] You cannot make him love you? for example.
[15:36.221] Could you tell me more about this experience of the voice recordings of MITTERNACHT?
[15:46.296] AVC:There is nothing to tell, really.
[15:49.509] Recording the vocals was the same as always.
[15:53.377] You're in the studio and then ... you do it.
[15:58.372] If it sounds different than how I usually sound (which I don't actually think it does) it because the song,
[16:09.414] the content, demanded it.
[16:12.898] number nine:
[16:15.965] Do you think that the "quiet" feeling of the album is due to the totally new way that you had to deal with your energy,
[16:22.623] as you explained on your homepage?
[16:26.811] AVC:No, it has nothing to do with that ...
[16:29.170] because I do not write the music in the studio.
[16:31.900] When I go the studio,
[16:33.188] as in when I rent studio time,
[16:35.798] it means that the music is already completed.
[16:38.512] Well, in theory anyway,
[16:40.812] because it obviously still needs to be recorded.
[16:42.433] But the writing is done.
[16:46.422] Though, admittedly,
[16:47.516] it's never written in stone,
[16:50.265] and there is always room for chance ...
[16:54.918] fate, you might call it.
[16:59.197] Sometimes things that suddenly fall into place.
[17:03.707] And then,
[17:07.066] yes, there are the vocals, of course.
[17:08.721] I never know in advance what is going to happen there,
[17:11.833] because ... as you know ...
[17:14.394] there are no rehearsals.
[17:17.761] Would you say...oh question number ten:
[17:23.689] Would you say that this album is "quiet",
[17:26.115] because you are in a quieter moment of your life?
[17:31.860] AVC:Perhaps, yes.
[17:34.677] number eleven:
[17:36.968] Music box and theremin have become an essential part of your music;
[17:42.097] how would you explain this?
[17:44.031] Now, I feel that those instruments are SOPOR AETERNUS��
[17:49.505] AVC:Yes, indeed they are,
[17:50.444] aren't they?!
[17:51.693] I agree.
[17:53.281] I have talked about the theremin (or theremin inspired sound) before,
[18:06.554] as in it being this beautiful bridge between the "cold" synthesizers and the warm violins.
[18:13.559] And, yes,
[18:14.897] there is something quirky and childlike thing about the music-box ...
[18:25.325] and all those percussive pling-plong instruments that keep haunting my albums,
[18:30.812] like the toy piano, for example.
[18:34.571] ......
[18:53.509] When the album was recorded,
[18:56.036] it slowly dawned on me that the damn toypiano is in every bloody song.
[19:02.071] Well, at least on the first half of the album.
[19:04.665] And, admittedly,
[19:07.136] I did worry for a second,
[19:09.191] thinking "have I perhaps overused this?".
[19:13.795] But ...well ...
[19:14.959] there was nothing to be done about it.
[19:16.394] That's just how it was,
[19:20.457] and how it has to be. But then again,
[19:23.952] I always worry.
[19:25.527] I can't help that.
[19:29.190] Twelve.
[19:33.979] Is the perspective of releasing MITTERNACHT harder than it was with the previous albums?
[19:41.829] You explained on your homepage that "it has to be done",
[19:47.396] but the sharing of this work seems particularly delicate for you - why?
[19:55.182] AVC:Because...
[19:59.351] Well, you have to understand that what you hear,
[20:05.325] when you listen to a SOPOR album,
[20:08.440] is not what I hear.
[20:11.840] Remember that the music is like a byproduct,
[20:17.144] a waste product, almost,
[20:19.176] of a psycho-spiritual process and of magical work. What you get is only the end-product.
[20:30.156] Meaning, when you listen to a SOPOR album,
[20:33.619] you only hear the "stories" ...
[20:37.520] whereas when I listen to it,
[20:39.794] I see and re-live all the events that have led to this album.
[20:47.244] So, what I am trying to say is,
[20:49.959] it may very well be that what you hear is just a nice collection of singles with lyrics that may not neccessarily make any sense ...
[21:02.875] whereas for me,
[21:04.344] who has all the keys to its (I almost said "symptoms")...
[21:09.519] to all its symbols,
[21:13.031] it's incredibly intimate and revealing.
[21:18.912] I feel naked and vulnerable.
[21:26.511] Why does it seem more delicate to me this time than with the previous albums?
[21:34.497] Well,
[21:36.103] probably because I actually was naked...
[21:39.791] and wounded.
[00:00.000] It' s two o' clock in the morning.
[00:02.273] On the Friday the 19th september.
[00:06.673] Ah, 2014.
[00:08.839] This is interview for the obskure magazine 23.
[00:14.651] and the question by Mr. Tassy.
[00:22.139] Question number one:
[00:26.550] You explain on your official site that MITTERNACHT and POETICA work very well together and are " related".
[00:34.602] It reminds me of what you had said to me when POETICA was released,
[00:39.002] the fact that the album was your Poe,
[00:41.664] your connection to Poe.
[00:44.604] Is MITTERNACHT related to POETICA because it is particularly autobiographical?
[00:51.466] AVC: Yes, I think that Poetica and Mitternacht do belong together.
[01:04.290] Well, at least to a certain degree...
[01:06.783] and, yes, Mitternacht is autobiographical ...
[01:13.521] but then again,
[01:14.663] so are all my albums.
[01:15.971] I have always written only about myself,
[01:20.838] I have never done anything else.
[01:23.632] I mean, keep in mind that SOPOR is nothing but selftherapy.
[01:27.755] It has always been. Besides,
[01:33.071] what' s the one thing that all aspiring writers are being told?
[01:36.618] To bloody stick to the things that you know ...
[01:39.952] and, well, in my case ...
[01:43.481] the only thing that I truly know and understand ...
[01:47.175] well, sort of, anyway ... is myself. So, yes,
[01:52.116] all my work is entirely autobiographical.
[01:55.189] Including Mitternacht.
[02:00.061] I think another reason why both albums kind of belong together ...
[02:05.571] or, well, maybe not belong together,
[02:07.436] but certainly work well together,
[02:10.466] is because one followed so closely after the other.
[02:16.717] I have said this before,
[02:17.658] but every album is not only a consequence of the one s that came before,
[02:26.643] but it' s also a preparation of the one s to follow.
[02:33.741] The thing about Poetica was ...
[02:40.092] is ... that it ended on a very sad note,
[02:45.177] and I couldn' t leave it like that.
[02:51.812] You know, depression may be kind of romantic at the age of 16 ,
[02:57.140] in a twisted sort of way,
[03:00.417] but, believe me,
[03:01.470] it certainly isn' t anymore when you have reached my age.
[03:05.884] To tell you the truth,
[03:06.817] I was terrified. I was really afraid.
[03:09.995] I could not leave it like this,
[03:12.869] I could not let this final note linger,
[03:18.891] echo for all eternity,
[03:21.744] without dissolving, rechannling it ...
[03:29.325] because I just couldn' t go on like this anymore.
[03:35.731] I could not allow this to be,
[03:39.327] because I felt ... I feared ...
[03:47.281] that it would be the end of me.
[03:49.835] I had to find a solution.
[03:51.897] Quickly.
[03:55.828] Which might also explain why I was under such an enormous pressure ... and why,
[04:05.004] consequently,
[04:07.425] this album was and still is so very important to me.
[04:15.458] In fact,
[04:17.659] and that' s perhaps a strange thing to say ...
[04:20.526] considering the contents of my past albums ...
[04:26.104] but I can' t remember ever having felt such a feeling of urgency about an album.
[04:33.139] Or maybe I have and I just forgot about it,
[04:35.027] which I tend to do. So...
[04:39.082] I know I am repeating myself,
[04:41.545] but ... in my case ...
[04:46.194] there is no separation between life and art.
[04:51.402] And I believe this is true for every artist,
[04:53.793] or every true artist,
[04:54.618] regardless of talent and or skill ...
[04:57.320] and, really,
[04:58.162] there shouldn' t be a separation.
[04:59.481] How can there be?
[05:01.383] Life and art ARE one.
[05:03.567] They are the same thing.
[05:05.928] They influence each other,
[05:07.276] as they are forever intertwined ...
[05:10.359] because they are the same thing.
[05:17.959] So, as I tried to find a solution to my ... umm,
[05:22.358] situation ...
[05:25.916] I encountered something that caused me even greater pain.
[05:30.163] I mean, it was ridiculous.
[05:32.157] There I was hoping to change things for the better,
[05:34.804] but it only got worse.
[05:40.089] I hadn' t felt so extremely miserable in a long time.
[05:45.088] There were days when I was crying on my way home ...
[05:50.338] in broad daylight ...
[05:53.307] and those were the good days.
[05:54.853] On others I couldn' t even get out of bed.
[06:02.168] But ...
[06:02.655] ... it was all neccessary.
[06:04.835] Again, this may sound strange to some people,
[06:10.976] but ... I am eternally grateful for this.
[06:15.007] I learned things that I not only had never encountered before...
[06:27.872] but that I tought were impossible.
[06:31.304] Yes, it was painful ...
[06:35.450] but it was also very interesting ...
[06:39.430] and very educational.
[06:43.392] Question number two:
[06:46.467] Can you explain the fact that you needed to explore the question of loneliness and the need for companionship at this moment of your life?
[06:58.838] AVC: Umm ... no ... things just ... happened.
[07:06.706] It was meant to happen.
[07:09.696] It was simply time,
[07:11.663] I guess.
[07:14.534] A natural consequence of the things that had happened before.
[07:19.902] I don' t wish to appear rude,
[07:21.328] but I really cannot be more specific.
[07:24.885] After all, the details are really nobody' s business.
[07:31.241] It' s just ... when I left the,
[07:35.840] umm, " other side" to put it this way to reenter the ordinary world,
[07:44.968] which I had abandoned so many years ago,
[07:48.645] I was instantly reminded why I had left in the first place.
[07:53.457] I just didn' t belong here,
[07:56.373] I had no part in this.
[07:58.126] No place in it.
[08:02.555] It' s one thing to be alone on the other side,
[08:05.591] where there are creatures,
[08:08.138] things, you can surround yourself with ...
[08:11.240] or even create to a certain extend ...
[08:14.969] but being alone in the hostile ordinary world ...
[08:19.077] well, that is different, and I cannot recommend it.
[08:23.999] So, my first reaction was to turn around on the spot and go straight back into darkness,
[08:30.525] but ... I couldn' t ... not this time ...
[08:36.403] because that wouldn' t have solved anything.
[08:39.442] It would have meant stagnation,
[08:42.329] and, ultimately, death.
[08:46.198] So I kept on walking.
[08:49.570] And that was ... yes,
[08:54.121] almost two years ago now,
[08:56.123] and it' s kind of ...
[08:58.853] I hate the word amazing,
[09:01.192] I really do ...
[09:03.501] but, looking at it now,
[09:07.489] that' s really the best way to describe it ... umm,
[09:11.303] the things that happend in those two years,
[09:15.919] I honestly would never have guessed could happen.
[09:18.922] I really thought that they would never even be possible.
[09:27.508] number three:
[09:30.849] Where did the idea to record a cover version of La Prima Vez come from?
[09:39.897] AVC: Oh, the idea?
[09:41.938] Uff, I don' t know.
[09:43.391] It just developped,
[09:45.435] as it is with art.
[09:46.938] You know, it grows.
[09:52.045] But what I can tell you where I encountered this song for the first time.
[09:58.359] I was watching Wim Wenders' dancefilm PINA,
[10:04.062] and on the songtrack there is a version of that song by ... umm,
[10:07.799] gawd, what' s his name ... Logan 5 ...?
[10:14.326] No, wait ... Owain Phyfe ... feifei? ...
[10:24.826] I don' t know, whatever his name is pronounced.
[10:30.468] I had never heard it before,
[10:32.314] but I immediately liked it.
[10:34.936] It had a beautiful melody,
[10:36.513] and that' s what drew me to it,
[10:38.008] that' s what caught my attention ...
[10:40.268] and, as it is often the case with these things.
[10:44.331] Sometimes, you may not neccessarily know what it is at first,
[10:50.675] the thing that attracts your attention.
[10:54.795] Quite often it' s entirely subconscious.
[10:56.730] But once you take a closer look at it,
[10:59.385] you see what connects you to it.
[11:03.062] You see the relevance it has for you.
[11:06.813] number four:
[11:10.762] I have to ask you the same question for " Bang Bang"
[11:14.402] why did you chose this song?
[11:18.892] AVC: To be perfectly honest ...
[11:22.008] I cannot remember.
[11:24.255] I really can' t remember what gave the impulse ...
[11:29.869] and that is actually a good thing,
[11:31.417] because it means that the problem ...
[11:33.741] or inner conflict,
[11:35.316] if you wish ... has be solved ...
[11:38.284] dissolved.
[11:43.041] It' s a strange song to begin with.
[11:45.354] Silly even in the original.
[11:47.419] I mean, it was written by Sonny Bono ...
[11:51.149] but for whom exactly I don' t even know.
[11:53.972] Either Nancy Sinatra or Cher.
[11:57.417] I don' t know who came first.
[12:01.612] Iit doesn' t really matter,
[12:04.150] anyway. Both versions are great.
[12:05.740] Actually, Cher has many great songs.
[12:09.677] I mean, " Gypsies, tramps thieves" is fabulous ...
[12:16.458] but, of course, I cannot do that.
[12:17.720] I mean,
[12:18.346] for one the music sounds kind of like SOPOR anyway ...
[12:23.314] to a certain degree,
[12:25.100] so that would be pointless.
[12:26.776] And, let' s face it,
[12:29.641] I wasn' t born on the waggon of a travelling show.
[12:34.115] Thank goodness for that.
[12:38.483] But back to BANG BANG ...
[12:41.121] yes, it' s a bit of a strange song ...
[12:42.636] and, in my case,
[12:44.307] it doesn' t just refer to one particular thing or person,
[12:48.987] and even keeps changing perspective.
[12:51.971] It' s more about a state of mind,
[12:57.159] if you wish.
[12:59.601] A neurotic notion ... a dependency ...
[13:03.216] the sort of thing I dealt with on the Triptychon of Ghosts.
[13:09.033] The interesting thing for me,
[13:10.719] however, was that initially I thought I would ...
[13:14.086] well, maybe not mock it,
[13:15.664] but be kind of ironic about it.
[13:19.380] Basically like I did it with Bonnie Tyler' s " Holding out for a Hero".
[13:25.869] But when I was in the studio I couldn' t do it like that.
[13:31.564] I had to do it seriously.
[13:33.903] It was the only way.
[13:36.366] And it makes sense, because there is no irony on the album at all.
[13:40.994] And that' s actually a thing that Mitternacht has in common with Poetica.
[13:46.816] number five:
[13:49.915] Do you consider " Confessional" the heart of the album?
[13:57.962] We can understand the chorus,
[13:59.933] the mantra of the song,
[14:01.275] in a lot of different ways.
[14:03.005] Is that a form of supplication?
[14:09.319] AVC: Yes,
[14:10.067] it is the heart of the album ...
[14:11.827] and THANK YOU for recognising ...
[14:15.134] and yes,
[14:16.568] you may very well call it a prayer.
[14:20.755] number six:
[14:24.258] Is the albumtitle " Mitternacht" a reference to the heart of the night,
[14:29.771] the symbol of the moments when the feeling of loneliness is at its strongest?
[14:37.426] AVC: Yes.
[14:39.566] It' s like a Dark Night of the Soul.
[14:45.757] number seven:
[14:47.742] When you sing ? Beautiful?,
[14:49.797] do you think about someone in particular?
[14:53.970] AVC: Sorry, but that I cannot tell you.
[15:01.033] But, it is more than meets the eye ...
[15:05.024] it' s a little more complex than it might appear at first glance.
[15:11.578] It seems to be very simple ...
[15:13.464] and it is simply ...
[15:15.523] but it' s not onedimensional.
[15:23.353] number eight:
[15:26.350] You sing in a totally new way on certain songs like ?
[15:32.949] You cannot make him love you? for example.
[15:36.221] Could you tell me more about this experience of the voice recordings of MITTERNACHT?
[15:46.296] AVC: There is nothing to tell, really.
[15:49.509] Recording the vocals was the same as always.
[15:53.377] You' re in the studio and then ... you do it.
[15:58.372] If it sounds different than how I usually sound which I don' t actually think it does it because the song,
[16:09.414] the content, demanded it.
[16:12.898] number nine:
[16:15.965] Do you think that the " quiet" feeling of the album is due to the totally new way that you had to deal with your energy,
[16:22.623] as you explained on your homepage?
[16:26.811] AVC: No, it has nothing to do with that ...
[16:29.170] because I do not write the music in the studio.
[16:31.900] When I go the studio,
[16:33.188] as in when I rent studio time,
[16:35.798] it means that the music is already completed.
[16:38.512] Well, in theory anyway,
[16:40.812] because it obviously still needs to be recorded.
[16:42.433] But the writing is done.
[16:46.422] Though, admittedly,
[16:47.516] it' s never written in stone,
[16:50.265] and there is always room for chance ...
[16:54.918] fate, you might call it.
[16:59.197] Sometimes things that suddenly fall into place.
[17:03.707] And then,
[17:07.066] yes, there are the vocals, of course.
[17:08.721] I never know in advance what is going to happen there,
[17:11.833] because ... as you know ...
[17:14.394] there are no rehearsals.
[17:17.761] Would you say... oh question number ten:
[17:23.689] Would you say that this album is " quiet",
[17:26.115] because you are in a quieter moment of your life?
[17:31.860] AVC: Perhaps, yes.
[17:34.677] number eleven:
[17:36.968] Music box and theremin have become an essential part of your music
[17:42.097] how would you explain this?
[17:44.031] Now, I feel that those instruments are SOPOR AETERNUS
[17:49.505] AVC: Yes, indeed they are,
[17:50.444] aren' t they?!
[17:51.693] I agree.
[17:53.281] I have talked about the theremin or theremin inspired sound before,
[18:06.554] as in it being this beautiful bridge between the " cold" synthesizers and the warm violins.
[18:13.559] And, yes,
[18:14.897] there is something quirky and childlike thing about the musicbox ...
[18:25.325] and all those percussive plingplong instruments that keep haunting my albums,
[18:30.812] like the toy piano, for example.
[18:34.571] ......
[18:53.509] When the album was recorded,
[18:56.036] it slowly dawned on me that the damn toypiano is in every bloody song.
[19:02.071] Well, at least on the first half of the album.
[19:04.665] And, admittedly,
[19:07.136] I did worry for a second,
[19:09.191] thinking " have I perhaps overused this?".
[19:13.795] But ... well ...
[19:14.959] there was nothing to be done about it.
[19:16.394] That' s just how it was,
[19:20.457] and how it has to be. But then again,
[19:23.952] I always worry.
[19:25.527] I can' t help that.
[19:29.190] Twelve.
[19:33.979] Is the perspective of releasing MITTERNACHT harder than it was with the previous albums?
[19:41.829] You explained on your homepage that " it has to be done",
[19:47.396] but the sharing of this work seems particularly delicate for you why?
[19:55.182] AVC: Because...
[19:59.351] Well, you have to understand that what you hear,
[20:05.325] when you listen to a SOPOR album,
[20:08.440] is not what I hear.
[20:11.840] Remember that the music is like a byproduct,
[20:17.144] a waste product, almost,
[20:19.176] of a psychospiritual process and of magical work. What you get is only the endproduct.
[20:30.156] Meaning, when you listen to a SOPOR album,
[20:33.619] you only hear the " stories" ...
[20:37.520] whereas when I listen to it,
[20:39.794] I see and relive all the events that have led to this album.
[20:47.244] So, what I am trying to say is,
[20:49.959] it may very well be that what you hear is just a nice collection of singles with lyrics that may not neccessarily make any sense ...
[21:02.875] whereas for me,
[21:04.344] who has all the keys to its I almost said " symptoms"...
[21:09.519] to all its symbols,
[21:13.031] it' s incredibly intimate and revealing.
[21:18.912] I feel naked and vulnerable.
[21:26.511] Why does it seem more delicate to me this time than with the previous albums?
[21:34.497] Well,
[21:36.103] probably because I actually was naked...
[21:39.791] and wounded.
[00:00.000] It' s two o' clock in the morning.
[00:02.273] On the Friday the 19th september.
[00:06.673] Ah, 2014.
[00:08.839] This is interview for the obskure magazine 23.
[00:14.651] and the question by Mr. Tassy.
[00:22.139] Question number one:
[00:26.550] You explain on your official site that MITTERNACHT and POETICA work very well together and are " related".
[00:34.602] It reminds me of what you had said to me when POETICA was released,
[00:39.002] the fact that the album was your Poe,
[00:41.664] your connection to Poe.
[00:44.604] Is MITTERNACHT related to POETICA because it is particularly autobiographical?
[00:51.466] AVC: Yes, I think that Poetica and Mitternacht do belong together.
[01:04.290] Well, at least to a certain degree...
[01:06.783] and, yes, Mitternacht is autobiographical ...
[01:13.521] but then again,
[01:14.663] so are all my albums.
[01:15.971] I have always written only about myself,
[01:20.838] I have never done anything else.
[01:23.632] I mean, keep in mind that SOPOR is nothing but selftherapy.
[01:27.755] It has always been. Besides,
[01:33.071] what' s the one thing that all aspiring writers are being told?
[01:36.618] To bloody stick to the things that you know ...
[01:39.952] and, well, in my case ...
[01:43.481] the only thing that I truly know and understand ...
[01:47.175] well, sort of, anyway ... is myself. So, yes,
[01:52.116] all my work is entirely autobiographical.
[01:55.189] Including Mitternacht.
[02:00.061] I think another reason why both albums kind of belong together ...
[02:05.571] or, well, maybe not belong together,
[02:07.436] but certainly work well together,
[02:10.466] is because one followed so closely after the other.
[02:16.717] I have said this before,
[02:17.658] but every album is not only a consequence of the one s that came before,
[02:26.643] but it' s also a preparation of the one s to follow.
[02:33.741] The thing about Poetica was ...
[02:40.092] is ... that it ended on a very sad note,
[02:45.177] and I couldn' t leave it like that.
[02:51.812] You know, depression may be kind of romantic at the age of 16 ,
[02:57.140] in a twisted sort of way,
[03:00.417] but, believe me,
[03:01.470] it certainly isn' t anymore when you have reached my age.
[03:05.884] To tell you the truth,
[03:06.817] I was terrified. I was really afraid.
[03:09.995] I could not leave it like this,
[03:12.869] I could not let this final note linger,
[03:18.891] echo for all eternity,
[03:21.744] without dissolving, rechannling it ...
[03:29.325] because I just couldn' t go on like this anymore.
[03:35.731] I could not allow this to be,
[03:39.327] because I felt ... I feared ...
[03:47.281] that it would be the end of me.
[03:49.835] I had to find a solution.
[03:51.897] Quickly.
[03:55.828] Which might also explain why I was under such an enormous pressure ... and why,
[04:05.004] consequently,
[04:07.425] this album was and still is so very important to me.
[04:15.458] In fact,
[04:17.659] and that' s perhaps a strange thing to say ...
[04:20.526] considering the contents of my past albums ...
[04:26.104] but I can' t remember ever having felt such a feeling of urgency about an album.
[04:33.139] Or maybe I have and I just forgot about it,
[04:35.027] which I tend to do. So...
[04:39.082] I know I am repeating myself,
[04:41.545] but ... in my case ...
[04:46.194] there is no separation between life and art.
[04:51.402] And I believe this is true for every artist,
[04:53.793] or every true artist,
[04:54.618] regardless of talent and or skill ...
[04:57.320] and, really,
[04:58.162] there shouldn' t be a separation.
[04:59.481] How can there be?
[05:01.383] Life and art ARE one.
[05:03.567] They are the same thing.
[05:05.928] They influence each other,
[05:07.276] as they are forever intertwined ...
[05:10.359] because they are the same thing.
[05:17.959] So, as I tried to find a solution to my ... umm,
[05:22.358] situation ...
[05:25.916] I encountered something that caused me even greater pain.
[05:30.163] I mean, it was ridiculous.
[05:32.157] There I was hoping to change things for the better,
[05:34.804] but it only got worse.
[05:40.089] I hadn' t felt so extremely miserable in a long time.
[05:45.088] There were days when I was crying on my way home ...
[05:50.338] in broad daylight ...
[05:53.307] and those were the good days.
[05:54.853] On others I couldn' t even get out of bed.
[06:02.168] But ...
[06:02.655] ... it was all neccessary.
[06:04.835] Again, this may sound strange to some people,
[06:10.976] but ... I am eternally grateful for this.
[06:15.007] I learned things that I not only had never encountered before...
[06:27.872] but that I tought were impossible.
[06:31.304] Yes, it was painful ...
[06:35.450] but it was also very interesting ...
[06:39.430] and very educational.
[06:43.392] Question number two:
[06:46.467] Can you explain the fact that you needed to explore the question of loneliness and the need for companionship at this moment of your life?
[06:58.838] AVC: Umm ... no ... things just ... happened.
[07:06.706] It was meant to happen.
[07:09.696] It was simply time,
[07:11.663] I guess.
[07:14.534] A natural consequence of the things that had happened before.
[07:19.902] I don' t wish to appear rude,
[07:21.328] but I really cannot be more specific.
[07:24.885] After all, the details are really nobody' s business.
[07:31.241] It' s just ... when I left the,
[07:35.840] umm, " other side" to put it this way to reenter the ordinary world,
[07:44.968] which I had abandoned so many years ago,
[07:48.645] I was instantly reminded why I had left in the first place.
[07:53.457] I just didn' t belong here,
[07:56.373] I had no part in this.
[07:58.126] No place in it.
[08:02.555] It' s one thing to be alone on the other side,
[08:05.591] where there are creatures,
[08:08.138] things, you can surround yourself with ...
[08:11.240] or even create to a certain extend ...
[08:14.969] but being alone in the hostile ordinary world ...
[08:19.077] well, that is different, and I cannot recommend it.
[08:23.999] So, my first reaction was to turn around on the spot and go straight back into darkness,
[08:30.525] but ... I couldn' t ... not this time ...
[08:36.403] because that wouldn' t have solved anything.
[08:39.442] It would have meant stagnation,
[08:42.329] and, ultimately, death.
[08:46.198] So I kept on walking.
[08:49.570] And that was ... yes,
[08:54.121] almost two years ago now,
[08:56.123] and it' s kind of ...
[08:58.853] I hate the word amazing,
[09:01.192] I really do ...
[09:03.501] but, looking at it now,
[09:07.489] that' s really the best way to describe it ... umm,
[09:11.303] the things that happend in those two years,
[09:15.919] I honestly would never have guessed could happen.
[09:18.922] I really thought that they would never even be possible.
[09:27.508] number three:
[09:30.849] Where did the idea to record a cover version of La Prima Vez come from?
[09:39.897] AVC: Oh, the idea?
[09:41.938] Uff, I don' t know.
[09:43.391] It just developped,
[09:45.435] as it is with art.
[09:46.938] You know, it grows.
[09:52.045] But what I can tell you where I encountered this song for the first time.
[09:58.359] I was watching Wim Wenders' dancefilm PINA,
[10:04.062] and on the songtrack there is a version of that song by ... umm,
[10:07.799] gawd, what' s his name ... Logan 5 ...?
[10:14.326] No, wait ... Owain Phyfe ... feifei? ...
[10:24.826] I don' t know, whatever his name is pronounced.
[10:30.468] I had never heard it before,
[10:32.314] but I immediately liked it.
[10:34.936] It had a beautiful melody,
[10:36.513] and that' s what drew me to it,
[10:38.008] that' s what caught my attention ...
[10:40.268] and, as it is often the case with these things.
[10:44.331] Sometimes, you may not neccessarily know what it is at first,
[10:50.675] the thing that attracts your attention.
[10:54.795] Quite often it' s entirely subconscious.
[10:56.730] But once you take a closer look at it,
[10:59.385] you see what connects you to it.
[11:03.062] You see the relevance it has for you.
[11:06.813] number four:
[11:10.762] I have to ask you the same question for " Bang Bang"
[11:14.402] why did you chose this song?
[11:18.892] AVC: To be perfectly honest ...
[11:22.008] I cannot remember.
[11:24.255] I really can' t remember what gave the impulse ...
[11:29.869] and that is actually a good thing,
[11:31.417] because it means that the problem ...
[11:33.741] or inner conflict,
[11:35.316] if you wish ... has be solved ...
[11:38.284] dissolved.
[11:43.041] It' s a strange song to begin with.
[11:45.354] Silly even in the original.
[11:47.419] I mean, it was written by Sonny Bono ...
[11:51.149] but for whom exactly I don' t even know.
[11:53.972] Either Nancy Sinatra or Cher.
[11:57.417] I don' t know who came first.
[12:01.612] Iit doesn' t really matter,
[12:04.150] anyway. Both versions are great.
[12:05.740] Actually, Cher has many great songs.
[12:09.677] I mean, " Gypsies, tramps thieves" is fabulous ...
[12:16.458] but, of course, I cannot do that.
[12:17.720] I mean,
[12:18.346] for one the music sounds kind of like SOPOR anyway ...
[12:23.314] to a certain degree,
[12:25.100] so that would be pointless.
[12:26.776] And, let' s face it,
[12:29.641] I wasn' t born on the waggon of a travelling show.
[12:34.115] Thank goodness for that.
[12:38.483] But back to BANG BANG ...
[12:41.121] yes, it' s a bit of a strange song ...
[12:42.636] and, in my case,
[12:44.307] it doesn' t just refer to one particular thing or person,
[12:48.987] and even keeps changing perspective.
[12:51.971] It' s more about a state of mind,
[12:57.159] if you wish.
[12:59.601] A neurotic notion ... a dependency ...
[13:03.216] the sort of thing I dealt with on the Triptychon of Ghosts.
[13:09.033] The interesting thing for me,
[13:10.719] however, was that initially I thought I would ...
[13:14.086] well, maybe not mock it,
[13:15.664] but be kind of ironic about it.
[13:19.380] Basically like I did it with Bonnie Tyler' s " Holding out for a Hero".
[13:25.869] But when I was in the studio I couldn' t do it like that.
[13:31.564] I had to do it seriously.
[13:33.903] It was the only way.
[13:36.366] And it makes sense, because there is no irony on the album at all.
[13:40.994] And that' s actually a thing that Mitternacht has in common with Poetica.
[13:46.816] number five:
[13:49.915] Do you consider " Confessional" the heart of the album?
[13:57.962] We can understand the chorus,
[13:59.933] the mantra of the song,
[14:01.275] in a lot of different ways.
[14:03.005] Is that a form of supplication?
[14:09.319] AVC: Yes,
[14:10.067] it is the heart of the album ...
[14:11.827] and THANK YOU for recognising ...
[14:15.134] and yes,
[14:16.568] you may very well call it a prayer.
[14:20.755] number six:
[14:24.258] Is the albumtitle " Mitternacht" a reference to the heart of the night,
[14:29.771] the symbol of the moments when the feeling of loneliness is at its strongest?
[14:37.426] AVC: Yes.
[14:39.566] It' s like a Dark Night of the Soul.
[14:45.757] number seven:
[14:47.742] When you sing ? Beautiful?,
[14:49.797] do you think about someone in particular?
[14:53.970] AVC: Sorry, but that I cannot tell you.
[15:01.033] But, it is more than meets the eye ...
[15:05.024] it' s a little more complex than it might appear at first glance.
[15:11.578] It seems to be very simple ...
[15:13.464] and it is simply ...
[15:15.523] but it' s not onedimensional.
[15:23.353] number eight:
[15:26.350] You sing in a totally new way on certain songs like ?
[15:32.949] You cannot make him love you? for example.
[15:36.221] Could you tell me more about this experience of the voice recordings of MITTERNACHT?
[15:46.296] AVC: There is nothing to tell, really.
[15:49.509] Recording the vocals was the same as always.
[15:53.377] You' re in the studio and then ... you do it.
[15:58.372] If it sounds different than how I usually sound which I don' t actually think it does it because the song,
[16:09.414] the content, demanded it.
[16:12.898] number nine:
[16:15.965] Do you think that the " quiet" feeling of the album is due to the totally new way that you had to deal with your energy,
[16:22.623] as you explained on your homepage?
[16:26.811] AVC: No, it has nothing to do with that ...
[16:29.170] because I do not write the music in the studio.
[16:31.900] When I go the studio,
[16:33.188] as in when I rent studio time,
[16:35.798] it means that the music is already completed.
[16:38.512] Well, in theory anyway,
[16:40.812] because it obviously still needs to be recorded.
[16:42.433] But the writing is done.
[16:46.422] Though, admittedly,
[16:47.516] it' s never written in stone,
[16:50.265] and there is always room for chance ...
[16:54.918] fate, you might call it.
[16:59.197] Sometimes things that suddenly fall into place.
[17:03.707] And then,
[17:07.066] yes, there are the vocals, of course.
[17:08.721] I never know in advance what is going to happen there,
[17:11.833] because ... as you know ...
[17:14.394] there are no rehearsals.
[17:17.761] Would you say... oh question number ten:
[17:23.689] Would you say that this album is " quiet",
[17:26.115] because you are in a quieter moment of your life?
[17:31.860] AVC: Perhaps, yes.
[17:34.677] number eleven:
[17:36.968] Music box and theremin have become an essential part of your music
[17:42.097] how would you explain this?
[17:44.031] Now, I feel that those instruments are SOPOR AETERNUS
[17:49.505] AVC: Yes, indeed they are,
[17:50.444] aren' t they?!
[17:51.693] I agree.
[17:53.281] I have talked about the theremin or theremin inspired sound before,
[18:06.554] as in it being this beautiful bridge between the " cold" synthesizers and the warm violins.
[18:13.559] And, yes,
[18:14.897] there is something quirky and childlike thing about the musicbox ...
[18:25.325] and all those percussive plingplong instruments that keep haunting my albums,
[18:30.812] like the toy piano, for example.
[18:34.571] ......
[18:53.509] When the album was recorded,
[18:56.036] it slowly dawned on me that the damn toypiano is in every bloody song.
[19:02.071] Well, at least on the first half of the album.
[19:04.665] And, admittedly,
[19:07.136] I did worry for a second,
[19:09.191] thinking " have I perhaps overused this?".
[19:13.795] But ... well ...
[19:14.959] there was nothing to be done about it.
[19:16.394] That' s just how it was,
[19:20.457] and how it has to be. But then again,
[19:23.952] I always worry.
[19:25.527] I can' t help that.
[19:29.190] Twelve.
[19:33.979] Is the perspective of releasing MITTERNACHT harder than it was with the previous albums?
[19:41.829] You explained on your homepage that " it has to be done",
[19:47.396] but the sharing of this work seems particularly delicate for you why?
[19:55.182] AVC: Because...
[19:59.351] Well, you have to understand that what you hear,
[20:05.325] when you listen to a SOPOR album,
[20:08.440] is not what I hear.
[20:11.840] Remember that the music is like a byproduct,
[20:17.144] a waste product, almost,
[20:19.176] of a psychospiritual process and of magical work. What you get is only the endproduct.
[20:30.156] Meaning, when you listen to a SOPOR album,
[20:33.619] you only hear the " stories" ...
[20:37.520] whereas when I listen to it,
[20:39.794] I see and relive all the events that have led to this album.
[20:47.244] So, what I am trying to say is,
[20:49.959] it may very well be that what you hear is just a nice collection of singles with lyrics that may not neccessarily make any sense ...
[21:02.875] whereas for me,
[21:04.344] who has all the keys to its I almost said " symptoms"...
[21:09.519] to all its symbols,
[21:13.031] it' s incredibly intimate and revealing.
[21:18.912] I feel naked and vulnerable.
[21:26.511] Why does it seem more delicate to me this time than with the previous albums?
[21:34.497] Well,
[21:36.103] probably because I actually was naked...
[21:39.791] and wounded.
[00:00.000] 现在是凌晨两点啦~
[00:02.273] 9月19日星期五
[00:06.673] 2014年
[00:08.839] 这是obskure杂志的23号采访
[00:14.651] 问题来自塔西先生，嘻嘻
[00:22.139] 问题一：
[00:26.550] 您在您的官方主页里提到的《午夜》和《诗意》显得益彰甚至有某种“关联”
[00:34.602] 这让我想起了在《诗意》发布那会你跟我说的话
[00:39.002] 这张专辑是你创作的爱伦坡
[00:41.664] 也是对爱伦坡的致敬
[00:44.604] 《午夜》之所以和《诗意》关系密切是因为它有独特的自传性质吗？
[00:51.466] 嗯，我认为《午夜》和《诗意》是一体的（下文的安娜均称AVC）
[01:04.290] 好吧，某种程度上来说
[01:06.783] 嗯没错，《午夜》是我的自传
[01:13.521] 但是话说回来
[01:14.663] 我的所有专辑
[01:15.971] 都是我的自我写照
[01:20.838] 一直以来我的创作都是为自己，别无其他
[01:23.632] 我是说，记住Sopor永远只是自我疗伤罢了
[01:27.755] 另外
[01:33.071] 那些有抱负的创作者被灌输的最重要的一点是什么？
[01:36.618] 就是去坚持那些......嗯，你了解的东西
[01:39.952] 就我个人而言吧
[01:43.481] 一直以来我真正明白和了解的
[01:47.175] 不管怎么说吧，也确实是自己本身
[01:52.116] 嗯所以，我的所有作品都是彻头彻尾的自传
[01:55.189] 包括《午夜》
[02:00.061] 另外我认为这两张专辑属于一体的另一个因素
[02:05.571] 好吧，也不说一体
[02:07.436] 就是映衬的如此密切
[02:10.466] 是因为其中一个与另一个的产生非常贴切
[02:16.717] 这个我虽然曾经说过
[02:17.658] 不过每张专辑并不仅仅因前一张专辑产生
[02:26.643] 可是前者可以作为一个前传去创作下一张
[02:33.741] 《诗意》的问题呢
[02:40.092] 它在一个非常悲伤的点落下休止
[02:45.177] 我本不该那么做
[02:51.812] 你懂的，在16岁的时候绝望可能会赐予浪漫色彩
[02:57.140] 从某种扭曲审美来说是这样子叭
[03:00.417] 不过相信我
[03:01.470] 换我在那个年纪绝对不会有任何浪漫色彩
[03:05.884] 实话说吧
[03:06.817] 我很惶恐，很害怕
[03:09.995] 我不能就此将其了解
[03:12.869] 让那悲伤的音符久久徘徊
[03:18.891] 永远回荡
[03:21.744] 而非将其易除或者重新改写
[03:29.325] 因为我觉得酱紫我发进行下去
[03:35.731] 不能允许它的存在
[03:39.327] 因为我，挺慌的
[03:47.281] 这将会是我的创作终结
[03:49.835] 必须找到一个解决方案
[03:51.897] 尽快
[03:55.828] 这解释了为什么我曾受到巨大压力
[04:05.004] 这还解释了
[04:07.425] 这张专辑曾（现在也是）变得对我至关重要
[04:15.458] 事实上
[04:17.659] 这事令我无法释怀
[04:20.526] 鉴于我过去专辑的内容
[04:26.104] 但我不曾记得我对之前的专辑有任何紧迫感
[04:33.139] 也许我忘了
[04:35.027] 这也正是我想做的
[04:39.082] 哎呀！人家又在絮絮叨叨啦！
[04:41.545] 不过对我来说
[04:46.194] 艺术与生活二者不可缺一
[04:51.402] 我相信对于每个艺术家
[04:53.793] 真正意义上的艺术家
[04:54.618] 不考虑天赋和才华
[04:57.320] 嗯都是这样子认为
[04:58.162] 说真的，他们不可或缺
[04:59.481] 怎么能够呀？
[05:01.383] 生活和艺术是一体哒！！
[05:03.567] 它们是相同的东西
[05:05.928] 互相影响
[05:07.276] 共同相连
[05:10.359] 因为它们同根生
[05:17.959] 所以呢，我正尝试去寻找
[05:22.358] 我的处境emmm
[05:25.916] 解答的时候我遇到了更大的困境
[05:30.163] 我觉得这简直真TM是异想天开！！！
[05:32.157] 我本想做出更好的改变
[05:34.804] 结果适得其反
[05:40.089] 很长时间我就没有感受到此般痛苦
[05:45.088] 那段时间我都哭着回家
[05:50.338] 就在这光天化日之下
[05:53.307] 那些日子都还好啦
[05:54.853] 坏点儿的话我连床都下不了
[06:02.168] 不过
[06:02.655] 有些日子还是有必要的
[06:04.835] 重申一下，这可能对一些人来说很奇怪
[06:10.976] 不过我永远对此心怀感激
[06:15.007] 我学到的不仅是我之前未经历过的
[06:27.872] 而且还是我认为不可能发生的
[06:31.304] 诚然，那是痛苦的记忆
[06:35.450] 不过也很有趣
[06:39.430] 充满了教育意义
[06:43.392] 问题二：
[06:46.467] 如何解释你当下的生活状况？在解决孑然一身的孤独和对伴侣的需求方面？
[06:58.838] 喵~并不，事情总是自然而然的发生了
[07:06.706] 该来的总会来的
[07:09.696] 这就是时间本质吧
[07:11.663] 我猜。
[07:14.534] 一连串自然事情的来龙去脉
[07:19.902] 我并不想表现的无理
[07:21.328] 但是我不能说太细
[07:24.885] 毕竟很多细节无关他人之事
[07:31.241] 只是，当我离开
[07:35.840] 呃，“另一边”（姑且那么形容）的时候重新回到我摒弃多年的大众世界
[07:44.968] 很多年前我就放弃了
[07:48.645] 我只是无数次疑问自己为什么一开始要选择离开
[07:53.457] 我只是不属于这里
[07:56.373] 了无牵挂
[07:58.126] 毫无一席之地
[08:02.555] 反过来说只要在另一个世界
[08:05.591] 那里有各种奇珍
[08:08.138] 异宝环绕着你
[08:11.240] 或者凭空创造一个
[08:14.969] 但在这充满敌意的世界
[08:19.077] 好吧这不一样，我不推崇这个
[08:23.999] 所以我的第一反应还是继续回到黑暗里去
[08:30.525] 但这次，这次我还做不到
[08:36.403] 因为这暂时解决不了任何原因
[08:39.442] 那将意味着停滞
[08:42.329] 最终意味着死亡
[08:46.198] 所以我不会放下脚步
[08:49.570] 但那是，嗯
[08:54.121] 差不多两年前吧
[08:56.123] 就是有点....
[08:58.853] 我有点厌恶“奇妙”这个词
[09:01.192] 真的
[09:03.501] 但现在回想起来
[09:07.489] 这真的是描述它的最好方式，嗯
[09:11.303] 两年前所发生的
[09:15.919] 老实说吧，这事我还从没预料到
[09:18.922] 我真以为他们不可能发生
[09:27.508] 问题三：
[09:30.849] 录制《La Prima Vez》封面版的主意从何而来？
[09:39.897] 噢，主意？
[09:41.938] 呃呵，我不懂
[09:43.391] 它只是刚开始发展起来吧
[09:45.435] 就像艺术也是如此
[09:46.938] 你知道的，它会茁壮成长
[09:52.045] 但是我能告诉你我第一次听到这首歌是在哪里
[09:58.359] 我在看维姆文德斯（1945年8月14日出生于德国杜塞尔多夫，导演、编剧、制作人）的舞蹈电影《PINA》的时候吧
[10:04.062] 在歌轨上也有这么一首同名曲吧，嗯
[10:07.799] 天哪，他叫啥名字来着...罗根5？哈哈哈哈哈哈哈哈哈！！！
[10:14.326] 噢不还是叫，奥瓦恩菲菲？？菲菲？嘻嘻
[10:24.826] 呃我不懂，不管他叫啥名字
[10:30.468] 我从未听过
[10:32.314] 但是我一听就知道听对了
[10:34.936] 它的旋律优美
[10:36.513] 这也是吸引我的原因
[10:38.008] 所以彻底引起了我的注意
[10:40.268] 而且事情不都这样子吗
[10:44.331] 有时候，你确认了一眼不知道它是个啥
[10:50.675] 吸引你注意力的东西
[10:54.795] 很多时候它完全靠潜意识
[10:56.730] 但是你一仔细察言观色
[10:59.385] 你就会看到你是怎么与它联系的
[11:03.062] 你就会知道它对你有多重要
[11:06.813] 问题四：
[11:10.762] 我还是要问你关于《Bang Bang》的问题
[11:14.402] 你为何会选择这首歌？
[11:18.892] 实话说吧
[11:22.008] 我记不得了
[11:24.255] 我真记不得是什么冲动
[11:29.869] 不过这也是一件好事
[11:31.417] 不过这也意味着问题
[11:33.741] 或者内心的矛盾
[11:35.316] 如果你想，那么就解决了
[11:38.284] 瓦解了
[11:43.041] 一开始这首歌很奇怪
[11:45.354] 即使原著里也有点傻
[11:47.419] 我意思是，这是桑尼博诺写的
[11:51.149] 到底为了谁我不知道
[11:53.972] 不是南茜辛纳特拉就是雪儿（二者都是著名演员及歌手）
[11:57.417] 不知道首先是谁
[12:01.612] 这不重要
[12:04.150] 不管怎么说，两个版本都很棒
[12:05.740] 事实上雪儿有着很多伟大歌曲
[12:09.677] 我是觉得《吉普赛人流浪汉及小偷》太棒啦
[12:16.458] 但是呢，当然我不能这么说
[12:17.720] 我是说
[12:18.346] 首先歌听起来比较像Sopor
[12:23.314] 某种程度上吧
[12:25.100] 所以这毫无意义
[12:26.776] 还是面对事实
[12:29.641] 我不是在巡回表演的马车上诞生的
[12:34.115] 可真是谢天谢地
[12:38.483] 但是回到《Bang Bang》的问题
[12:41.121] 嗯，这是一首奇怪的歌
[12:42.636] 也就对我而言
[12:44.307] 它不仅仅指某件事物或者人
[12:48.987] 甚至不断改变观点
[12:51.971] 更多的是一种精神状态的表现
[12:57.159] 若你愿意
[12:59.601] 一种神经质的想法，一种依赖
[13:03.216] 我在Triptychon of Ghosts.略讲过一二吧
[13:09.033] 对我来说有趣的是
[13:10.719] 不过我一开始以为我会.....
[13:14.086] 呃，这也许不算嘲笑
[13:15.664] 但是有点讽刺
[13:19.380] 就像我与邦尼泰勒坚持“为英雄挺身而出”那样
[13:25.869] 但是我在录音室期间我做不到
[13:31.564] 我不得不认真做这事
[13:33.903] 这事唯一的办法了
[13:36.366] 这是有理有据的，因为这张专辑没有任何讽刺意味
[13:40.994] 这实际上是《午夜》和《诗意》的共同点
[13:46.816] 问题五：
[13:49.915] 你认为《忏悔》是专辑核心吗？
[13:57.962] 我们能理解合唱部分
[13:59.933] 这首歌的咒语
[14:01.275] 有不同的形式
[14:03.005] 这也算是一种恳求吗？
[14:09.319] 嗯是的
[14:10.067] 这正是专辑核心
[14:11.827] 感谢你的观点
[14:15.134] 嗯是的
[14:16.568] 你可以称之为祈祷
[14:20.755] 问题六：
[14:24.258] 专辑起名《午夜》指的是夜晚的实质吗
[14:29.771] 孤独感飙升时刻的一种象征？
[14:37.426] 是哦
[14:39.566] 就像是灵魂黑暗之夜
[14:45.757] 问题七：
[14:47.742] 当你唱起《美丽》的时候
[14:49.797] 你会特别考虑别人吗？
[14:53.970] 抱歉，我没法告诉你
[15:01.033] 但这不仅是眼见为实
[15:05.024] 这比乍看上去要复杂许多
[15:11.578] 看起来虽简单
[15:13.464] 但简单不是
[15:15.523] 没有任何深度的
[15:23.353] 问题八：
[15:26.350] 你会用一种全新的方式翻唱一首歌么？
[15:32.949] 比如《你不能让他爱你》？
[15:36.221] 你能告诉我更多关于《午夜》的录音经验吗？
[15:46.296] 这真没啥好说啊
[15:49.509] 录音和往常一样
[15:53.377] 你在录音室，然后，你去试试啊
[15:58.372] 如果它听起来和我往常听得不一样（实际上我都不这么认为）因为这首歌
[16:09.414] 内容上嘛，要求....
[16:12.898] 问题九：
[16:15.965] 你认为这张专辑的“安静”是你必须养精蓄锐的新方式吗？
[16:22.623] 就像你在你主页解释那样？
[16:26.811] 不，这没啥关系
[16:29.170] 因为我不是在录音室里写歌
[16:31.900] 当我去录音室吧
[16:33.188] 就像我租录音室那段时间
[16:35.798] 就意味着音乐即将彻底完成了
[16:38.512] 嗯，理论上说
[16:40.812] 因为它显然还是要记下来
[16:42.433] 因为写作已经收工了
[16:46.422] 不过，无可否认
[16:47.516] 从来不会依靠石头写作
[16:50.265] 总是会有机会的余地吧
[16:54.918] 命运，你可以这样称呼它
[16:59.197] 有些事情会突然发生
[17:03.707] 而后呢
[17:07.066] 嗯，当然也有演唱
[17:08.721] 你从不知道那里会发生什么
[17:11.833] 因为啊....如你所知
[17:14.394] 那里没人排练的
[17:17.761] 你接下来会问.........噢，问题十：
[17:23.689] 你会说这张专辑很“安静”吗？
[17:26.115] 因为你正处于生命中最安静的时刻？
[17:31.860] 也许吧，嗯
[17:34.677] 问题十一：
[17:36.968] 音乐盒已然成为你的音乐里的主要成分
[17:42.097] 你会为何利用这个？
[17:44.031] 现在我觉得这些器乐演奏是永恒沉睡
[17:49.505] 嗯，的确是
[17:50.444] 不是吗？？？？！！！！！！！
[17:51.693] 我同意
[17:53.281] 我之前曾说过电子琴（或者激昂的电子琴）
[18:06.554] 因为它是这座美丽桥梁之间“冷”合成器的温暖小提琴
[18:13.559] 嗯对
[18:14.897] 音乐盒里有种古怪的孩子气
[18:25.325] 还有些萦绕在我专辑里的敲击乐器
[18:30.812] 比如玩具钢琴
[18:34.571] （性感安娜在线娇喘）
[18:53.509] 当专辑尘埃落定了
[18:56.036] 我渐渐意识到，没一首该死的歌里都有该死的玩具钢琴
[19:02.071] 至少在专辑前半部分吧
[19:04.665] 嗯，无可否认
[19:07.136] 我确实有点担心了
[19:09.191] 想着“我是不是把这个玩过分了”？
[19:13.795] 但，啊..
[19:14.959] 这事也没啥的
[19:16.394] 就酱紫叭
[19:20.457] 以及它该是怎样，但话说噢
[19:23.952] 我总是担心
[19:25.527] 总是情不自禁
[19:29.190] 问题十二
[19:33.979] 发行《午夜》的前景比以前的专辑更难吗？
[19:41.829] 你在主页里说“必须做完”
[19:47.396] 但是这份工作对你来说很微妙噢，为什么？
[19:55.182] 因为，
[19:59.351] 好吧你得明白现在听到的
[20:05.325] 当你在听我的专辑
[20:08.440] 不是我所听到的那样
[20:11.840] 记住，音乐就是个副产品
[20:17.144] 一种消极产品，几乎把
[20:19.176] 精神的过程和神奇的作品，你得到的只是最后的产品
[20:30.156] 意思是当你听我的专辑
[20:33.619] 你只听得出“故事”
[20:37.520] 换做我去听吧
[20:39.794] 我看到并且重新度过了这张专辑的事情
[20:47.244] 所以我想说
[20:49.959] 可能你听到的是一首不错的曲子，歌词可能没有啥意义
[21:02.875] 但对我来说
[21:04.344] 谁拥有它的钥匙（差点说成病症了）
[21:09.519] 所有符号的钥匙
[21:13.031] 这是令人难以置信的密切和启示
[21:18.912] 我感受得出赤裸与脆弱
[21:26.511] 为何这一次对我来说比以前的专辑更微妙？
[21:34.497] 嗯，
[21:36.103] 可能因为我当时不穿衣服
[21:39.791] 受了伤
Interview September 19th 2014 歌词
YouTube搜索结果 (转至YouTube)