Die Veranstaltungen

Im Wizemann

INTERGALACTIC LOVES

INTERGALACTIC LOVES

24. Februar 2022
Studio

Live 2022

Music Circus Concertbüro GmbH

Flashback to 2008. Barack Obama is in charge in the United States, China is hosting the Summer Olympics and Amy Winehouse's 'Back To Black' is ruling the charts. In Belgium - more specifically in Aalst - four friends of friends decide to make music together. A year or so later, Intergalactic Lovers achieves its first successes and in 2011, with 'Greetings and Salutations', the band records its first album. The press is wildly enthusiastic, the gigs are piling up, the train is rolling...

13 years and two more successful albums ('Little Heavy Burdens' (2014) and 'Exhale' (2017)) later, singer Lara Chedraoui, guitarist Maarten Huygens, bassist Raf De Mey and drummer Brendan Corbey know each other like the back of their hand as they have navigated many waters - privately and personally - together. The unbreakable foursome is ready to start the next chapter in the career of Intergalactic Lovers. "The last two years, you basically had to get out a magnifying glass to catch a glimpse of us," Brendan admits, "but we always have to disappear for a while after a tour. From the stage and from each other. Otherwise, you can't keep doing this for 13 years with a job, a family..."

The main question at the first band meeting after that break: where do we want to go with the next record? "The strength of our group is that we all want to move forward. We share a healthy ambition and curiosity to keep on evolving our music," Lara clarifies. "This time 'making people move' came up as a shared prospect." With that goal in mind, the writing could begin. Normally, this is done together in the rehearsal space. But, as it goes in life, unexpected things happened. Maarten moved to Ireland for personal reasons and Lara was mentally not in a place to work on music for much of 2019. "A new way of communicating had to be found to bridge those different kinds of distance. Eventually, we decided to set up a dropbox where all of us could share basic ideas with the others," Maarten explains.

That dropbox filled up rather quickly with more than forty musical ideas. An abundance, knowing that the 11 songs on their previous record originated from some 14 ideas. Great, no? For a band without a clear leader - "deliberation makes our music stronger because we are always looking for the best sum of different parts instead of giving in to the will of one person," Maarten explains - such an abundance tends to feed indecisiveness. Although the Lovers have no problem being honest with each other - "sometimes you just have to say that you want someone to do something different" - this time it turned out to be a challenge to get each other's ideas integrated. Enter the producer.

Lara: "For us, a producer has to play an active role and actually be the bandleader ad-interim. Of course, we have a vision as a band but the blueprints we bring to a producer are always rough cuts. We rely on the producer to guide us, make us see the wood for the trees and reinforce our vision with his own. Our search ended with Luuk Cox." A deliberate choice; the band knew they wanted to get people moving but also that their recognisable sound had to remain present.  Cox - aka Shameboy - moves in different worlds (electronica, pop, indie...) and always knows how to bring them together seamlessly. It's a giveaway to say that the new record sounds more electronic than what most people would expect from the group but it ultimately feels like a logical evolution, a hybrid transition to a new influence.

With the producer set and ideas forged, the decision was made to record in Malta - since the band likes to create a vacuum away from home. That would’ve been the plan, apart from the last unforeseen circumstance: COVID-19. Exit travel plans. The group decided to go to Wallonia with Luuk instead. A little less exotic but certainly just as inspiring. COVID had another side effect, however, because Lara was hit hard by it. "It was intense, the rehabilitation is still going on. In the studio I immediately noticed that my voice could no longer cope with what used to be possible. I could sing less long, less steady... Singing is what I do... If it suddenly stops, it is extremely frustrating. I would get worked up about it, but that only made it worse. My bandmembers and Luuk had to exercise a lot of patience. I had to go through a learning process again and especially had to persevere and not give up."

The result of working with Luuk, practising patience, persevering and keeping ‘the movement vision’ in mind is called 'Liquid Love'. It is a record that turns previous comparisons like Interpol or Feist upside down and brings other, new sounds to the foreground. A record that sounds familiar without repeating itself. A record about change and how to embrace it. A record about love, in all its forms. A record about time and its relativity. A record about the nonsense of perfection too, because perfection is stillness in a world where everything is always in motion. ‘Liquid Love' is the next step towards the healthy ambition that Intergalactic Lovers have been pushing for four albums ("world domination") and the key to their return to the stage and the audience. And that return cannot come soon enough.

Popakademie-Dropout Maxi Haug ist Shitney Beers und heisst dich Willkommen in ihrem Miami. Ja sorry, die Limousine zur Abholung hatte heute Morgen 'ne Parkkralle dran. Auch der Nieselregen, die traurige, eingestaubte Plastikpalme im fensterlosen Bad, dass kein Champus kaltgestellt ist... das alles wirkt jetzt erstmal nicht so fancy, ok ok! Aber da du jetzt schon mal hier bist – hi na setz dich, da unter dem 90er- Jahre-Bandshirt-Haufen ist irgendwo ein Sessel. Die Kräuterbaguettes brauchen noch so fünf Minuten, trinkst du lieber Flasche oder Dose? Flasche gibt’s aber nur kleine.

Seit 2018 veröffentlicht Maxi unter dem Namen Shitney Beers Musik, hat seitdem vier EPs in Eigeninitiative hochgeladen und rund 70 Konzerte gespielt. In den zehn Songs des Debütalbums „Welcome to Miami“ geht es um's Klarkommen als Person mit Anfang/Mitte 20 und das ist jetzt eher undramatisch ausgedrückt. Normalerweise wird der Teil mit dem Stalking bei Liebensgeschichten in Songs wohl eher ausgelassen („I'm even afraid to leave my house“ - Lourdes) und wenn es in „Keys“ darum geht, dass es auch 2021 für FLINTA* nicht möglich ist, einfach um eine Uhrzeit rauszugehen, zu der sie* Lust haben, in einem Outfit, auf das sie* Lust haben, vielleicht sogar alleine, wenn sie* darauf Lust haben, zumindest nicht ohne eine scheiss Angst und der Hand am Schlüssel, dann führt das Album die Hörer:innen in eine Lebensrealität, die zwar allgegenwärtig ist, aber immer noch unterrepräsentiert in popkulturellen Kontexten. 
Diese spärlich instrumentierte, knappe halbe Stunde ist ein härteres Stück Musik, als sie zunächst scheinen mag. Selbstbewusst, leichtfüßig und positiv ist sie dabei trotzdem. Quasi: Das Singer/Songwriter:innen-Ding in zeitgemäßer Freshness, ohne die Schneidersitzvibes, in jung,

weiblich und dabei noch nicht mal nach Berlin gezogen? Welcome to Miami. #neverleaving

Maxi Haug als Musiknerd zu betiteln, wäre, wie zu sagen, das Krümelmonster findet Kekse ganz in Ordnung (Erklärung: Es wäre untertrieben). Natürlich liegt zuhause in Mannheim in ihrer 25qm Einzimmerwohnung die aktuelle, junge Generation großartiger amerikanischer Songwriterinnen wie Julien Baker oder Phoebe Bridgers auf dem Plattenspieler, aber Riot Grrrl spielt eine genauso große Rolle in der musikalischen Entwicklung Beers' - sowie die Suzanne Vega Kassette, die früher immer in dem Auto der Mutter lief, oder nineties Grunge/Punkbands wie Babes in Toyland, Hole oder 7 Year Bitch. Achja, Maxi HASST auch richtig, richtig viel Musik.

Der abschließende Promo-Hammersatz, der nochmal richtig was wagt und provoziert, der lesenden Person gar keine andere Wahl lässt, als das Album hochkonzentriert, aufs in-ten-sivste zu hören, bleibt in diesem Text leider aus. Hallo, „Shitney Beers“?? „Welcome to Miami“?!? Maxis berühmte, lange, unverfrorene Gitarren-Soli auf ihren Konzerten, das bloß keine Anstalten machen in Bezug auf NEBEN das Mikro rülpsen wenn dich live 60-80 vom overall-sad-vibe feuchte Augenpaare anblicken... wem wollen wir hier was vormachen? Als „Wie sich erfolgversprechend, slick und opportun Verhalten im Musikgeschäft im Jahre 2021“ auf dem Lehrplan stand, war Haug gerade eine rauchen. Es steckt alles im Album und bedarf keiner peinlichen Überhöhung. Außerdem sind die Kräuterbaguettes fertig.
„Welcome to Miami“ erscheint am 23. Juli 2021 bei Zeitstrafe, auf LP und digital.

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