They are clever wise guys indeed, Lea Heimann and Katharina Reidy. They name their band Paradisco and someone like me sees Italian gelati in front of him and thinks, okay, now that's a nice play on words with Paradiso and Disco. But when you prepare to interview the two women, a synapse suddenly snaps in your brain: watch out! Wasn’t there something with Para? This is not quite as innocent as it sounded at first, just think of paramilitary and parasites. And paranoia.
The story of Paradisco is quickly told: Lea has always played music, Katharina never did. The two friends went to concerts together a lot. And then, in 2015, Lea was tired of her saxophone - she was now more interested in electronica, in sounds and in noises - and almost at the same time Katharina grabbed the app of her musician friend and produced beats and loops with it herself. Three months later they were on stage for the first time at Fri-Son in Fribourg, Switzerland, as Paradisco.
With their music, Paradisco want to merge the digital and the analog into a fusion. "We are looking for tones, for sound structures that together form a sphere," says Lea. "We want to provoke a digital-analog approach in which the listener no longer realizes which is one and what is the other."
The sphere is an important image when Paradisco talk about their music, especially for Lea. If you think of a glittering disco ball, you're missing the point again, as I did at the beginning of my acquaintance with Paradisco. "The sphere," says Lea, "parabolically stands for an emotion that we want to convey, a conscious, intense feeling." "We want to draw our listeners into the sphere and offer them a new world," Katharina adds.
A new world in which love would probably be the priority state. "Love is my lifestyle" is the title of Paradisco's first album, released in 2019. (In female understatement, Paradisco call their record "an EP", even though it contains six songs and all of them are better than the life's work of many a highly hyped artist). Yes, love is our motto, say Paradisco, and we try to live it every day anew. It's a deliberate decision to go through life like this, says Lea, but there are also difficult moments when you reach your limits. "But we have chosen to be brave, without thinking that in the end it all hurts."
The disco has been the scene of many heartache moments. But here we are dealing with Paradisco, the disco next to the disco, the disco that is not a real disco but something on the other side of the street. (For linguists: Para is a Greek prefix and can be translated as "at", "besides" or "beyond".) Let's explain the Paradisco principle using the example of "Two Old Stones", the band's brand new video. The song begins with the ostensibly unsuspicious lyrics "I told my mom about you; I said that you are no good for me.”
"That's precisely Paradisco. A smooth surface, but it's got philosophy underneath!"
"Is that what a woman does," I ask Lea and Katharina, "to bitch to her mother about the awful boyfriend?”
"It's a bad relationship," says Katharina, "so bad that I have to tell my mom."
"The song is also meant to be ironic," says Lea, "but if you tell your mom, it clearly has a certain significance."
"I told my shrink about you, just didn't go over the tongue well," Katharina points out.
Then Lea reaches out to swing big. "The song also has something repetitive, we use this as a stylistic device," she says. “But it's also about standards. Who says a norm is a norm? Is it society and what if you break the norms and change the order? What if you break out?
"Now these are bigger questions than I would have guessed from the lyrics," I admit.
"That's precisely Paradisco. A smooth surface, but it's got philosophy underneath!"
Breaking out, leaving norms and guilt behind, that's what we all struggle with in life, not just Paradisco. Later in the song the lyrics go: "It's time to get away, but I can't". Meanwhile, Paradisco are singing “… and I can” on stage. What led to this change of perspective, I ask Lea later via WhatsApp. "The first times we played this song on stage, I noticed that my view of things had changed for me," she replies. “Life had strengthened me in the meantime and I realized that I definitely have a choice and also the strength to change things. This victimization - but I can’t - didn't suit me anymore. ”
In the video for “Two Old Stones” it is actor Andri Schenardi who tries to act as a breakaway. He sits at home being bored - prophetic as Paradisco are, they produced the video even before the current Corona lockdown - and does more and more bizarre things, also with the selfie stick, to keep himself busy. A video entirely in the sense of a critique of today's world, in which self-presentation is the preferred means of communication and sexual fantasies and experimental fetishism have to be lived out alone due to circumstances. But then again: You don't want to be made of plastic and you don’t want to be made of stone, and you even dance with a broken neck, as Paradisco sing in their song "Fantaplast".
Where do Paradisco want go with their band and music? In any case, we want to continue, say Lea and Katharina in unison, our project springs from an inner necessity. As a result of their love as a lifestyle, Paradisco also get a lot of love back. They like to cooperate with other arts and artists and are often contacted because of that. "People feel like joining in with us."
A feeling that is not foreign to Charlotte Gainsbourg, a musical favorite of Lea and Katharina. In one of her songs she defined the Paradisco principle as follows: "In Paradiscos, we're confined to only pleasure; When you're a flame, you'll burn forever." Whether up or down, the escalator to the eternal jive - as one of the possible travel destinations - goes on and on for Lea Heimann, Katharina Reidy and Paradisco.
Listen to "Love is my lifestyle" on Bandcamp here.
His numbers on Spotify are very modest. When I talk to Andrea Kaiser, who is just Kaiser to most people, I tell him that he has ten monthly listeners on Spotify (and one of them is me). That’s awesome, Kaiser replies, I’d love to send everyone of them a bouquet of flowers.
Catering to the masses has never been Kaiser’s goal when making music. In fact he would change his musical style immediately should this style ever become mainstream and enjoy commercial success. In October of 2019, one month after the release of his latest album Songs of No Return, this is not a particular risk. Kaiser is the founder and at present the only member of Dnepr, a band that started its career deep down in Bern’s underground music scene of the 1980ies and has not moved up considerably since then. (And yes, there used to be an underground scene in Switzerland.)
Do you still talk about the 1980ies?, I ask Kaiser. Sure, he says, when I’m asked. Kaiser’s memories of the starting years of his career are still very much vivid. Between 1987 and 1995 he had released a bunch of six records and he still remembers every detail about each of these songs. Dnepr combined Kaiser’s heavy guitar - sometimes rhythmic, sometimes gloomy and plaintive - with elements from post punk, prog rock and new wave. The intention was always to be provocative, with a distinct nihilistic attitude, and play with political buzzwords in a period when the cold war was still fully on. Dnepr is a great motorbike brand from Ukraine, Kaiser tells me, and I wanted a name for my band with an eastern, communist touch.
Dnepr’s first album was called Hymn of Nihilon and it was inspired by Alan Sillitoe’s novel “Travels in Nihilon” where a group of people is sent to the country of Nihilon to collect information for a new travel guide. In Nihilon honesty is outlawed, drunk driving is mandatory and nihilism reigns supreme. TV and radio news are announced with “Here are the lies!”. These are just the kind of subversive ideas that Kaiser loves. All of Dnepr’s albums were recorded in Nihilitz Studios at Ulaanbaatar; Nihilitz being the drink that Nihilon’s citizens usually drink and Ulaanbaatar the capital of Mongolia, a former hidden treasure of a communist-ruled country. In reality Kaiser’s studio is just a small room in the basement of his apartment in Bern, just big enough for him and his guitar. Kaiser has never traveled to Ulaanbaatar.
While Dnepr’s music is purely instrumental now, there were lyrics in the first period of Dnepr. Have you lost your inspiration for words?, I ask Kaiser. Not at all, he replies, I never had troubles expressing myself. It’s just that I find it more challenging these days, but also more of a thrill, to produce music without lyrics. With lyrics, you can repeat them over and over again and you have a song. Without lyrics, your compositions need to be constructed differently in order to keep the song going and the audience listening.
Dnepr has always been avant-garde. For “Figures in a Landscape” from Hellhome, Dnepr’s 1993 release, a computer generated voice spoke words that had been fed to the computer by Kaiser (by profession, Kaiser is a software engineer). “Deus Ex Machina” and “The Nile Song” (both from Vandalism, 1991) are similar adventures in sound. Other songs on Vandalism - “The definitive Birth, the ultimate Life and the absolute Death”, as well as “Come back (I want to kick into your ass)”- definitely excel through their innovative titles, one profound and one more than subtly funny. By comparison, The Empire Strikes Back from 1990 is a rather conventional album, with music that can be qualified as industrial heavy metal based on piercing guitar riffs.
What did stop you from becoming as big as Metallica?, I ask Kaiser, because you certainly had the talent. Well, I don’t know, says Kaiser, always the humble man. It also has to do with luck. You need to be young to start such a career, to make it big. Music consumers today are kids and teenagers. They need to be able to identify with you. If you are 30 plus, that’s almost impossible. Add to this Kaiser’s eternal refusal to compromise on his music and you know why Dnepr is not a household name in the charts.
Fast forward 23 years to the beginning of 2018. The world has not heard a lot from Dnepr, or Kaiser, since 1995, certainly not in the form of an album. What happened, Kaiser? Kaiser doesn’t want to talk about these years of near retirement, except in private mode. But then, slowly slowly, he crawled back to life and music and reactivated Nihilitz Studios. Songs of No Return is promoted as your comeback album, I mention to Kaiser, but actually you have already released The Nine Gates two years ago. I am happy that you make me talk about it, he replies, so for the first time I get to explain what is the story behind the nine gates.
"Maybe I am infected by a software virus that damages my operating system."
The first connotation with this album title are the nine gates that lead to hell, Kaiser illuminates me. But I also see this as the nine month of pregnancy and thus you arrive at an equation life = hell. Most people find life quite ok, because they have a mechanism built in that helps them to suppress any fear or doubt they may have. Without this mechanism, we couldn’t exist. For myself, this mechanism is slowly wearing off, maybe because I am infected by a software virus that damages my operating system. George Orwell helped me to see that I am not alone in this: “any life when viewed from the inside is simply a series of defeats”.
How come The Nine Gates has twelve tracks?
The three extra tracks are the afterbirth. It happens quite often. I have a concept, I write tracks, and when I’m done, more stuff needs to get out.
With Song of No Return, Dnepr and Kaiser are really back. The album consists of twelve songs that Kaiser wrote and recorded all by himself. I am inspired to work alone at the moment, says Kaiser, it’s efficient, no discussions, you don’t have to convince anyone. Would you consider yourself a loner, a bit of an oddball?, I challenge Kaiser. Yes, he says, to a certain extent. However I am not antisocial.
The Open Enso Talks: one hour with Kaiser a/k/a Dnepr (language: Swiss German)
The new Dnepr album is literature turned into music. Kaiser likes to read - long, difficult reads, mostly from dead authors - and he knows his books well. “Zettels Traum” is inspired by the monumental work of the same title by Arno Schmidt (my song is not a musical abstract of the book; it’s the soundtrack of a dream with breaks and surprising twists, Kaiser says); “Venaska” is a main character in Alfred Döblin’s utopian novel “Berge, Meere und Giganten”, polygamous and bisexual (the book is about contrasts. It’s a dystopia with a woman, a goddess of love, who is called Venaska. I tried to compose a song that is oscillating between the ugly and the beautiful).
Kaiser is a nerd for sound. At any time of the day he may feel inspired to go down to the basement, in his studio, and work on a track. All night long, if needed. Once he dreamt of a counterpart to a leitmotiv he had composed earlier. When he woke up, he immediately ran downstairs, naked as he was, strapped on his guitar and recorded the idea. Are you nerdy with guitars as well?, I ask Kaiser. I am not a collector, he says, I only own two guitars (two handmade Gordon Smith guitars, made in UK). In the end it’s the effect pedals and the amplifiers that create the sound. If I go to a concert and the guitarist hauls a rack with five guitars onto the stage, I know that I am in the wrong place.
Dnepr have never played a lot of concerts, not even in their primetime in the 1980ies and 1990ies. In 2018 Kaiser played one set in the knight’s hall of an old castle near Bern. This year, there were the album launch in September and another gig in November. And that’s it. I like to play loud, Kaiser explains, really loud. Preferably at 120 decibels. In most places that’s not possible. But I can’t trim down. Playing my music at 93 decibels? Even whistling is louder!
Already Kaiser has ideas for a next album. Is he recording? Not yet, he says. I am all about re-inventing myself. But when I start something new, I find my old music crappy. I am not yet ready to ditch Songs of No Return. That’s why I stick with it for the time being.
I don’t even remember how I came up with the last question for Kaiser, but I must have been touched by something when listening to Dnepr’s albums: does he believe in love? Despite of his wary attitude towards society and his reluctance to comply with the masses, despite of all the utopian landscapes and the dystopian soundscapes that he creates: everything in Kaiser’s music is love. It’s a love that he gives and a love that he yearns to receive, forever carried and supported by the big waves of hope - hope for humankind, hope for a more human society - emanating from the strings of his guitar in Nihilitz Studios at Ulaanbaatar.
It is because of love why we are on this planet, Kaiser answers. Without love we wouldn’t do anything, without love we wouldn’t make music. We would simply squat on the ground and pick our noses.
Dnepr will perform at Les Amis/Wohnzimmer in Bern, Switzerland, on November 14, 2019. Be there (and have your earplugs handy)!
photos by May Arida
“I want to see what will happen if I only do what feels right,” says Frida Chehlaoui - who on stage is simply Frida - to an audience eager to discover this emerging singer/songwriter coming from Lebanon. “I want to see what will happen if I just go ahead and try. And now I see where this attitude got me,” Frida continues, “it got me here to play my first concert in Europe. I am really very happy to be here."
The here is Café Marta in Switzerland’s capital of Bern, a cosy cellar made of medieval brick walls in the city’s old town, turned into a café and an occasional concert venue. Frida is accompanied by Marc Rossier on guitar and David Steinacher on percussion, two well known musicians in the Bernese music scene and beyond. Frida had met them just a few days before the concert and two short rehearsals were all it took to make it a well tuned trio. Tonight Café Marta is the hottest place in town: the cellar is crammed with people - and so are the stairs leading down to the cellar and even the steps behind the stage -, it is hot outside and sticky inside and the incessantly revolving fans, despite of all their efforts, cannot make it any cooler.
Frida was announced as Arab Soul from Beirut. But what was it exactly that brought such a large crowd to Café Marta on a midweek summer evening? The words Arab, Soul and Beirut all have their own particular connotations, an almost magical promise to discover an emotional territory not usually accessible to Western Europeans. However Frida is much more than what she seems to represent. Starting with a warm and slightly smoky voice, and the natural ability to talk to an unknown audience and make them listen to her, Frida’s universe mainly relies on three pillars: connecting to one’s higher frequency, co-creating and experimenting. All of this is topped by a roof that Frida calls “the role of joy in the creative process”. Why suffer to create when you can walk the path of least resistance and thus bring out the creator that lies in all of us?
“I know things beyond the physical realm"
As a child Frida signed her first poems as Free-da and thirty something years later this makes more sense than ever. “My connection with the audience is that they see someone on stage who is absolutely free in that moment,” Frida tells me when I interview her after the concert. “I am free to say what I want to say, free to do what I want to do, free to allow myself to feel what I am feeling without thinking if this is going into the right direction.*
“What allows you to be this free?,” I ask her.
“I know things beyond the physical realm,” Frida replies.
Frida’s freedom doesn’t even stop when facing Nina Simone’s Sinnerman, a monument of black American music and one of two cover versions that Frida has in her repertoire. Not happy with the original lyrics (on Judgement Day the frightened Sinnerman goes to the rock, the river and then the sea, desperately looking for protection and finally turns to the Lord who refuses to help him and sends him to the devil instead), Frida added her own twist to the song, because after all the Lord is love and not supposed to send anyone to the devil, no matter how much this person may have sinned. “I see you,” sings Frida in Arabic, “I see the fear in your eyes, I see the chains you’re carrying, but you seem to have forgotten how you were the one who put them there. It is now time for you to see your power, the power of a thousand suns shining from within you, shining to remind you: don’t you know that you and I are one and the same?” This is extremely powerful and beautiful at the same time.
Frida’s songs are meant to remind us who we truly are and that we should forget about the restrictions that we limit ourselves with, that we can be much more than we think. In “Out and About”, Frida describes how our bodies must open up to embody the light that we truly are. In “Aala Mahli” (going slowly) Frida tells us the story of the heart that must be our guide, the only guide we ever need. Frida herself is “Bint el Kol” (the daughter of everything); her homage to the divine feminine will also be the title track of Frida’s first album set to be released in September of 2019. Frida is the daughter of the wind, the daughter of the sun and of the waves (“like the waves I can be calm, like them I have been fierce”), she’s the daughter of the earth and the daughter of ether (“unseen and omnipresent, weaving us all into one”).
Frida’s concert in Bern was a success beyond expectations. The audience was thirsting for her message of self-love and collective empowerment and for her well tempered dose of spirituality that many of us are lacking in our get-up-and-go lives. Visiting Bern has enabled Frida to meet musicians such as the exceptional accordionist Mario Batkovic and ECM recording artist and bassist Björn Meyer to talk about their approach to music and about possible future collaborations. Already Swiss rapper Greis joined Frida on two songs at Café Marta, subsequently inviting her to be his guest at his own concert later that week. Frida sang Ya Sadi’i (my friend) on this occasion and this song’s story “about the courage to chose the less traveled path to experience the magic unfold so we become the makers of our destinies”, is a story that speaks to all of us, regardless of our mastering the Arabic language or not. Frida’s message is an universal one. We need her to be the companion of our lives for many years to come.
"Good thing that I am tattooed. Because from what I read and saw, the women of Velvet Two Stripes, who I will meet in an hour for an interview, appear to be a lot of trouble. On band photos their arms are covered with tattoos, cigarettes are dangling from their mouths and they seem to drink beer and fancy whiskey a lot. I will have to show off my own tattoos to be credible enough to talk to them halfway at eye level.
These are the kinds of clichés that really piss off Sophie Diggelmann, Sara Diggelmann and Franca Mock, the three women of Velvet Two Stripes. Yes, we drink a shot of whiskey from time to time and we smoke cigarettes. Yes, we are loud and we like to laugh. So what! More annoying than this is only another widespread platitude: that Velvet Two Stripes is an all female band (or even worse: a girl group). Excuse me? Has anyone ever called the Rolling Stones a boy band?
Let us better talk about music and "Devil Dance” then, the new album by Velvet Two Stripes, before VTS will hit the stage tonight in Berne, Switzerland. The album was recorded in Berlin, in the famous Hansa Studios; it is the temporarily summit of a road that Velvet Two Stripes have traveled since their first EP "Fire". "The songs of 'Devil Dance' sound different than you used to sound,” I ask the band, “how come?"
Sara is the quickest to reply. “We are better at songwriting now. We have learned how to write better songs. This was the biggest step for us compared to before. Our new songs are very differently constructed than the previous ones."
Songwriting by Velvet Two Stripes is often the result of jam sessions; everyone joins in and eventually, somehow, a musical idea emerges which is followed up. Most of the times a guitar riff coming from Sara is involved. "How many riffs does a guitarist’s life have?,” I ask Sara.
She laughs. "I do not know if there is a limit,” she says. "RPL, riffs per life, so to speak. You can always play the same riff, but when the bass does something else then the riff itself will sound different as well."
Sara started her life as a guitar player with a Fender Stratocaster and later switched to a Telecaster. Today she plays a Gibson ES-335 from the year 1968. Big guitar heroes like Eric Clapton, B.B. King and Dave Grohl play (or have played) the same model.
Franca’s bass, a Fender Precision, is vintage too and dates back to 1972. "Only your voice is relatively young and is made in 1993,” I am teasing Sophie. "Who knows,” she answers slyly, "maybe it is the reincarnation of an older voice."
"Janis Joplin maybe?"
"In any case, I already shouted in 1993."
Sophie Diggelmann knows her raspy rock voice well and knows how to keep it in shape. The important thing is, says Sophie, that she listens to her own body. Sophie senses how much her voice can bear and thus gets through the concerts without becoming hoarse. And should her voice nevertheless be a little knocked out then there is always tea. The cigarettes she smokes are not really good for her voice, Sophie is well aware of that, "but what else can you do if you must kill time before concerts?”
Sophie studies art and is also responsible for the artwork of Velvet Two Stripes. The cover of “Devil Dance” is her work. And she also designed the VTS T-shirt that was a goodie in the band’s crowdfunding campaign last year and which I am wearing for the interview tonight. "In Beirut they almost wanted to rip your T-shirt off my body,” I say, "my friends there loved it that much."
“Yes exactly, Beirut,” says Sara. “In one of your messages you asked us about the oriental-sounding guitar solo that I play on 'Sister Mercy'. The reason is that a few years ago I visited Beirut for two weeks and got to play the oud, the Arabic lute. I was inspired so much by this that I have played some oriental sounds in the studio when recording the album, but with an electric guitar.”
Indeed: the oriental notes of "Sister Mercy" could indicate a future progression of the band. And also the noise elements that are present in several corners of "Devil Dance", especially in the last 30 seconds of "My Own Game”. Sure thing, the blues will always be the musical root of Velvet Two Stripes, but if we dive into the blues even more that we already did, the band says, "we can soon collaborate with Philipp Fankhauser."
Anyway, Velvet Two Stripes don’t see themselves as a blues band, but rather as a rock band. As a blues garage rock band that likes to play hard and loud. With "Devil Dance" they have created the essence of this style, they have found the state they desire. The songs of Velvet Two Stripes have become more straightforward, without background vocals, pop elements and drum computers. VTS achieve a maximum effect with a reduced-to-the-max attitude.
“With Velvet Two Stripes there is an ongoing development happening from the inside."
Where is the musical journey of Velvet Two Stripes heading to? What's next in their career? I'm getting a rudimentary graphic out of my pocket that I drew in preparation for this interview. It shows Velvet Two Stripes in search of their true sound - which they have now found with "Devil Dance" - and the possibility, starting from this reference point, to further develop the sound of the band.
The three women like the drawing. "On the new album,” says Sara, "we've become bolder and dare to try out new things. Take 'Lizard Queen’ as an example: I have been playing this rolling guitar part with the deep bass sounds for ages at our soundchecks. So far, Sophie and Franca always found that it was boring. But now the time was right and we tried to build a song around this part."
“With Velvet Two Stripes there is an ongoing development happening from the inside,” Sara continues. "We find each other more and more."
Hell would rather become Antarctica than "Devil Dance" not becoming a success. Songs from the album can now be found on various playlists on Spotify. As a result, the number of monthly clicks for Velvet Two Stripes has jumped from 800 to 82,000. The band has only a limited idea of how this all happened, who in the world of Spotify digs Velvet Two Stripes so much and integrates them into playlists, even in Canada. They also don’t know who is responsible for giving VTS airplay on a Dutch radio station. They didn’t pay anybody to do this. But by all means it’s great.
At the end of our conversation Sara returns to my sketchy mind map. "Nobody has ever made such a drawing for us,” she says. "Now I'm really excited to find out where our journey will lead us."
Velvet Two Stripes will be on tour all summer in Switzerland, Germany and Austria. For details and dates check out the band's website.
Kurt is based in Bern and Beirut is his second home. Always looking for that special angle, he digs deep into people, their stories and creations, with a sweet spot for music.
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