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yello-digest           Tuesday, May 5 1998           Volume 02 : Number 044




----------------------------------------------------------------------

Date: Mon, 4 May 1998 11:48:55 +0100
From: "Bonzo" <[e-mail]>
Subject: (yello) Confession

Dear mailing list,
    My brother thinks Yello are utter bollocks. So I killed him. With a
knife. In the kitchen. I chopped him into small pieces and fed him to the
dog who lives next door. The dog thinks Yello are quite good, incidently.



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------------------------------

Date: Mon, 4 May 1998 12:36:21 +0100
From: Bonzo <[e-mail]>
Subject: (yello) Confession2

Last week my mother said that Yello were young immature fools who made cheap
electronic music which wasn`t half as good as music made in the `60`s. I
explained to my mother that the members of Yello were in fact as old as she
were and that they make very good music. Then I suddenly realised that I`d
said too much to my mother and I had to kill her. In the kitchen. With a
knife. I chopped her into little pieces and fed her to the dog who lives
next door. I`ve noticed that the dog is putting on a little weight.



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------------------------------

Date: Mon, 4 May 1998 12:39:01 +0100
From: Bonzo <[e-mail]>
Subject: (yello) Confession3

My Uncle came round for tea the other day. He said Yello were shit. I shoved
a fork through his nose.



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------------------------------

Date: Mon, 4 May 1998 12:46:01 +0100
From: "Bonzo" <[e-mail]>
Subject: (yello) Confession4

My grandmother once said that Yello were stupid because they spell their
name wrong. My grandmother said that you spell `Yello` with a `w` on the
end. I did`nt kill her.

    I did kill her husband, though.



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------------------------------

Date: Mon, 04 May 1998 14:27:46 CEST
From: "Henrik BetnΘr" <[e-mail]>
Subject: Re: (yello) Confession

>Dear mailing list,
>My brother thinks Yello are utter bollocks. So I killed him. With >a
knife. In the kitchen. I chopped him into small pieces and fed him >to
the dog who lives next door. The dog thinks Yello are quite good,
>incidently.

Now that's very interesting, because I am in fact a dollie of wood.

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


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------------------------------

Date: Mon, 04 May 1998 14:30:45 CEST
From: "Henrik BetnΘr" <[e-mail]>
Subject: Re: (yello) Confession2

>Last week my mother said that Yello were young immature fools who >made
cheap electronic music which wasn`t half as good as music made >in the
`60`s. I explained to my mother that the members of Yello were >in fact
as old as she were and that they make very good music. Then I >suddenly
realised that I`d said too much to my mother and I had to >kill her. In
the kitchen. With a knife. I chopped her into little >pieces and fed her
to the dog who lives next door. I`ve noticed that >the dog is putting on
a little weight.

Yes indeed! By the way - this time i'm made of tin.

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


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------------------------------

Date: Mon, 4 May 1998 10:29:03 EDT
From: I2C Dave <[e-mail]>
Subject: Re: (yello) The lion again

< A side note: if you think cataloging is impossible, then how Boris do it?>

Boris had the advantage of using the originals, not reverse (lion) engineering
the sounds out of the mix. He might have to list the sounds and samples used
for copyright purposes as well.

Davey G.




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------------------------------

Date: Mon, 4 May 1998 17:55:53 +0100
From: Bonzo <[e-mail]>
Subject: (yello) Confession5

I love my Father. He loves Yello. My father once told me that Yello were his
favourite band ever. He does always seem a little nervous around me though.



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------------------------------

Date: Mon, 4 May 1998 09:01:43 +0200
From: [e-mail]
Subject: RE: (yello) Hardfloor vs. Yello

> Generally I don't like so called DJ remixes (and Boris
> told me he doesn't either) but since Boris has had a
> part in this.... - I was told this 12" had sold quite well
> in Germany and France, but it's not out on CD although
> it might be at some point. Very hard to find outside of
> Germany.... (but then again as Yello fans we are getting
> used to limited vinyl, aren't we?) JW
>
>
>
Here's some of links to places who have it.

http://www.hotstuff.se/

http://www.sds.touch.ch/

http://www.ab-cd.com/custom/cgi-bin/cat1

http://www.wmimusic.com/


Regards

Eric


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------------------------------

Date: Mon, 4 May 1998 22:31:02 +0300
From: Juhana K Kouhia <[e-mail]>
Subject: Re: (yello) Hardfloor vs. Yello

I were looking for mp3 files of the Hardfloor vs. Yello 12" maxisingle
and found following (http://www.teknet.ch/raveland/denisk.htm):

  Project

  Organising a rave on the lake of GENEVA (Biggest lake in Europe) with eight
  different dancefloors on 8 boats with following line up :

     FLYING BOAT : Pascal Feos, Yves de Ruyter, Marc Spoon, Yello

Ok. The whole thing is just a dream at the moment but I surely hope
they succeed.

Yours,

Juhana


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------------------------------

Date: Mon, 4 May 1998 22:48:05 +0300
From: Juhana K Kouhia <[e-mail]>
Subject: (yello) Yello interview found

Hello. I found following interview with Boris:
  http://www.chaishop.com/text6/a/yello.htm

It is from June 1997 and in german. Is it mentioned earlier here?
And translated? I hope somebody is collections these net stuffes
to Yello pages, and not only as links.

Yours,

Juhana


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------------------------------

Date: Tue, 5 May 1998 00:01:06 +0200
From: martino decarolis <[e-mail]>
Subject: (yello) article by dieter meier

hi


when i read the new "nzz folio" - the monthly published magazine from the
"neue zuercher zeitung" - this evening, i found an article by dieter meier
(title: dieter meiers bentley)

it is also available online at the nzz-site:

http://www-x.nzz.ch/folio/curr/articles/meier.html


enjoy it :-)

martino


.............................
............martino decarolis
mailto:[e-mail]






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------------------------------

Date: Tue, 05 May 1998 07:46:31 GMT/BST
From: nic <[e-mail]>
Subject: (yello) Translated: article by dieter meier (via ALTAVISTA)

I looked up the article at http://www-x.nzz.ch/folio/curr/articles/meier.html
and used ALTAVISTA to translate it. This is the output from my Lynx display,
enjoy! (TRanslation ends part way thru, will do rest when I get chance, or any
offers? (http://www.altavista.digital.com/)

Regards
nic

                 [1][LINK]-[2][IMAGE] [3][LINK]-[4][IMAGE]

   [5][INLINE]
   [6][LINK]-[7][IMAGE][8][LINK]-[9][IMAGE][10][LINK]-[11][IMAGE][12][LIN
   K]-[13][IMAGE]
   [14][LINK]-[15][IMAGE][16][LINK]-[17][IMAGE][18][LINK]-[19][IMAGE][20]
   [LINK]-[21][IMAGE]

                                  My Bentley

   [22][INLINE]

  A final speech against the pitiful mockups of the Wegwerfautomobilbaus and
  for the grosshubmotorigen motor vehicles of wohltemporierten progressive
  movement.

   By Dieter Meier

   MY POLISH FRIENDS save the OPEL Vectra[23]suspender from the muzzle.
   An injection moulding dealer from the area of miles creates the newest
   Jaguar on, although he knows the fact that the body before its loading
   leads to anomischen voltages, because it the slogan more closely to
   fasten the belt which takes last remainder of reliability. Vladimir
   Uljanow, under the artist name [24]Lenin of one the largest criminal
   ones of world history, ordered itself after the victory of his
   Bolsheviks immediately [25]a Rolls-Royce with snow crawler-type
   vehicles and friction disk to the proletarian driver.

   The ritual [26]of the ape affentanzes unites maharadschas and brothel
   owner, kings and other luck knights, Malocher and carpet dealer, it
   all around the most important fetisch of the industrial age, which
   each year few millions a guilty one and an innocent one fall to the
   victim. Which once privilege of non-standard freedom of movement was,
   is long to by verses the sense founder on the roundabout of late
   capitalism come, which looks itself up with senseless rate the
   turnover carriers, which devour production increasing by
   rationalization galloping; problem, which by the atom bomb, which
   became each decent conventional war prevented, which intercepted so
   far overproduction, only more largely.

   If the 2.5 billion ladies and gentlemen in China and India for reason
   mentioned above are similarly motorized, we must make friends
   ourselves slowly with the thought to close the Bude here it are to
   only look at the babies struggling for air serbeln so pity with
   dignity off that a rebellion of the mothers forces the fathers not to
   drive [27]their extended Phalli to no more but as pubertierende
   pupils, who constitute in class stocks, who has the longest one.

   Why in all world Meier [28]does Dieter place against better knowledge
   into the series of these of the consumer terror to weakened small
   citizen and does enjoy themselves driving into old and new Bentleys
   exactly the same as all other farmhands of total motorizing, which the
   area so dreadfully verpesten the fact that even the completely
   uneinsichtigen Frenchmen, when they fell down in great quantities
   unconscious, whom had to limit traffic in Paris?

   I am strained whether my assertion it hanebuechen in such a way
   precipitates that I must quite actually be ashamed for it, or whether
   a call succeeds to me to the luxury, which only ausgebuffte Aestheten
   can gain the forbidden desire at the deadly abyss of the Hypokrisie,
   if they come [29]into Ekstase whether the improbable torque of those
   English large grosshubmotoren, which heave three tons sheet metal from
   the status so gently to the maximum speed that one is disturbed only
   as a gentleman of whispering progressive movement by the wind noises
   of the rear view mirror a little.

   The gentle is actually sliding in these motor vehicles, which
   contributes gasoline benzinkutschen to be actually still called
   earned, an educational experience, that, if it can be enjoyed released
   from banally social efforts, [30]in the zenbuddhistischen sense to
   that last loosening, which lets also heaviest step out young after to
   a calm travel with the deep balance, which makes it possible for them,
   not equal the Erstbesten, with which they do not agree, eats to
   polish.

   These crates of wohltemporierten progressive movement, which hardly
   entice to hectic reactions, give the feeling of the railway to my
   children, and also long travels by beautiful Italy become at the
   picknick desks in the fund a pathfinder pleasure. These auto is
   manufactured, one orders them still almost quite by hand like sailing
   boats and protects thereby in the age of the entseelten mass
   production, in which many humans become impoverished [31]such as
   Chaplin &#½in decaying╗Times [32]at sausage machines, arts and crafts
   threatened by becoming extinct. The intarsien and leather work receive
   the sense for quality, which is urgently necessary in our
   waste-oriented society. They are a quiet and elegant proclamation
   against the pitiful mockups of the Wegwerfautomobilbaus, which
   in-crept also with the interest ruins of the oberschicht geknechteten
   by senseless savings rage, those, instead of promoting the beautiful,
   in their assembly-line vehicles at the interests on capital suffocate,
   although even would have them the distinguished function, a
   counterweight to create against the grausige average of Mercedes,
   Jaguar, BMW, Cadillac and like the other exponents of contemporary
   Angeberei are otherwise still called.

   The actual challenge consists for the enlightened driver of
   [33]Bentley or Rolls-Royces of approaching that Nirwana which lets it
   bear the civil suspicion of the Hochstapelei stoisch. Also the
   recorder is not always vergoennt this, and he observes himself the
   more frequent, a verlegenes to put almost excusing smile if interested
   eyes look into its auto, around the face of the [34]*** TRANSLATION
   ENDS HERE ***[35]Idioten zu sehen, der am Ende des zweiten
   Jahrtausends immer noch einen Schlitten aus den AnfΣngen des
   Industriezeitalters pilotiert. Ich wⁿnschte mir, dass die sch÷nen
   Autos, die den Insassen mittelfristig zu tiefer Gleichmut fⁿhren,
   Σusserlich nicht zu erkennen wΣren und aussΣhen wie ein VW Passat,
   glaube aber, dass der Auseinandersetzung mit dem Bluff dieser Karossen
   durchaus ein emanzipatorisches Moment innewohnt, das sich wohltuend
   abhebt vom [36]Seldwyla-spezifischen Understatement, einer der
   perversesten und unsinnlichsten Formen der Angeberei.

   Da ich so wunderbar in Fahrt gekommen bin, will ich den inneren Druck
   dieses Pamphlets in einem Ausruf gipfeln lassen: Fahrt Bentley, Leute,
   noch ist es nicht zu spΣt!

   PS: Das Schwesterschiff Rolls-Royce wurde im letzten Satz nur aus
   sprachrhythmischen Grⁿnden nicht erwΣhnt. Ich kann mit dem Snobismus
   der Tiefstapelei, mit der sich Bentley- von Rolls-Royce-Fahrern
   abzugrenzen glauben, nichts anfangen. Ob man Bentley oder Rolls-Royce
   fΣhrt, ist eine rational sachliche Entscheidung. Jedes dieser Autos,
   sehr verehrter Kunde, hat seine Vor- und Nachteile, die ich Ihnen in
   einem ausfⁿhrlicheren GesprΣch gerne darlegen werde.

   Dieter Meier, Filmer und SΣnger, lebt in Los Angeles.
     _________________________________________________________________

       [ [37]Aktuelles Heft | [38]NΣchstes Heft | [39]Frⁿhere Hefte |
     [40]Feedback | [41]Bestellung | [42]Werbung | [43]▄ber NZZ Folio |
                                [44]Suchen ]
     [45][LINK]-[46][IMAGE][47][LINK]-[48][IMAGE][49][LINK]-[50][IMAGE]
       [ [51]Neue Zⁿrcher Zeitung | [52]NZZ FOLIO | [53]Format NZZ ]
     _________________________________________________________________

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  51.
http://babelfish.altavista.digital.com/cgi-bin/translate?lp=de_en&urltext=http%3
a%2f%2fwww%2enzz%2ech
  52.
http://babelfish.altavista.digital.com/cgi-bin/translate?lp=de_en&urltext=http%3
a%2f%2fwww%2enzz%2ech%2ffolio
  53.
http://babelfish.altavista.digital.com/cgi-bin/translate?lp=de_en&urltext=http%3
a%2f%2fwww%2enzz%2ech%2fformat
- --
- -- We are the architects, not the victims, of our own destiny       --
- -- nic   nic at python demon co uk  http://www.python.demon.co.uk/  --
- -- Bolton, UK website               http://www.bolton.ac.uk/bolton/ --
- -- Warning! Spam is billed CPU/connect time and traced/reported.    --


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------------------------------

Date: Tue, 5 May 1998 16:21:56 +0100
From: [e-mail]
Subject: (yello) Re: Translated article by dieter meier

The result of the translation is horrible to say the least.
As I cannot get onto the internet, could you please just send me the German
version.
I will try to translate it in Dutch first and then in English.
If requested, I can put in some photos of Bentley's which cannot be found
on the net because they come out of a very old book.
Thanx in advance ,                            Beekie


>4&*   (Go fourth and multiply) ("Storm: The Von Neuman Machine")




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------------------------------

Date: Mon, 4 May 1998 13:08:51 +0100
From: [e-mail]
Subject: Re:(yello) Confession

>My brother thinks Yello are utter bollocks. So I killed him.
>With a knife. In the kitchen.
>I chopped him into small pieces and fed him to the dog who lives next
door.
>The dog thinks Yello are quite good, incidently.
.
.
.
.
But what did he think about your brother?




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------------------------------

Date: Tue, 5 May 1998 09:45:56 +0200
From: [e-mail]
Subject: RE: (yello) Yello interview found

Hello list(eners)

I've made a quick transaltion of this interview using Altavista
Babblefish. I haven't made any gramatical corrections due to lack of
time but I have also added the original text in german if someone whats
to save it and do it themself. Thanks Juhana, it's alwasy nice to see
new interviews with Boris.=20
Enjoy.

Regards

Eric


june 97=20

YELLO
Festplattenphonetic & Klangepen=20

Hamburg, germany

Interview:

YELLO

Text: Carsten Claus

Already once I formulated the line " separately march, united modulate
". Which was gemuenzt on the mode of operation of Hardfloor at that
time, applies in certain way also to Yello. With the fine difference
that the one, Boris Blank is, meet-wise Studio Eremit, the other one,
Dieter Meier, rather losgleoester Weltenbummler, which roars
sporadically however excitingly its phonetics gigabyteweise by the
transducer. For now seventeen years the two are lively thereby (one in
moments of the hitting a corner the long-known " Oh Yeah " slips again
and again over the lips) and do not only deliver in regular intervals
moving albums, but also thick surprises. Electronic music (-
development) without Yello? Not conceivablly. This is acknowledged also
again and again by advancing, and who heard once monstroesen sound
dolomites of Swiss Boris Blank, that is on always and eternally lost -
perhaps also in its " Pocket University" verses.

Pilz: Which was noticeable to me, under no circumstances when criticism
meant, is that certain items emerge, which one already knows from other
Yello pieces. Thus for example " Celsius " a little reminds me of "
Drive/Driven " (album " baby " 1991).

Boris: The sounds surely not. That itself under-consciously certain
tendencies repitieren, into which seventeen years, in which there are
now already Yello, that can quite be. That is probably also the
significant at the face from Yello that it remained in such a way with
the years always. Clearly one becomes older and grows with this face,
but we to have actually always the same kept, not have us not
artificially or by surgery modified, like that for example David Bowie
makes, which with each second year, in which he makes somewhat new, how
a chamaeleon completely different is - which its concept is, which also
good I find. But Yello remained there always faithful itself.

Pilz: That is with you reliably the case, whereby one hears with Bowie
however after like before that it is it... at least, if it sings.=20

Boris: Quite clearly, at his voice, completely determines.=20

Pilz: Your new factory became very clubbig. Are you much on the way or
from where the intention comes for this. As I heard, you refer much over
a radio ending.

Boris: I am not very much on the way, but in franzoesischsprachigen
Switzerland there is a radiosender of name " Couleur Trois ". if I am in
the auto, I always hear this sender, because it is my opinion the best
according to in Europe. Those are genuinly courageous, play
Underground... really play everything that is pleased the devil on the
cars. And that is clearly that that under-consciously also a small
influences me, there I on the moon does not live and evenly
under-consciously such influences and inspirations entgegenehme. That
colors naturally also the music, which I make. I believe also that there
were Nebenpfade, which went to Tango or Cha Cha toward Latin American
Rhytmen, perhaps even times on the road, on which Yello is for seventeen
years again and again. It always remained free us, which we wanted to
make. Perhaps not in of the Form, as those make that. That could and
wanted I not at all. But reliably it gives a few items, which were
inserted there, whatever of Drum'n'Bass, House or however to remind to
be able. But importantly is it nevertheless that Yello actually never
lost the significance and the characteristic and I believe to hear also
on this disk am it very typically that it is still Yello.=20

Pilz: You stress also " this disk ". In another interview I heard Dieter
Meier say that you so far always delivered a type sound painting and now
would have you Klankkleckse also simply once in such a way to be left,
thus used rawer items. How is that meant exact?

Boris: On the start with the first disk " Solid Pleasure ", where also "
Bostich " drauf was, we operated exactly the same, as I make it also
today again. On the last disks strengthen things were drauf, which were
very songorientiert and came along popelektronisch, classical
Songstrukturen such as Refrain, verse repeated themselves. On this disk
now the entire sound building is again in such a way equipped that
Dieter Meiers voice was used rather as ornamentation, instead of as a
basic, balladenhafte voice. At the start, with the first two, three
disks it had terribly fun made times only with wordings to under-paint
with the phonetics of the voice the rhythm. That is in the future rather
the way. It can be that we in the last four, five years too strongly on
Abwegen toward of Songs, perhaps also of radio-conformal things
experimented, which I would like to lead in the future rather again into
the experimental, mental area. With much joy, with much Spontanitaet,
without thinking: " that plays someone, probably is that... ", as at the
start again with much joy to start, not after two to stop three minutes
and begin somewhat new, but it, if it flows times, flow and be developed
can. That makes nevertheless much more fun, then I am many faster with
operating, there am many more interesting creativity. That the
difference would not be so fatal, but the inclination is on the new disk
quite certainly again rather direction old times.=20

Pilz: There me these monstroesen pieces are earliest in memory, like
e.g.. " Sweet Thunder ".

Boris: Yes, I like that also very much. I think the fact that such
pieces must have again more workstation - completely determines. If I
find the time in addition, I would like to make a disk only with such
things, such Gefilde and atmospheric TRACKS. I would like to carry out
that very gladly once, but the time so far never was available. There
are very many friends and people, me inquires " now Mach ' nevertheless
times a disk with loud things like " Sweet Thunder ", there is you in it
and feels well ".=20
Pilz: There I already wait for five years drauf.=20

Boris: See you, that are a market gap. The fact that we did not make
that yet is actually very unfortunate.

Pilz: With the topic fun: that seems to stick on also different. I mean
with it Gigi Galaxy of Teknotika, which made the piece of " The Spirit
OF Boris blank " and whose largest desire was it, you this disk would
come. Folded and he was complete finally from the little house. How do
you react to such tributes?

Boris: That has me naturally much been pleased and again and again makes
happy it me, if I meet and to me say people such as Westbam or Jam &
Spoon: " you know, how much influence you on us exercised?! ". That
makes me in the first moment shifts, but if I hear that ten times think
I, there which to will be. I was also recently in England with " Fat Cat
". Those have always the newest disks, which are trailblazing in the
English scene. I said to a coworker, who made Engineer at that time,
that I was a giant fan of " Cabaret Voltaire ". That meant then " I
knows that and that, that said nevertheless, Yello, those is always for
me the largest, a daily we will be also as large as those and also such
music will make ". It is very merry, as one can be surprised, if one a
Pop star, whom one always sees, becomes acquainted with and notices in
the newspaper that he is completely normal humans.

Pilz: Do you get also many disks from this area, people, which press you
times CD or disk into the hand?=20

Boris: Fewer, but I have there good people. An acquaintance, who
operates in Zurich for the Polygram, that is washed already with all
landing on water, knows everything. That is sampled, because he made the
" Energy " also together with Arnold Meier in Zurich and the whole
Parties and in Switzerland is very popular. That gets each week 500 DS
and Vinyls, which one cannot hear no more. The substantial pickt raus
and says " Boris, which you must listen to times ". And I have hardly
time, I operate all day long, in the evening would like I little peace
to have. It occurs therefore rarely that I have one weekend correctly
desire, but then slams I the headphones more rueber and sounds
themselves it full Pulle. It is there probably as in the film and in the
literature that 90% are really junk. It gets so much, where one must
say, that is nevertheless unfortunate... over...

Pilz: Vinyl?=20

Boris: Exactly, which one can really say, without insulting someone.
Otherwise I hear evenly very gladly this radio, if I sit in the auto.
That is to section so dreamed and so hard, all these things, which one
hears today. s something like " Lamb ", which one hears a half year
later everywhere, do not play then already the no more. Those are always
much avant-garde. There one can hear very well for itself, what could
become tendenziell commercial. I often make bets with my wife, where I
legend " that to quite certainly access! " and two, three months later
is it like that.=20

Pilz: If you finally the whole time in the studio sits, is Dieter Meier
only added, if everything is finished, he quasi before completed facts
is placed?

Boris: With this disk it was the first time the case, as you said it
that this mark the bride was made up and prepared, before the bridegroom
was allowed to see it. It was also very much surprised. Well, with
individual Takes he opened and said perhaps times the door " Hey, Boris
I is here and already again away. " As I it the album then played said
it: " super Boris good, find I! You must do however a favour to me. I
moecht once that do not sing, which you want.... " thus that I produce
him "... separate we go to another friend from me into the studio. " I
meant o.k., which can make that. That had HardDisk Recording and post
office Production. Take up ' times, without I between them which to it
say can. We had then a LIBRARY with nine hours Voice material that it
from be-access improvised. Then the hard work came to selektionieren all
this there was Dieter already again in L.A. I the items for each Song
rausgepickt and by hard disk Recording again down-loaded, everything
cleaned, only the best things took and like a puzzle used. That is
nothing new from the technique however from our mode of operation is
very interesting that. When I had arranged everything and it was
finished, Dieter came again to Zurich and belonged itself. There there
were here and there a few things where it said, here it was not a
bischen quietly, there hears one the voice any more. then I made no
problem louder. But otherwise was a very organic affair.

Pilz: Dieter has also this unbelievable talent to draw its text ideas
from unbelievably banal things. The piece of " Blender " there always
occurs to me, in which it concerns nothing different one, than a kitchen
mixer anzupreisen.=20

Boris: for sale....ja, as so cheap Solution, who is with suspenders at a
status.=20

Pilz: You mentioned also once the term of the " destructive Ampution ",
in the connection that one can develop an idea also to death. It
concerned to operate the spontaneous and be busy like a Cirurg.

Boris: Yes, in the form I said once something. It is as with the
complementary colors. If you take the same bright green or the blue and
merge with, the equally strong yellow facing on the scale, then the grey
gives. If you use too many tone qualities merge and too many Christian
trees overloaded want - suddenly that is only grey. You do not see vo
the forest to loud trees any longer. In the music I believe, am it
importantly that certain frequencies are estimiert, also weighed out, so
that the basses are separate from the heights. And thus I believe to
in-go achieve one also a certain transparency in the music and it then
also fun make to sound oneself it into the sound buildings and therein
unzugucken myself. That is then a correct experience.



In german:
Schon einmal formulierte ich die Zeile "getrennt marschieren, vereint
modulieren". Was damals auf die Arbeitsweise von Hardfloor gem=FCnzt war,
trifft in gewisser Weise auch auf Yello zu. Mit dem feinen Unterschied,
da=DF der eine, Boris Blank, tageweiser Studio-Eremit ist, der andere,
Dieter Meier, eher losgle=F6ster Weltenbummler, der sporadisch aber
spannend seine Phonetik gigabyteweise durch den Wandler r=F6hrt. Seit
nunmehr siebzehn Jahren sind die beiden munter dabei (immer wieder
rutscht einem in Momenten der Verz=FCckung das altbekannte "Oh Yeah" =FCb=
er
die Lippen) und liefern nicht nur in regelm=E4=DFigen Abst=E4nden bewegen=
de
Alben ab, sondern auch faustdicke =DCberraschungen. Elektronische Musik
(-entwicklung) ohne Yello? Nicht denkbar. Dieses wird ihnen auch immer
wieder von Nachger=FCckten best=E4tigt, und wer einmal die monstr=F6sen
Klangdolomiten des Schweizers Boris Blank geh=F6rt hat, der ist auf immer
und ewig verloren - vielleicht auch in dessen "Pocket Universe".=20


Pilz: Was mir auffiel, keinesfalls als Kritik gemeint, ist, da=DF gewisse
Elemente auftauchen, die man auch schon von anderen Yello- St=FCcken
kennt. So erinnert mich beispielsweise "Celsius" ein wenig an
"Drive/Driven" (Album "Baby" 1991).=20

Boris: Die Sounds sicher nicht. Da=DF sich unterbewu=DFt gewisse Stimmung=
en
repitieren, in den siebzehn Jahren, in denen es Yello nun schon gibt,
das kann durchaus sein. Das ist ja sicher auch das signifikante an dem
Gesicht von Yello, da=DF es mit den Jahren immer so geblieben ist. Klar
wird man =E4lter und w=E4chst mit diesem Gesicht, aber wir haben eigentli=
ch
immer dasselbe behalten, haben uns nicht k=FCnstlich oder chirurgisch
ge=E4ndert, wie das beispielsweise David Bowie macht, der mit jedem
zweiten Jahr, in dem er etwas neues macht, wie ein Cham=E4leon v=F6llig
anders ist - was sein Konzept ist, was ich auch gut finde. Aber Yello
ist sich da immer treu geblieben.=20

Pilz: Das ist bei Euch sicher der Fall, wobei man bei Bowie aber
nachwievor h=F6rt, da=DF er es ist ... zumindest, wenn er singt.=20

Boris: Ganz klar, an seiner Stimme, ganz bestimmt.=20

Pilz: Euer neues Werk ist ja sehr clubbig geworden. Bist Du viel
unterwegs oder woher kommt die Intention hierf=FCr. Wie ich h=F6rte,
beziehst Du viel =FCber eine Radiosendung.=20

Boris: Ich bin nicht sehr viel unterwegs, doch in der
franz=F6sischsprachigen Schweiz gibt es einen Radiosender Namens "Couleur
Trois". Immer, wenn ich im Auto bin, h=F6re ich diesen Sender, weil er
meiner Meinung nach der beste in Europa ist. Die sind echt mutig, die
spielen Underground .... die spielen wirklich alles, was dem Teufel auf
den Wagen gefallen ist. Und das ist klar, da=DF mich das unterbewu=DFt au=
ch
ein bischen beeinflu=DFt, da ich ja nicht auf dem Mond lebe und eben
unterbewu=DFt solche Einfl=FCsse und Inspirationen entgegenehme. Das f=E4=
rbt
nat=FCrlich auch die Musik, die ich mache. Ich glaube auch, da=DF es auf =
der
Stra=DFe, auf der sich Yello seit siebzehn Jahren befindet, schon immer
wieder Nebenpfade gab, die in Richtung lateinamerikanische Rhytmen,
vielleicht sogar mal Tango oder Cha Cha gingen. Es ist uns immer
freigeblieben, was wir machen wollten. Vielleicht nicht in der Form, wie
die das machen. Das k=F6nnte und wollte ich gar nicht. Aber sicher gibt e=
s
ein paar Elemente, die da eingebaut wurden, welche an Drum=B4n=B4Bass, Ho=
use
oder wie auch immer erinnern k=F6nnen. Aber wichtig ist es doch, da=DF Ye=
llo
die Signifikanz und die Charakteristik eigentlich nie verloren hat und
ich glaube, auch auf dieser Platte ist es sehr typisch zu h=F6ren, da=DF =
es
immer noch Yello ist.=20

Pilz: Du betonst auch "diese Platte". In einem anderen Interview h=F6rte
ich Dieter Meier sagen, da=DF Du bisher immer eine Art Klanggem=E4lde
abgeliefert hast und jetzt h=E4ttest Du Klankkleckse auch einfach einmal
so stehen gelassen, also rohere Elemente verwendet. Wie ist das genau
gemeint?=20

Boris: Am Anfang mit der ersten Platte "Solid Pleasure", wo ja auch
"Bostich" drauf war, haben wir genauso gearbeitet, wie ich es auch heute
wieder mache. Auf den letzten Platten waren verst=E4rkt Sachen drauf, die
sehr songorientiert waren und popelektronisch daherkamen, sich
klassische Songstrukturen wie Refrain, Vers wiederholten. Auf dieser
Platte nun ist das gesamte Klanggeb=E4ude wieder so best=FCckt, da=DF Die=
ter
Meiers Stimme eher als Ornament eingesetzt wurde, statt als eine
tragende, balladenhafte Stimme. Am Anfang, bei den ersten zwei, drei
Platten hatte es unheimlich Spa=DF gemacht mal nur mit Wortlauten, mit de=
r
Phonetik der Stimme den Rhythmus zu untermalen. Das ist in der Zukunft
eher der Weg. Es kann sein, da=DF wir in den letzten vier, f=FCnf Jahren =
zu
stark auf=20
Abwegen in Richtung von Songs, vielleicht auch von radiokonformen Sachen
experimentiert haben, was ich in Zukunft eher wieder in den
experimentellen, mentalen Bereich f=FChren m=F6chte. Mit viel Freude, mit
viel Spontanit=E4t, ohne zu denken: "Spielt das jemand, ist das wohl...",
wie am Anfang wieder mit viel Freude daranzugehen, nicht nach zwei, drei
Minuten aufzuh=F6ren und etwas neues anzufangen, sondern es, wenn es mal
flie=DFt, flie=DFen und sich entwickeln lassen. Das macht doch viel mehr
Spa=DF, so bin ich viel schneller mit dem Arbeiten, da ist die Kreativit=E4=
t
viel interessanter. Nicht da=DF der Unterschied so fatal w=E4re, aber die
Neigung ist auf der neuen Platte ganz bestimmt wieder eher Richtung alte
Zeiten.=20

Pilz: Da sind mir am ehesten diese monstr=F6sen St=FCcke in Erinnerung, w=
ie
z.B. "Sweet Thunder".=20

Boris: Ja, das mag ich auch sehr. Ich denke, da=DF solche St=FCcke wieder
mehr Platz haben m=FCssen - ganz bestimmt. Wenn ich die Zeit dazu finde,
m=F6chte ich eine Platte nur mit solchen Sachen machen, solche Gefilde un=
d
atmosph=E4rischen Tracks. Das m=F6chte ich sehr gerne einmal verwirkliche=
n,
aber die Zeit ist bisher nie vorhanden gewesen. Es gibt sehr viele
Freunde und Leute, die mich anfragen "Jetzt mach' doch mal eine Platte
mit lauter Sachen wie "Sweet Thunder", da bist Du drin und f=FChlst Dich
wohl".=20

Pilz: Da warte ich auch schon seit f=FCnf Jahren drauf.=20

Boris: Siehst Du, das ist eine Marktl=FCcke. Da=DF wir das noch nicht
gemacht haben, ist eigentlich sehr schade.=20

Pilz: Bei dem Thema Spa=DF: das scheint ja auch andere anzustecken. Ich
meine damit Gigi Galaxy von Teknotika, der ja das St=FCck "The Spirit Of
Boris Blank" gemacht hat und dessen gr=F6=DFter Wunsch es war, Dir w=FCrd=
e
diese Platte zukommen. Hat ja schlie=DFlich geklappt und er war v=F6llig =
aus
dem H=E4uschen. Wie reagierst Du auf derartige Tribute?=20

Boris: Das hat mich nat=FCrlich sehr gefreut und immer wieder freut es
mich, wenn ich Leute wie Westbam oder Jam & Spoon treffe und die mir
sagen: "Wei=DFt Du, wieviel Einflu=DF Du auf uns ausge=FCbt hast?!". Das =
macht
mich im ersten Moment verlegen, aber wenn ich das zehnmal h=F6re denke
ich, da wird was dran sein. Ich war auch j=FCngst in England bei "Fat
Cat". Die haben immer die neuesten Scheiben, die wegweisend in der
englischen Szene sind. Einem Mitarbeiter, der damals Engineer gemacht
hat, habe ich gesagt, da=DF ich ein Riesen-Fan von "Cabaret Voltaire"
gewesen sei. Der meinte dann "Ich kenn doch den und den, der hat immer
gesagt, Yello, die sind f=FCr mich die gr=F6=DFten, eines Tages werden wi=
r
auch so gro=DF sein wie die und auch solche Musik machen". Es ist sehr
lustig, wie man =FCberrascht sein kann, wenn man einen Pop-Star, den man
immer in der Zeitung sieht, kennenlernt und merkt, da=DF er ein v=F6llig
normaler Mensch ist.=20

Pilz: Kriegst Du auch selber viele Platten aus diesem Bereich, Leute,
die Dir mal eine CD oder Platte in die Hand dr=FCcken?=20

Boris: Weniger, aber ich habe da gute Leute. Ein Bekannter, der in
Z=FCrich f=FCr die Polygram arbeitet, der ist schon mit allen Wassern
gewaschen, der kennt alles. Der wird bemustert, weil er auch zusammen
mit Arnold Meier die "Energy" in Z=FCrich und die ganzen Parties gemacht
hat und in der Schweiz sehr popul=E4r ist. Der bekommt jede Woche 500 CDs
und Vinyls, das kann man schon gar nicht mehr h=F6ren. Der pickt das
wesentliche raus und sagt "Boris, das mu=DFt Du mal anh=F6ren". Und ich h=
abe
kaum Zeit, ich arbeite den ganzen Tag, abends m=F6chte ich ein bischen
Ruhe haben. Es kommt daher selten vor, da=DF ich ein Wochenende richtig
Lust habe, aber dann knalle ich mir die Kopfh=F6rer r=FCber und h=F6re es
volle Pulle an. Es ist da wohl auch wie im Film und in der Literatur,
da=DF 90% wirklich Ramsch ist. Da gibt=B4s so viel, wo man sagen mu=DF, d=
as
ist doch schade...um....=20

Pilz: ..ums Vinyl?=20

Boris: Genau, das kann man wirklich sagen, ohne jemanden zu kr=E4nken.
Sonst h=F6re ich eben sehr gerne dieses Radio, wenn ich im Auto sitze. Da=
s
ist zu Teil so vertr=E4umt und so hart, all diese Sachen, die man heute
h=F6rt. s etwas wie "Lamb", die man ein halbes Jahr sp=E4ter =FCberall h=F6=
rt,
das spielen die dann schon nicht mehr. Die sind immer sehr avantgarde.
Da kann man sehr gut f=FCr sich selber h=F6ren, was denn tendenziell
kommerziell werden k=F6nnte. Ich mache oft Wetten mit meiner Frau, wo ich
sage "Das wird ganz bestimmt greifen!" und zwei, drei Monate sp=E4ter ist
es so.=20

Pilz: Wenn Du schlie=DFlich die ganze Zeit im Studio sitzt, kommt Dieter
Meier erst hinzu, wenn alles fertig ist, wird er quasi vor vollendete
Tatsachen gestellt?=20

Boris: Bei dieser Platte war es das erste Mal der Fall, wie Du es gesagt
hast, da=DF dieses Mal die Braut geschminkt und hergerichtet wurde, bevor
der Br=E4utigam sie sehen durfte. Er war auch sehr =FCberrascht. Gut, bei
einzelnen Takes hat er vielleicht mal die T=FCr aufgemacht und gesagt
"Hey, Boris ich bin hier und auch schon wieder weg." Als ich ihm das
Album dann vorgespielt sagte er: "Super Boris, find ich gut! Du mu=DFt mi=
r
aber einen Gefallen tun. Ich m=F6cht einmal nicht das singen, was Du
willst...." also, da=DF ich ihn produziere "...sondern wir gehen zu einem
anderen Freund von mir ins Studio." Ich meinte O.K., der kann das
machen. Der hatte HardDisk-Recording und Post-Production. Nimm=B4 das mal
auf, ohne da=DF ich dazwischen was dazu sagen kann. Wir hatten dann eine
Library mit neun Stunden=20
Stimmenmaterial, da=DF er aus dem Stehgreif improvisiert hat. Dann kam di=
e
harte Arbeit, das alles zu selektionieren, da war Dieter schon wieder in
L.A. Ich habe die Elemente f=FCr jeden Song rausgepickt und von HardDisk
Recording wieder runtergeladen, alles ges=E4ubert, nur die besten Sachen
genommen und wie ein Puzzle eingesetzt. Das ist von der Technik her
nichts neues aber von unserer Arbeitsweise ist das sehr interessant. Als
ich alles zusammengestellt hatte und es fertig war, kam Dieter wieder
nach Z=FCrich und hat sich das angeh=F6rt. Da gab es hier und da ein paar
Sachen wo er sagte, hier sei es ein bischen leise, da h=F6rt man die
Stimme nicht mehr. Kein Problem, dann habe ich das lauter gemacht. Aber
ansonsten war das eine sehr organische Angelegenheit.=20

Pilz: Dieter hat ja auch dieses unglaubliche Talent, sein Textideen aus
unglaublich banalen Sachen zu ziehen. Mir f=E4llt da immer das St=FCck
"Blender" ein, in dem es um nichts anderes geht, als einen K=FCchenmixer
anzupreisen.=20

Boris: ....blender for sale....ja, wie so billiger Jakob, der mit
Hosentr=E4gern an einem Stand steht.=20

Pilz: Du hast auch einmal den Begriff der "destruktiven Ampution"
erw=E4hnt, in dem Zusammenhang, da=DF man eine Idee auch zu Tode entwicke=
ln
kann. Es ging um das spontane arbeiten und wie ein Cirurg zu hantieren.=20

Boris: Ja, in der Form habe ich einmal etwas gesagt. Es ist wie mit den
komplement=E4rfarben. Wenn du das gleiche lichtstarke Gr=FCn oder das Bla=
u
nimmst und mit dem auf der Skala gegen=FCberliegendem, gleichstarken Gelb
zusammenmischst, dann gibt das Grau. Wenn du also zuviele Klangfarben
zusammenmischst und zu viele Christb=E4ume =FCberladen willst - pl=F6tzli=
ch
ist das nur noch grau. Du siehst vo lauter B=E4umen den Wald nicht mehr.
In der Musik glaube ich, ist es wichtig, da=DF gewisse Frequenzen
estimiert werden, auch abgewogen, damit die B=E4sse von den H=F6hen getre=
nnt
sind. Und so glaube ich, erreicht man auch eine gewisse Transparenz in
der Musik und es dann auch Spa=DF macht, sie sich anzuh=F6ren, sich in di=
e
Klanggeb=E4ude hineinzubegeben und sich darin unzugucken. Das ist dann ei=
n
richtiges Erlebnis.



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End of yello-digest V2 #44
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