Interview with Michael Sele from The Beauty of Gemina 16.02.2012
You wrote all lyrics and compose all music for The Beauty of Gemina. I understand, that others members from band agree on it. Have set up a working system at the stage of setting up a band if it came out only later in the course of working on the songs?
Michael Sele: As a songwriter I do have the threads in my hand more or less, but we still share a band feeling. David and Mac also bring in some ideas and especially in our live performances we elaborate everything together. We work very well together.
How You recall Your stay in Poland on Castle Party? You liked some Polish bands?
Our stay in Poland was great but much too short. However, we very much enjoyed the festival! The crowd was enthusiastic and the atmosphere was really amazing. We got to know lovely people and we won a lot of new fans, who have been following and supporting us since then. I also keep contact with DJs and musicians from Poland, there is great creative potential.
Your new CD „Iscariot Blues” is Your fourth album. What is the difference between this album and previous ones?
In any case, after the first three albums, which in retrospective I see as some sort of trilogy due to their overlap in terms of form and content, I wanted to break up some structures and intentionally experiment on some new elements. The tracks are more reduced, limited to the very core. During the whole production process I accepted the challenge of reducing to the max to get the optimum sound essence of the songs.
How would You describe the future of the so-called gothic rock? It seems, that this kind of music still has a new fans even though was most popular in the 90.
That’s hard to tell, I believe, that people want to have bands, musicians or songs, that are as authentical and true as possible and that differ from the multitude. Many bands sound pretty much the same nowadays and the whole electronic dance music that’s played at parties as for me is too dominant on the live market. There is a number of playback bands who can do without real musicians and who travel from one Festival to another without too much effort filling their money bags. That can’t be the future! That’s why I’m glad to see bands with real drums and played bass and guitars coming back to become more popular again. That’s the only way for the scene to stay alive and to survive on a long term. I guess we just need a good mixture. That’s what probably got out of balance in the last couple of years.
Your songs are quite different stylistically. How would You describe eg mix of gothic metal or electro?
I would define tBoG as a modern wave-rock band with electronic touch.
Many fans compare Your voice to Alexander Veljanov. How do You comment it?
We certainly have some similarities but we differ quite considerably in timbre and phrasing.
I’m glad I could find my own expression, acoustic colour and language because that’s certainly one reason for getting so much credit for my work especially by established artists such as Ronny Moorings (Clan Of Xymox), Artaud Seth (ex-Garden of Delight/Merciful Nuns), Ernst Horn (Deine Lakaien), Bruno Kramm (Das Ich) or also Adrian Hates (Diary of Dreams). I’m fully accepted and that means a lo t to me.
You have many fans in Poland. When we are able to see you again in concerts here?
I really hope to come back to Poland in the near future. Unfortunately we could’t arrange the show at the Castle Party Festival 2012. But we do hope to get offers by Polish organisers. I guess if the fans get a move on and support us the might be one or the other door opening. It’s not on us to decide.
How the work proceeded on the album? What was Your inspiration, to writing lyrics on the CD?
I already started writing and recording new songs in autumn 2010. Early 2011 we were touring live a couple of weeks and so I was able to let the ideas rest a bit; towards spring 2011 I resumed production work intensively and finished the arrangements. Then followed the bass and drums recordings by Mac Vinzens and David Vetsch and last I finalised the album mix in summer.
Intrigued me, the cover of album „Iscariot Blues”, Where the idea for this cover and what is symbolizes this cover?
The cover is conceived as some sort of painting. The girl protagonist symbolises plotting, treason, innocence and atonement. We call it the Judas girl.
Review „Iscariot Blues” (pl)