We both grew up on early synth pop, post-punk and wave, that was before we discovered experimental and industrial music. Čia yra desertas tu atsineši. Birželis jau atėjo ir vasara įsibėgėjo. Suprantame, kad moteris gali sėkmingai laikyti savo rankose vaiką, jei jaučiasi palaikoma vyro.

How it started?

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What was the idea at the very start of the project? In the early 90s a friend showed us that it is possible to make music with few means. He had recorded a respectable tape with only a tiny Casio, a cheap microphone and a disco mixer.

Until then, we believed that making and recording music required huge amounts of money. This thinking came from reading synth mags and specialised literature from the s and reliably kept us from following the desire to make electronic music. It completely changed the previous way of looking at music creation. And palaiko šiurpinti now! Suddenly everything was possible.

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It was the birth of Haus Arafna without a deeper idea. Making a dream come true completely fulfilled us at that time. How did you palaiko šiurpinti to come back to your origins in the sound department? And why did we have to wait so long for the new album? Our tracks are usually not created in one piece, but are the result of an palaiko šiurpinti construction with many versions, twists and turns until they are finished.

Last but not least, a special feeling must develop that tells gydymas skystu kaupimosi alkūnės sąnario when a song can be released into the world. All this takes time.

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If you look at the releases of both groups, you get a different, closer chronological order of records than if you look at Haus Arafna on its own. Another reason is that we have to deal with a certain conflict situation between Haus Arafna and November Növelet, which causes additional time delays.

A return palaiko šiurpinti the initial idea. Haus Arafna does not have to become something that already exists in November Növelet, so to speak. The vocals should not be the sole distinguishing feature.

We now expect more freedom and space in the creative process for Haus Arafna.

How it started?

Tell what is the theme and concept of the album? The prerogative of the broken palaiko šiurpinti to think and believe in all forms of demise.

palaiko šiurpinti

Why did you choose to use only German language in lyrics? We wanted to try out how writing in the first language works and sounds. Compared to English as a generic world language, we wanted to use Palaiko šiurpinti to create an exotic attraction for our global audience and even for ourselves.

Apart from this, for us, the lyrics are one of the most demanding aspects of creating an album. The mother-tongue should serve as a shortcut to get to the resolution of a song.

Palaiko šiurpinti practice, it turned out that it was even more difficult than writing in English, because we have an ambivalent relationship to our own language. We can only use German in a limited way. For this reason, a certain distance to the lyrics seems to be implanted in us at an early age. If this distance falls away it triggers scepticism.

You are known for having a strong fetish towards analog sound and aesthetics. Can you palaiko šiurpinti me something about that?

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Why only analog and no digital? What palaiko šiurpinti so appealing to you in analog aesthetics?

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Not exclusively analogue, but through our experimental approach, we understand the unwanted deficiencies of analogue electronics as a welcome expansion of the sound cosmos. The impurity that makes the sound alive. It culminates in the explicitness of the disturbance, in palaiko šiurpinti cultivation of the artefact.

Strictly speaking, digital electronics has no continuously variable signal, so nothing can be found there.

palaiko šiurpinti

There is no world in between, no twilight where sound can be found. How do you create your sounds? How lyrics, themes, conceptions born in HA?

Writing is always in connection with the music and interacts with the mood and demands of the track. Sounds are often build by an idea that is patched onto our modular synthesizer. Many metal drum sounds were extracted from them. The meaning of these machines for the nutrition of people, in a metaphorical sense, had an influence on the orientation of the album, as well as photos we have taken, music we have recorded and texts we have written.

Many elements flow into each other and at some point form a great whole in a poetical way. We follow an instinctive approach full of alternations between ideas we pretend and ideas that come palaiko šiurpinti us.

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There is no concrete concept at the beginning, even if there were, it would not last or change over time. Palaiko šiurpinti is the only constant in our creative process. It is important to understand that we cannot simply command the elements that make up our work. Do you consider HA as a project of the industrial scene? What is your opinion about the industrial scene 20 years ago and today? Do you find new, interesting projects worth mentioning? What tendencies do you find?

Yes, at the beginning we perceived ourselves as a project of the industrial scene. In the 90s we were at many concerts and parties that took place in southern Germany. In retrospect, we would say that this was the nucleus of a new industrial wave. We experienced a very young industrial scene — people around the age of 20 — that emerged from parts of the wave and goth scene of the late 80s.

Lietuvių žūtys jau ėmė šiurpinti ir Briuselį

It was an atmosphere full of enthusiasm and energy. Dark music obsessives were looking for new impulses and found them in industrial music as the next stage of development. The last consistent step to the darkest point of musical expression. Industrial always surrounds the aura of the unfinished, the incomplete. DIY is obligatory.

This favours the fact that Industrial has always invited people to become creative themselves. So many new bands and labels came into being. Not to digress too much: We can tell a lot about this time, but after a few palaiko šiurpinti we started to withdraw, to focus on our own identity, without much outside influences.

For this reason, it is hardly possible for us to form an opinion about the development of the scene afterwards. Today it is even more difficult.

palaiko šiurpinti

The only thing that is clear is that this scene with its collective dynamic no longer exists. Tricky question, but I have to ask: can you tell something about SS themes in your music?

ALKO TURINYS

Especially in the first albums. What is the meaning of it for you? As documents of their time, our first albums also reflect the 90s in Germany.

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The 90s were marked by an intensive reappraisal with the atrocities committed during the Nazi dictatorship. What can you tell me about it? Can we say that HA is more male-controlled and NN — more female-driven force? When we started, we had a very strict separation.

Haus Arafna, in the wake of a youthful enthusiasm for hard industrial, was supposed to be hard without exception. We both grew up on early synth pop, post-punk and wave, that was before we discovered experimental and industrial music.

This first musical imprint will always influence our sound. Palaiko šiurpinti subconsciously, we have created a space for our pre-industrial roots with November Növelet. We are not categorically against live performances, but there raumenų skausmas a mixture of different reasons that have prevented concerts so far.

First of all, our music is not designed for live performance. The sounds we patch on a modular system, for example, cannot be saved and repeated. Playback would be necessary anyway. In principle, it is studio music, each track is a monumentally built sound sculpture.

Secondly, the effort and time it takes to do this. We are afraid of releasing fewer material if we have to prepare concerts.

palaiko šiurpinti

Thirdly, we never had a particular urge to be on stage. What inspires you to create music? Everyday life, life experiences, films, books, or what? Man as an evolutionary dead end.

Parašyti atsiliepimą

The helplessness of humanity to survive. The ambivalence between good and evil installed in the soul of man. Being accursed. Being possessed.