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Wann kommt der Bass? · GOLDSTÜCKLi ahoy

• 0:00
  Speaker 1: Goldstückli, Ahoj!
• 0:07
  Speaker 1: The show's winner, the lemonade.
• 0:27
  Speaker 1: Goldstückli Ahoj.
• 0:41
  Speaker 1: Ladies and gentlemen, non-binary listeners, it's time for Goldstückli Ahoj again.
• 0:45
  Speaker 1: The man himself is back from Florida and he's sitting next to me, Ueli Hifleger.
• 0:50
  Speaker 1: Hello!
• 0:50
  Speaker 1: Hello, Vincent!
• 0:51
  Speaker 1: My name is Vincent, Ueli has already told us.
• 0:53
  Speaker 1: We are very happy to see you both.
• 0:55
  Speaker 0: Yes, totally.
• 0:56
  Speaker 0: We can touch each other again.
• 0:57
  Speaker 0: Yes,
• 0:57
  Speaker 1: and that's what worked out.
• 0:59
  Speaker 1: Despite the precarious situation in America, that they let themselves out again.
• 1:03
  Speaker 1: Yes,
• 1:03
  Speaker 0: they let you out, they let you in, that's
• 1:06
  Speaker 1: the problem.
• 1:06
  Speaker 1: Yes, but also where out, towards El Salvador, right?
• 1:09
  Speaker 1: Back to Germany.
• 1:10
  Speaker 0: And when it comes to the trailer, that's
• 1:12
  Speaker 1: the new goal, I've heard.
• 1:13
  Speaker 1: Not
• 1:13
  Speaker 0: good either.
• 1:13
  Speaker 0: Difficult, very difficult.
• 1:14
  Speaker 0: It's a difficult country, I think, because it's so opposite.
• 1:19
  Speaker 0: It's so extreme, everything is extreme.
• 1:21
  Speaker 0: I think the most beautiful thing about America is that you drive the car on the street, because it's so regular, everyone drives fast, you can drive the cruise control and... You are on the cruise like the most massive sounds in the world.
• 1:36
  Speaker 0: It's a party.
• 1:37
  Speaker 0: It's really
• 1:39
  Speaker 1: nice,
• 1:39
  Speaker 0: very pleasant.
• 1:42
  Speaker 0: And then just this way way way way too big car on the street.
• 1:45
  Speaker 0: It's just where you think, eh?
• 1:46
  Speaker 0: Have you not heard the shits?
• 1:47
  Speaker 0: These rams and GMC pickup trucks and these, how they all still call it, Broncos and so on.
• 1:52
  Speaker 0: It's just way too crazy.
• 1:56
  Speaker 1: When we were connected last week about the big particles, you told us that Charlie Kirk memorials are being built in your t-shirts.
• 2:07
  Speaker 1: And
• 2:07
  Speaker 0: from every corner, almost every... Freedom.
• 2:08
  Speaker 0: Freedom.
• 2:09
  Speaker 0: Freedom.
• 2:09
  Speaker 1: Freedom.
• 2:10
  Speaker 1: Freedom.
• 2:11
  Speaker 1: Freedom.
• 2:12
  Speaker 1: Here in front of the door is a beach in Cedur.
• 2:22
  Speaker 0: Everything in white.
• 2:26
  Speaker 0: The sand is white, the people are white.
• 2:30
  Speaker 0: Cedur, only white buttons.
• 2:32
  Speaker 0: And then I went down to the beach and there was an all-black wedding.
• 2:40
  Speaker 0: And that was so cool.
• 2:41
  Speaker 0: It spread such a good vibe and it just... Fully much more singing and it was so kitschy.
• 2:48
  Speaker 0: Because the pair, what I have reported, has been reported.
• 2:52
  Speaker 0: Then he took the photos in the sunset and then there are dolphins in the back, jumped over the back.
• 2:58
  Speaker 0: So it was really kitschy.
• 3:00
  Speaker 0: So there was Barbie punk rock.
• 3:02
  Speaker 0: So
• 3:02
  Speaker 1: really, really kitschy.
• 3:04
  Speaker 1: But great.
• 3:05
  Speaker 1: Yes, good.
• 3:06
  Speaker 1: But then I understand a bit of the approach, at least, why you can find it nice.
• 3:10
  Speaker 1: Then there are the exceptions of the rule and then you jump through a dolphin and you think, yes,
• 3:15
  Speaker 0: Good.
• 3:15
  Speaker 0: We saw so many dolphins, dude.
• 3:17
  Speaker 0: Really?
• 3:17
  Speaker 0: It's awesome.
• 3:19
  Speaker 0: It's super animals.
• 3:20
  Speaker 0: It's so much fun.
• 3:22
  Speaker 0: We also had a cruise, a cruise with a small boat that drove out for two hours.
• 3:25
  Speaker 0: And then you see the dolphins who just swim next to your boat.
• 3:28
  Speaker 0: It's a shame that
• 3:30
  Speaker 1: they don't have a choice in Florida.
• 3:33
  Speaker 1: If they're such smart animals,
• 3:35
  Speaker 0: it might look different.
• 3:37
  Speaker 0: That they
• 3:40
  Speaker 1: don't
• 3:41
  Speaker 0: only have the choice, you know?
• 3:42
  Speaker 0: Right.
• 3:42
  Speaker 0: We don't just want to give
• 3:44
  Speaker 1: you the latest information about Florida and Ueli's vacation.
• 3:49
  Speaker 1: No, we also want to introduce new music, like every week.
• 3:54
  Speaker 1: This is our mission and this time we are obliged to do so.
• 3:59
  Speaker 1: We want to start with a listening tip.
• 4:02
  Speaker 1: We have received a letter from Moritz Hoffmann, because he has a business.
• 4:07
  Speaker 1: Maybe you can go over there and let some metal objects sweat or something.
• 4:14
  Speaker 1: Er, der hat uns geschrieben, er sei bei Edwin Rosen auf dem Konzert gewesen und habe da im Vorprogramm eine Formation für sich entdeckt, die dann, wie es so oft ist, viel besser gewesen sei als der Hauptakt.
• 4:24
  Speaker 1: Es handelt sich um das Projekt Koki, mit zwei K am Anfang geschrieben.
• 4:29
  Speaker 1: Kaka Koki.
• 4:30
  Speaker 1: Sie
• 4:30
  Speaker 0: war Support von Edwin Rosen.
• 4:32
  Speaker 0: Richtig.
• 4:32
  Speaker 0: Ist ja geil.
• 4:33
  Speaker 0: Danke, Moritz.
• 4:34
  Speaker 0: Ja,
• 4:34
  Speaker 1: Moritz hat das für uns entdeckt und hatte irgendwie im Hinterkopf sofort, dass uns das gefallen könnte, hat via Instagram eine Nachricht rausgehauen, ans Goldstückli.
• 4:42
  Speaker 1: Super.
• 4:43
  Speaker 1: in the middle, and thought to myself, Yes, that fits like the house on the eye in the gold piece.
• 4:47
  Speaker 1: But it's not a cover, is it?
• 4:48
  Speaker 1: Not a cover from Steelers Wheel.
• 4:50
  Speaker 1: Fortunately,
• 4:51
  Speaker 0: not a very own song, but that deals with a similar
• 4:54
  Speaker 1: topic.
• 4:55
  Speaker 1: Sometimes you put it in a life situation, in a situation from which you would like to free yourself, but you don't really know how.
• 5:04
  Speaker 1: And that's also because of Koki in her next song.
• 5:08
  Speaker 1: The artist actually comes from Korea, but he works here in Berlin and has also worked with the producer Gabriel Gifford, who lives here in Berlin, on this single.
• 5:18
  Speaker 1: And you have to express both compliments for the sound philosophy that we are now able to experience here.
• 5:23
  Speaker 1: Because we have to do it with the mixing of glass clear ideas for pop music and an ultra-large distortion.
• 5:31
  Speaker 1: So the distortion pedal, which has been played here twice before it went into the chorus, or it has been switched into two at a time.
• 5:39
  Speaker 1: I think that's very, very good.
• 5:39
  Speaker 1: And yet it can do it.
• 5:41
  Speaker 1: this formation or the artist is able to not break down or lose the pop appeal through this distortion.
• 5:48
  Speaker 1: And that has finally convinced me.
• 5:51
  Speaker 1: Of course, her voice is also exceptionally beautiful.
• 5:54
  Speaker 1: She has a slight crack in it, which I like very, very much.
• 5:58
  Speaker 1: She also reminded me of some other
• 6:02
  Speaker 0: artist, but I couldn't really... It's very contemporary.
• 6:04
  Speaker 1: It's contemporary, but not so contemporary that I would like to complain about it, like I did with the songs you brought with you by female artists.
• 6:13
  Speaker 1: That's
• 6:13
  Speaker 0: often the case.
• 6:14
  Speaker 1: I think it's appropriate enough to have a justification or to have a justification for it.
• 6:23
  Speaker 1: We hear a song called Stuck in the Middle by Koki.
• 6:29
  Speaker 1: Absolutely new at Goldstückli Ahoj.
• 6:31
  Speaker 0: You have to start with two Ks at the beginning,
• 6:33
  Speaker 1: right?
• 6:33
  Speaker 1: Right.
• 6:34
  Speaker 1: I
• 6:35
  Speaker 0: already said that, but whatever.
• 6:36
  Speaker 1: Sorry, I didn't mean to.
• 6:42
  Speaker 1: Cookie with stuck-in-the-middle.
• 6:47
  Speaker 1: great new music that was recommended to us is by a listener called Moritz Hoffmann.
• 7:00
  Speaker 1: Thank you Moritz.
• 7:01
  Speaker 1: He also heard that Gabriel Gifford was awesome produced or something like that.
• 7:23
  Speaker 1: I don't know exactly.
• 7:24
  Speaker 1: If you want to produce something metal-like, so something made of metal, that's probably the right thing to do.
• 7:31
  Speaker 1: Aha, not metal rock.
• 7:32
  Speaker 1: Yes, exactly.
• 7:33
  Speaker 1: Then contact him, the one of us who is now really a very appreciated listener, Moritz Hoffmann.
• 7:44
  Speaker 1: Moritz Hoffmann is called Manufaktur, I think it's an Instagram account.
• 7:51
  Speaker 1: There you can see what he can do.
• 7:54
  Speaker 1: A grill.
• 7:55
  Speaker 1: Grillschweißen?
• 7:57
  Speaker 1: No, I think he is more like an artist or he also makes art out of metal, so much for sure.
• 8:04
  Speaker 1: But I think it's also good for design solutions in the architectural area.
• 8:08
  Speaker 1: So just take a look.
• 8:09
  Speaker 1: The food industry design is also great.
• 8:12
  Speaker 1: Yes, and you can also notice that it's worth it to get some tips for Goldstückli.
• 8:17
  Speaker 1: You will be immediately featured here in the program and get a advertising spot.
• 8:22
  Speaker 1: Yes, I mean, we take our tasks seriously as a runner-up.
• 8:28
  Speaker 1: And that's why the doors are open when the music is right.
• 8:57
  Speaker 1: That's absolutely right.
• 9:01
  Speaker 1: I also fell in
• 9:05
  Speaker 0: love
• 9:07
  Speaker 1: with the right of choice from the
• 9:17
  Speaker 0: beginning,
• 9:20
  Speaker 1: not only the right of self, but also the right of high in California.
• 9:31
  Speaker 1: That's high right?
• 9:31
  Speaker 0: Yes, it can
• 9:33
  Speaker 1: be high.
• 9:35
  Speaker 1: Not because of the high fish.
• 9:37
  Speaker 1: I understand.
• 9:38
  Speaker 1: If you want to be
• 9:40
  Speaker 0: high and want to listen
• 9:44
  Speaker 1: to
• 9:45
  Speaker 0: the music
• 9:47
  Speaker 1: of Koki, you
• 9:48
  Speaker 0: can listen to it on the
• 9:54
  Speaker 1: sixth and
• 9:55
  Speaker 0: eleventh in the Columbia Hall or on the eighth
• 9:58
  Speaker 1: and eleventh in the Georg Elsa Hall.
• 10:06
  Speaker 1: The first one is in Berlin, the second one in Hamburg.
• 10:08
  Speaker 1: Of course, it's also about Edwin Rosen concerts.
• 10:12
  Speaker 1: As far as it is not yet that she could go alone to the Columbia Hall.
• 10:15
  Speaker 0: That would be too big.
• 10:17
  Speaker 1: Yes, but I hope it will go on and get even bigger, because it's really very, very special what she does.
• 10:27
  Speaker 0: We come to an artist from Queens in New York, H. Proust.
• 10:32
  Speaker 0: This is a summary for Hanna Brusinski.
• 10:36
  Speaker 0: So is the name of the person with the bourgeois name.
• 10:38
  Speaker 0: A new album by Hanna is already finished and will be released next Friday, on the seventh of November.
• 10:45
  Speaker 0: It's called Red Sky at Morning.
• 10:47
  Speaker 1: It's the
• 10:48
  Speaker 0: second album by H. Bruce.
• 10:51
  Speaker 0: Hanna also released it.
• 10:53
  Speaker 0: That's the song.
• 10:55
  Speaker 0: not only a great video, where she together with the cousin Molly Schenkenberger, which I thought was a horror movie, and which then cut together super eight-monthly.
• 11:05
  Speaker 0: I watched it, super.
• 11:06
  Speaker 0: It's very funny.
• 11:06
  Speaker 0: There will also be a role-playing book about this whole album Red Sky at Morning, which is very interesting, because neither the format role-playing book, And the idea of flanking to an album.
• 11:22
  Speaker 0: I
• 11:22
  Speaker 1: didn't know that either.
• 11:23
  Speaker 1: You know
• 11:23
  Speaker 0: the RPGs, where you sit around
• 11:25
  Speaker 1: the table and one of them is the storyteller.
• 11:30
  Speaker 0: No, I was always afraid of that.
• 11:31
  Speaker 0: That was always a glissary style for me.
• 11:34
  Speaker 0: Yes, they also do
• 11:34
  Speaker 1: that at Stranger Things.
• 11:36
  Speaker 1: I
• 11:36
  Speaker 0: couldn't watch that either.
• 11:38
  Speaker 0: I couldn't watch the first episode at Stranger Things.
• 11:41
  Speaker 0: Oh,
• 11:41
  Speaker 1: that's crazy.
• 11:42
  Speaker 0: Yes, when children call me from the countryside, I don't watch it.
• 11:44
  Speaker 0: I'm
• 11:44
  Speaker 1: watching it right now because at the end of November a new... I didn't know what I was looking at at all.
• 11:52
  Speaker 1: I just started from the very beginning and I think it's worth it.
• 11:55
  Speaker 1: It's a lot of fun to look at Ranger Things.
• 11:57
  Speaker 1: But we're coming from the
• 11:59
  Speaker 0: topic.
• 12:00
  Speaker 0: But Aproposcariness, the song Christa, which we'll listen to soon, will be by H. Proust, which seems to have two realities.
• 12:07
  Speaker 0: On the one hand, you can hear Hanna sing from a woman, which Hanna sees on the veranda, screaming.
• 12:15
  Speaker 0: And then suddenly your voice comes out of the mouth, also sung by Hannah.
• 12:22
  Speaker 0: She then says, no, no, no, that's a tree.
• 12:23
  Speaker 0: But I can still feel the cry.
• 12:26
  Speaker 0: Yes, it's just like in the car.
• 12:27
  Speaker 1: Yes, so what's really crazy is that it's here with such a shit-sofret piece of music, in principle, to have to do that on the one hand, so beautiful, melodious, elegant, and harmonious.
• 12:37
  Speaker 1: And then a voice flows in the background, on a completely different level.
• 12:41
  Speaker 1: And the guitars, who play such beautiful melodies, sometimes swing into a feedback and squeak just in front of them.
• 12:49
  Speaker 1: And that makes something psychoacoustic with one.
• 12:51
  Speaker 1: And that was, as far as I can understand, also a bit the goal of this single, that it transports something like that.
• 12:57
  Speaker 1: And the video that you described is really, really sweet, because it was really shot by the two of them fifteen years ago.
• 13:03
  Speaker 1: They were both like... I just became a teenager.
• 13:05
  Speaker 1: I guess I'm like twelve, thirteen years old girls.
• 13:08
  Speaker 1: They simulate horror movies.
• 13:12
  Speaker 1: And that's not so
• 13:13
  Speaker 0: bad.
• 13:13
  Speaker 0: But I'm in horror movies or horror movies that love to dramatize.
• 13:17
  Speaker 0: Because The Ring.
• 13:19
  Speaker 0: I always see the girl from The Ring.
• 13:20
  Speaker 0: With the long hair, how she comes from the TV, how she stands at the front, at the back.
• 13:24
  Speaker 1: Just three times my name and the jumps from the porn movie.
• 13:27
  Speaker 1: I'm just putting it back on.
• 13:31
  Speaker 1: SSIO and K.I.
• 13:32
  Speaker 1: Chat with me, me, me, me, me.
• 13:34
  Speaker 1: It's too late for that.
• 13:35
  Speaker 1: Here, first of all, H. Bruce with Krista.
• 13:38
  Speaker 1: The record Red Sky at Morning is already the second.
• 13:48
  Speaker 1: And we're looking forward to this
• 13:57
  Speaker 0: song here.
• 13:58
  Speaker 0: And I'm especially
• 14:00
  Speaker 1: looking
• 14:00
  Speaker 0: forward to the double floor in
• 14:01
  Speaker 1: the song.
• 14:02
  Speaker 1: Because you can
• 14:02
  Speaker 0: really hear that song on two completely different levels.
• 14:08
  Speaker 0: You can walk through the city happily with it.
• 14:18
  Speaker 0: Or also crying.
• 14:19
  Speaker 0: in the forest.
• 14:20
  Speaker 0: Or scream on a veranda.
• 14:24
  Speaker 0: For example.
• 14:26
  Speaker 0: Here I have eight pluses with Krista.
• 14:35
  Speaker 0: Very good.
• 14:35
  Speaker 0: Wow, scary.
• 14:36
  Speaker 0: I think the end was great.
• 14:38
  Speaker 0: H. Proust once again belongs to me with Christa.
• 14:40
  Speaker 0: The album is about Red Sky and Morning coming next Friday.
• 14:46
  Speaker 0: It's just as good as it would be with us in the background.
• 15:06
  Speaker 0: I just had to breathe out.
• 15:09
  Speaker 0: That we don't have any music at all.
• 15:13
  Speaker 0: I feel this cold breeze in my mind right now.
• 15:17
  Speaker 0: It's really... Apropos two realities.
• 15:21
  Speaker 0: A good bridge.
• 15:22
  Speaker 0: A good bridge, that's right.
• 15:23
  Speaker 0: We are talking to another piece of music that seems to form several realities, at least several levels.
• 15:31
  Speaker 0: You can definitely say that without a condom.
• 15:36
  Speaker 0: We're talking about Rosalia Björk and Eve Tumor.
• 15:39
  Speaker 0: Because they released the first new single for the next Rosalia album together.
• 15:45
  Speaker 0: And it's called Bergheim.
• 15:47
  Speaker 0: What a thing!
• 15:47
  Speaker 0: Now, of course, if you haven't heard the song yet, maybe on extremely minimalistic techno beats.
• 15:56
  Speaker 0: and ecstatic rhythms that are used to dance.
• 15:59
  Speaker 0: But no, we have it here with a piece of music that was played by the London Symphonic Orchestra and that works with elements of classical music, which still remains pop, which is a bit like Björk, I think.
• 16:21
  Speaker 0: Because Rosalie already has her operatic voice here, which you didn't know at all.
• 16:30
  Speaker 0: But I think your tip is very good, start with the video, which is a bit stupid in an audio format, but... Watch the video at least in parallel or always out in the back.
• 16:40
  Speaker 0: Because it's really much better with the video together.
• 16:42
  Speaker 0: Yes, and I think that the video, although it's played in the streets of Barcelona and the London Symphonic Orchestra is always with the picture, I think that
• 17:10
  Speaker 1: the video is still a ...
• 17:12
  Speaker 0: connection to the title of the song Bergheim.
• 17:14
  Speaker 0: Because
• 17:14
  Speaker 1: somehow you have the feeling
• 17:16
  Speaker 0: that you are talking here all the time about the resolution of the individual.
• 17:20
  Speaker 0: So the text, which is
• 17:22
  Speaker 1: also partially understood in German, sings Rosalia, always together with the choir.
• 17:44
  Speaker 1: His fear is my fear.
• 17:46
  Speaker 1: His anger is my anger.
• 17:51
  Speaker 1: His love is my love.
• 17:55
  Speaker 1: His blood is my blood.
• 18:10
  Speaker 1: And there you can already feel the melting of two individuals from all
• 18:16
  Speaker 0: to a whole new one.
• 18:19
  Speaker 0: And that is what is often reported as experience from Bergheim.
• 18:25
  Speaker 0: that you can solve there as an individual,
• 18:31
  Speaker 1: which of course also has to do with the introduction of substances, but also with the music and with this common experience that you make, that you solve the individual and that you might even discover as part of a group of swarms.
• 19:28
  Speaker 1: And that's definitely parallel to the song that we're listening to now and the theme that the song is playing, namely the theme of Berkheim.
• 19:36
  Speaker 1: It's also there to be heard.
• 19:38
  Speaker 1: There are also scenes in the video where a a sugar cube filled with liquid, where you have to think about Albert Hoffmann and LSD.
• 19:45
  Speaker 1: There are many layers in this piece.
• 19:48
  Speaker 1: And I really got it right when I heard it for the second time.
• 19:52
  Speaker 1: At first I thought, well, that's exciting to hear with the London Symphonic Orchestra and Rosalia completely different.
• 20:02
  Speaker 1: But is that a song that I would like to hear again?
• 20:08
  Speaker 1: Probably
• 20:09
  Speaker 0: not.
• 20:10
  Speaker 0: And when I heard it for the second time, it was clear to me that I would hear it very often, because it's a sport.
• 20:21
  Speaker 0: Yes, and
• 20:22
  Speaker 1: it's also
• 20:24
  Speaker 0: great
• 20:24
  Speaker 1: that you're just a little bit hidden through the flowers, suddenly Björk sings again from the boxes and sings, does not sing, and that it's
• 20:44
  Speaker 0: just wonderful
• 20:45
  Speaker 1: to hear that Björk is back there and music again.
• 20:52
  Speaker 1: Yes, totally.
• 20:53
  Speaker 1: I also think when your voice starts to tremble, the sun starts to
• 21:01
  Speaker 0: rise and
• 21:03
  Speaker 1: what I said earlier is true, it will pop immediately when Björk starts to sing.
• 21:31
  Speaker 1: Before that it's a bit... You can't play music.
• 21:34
  Speaker 1: There are too many people for that.
• 21:37
  Speaker 1: But it's a classical pop music with little pop and a lot of classical music.
• 21:47
  Speaker 1: And as soon as Björk starts... But maybe you can do it yourself when you hear that.
• 21:57
  Speaker 1: By the way, the new album will be released on the seventh and eleventh.
• 22:08
  Speaker 1: Fuck you till you love me.
• 22:12
  Speaker 1: I'll fuck you till you love me.
• 22:18
  Speaker 1: It's so good!
• 22:22
  Speaker 1: Bergen von Rosalía with Björk, it's really really good.
• 22:46
  Speaker 1: And definitely watch the video, because one spoiler must be given if you don't know it yet.
• 22:57
  Speaker 1: I mean, the door opens from her apartment in Barcelona, and the whole London symphonic orchestra is in one room.
• 23:18
  Speaker 1: Yes, yes, she's being followed by them.
• 23:20
  Speaker 1: But I think it's pretty cool, because it has a really exciting part.
• 23:39
  Speaker 0: It starts like this.
• 23:48
  Speaker 0: With Wemmel, you want to cover the mountains in analogies, then it starts in the moment in which the noise may be used, and then it is so euphoric and everything is so great.
• 24:01
  Speaker 0: And from the
• 24:02
  Speaker 1: back it becomes even more gloomy, like with the Hafti Dooku that I just watched.
• 24:11
  Speaker 1: Where you first think, take drugs, why not, if you have the coal for it.
• 24:18
  Speaker 1: And if you watched the Dooku at the end, or if you saw it at all, you probably think, no.
• 24:25
  Speaker 1: It's not that good.
• 24:26
  Speaker 1: And this bad ending that you can take out, that comes from the song that we just heard
• 24:38
  Speaker 0: before.
• 24:38
  Speaker 0: And the Haftie-Doku, should I look at it too?
• 24:40
  Speaker 0: Is it good, recommendable?
• 24:42
  Speaker 1: I don't know, you're a little sensitive about horror elements and there are really eyes in this Doku where you look at Haftie and it's horror.
• 24:52
  Speaker 0: It's really horror.
• 24:53
  Speaker 0: So it could have been initiated by Nancy Reagan, the Doku?
• 24:56
  Speaker 0: No, but
• 24:56
  Speaker 1: we'll talk about the Wraggings later.
• 24:58
  Speaker 1: But let's talk about the Hafti-Doko, because it's really very, very visible.
• 25:01
  Speaker 1: What I think is great is that it also combines a lot of different themes.
• 25:07
  Speaker 1: You can think of yourself in this Doko as a sociologist and a sociologist.
• 25:14
  Speaker 1: You can think of yourself as a psychologist about family structures and about addiction phenomena.
• 25:19
  Speaker 1: You can look at it all politically and wonder how many chances there are actually for the kids in Germany.
• 25:31
  Speaker 1: Do the kids in Offenbach.
• 25:32
  Speaker 1: It's really interesting.
• 25:34
  Speaker 1: I can also recommend, and that's what I really liked about most of the time, a video about our... colleague in Tamm, Tamara Gütschle, who also looked at this document and picked out exactly that as a painful point that I also saw.
• 26:04
  Speaker 1: And that is the behavior of people from the major platinum industry, which then suddenly, when the guy is dying from death, want to be friends, so roughly, and say, yes, then I also had to be a friend.
• 26:16
  Speaker 1: to take care of iQOOT.
• 26:17
  Speaker 1: I used to take care of iQOOT as a universal.
• 26:21
  Speaker 1: Although the universal man is not that bad yet, there are some people in there who think, dude, you know how bad it is.
• 26:29
  Speaker 1: Why would you pick up a big gig after the next one?
• 26:33
  Speaker 1: And how many crazy nights did you actually smoke
• 26:36
  Speaker 0: on the table with them?
• 26:37
  Speaker 0: Interesting.
• 26:38
  Speaker 0: So there are
• 26:38
  Speaker 1: a few, there are really a lot of things that you can think about.
• 26:42
  Speaker 1: And Tam's video is really exciting, because she, like me, has also observed a bit that there, also in the record industry and especially in the rap business, you just have to find a place to think again.
• 26:57
  Speaker 1: You can't burn people.
• 26:58
  Speaker 1: It's
• 26:59
  Speaker 0: all about the money, when the Benjamin... business regained, then it will be like
• 27:06
  Speaker 1: this.
• 27:06
  Speaker 1: You just mentioned Nancy Reagan.
• 27:08
  Speaker 0: You check the link, because Nancy Reagan was the great leader of this der end of the eighties, where Ronald Reagan, the president, was.
• 27:17
  Speaker 0: He really wanted her against drugs.
• 27:20
  Speaker 0: And the parental advisory came out
• 27:22
  Speaker 1: of this
• 27:23
  Speaker 0: region.
• 27:24
  Speaker 0: Interesting time.
• 27:26
  Speaker 1: Yes, interesting time.
• 27:27
  Speaker 1: We are in the eighties.
• 27:29
  Speaker 1: And that actually fits quite well to our old stuff.
• 27:32
  Speaker 1: goldstückli.
• 27:33
  Speaker 1: Sie hören das, goldstückli, goldstückli, knickknack.
• 27:40
  Speaker 1: Am thirtieth and thirteenth, one hundred and eighty-one, ne?
• 27:43
  Speaker 1: Deswegen ist mir vorhin bei Regan, beim Stichwort Regan, so fort das... It became ear-pick, if you can say that.
• 27:49
  Speaker 1: Not that
• 27:50
  Speaker 0: ear-pick, but that
• 27:51
  Speaker 1: ear-pick.
• 27:51
  Speaker 1: On the thirties and thirties, in the eighties, he found an attack, instead of an attack attempt, on Ronald Reagan, led by John Hickley
• 27:59
  Speaker 1: Jr.,
• 28:04
  Speaker 1: who didn't just want to move politically with his attack, but he wanted to impress Jodie Foster, who at the time had played a less-year-old
• 28:17
  Speaker 0: prostitute at Taxi Driver, and it somehow found
• 28:20
  Speaker 1: it so strong that he thought, he's shooting Ronald Reagan now, and then Jodie Foster will
• 28:35
  Speaker 0: marry me.
• 28:36
  Speaker 0: What?
• 28:36
  Speaker 0: Yeah, yeah, yeah.
• 28:37
  Speaker 0: What
• 28:38
  Speaker 1: a story!
• 28:38
  Speaker 1: Riesel
• 28:39
  Speaker 0: again.
• 28:39
  Speaker 0: Yes, but in any case, one of the
• 28:47
  Speaker 1: ones who has really grown to the heart is the colleague.
• 28:54
  Speaker 1: Ingo!
• 28:54
  Speaker 1: Of Ingo!
• 28:54
  Speaker 1: Okay, of course.
• 28:55
  Speaker 1: Ingo brought
• 28:57
  Speaker 0: me close to him.
• 28:57
  Speaker 0: I didn't know him at all, because I only knew of Trio, two or three songs from this first legendary record.
• 29:03
  Speaker 0: By the
• 29:04
  Speaker 1: way, I found out
• 29:05
  Speaker 0: that it was recorded in Rastede.
• 29:08
  Speaker 0: It's a record from Oldenburg.
• 29:10
  Speaker 0: Where my wife, Petra, comes from?
• 29:13
  Speaker 1: They don't come from Rastede.
• 29:14
  Speaker 1: Yes,
• 29:15
  Speaker 0: they come from Warnbeck.
• 29:16
  Speaker 0: Warnbeck belongs to the community of Rastede and my father-in-law, Ruhe in Frieden, was the mayor of Rastede for twenty
• 29:23
  Speaker 1: years.
• 29:24
  Speaker 0: Ah, nice.
• 29:24
  Speaker 0: Represent.
• 29:25
  Speaker 0: Maybe he
• 29:25
  Speaker 1: was also mayor when they lived there.
• 29:27
  Speaker 1: They lived there with, how do you say it, as bandwg and so on.
• 29:32
  Speaker 1: We pressed the telephone number on the plate and called everyone.
• 29:39
  Speaker 1: Sorry.
• 29:40
  Speaker 1: Sorry.
• 29:40
  Speaker 1: And right, but as I said, Othoene from the report of the city about the Reagan attack.
• 29:55
  Speaker 1: And then there really comes such a maybe media-critical level in this song, which on the first level is just a fun song.
• 30:15
  Speaker 1: With text numbers like Los Paul, you have to put it all into the eggs.
• 30:25
  Speaker 1: That's Paul Breitner, right?
• 30:26
  Speaker 1: Yes, that's the kind of violence we want to see if we don't want to feel it.
• 30:37
  Speaker 1: That's how the song goes.
• 30:40
  Speaker 1: And since the first time I've heard this song, I've been a big fan, because the texts have been a little bit associated with it.
• 31:10
  Speaker 1: And now you know, because Kralle Krawinkel has basically told it in an
• 31:22
  Speaker 0: interview, how it was created.
• 31:25
  Speaker 0: Kralle sits in front of the Glotze
• 31:29
  Speaker 1: and watches a country game with
• 31:42
  Speaker 0: Paul Breitner in
• 31:43
  Speaker 1: a starting position.
• 31:44
  Speaker 1: And then Stefan Remler comes in and Kralle says to himself, you have no idea about football, disappear again.
• 31:54
  Speaker 1: And he says something like, no, let me take a look at it a little bit and has a notice block with it.
• 31:59
  Speaker 1: So you might be thinking, maybe there's going to be a text.
• 32:04
  Speaker 1: He calls something like, Los Paul, you have
• 32:07
  Speaker 0: to hit him in the eye, just like you do as a football fan.
• 32:39
  Speaker 0: When he saw this sport, he wrote it down and then he just took text messages from the commentators and put them all together.
• 32:51
  Speaker 0: To this excellent text, Los Paul.
• 32:53
  Speaker 0: Very cool.
• 32:53
  Speaker 0: He might just be a critic.
• 32:55
  Speaker 0: On the media, maybe it's just an associative combination of text lines.
• 32:59
  Speaker 0: You don't know exactly.
• 33:01
  Speaker 0: So many pelts have me a bit distracted by such a serious topic.
• 33:06
  Speaker 0: Swans parade.
• 33:08
  Speaker 0: Why are there no photographers here?
• 33:11
  Speaker 0: I mean, what should we start with this information?
• 33:14
  Speaker 0: But that's very remblerish.
• 33:20
  Speaker 0: Where it's already big.
• 33:21
  Speaker 0: He really led it forward.
• 33:23
  Speaker 0: It's crazy.
• 33:24
  Speaker 0: And because we don't want to leave this song forgotten, we want to play you back with the first Trio LP, which was released in the year of the last.
• 33:34
  Speaker 0: Trio.
• 33:34
  Speaker 0: On the court of Kalle Kravinkil in Rastede.
• 33:36
  Speaker 0: Right.
• 33:37
  Speaker 0: And produced by Klaus Vormann on the fourth beat.
• 33:40
  Speaker 0: You can't forget that.
• 33:41
  Speaker 0: And there are also the most amazing electrodes that he went to the studio with these guys.
• 33:46
  Speaker 0: And then came back to the record company and played it.
• 33:48
  Speaker 0: And everyone was waiting for the bass.
• 33:50
  Speaker 0: So when will the bass come?
• 33:52
  Speaker 0: And when will the chorus go?
• 33:55
  Speaker 0: Why doesn't it go on?
• 33:56
  Speaker 0: They didn't check that it's a different concept in the video.
• 33:59
  Speaker 0: That we now hear with Los Paul at Goldstückli.
• 34:01
  Speaker 0: Sorry, again for the confusing moderation.
• 34:04
  Speaker 0: I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, When will the bass come?
• 34:17
  Speaker 0: He didn't come.
• 34:18
  Speaker 0: Title of our episode today.
• 34:19
  Speaker 0: Let's go, Paul.
• 34:19
  Speaker 0: Trio.
• 34:19
  Speaker 0: It's funny that you're jet lagged, actually.
• 34:28
  Speaker 0: Yes, a little bit.
• 34:32
  Speaker 1: And I'm completely confused.
• 34:40
  Speaker 1: I have
• 34:41
  Speaker 0: the
• 34:42
  Speaker 1: feeling that I'm so weird today.
• 34:46
  Speaker 1: So I have the last word for Trio.
• 34:48
  Speaker 1: That was really the opponent from the very back to
• 34:51
  Speaker 0: the very front.
• 34:52
  Speaker 0: Yes, but still very Trio-esque, did you think?
• 34:53
  Speaker 0: Yes,
• 34:54
  Speaker 1: that's right.
• 34:54
  Speaker 1: Yes, as you can see.
• 34:55
  Speaker 1: A lot of
• 34:55
  Speaker 0: information and beautiful melodies.
• 34:59
  Speaker 0: Then we leave
• 35:00
  Speaker 1: it like that.
• 35:01
  Speaker 1: The way is the goal.
• 35:02
  Speaker 1: Could
• 35:02
  Speaker 0: you also say that?
• 35:04
  Speaker 0: And goals are only in my life.
• 35:06
  Speaker 1: Right.
• 35:06
  Speaker 1: And with that we have also made the most beautiful translation ever to the next episode of Journey by Mugun.
• 35:12
  Speaker 1: Oh yes.
• 35:12
  Speaker 1: Because also a little bit of this, the way is the sound of the philosophy of the goal.
• 35:16
  Speaker 0: Yes, with Zwölf, namely, he is exiled to Jamaica with his parents and they weren't planning on coming back.
• 35:23
  Speaker 0: They really wanted to stay in Jamaica and a young friend of his had him after a few years.
• 35:29
  Speaker 0: Um, geschrieben und wieder Kontakte aufgenommen, mit dem man gesagt, ey, du musst Demos machen.
• 35:33
  Speaker 0: Du musst Demos machen.
• 35:33
  Speaker 0: Du musst zurückkommen nach England.
• 35:35
  Speaker 0: Das geht so nicht.
• 35:36
  Speaker 0: Und dann hat er wirklich ein, zwei Demos rübergeschickt wieder zurück nach London und sein Freund hat ihn dann überzeugt und gesagt, komm wieder zurück.
• 35:43
  Speaker 0: And then, really, ten years ago, back to London, Chilling Killing, he's the first song he released at that time, he really spent more or less his whole life in the studio, he didn't go out anymore and just started producing music.
• 35:58
  Speaker 0: The songs came out the right way, but only five or six years ago.
• 36:01
  Speaker 0: Meanwhile, at the second EP, or at least it was announced, it was called Dissident Behavior, which appeared last week.
• 36:09
  Speaker 0: and I really like it, because, like you, at the Trio Anmoderation, a lot, a lot of information is hidden and you still can't make it.
• 36:18
  Speaker 0: Or not, but a little confused.
• 36:20
  Speaker 0: Yes.
• 36:20
  Speaker 0: But
• 36:20
  Speaker 1: a little
• 36:21
  Speaker 0: confused.
• 36:21
  Speaker 0: Yes,
• 36:22
  Speaker 1: yes, yes.
• 36:22
  Speaker 1: So that's interesting, because this number, the artist who usually comes from Coventry, is interesting, that he wanted to create music that I could have liked in his younger age.
• 36:33
  Speaker 1: That he would have liked as a teenager.
• 36:35
  Speaker 1: And at the same time the chaos that he felt as a teenager.
• 36:42
  Speaker 1: Maybe it's because of that, but that's also a general feeling of a teenager.
• 36:46
  Speaker 1: Disappearance, things in the brain form new, the
• 36:48
  Speaker 0: body changes,
• 36:49
  Speaker 1: hormones, sex is required, everything suddenly falls apart.
• 36:52
  Speaker 1: And you are confused and there is really a lot of information.
• 36:55
  Speaker 1: And that has actually changed one by one.
• 36:57
  Speaker 1: in many rhythmical and harmonic information in this song.
• 37:01
  Speaker 1: And that's again one of the songs that I first understood when I got this background information.
• 37:05
  Speaker 1: Because I was too happy.
• 37:07
  Speaker 1: I thought, young man, the start is in the break.
• 37:09
  Speaker 1: Where is the break?
• 37:10
  Speaker 1: Where is the break?
• 37:12
  Speaker 1: Buy a button first, Digger.
• 37:14
  Speaker 1: In the morning they
• 37:15
  Speaker 0: do it in Germany.
• 37:17
  Speaker 0: That's
• 37:17
  Speaker 1: what I do in Frankfurt.
• 37:18
  Speaker 1: Then take a break for a while and let the music play.
• 37:21
  Speaker 1: And don't sing too much.
• 37:22
  Speaker 1: But when you hear this background story, then you say, well, mougoun goes without breathing through the night and has reasons.
• 37:29
  Speaker 1: Yes,
• 37:30
  Speaker 0: totally.
• 37:30
  Speaker 0: It's nice that you said that with half a dozen in Germany.
• 37:34
  Speaker 0: With my family, we went back.
• 37:36
  Speaker 0: We had to move to Frankfurt.
• 37:37
  Speaker 0: We were really half a dozen on the roller coaster, after we slept for two or three hours with the plane.
• 37:44
  Speaker 0: And I look at my wife, Petra, and say, in the morning, at half past ten, in Germany, and she says to me, I couldn't do anything.
• 37:50
  Speaker 1: It's awesome
• 37:52
  Speaker 0: how that's in there.
• 37:53
  Speaker 0: That's
• 37:53
  Speaker 1: crazy.
• 37:54
  Speaker 1: Capitalism has our brains under control.
• 37:57
  Speaker 0: Totally.
• 37:58
  Speaker 0: But back to Mugun.
• 37:59
  Speaker 0: He also says, because of so much information and chaos, he says to himself, I won't play a tune if it doesn't bang.
• 38:06
  Speaker 0: So it's really just a statement from him that every tune that comes out is really ballad.
• 38:11
  Speaker 1: Oh, killer is no fillers.
• 38:12
  Speaker 1: Yes.
• 38:13
  Speaker 1: Chill and kill it.
• 38:14
  Speaker 1: Mugun with Journey, maybe also with this overload, a good soundtrack for the opponent who also challenges us with information every day.
• 38:22
  Speaker 1: New catastrophes, new moves from Donald Trump.
• 38:25
  Speaker 1: The right side in Germany goes on and on and on.
• 38:27
  Speaker 1: He has thousands of infos, you know, and it fits here quite well.
• 38:29
  Speaker 1: If you listen to this song, you can definitely not at the same time think about something else.
• 38:33
  Speaker 1: That's too much.
• 38:34
  Speaker 1: Mugun with Journey by Goldsther Kliahoi.
• 38:38
  Speaker 0: She got the steps, I took my breath, supposed to be crept into that
• 38:40
  Speaker 1: flat foot, the rest with no regrets
• 38:42
  Speaker 0: in my head, of those we left, for those we don't forget, she smokes and holds her meds, see your old depends on first touch, feeling things you've heard of, she'll be nearly missed.
• 38:49
  Speaker 0: a turn off, from while she drove, she out controlling, go loud, I blow, I'm fouls her mouth, the door, as we face the lights at night, you take a life, I just made my mind or stayed and paid the price, as my memory burns, it's so much more to learn, as you roam the earth, you hold my peace, her mind is no need to lie, just a young V, the signs of your breath, the scene.
• 39:02
  Speaker 0: you watch me redesign, See in your eyes and you won't need a vibe.
• 39:05
  Speaker 0: But your girlfriend's tryna be between the lines.
• 39:07
  Speaker 0: She feel the heat and burn on Temperature murder, the windows are her darling more.
• 39:11
  Speaker 0: She's circling me, I guess.
• 39:12
  Speaker 0: start the rest of the journal and whispers my marines.
• 39:14
  Speaker 0: She feel the heat and burn on Temperature murder, the windows are her darling more.
• 39:18
  Speaker 0: She's circling me, I guess.
• 39:19
  Speaker 0: start the rest of the journal and whispers my marines.
• 39:21
  Speaker 0: She feel the heat and burn on Temperature murder, the windows are her darling more.
• 39:25
  Speaker 0: She's circling me, I guess.
• 39:26
  Speaker 0: start the rest of the journal and whispers my marines Cause you're an alien, whispers my mouth and me.
• 39:30
  Speaker 0: I'm in deep, a reef with grass in it.
• 39:32
  Speaker 0: We don't retreat, cause we've learned nothings.
• 39:33
  Speaker 0: I'm a stone cutting, running stone, running breeze Through the trees, my genes are free, honey That reach the door, you still still, if flows could kill I'd be boxed up in fields, or this fucker we spilled.
• 39:41
  Speaker 0: Irresponsible, still too comfortable, is this not what you feel?
• 39:44
  Speaker 0: I can't tell if she's too down for these flows Tripped to wait till it kills, she hits me like pills.
• 39:49
  Speaker 0: She left hope behind and concealed, but there's way too much to boss case I'm immune so fast, because she's of okay, wanna have his face And the struggle past me gets lost around me, bad break, so please Don't know if I'm safe.
• 39:59
  Speaker 0: could be glad the town without two lights about to the lights to out survive it by the draw.
• 40:20
  Speaker 0: if I call get down and she thought I hear my shout just feel the heat and burn off.
• 40:27
  Speaker 0: I'm in deep, the reef is worsening.
• 40:29
  Speaker 0: We don't retreat, cause we be like nothings.
• 40:31
  Speaker 0: I'm battle cutting, conning stone, running breeze through the trees.
• 40:36
  Speaker 0: My G's are free, honey, and she feel the heat and burn on.
• 41:03
  Speaker 0: New Grime Rap, could you call it?
• 41:07
  Speaker 0: Maybe?
• 41:07
  Speaker 0: From McGoon's Coventry.
• 41:08
  Speaker 0: Journey is an excerpt from his new EP, Dissident Behavior.
• 41:11
  Speaker 1: Don't stop believin'.
• 41:14
  Speaker 0: No, that's the band Journey.
• 41:16
  Speaker 0: That's not the song.
• 41:18
  Speaker 0: Was it with Morcau-Bell, actually, also Journey?
• 41:20
  Speaker 0: Or was it Chicago?
• 41:21
  Speaker 1: No, it was something
• 41:22
  Speaker 0: else.
• 41:23
  Speaker 0: To your information before the song, because the world is so disturbing right now and you have to put something against it with art.
• 41:31
  Speaker 0: There is also the small anecdote of Old Testament.
• 41:35
  Speaker 0: This is a song from his first EP, which was
• 41:38
  Speaker 1: released two years ago.
• 41:38
  Speaker 1: From who?
• 41:39
  Speaker 1: From Mughun.
• 41:39
  Speaker 1: His
• 41:41
  Speaker 0: grandfather, his grandmother, read him a chapter from the Old Testament and he took it as an idea.
• 41:49
  Speaker 0: That's exactly what I'm doing
• 41:50
  Speaker 1: now, an EP.
• 41:50
  Speaker 1: Ah, okay.
• 41:51
  Speaker 1: Because
• 41:51
  Speaker 0: of the opposite of what is currently happening.
• 41:56
  Speaker 0: All in all, it's not
• 41:59
  Speaker 1: the opposite.
• 42:00
  Speaker 0: It's just a bit human.
• 42:01
  Speaker 0: Do you
• 42:01
  Speaker 1: mean we're on the road again in the old testamentary times?
• 42:05
  Speaker 1: It's just
• 42:05
  Speaker 0: macabre.
• 42:06
  Speaker 0: Last time I read a game, the Old Testament roulette.
• 42:11
  Speaker 0: So, Ida picks up a chapter from the Old Testament and the one who is not in prison is the one
• 42:19
  Speaker 1: who won.
• 42:19
  Speaker 1: Okay, of course.
• 42:20
  Speaker 1: Ah, I get it.
• 42:20
  Speaker 1: Everyone has
• 42:21
  Speaker 0: to do what he reads.
• 42:23
  Speaker 0: Sorry, the info was missing.
• 42:25
  Speaker 1: Now you're in a role-playing game, right?
• 42:27
  Speaker 1: Yes, of course.
• 42:27
  Speaker 1: That's crazy.
• 42:30
  Speaker 1: I'm not in a role-playing game, but in a block from CEO.
• 42:35
  Speaker 1: The most successful rapper of the time, whose new album, All or Nothing, was also referred to as the Rattars company, where he was once introduced, or where he made his first steps, which was also called All or Nothing at the time.
• 42:50
  Speaker 1: So he put something like a monument here.
• 42:51
  Speaker 1: In the album title, to LP, which really concerns everyone.
• 42:56
  Speaker 1: At the time, many people are looking forward to it and I think most of them, that here genre limits or storage limits and bubble... ...blows over wounds and pierces.
• 43:08
  Speaker 1: Because Sio is really for the dealer here around the corner, who sells cocaine on the street, just as relevant as for us two average white dudes, who like to deal with rap and music.
• 43:20
  Speaker 1: KZ fans drive just as much on it as maybe people who otherwise listen to Hafti.
• 43:24
  Speaker 1: So it's really someone who brings a lot of people together, who I think would also have been a chancellor.
• 43:32
  Speaker 1: We had that already with Echo Freight.
• 43:33
  Speaker 0: He also comes from Bonn.
• 43:34
  Speaker 0: He comes
• 43:34
  Speaker 1: from Bonn, exactly.
• 43:35
  Speaker 1: So there are many, many... Things that speak for him as a chancellor.
• 43:39
  Speaker 1: And I have now brought a piece that actually fits well again, to the debate that our original chancellor started on the subject of city-building.
• 43:48
  Speaker 1: In the track from CEO in my blog, it's about him disturbing the city-building in his new neighborhood, which he can only afford, because he is a rap star, you know?
• 43:57
  Speaker 1: But then he realizes that everyone else doesn't like him so much and that they find it strange when in his... in the garden grass grows and just not tomatoes, for example.
• 44:07
  Speaker 1: And he put that together in a wonderful way and has very, very pointed rhymes, very, very great rhymes, let me put it that way.
• 44:21
  Speaker 1: Once he rimes, for example, Monika drives with her truck and asks himself, what does this Siawaj Sardat do?
• 44:29
  Speaker 1: So he rimes his name Siawaj Sardat on a truck?
• 44:33
  Speaker 1: I think that's pretty good.
• 44:35
  Speaker 1: In Schockstache, my neighbors tease me like statues.
• 44:38
  Speaker 1: In my blog, the children go to private schools, no matter if I was correct.
• 44:42
  Speaker 1: My neighbors choose protest AFD.
• 44:45
  Speaker 1: And there, I think, is also the point of achievement.
• 44:48
  Speaker 1: They say, yes, it's all funny, but somehow not at all funny.
• 44:53
  Speaker 1: And that also creates, like hardly any other artist, this... Thematic, which has to be strongly discussed, has to do with humor and with... Yes, with such a prize, maybe even irony.
• 45:07
  Speaker 1: Everything
• 45:08
  Speaker 0: is in it.
• 45:09
  Speaker 0: Everything is really in it.
• 45:10
  Speaker 0: What I have in the preparation for today's edition, I sat at the plane and listened to the music and
• 45:20
  Speaker 1: I really laughed
• 45:21
  Speaker 0: loudly.
• 45:21
  Speaker 0: No one knows Tupac, but I can already.
• 45:23
  Speaker 1: And that's just how it came about.
• 45:24
  Speaker 1: You know exactly what I mean.
• 45:25
  Speaker 1: Exactly.
• 45:25
  Speaker 1: So what's cool about C.O.
• 45:26
  Speaker 1: is that it's also a parallel to Hafti.
• 45:28
  Speaker 1: He manages to press words together into the rhyme, which actually does not rhyme in the first place.
• 45:33
  Speaker 1: That's what makes it very, very good.
• 45:35
  Speaker 1: And what I would call context-wise to the part you just dropped, that's what I'm parking wrong.
• 45:41
  Speaker 1: I'm being paid by the police.
• 45:44
  Speaker 1: No one knows Tupac for that.
• 45:46
  Speaker 1: So I'm being paid by the police, I'm being paid by the police.
• 45:50
  Speaker 1: So that's pretty cool.
• 45:51
  Speaker 1: And one of the parts that go under the skin here, I think, is the one at the end, where then with a... a feature guest, you could almost say.
• 46:03
  Speaker 1: A biodeutrophic...
• 46:03
  Speaker 0: A feature
• 46:04
  Speaker 1: neighbor.
• 46:04
  Speaker 1: Yes, where the feature neighbor comes to the corner and says, we believe in God and you believe in Allah, or Allah, or how do you say that?
• 46:10
  Speaker 1: I also have a acquaintance who is an Englishman, he has a friend and he comes from Italy, so I can't be a racist.
• 46:15
  Speaker 1: Such things are really languages that you can laugh about, but sometimes it also remains to laugh in the neck.
• 46:23
  Speaker 1: And I think that this piece has the potential, this... Debate on the subject of the city is another corner.
• 46:30
  Speaker 1: Because it's also accessible for people who don't listen to rap so much.
• 46:38
  Speaker 1: The hook line is totally West Coast hip-hop-like.
• 46:41
  Speaker 1: In my blog.
• 46:43
  Speaker 0: You have a little bit of a sink.
• 46:44
  Speaker 0: Yes, exactly.
• 46:44
  Speaker 0: With the cover you
• 46:44
  Speaker 1: have a little bit
• 46:45
  Speaker 0: of a little bit of a little bit of a sink.
• 46:46
  Speaker 0: It's accessible,
• 46:48
  Speaker 1: exactly.
• 46:48
  Speaker 1: And there's a whole shim-foot-tirade that comes up in every song.
• 46:51
  Speaker 1: They are very reduced here.
• 46:52
  Speaker 1: So there are a few very intelligent things in this song.
• 46:58
  Speaker 1: Verarbeitet worden oder untergebracht worden so dass ich wieder feststellen muss ich bin Fan von der neuen CEO platte.
• 47:05
  Speaker 1: alles oder nicht nicht nur wegen ich ich ich ich ich mit KZ oder nicht nur wegen der auch tollen nummer tut den song in eure playlist und macht viele tiktoks Was für mich ein genialer titel ist für den Song heutzutage
• 47:17
  Speaker 0: und ich danke dir weil ich hab mir den Song nie angehört.
• 47:19
  Speaker 0: also wirklich ohne dich weil ich nie auf diesen lacher gekauft habe.
• 47:22
  Speaker 0: Wunderbar.
• 47:23
  Speaker 1: Wir lieben CEO und ihr hoffentlich auch.
• 47:26
  Speaker 1: wir haben boom bap.
• 47:28
  Speaker 1: And so West Coast Sounds, with texts from Bonner, who wrote his name on a truck.
• 47:34
  Speaker 1: CEO with In My Block.
• 48:15
  Speaker 1: I love you so much that you touch me in a cheese fondue Developing old men into a Tiktok bean Because I hear the beats of Richard, order your idol To get to know each other for a long time, not the cool shit.
• 48:45
  Speaker 1: After all, I'm in the shadow of the world, believe in God And you believe in Allah, or Allah, or this shala mahala stuff.
• 49:19
  Speaker 1: And they constantly call some spells like in shala B.O.
• 49:24
  Speaker 1: Double N. Represent!
• 49:25
  Speaker 1: I'm great.
• 49:26
  Speaker 1: I love it.
• 49:28
  Speaker 1: Yeah, totally good.
• 49:28
  Speaker 1: C.O.
• 49:29
  Speaker 1: in my blog.
• 49:30
  Speaker 1: I think I've really put it on again.
• 49:32
  Speaker 1: What I've found out in the researcher is that he's the jazz cantin singer.
• 49:37
  Speaker 1: Ah, that's what I didn't find out.
• 49:38
  Speaker 1: Albert Sander.
• 49:39
  Speaker 1: Ah, very good.
• 49:40
  Speaker 1: He didn't only sing for jazz cantinas, but also for motel jordan.
• 49:44
  Speaker 1: I don't
• 49:45
  Speaker 0: know anymore.
• 49:45
  Speaker 1: How was that again?
• 49:47
  Speaker 1: Not five on it, but that was the classic.
• 49:50
  Speaker 1: I got five on it.
• 50:02
  Speaker 1: Yeah, not that one.
• 50:06
  Speaker 1: That was later.
• 50:09
  Speaker 1: But it doesn't matter.
• 50:17
  Speaker 1: Special with the endoweed.
• 50:20
  Speaker 1: Awesome.
• 50:20
  Speaker 1: Good old-school thing, actually.
• 50:23
  Speaker 1: Yeah, Montel Jordan, but not.
• 50:29
  Speaker 1: But I
• 50:35
  Speaker 0: got
• 50:36
  Speaker 1: Friday, so let's do it.
• 50:43
  Speaker 0: Yeah,
• 50:44
  Speaker 1: very
• 50:45
  Speaker 0: good.
• 50:45
  Speaker 0: So
• 50:46
  Speaker 1: the props go out to Theo once again.
• 50:50
  Speaker 1: If you're a new neighbor, a
• 50:55
  Speaker 0: new neighbor
• 51:00
  Speaker 1: from Theo, then pull yourself
• 51:03
  Speaker 0: together, damn it!
• 51:09
  Speaker 0: So really.
• 51:09
  Speaker 0: With these magic words here.
• 51:18
  Speaker 0: It's really embarrassing.
• 51:27
  Speaker 0: We don't make an exhibition.
• 51:29
  Speaker 1: We don't make
• 51:33
  Speaker 0: an exhibition
• 51:34
  Speaker 1: at all.
• 51:35
  Speaker 0: In Berlin, however, we meet on a duo that, so to speak, has brought a comprehensive action, in
• 51:42
  Speaker 1: which this duo
• 51:43
  Speaker 0: made
• 51:44
  Speaker 1: a remix for
• 51:45
  Speaker 0: the South African artist Busiswa.
• 51:47
  Speaker 0: For a different duo, you have to say, Bouziswa, as you already said, from South Africa, exactly as
• 51:58
  Speaker 1: you said, from Johannesburg, was invited last
• 52:04
  Speaker 0: autumn to the Repa-Bahn Festival, because
• 52:07
  Speaker 1: you want to strengthen the connection between Europe and Africa.
• 52:11
  Speaker 1: So a musical exchange has to happen more.
• 52:15
  Speaker 0: Bouziswa has now released
• 52:18
  Speaker 1: an EP this May, together with Berndt.
• 52:29
  Speaker 1: That's a
• 52:35
  Speaker 0: German... What bread?
• 52:38
  Speaker 0: Who has the bread?
• 52:45
  Speaker 0: I think it's rather pronounced burnt here, because he lives in Paris.
• 53:04
  Speaker 0: Pierre-Andreas burnt.
• 53:07
  Speaker 1: There you
• 53:08
  Speaker 0: can really double-dice his surname, because he had a problem with his inhabitants in the WG.
• 53:14
  Speaker 0: They took the step.
• 53:15
  Speaker 0: He's
• 53:15
  Speaker 1: a burnt child.
• 53:16
  Speaker 0: I
• 53:16
  Speaker 1: thought he burned the house.
• 53:18
  Speaker 0: No, but he's a burnt child.
• 53:20
  Speaker 0: So burnt.
• 53:20
  Speaker 0: He's a little burnt.
• 53:21
  Speaker 0: But of course he writes big B-E-E-R-N-T.
• 53:25
  Speaker 0: And he released an EP together with Busiswa in May.
• 53:29
  Speaker 0: Honey and Grace.
• 53:30
  Speaker 0: A really beautiful blend of house music, piano, electronic, R&B.
• 53:35
  Speaker 0: Everything
• 53:35
  Speaker 1: with it.
• 53:36
  Speaker 1: And
• 53:36
  Speaker 0: always very danceable.
• 53:37
  Speaker 0: And I like that very much.
• 53:38
  Speaker 0: I feel very good listening to it.
• 53:39
  Speaker 0: Because I didn't get anything from this EP.
• 53:41
  Speaker 0: Until now, and then I'll come back to you again, because Remix belongs to Arm, also from Frank Wiedermann and Christian Bayer.
• 53:51
  Speaker 0: They are currently a new arm plate, after years, after years of waiting, a new arm plate to be released.
• 54:00
  Speaker 0: I've heard from Trabson that the next spring should happen.
• 54:04
  Speaker 0: And I'm very happy because I've already heard certain
• 54:07
  Speaker 1: things.
• 54:08
  Speaker 0: with vocalists, who are also with us, and others with Bouziswa, is a feature guest on several tracks on this new album.
• 54:16
  Speaker 0: And there will be a lot of concerts now.
• 54:19
  Speaker 0: There has just been one in Bergheim.
• 54:22
  Speaker 0: We have been in Bergheim for the second time, because the label of Frank Wiedemann and of Arm and of Dixen has been in Wichita for twenty years.
• 54:30
  Speaker 0: This cool OnlyVinyl label, what you started, has a twenty-year-old fan in Bergen and then also with Bosiswa and many new pieces of this arm plate.
• 54:40
  Speaker 0: And the little prelude is now the arm remix of Flight Mode.
• 54:45
  Speaker 0: in which I was in the last few hours.
• 54:48
  Speaker 0: I like it very much because it still reminds me a little bit of these synti-blasers on the wings.
• 54:52
  Speaker 0: Yes, and unfortunately
• 54:53
  Speaker 1: I was out with the synti-blasers.
• 54:54
  Speaker 1: Oh, you were out.
• 54:55
  Speaker 1: Yes, because I... I listened to the original piece again and I almost got used to it, that it's also very tour-forward to the floor-like.
• 55:02
  Speaker 1: I thought my arms would have had a stronger grip.
• 55:06
  Speaker 1: And somehow this... this... this plastic-blaser... I always had... I always had cotton-eye-joe associations.
• 55:12
  Speaker 0: Directly
• 55:13
  Speaker 1: like that.
• 55:13
  Speaker 1: They didn't want to do that.
• 55:15
  Speaker 1: They didn't want to do that.
• 55:15
  Speaker 1: I'm sorry, but that was my first association.
• 55:17
  Speaker 1: I didn't really come in, but maybe that's one of the tracks that I don't have to give you another chance.
• 55:21
  Speaker 1: Yes, I'm
• 55:22
  Speaker 0: very happy that I got to know these busies through Frank Wiedemann.
• 55:25
  Speaker 0: These EP, which I'm going to listen to a few more times now.
• 55:29
  Speaker 0: And then hopefully, and that should be a small offer, on the new album, this remix of Arm.
• 55:37
  Speaker 0: I like it very
• 55:38
  Speaker 1: much.
• 55:39
  Speaker 1: Yes.
• 55:39
  Speaker 1: Now Arm Dran.
• 55:40
  Speaker 1: Better Arm Dran than Arm Up.
• 55:42
  Speaker 1: Here at Goldstückler Heu.
• 55:43
  Speaker 1: How do you
• 55:44
  Speaker 0: know?
• 55:44
  Speaker 0: I've
• 55:44
  Speaker 1: always turned him around.
• 55:45
  Speaker 1: At
• 55:46
  Speaker 0: the end you have to make a laugh.
• 55:47
  Speaker 0: I'm sorry.
• 55:48
  Speaker 0: I'm sorry that I made
• 55:52
  Speaker 1: a good noise with it.
• 55:54
  Speaker 1: Hedge-At-Leg, Ueli Hilfiger.
• 55:56
  Speaker 1: My
• 55:57
  Speaker 0: life is now like this.
• 55:57
  Speaker 0: When I say something, it doesn't matter what I say, and my daughter Lou is in the room, he comes up to me and says, no,
• 56:06
  Speaker 1: no, no, no, no.
• 56:07
  Speaker 1: Teenies.
• 56:08
  Speaker 0: It's there.
• 56:09
  Speaker 0: She turns to Tina.
• 56:09
  Speaker 0: That's great.
• 56:12
  Speaker 1: I know your kids.
• 56:13
  Speaker 1: And there you can use the translated kids in thick letters.
• 56:20
  Speaker 1: They are really good.
• 56:21
  Speaker 1: There are other girls and sons who are different in their teenage years and their puberty.
• 56:34
  Speaker 0: We are very
• 56:35
  Speaker 1: grateful.
• 56:36
  Speaker 1: I am also grateful for Busiswa, Burnt Let Me You and the remix of Arm.
• 56:41
  Speaker 1: Is that one arm or arm?
• 56:43
  Speaker 1: Arm.
• 56:43
  Speaker 1: Arm.
• 56:44
  Speaker 1: Not for arms, but for arms.
• 56:47
  Speaker 0: Just arms.
• 56:48
  Speaker 1: Good.
• 56:49
  Speaker 1: Flight mode is
• 56:52
  Speaker 0: the name of the
• 57:43
  Speaker 1: thing.
• 57:53
  Speaker 1: Until next time.
• 1:01:00
  Speaker 1: Bye, Mr.
• 1:03:14
  Speaker 0: Vincent.