Listen counting crows mr jones

meetings - Die deutsch-franz?sche Zeitschrift - the Franco-German review. The poor relation of the musical branch. jazz?aris and Berlin When the pianist of new Yorkean jazz John Margolis traverses the streets of Paris, from the m?dies are born in its T?. New York, its fatherland, melting-pot of the musical styles most various and cradle of the jazz, it int?sse more. pr?nt?inquante years pass? it has d?d?e to live in the city which is best?? to inspire it in its artistic work. The myth which attracts today still the musicians of the whole world towards Paris goes back to apr?la Premi? World war. In the m?opole fran?se?ille the spirit of a new musical style which did not gain until-l?e large succ?qu' with thePlain ones. In Th?re of the Fields-?ys?, the Review n?e d?enche in 1925 whole d.abord a wave of indignation, then of enthusiasm, and made of Jos?ine Baker an idol. But the myth remains and remains today still good for the businesses. When artists am?cains known like Herbie Hancock, Al Jarreau or Keith Jarrett come to Europe, Paris is in T? of list of their priorit? St?ane Portet is a director artistic of Sunset/Sunside. In week also, the grouille place of animation. Parisian of stock as tourists?ayer the prices d.entr?parfois sal do not h?tent? to?artir of 20 euros. We live image of Paris, feeling of nostalgia which people have. m? if the large?que one of the jazz is d?nitivement termin?., reconna?Portet. The musicians them-m?s benefit on the other hand little from the myth and the clich?. A life of artist?aris is hard, the pay is so incredibly bad that no musician can live about it, explains the pianist of jazz Daniel Stawinski. It came?aris two years ago, of its native Berlin. Admittedly, there exists in France the statute of intermittent spectacle, which offers to the artists, in times of crisis also, a s?rit?inanci?. . But the administrative obstacles fly much from time and about?rgie which would be invested better in processes cr?ifs., Daniel Stawinski complains. Malgr?out, it does not?angerait?ucun price its country of adoption. What does it occur in the German capital, in addition so much branch? Which possibilit?de?ater and of d?lopper the town of Berlin is offered it to the musicians jazz. Max Hacker, saxophonist of the group Di Grine Kuzine, does not agree with its coll?e Daniel Stawinski.. Berlin also, there are a number exceptionally?v?e good musicians and large a libert?e style. Many, and among them of the international artists, would come?erlin to live there. The rents are accessible, the caf?u still accessible corner. But?' opposite of France, the succ?en Germany is not centralis?Qui is c?bre?erlin can remain an unknown at the national level. Are the clubs having great names with the program very few, Sc? is less concentr? Max Hacker consid? this?lution like positive: . The diversification of Sc? is musicalement also tr?inspirante. But a musician of jazz could it live of his music?erlin. Max Hacker has, in more of several groups, a second job: it gives courses of music. Daniel Winkel, of the Office export of the music fran?se, explains it as follows: . Berlin is a difficult place. Is the public of this city habitu? a superabundant cultural offer in concerts and live music?oindre Co? The tariffs d.entr?sont, in comparison of Paris, extr?ment low, Co? of production, including the taxes and the d?nses appendices, extr?ment?v? . The jazz is a hobby co?ux.?lement explains Giorgio Carioti, propri?anger and programmer since 1975 of the Low Sunday?erlin.. I could not maintain my shop?lot only with that, it does not have quite simply enough int?ss?pr people there? ??nser of l.argent for the jazz. During five derni?s ann?, the share of jazz in its?blissement is pass?de 60 %?0 %.. The noise according to which we would be can -?e the club of the most known jazz of Berlin is not more exact, known as Carioti. But it is arrang?t filled its program of known concerts the pop one and rock'n'roll. It is before a whole contractor, and?blissement who does not make b?fices must seek new prospects. The clubs of Berlin cannot live of a myth like?aris. Was Apr?la Second World war, it necessary d?nnies so that a Sc? jazz is rebuilt?erlin. Then came R?ification, and the West, with its clubs?blis and its infrastructure firmly ancr? became inint?ssants. Did East Berlin offer much more possibilit?d'?lution for young musicians, the intoxication of nouveaut?iversifiait Sc? and offered a?haque hearth musical style, if small is it. Parisian myth and Berliner underground. does one tighten the elbows in Sc? jazz of both c?s of the Rhine. I do not see any musician who could fill the rooms on our premises. Berlin, the int?t for the artists fran?s is larger, the Office export made l?ussi its uvre. It cannot however?e question here of a culture of the intensive?ange. I do not engage of the artists fran?s that if they make us make b?fice., known as the chief of the Low Sunday, Giorgio Carioti. The jazz remains the poor relation of the musical branch. A Franco-German common platform would be worth the blow only if the jazz gained initially impulse in each country. It is midnight minus five when finally made its entr?sur Sc? festival. Texts of the group av?nt quite as?ectic as their m?dies. Amazigh Kateb, singer and founder of the group, juggle in its verses between Arabic, the fran?s and English. Extremely of isn't such a spirit protestor, it?nnant only the leader of? from 34 years, d?nde in its interview with against the?quettes that criticisms musical want to usually allot?on group. Indeed, the critics usually pr?ntent it like?nt a multicultural m?nge color?alliant music traditional and modern, Eastern and Western. However, Amazigh does not wish?e rang?ans the box. music of the world, a?quette which according to him does not have any direction. It sees in this last a modern form of slavery having it-m? engendr?es new songs of libert?A the origin of the group and its name is the music fright Gnawa, minorit?thnique living in Morocco and descendant of slaves of West Africa. The sp?ficit?e the traditional music Gnawa r?de in M?em. It acts of autorit?pirituelle and artistic for the musicians, a kind of leader. Such does M?em, Amazigh hold a R? exchange within. When Amazigh speaks about its life in France, tant?surgit all d?irement of?gr?tant??rgent the conflicts int?eurs of the stateless person. Apr?pr?de 20 years pass?en France, the singer of does not feel less world fran?s. It d?it its life d.exil?omme a painful constraint, associ??e many discriminations.C' is also the reason for which it sings in Arabic. To write in its mother tongue the?xprimer assistance its identit?lg?enne and?urmonter a little better the pain of the s?ration. The image of its p?, Yacine Kateb, often returns in the uvre of Amazigh Kateb. This last enters?'? from 16 years for the premi? time in conflict with the colonial power fran?se and adh? ?8 years with the Communist Party alg?en. When Amazigh na?en 1972, its p? is D? fact a name as a?ivain and pol?que journalist good with-del?es the fronti?s of its country. It consid? the French-speaking world like one. instrument of policy n?olonialiste.. Him-m? d?arait?anger in fran?s to only express in Fran?s which it is not theirs. All its life, Yacine Kateb is insurg?ontre oppression, whatever is the form. It is not a chance besides if it has donn? one of its two sons the name of Amazigh. free man. Amazigh Kateb fights any form of domination and is distinguished clearly from the artists who are sold?' industry of consumption and with the political d?deurs. For him, the artist is a man of the people whose mission consists??iler with powerful the dysfunctions of the soci?. The only possible relation between art and capacity is?es eyes confrontation is refus?n any knowledge of?aire cause a marketing?utrance of its music. There is one clip vid?du group and the propagation of its music is done primarily by the mouth?reille. There are two, three, thousand, fifty thousand people, and apr? true a?rgie of r?lution of d?ge. It is not a dance right of the basin, not just with the post?or. Apr?15 years of existence, three albums studio and two live, the history of the group touches n?moins?a fine. The festival??stat is one of the last go of. A final point which seems to have? especially wanted by Amazigh. This one smells now?'?oit in its. fatherland. reconstitu? I find that is well to start again??. A little like a history love. The stories of love which last a long time, it is well. But is just as easily to begin of it a news, Amazigh d?ile unfortunately nothing new projects of the other members of the group, nor as of his, which has it interview? does the occasion in the concert-jubil?du group?aris in November 2006, announces D? the exit of an album solo for 2008. L?time Diff?nce (1993, priv production? Bab el Oued Kingston (1999, 7colors/Next Music) Souk System (2003, D' Jamaz/Warner Jazz) Fucking Cowboys (2007, Album live, D' Jamaz/UWe). (Interview with Amazigh Kateb?.occasion in the concert-jubil?du groups?aris in November 2006). On the French-speaking subject music politically engag? to also see: by Landschek Elects (appeared in the?tion of meetings of July 2005) the term Gnawa (also Gnaoua, in the singular: Gnaoui) d?gne minorit?thnique living in Morocco. They are the descendants of West African slaves, probably d?rt?dans the r?on of the Maghreb to the XVI? si?e. . Did Gnawa go c?bres gr.? ?or music. This one comes from ritual monk during which music and dance must cause a?t hypnotic fright aiming at proper safety and the autopurification. Are the Gnawa groups organis?chacun around a ma?e of c?monie appel??em which holds the R? of autorit?pirituelle and musical aupr?des musicians. It plays?lement of an essential instrument, the guembri, a lute made in skin of camel and ch?e. It is compos?e three cords, gives a serious sound and has the form and the size of a bo? ?haussures. Like another typical instrument of the Gnawa music, there are also castanets in m?l name of kerkabs. Philippe Katerine. Total irony like uvre of art. Apr?tout, it has us habitu??out another thing. The king of the car put out of Sc? would be assagi. At all, because?esure that the soir?avance it proves to us that it of did not lose anything its acute direction of the autod?sion. Katerine has trouv?ne new form d.expression to return?es contemporary their own image. And the sweater salmon is him also of the part. Return in arri?, ?a fine of? 2006?erlin, in a small office of the district of Kreuzberg. Philippe Katerine grants interviews within the framework in his concert and the promotion of his new album. The man comfortably install?ur the canap?emble?is?t has plut?l' typical pace of one?diant in Berliner art in his green polyester trousers. The soir?a d?e to finish late yesterday. he does not make fun badly of the image which the press returns of him. Some perplexit?nvahit pi? - but which is thus this Katerine. An insane g?e or quite simply will an eccentric disjonct?Aussi spend a certain time??lopper its style single of Po? post-modern. Its house of disc pushed it for a long time towards the current easy listening. Indeed, its discs of the ann? 90 do the chantilly makemake think?e too sucr? . ? go up?oin, c.?it a type of music compl?ment diff?nt., explains Katerine?encontres. (1991), ob? still with the finger and?' il with the commercial laws of the musical business. M?ntent of him-m?, Katerine C? r?s of sound deuxi? album, (1994)?a s.ur, because, such as it l.affirme. it did not support any more to hear its voice. Malgr?out, the following discs leave Katerine still somewhat dissatisfied. I?is far from living the life of which I r?is., acknowledge it in the biography of his Web site. This last A surv? ?a p?ode of its artistic?lution and one still finds it in the basic?ments of its music. m? if it acts of an ironic covering joint of il. Today, the concept of Philippe Katerine is a m?nge of electroclash, words obviously ambigu?et of pop buffooneries, the whole assaisonn?' a subjacent irony. In France, Philippe Katerine is a star. In the medium of the ann? 90, with the c?s of other large of Sc? such as did Domenica A. and Fran?z Breut, it contribute of mani? d?rminante?a cr?ion of a new musical kind: . new song. (cf Meanwhile, this its fact also fury in Germany. Katerine is precisely in rupture with these r?es?blies of the march?L' terrible child of the pop song is contrary to located those which susurrent of a languid voice in the microphone. With him, conventions, superficialit?t lies of a whole life fall into the absurdit?Et more it is yelling, better it is. France: Barclay, in your record dealer Of the exploitation of musical spaces and the virtual friends..Nous planes intended to speak about MySpace for some time, but had not undertaken anything of concrete. It is only later, to apr?avoir cr?notre proper page, which we have suddenly r?is?u' it did there really something. However, these groups are not only the?'?e appropri?ce new space virtual. Indeed, houses of discs and bo?s of night have also their own page, and this for a long time. without counting the million fans of music. Thus, each one can?a time receive news of premi? hand and to deliver a aper?de its own life?on favorite group. The titles in?ute and the dates in concert, as?ux, constitute the?ments-cl?de the space of a group. Is the principle that of a social r?au on Internet, the MOD? of studiQG, Facebook or OpenBC/XING. The objective is to weave a r?au and to come into contact with the most people possible, according to the m?nism known as of the ball of snow. And the regrouping of the affinit?. that MySpace makes possible. in is a tr?important vector... Don't Apr?tout, the friends of my favorite musicians only owe?e so bad? Because it is well of that that it acts on MySpace.: to make to conna?e with the fans new groups by holding account of their musical pr?rences. With more than 5.000 friends to the meter d?t March, Cobalt seems?e on the good way. Remainder, the order in which the friends appear on a MySpace page is also important. Malgr?out, a group wishing to bore cannot all miser on an interconnection effr?e. still is it necessary one day to pass from the virtualit? the r?it?L' history of these groups owe to their rise only?or pr?nce on the fabric and?a propensity?liquer their fans thus virtuels.serait it true. of Keijzer forms part of those which scan the profiles enregistr?sur MySpace?' aff?de new talents. ..La reason to exist of a group is to play in concert. In the final analysis. one makes music for?e on Sc?. The three first will occur in SilverWings. ..Tout the world gains there., affirms of Keijzer. of Keijzer the possibilit?qu' illustrate perfectly offers MySpace to the musicians who included/understood how to put the r?au at the service of their cr?ivit?C' is indeed l?ue all is played. No help or?eine is?ttendre on behalf of the op?teurs of the r?au. Sven Lauer n.obtient any explanation on behalf of MySpace. Client?sme or simple extra work. Young groups in qu? of glory will thus not find a partner in MySpace, but plut?un tool?anier with cr?ivit?MySpace is an important mean of communication?eurs eyes, especially when it acts of conqu?r the march??angers. On the other hand, the little known groups, them, must still take this first consistent step??anger a base of fans on the spot. Jetzt geht.s erst richtig los. Derri? the somewhat obscure term of..Web 2.0.. a ph?m hides? crescent which consists of the interactionnelle organization of Internet by private individuals. One of these r?aux social is MySpace. In 2005, the company was sold to the tycoon of the m?as australo-am?cain Rupert Murdoch for the sum of 580 million dollars. Since 2006 do versions B exist? allemande and fran?se of the gate. In its trip of..d?uverte of oneself-m?.. musical of the derni?s d?nnies, France has red?uvert the good old woman song. A blow of il to the ray discs of the FNAC is r?lateur.: in premi? line, the discs of young dynamic chansonniers pile up. Do Benjamin Biolay, B?bar, Cali, Thomas Fersen or Vincent Delerm dispute the premi? place hit parade. On the small pockets of CD, faces with the smile insolently bold or..nunuche well peign? as well like the young rebel of 20-25 years?a beautiful-m?. And what leaves the loudspeakers of the cha? hifi?a house. A little guitar, a little agreement?, a voice pass key, often m?s of a good amount of samples?ctronic. The texts?quent, with the choice, the sorrows of c.ur or the evil of living, or quite simply a little philosophie of counter. Voil? what resembles the new song fran?se. But of o?ient this cat?rie.. The musical magazine Inrockuptibles leaves the shade underground. It para?d?rmais each week and wants d?rrasser of its illegible duck worship image for general public. It seeks something for d?rquerdes again many other musical magazines D? pr?nts on the march?Un chansonnier nomm?ominic A leaves?e moment-l?on new album. Its style: folk, but contemporary and tr?fran?s. For the journalists of Inrocks, the pr?rsor d.une new wave, the..nouvelle song fran?se.., is all trouv?Les texts, voice and arrangements touch the c.ur young people Fran?s, each one reconna?un little and types foot in rate. The int?t of the listeners is?ill?le new style becomes autonomous. The industry of the disc applauds. new the march?onctionne?erveille. The stations of radio, which, under the yoke of the quotas, are always in qu? artists fran?s, r?uissent themselves of this inexhaustible source. When one speaks about..nouvelle song., one often associates the male ic?s it world of the music. However, more and more of women, these derni?s ann?, the troph raflent? ?a given from the..Victoires of the music... ? Does post-Patricia Kaas seem entam? And it ma?ise as well the?ivoques beat of lash at the time of the passages of its texts as the shaking wildly romantic of its mop of hair cr?e with art. Its appearance is a concept and is sold perfectly. It is in France a star for a long time and, other C? from the Rhine?ne should delay more. The room at the time of its concert to the Francophonic festival 2006?erlin?it full?raquer. The receipt?ucc?de the song f?nine seems to function. With the c?s of?ilie Simon, the copies has a presentiment of per hundreds on the march?e the music. Coralie Cl?nt, Anais or Pauline Croze are only some of them. Do Inrocks say m? they that they have..ouvert a face of lib?tion of the music f?nine... One speaks about a?lution without pr?dent, a single charm and a personal microcosm, even carr?nt of a universe. Does what the majority of these artists pr?ntent musicalement is however not always so new only? The scandalmongers pr?ndent that the majorit?e loses in a s?e imitations. Here d?ile the probl? who relates to all the kind of the..nouvelle song... D?que all want mordicus?e single, they are lost in the mass. The single one becomes a fashion and is so much copi?u' it becomes mainstream about it. Admittedly, it is among them incontestably many artistesde qualit?Mais the cat?risation?es fine marketing can?uffer in the uf. the particularit?.un artist. But the things go can -?e bient?changer. Musicians with the concepts r?lement innovative like Philippe Katerine or Camille extirpate mass uniformis?et gather a communaut?randissante fans around them. Their concept: to treat to T? sempiternal tubes, rengaines fig? (Katerine), or to break with the usual r?es music (Camille). A new song fran?se: Vincent, Carla, M and others of Ludovic Perrin, Presses of Cit?2005). Is its appearance perfectly?bor? all in it seems f?ic, m?n?' a point of romanticism?a Tim Burton. Texts of the songs, the composition and arrangements. nothing is laiss?u chance and is almost exclusively compos?ar?ilie it-m?. Does the press rent its soft eyes of hind and its steel d?rmination and sees in the duet?ucc??ilie Simon/Camille to l.avenir of Sc? musical fran?se f?nine. In November 2006?ilie Simon has donn?es concerts in Germany within the framework of the Francophonic festival to promote its V?tal album. Your style of music not very conventional para?tellement extraordinary that the press does speak m? d.un..univers?ilie Simon... How-have trouv?e style. Which are your principal influences. J.?is of the songs since I have ten years. Thereafter, I have commenc?es?des music?a FAC? has me to aid???uvrir new techniques and?r much? slowly my personal style. Do people compare much?j to me? or Kate Bush, which is a tr?flattor. They have me influenc? but they have also a universe tr?particulier and cannot?e compar? ?.autres. What I?lement assert for me-m?. These derni?s ann?, one speaks about the current of the..nouvelle song fran?se... In fact, it is acted of a classification made by the journalists. Can -?e that in ten years, one will say ego that I formed part of it. Me?ne me int?sse not so much, I am in my own universe. Does to the singers, one speak m? d?uverte of a news f?nit?Qu' that means for you. I think that it is all my music which is f?nine. But I do not have the d.exprimer impression a f?nit??rale. When I?is, I?is on me-m? and I do not put myself this question. In does the press, one find your name?? those of Benjamin Biolay and Browned Carla. It acts of a certain form of g?ralisation of the concept so much appr??' individualism. But small the particularit?de each one remains most important when m?. Individual style para?juxtapos?u commercial gun. How g?z you donn? business and your own style. Nobody never said me how to make the things. I have a vision tr?forte of what I want, therefore I think that when one has? nobody tries to impose anything to you. Many of your songs are in English. Do you have the goal of conqu?r the march?nternational.. When I?is teenager, I did not feel tr?proche song fran?se. I?utais almost only English groups. I English?is and fran?s, like much of other artists in France. I want simply?anger texts which resemble to me. Fleur of season is the title of a song of the new V?tal album of Emilie Simon. Pop music between chauvinism teuton and nationalism. M? what Germany?it during? World cup inond?de flags black-red-but, m? Sc? musical current sorrow?ndiguer the wave of compilations of pop allemande like. What is for the ones the d?ic lib?tor of a national feeling?uff?epuis of the d?nnies sounds for others as one alarming within the framework of which the report/ratio?a German nation appara?anormalement. hip.., Cr? in 2004 in r?tion with the d?t on the quotas of songs in German radio?a, to it Malayan provoqu?ar this absence of r?exion vis-a-vis to the positive report/ratio expresses?a German nation. It explains why it acts d.attirer the attention on the fact that the nation is a not natural concept, but which is d?lopp?istoriquement. So to maintain a positive report/ratio?a German nation or?es symbols while being unaware of the history this d?loppement is highly probl?tic and little r??i. The industry of the disc, guid?par the profit, however embarrasses few of these political consid?tions. It waits above all German texts and a positive report/ratio?a succ??nomic German nation and figures of sales?v? The nation would be transform?en consumer good, critical highly becomes a lucrative label stylis?Tout as their music is light and charming, their confrontation with the fatherland is in?t of weightlessness. However, the samplers pop fran?se flower this C? from the Rhine like other as much as the news Deutsch-Pop cat?rie. A magazine qualifies for example. tr?fran?s. the sampler. The Pop One. Songs of new Sc? fran?se, compil?ar two DJ of Cologne and distribu?n Germany. Appara?pas the danger to stylize here of Fran?ses susurrantes and them. jugglers of words. g?ration Gainsbourg as cantors of the Great Nation. I do not believe that we d?rminions with Pop image particuli? France. If we confirm clich??ntuels, they existed D? before the Pop one, Oliver affirms. Why confrontation clarifies with the concept of nation remains it r?rv??' Germany. Or is the positive express?nt report/ratio?a nation D beyond the rhine? become a normalit?leu-white-red. By raising these questions, one should not forget the historical circumstances tr?diff?ntes report/ratio of the culture and nation, indicates Roger Behrens.. What means that us consid?ns in Germany the culture like a kind of?at of substitution?' national identification. In the last analysis, all that would be above all d?ndant of the mani? whose this pop nationalism is expressed. In doesn't not very perspicacious r?tion?e d?re black-red-but, the initiative have only invit? public d?ts in diff?ntes German cities, but has publi?n ao?2005?lement a sampler on which the music of clearly takes its distances with the nationalist tendencies the pop one in German. But doesn't the music replace a discussion th?ique. it is for that that the sampler of also contains?? of music?a. happy, happy No-Deutschland-Sound., various interventions around the d?t of pop nationalism. In Germany, there is the right to r??ir with the d?rcations between the pop chant?en German and the nationalist d?arations in the popular culture. and the soundtrack of the d?t is livr?vec. To know some more?anger and?couter:. The Pop One. Songs of new Sc? fran?se, Pop 2, the Pop one in duet. R?ng, Helmut:... Popul? Kulturelle Musik und Identit? The Pop One. the best of l.import pop fran?s the sampler can -?e more fran?s of all the samplers pop fran?se is produced by a label of Cologne. Thus Na? in collaboration with the musical journalist Rolf Witteler, the premi? Pop compilation, the tir?en 2002?.000 exemplary by the label Pop Melting Music. A too modest pulling, as it will appara? because the demand for Germany of music of new Sc? fran?se is?rme. The Pop one was sold jusqu.?ujourd' today?4.000 exemplary, its successor the Pop 2 is D? ?1.000 exemplary. Strange fact, compilations the Pop one, meanwhile consid?es like a glance particuli?ment perspicacious on Sc? musical fran?se, is r?port? in France. ..Je m.appelle Jean-Michel Tourette, but I do not speak fran?s... Contrary?' reception jubilatoire of setting in Germany, the room remained initially in the expectancy: ..Cela is pass?insi.. the lumi? ?it?inte. Us on Sc?, who?it in the black. We tr?chons on the c?es, I?ase the nose against the microphone. People do not have r?i to the three premi?s songs. But at the end of one moment, environment is mont?et it?it super. It is a feeling of pleasure to notice that one conquered his public... Conqu?r the public fran?s is dor?vant l.objectif of Wir sind Helden. However, they remain modest in their ambitions. According to Tourette, they would be satisfied if they could make a tourn?de small rooms in some fran?ses cities. ..Cela would be enough for us D? if we had the feeling that some know us in the medium of the ind?ndant underground. Would be this can -?e better to remain a group to??uvrir... This would be the expression of a desire for playing?ouveau in small concert halls and?rter of the mainstream to which they belong in Germany apr?la sale of a d.albums million. Or then a r?ist?luation of the int?t of the Fran?s young people towards the German music. ..Nous let us be quite simply a group which wants to occur elsewhere. We go there and esp?ns that somebody will appr?era us l?as... Tourette adds however that Wir sind Helden does not have l.intention to act as cultural ambassador: ..Je finds that to push loin a little. It would be as pr?ndre which our our concerts in France am?orent the agreement between the people. Wir sind Helden personally has bonds with France. The singer Judith Holofernes has many friends fran?s. One of them is Aur?e?ui Judith explains in the song?nyme, how flirter with the German men. M? musicalement does Wir sind Helden look at other C? fronti?.: Tourette finds Louise Attaque g?al, Judith likes Noir D?r. Two groups singing in fran?s which had an euphoric effect in the young people in France similarly to?ir sind Helden in Germany. We do not have any probl? of identit?t let us not want any of it. We would never produce album enti?ment in fran?s. Because we are not it. Our German texts are essential us so much that we could not adopt such a identit?. The group works today?n new album. If some of the new songs will also leave in fran?s, Tourette is unaware of it still. That d?nd always of HT? song and if the occasion to translate them pr?nte. ..Si that is profiled, I can tr?bien think to make?ouveau something in fran?s... From here what the new disc is Pr? it will be known how the public fran?s accomodated Wir sind Helden. L?arlor: . a great adventure which starts from two frangins.. L?arleur, you?s of Strasbourg and you sprinkle your public with the pastis. L?as, one learned?oire the pastaga?inq hours from the apr?avec the caguoles and the mias which pass by scooter?oute armours. There is sympathetic trouv?a and one took it again for the concerts. The pastis?pourrait also?e raki. C.est a drink which is l?re, been useful with l.eau. One did not want any more to do it in the new spectacle, but one is retrouv?au recall with people who said..l.ap?, l.ap?.. . With the agreement? of Simon and the drum brass band of Eddy, you are not played a little the?quette..chanson fran?se.... Josef.Oster.: Us, one comes from Strasbourg, then the free-French-speaking person, it is not too our trick. Our music, it is plut?un crossing between Eastern Europe, Germany and Latin civilization. Maya Martinez.: There are not really a musical?quette. L?arlor, it is a little as an individual who grows. There are readings?n moment donn?des influences. On the first album, there were songs of po?s soufis of the XIII? si?e. On the new album, it is plut?flamenco. And if its A maintaining C? more rock'n'roll, more m?ss?c' east can -?e parce qu.on has donn?ans something which one had desire for making. Can -?e that it is difficult apr?pour to have a identit?econnaissable, mais it is a risk which one takes. Do the texts of this new album d?gent some m?ncolie, m? if the music remains always tr?enjou? Josef.Oster.: This time, I have?it less texts. We made to call different?lusieurs type-setters, d.o?eut-?e this impression of l?ret?Mais this po?e remains tr?subjective. Somebody said derni?ment that by?utant the texts?a fine of l.album, it had had a a little black feeling, that to me only to be found on the road. Think of Large Lustucru