The opening track, TÜRÖFFNER, begins with a rounded intro inspired by Afrika Bambaataa before dramatically shifting into a tresoresque, Detroit techno beast. How did you approach blending these distinct sounds?
THAT track in particular came out of absolutely nowhere… it was a lucky thing that the tape was rolling, it’s almost exactly faithful to the jam session it came out of. You can always trust Werner to have something to say; Hanni to bleed into the Perkons and Uwe to twist the Neutron into a soup. It’s about sharing what you love with others. At the very least, Detroit vibes are reflected in that. Werner denies the Bambaataa influence though, he was just trying to be polite when he said “haaallllooooooo!”
As a band deeply committed to inclusivity, do you hope LIEBESERKLÄRUNG challenges traditional notions of who belongs in club culture and who gets to be heard in the music industry?
I think in the last 5 years the established order has been disrupted comprehensively with lots of artists emerging out of the lockdowns that weren’t known before, which has had some upsides. Unfortunately, it’s turned heavily in favour of “personality” or “brand” over elevating abstract IDEAS or sounds that can continue to inspire. If followers and likes are the benchmark of success, then only those who are good at manipulating “the algo” get ahead. Great if they bring good ideas along but a disaster if they promote exclusivity and have no substantive purpose. What we hope for this album is that it is heard as a clarion call to others to really listen to themselves in what they would LIKE to do and hear rather than what they SHOULD do. Right now that seems like a privileged thing to say in a magazine interview – I get the irony, but I say it because I want listeners to feel okay with taking time to develop themselves. It took us 8 years to get to the point where we could make an album in merely a few months after all. There’s a lot of undiscovered territory in music and challenging tradition should be the natural inclination of an artist in any case.
Your stance on far-right politics is clear with your bold ‘Fuck AfD!’ statement. Can you share what motivated this strong political stand, and how artists can contribute to challenging extremist ideologies in their communities?
It’s not that bold to say so; they are cynical populists. The AfD leadership pushes and manipulates people using simple narratives for personal gain or out of narcissism. Those who follow them are hoping for a unicorn simple narrative to take hold that simply does not exist. The ones pushing falsehoods or twisting complex truths are the ones we are directly addressing in this statement. Artists have the role of inspiring these feelings of empowerment and creativity for new ideas. The job should be to bring people into the mindset of wanting to understand the world better, not to withdraw from it. We don’t believe that might makes right and that people have to surrender to fear because people ARE equal on one important level – equally capable of greatness and of cynicism. We hope that people will place more faith in themselves and in their own power and ability to be creative in a dynamic world.
As Wellen.Brecher continues to break barriers and advocate for inclusion, what kind of impact do you hope to leave on the music industry and on future generations of artists, especially those who have been marginalized or excluded?
Werner: Positive energy comes to us as feedback when we are told from all sides that we make good music for everyone. It is important that more people, regardless of disability, are included and that no one is excluded. I personally find it terrible to exclude people. I often see this when many people are excluded. Many people are interested in the fact that we are an example. They realize that if we can make it, then they can too. We are role models and bear the responsibility to show positively that a disability does not have to be a barrier. Everyone can do what they want when they feel like it. With the DIY principle, significant changes can be made. Making music doesn’t have to mean that you have to have studied or have wealthy parents. There are opportunities that can be found and utilized. It is our responsibility to show this positively and to lead by example. At the same time, the fact that they sometimes need support or have less self-confidence should not be forgotten. If structural conditions, like ramps, are not in order, it should be taken seriously. It’s a little paradoxical: it is important not to overemphasize these issues, but at the same time, they must not be forgotten. People with disabilities, regardless of the type, can be included everywhere. It is important that everyone dares to pursue their dreams, for example, making music if that is their wish. Perhaps that is exactly what it’s about: We are a role model for others, showing that we simply do it and that it is possible to advance with our music.
Finally, what advice would you give aspiring artists with disabilities who may feel excluded or overlooked by the music industry?
The first piece of advice is: Pursue your dreams. Find like-minded people and reach out to others. If someone wants to make music, they should seek support until they find the right people who can help them. You can always get in touch with projects like ours, no matter which country you come from, and we also speak English. I consider direct conversations to be important and do not expect the music industry to be friendly. If you want to make music, it should come from passion and not from a desire to be part of the music industry. It is often better to start small, find your own paths, and not pretend to know everything. The key point is to create your own music industry and not let existing structures hold you back.
