First of all, please tell us about your forthcoming second full-length Solastalgia.
We will reveal in-depth details later and closer to the album release, though at the moment we can say that "SOLASTALGIA" explores the grief caused by environmental and societal destruction. The album’s themes question humanity's ability to recover from its current state.
When did you start writing or producing music, and who or what were your early passions and influences?
Since we are of different ages, we also started at different times. Lars played in his first band as a teenager in 1997, when Jannik was not even born. Ha, you see, our music connects generations. Jannik has been active in bands since about 2015. Dennis has been playing in various bands since 2005, whereas Plasmajet is John's first "real" band.
Our musical influences are mainly metal in a broader sense, also some psychedelic and atmospheric stuff, with Lars already developing his love for stoner in the nineties with bands like Monster Magnet, Spiritual Beggars, Down and of course Kyuss and also was playing in an underground stoner band from about 2004.
What do you consider to be the most significant moments in your artistic work or career?
Well, let's hope that a significant moment now will be the cooperation with Argonauta.
What are your main compositional and production challenges currently?
We recorded Solastalgia by ourselves. Meaning Dennis and John doing most of the Work like setting up Mics and stuff for getting good quality recordings. We had some Gigs in between our Recording sessions. So we had to re setup the Drums a couple of times and getting them to sound roughly the same as before was the biggest challenge.
Otherwise, it is a very special challenge in general to get good performance opportunities as a small band and of course the money. Since we are not a tribute band that can rest on the hits of well-known bands, it is not easy to prevail over the mass of applications at festivals or other venues.
In contrast, the compositional challenges are low. We just do what we feel like doing.
What do you usually begin with when starting a new piece?
Most of the time, one of us comes to the rehearsal with a new riff idea. If we like it, we play it together and just see what develops from there. If the whole thing then reveals a structure, Lars contributes lyrics about something that moves him.
How strictly do you differentiate between improvisation and composition?
We improvise while composing. Once the piece is finished, we don't improvise much. Some Songs have parts with more open structures, these can vary from gig to gig and some of the guitar solos aren't written in stone, they can definitely sound different :-)
How do you view the relationship between sound, space, and composition?
There are a few moments on Solastalgia where the sounds aren't as dense or heavy as during most of the Record. We like to play with contrasts from time to time. Not every sound fits every composition.
Do you think it's important for the audience to be able to discern the processes and ideas behind a work purely through the music? If so, how do you make them transparent?
Mm, honestly, we don't think so. In our experience most people don't think about that and simply listen to what they like. And that's absolutely fine.
Also, we don't want to be too much 'in your face' with the ideas behind our Music or Lyrics, but it's still possible for listeners to figure them out.
To what extent do you feel that creative decisions are influenced by cultural differences, and vice versa, how is the perception of sound shaped by cultural differences?
Different cultures always have different musical influences. Of course, they shape you.
Other influences and habits are exciting. But we don't necessarily try to process something "foreign" in our music. We leave that to those who can do it.
The relationship between music and other art forms such as painting, video art, and cinema has become increasingly significant. How do you view this relationship, and to what extent does music relate to other senses beyond hearing alone?
Yes, we see that with mixed feelings. On one hand, other art forms can round off or enhance the music and its statements with music videos, album artwork or maybe some stage production elements. Things like that can make Music a more complete experience.
On the other hand, this sometimes leads to Musicians not really focusing on their Music but on the stuff around it. We try to avoid that approach.
There seem to be two fundamental tendencies in music today: the complete virtualization of tracks and albums released as digital files, and the even closer integration of music, artwork, packaging, and physical presentation. Where do you stand between these two poles?
I don't know, somewhere in between. First and foremost, we make music. Then we try to give space to the content of the lyrics and our feelings through the other art forms within the limited possibilities we have. But we didn't think about how to present a song or even our new album as a complete work of art during the composition phase.
What changes would you like to see in the music industry to enable you to make a living from your music?
We think it's weird that so many people are willing to pay a couple hundred bucks to go see some huge Artist perform in a gigantic venue. Where you basically get to watch ant sized people on a stage in the far distance, or on some enormous screen. Completely impersonal.
But 25€ for a couple smaller Bands playing in a club in their neighborhood is way to much Money to spend.
It would be nice if there was a greater willingness to spend a little more money on up-and-coming bands, be it for tickets, merchandise or just the Music.
The role of an artist is always subject to change. What is your perspective on the (e.g., political, social, creative) tasks of artists today, and how do you try to meet these goals in your work?
Political views certainly find their way into our lyrics and statements. But we don't see ourselves as a political band, a lot of it is also simple charity. As the size increases, so does the responsibility and obligation to deal with it in a meaningful way. However, we still have a long way to go.
Music-sharing sites and blogs, as well as the abundance of releases in general, pose challenging questions for both listeners and artists. What is your view on the value of music today, and how does the abundance of music change our perception of it?
Again, something where there is a good side and a bad side. On the one hand, it's great that small bands have the opportunity to produce songs and present themselves to a wider public with comparatively simple means and a low budget. In the past that used to be much more difficult. On the other hand, this has led to the fact that many things simply get lost in the mass of publications. Also, people often don't or can't take the time to actively listen to different pieces by new bands and give the music the time it deserves. But that's the way it is, the world keeps turning.
How do you think non-mainstream forms of music could reach wider audiences?
The possibilities of reaching a larger audience are certainly there with the new media we already discussed. As I said, of course, this also has disadvantages. But we don't think about it very much. We simply use the opportunities that are there and are happy when people like it.
Of course, you also have to say that non-mainstream music often wants to be exactly that. When bands become more successful, they are often accused of commercialism and sell-outs. A bit ambivalent, but that's often the case. Probably because music often gets polished a little smoother as the listenership grows, but luckily that's not always the case.
It is generally considered that it is the artist's job to win over an audience. However, listening is also an active rather than a passive process. How do you view the role of the listener in the musical communication process?
Here we are again at the point that the music is given too little time to unfold. It would be nice if more people would be able to take the time to be open to unrecognized, new things. This also includes going to concerts of smaller bands and not necessarily celebrating the same song for the 10,000th time.
Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What is your perspective on the promo system, and in what ways do music journalism and PR companies change the public's perception of music?
At a certain point, you can't do it alone as a small band. That was also the case in the past and is also logical and completely fine. Labels, the press, PR agencies and everyone else is an important part of the whole thing. It is important that there are also companies that offer small bands a space without knowing in advance whether and how much money they can earn with it. Just like Argonauta Records does or you do. Thank you very much at this point! Luckily, there are a few more, so it's not completely impossible to get through with this music. What develops off of it is, for the most part, up to the audience.
Can you recommend two artists to our readers that you think deserve their attention?
Oha, there are so many good bands. Friends of us who make super cool music are e.g. Apewards, Paralyzed, Van Groover, Bastardo, Enojado, Frank Hunter or the wonderfully disturbed Gagaman. If you like thrash metal, you should also listen to Jannik's other band Insomniak. Sorry, that were now more than 2...
Thank you for your time!
With pleasure, we have to thank you.