Latest / GOLDSTÜCKLi ahoy / Geschwisterliebe MY A$$

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Geschwisterliebe MY A$$ · GOLDSTÜCKLi ahoy

• 0:00
  Speaker 1: Gold Stugli Ahoj.
• 0:02
  Speaker 1: This show is sponsored by you.
• 0:05
  Speaker 1: Listeners out there.
• 0:08
  Speaker 1: Fanclub.com.
• 0:10
  Speaker 1: slash
• 0:10
  Speaker 0: Gold Stugli.
• 0:11
  Speaker 0: join the platform now.
• 0:18
  Speaker 0: Gold Stugli Ahoj.
• 0:20
  Speaker 0: In your ears it's the sweetest lemonade.
• 0:24
  Speaker 0: There's six new songs.
• 0:26
  Speaker 0: They're good.
• 0:27
  Speaker 0: You can listen to them now.
• 0:39
  Speaker 1: Ladies and gentlemen, non-binary listeners, this is Goldstückli Ahoj, your favorite format for the topic of new music with the two men on the microphones with the good curat oren.
• 0:49
  Speaker 1: That's why we can curate so well, because we have
• 0:53
  Speaker 0: curate ears.
• 0:53
  Speaker 0: Both together.
• 0:54
  Speaker 0: A word play and then rhyme.
• 0:55
  Speaker 0: Let's start right
• 0:56
  Speaker 1: away.
• 0:56
  Speaker 1: Yes, sorry, I slipped out like that.
• 0:58
  Speaker 1: How are you Olli?
• 0:59
  Speaker 1: Are
• 0:59
  Speaker 0: you okay?
• 0:59
  Speaker 0: Yes, I'm fine.
• 1:00
  Speaker 0: I'm happy.
• 1:00
  Speaker 0: It's February.
• 1:02
  Speaker 0: Some things are closed.
• 1:05
  Speaker 1: And the Dry January is up.
• 1:07
  Speaker 0: Yeah, that's it from one thing.
• 1:08
  Speaker 0: Yeah, I think it's good.
• 1:10
  Speaker 0: And the other thing that's closed is our time at Spotify.
• 1:13
  Speaker 0: We've been free of Spotify for four weeks now.
• 1:15
  Speaker 0: And we just have to say thank you because you've all heard us at Spotify.
• 1:20
  Speaker 0: We
• 1:21
  Speaker 1: pulled over.
• 1:22
  Speaker 1: We had about sixty percent of our listeners at Spotify.
• 1:25
  Speaker 1: Then we pulled away from there.
• 1:27
  Speaker 1: We said we are now only to hear on all other platforms.
• 1:29
  Speaker 1: And now we have in the end more listeners than before.
• 1:32
  Speaker 1: How is that possible?
• 1:32
  Speaker 1: I don't
• 1:33
  Speaker 0: know.
• 1:34
  Speaker 1: So it's really awesome.
• 1:35
  Speaker 1: The props go out to the people out there who have participated in this move, who are involved in it.
• 1:40
  Speaker 1: Thank you
• 1:41
  Speaker 0: very much.
• 1:41
  Speaker 0: Very, very much.
• 1:41
  Speaker 0: And maybe
• 1:42
  Speaker 1: there are such small movements.
• 1:45
  Speaker 1: And finally, make the world a better place again.
• 1:49
  Speaker 0: Yes, nice cycle, I would say, in Switzerland.
• 1:52
  Speaker 0: So I would say that in Switzerland.
• 1:53
  Speaker 0: With the world camp,
• 1:55
  Speaker 1: you are also dealing with the first song I would like to introduce today.
• 1:59
  Speaker 1: And it comes from an artist who doesn't need any more introduction.
• 2:02
  Speaker 1: The boss has signed up.
• 2:04
  Speaker 1: In the big debate around the political situation in the United States, Bruce Springsteen writes a song within two days and rubs it out under the inscription Streets of Minneapolis.
• 2:15
  Speaker 1: Goldstückli aufzeichneten, am vergangenen Samstag, hat Alex Pretti in der Tat noch gelebt, dass zweite Opfer der Eis-Scherken in den Vereinigten Staaten.
• 2:26
  Speaker 1: Wir haben damals, oder was damals sage ich jetzt schon, weil die Zeit so schnell vergeht.
• 2:31
  Speaker 1: In der letzten Woche Brother Wallace vorgeschlagen, als Soundtrack für Eis-Demos, wo man dann eben sagt, das muss man nicht mitsingen, sondern das kann einfach im Hintergrund ballern und man schreibt einfach fucking Eis auf die Plakate.
• 2:43
  Speaker 1: That the topic in this week has to be discussed in such a necessary way, I wouldn't have thought that.
• 2:51
  Speaker 1: I wouldn't have thought that it would come back to death so quickly.
• 2:54
  Speaker 1: But in our context, the most amazing thing is how quickly Bruce Springsteen was with this song.
• 2:59
  Speaker 1: He went to the studio after the death of Alex Prattie on Saturday and published the song Monday.
• 3:03
  Speaker 1: And there you realize that the boss has to be relatively clean when he gives himself to such a number in the studio.
• 3:13
  Speaker 1: with such direct numbers.
• 3:15
  Speaker 1: And also without snorkel or metaphors a text is wrapped around it, which is a direct complaint to the Trump administration and especially to the ice-sharpeners.
• 3:25
  Speaker 1: Yes,
• 3:25
  Speaker 0: the boss does what the boss does.
• 3:27
  Speaker 0: and then bring everything to the point with a little pop.
• 3:31
  Speaker 0: It's really so accessible and poppy.
• 3:34
  Speaker 0: It's rare to hear from Bruce.
• 3:36
  Speaker 0: I was a little disappointed at the beginning, because I thought he was first,
• 3:40
  Speaker 1: ah,
• 3:41
  Speaker 0: Streets of Minneapolis, that's a new edition of Streets of Philadelphia.
• 3:45
  Speaker 1: And then he
• 3:46
  Speaker 0: thought, ah, no, and then Minneapolis also sang so crumbly, but when I heard it for the second and third time, I noticed what you told us, then everything was clear.
• 3:55
  Speaker 1: It's the ultra madness.
• 3:56
  Speaker 1: Before we take you back with the favorite text lines from this piece here, let's just go in.
• 4:02
  Speaker 1: The boss at the Goldstücklier Häufermatt, I wouldn't have thought about it either.
• 4:06
  Speaker 1: But it's great, he deserves it.
• 4:07
  Speaker 1: Bruce Springsteen with Streets of Minneapolis.
• 4:11
  Speaker 1: Through the winter's ice and cold, down to Gillette Avenue.
• 4:19
  Speaker 1: A city of flame fought fire and ice Neath an occupier's boots.
• 4:28
  Speaker 1: King Trump's private army from the DHS Guns belted to their coats Came to Minneapolis to enforce the law Or so their story goes.
• 4:45
  Speaker 1: Against smoke and rubber bullets In the dawn's early light Citizens stood for justice Their voices ringing through the night And there were bloody footprints Where mercy should have stood And two dead left to die on snow-filled streets Alex Pretty and Renee Bliss, I hear your thoughts Saving through the bloody mist.
• 5:29
  Speaker 1: We'll take our stand for this land And the stranger in our midst Kill the winner of twenty-six.
• 5:46
  Speaker 1: We'll remember the names of those Those who died on the streets of mini-S Federal thugs beat up boys and his chest.
• 6:06
  Speaker 1: Then we heard the gunshots and Alex pretty lay in the snow dead.
• 6:15
  Speaker 1: Their claim was self-defense.
• 6:18
  Speaker 1: soon Just don't believe your eyes And these whistles and foams Against Miller and Norm's dirty life And you're for the bloody mist.
• 6:41
  Speaker 1: People remember the names of those who died On the streets of Minneapolis.
• 7:12
  Speaker 1: They trample on our rights.
• 7:16
  Speaker 1: If your skin is black or brown, my friend You can be questioned or deported on site
• 7:25
  Speaker 0: In our chance of ice out.
• 7:28
  Speaker 0: now Our city's heart and soul persists Through broken glass and bloody tears On the streets of Minneapolis As I hear your voice singing through the bloody mist.
• 7:53
  Speaker 0: They killed and roamed in the winter of twenty-six Streets of Minneapolis by Boss Bruce Springsteen.
• 8:04
  Speaker 0: Thank you for joining us.
• 8:05
  Speaker 0: It was a bit sad at the beginning because I thought it would be Streets of Philadelphia.
• 8:14
  Speaker 0: In the middle of the songs, we all shout together, in our chance of eyes out now.
• 8:19
  Speaker 0: I really got the goosebumps there.
• 8:21
  Speaker 0: I thought, no, no, I made a mistake.
• 8:23
  Speaker 0: This is also one of my favorite places.
• 8:26
  Speaker 0: What I still find amazing is that you don't need to quote the text one by one.
• 8:37
  Speaker 0: The fact that both Alex Pretti and Rene Good are also mentioned.
• 8:40
  Speaker 0: That is also a sign of how directly this text is formulated.
• 8:44
  Speaker 0: from a teacher or from a nurse, but you called her by her name.
• 8:49
  Speaker 0: And that makes me extremely painful and at the same time a little bit beautiful for the listeners of
• 8:54
  Speaker 1: these two.
• 8:54
  Speaker 1: If you are really three or four days after what happened, you suddenly hear a song by Bruce Springsteen, where your uncle Cousin or your aunt... I think it's going to be really crazy.
• 9:18
  Speaker 1: Yes, it's going to be really crazy.
• 9:22
  Speaker 1: It's really weird times.
• 9:23
  Speaker 1: I mean, we're not the youngest anymore, and we haven't really experienced that yet.
• 9:32
  Speaker 1: We grew up in these romantic
• 9:35
  Speaker 0: nineties, where we thought everything was peaceful, and the Americans saved our asses all the time.
• 9:48
  Speaker 0: That's what we thought.
• 9:50
  Speaker 0: That's how we grew up.
• 9:51
  Speaker 0: And that he takes such a turn, where you think, hey, that's really just before the start, right?
• 9:58
  Speaker 0: So it's really, so very slippery, I think.
• 10:00
  Speaker 0: Yes, incredible,
• 10:01
  Speaker 1: the situation.
• 10:03
  Speaker 1: And then just one who calls up for it, or who makes it necessary, the people report, people from the art.
• 10:12
  Speaker 1: Now we have a position later that might be for ice.
• 10:16
  Speaker 1: The organization takes positions again, we have here in the program again.
• 10:22
  Speaker 1: What surprises me a bit is that the rap world is still a bit sluggish, what this topic is about.
• 10:28
  Speaker 1: So there could be more, there will be more, but there are also negative examples, such as Nicki Minaj.
• 10:33
  Speaker 1: Yes, he probably
• 10:34
  Speaker 0: just has friends in the prison here, right?
• 10:36
  Speaker 0: Or what was that?
• 10:37
  Speaker 0: I
• 10:37
  Speaker 1: have no idea what's going on with her.
• 10:39
  Speaker 1: In any case ... She's definitely bought it.
• 10:41
  Speaker 0: Yes, the offer takes place
• 10:43
  Speaker 1: and is really ... It's disgusting.
• 10:46
  Speaker 1: It's disgusting to look at.
• 10:51
  Speaker 1: And I don't understand exactly what the background is.
• 10:53
  Speaker 1: If you say someone has to get out of the classroom, but if that's how it works, that's another
• 10:58
  Speaker 0: question.
• 10:58
  Speaker 0: Yes, I think they let you buy it anyway.
• 11:01
  Speaker 0: I can't imagine that you can use it for a Charlie Kirk memorial party.
• 11:09
  Speaker 0: Yes,
• 11:10
  Speaker 1: but I mean, it also has... Trump, for a few days, lied again, got outed as a big fan, got this golden trump card, for which you actually have to pay a million, so that you don't have to postpone anything before the door.
• 11:24
  Speaker 1: So, it's all very, very strange.
• 11:27
  Speaker 1: Well, Nicki Minaj was never our topic so far.
• 11:31
  Speaker 1: Yes, but
• 11:31
  Speaker 0: you already thought it was funny.
• 11:32
  Speaker 0: Yes, absolutely.
• 11:33
  Speaker 1: And she really had a big fanshark in the queer scene, but of course also in the people of color.
• 11:40
  Speaker 1: And they were all shocked or shocked to see her.
• 11:45
  Speaker 0: Yes, and the performances with Jimmy Fallon were almost legendary.
• 11:49
  Speaker 0: It was cool.
• 11:50
  Speaker 0: She already presented her art with humor.
• 11:51
  Speaker 0: I thought it was good, but that's really weird.
• 11:55
  Speaker 0: Yes.
• 11:55
  Speaker 1: We stay with music from the United States.
• 12:01
  Speaker 1: If we are now talking about a topic that is not as dramatic as the situation on the streets in Minneapolis, it's a bit about becoming older, about this, oh, I suddenly grew up.
• 12:13
  Speaker 1: Yes,
• 12:13
  Speaker 0: of course we don't want to be fun brakes at this point, but also play some music that can keep you up.
• 12:19
  Speaker 0: Fun brakes, funnily enough, also freely translated into English Bosque.
• 12:24
  Speaker 1: That's what the
• 12:25
  Speaker 0: next song by Joby Ritchow, a young man from Colorado, actually originally, but now lives in Nashville and has already made a lot of music.
• 12:36
  Speaker 0: Three years ago, StereoGum, this music blog, made its debut album Whiplash as the best.
• 12:42
  Speaker 0: country album of the
• 12:44
  Speaker 1: year.
• 12:44
  Speaker 1: Country made
• 12:45
  Speaker 0: it.
• 12:45
  Speaker 0: And there comes a little bit here.
• 12:47
  Speaker 0: Such a shriek mix between Courtney Barnett and Cheryl Crowe.
• 12:50
  Speaker 0: A little bit like Courtney Crowe.
• 12:55
  Speaker 1: But
• 12:57
  Speaker 0: still country music with a wink, rather folk.
• 13:01
  Speaker 0: In the US you meet a country.
• 13:03
  Speaker 0: The right country is country and the left is folk.
• 13:06
  Speaker 0: Or the cool one.
• 13:08
  Speaker 0: And Joby has a new album for this year.
• 13:11
  Speaker 0: And another prelude to this album is Baskill.
• 13:14
  Speaker 0: And as you said, it's a coming of age song.
• 13:18
  Speaker 0: A hymn to yourself that you don't just... Now I'm twenty three, my friends moved to a new city and lately
• 13:34
  Speaker 1: life
• 13:35
  Speaker 0: has been a bus kill.
• 13:40
  Speaker 0: I don't
• 13:43
  Speaker 1: want to be the salt in the sugar, the fruit that is bitter.
• 13:58
  Speaker 1: You expect it to be so sweet.
• 14:03
  Speaker 1: Don't be a fly, I need a
• 14:10
  Speaker 0: gray month of Sundays.
• 14:22
  Speaker 0: Oh, I've been so blink.
• 14:33
  Speaker 0: Keep it funny, keep it wide.
• 14:36
  Speaker 0: Be the toast of the fifth time.
• 14:39
  Speaker 0: But now I'm twenty-three.
• 14:41
  Speaker 0: My friends moved to Buskill.
• 14:46
  Speaker 0: Thanks, he's sorry.
• 14:49
  Speaker 0: you decided He talks about himself, keep it wide.
• 14:52
  Speaker 0: I used to be.
• 14:54
  Speaker 0: I don't want the salt to be sugar, not the fly in the honey.
• 15:12
  Speaker 0: No, I don't want to be a fun brake.
• 15:14
  Speaker 0: I
• 15:14
  Speaker 1: like it a lot because
• 15:16
  Speaker 0: she just says that life, when it happens at the beginning of the twenty, because not at all as she expected, so after her graduation school graduation, she just went completely into the pandemic.
• 15:31
  Speaker 0: Then that's imploded.
• 15:32
  Speaker 0: And that's stupid.
• 15:37
  Speaker 0: is this phase in which you grow consciously, of course, extremely shortened, distorted and different.
• 15:48
  Speaker 0: Because the pandemic as a very young person to live through, that was probably also different for us now.
• 15:58
  Speaker 0: Yes, totally.
• 16:06
  Speaker 0: And sometimes life sucks, but not because I did or didn't do anything.
• 16:16
  Speaker 0: But that's also a good recognition.
• 16:24
  Speaker 0: Yes, totally.
• 16:26
  Speaker 0: Whether you should do something or not, this uncertainty also plays a role in the following song, which means Scooby and comes from Kourouk.
• 16:53
  Speaker 0: Kourouk we played here a few years ago.
• 16:57
  Speaker 0: There was the song If I Were A Fish that got me on YouTube, a live version.
• 17:19
  Speaker 0: And then we played Emergency Contact.
• 17:30
  Speaker 0: Also a very nice song about the fact that you like to be the emergency contact of
• 18:04
  Speaker 1: another
• 18:07
  Speaker 0: person, because you
• 18:14
  Speaker 1: love him so much.
• 18:26
  Speaker 1: And because you say, when I'm there, when I'm there, the emergency contact, I'm also in my heart on the one.
• 18:42
  Speaker 1: And I found that kind of beautiful back then.
• 18:46
  Speaker 1: And now it's Kourouk.
• 18:49
  Speaker 1: Kurok back pronouns they, them, mit einer neuen Nummer, die Scooby heißt.
• 18:54
  Speaker 1: Scooby-Doo.
• 18:55
  Speaker 1: Scooby-Doo ist hier der titelgebende Anti-Held, so wie in der Zeichendrick-Serie ja auch ein Anti-Held war.
• 19:01
  Speaker 1: Scooby-Doo ist mit so einer Monsterjäger-Klicke unterwegs und ist aber so der Hund in der Klicke und ist so der Einzige, der immer Schiss hat und so total unsicher ist, den man aber, und das finde ich eigentlich auch ganz witzig, den man mit Snacks immer ganz gut überreden kann, das ganze doch mal zu versuchen.
• 19:15
  Speaker 1: Kurok sieht sich da auch ein bisschen drin, das finde ich auch sehr schön.
• 19:18
  Speaker 1: It's very, very cool.
• 19:20
  Speaker 1: And now let's hear a little bit about the political situation.
• 19:24
  Speaker 1: But with this scooby metaphor and without saying it directly, as with Bruce Springsteen.
• 19:40
  Speaker 1: Is that enough?
• 19:41
  Speaker 1: If I look out of the window, on my veranda there are already Amazon packages that I store there, but now I look out of the window like neighbors are deported, is that enough?
• 19:53
  Speaker 1: If I upload the film and TikTok, or do I have to report it?
• 20:00
  Speaker 1: Or how do you behave at all in situations like the ones that suddenly surround me or the ones that surround people in cities in America who don't as pure white read by Americans.
• 20:14
  Speaker 1: So it's a very, very interesting observation that comes in here or plays in.
• 20:19
  Speaker 1: And it's not like emergency contact, but a queerness hymn or a little bit like If I Were A Fish, a hymn on your own queerness, but it's really a very self-critical song that still influences humor.
• 20:32
  Speaker 0: Totally.
• 20:32
  Speaker 0: And what I really like about Kurooks are the videos.
• 20:36
  Speaker 0: on Kuroog's Instagram channel.
• 20:38
  Speaker 0: It's in millions.
• 20:40
  Speaker 0: If I were a fish, in the nine million streams.
• 20:42
  Speaker 1: And
• 20:43
  Speaker 0: now also with Scooby, where Kuroog plays that on the piano and that's really slowly intonated and then comes into the chorus.
• 20:52
  Speaker 0: There's a real heart beating and the
• 20:54
  Speaker 1: tears are rolling.
• 20:55
  Speaker 1: It's so
• 20:55
  Speaker 0: good.
• 20:55
  Speaker 0: Now
• 20:57
  Speaker 1: the song is not so directly formulated, as Bruce Springsteen said, but it is very direct, but the challenge that has become common in the world with the song is from Karooq.
• 21:06
  Speaker 1: She says, who listens to this song should call the Senators at the same time, call the senators and meet them in contact with the political representatives in the respective federal state, in order to say to them, people, this is not going on.
• 21:21
  Speaker 1: So either you call the Democrats and say, do a little fire under your back and... You try to fight a little harder against this new direction of the American state apparatus.
• 21:32
  Speaker 1: Or you just call the Republicans and say, no, we don't want that.
• 21:35
  Speaker 1: Fuck you.
• 21:36
  Speaker 1: So I find it quite interesting that this song is self-critical and also asks yourself what can I actually do.
• 21:41
  Speaker 1: And then actually the answer is given in the liner notes.
• 21:44
  Speaker 1: Where is it called the fucking center?
• 21:45
  Speaker 1: And
• 21:46
  Speaker 0: in the end it's still a hit.
• 21:48
  Speaker 0: So perfect.
• 21:49
  Speaker 1: Yes, yes, super cool.
• 21:50
  Speaker 1: Karug with Scooby.
• 21:51
  Speaker 1: New at Goldstückli.
• 21:52
  Speaker 1: That's so cool.
• 22:10
  Speaker 1: And of course it's also nice that in the text it's made clear that either you think about how to deal with all of this or you become part of the problem if you're not part of the solution.
• 22:30
  Speaker 1: Money to the enemy, right?
• 22:32
  Speaker 1: Yeah, and that's also a theme that we actually talked about during the release of Spotify.
• 22:48
  Speaker 1: Karug has really interesting lines in the back of the song.
• 22:54
  Speaker 1: For example, the following.
• 22:57
  Speaker 1: And there's a little bit about it.
• 22:58
  Speaker 1: Karug sits in front of the computer and the socials and some guy in the flyover state sits in front of the computer and is one of those who Rassist shit is playing on the internet and so on.
• 23:33
  Speaker 1: And then she says, it's not your fault that your father is in jail.
• 23:40
  Speaker 1: It's not your fault that you enjoyed a bad education because the school was different.
• 23:46
  Speaker 1: You can't do anything about it.
• 23:48
  Speaker 1: And then the only thing we see together is this advertising space.
• 23:51
  Speaker 1: So these ad spaces are these advertising areas that have been bought.
• 23:54
  Speaker 1: And then there are the last sets in this great song.
• 23:55
  Speaker 1: Both of us are getting played like we were the song of the summer.
• 23:59
  Speaker 1: by a billionaire DJ on a mega yacht, who just bought another.
• 24:05
  Speaker 1: What?
• 24:06
  Speaker 1: Szenial again.
• 24:06
  Speaker 1: Kuroo.
• 24:07
  Speaker 1: Really busy with Koox Kunst.
• 24:08
  Speaker 1: That's really good stuff.
• 24:09
  Speaker 1: Yes.
• 24:10
  Speaker 1: With really good stuff, it's mostly about the thing in the rubric that's called... You hear that.
• 24:16
  Speaker 1: Old stuff.
• 24:18
  Speaker 1: In the gold stuff.
• 24:18
  Speaker 1: Knick-knack.
• 24:19
  Speaker 1: The Old Sturkly in Gold Sturkly is coming in this week of Trommelwirbel.
• 24:22
  Speaker 1: The Cure!
• 24:23
  Speaker 1: Right, The Cure.
• 24:23
  Speaker 1: Old singles have been re-released for the forty-year anniversary.
• 24:27
  Speaker 1: Of course.
• 24:27
  Speaker 1: In nineteen seventy-nine eighty, the first LP or the Boys Don't Cry LP is the first LP that has been released in America.
• 24:37
  Speaker 1: From The Cure.
• 24:39
  Speaker 1: Erschienen.
• 24:39
  Speaker 1: Mit Boys Don't Cry drauf.
• 24:55
  Speaker 1: Killing in Arab.
• 24:57
  Speaker 1: Plastic Passion.
• 25:20
  Speaker 1: Jumping someone else's tray.
• 25:24
  Speaker 1: Nur Hitz drauf, eigentlich.
• 25:32
  Speaker 1: Auf dieser Platte.
• 25:36
  Speaker 1: And in the
• 25:37
  Speaker 0: new album, in the new album, in the new album, in the new album, in the
• 25:41
  Speaker 1: new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album, in the new album The singles for the public.
• 26:56
  Speaker 1: Yes, the best of the singles.
• 27:15
  Speaker 1: That was my first tour record.
• 27:17
  Speaker 1: And they came out with a new version of the mixed version of Boyz Don't Cry.
• 27:28
  Speaker 1: They sound different from the debut.
• 27:35
  Speaker 1: Very good.
• 27:36
  Speaker 1: That's wrong.
• 27:39
  Speaker 1: You wanted to record a different version.
• 27:44
  Speaker 1: At the end of the compilation it's the one from the
• 27:52
  Speaker 0: year
• 27:53
  Speaker 1: of the
• 27:55
  Speaker 0: year.
• 27:56
  Speaker 0: But there are Cure fans
• 27:59
  Speaker 1: who claim that the version from the year of the year is from the
• 28:07
  Speaker 0: year of the year.
• 28:08
  Speaker 0: That
• 28:08
  Speaker 1: this is the best version that has ever been recorded by this song.
• 28:14
  Speaker 1: I have a different opinion.
• 28:18
  Speaker 1: I say that it sounds better in the year of the year of the year.
• 28:27
  Speaker 1: They did everything right.
• 28:28
  Speaker 1: But this whole re-release or re-issue story just led to the fact that the Cure has been re-published again.
• 28:37
  Speaker 1: And I then decided for Plastic Passion, a piece that was also included as the third song on this second LP or on the first one, which was also published in the USA.
• 28:50
  Speaker 1: I still like that.
• 28:51
  Speaker 1: They still have this youthful freshness and always play along to the tone leaders.
• 28:54
  Speaker 1: They really
• 28:55
  Speaker 0: like the Cure.
• 28:56
  Speaker 1: And yet it's so refreshing here.
• 28:58
  Speaker 1: There comes a dildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildildild.
• 29:19
  Speaker 1: Especially from Slayer.
• 29:24
  Speaker 1: I was a wrestler.
• 29:25
  Speaker 1: And then I met Patrizia Woner.
• 29:28
  Speaker 1: Nice to meet you.
• 29:29
  Speaker 0: Thank you, Patrizia.
• 29:30
  Speaker 1: She said, listen to this.
• 29:31
  Speaker 1: And because it was made with guitar bass and drums, I was able to listen to it well.
• 29:37
  Speaker 1: And then I quickly became a Cure fan and came out of the metal corner.
• 29:41
  Speaker 1: Yes,
• 29:41
  Speaker 0: it's also so light-footed, I always think, and very transparent.
• 29:44
  Speaker 0: I'm addicted to Kismi, Kismi, Kismi.
• 29:47
  Speaker 0: That was my first album.
• 29:48
  Speaker 0: That came out after this Best of Singles.
• 29:52
  Speaker 0: And just like heaven and so.
• 29:53
  Speaker 0: Why can't I be you?
• 29:55
  Speaker 0: But Boyz Don't Cry was of course then to listen to, to listen to.
• 29:57
  Speaker 0: A great band, that they still make music and play live.
• 30:01
  Speaker 0: And above
• 30:02
  Speaker 1: all not bad at all.
• 30:04
  Speaker 1: It's still cool.
• 30:05
  Speaker 1: And as I said, this flat Boyz Don't Cry from the year one hundred and eighty, there
• 30:14
  Speaker 0: are only
• 30:16
  Speaker 1: hits on it.
• 30:18
  Speaker 1: So you actually have
• 30:20
  Speaker 0: to, if you haven't heard it yet, you have to listen to it again.
• 30:39
  Speaker 0: Even that is a best of.
• 30:40
  Speaker 0: Yes, totally.
• 30:40
  Speaker 0: The Cure with Plastic Passion by Goldstückli.
• 30:51
  Speaker 1: Bye.
• 30:51
  Speaker 1: That was the Q&A with Plastic, Passion from the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in the year of the year, in
• 32:34
  Speaker 0: the year of the year, in the year
• 32:38
  Speaker 1: of the year, in the year of the year, in the year of
• 32:40
  Speaker 0: the year, in the year of
• 32:43
  Speaker 1: the year,
• 32:43
  Speaker 0: in the
• 32:45
  Speaker 1: year.
• 32:47
  Speaker 1: Me is is gar nicht so schwer gefallen.
• 32:49
  Speaker 0: Ne, das ging dieses Jahr ging es mir auch ganz ring.
• 32:53
  Speaker 0: Mmm,
• 32:55
  Speaker 1: schmeckt lecker.
• 32:56
  Speaker 1: Oh,
• 32:56
  Speaker 0: it can
• 32:57
  Speaker 1: be that we're super busy right now because we're out of practice.
• 33:01
  Speaker 1: Quatsch.
• 33:01
  Speaker 1: Let's quickly continue with the recording.
• 33:03
  Speaker 0: I thought you were going to finish it
• 33:05
  Speaker 1: quickly.
• 33:05
  Speaker 1: No, you should quickly continue with the recording before we're out of control.
• 33:10
  Speaker 1: I'll finish it.
• 33:11
  Speaker 1: Yes, you have one and he really convinced me.
• 33:14
  Speaker 1: Really?
• 33:14
  Speaker 1: Amazingly good.
• 33:15
  Speaker 1: What's
• 33:15
  Speaker 0: the song?
• 33:15
  Speaker 1: Yes, you've already informed me a little bit about what you've been up to this time.
• 33:20
  Speaker 1: You sent me one thing.
• 33:22
  Speaker 1: I was an instant fan.
• 33:23
  Speaker 0: I'm very happy.
• 33:24
  Speaker 0: From
• 33:24
  Speaker 1: Molly Mogul.
• 33:25
  Speaker 0: Yes, yes.
• 33:25
  Speaker 0: I had it last week and thought it was almost too dark for me.
• 33:30
  Speaker 0: But I thought, no, no, that's good.
• 33:32
  Speaker 0: That's great.
• 33:32
  Speaker 0: We have to play.
• 33:34
  Speaker 0: Molly Mogul actually comes from Inning at the Amazigh.
• 33:36
  Speaker 0: It's called Emma Delves.
• 33:38
  Speaker 1: Which Inning?
• 33:39
  Speaker 1: The first or the second?
• 33:40
  Speaker 0: No, the first.
• 33:41
  Speaker 0: That's also good.
• 33:43
  Speaker 0: Or the ninth.
• 33:44
  Speaker 0: But it's the first Inning, by the way, up north at the Amazigh, at the north end of the Amazigh.
• 33:49
  Speaker 0: Helene Fischer also lives there.
• 33:51
  Speaker 0: Oh, cool.
• 33:51
  Speaker 0: That's a place
• 33:53
  Speaker 1: where you can give yourself.
• 33:54
  Speaker 1: That's where the artists live.
• 33:56
  Speaker 1: Yes, what's
• 33:57
  Speaker 0: interesting about Emma is that she's already moved to Bristol at the age of nineteen for art studies.
• 34:02
  Speaker 0: And she soon found her old ego, her art old ego, Molly Mogul, from her camper van that she had there and built up.
• 34:12
  Speaker 0: She released songs, more or less, together with her longtime collaborator, Niklas Hoffmann, aka Hoffy.
• 34:21
  Speaker 0: With him, he's been making music for five, six years.
• 34:24
  Speaker 0: He released a few songs, three, four years ago.
• 34:26
  Speaker 0: He's
• 34:26
  Speaker 1: also a German, right?
• 34:27
  Speaker 1: Hoffy?
• 34:27
  Speaker 1: I don't
• 34:28
  Speaker 0: know.
• 34:30
  Speaker 0: But they found each other and made music together.
• 34:34
  Speaker 0: I heard a little bit about it.
• 34:36
  Speaker 0: They weren't even finished yet.
• 34:38
  Speaker 1: But
• 34:38
  Speaker 0: what Molly released with Run last week, that's the incredible hammer.
• 34:44
  Speaker 0: What is that for a thing?
• 34:46
  Speaker 1: Full.
• 34:46
  Speaker 1: So I got it right away for the first time, because there's a subtle darkness floating around, which you just mentioned, which scared you at the beginning.
• 35:00
  Speaker 1: I get something like that right away.
• 35:06
  Speaker 1: And I have a connection in my head, for example, to Princess Nokia, who is also able to compose
• 35:16
  Speaker 0: and compose lyrics and beats, which then still... No, no, no, no.
• 35:19
  Speaker 0: The kickstart for this whole project, which should not only be done musically, but also performatively.
• 35:36
  Speaker 0: She is also an artist of performance, and it all becomes a real package.
• 35:39
  Speaker 0: She also founded a collective led by Flinta in Bristol, the Dirty Spread Collective.
• 35:47
  Speaker 0: And she was very inspired by Lavalary and Big Pig.
• 35:51
  Speaker 0: not six-seven, but nine-eight collective.
• 35:55
  Speaker 0: We've played them both.
• 35:59
  Speaker 0: Moli Mogul, I think, will accompany us for a long time, because this music is just so new, not only from the sound, but also her very unique mix of German and English.
• 36:09
  Speaker 0: I really like how she changes.
• 36:12
  Speaker 0: It comes from
• 36:13
  Speaker 1: Enning, you know?
• 36:14
  Speaker 1: It comes from a village where you already have an English and a German meaning.
• 36:20
  Speaker 1: Then, for me, it's a logical step.
• 36:21
  Speaker 0: Helene Fischer
• 36:22
  Speaker 1: has lost time.
• 36:24
  Speaker 0: No, but Fischer is also German and English,
• 36:25
  Speaker 1: you know?
• 36:26
  Speaker 1: Yeah, but he didn't make any lyrics in German and English.
• 36:28
  Speaker 1: Actually, in my logic, Helene Fischer would also have English song lyrics.
• 36:32
  Speaker 1: Breathless through the night.
• 36:34
  Speaker 1: Breathless through the night, exactly.
• 36:35
  Speaker 1: It sounds like Megadeth or something.
• 36:39
  Speaker 0: Molly Mogul is great, because she was recording with this young hoffy in Paris.
• 36:44
  Speaker 0: With a certain Jan Rosee, which is why she fits very well with the Rosee drink.
• 36:49
  Speaker 0: On February.
• 36:50
  Speaker 0: There they were in the Ciel Rouge Studios in Paris.
• 36:54
  Speaker 0: Charlotte Gaspour has already recorded it and Christine and the Queens from there in the best society.
• 36:59
  Speaker 1: Do you know what it reminded me of?
• 37:00
  Speaker 1: From the beat?
• 37:02
  Speaker 0: And
• 37:02
  Speaker 1: the Maggie Rogers single, which she played for Pharrell,
• 37:06
  Speaker 0: you know?
• 37:06
  Speaker 0: Oh, yeah, it's the song Alaska.
• 37:07
  Speaker 0: Exactly,
• 37:08
  Speaker 1: where Pharrell, the whole thing is like, oh, you know, that's a great song.
• 37:11
  Speaker 1: I think I'll just put it that way.
• 37:14
  Speaker 1: Molly Mughal could also come up with her song, Run, by Pharrell
• 37:18
  Speaker 0: Williams.
• 37:18
  Speaker 0: Yeah, why not?
• 37:19
  Speaker 0: Let's
• 37:19
  Speaker 1: hear
• 37:19
  Speaker 0: it.
• 37:20
  Speaker 0: Here's Molly Mughal with
• 37:21
  Speaker 1: Run.
• 37:22
  Speaker 1: All my things are gone, and I keep going, nothing's more than myself.
• 37:29
  Speaker 1: You're running through this and give me what I want, gonna have this.
• 37:34
  Speaker 1: I know you're running away and you can't hear me when you listen to your own fears.
• 37:41
  Speaker 1: Morley Mogul with Run, a piece of music that is a bit of a mix of the tension between destruction and self-reflection.
• 38:05
  Speaker 1: So should you really... Every problem with dealing with each other until the last negotiable point.
• 38:14
  Speaker 1: Should you run away from every problem without dealing with it at all?
• 38:23
  Speaker 1: Or is the truth as often as possible in the middle?
• 38:30
  Speaker 1: Yes, but you can't pull your own fears away.
• 38:33
  Speaker 1: You have to stand here at some point because everything comes back to you.
• 38:45
  Speaker 1: Everything.
• 38:47
  Speaker 1: In the end it's just you.
• 38:48
  Speaker 1: Right.
• 38:49
  Speaker 1: And if you haven't set your fears long enough, they are not smaller, but rather bigger and stronger and more important.
• 38:58
  Speaker 1: With a horror soundtrack it goes on with
• 39:05
  Speaker 0: Goldstückli Ahoy.
• 39:07
  Speaker 0: The following piece of music also has something to do with my ears, my kurat ears, a little bit with the world situation, although it is also not directly treated here.
• 39:29
  Speaker 0: We have it done with the music of Cropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropscropsc
• 39:59
  Speaker 1: Plus, you lose it on microphone number two.
• 40:02
  Speaker 1: Crops,
• 40:02
  Speaker 0: crops, crops is a singer, rapper
• 40:05
  Speaker 1: and
• 40:05
  Speaker 0: producer from Montreal, Quebec.
• 40:10
  Speaker 0: He originally
• 40:11
  Speaker 1: came from Ohio, in the United States.
• 40:14
  Speaker 1: Oh, he's changed.
• 40:16
  Speaker 1: He's changed for a long time.
• 40:18
  Speaker 1: But he hasn't lost his bad feeling about America yet.
• 40:33
  Speaker 1: Because
• 40:34
  Speaker 0: I really hear that a little bit in the song
• 40:43
  Speaker 1: Anatomy Angels.
• 40:46
  Speaker 1: That kind of soundtrack almost comes over.
• 40:57
  Speaker 1: And that very, very... And that's why it's about the crops, crops, crops, not using any samples and letting beats play together by Vagrant, his producer.
• 41:17
  Speaker 1: No, he just plays everything by himself.
• 41:31
  Speaker 1: He sets himself behind the drums, he sets himself behind the side instruments.
• 41:52
  Speaker 1: And he also plays instruments that don't consist of a loop, which then gets a hook in the middle through a singing melody, but it's a real song structure with a chorus.
• 42:04
  Speaker 1: And Vagrant
• 42:05
  Speaker 0: then just packs everything together.
• 42:06
  Speaker 1: Vagrant is the man who for the sound, for the last riff, or maybe it's a bit more straight back than the CROPS, CROPS, CROPS, CROPS.
• 42:16
  Speaker 1: you could play.
• 42:17
  Speaker 1: I don't know exactly how it looks in detail, but I think it's interesting, and that makes this own sound, now the next piece is also out, the CROPS, CROPS, CROPS.
• 42:27
  Speaker 1: really does everything himself, plays all the instruments himself and really creates his own sound.
• 42:34
  Speaker 1: In Anatomy Angels come these two words, if I got it right, I didn't even think about it.
• 42:38
  Speaker 1: In the chorus it's always called, there's something of, I ride home, there's something of.
• 42:44
  Speaker 1: Something doesn't sound right here.
• 42:49
  Speaker 1: I'll write a letter to my agency now, or I also have a text message, but something doesn't
• 43:03
  Speaker 0: sound right here.
• 43:06
  Speaker 0: And these are the moments where you think, there it's actually about Trump's America, that's
• 43:12
  Speaker 1: sung here.
• 43:12
  Speaker 1: I like it because it sounds so organic and you can really breathe it.
• 43:17
  Speaker 1: I like it.
• 43:17
  Speaker 1: The warmth of this organ is great.
• 43:20
  Speaker 1: I'll pull the drawers, see nothing but catastrophe.
• 43:23
  Speaker 1: A little figure in dressed as Bush Cassidy.
• 43:27
  Speaker 1: Wildflowers are knowing there's nothing after me The sun beating and meltin' the slow and sappy seats.
• 43:34
  Speaker 1: It's an academy.
• 43:35
  Speaker 1: I wave to in the mirror at night.
• 43:37
  Speaker 1: I fear I'm playing catch up.
• 43:39
  Speaker 1: I fear my fears are right By the time the dark creep and I'm thinking otherwise.
• 43:44
  Speaker 1: And when I'm
• 43:45
  Speaker 0: starting the timer I'm putting twenty-five.
• 43:47
  Speaker 0: There's something out there.
• 43:49
  Speaker 1: I catch up and get to meet Compromise filthy.
• 43:53
  Speaker 1: it ain't a recipe I'm into.
• 43:55
  Speaker 1: That's one of the things.
• 43:57
  Speaker 1: I give you The cue to take a second to think out of the sun hits you.
• 44:05
  Speaker 1: There's something off, I ride home.
• 44:12
  Speaker 1: There's something off, the water goes.
• 44:19
  Speaker 1: There's something off, it's cold.
• 44:26
  Speaker 1: There's something off, I see it go.
• 44:32
  Speaker 1: Something to sell you.
• 44:34
  Speaker 1: There's holy and there's a horror.
• 44:36
  Speaker 1: There's a shotgun and a telescope.
• 44:46
  Speaker 0: Roll these watches, you can't die.
• 44:55
  Speaker 0: It's profit.
• 44:55
  Speaker 0: shadow boxing.
• 44:57
  Speaker 0: The positive, positive,
• 44:59
  Speaker 1: toxic.
• 45:00
  Speaker 0: Trust in the process.
• 45:01
  Speaker 0: You've implied
• 45:01
  Speaker 1: it's just a prospect.
• 45:03
  Speaker 1: Universal, I suspect.
• 45:04
  Speaker 1: There are problems.
• 45:22
  Speaker 1: There's something off.
• 45:30
  Speaker 1: A stomp on the beat, I think that's good.
• 45:34
  Speaker 1: Crops, crops, crops.
• 45:36
  Speaker 1: Crops, crops, crops.
• 45:37
  Speaker 1: By the way, in addition to his activity as a musician, also film, cutter, as well
• 45:42
  Speaker 0: as
• 45:43
  Speaker 1: OMA from Düsseldorf.
• 45:45
  Speaker 0: Very good.
• 45:45
  Speaker 0: And there is also a yacht.
• 45:46
  Speaker 1: We introduced OMA last week because I thought it was so cool.
• 45:50
  Speaker 1: I watched two or three videos and then I didn't really look at them and somehow thought that this one is still super young.
• 45:56
  Speaker 1: And then we said in the last episode, yes, they probably come from Hesse and they are, I think, not even twenty.
• 46:01
  Speaker 1: But now we recorded contact with OMR and EQT.
• 46:05
  Speaker 1: OMR is thirty.
• 46:05
  Speaker 1: Comes from Düsseldorf and is Qatar.
• 46:08
  Speaker 0: And I then
• 46:09
  Speaker 1: also wrote, but hey, no hard feelings, right?
• 46:11
  Speaker 1: There's no such thing as bad promo or something like that.
• 46:14
  Speaker 1: And then he said, yes, exactly.
• 46:15
  Speaker 1: He celebrated it completely and he said it's still pleasant to hear us.
• 46:18
  Speaker 1: Ah,
• 46:19
  Speaker 0: very good.
• 46:19
  Speaker 0: Yes, that
• 46:19
  Speaker 1: was also very cool.
• 46:20
  Speaker 0: I think it's good.
• 46:21
  Speaker 0: Thank you for the contact.
• 46:22
  Speaker 0: So, I don't
• 46:23
  Speaker 1: know, if you now somehow If we had someone who talked about our show on the radio and only told shit, would you write it down and say, yes, but it was still very pleasant to listen to you?
• 46:34
  Speaker 1: I don't.
• 46:34
  Speaker 1: So that's why OMA, awesome guy, pull yourself together.
• 46:38
  Speaker 1: Like I said, Doomscrawl, the best out of the media tech.
• 46:41
  Speaker 1: Stress
• 46:42
  Speaker 0: in the media tech.
• 46:43
  Speaker 0: Exactly.
• 46:43
  Speaker 1: So what just came out there is really awesome, good humor.
• 46:47
  Speaker 1: The props go out to Düsseldorf and not to Hessen.
• 46:49
  Speaker 0: But now back to Crops, Crops, Crops.
• 46:51
  Speaker 0: How do you write the lines back home?
• 46:56
  Speaker 1: There's something off.
• 46:57
  Speaker 1: To write home about.
• 46:59
  Speaker 1: Yes,
• 46:59
  Speaker 0: but the association, these bridges are, you know, like in the Asian space, often there are bridges that have been hanging there for
• 47:10
  Speaker 1: five
• 47:11
  Speaker 0: hundred
• 47:12
  Speaker 1: years, where you don't know exactly, do I get over there?
• 47:22
  Speaker 1: In the
• 47:22
  Speaker 0: Asian space.
• 47:23
  Speaker 1: Should I stay here now?
• 47:26
  Speaker 1: Yes, that's how I know the bridges.
• 47:28
  Speaker 0: Yes, exactly, from the TV.
• 47:30
  Speaker 0: Yes,
• 47:31
  Speaker 1: I myself am not the Traveler Boy.
• 47:33
  Speaker 1: We hang out at the
• 47:34
  Speaker 0: last minute.
• 47:35
  Speaker 0: That's
• 47:36
  Speaker 1: a good idea.
• 47:38
  Speaker 0: Tom Misch has released a new single.
• 47:40
  Speaker 0: Tom Misch, which we presented exactly a year ago, with his collaboration with Lollekana, Colorblind, which is the song from the Lollekana EP.
• 47:49
  Speaker 0: He has been making music for more than ten, twelve years.
• 47:54
  Speaker 0: He comes out of this New School Jazz, clicks around Lollekana with... John Rakai has also done a lot together.
• 48:07
  Speaker 0: They are always together in the whirlpools.
• 48:11
  Speaker 0: And now Tom Misch is back after a long time and says, this year my second album Full Circle will be released at the end of March.
• 48:19
  Speaker 0: There was a reason for this, because he had intense anxiety and had to pull back.
• 48:24
  Speaker 0: He really had a conscious studio abstinence.
• 48:28
  Speaker 0: He got up and said, I have to go out into nature, surf, chill.
• 48:32
  Speaker 0: I have to go back to the analogue.
• 48:34
  Speaker 0: To produce films.
• 48:35
  Speaker 0: For
• 48:36
  Speaker 1: Tom Mission Impossible, so to speak.
• 48:38
  Speaker 1: Exactly.
• 48:38
  Speaker 0: Exactly.
• 48:39
  Speaker 0: For
• 48:39
  Speaker 1: a while.
• 48:39
  Speaker 1: But now it's back.
• 48:40
  Speaker 1: Now
• 48:41
  Speaker 0: it's back.
• 48:41
  Speaker 0: He found a studio again and realized, OK, I actually want to write real songs again.
• 48:46
  Speaker 0: Back to the right songwriting.
• 48:47
  Speaker 0: And I think it's very good for him.
• 48:50
  Speaker 0: Yes,
• 48:51
  Speaker 1: you're
• 48:52
  Speaker 0: alone.
• 48:54
  Speaker 1: Unfortunately, I have to admit, because it's the longest song we've played for a long time, I think.
• 49:01
  Speaker 1: Because the year has passed.
• 49:03
  Speaker 1: It doesn't groove so right.
• 49:05
  Speaker 1: I think the riffs are not particularly innovative.
• 49:09
  Speaker 1: And of course, inner emigration and so we have already talked about it, talked about it, talked about it, talked about it, talked
• 49:19
  Speaker 0: about it, talked
• 49:20
  Speaker 1: about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked
• 49:33
  Speaker 0: about it, talked about
• 49:33
  Speaker 1: it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it,
• 49:43
  Speaker 0: talked
• 49:43
  Speaker 1: about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, talked about it,
• 49:47
  Speaker 0: talked about it, talked about it, talked about it, talked about it, talked about it, talked about it, And here's the other
• 49:51
  Speaker 1: one again.
• 49:52
  Speaker 1: With Loel Kahnner.
• 49:52
  Speaker 1: With Loel Kahnner, so great hits.
• 49:53
  Speaker 1: He's been hitting ballads for ten years after the other one.
• 49:55
  Speaker 1: And then you write another song.
• 49:56
  Speaker 1: So your
• 49:57
  Speaker 0: sister.
• 49:57
  Speaker 0: She's just as successful as Tombisch.
• 49:58
  Speaker 0: She just established me.
• 49:58
  Speaker 0: And
• 49:59
  Speaker 1: you write another song.
• 49:59
  Speaker 1: And it was your worst so far.
• 50:01
  Speaker 1: And this one will be with you.
• 50:02
  Speaker 1: Aha, okay.
• 50:02
  Speaker 1: You think it's a insult to Torrmann and his sisters?
• 50:05
  Speaker 1: Yes.
• 50:05
  Speaker 1: So the sisters, they should complain that
• 50:07
  Speaker 0: he only wrote great songs so far.
• 50:09
  Speaker 0: The bad thing is that now the sisters come along.
• 50:14
  Speaker 0: Laura, the one sister plays saxophone solo.
• 50:15
  Speaker 0: Oh, no!
• 50:15
  Speaker 0: Oh, okay.
• 50:16
  Speaker 0: Then the whole family messed up
• 50:18
  Speaker 1: with
• 50:19
  Speaker 0: me because the saxophone solo... No, that's the longest saxophone solo ever.
• 50:24
  Speaker 0: Yes, but
• 50:24
  Speaker 1: I mean saxophones.
• 50:24
  Speaker 1: But still, I just like
• 50:25
  Speaker 0: the mood very much.
• 50:26
  Speaker 0: And my heart really
• 50:26
  Speaker 1: goes out and the tears go a little bit over the cheeks.
• 50:28
  Speaker 1: Because
• 50:29
  Speaker 0: when he sings
• 50:31
  Speaker 1: with my sister, I breathe.
• 50:33
  Speaker 1: It's my sister's I need, my sister's
• 50:36
  Speaker 0: with me.
• 50:36
  Speaker 0: I know that you can't do that.
• 50:37
  Speaker 0: No,
• 50:37
  Speaker 1: you can do it better.
• 50:38
  Speaker 1: I think you're just dead in your mouth.
• 50:40
  Speaker 1: I really don't have any feelings for that.
• 50:43
  Speaker 1: No, you and family are not a thing.
• 50:46
  Speaker 1: Sister.
• 50:47
  Speaker 1: I don't feel it.
• 50:49
  Speaker 1: And of course you get back together with your sisters.
• 50:54
  Speaker 1: And then there's a song by Tom Mish with his sisters.
• 50:55
  Speaker 1: Of course you get that on a level that doesn't exist for
• 50:59
  Speaker 0: me.
• 50:59
  Speaker 0: Yes, I think it was really crazy that four years ago, with the last Tocotronic record, with I Tauche auf, you know, where I was at the fish stand at EDECA and the song was on my ear and I started to cry at EDECA.
• 51:13
  Speaker 0: We did our test rehearsals here and the
• 51:15
  Speaker 1: technical rehearsals.
• 51:15
  Speaker 1: We presented
• 51:16
  Speaker 0: the song.
• 51:17
  Speaker 0: And that's how it's going to be for Sister's With Me.
• 51:20
  Speaker 0: So this familiar thing, that's already
• 51:23
  Speaker 1: the button that's being pressed.
• 51:25
  Speaker 1: Now you can decide.
• 51:26
  Speaker 1: Either you've already done it with the Goldstückler format for today.
• 51:29
  Speaker 1: Or do you still hear the song from Tom?
• 51:32
  Speaker 1: Yes,
• 51:32
  Speaker 0: I would recommend
• 51:34
  Speaker 1: it.
• 51:40
  Speaker 1: The mood exists.
• 51:40
  Speaker 1: Yes,
• 51:41
  Speaker 0: as
• 51:41
  Speaker 1: I said.
• 51:42
  Speaker 1: But do you... No, I don't want to... Shit, is it?
• 51:48
  Speaker 1: No, shit, it's not like that.
• 51:52
  Speaker 1: And I don't want to let people get involved, because you should have your own opinion.
• 51:59
  Speaker 1: That's why we're not a print magazine, where we
• 52:02
  Speaker 0: just write
• 52:02
  Speaker 1: in, it's scrap.
• 52:02
  Speaker 1: But we say
• 52:04
  Speaker 0: before, one is
• 52:04
  Speaker 1: scrap, the other is awesome.
• 52:06
  Speaker 1: And now
• 52:06
  Speaker 0: you can hear it
• 52:55
  Speaker 1: yourself.
• 52:56
  Speaker 1: Do you have your own opinion?
• 52:58
  Speaker 1: Exactly.
• 53:00
  Speaker 1: Do you have your own opinion?
• 53:04
  Speaker 1: And that's it for today.
• 53:13
  Speaker 1: Bye, see you next time,
• 53:19
  Speaker 0: Vincent.
• 53:19
  Speaker 0: My questions remain,
• 53:23
  Speaker 1: they keep me sane Cause
• 53:27
  Speaker 0: we
• 53:27
  Speaker 1: are the same, yes we are the same With my sisters.
• 53:34
  Speaker 1: I breathe, it's my sisters.
• 53:37
  Speaker 1: I need My sisters with me, my sisters with me.
• 53:53
  Speaker 1: The water runs deep, just as with me.
• 54:08
  Speaker 1: I'm from the same thread, pink, greens and red.
• 54:20
  Speaker 1: This compass inside Is a family of five.
• 54:26
  Speaker 1: These mountains decline Till the day that we die.
• 54:31
  Speaker 1: When the storm passes by The sky turns to blue.
• 54:38
  Speaker 1: I looked up both sides.
• 54:40
  Speaker 1: It's you.
• 54:41
  Speaker 1: I'm when the tears are rolling down my fate.
• 54:46
  Speaker 1: I'm when I'm lost and trying to find I will be okay.
• 55:10
  Speaker 1: Sisters with me.
• 55:28
  Speaker 1: Water runs deep.
• 55:53
  Speaker 1: Sisters with me...