The Final Breakdown

Hundreds of the world's leading climate researchers predict that global temperatures will rise by at least 2.5 degrees Celsius above pre-industrial levels this century. This would far exceed the internationally agreed target of 1.5 degrees Celsius and could have catastrophic consequences for all living creatures on this planet.

77 per cent of the 380 experts expect warming of at least 2.5 degrees Celsius. Almost half even forecast an increase of at least 3 degrees Celsius.

Many scientists are painting a bleak picture of the future, characterised by famine, conflict and mass migration, specifically citing heatwaves, forest fires, floods and storms of an intensity and frequency far beyond anything experienced to date.

Most experts are exasperated at the inaction of governments despite the clear scientific evidence. They predict that the world is heading for major societal upheaval within the next five years and that governments will be overwhelmed by the extreme events this will bring.

These experts are calling for massive preparations to protect people and our environment from the worst effects of the coming climate disasters.

A lack of political will and the influence of interest groups such as the fossil fuel industry were cited by the overwhelming majority of experts as the main reasons for the failure to tackle the climate crisis. Inequality and the failure of rich countries to help poorer ones, who suffer the most from climate impacts, were also frequently addressed.

One South African scientist sharply criticised the global response to the crisis: "I expect a semi-dystopian future with significant pain and suffering for people in the global South." He said that we are sailing on a "ship of fools".

And for this very reason we are heading for the cliffs of the final breakdown with our eyes wide open, because we refuse to listen warning call of the sirens.

Our next track is going to be released around Lughnasadh 2024.

Longing For Your Arms

Just like "The King of Emptiness" this song is also based on a dream I once had: in this dream, Ayuma and I got into an argument over mere inanities: I got angry, stormed out of the house and ran along a lonely road.

As I ran, I realised how senseless our argument was and that it was completely unnecessary because I loved Ayuma with all of my heart and therefore there was nothing worth arguing or getting angry about.

At the end of the road, a flower shop was still open, so I went in and bought a bouquet of roses for Ayuma.

I ran back to apologise for my stubbornness - but when I came back to our house, it seemed to have been abandoned for decades: it was just a dilapidated ruin where no one seemed to be living anymore. Horrified, I stood in front of the forsaken house and called out for Ayuma, but she was no longer there -- and when I woke up from that terrible dream, drenched in sweat and with a pounding heart, I reached out gently for Ayuma lying next to me and the nightmare came to an end.

Our next track is going to be released around Summer Solstice 2024.

The Weathered Tree

"Inside every old person is a young person wondering what happened."
(Terry Pratchett, "Moving Pictures")

Although my mind continues to tell me that I am at most 35 years old, my body is making me realise more and more clearly that I have passed the age of 60: I am in the autumn of my life and the salad days of youth are long behind me.

After a stay in hospital, I am now even dependent on crutches for some time, and I am increasingly realising that my lifetime ain't infinite. I've become like the weathered tree in the song -- but no matter what marks age has left on me: my wonderful wife is still standing by me and will never leave me, because we are inseperable and together we are swaying gently in the autumn wind...

Our next track is going to be released around Beltane 2024.

Down By The Salley Gardens

Back in the 90s I have been living in Bonn where I met Näx, the excellent piper who also player the uilleann pipes on "A Legacy of Love" and "Perfume". We formed an Irish Folk-duo as some kind of side project and played in clubs and venues around town, which was rather unusual in a city whose music scene was very much dominated by blues and jazz at the time.

Nevertheless, we had a lot of fun and, above all, we had put together a really great set of traditional Irish ballads and original compositions - and one of these original compositions included "Down By The Salley Gardens", which is based on the poem of the same name by the renowned Irish poet, dramatist and writer William Butler Yeats.

This poem has always meant a lot to me - and although it has been taken up by quite a few musicians already, I wrote my own melody to it, which I have never forgotten despite all the years that have passed since then.

And so I recorded this song as a tribute to the good times of my collaboration with Näx, because the musical roots of Antichrisis also lie to a rather significant extent in Irish Folk, as can be quite easily heard on this recording.

Our next track will be released around Spring Equinox 2024.


I have always been a great admirer of bands and artists such as Neu!, La Düsseldorf, Wolfgang Riechmann, Michael Rother and Harmonia. To be honest, I was never particularly into Kraftwerk whereas OMD was much more my cup of tea.

Of course I looked up to Conny Plank, who in my opinion was the most innovative and forward-thinking German producer of all time. If I had ever been allowed to choose a favourite producer, it would have been Conny Plank — but unfortunately he passed away in 1987.

The influence of the aforementioned bands and artists can be clearly detected on our latest track "Nysnø" — and that is intentional, because "Nysnø" is our tribute to these innovative artists, who received only little recognition in Germany in their heyday, whereas abroad they are still held in high esteem and quite a few far better-known artists cite them as a significant influence.

And while we're at it and because it's that time of the year: here are our top ten songs of 2023:

Finbar Furey: I'll Take A Glass
Lisa Gerrard & Marcello De Francisci: When The Light Of The Morning Comes
The Düsseldorf Düsterboys: Sommer
Domhain: The Mourning Star
Sáasil: The Longest Winter
Kodaline: All I Want
Public Image Ltd. - Hawaii
The Last Dinner Party: Nothing Matters
Patrick Wolf: Enter The Day
Squirrel Flower: Alley Light

By the way: our next track is going to be released around Imbolc 2024.

Another World

On Samhain, the veils separating the world of the living from the other world are so thin that it becomes possible to make a connection between these two worlds - even if only in dreams.

And just as H. P. Lovecraft returned again and again to the same places in his dreams and met familiar figures there, we too can return on this hallows' eve to the place where our souls are at home, to meet other souls there to live our life in another world.

My special thanks at this point goes to our friend Harald Stürmer, who contributed his stirring lead guitar to "Another World".

Our next song will be released around Winter Solstice in 2023.

Lovers By The Sea

Humankind is sealing its own doom: economic growth seems to be more important than preventing climate change; our greed for wealth continues to exploit our planet until all resources are used up; and instead of taking measures against overpopulation, child wealth continues to be promoted although it is more than questionable whether these children will have a future at all.

Add to this increasing brutalisation, misogyny, homophobia, racism, religious fundamentalism, warmonger, lack of empathy, ruthlessness, selfishness, nationalism, recklessness, intolerance and stupidity -- and because of all this those two remaining lovers decide to go down to the sea, where a caravel lies waiting to carry them to the land beyond the rainbow: she will set course for their last refuge up North, where there will only be them with all the love that they share for each other.

Antichrisis' next song is going to be released around Samhain 2023.


There had been quite a few times in his life when I felt completely lost and forsaken: like a ship that no longer knew which stars to follow. Though I was searching for his way, I was unable to find it - until I went to the sea to find inner peace and tranquility again.

The waves of the sea sang of how I carried everything I was looking for inside of me, and that I should no longer let myself be distracted by people and their erratic behaviour, their fickleness and capricious emotions, but follow the compass of my dreams instead -- and that compass finally led me to Ayuma.

Ayuma and I have been married for 15 years by now, and each and every day we get to spend together is like a precious gift to us.

"Nehalennia" is both an ode to the sea, which always gave me comfort and strength when I felt lost, as well as a declaration of love to my wonderful wife.

"Just like a trail of scarlet
Your scent still lingers on
Echoes of your laughter
Never fading
Never ending

Words you've said
Tears you cried
Like precious diamonds
Your hands full of grace
Caressed my skin

All I ever wished for
All I ever dreamed of I found that night
In your warm embrace

Oh, my love
As I was lying by your side
You revealed paradise to me"

The feeling I’m describing in these lines has only become more intense in all these years we have been together - and it still feels like a dream come true to both of us.

Antichrisis' next song is going to be released around Autumn Equinox 2023.

How To End Your Show

The end of a relationship is never easy: something that you initially believed in wholeheartedly suddenly slips away and there seems to be nothing you can do about it.

In such a situation, it is of course the easiest and most convenient solution to put the blame for the whole mess on the partner, but apart from toxic relationships where physical or psychological violence is involved, both protagonists usually bear their share for this failure.

In these cases, it is important to acknowledge your own responsibility, as one-sided blame only leads to distortion of reality.

But if you realise that while you yourself are willing to admit your own failings and mistakes, your partner, on the other hand, insists that everything was merely your fault or, at best, a simple twist of fate that no one could have influenced, it is time to end this show and pull down the curtain of self-deception.

Antichrisis' next single is going to be released around Lughnasadh 2023.

The King of Emptiness

Some songs come to me in my dreams: in that case it is important to wake up just in that very moment when I still can remember the song, getting out of bed immediately, picking up my guitar and playing and recording that song from the the realm of dreams.

Though this mode of operation leads to an interrupted night’s sleep, the interruption is usually worth it, because songs from the dream world always have a special quality to them.

This is how “The King of Emptiness” came to me -- not only with chords and melody, but also with its chorus lyrics, hence I kept them unchanged.

For this reason, this song tells the fairy-tale story of once fortunate king whose lands flourished because he had found his queen of hearts - until one day he lost her and had since become the lonesome king of a forsaken kingdom.

Our next song will appear around the time of the Summer Solstice.

One Last Time

Our time on this planet is running out: we are destroying the foundations for life, and although we have the means to tackle pollution, global warming, poverty, and overpopulation, we refuse to do anything that could possibly jeopardise our oh so sacred economic growth.

But on a planet with finite resources, there can be no infinite growth - yet instead of drawing the right conclusions from these developments, we point fingers at those who warn of the consequences of our actions.

We will inevitably be wiped off the face of the earth because we have proven ourselves to be too selfish, too brutal, and too ignorant - and when finally our last time comes, we will be no more than a speck of dust in the wind, and the last light of love will fade away into eternity.

"One Last Time" is dedicated to Greta Thunberg & Fridays for Future and is also available on all major streaming platforms from now on.

Antichrisis' next single is going to be released around Beltane 2023.

By the way, in case you're wondering why there have been so few vocal contributions from Ayuma on recent Antichrisis tracks and also no new releases of her solo project AYUMA, it's because she is unfortunately still suffering from Long Covid and therefore isn't yet able to do vocal recordings.

As a result, Antichrisis' latest releases often feature only Sid on vocals, but we very much hope that Ayuma's physical condition will soon be getting better so she'll be able to dive back into her musical work with full force.

Light up the Stars

Imbolc, the festival of the returning light, marks the beginning of spring, which for so many people is a celebration of joy, whereas for me it is associated with melancholy and sadness, because it means saying goodbye to the much loved dark and quiet season of winter.

Now spring is upon us again, which will be filled with the deafening screaming of mindless brats, the never ending and noisy activities of the do-it-yourselfers in our neighbourhood and the completely stupid changeover to daylight saving time, which means that it doesn't get dark for hours in the evening and there is no end to the hullaballoo of peasants outside.

That was one of the positive aspects during the pandemic, when people's mobility got restricted: all of a sudden it got wonderfully quiet out there and nature as well as wildlife could recover from humans.

Unfortunately, all that has now come to an end, and with the return of light there's also the restlessness and the hubbub of people returning - and the quiet time of contemplation and creativity, which gave rise to songs like "Light Up the Stars", is over until fall.

“We are all in the gutter, but some of us are looking at the stars.”
(Oscar Wilde, 1854 - 1900)

"Light Up The Stars" is dedicated to the one who walks among the stars and is also available on all major streaming platforms from now on.

Antichrisis' next single is going to be released around Spring Equinox 2023.

Our Top Ten-List 2022

Jukebox Luminar Pixelmator

The end of 2022 is nigh -- and so it's time to think for Antichrisis' annual Top 10-list in indeterminate order:

Zdob şi Zdub & Advahov Brothers - Trenulețul
TALK - Run Away To Mars
Yeah Yeah Yeahs: Spitting Off The Edge Of The World
Betterov - Dussmann
Endark the Brightness - Descent
Heilung - Anoana
Stella Sommer - Silence Wore A Silver Coat
Konstrakta - In Corpore Sano
Dry Cleaning - Gary Ashby
Beth Orton - Friday Night

Ayuma and I wish all of you -- and especially the people in Ukraine and Iran -- peace, freedom, justice and solidarity... and don't forget our fellow creatures, the animals.

Out of the Blue

Life doesn't always turn out the way you want it to be -- and if you want to make God laugh, just try making plans.

Sometimes, out of the blue and without notice, life slams on the brakes and before you know it, you will find yourself in an utter kerfuffle that you never wanted nor asked for.

When the person you loved leaves you just like that, it feels like your world would be coming to an end. And of course it will take some time for the pain and numb feeling in your heart to finally subside. But eventually it will... and that's what "Out of the Blue" is all about.

"Out of the Blue" is also available on all major streaming platforms, and our next single is going to be released around Imbolc 2023.

Subways of Time

Once we were lovers, but the river of time had separated us: we had taken different directions and could no longer walk down the same road together.

But when we met again after many years, you were still as familiar to me as if we had parted only yesterday.

And so I thought, "Why not forget all the quarrels and wrangles and enter the subways of time instead, laughing and dancing together for one last time as we did so long ago. And then let's say goodbye forever and keep the echoes of the past in our hearts."

"Subways of Time" is a tribute to past relationships: though they ended for good reasons, they nevertheless contain good and beautiful memories which ought to be remembered from time to time with a fond and thankful smile.

Ayuma and me can't tell yet when the next Antichrisis song is going to be released, as this depends on how well we are doing with forthcoming vocal recordings. But as soon as we have finished our next song, it is going to be released immediately.


"Arrival" is all about having finally found the love that you always dreamed of, even if you sometimes thought that this love would always remain just a beautiful dream and would never come true or would last forever.

But once you have found the one you have been searching for all your life, you instinctively feel with absolute certainty that you have finally arrived. And Ayuma & Me belong to those fortunate ones that have found all we ever dreamed of in each other, even if it took us such a long, long time.

"Arrival" will be available on all major streaming platforms from 02/09/2022, and our next single is going to be released around Autumn Equinox 2022.


This song is almost some kind of prayer: when night is at its lowest, the light of day is closest.

But there is no darkness so deep that the light of true love couldn’t illuminate it. Ayuma has lit up my life for sure, and we will walk our path together until the end.

"Stay" will be available on all major streaming platforms from 22 July 2022, and our next single is going to be released around Lughnasadh.

Wasted Time

When love dies out, one wonders how it happened: was it carelessness or too much closeness? Was it just everyday life and routine that goes with it?

After an initial phase of falling in love, daily routine knocks on the door of almost every relationship at some point. This does not necessarily have to be a negative thing, because with everyday life comes familiarity, the true recognition of each other that goes far beyond the first days of acquaintance.

But there are also relationships that fall apart once the illusion of eternal romance can no longer be maintained i. e. when a couple's romantic stage play eventually has to stand the test of real life -- and that test sometimes requires both responsibility and renunciation. This is what „Wasted Time“ is all about.

Real love is not all about looking into each other's eyes, but also looking together in the same direction, as Antoine de Saint-Exupéry once put it.

Our next single is going to be released around Summer Solstice.

Lost & Found

Once you have found the one you have been searching for all your life, there is nothing and no one that could ever separate you from your one and only love.

And even if one day both of you will be gone, you will meet again in another life, because it is a bonding of souls that is made for eternity.

This song is dedicated to and written for my closest friend, my beguiling querida and my wonderful wife Ayuma.

Our next track will be released around Beltane.

Behind the Rainbow

When we got our tomcat Whisky from the animal shelter in 2010, we did not have an easy start: he had probably experienced a lot of bad things and was therefore extremely fearful and mistrustful. But with time and a lot of patience we managed to find access to him - and finally he became our most loyal companion who trusted us unconditionally and was always on our side.

The day he passed away, he took our love with him to his new home behind the rainbow - but somehow his spirit is still with us.

Top Ten Songs of 2021

It’s that time of the year again when everyone’s looking back at their favourite songs and albums -- and so without further ado here’s our Top Ten list of 2021 in alphabetical order:

We’re wishing all of you out there a marvellous new year and hope it’ll get better than that darn 2021.

By the way: Antichrisis' next single will be released around Imbolc 2022.

And The Snow Falls

"And The Snow Falls" might sound somehow familiar to some of you, as this song once was the middle section of "Dancing In The Midnight Sun", a track that appeared on our "A Legacy of Love" album in 1998, which again proves that we are getting older, als this album was released more than 23 years ago.

However, we felt that it was time to turn this former middle section into a song on its own and thus tell a story on its own - and winter is just the right time to tell such a story while the snow is falling outside and the protagonist lets his thoughts wander through a peacefully quiet midwinter night.

In addition we would like to take the opportunity to thank Näx, the Prince of Pipes, for his wonderful collaboration, as he once contributed the dreamlike melody line to this song.

With "And The Snow Falls", Ayuma and me are wishing all our friends and fans out there a Merry Yuletide and a hopefully Happy New Year full of happiness, love and joy.

Change of Plans

Our original plan was to release one last Antichrisis album, but due to recent developments (pandemic, climate crisis, overpopulation, water scarcity, droughts, unequal distribution of wealth and resources - you name it), making plans for the future is becoming more and more unmanageable because plans might easily fail within just a few days.

We don't want to sound like prophets of doom by any means (and maybe in a few years we will laugh about our assessment of the current situation) but basically it seems that making plans for the future is somehow redundant since this pandemic started, because we don't know what the world or our state of health will be like in, say, half a year.

For that reason Ayuma and me have decided to abandon our plan for a final Antichrisis album and to release the already finished songs one by one as single tracks instead -- and of course every other song that was planned for this album, too, as soon as it will be finished.

Since we had planned to release single tracks only after our last album anyway, we are coming up with this release strategy just a little earlier than expected -- but should we actually manage to finish and release all the songs that were originally planned for the forthcoming album, we could still compile them into an album afterwards.

Therefore, within the next few weeks we will be releasing all the songs we’ve already completed and that were planned for the last Antichrisis-album that might never come. Nevertheless we do hope that you will find inspiration and beauty in these songs and that they will light a spark of hope in these ominous times for you as they have done for us.

The first track that was originally planned for an album release is "Ghosts": you can find further information on that song here.

The Lineman's Call

Every break-up leaves its own traces - and in some cases even scars. "The Lineman's Call" describes the story of a break-up in which one wonders what actually became of all the love, trust and affection both partners once felt for each other. How and when could it happen that the person you once loved so sincerely turned into an evil spirit haunting you like a dark shadow from which you are desperately trying to escape?

This song is the second in a series of single releases that will follow in the next few months as we will be releasing one last Antichrisis-album and only singles beyond that: you can read more about this decision in our blog post from June 2021.

"The Lineman's Call" can be purchased and listened to on Bandcamp; it will be available on all major streaming platforms by the end of November 2021.

A New Interview & Thoughts on Charlie Watts

Recently Kurt Mitzkakis of German Rock e. V. did another interview with me for RockRadio (not in English, though, but in German): we were talking about the future of Antichrisis and new ways of music publishing, and you can listen to this interview here or download it from there. So many thanks to Kurt for this really interesting and pleasant conversation.

In August 2021 Charlie Watts died at the age of 80, and although I seem to have a split relationship with the Rolling Stones (I really loved the early Stones from 1963 to 1967 and I could still get something out of them from 1968 to 1978, but from the 80s onwards they had lost me completely as they started to sound more and more like a third-class imitation of themselves to my ears), I always considered Charlie Watts - much like Ringo Starr - as one of the most underrated and yet best drummers in rock history.

He was not a berserker like Keith Moon or John Bonham; he refused to play - and there is the parallel to Ringo Starr again - any kind of drum solo. He was a minimalist in the best sense, according to the motto that the best notes are the ones you don't play. This gave not only his drumming but the whole sound of the Rolling Stones that laid-back feeling that characterises many of their best tracks.

Charlie Watts' style sometimes seemed a little behind the pace, but actually it never was. In fact it was the ideal match for Keith Richards' guitar riffs, which always seemed a bit sloppy.

There are probably hundreds of drummers who are technically superior to Charlie Watts, but only few play in such a song-oriented way that he did. And above all, there are only a few who manage to create such unique drum intros that let one immediately recognise the respective song: Charlie Watts succeeded in this with his opening drum groove to "Get Off Of My Cloud" as well as Ringo Starr with "Tomorrow Never Knows" or John Bonham with his intro to "Rock and Roll".

Charlie Watts was one of those drummers who never played himself to the fore, but nevertheless kept everything together and with whom every musician on this planet would have liked to jam at any given time. The big band up there in heaven has recruited another excellent drummer who will be sadly missed down here.

On Top Of The Mountain

"How Can I Live On Top Of A Mountain?" was a question I couldn't find an answer to for so many years and for all sorts of reasons: sometimes I couldn't reach the mountaintop at all because it was shrouded in mist and thus all the way out of sight; whereas sometimes I could only linger for a short while on the top before being pushed back down again by a simple twist of Fate.

But with Ayuma, I set out for a last conquest and although the ascent was sometimes steep and arduous, in the end we’ve reached the summit on which we’ve been living ever since and where love is so much more than just a four-letter word.

"Living With You On Top Of The Mountain“ is dedicated to my wonderful querida Ayuma who is sharing life with me in true love, liberty, affection, passion, affinity and above all with lots of fun and laughter.

At the same time, this instrumental is also a tribute to Näx, who contributed the gorgeous track "How Can I Live On Top Of A Mountain?“ to Antichrisis’ second album and whose wonderful uilleann pipes playing marked both "A Legacy of Love“ as well as "Perfume“.

This song is the first in a series of single releases that will follow in the next few months as we will be releasing one last Antichrisis-album and only singles beyond that: you can read more about this decision in our blog post from June 2021.

"Living With You On Top Of The Mountain“ can be purchased and listened to on Bandcamp; besides it is also available on all major streaming platforms.

The Last and Final Antichrisis Album

When I started Antichrisis in 1995, the world was a different place: back then demo tapes were still sent to labels, music was preferably released on records or CDs, and if you were one of the chosen few to get a record deal, you went into a studio to record a complete album within a given (and usually far too tight) time frame.

Times have changed a lot since then: sales figures for CDs and vinyls have declined drastically, home recording has taken off whereas the number of studios declined just as much as the number of major labels, and instead of sales figures for CDs and vinyls, streaming figures and YouTube-clicks are much more important nowadays.

Some may regret this trend, but one of its positive side effects is the democratisation of music production and distribution. Today basically anyone with a computer and appropriate software (although musical talent is definitely not a disadvantage at this point) can publish proper songs - and you don’t have to get involved with producers or labels to achieve that goal.

But what does all this have to do with Antichrisis? Well, for some years now we’ve become also one of those bands/projects that record and produce their songs in their own home studio and release them completely on their own. Since "Not Fade Away" all our albums have been released exclusively as digital downloads, but over time we realised that the demand for these albums was decreasing more and more, whereas some our songs were literally skyrocketing on several streaming portals.

So we came to the conclusion that releasing an album could be no longer appropriate - and to be honest: we are neither sad nor miserable about this, because we too have often been wondering whether album releases would still be making sense for us at all.

From a commercial point of view this might bring some disadvantages, because in the music press and other relevant media only albums are taken seriously and therefore are getting featured and promoted accordingly.

However, this only applies to albums released on CD or vinyl; digital downloads by independent artists are largely ignored by editors because these artists can neither place expensive ads in magazines nor afford inordinate PR-appointments for journalists. That is why the perception of Antichrisis in the media has subsided since we went down the Do-it-Yourself-road, although we’ve been still releasing albums.

Our decision not to publish CDs or vinyls any more but to rely exclusively on digital downloads instead has mainly to do with the fact that in times of climate change we all should be re-considering how we want to deal with environmental pollution. And producing CDs and/or vinyls is raw material wastage that is no longer necessary in this day and age, as in the majority of cases digital distribution works pretty well.

But apart from the whole environmental issue, our decision not to release albums furthermore also has to do with our mode of operation: In the past we went into a studio to record a complete album within a few weeks, but nowadays home recording allows us a completely different approach. We are often working on many songs simultaneously, but only a few of them are suitable for an album release, because an album always requires a certain coherence or homogeneity of the material it contains. But what do you do if you are working on an EDM track, a piano ballad and an ambient piece at the same time? What happens when you have finished these tracks and would like to release them, but you don't know whether you will write other pieces of music in a similar vein in the future, so that a coherent album emerges?

Antichrisis has simply evolved artistically in such a way that neither me nor Ayuma want to limit ourselves to any restrictions of musical style of fashion: if we feel like writing and producing a moody synth track, then that's what we'll do, whereas the next song could turn out to be an utterly noisy piece of guitar rock - but it's almost impossible to achieve a coherent album sequencing with that approach.

However, if we put aside the thought of an album release, we can release a single track as soon as it's finished, and you wouldn't have to wait several years until another Antichrisis album is ready to be released.

From a musician’s perspective it is definitely much more satisfying to be able to release a song as soon as it is mixed and mastered, instead of having to put it on hold because another 8 tracks have to be finished first in order to finally have enough material for an entire album.

Hence our next album for which we have already written all songs will also be the last and final Antichrisis album, because we will be releasing only single tracks prospectively as soon as they are finished.

And don't get us wrong: albums like "Cantara Anachoreta", "A Legacy of Love" or "Not Fade Away" were just the right thing for us to do at the time of their release - but as aforementioned, times have changed and our music is written and produced in a different context nowadays. But that won’t affect the musical quality of our songs in any way; it’ll just give us the chance to expand our ways of musical expression even further than before - and that is something every ambitious musician is trying to achieve.

You Better Watch Out...

The time of the year has come again when almost everyone publishes their list of their favourite albums of 2020 - so let's do it just the same way.

Only 5 albums made it on our list, because we actually spend much more time making music than listening to it, but nevertheless the following albums have caught our attention and impressed us a lot:

Bruce Springsteen: "Letter to you":
Certainly not one Springsteen’s strongest albums, but songs like "Ghosts", "Burnin' Train" or the awesome ballad "I'll See You In My Dreams" will quite rightly join the reign of Springsteen classics.

Myrkur: "Folkesange":
Myrkur is definitely one of those artists who are difficult to classify and who are overcoming and transcending the boundaries of their respective genre - in Myrkur's case Black Metal - in most fascinating and creative ways.

Autumn Nostalgie: "Esse Est Percipi":
The Slovakian one-man-project Autumn Nostalgie combines Black Metal with a kind of pop sensibility that is hard to find amongst the Black Metal genre. You could almost think of something like The Cure joining forces with Darkthrone.

Fenne Lily: "Breach":
Definitely the best indie rock album of this year. Period. Also, the Bristol-based songwriter writes some of the most intelligent lyrics I've heard this year. If The Mekons and Throwing Muses ever had given birth to a child, it’d be Fenne Lily.

Raat: "Raison D'être":
This band from Delhi plays the most emotional Atmospheric Black Metal ever. The most amazing thing about it is that -- apart from buzz-saw vocals -- they really do avoid all the clichés that are common to the genre. As if the Swans and Anathema got together for a rather wicked session.

These are our favourite albums in this most peculiar year, the effects of which have unfortunately not yet come to an end. So continue to take good care of yourselves as well as your fellow citizens, stay at home as best you can and above all — stay healthy.

Yuletide Greetings-squashed

"Foxfire" Is Finally There!

The completion of "Foxfire“ took much more time than we had expected. This was mainly due to the fact that we both were buggered by some troublesome health issues since the release of "Not Fade Away“: whether it was pneumonia, tinnitus, blood poisoning or depression — you name it, we had it!

But much to my surprise, "Foxfire“ almost formed itself on its own: many songs were written, recorded and some of them got discarded — but when the core of the album finally began to emerge, I realised that this album turned into some kind of review of my life so far, with all its ups and downs. Given my advanced age, such a review is not at all surprising, indeed. That said it isn’t a look back in anger, but a rather forgiving and sometimes astonished look at all the years that lie behind me which made me the person I am today.

That is also the reason why I am going back to my musical roots with songs like "Romeo“, "Last Night“, "St. Materiana“ or "The Night is Still Young“, as I felt that I should pay some kind of tribute to the heydays of the Punk scene that I grew up in. And there is also a new version of "Goodbye to Jane" to be found on this album, because that song, which goes back to the first Antichrisis demo "Missa Depositum Custodi“, has always been very close to my heart.

On the occasion of the release of "Foxfire“, Kurt Mitzkatis of German Rock e.V. did a very profound interview with me on Rockradio (in German only), which you can listen to here.

And the legendary Fatal Unterground-zine wrote a pretty comprehensive review of "Foxfire“ which can be found in the reviews-section of their website (German only, too).

With "Foxfire“ an important chapter of Antichrisis comes to an end, because with our next album Ayuma and me will take a completely different route in terms of songwriting and sound. And we do keep our fingers crossed that this forthcoming album won’t take us another 8 years to finish.

It's that time of the year...

… when everybody’s publishing their „Best of 2019“-lists — so why shouldn’t we?

According to the 12 days of Xmas, here are my 12 favourite and most listened to songs of 2019:

Orville Peck : "Dead of Night"
Bruce Springsteen: "Tucson Train"
VNV Nation: "All Our Sins"
J. S. Ondara: "Days of Insanity"
Neil Young & Crazy Horse: "Olden Days"
The Specials: "10 Commandments"
Ride: "Clouds of Saint Marie"
The Murder Capital: "Green & Blue"
Ghost: "Mary on a Cross"
Marianne Faithfull: "No Moon in Paris"
Sleaford Mods: "Kebab Spider"
Leonard Cohen: "Thanks for the Dance"

You see — lots of old heroes to be found in this list: maybe it’s because I’m getting a bit vintage, too (I’m writing these lines on my 57th. birthday). But as for cheese and whisky: the older, the better (until it goes mouldy or vanishes completely).

Ayuma & I wish you a very merry festive season as well as a hopefully splendid new year — and we’re pretty sure this time that the long awaited Antichrisis album „Foxfire“ will finally see its release in 2020.

What's Up?

It has been a bit quiet in the last few months due to me having to be very busy in my daytime job. That’s exactly why it sometimes takes us longer than usual to complete an album, hence I get asked quite often if it wouldn’t make life easier for me if I didn’t have to go about my daily work but make my living just out of music instead.

Well, being able to make one's living solely out of music is anything but easy because there is simply an oversupply of music these days: the market is more than saturated and those musicians and artists being lucky enough to find their niche are forced to engage themselves in time-consuming social media-activities while also having to tour their asses off. It simply boils down to the fact that you have to put a lot more effort in marketing and PR as well as constantly reproducing the music you’re already familiar with on stage than on creating new music or exploring new musical territories.

Of course it would be nice if I could concentrate completely on creating and producing music 7 days a week. But this would also mean that I would have to think about marketability and marketing strategies, expectations of target groups, public relations a.s.o for 7 days a week, too. And this road can quite easily lead to point where you do to care much more about what your audience might be expecting from you (because you are dependent on record and ticket sales) than what you would like to do.

That's why I'm glad to support myself with the monthly income of my daytime job. It goes without saying that office work is not always exciting and that basically the time from Monday to Friday from 7 am to 3 pm is reserved for my ‚normal“ chores, so that musical activities are restricted either to evening hours, weekends or holidays. But that modus operandi also allows me not having to give a tinker’s cuss whether or how our music can be promoted or exploited commercially, which expectations Antichisis should come up to or when our next album has to be released -- and this means absolute freedom in artistic terms, because we can write and create the music we want to do, whenever we want to do it and, best of all, without the pressure of release dates, press schedules and photo calls (been there, done that, threw away the T-shirt).

However, this also means that depending on circumstances delays may occur in the completion of an album; either because of Ayuma & me having to be busy in our daytime jobs or because of unexpected health issues requiring longer breaks (yes, we are definitely not getting younger, folks).

Nevertheless we’re still working on the release of Antichrisis’ forthcoming album „Foxfire“ and hope that there will be no more incident occurrences in coming months that could cause further delay.

In order to shorten the waiting time for „Foxfire“ I went down the basement (despite the immortal Ramones suspecting that there might be something down there) to search the archives: of course my musical activities didn’t start with Antichrisis but with a project called „Assorted State of Decay“ (yes, it’s „decay“ and not „delay“, you ribald persons -- and no, the acronym „A SOD“ was not intended!) in the Eighties.

I was a pretty miserable batcave-goth at that time with a fatal fondness for the colour black, an attitude that is also reflected in the songs that I wrote back then. A perfect example is „Black Letter Day“, recorded on a 4-track tape deck by using a Mattel Synconics 5281 as drum computer, so this is definitely a real Lo-Fi-experience, but maybe it’ll give you an insight in the very early beginnings of my musical origins, anyway.

By the way: I was very sad to hear about the passing away of Scott Walker in March 2019 and Roky Erickson in Mai 2019: Scott Walker simply had one of the most beautiful voices that I’ve ever heard, and beyond that he was an artist always in search for new forms of musical expressions while being far ahead of his time and the audience’s listening habits.

And when it comes to Roky Erickson, all I have to say is that „I walked with a Zombie“ is one of the greatest songs of all times. Both Scott and Roky have been one of a kind and will be sadly missed.

"Baduhenna" released on CD

Good news for all CD hunters and collectors out there: GSP just released a CD-version of „Baduhenna“ containing all separate tracks of the Digital Download-version except for the over 46 minutes long title track.

This CD is limited to 100 copies and is available via GSP’s website for 12.- €.

The End of 2018 is Near

2018 is coming to an end and so it's time for Antichrisis' musical review of the year — and these are the 20 albums that have thrilled us the most in the last twelve months (in alphabetical order):

The Beths - Future Me Hates Me
Brandi Carlile - By The Way, I Forgive You
Bruce Springsteen - Springsteen on Broadway
Cock Sparrer - Forever
Idles – Joy As An Act of Resistance
Janelle Monáe - Dirty Computer
Let’s Eat Grandma – I’m All Ears
Lord Huron - Vide Noir
Low – Double Negative
Manic Street Preachers - Resistance Is Futile
Marianne Faithful - Negative Capability
Muse – Simulation Theory
Richard Thompson - 13 Rivers
Shame – Songs of Praise
She Drew The Gun - Revolution Of The Mind
Snail Mail – Lush
Spiritualized – And Nothing Hurt
Suede - The Blue Hour
Tracey Thorn – Record
U.S. Girls - In a Poem Unlimited

We wish you all the best — and stay tuned for the new Antichrisis album "Foxfire" in 2019.

Thank You for Your Songs, Pete!

When I read in the press that Pete Shelley had died on December 6, 2018, I was immediately thinking back to 1978 when I first heard of the Buzzcocks, whose singer, guitarist and main songwriter Pete Shelley was.

To be honest, the Buzzcocks initially puzzled me: My favourite bands at that time were the likes of the Sex Pistols, The Clash, The Jam or the Ramones - and despite the Buzzcocks also playing fast and awesome songs, they were completely lacking the anger and the fury of many of these 1st Generation Punk bands.

Pete Shelley did not shout in rage but sang in a clear and somehow innocent voice of relationship issues and the problems with the opposite sex occurring for adolescent male teens while struggling with insecurity, anxiety and inexperience — and he also wrote some great instrumentals!

But that was exactly what set the Buzzcocks apart from all other Punk bands — and over time I discovered that behind all the speed and impetuosity, Pete Shelley's compositions were in fact dead catchy, intriguing and alluring pop anthems.

As a tribute to the fantastic songwriter that the late Pete Shelley was I put together a playlist of my 20 favourite songs by the Buzzcocks.

The central core of her artistic work definitely consists of her first 3 albums „Another Music in a Different Kitchen“, „Love Bites“ and „A Different Kind of Tension“: neither the band nor Pete Shelley solo ever achieved the outstanding class of these works again in later years. Nevertheless these 3 albums are nowadays considered quite rightfully as milestones in rock history because the Buzzcocks were in terms of innovation light years ahead of other bands of that time; that said they were much closer to an experimental band like Wire than to more „traditional“ bands like the Sex Pistols or Chelsea.

Sid's Favourite Producers

When I started as your typical DIY-producer back in 1995 I usually mixed by trial and error and therefore made lots of mistakes — and I really mean LOTS!

It was only when we started recording Antichrisis’ 2nd album „A Legacy of Love“ at former Blue House Studios in Meerane in 1998 that I learned proper recording and mixing techniques from Jens Bachmann and Tilo Rockstroh, and from this time on I put a lot of attention to production when I listend to records of my favourite bands and artists: why did some records sound interesting, whereas others sounded dull and boring although the songs itself where not that bad? Soon I found out that not a small share of that certain something that made an outstanding song or album was due to the fact that a certain producer or engineer was in charge of the mixing console.

I realised that there quite a few producers with a very unique trademark sound that I really loved. Their work really inspired me and gave me ideas on how to produce Antichrisis — and here’s a list of those producers that became somehow musical godfathers to me:

Adrian Sherwood
Brian Eno
Chris Thomas
Conny Plank
Daniel Lanois
Daniel Miller
Gareth Jones
George Martin
Giorgio Moroder
Jerry Wexler
Joe Meek
Martin Hannett
Michael Gira
Paul Epworth
Phil Spector
Sam Phillips
Steve Lillywhite
Todd Rundgren
Tony Visconti
Trevor Horn

I would never dare to say that I’ve even come close to the abilities and skills of these legendary mixing wizards, but they are nevertheless artists that still guide me on my way as an ambitious DIY-producer.

Goodbye to the Radio Wave Surfer

Holger Czukay died last night at the age of 79 — and although I have to admit that a lot of his music always sounded a bit too weird to me, I do acknowledge and honour his wonderful open-mindedness to all new musical ideas & influences as well as his phenomenal creative achievement both with Can and as solo-artist.

Holger Czukay was beyond doubt one of just a few German musicians exerting influence on countless musicians across the board, and I do hope that his seed of ingenuity and the spirit of a boundless musicianship will linger on.



"Atmosphere" is definitely one of Joy Division's masterpieces — and I always wondered what that song would have sounded like if Ian Curtis wouldn't have felt sad and gloomy about the person he was singing about, but if he felt angry and irate instead: not begging for not walking away, but with wide shoulders demanding to stay and face the facts!

Hence we did our version of "Atmosphere" in a more "pulling your punches"-way without compromising the beauty of its melody and its excellent arrangement .

Alice's Curiosities

When Axel of At Sea Compilations asked us if Antichrisis would be interested to provide a track for his Paul Roland tribute sampler "Alice's Curiosities" Ayuma and me were baffled at first, because both of us knew neither Paul Roland nor his music despite that sedulous soul being around the music scene since 1979 and having worked with the likes of Robyn Hitchcock and Nick Saloman (which we knew).

Anyway, as we started checking out Paul Roland's musical works we soon got stuck with one of his earlier tracks called "Blades of Battenburg" and decided to do a cover version of that song for Axel's sampler — but in a very different style from Paul Roland's original psychedelia goth version.

And here is how we did it:

"Alice's Curiosities" is available via At Sea Compilations' website - and don't forget to donate!

Favourite Albums of 2016

It's almost the end of the year (and believe me: 2016 was a real bastard what with taking David Bowie and Leonard Cohen from us and leaving us with The Donald instead) and so it's time to come up with my favourite albums of 2016. Here we go:

David Bowie: Blackstar
Leonard Cohen: You Want It Darker
Kate Tempest: Let Them Eat Chaos
Isolation Berlin: Und aus den Wolken tropft die Zeit
Wire: Nocturnal Koreans
The Hidden Cameras: Home On Native Land
Swans: The Glowing Man
PJ Harvey: The Hope Six Demolition Project
The Divine Comedy: Foreverland
The Thermals: We Disappear

Merry Yuletide and a very Happy New Year to all of you out there!

So Long, Field Commander Cohen

Found some really sad news after I woke up this morning: "It is with profound sorrow we report that legendary poet, songwriter and artist, Leonard Cohen has passed away. We have lost one of music’s most revered and prolific visionaries."

Leonard Cohen was one of my very first musical heroes: he was the one to introduce me to the beauty of melancholy, and he was also the one that I habitually came back to whenever life put on his boots and did some serious ass-kicking on me.

Whenever I think of Leonard Cohen I think of a real gentleman with an amazing warm and solacing voice and a wonderful sense of humour.

To be reminiscent of the great poet and songwriter that he was, here are my favourite songs by Leonard Cohen:

Closing Time
Diamonds In The Mine
Did I Ever Love You?
Everybody Knows
First We Take Manhattan
The Faith
The Future
Going Home
Hey, That's No Way to Say Goodbye
If It Be Your Will
Lady Midnight
Lover Lover Lover
Master Song
The Partisan
Seems So Long Ago, Nancy
Sisters of Mercy
So Long, Marianne
Stranger Song
Take This Longing
Tonight Will Be Fine
Tower of Song
The Traitor
The Window
You Got Me Singing
You Want It Darker

Remembering Alan Vega

Alan Vega died in his sleep on July 16, 2016 at the age of 78. He wasn’t exactly a great singer — but he was always cool as fuck and simply didn’t give a damn what anybody else was thinking of him.

When Punk and New Wave jumped into the spotlight in 1976, almost everybody was fiddling around with power chords on E-guitars — but he and Martin Rev came up with some keyboard sounds and rhythms that were so far ahead of their time that 40 years later they still sound modern or at least up-to-date.

Martiv Rev took care that all hell broke lose when he switched on his keyboard & rhythm box, and Alan Vega turned into the scary revelator of some of the most frightening American nightmares I ever heard. He groaned, moaned and screamed through these songs — but always with style and attitude.

Being pretty wet behind our ears, me and my brave young Punk comrades were trying hard to enter the dark streets at that time, whereas Alan Vega had actually seen these dark streets that we were dreaming of; and these dark streets weren’t moody and romantic as we saplings though; instead they were bloody cold, wet und violent. Alan Vega knew this — and that’s why he sounded like he did.

These are my all time favourites from this great artist:

Suicide: Ghost Rider
Suicide: Dream Baby Dream
Suicide: Rocket USA
Suicide: Frankie Teardrop
Alan Vega: Jukebox Baby
Alan Vega: Rebel Rocker
Alan Vega: Je t’adore
Alan Vega & Pan Sonic: American Dreamer

By the way: you should also listen to the brilliant cover version of "Ghost Rider" by The Sods from their awesome 1979 debut album “Minutes to go”

An Interim Report on Foxfire

It’s been a long time since the last blog entry — but don’t worry: there’s still a lot going on under Antichrisis’ hood. We’re still working on our upcoming album “Foxfire”, and I’m really excited about those new tracks that we’ve recorded so far. In order to give you an idea what “Foxfire” will be all about, here’s a few production notes on some of the songs that’ll appear on the album:

After the War: A rousing dystopian Electronica track, much in the vein of old classics like “Crossing the Line” or “The Point of No Return”. It deals with the subject of what will become of mankind if we stick with warfare, pollution and nationalism.

Close-Hauled: Melancholic Folk Rock inspired by North Cornwall’s rugged coastline. The story of a ghostly crew coming back for the soul of a lighthouse keeper whose delinquency lead to their death one stormy night.

Goodbye to Jane: One of Ayuma’s all-time favourites: she always wanted to do her own version of that song and so we re-arranged and re-recorded it in a way that sounds a bit like Nine Inch Nails would encounter The Jesus & Mary Chain.

Gravity on Mars: What happens if promises and hearts are broken and love fails? This gloomy acoustic guitar ballad will tell you. Sad & sweet but also with the silver lining of hope at the end that has become some kind of trademark for Antichrisis.

Is Anybody There?: As you might already know, I’m a sucker for those 80’s Synth Pop-acts like Soft Cell, Yazoo, or OMD. And as I’m also a big fan of Stuart A. Staples and Stephin Merritt, I thought it could be a great idea to merge these two preferences and create a catchy Synth Pop-ballad dealing with a guy who walks the streets alone at night.

Last Night: I’ve grown up with the first wave of British Punk — and the older I get, the more I’m fond of these musical roots. And though I do love to fiddle around with keyboards and synthesizers, it still feels great to plug in the electric guitar, turn up the volume and bang around on high speed — not the hardcore, but the melodic way. “Last Night” is all about the anger and the desperation - and its music sounds exactly like it.

Lost & Found: From Punk Rock to orchestral music: A love song written for my wonderful wife Ayuma; done in a rather unorthodox way just with harp, English horn and clarinet. No drums and guitars to be found here.

Loving You So Long: Oh, I just love guitar-driven disco songs: Blondie, Gang of Four, New Order, Gossip — they’ve all done really great stuff when it comes to that kind of music. Hence I came up with this “Four to the Floor”-track that also provides a very snappy bass line.

Like a Snow Walk: Not really sure it that’s going to be the definite title of that song as we’re still working on the lyrics momentarily, but it’s nevertheless a great track with tribal drumming, uplifting keyboards and a hymnal piano line, which could be because of some indeterminate Ultavox-Midge Ure-inflluences.

The Night’s Still Young: Getting back to these old punk roots: a song about what it felt like when we were young, it was Saturday night and there was something in the air that promised adventures and brill fantastic incidents. The night was ours, and it usually kicked off Friday evening and finished in the early hours of Monday morning.

She Lay Waiting: This is exactly what you’ll get when you put Pink Floyd, Anathema, Lee Hazlewood and Oasis in the blender and operate the damn thing on full speed: walls of guitars crushing down in that song that came to me during our journey to the Baltic Sea two years ago.

St. Materiana: Yet another song inspired by and about the sea. This time it takes place in Tintagel, Cornwall, and it deals with the subject of star-crossed lovers. If that topic was good enough for William Shakespeare, it’s definitely still good enough for Antichrisis. Except for the fact what Mr. Shakespeare didn’t use Metal-drenched Punk Rock for background music.

Subways of Time: Things get a bit unusual here: A country waltz played by piano and strings? But don’t worry: It just works! A sparse but doleful ballad about the passing of time and remembering the ones we once shared parts of our lives with.

You Could Not Follow Me: Now comes the marching band. Honestly… Like young Leonard Cohen would have a little get-together with Procol Harum at the Mardi Gras in New Orleans. Rather odd but catchy!

These are just some of the tracks of our preselection for “Foxfire”: Could be that there will be some additional tracks, too; but it could also be that one or two of the aforementioned songs will be discarded in favour of some other tracks — let’s just wait and see. We haven’t set a release date for “Foxfire” yet as some of its songs are still in the making, but as soon as we’re reaching the mastering stage we’ll let you know.

Time Takes a Cigarette...

...with Facebook and Twitter!

First of all, I’ve never been much of a fan of Facebook: confusing settings, ugly interface, dodgy terms of conditions etc. That’s why I never used Facebook regularly except for a few postings when a new Antichrisis-album got released.

But now with Facebook’s most recent enmeshment with Cambridge Analytica, I think it’s finally time to leave — and for that reason I have deleted Antichrisis’ Facebook-page, as I don’t want to participate in such devious games (see for example this article for more information).

And then there’s also Twitter, a social media platform that I quite like and which I’m using on a daily basis - but not through their website or Twitter’s official ugly-as-hell-client, but with third-party apps like Tweetbot and Twitterific, as they are much clearer and more comfortable to use providing well-arranged and accurate timelines as well as offering very pleasant user interfaces. To cut a long story short: Twitter without third-party clients simply is unusable to me.

Lately Twitter announced that after June 19th, 2018, Twitter’s David Bowie's music guided me through so many years of my life — his work was the inspiration for all I ever wanted to achieve as a musician and songwriter: He opened doors that would have blocked my way. But now the Starman returned to the sky , and these are his songs I will never forget:

Five Years
Ziggy Stardust
Rock 'n' Roll Suicide
Space Oddity
Cygnet Committee
Wild Eyed Boy From Freecloud
The Bewlay Brothers
The Man Who Sold the World
Station to Station
Fantastic Voyage
Wild is the Wind
Sound and Vision
Sons of the Silent Age
Ashes to Ashes
China Girl
Thursday's Child
Absolute Beginners
Where Are We Now?
Baal's Hymn
Port of Amsterdam
The Loneliest Guy
Life on Mars
Look Back in Anger
Speed of Life

David Bowie (08.01.1947 - 10.01.2016)

"And the mountain moved its eyes to the world of realize
Where the snow had saved a place for the Wild Eyed Boy from Freecloud"

New Album "Baduhenna" Out Now

There once was a most beautiful planet called Eorthe
But mankind really fucked it up
Only a few survived Dōmes Dæg
Two tribes emerged: Enoe and Mandoag
Mandoag tried to hunt us down with their spiral wings
They built bastilles that we absconded from
Beware of Mandoag searchlights
Her boat was waiting for us on the shore
We cried when we saw what we had done
How could we be so ignorant?
Even the crows had disappeared
We built Baduhenna with our last resources
We gotta get away although we could have had it all
The last rite before the take off
Our spaceship on a preset course to Alpha Canis Majoris
We're desperate and scared: there is no home anymore
It's so dark and cold out there
There's no return
Au revoir, Terre

We just released our movie score to A. Forster's SciFi filmlet "Baduhenna". This score was quite a challenging task as "Baduhenna" turned out to be a movie without any dialogue: like in the silent film era the music had to underscore the entire movie reflecting the emotions of all characters of the pursued Enoe tribe.

The soundtrack album contains the original motion picture edit as well as all its tracks separately (for those of you who prefer to listen to single tracks or wish to download individual tracks). We've also included bonus tracks "Understanding Everything" and "There Were Crows (Snowflakes Mix)" as they fitted just perfectly to the album's over-all atmosphere.

"Baduhenna" is completely different from previous works of Antichrisis as we had never done a score before. Just like our previous album "Not Fade Away" it comes as digital download only and is available at
Bandcamp, on iTunes, Amazon and lots of other digital market places.

Although this movie score is entirely based on synths and keyboards, it doesn’t mean that we won’t be doing our more “traditional” stuff any more. On the contrary: Antichrisis' next album “Foxfire” will definitely pick up the threads of “Not Fade Away” again. just smells funny

At Sea Compilations just released a comprehensive anthology named “German Gothic isn’t Dead” which contains — as the compilation’s title implies — a profound overview of today’s Gothic Music in Germany, curated by Axel Meßinger. There are 30 bands of different kinds of style like Gothic Rock, Gothic Metal, Dark Punk, Wave or Electronic to be found on this really impressive anthology — and Antichrisis is part of them (although I doubt that Antichrisis can be labelled as “Gothic” nowadays): we contributed a previously unreleased track from our forthcoming album “Baduhenna” called “Overture” in order to give you a first impression of what our next album will sound like.

“German Gothic Isn’t Dead” can be downloaded for free via
Bandcamp, but as Axel has did put a lot of work in this compilation, donations are always welcome.

By the way: We are temporarily working on the very last track for “Baduhenna”, hence the album is going to be released at the latest in October 2015. Hope you’re looking just as forward to it as we do!

Hairy Crisp Mouse

It’s Xmas again and therefore time for Antichrisis’ consuetudinary “End of the Year”-Rankings. Actually 2014 saw some very fine album releases — and these are my favourites hitherto:

Die Nerven - Fun
Alvvays - Alvvays
Warpaint - Warpaint
The Raveonettes - Pe'ahi
Sleaford Mods - Divide & Exit
Kate Tempest - Everybody Down
Scott Walker & Sunn O))) - Soused
Adrian Crowley - Some Blue Morning
Marianne Faithfull - Give my Love to London
Robert Plant: Lullaby and… the Ceaseless Roar

Peace for all Creatures on Earth & A Happy New Year to You!

Missa Depositum Custodi

Due to public demand we’ve made Antichrisis’ renowned demo “Missa Depositum Custodi” available for free in our download area. The .zip-file contains all tracks of the original demo as well as some unreleased songs of that era, but please keep in mind that all that stuff was recorded back in 1996 on an 8 track cassette deck -- hence its sound quality is what modern hipsters would call “genuine Lo-Fi”.

Get “Missa Depositum Custodi” for free here.

Working On New Tracks

When we released “Not Fade Away” last year, quite a few of you mentioned that they would have preferred not all album’s tracks being published on Bandcamp before as it spoiled the surprise of listening to a new album. And although I think that something like keeping an album or its tracks secret in the age of the Internet, your request shall be our command, as from now on only one or two songs of an album will be published before the album itself sees its release.

To be honest I’d still prefer to release any song as soon as its ready -- but in that case the majority of votes seems to be against me.

Nevertheless we’ve been diligently working on new tracks (thanks to my new Mac Mini which is really an awesome and powerful yet underestimated little machine): we’ve been finishing “Understanding Everything” two weeks ago, and a new song called “Be Gone” is already in the works.

At the same time I’ve put the finishing touches on Ayuma’s brand new track “Wenn Ich Dich heute seh’”-- and there really are lots of other new songs in the pipeline, hence Antichrisis’ new album is developing pretty well even if you won’t be hearing any new songs until “Foxfire” (the new album’s title) is released.

Looking back

It’s been a bit quiet lately, but that doesn’t mean that nothing happened: first of all, I had to get myself a new computer because my old and steady iMac had reached the point where it just wasn’t powerful enough any more to deal with all those Logic-projects for Antichrisis and Ayuma. So I switched to the new Mac Mini (the fastest Mac Mini of course, with Intel Core i7, 2,6 GHz, 16 GB RAM and 1 TB Fusion Drive - that’ll do!) and it took quite some time until everything was configured the way I needed it.

Then there was also my 50th birthday on Winter Solstice: fortunately armageddon got cancelled hence nothing could spoil my little birthday party with Ayuma, however I guess I still need some time to realise that I’m really 50 now -- but as long as the Rolling Stones still hit the stage (or in Keith’s case fall from palm trees), I guess I’m still allowed to perform and record songs, too.

And while we’re looking back: here are my favourite songs of 2012:

Neil Young & Crazy Horse: “Walk Like a Giant”
Of Monsters and Men: “Your Bones”
Santigold: “The Riot’s Gone”
Lana Del Rey: “Born to Die”
Bruce Springsteen: “We Are Alive”
First Aid Kit: “Emmylou”
The XX: “Angels”
Exclusive: “Nachtmensch”
The Dead Lovers: “The Storm”
The Raveonettes: “Young and Cold”

“Not Fade Away” released on CD

Good news for all Antichrisis-fans in Russia, Ukraine and Belarus: renowned Russian label Irond has released a licensed version of “Not Fade Away” on CD, including a beautifully designed booklet. The collaboration with Irond was a really pleasant experience, and they did a great job -- so check it out on their website.

Increasing Availability

We’ve finally managed to get our new album “Not Fade Away” into the iTunes Store and to Amazon’s MP3 Store which means that from now on you can choose between 3 different download facilities:

iTunes Store (or search for “Antichrisis” and “Not Fade Away” in your county’s iTunes Store)
Amazon MP3 Store (or search for “Antichrisis” and “Not Fade Away” in your county’s Amazon MP3 Store)
Bandcamp (international availability but you need to have a Paypal-account)

Just use the shop that suits you best -- the main thing is that worldwide availability should no longer be a problem.

New Antichrisis Album Released

Here we go: Antichrisis’ new album “Not Fade Away” is finally available as download-only edition via Bandcamp as of now for a minimum price of €7.00 and a minimum price of €0.50 for individual songs (if you feel like paying more you’re welcome; if not enjoy the decent price tag, anyway) .

I’ve also taken the chance for overhauling Antichrisis’ website because I’ve had it up to here with black — and also because Holger Warschkow of Dark Feather suggested that it’d be time for a new Antichrisis logo. At first I hesitated because I really love the original monicker (no wonder as I’ve been doodling it by myself), but after giving it a second thought I came to the conclusion that Holger was right: Antichrisis has gone through so many changes since I’ve started the project in 1998 and the new logo somehow represents the new musical horizons that we’ve set sails to perfectly.

“Not Fade Away” seems to be just the right title for that album because many of you might have got the impression over the last years that Antichrisis may have possibly ceased to exist. But Antichrisis is still up and running though no longer as the sextet that we’ve used to be, but as a duo consisting of yours truly and Ayuma instead. And not only have Ayuma & me gotten this album together but we’re already working on a lot of new tracks; so Antichrisis definitely hasn’t faded away but is rather bright-eyed and bushy-tailed as it were.

This new album is also the first album in Antichrisis’ history that is released as a digital download only, without an external record company (Blue Yonder Records is our very own label) or an external producer: everything was done by ourselves, from cover artwork to the recording sessions in our home studio, as well as from production to mastering. Hence we may not have reached the perfection of previous releases like “A Legacy of Love Mark II” but Ayuma and me are nevertheless very satisfied and proud of what we’ve achieved with that kind of DIY-work ethic.

“Not Fade Away” is the perfect epitome of what Antichrisis 2012 is all about. We’re not longer the Doom/Metal/Goth-outfit that we’ve started with “Cantara Anachoreta” because we’ve been embracing a lot of musical styles and influences on our way to this day and age. Of course you’ll still find Post Punk and Gothic elements in tracks like “Here Comes The Night” and “Adrenalin” but we’ve also developed further into the direction of Electronica and Dancefloor with songs like “Ocean’s Too Wide”, “The Point of No Return” and “Crossing The Line”.

Apart from that there’s still Antichrisis’ search for the perfect pop song that we’re keeping up with “The Fire Went Out”, “Creatures of a Jade Lagoon” or “Walking With Angels”, our love for Indie & Alternative guitar sounds that’s shimmering through “Who You Are” and “Shine”; our passion for Irish music that’s reflected by songs like “Restless Years”, “Endless Flow” or “Lament for Kira” — and finally there are these in-betweeners like “Night Train” or “Have You Been Loved?” that simply don’t fit into any of the aforementioned categories.

To Ayuma and me “Not Fade Away” feels like a Greatest Hits Album because it really is a selection of our favourite songs, and we hope you’re going to love this album as much as we do!

Last but not least we’d like to express our gratitude to Alexander “Näx” May, Tilo Rockstroh and Frank J. Hennig for their wonderful input and contribution: it’s always a pleasure and a privilege to work with these guys! And also a big “Thank You” to all our fans out there: your feedback and support means a lot to us!

Returning from Cornwall

Ayuma and me are back from our holidays in Cornwall: unfortunately we had to return much earlier than planned due to the fact that yours truly had managed to get hold of an awful inflammation on his foot which made further walkings on the Coast Path definitely impossible: such calamities surely never happened to me when I was younger — bugger!

Nevertheless we would like to thank all the kind people that we’ve met on our short but nevertheless wonderful journey — especially Rob Lloyd & his wife Teresa from Boscastle as well as Mrs. Watson who runs the lovely St. Christopher’s B&B (next to the Napoleon Inn, which is a highly recommendable pub in this little village with its outstanding coastline and the amazing Museum of Witchcraft).

Nevertheless we’re using our remaining days of vacation to work sedulously on new tracks -- and so Ayuma and me managed to finish “Walking With Angels” which you’ll hopefully be enjoying: it’s another lighthearted piece of pop music by your heretofore rather sepulchral gloomsters!

New Ideas and a New Track

As all you keen readers of Antichrisis’ blog might have already noticed, releasing a new album is a very unsteady operation these days: plans for releasing “The Legacy remains” went down the drain when Reartone Records called it a day a few years ago, and now that Tunguska Records also kicked the bucket it seems that Antichrisis’ scheduled album releases do stand just the same chance as a mayfly in a thunderstorm.

But as so many of you out there have requested an album, Ayuma and me were asking ourselves how we could accomplish an album release on sensible terms.

One good thing is that we wouldn’t need a studio as we’re able to record and produce all our songs at home -- and even if our technical standards might not come close to those of let’s say Bob Rock or Rick Rubin, we’re still achieving something that doesn’t sound too bad for an autodidactic independent production.

Now getting these self-produced tracks on CD is a different story: compact disc manufacturing and printing of booklets ain’t something that I’d call dirt cheap, but thanks to the blessings of the Internet it is nowadays within the bounds of possibility to distribute a downloadable version of an album on decent conditions.

So we decided to release a download-only version of the new Antichrisis album by the beginning of next year: you’ll get all tracks in highest possible quality (i. e. without any bit-rate reduction just as you’d expect it from any standard CD) as well as specially designed artwork (front cover and back cover) - and it goes without saying that all this will be reasonably priced.

All that’s left for you to do then is buying the album, download its tracks and artwork, burn the songs on CD (if desired), print the cover and off you go: a brand new Antichrisis album, directly acquired from the artists without being charged for any kind of intermediate trade or stock-keeping: of course we’ll keep you informed about further details concerning track list, release date, pricing and source of supply on this blog.

This also means that availability for free downloads of Antichrisis’ songs from SoundCloud will be stopped by 23 October 2011. Of course you will still be able to listen to all tracks in full length via streaming audio, but with the forthcoming release of the new album we’ll have to draw the line somewhere eventually.

But enough of that for now: we’re hoping that you’ll like the idea of a self-distributed downloadable Antichrisis-album, and in the meantime Ayuma and me hope that you’re going to enjoy our new track “Creatures of a Jade Lagoon” that we’ve just uploaded to the music section of this website.

By the way: thanks to Rüdiger Abend there is now some live footage from Antichrisis’ performance at the Markthalle Hamburg in 1999. Of course not the best audio quality, but nevertheless a nice remembrance of Antichrisis’ first stage appearance ever (although with a completely different line-up than today): Watch it on YouTube.

Worse Luck: No New Antichrisis Album Again

A few days ago we received a sad email by our label Tunguska Records: unfortunately Tunguska had to close down due to the fact that it’s almost impossible these days for a small ambitious independent record company with low budget but much better taste in music to make ends meet.

This means that there won’t be any new Antichrisis album for now, which is a shame as our collaboration with Tunguska Records was a really pleasant experience -- hence we’re wishing Julia Dobberstein all the best for her future plans!

Good news is that this drawback won’t stop Antichrisis in any way: we’re going to release all the songs that were planned for the aforementioned album on our website within the next few months and we will also carry on with continuously writing and producing new songs, because in the end Ayuma and me are in it for the music and not for business purposes.

As long as we’re still loving, dancing and dreaming, there will also be new songs!

Antichrisis' Musical Equipment

I often receive mails asking me about the equipment I’m using for creating Antichrisis’ tracks, so I thought I’d better answer that question here and now for anyone who might need some recommendation concerning musical equipment.

Me and Ayuma are both working on iMacs, and while Ayuma’s recording her vocals in Garageband I’m completely addicted to Logic Studio as my favourite digital audio workstation instead.

When creating a track I usually start with the drums - and for me there’s no better software for creating awesome sounding drums than Toontrack’s Superior Drummer: easy to use, great sounding kits and lots of expansion packs and producer presets for all kind of purposes. If more “non-natural” sounding drum sounds are required I’m always turning to Spectrasonics’ Stylus RMX which offers an almost insane flexibility and gazillions of stirring drums and percussions.

There are two different ways for creating bass tracks for Antichrisis: Either I’m playing my good old balky Vantage Avenger 4-string bass through IK Multimedia’s Ampeg SVX amp simulation or I’m using Spectrasonics’ magnificent bass module Trilian via MIDI-keyboard instead.

When it comes to guitars, I’m usually using our Takamines for acoustic sounds and my Epiphone Tom Delonge model for that certain electric twang. Again I’m playing those guitars through another amp simulation by IK Multimedia called Amplitube 3 which I prefer over Native Instrument’s Guitar Rig 4 Pro especially when it comes to crunchy and distorted guitar sounds.

But let’s move on to the keyboards: I’m using a plain simple MIDI-keyboard by M-Audio as my master-keyboard and I’m preferring the following plug-ins for creating great and outstanding arpeggios, leads, pads and all other kinds of strange noises:

Omnisphere by Spectrasonics and Alchemy by Camel Audio are definitely my favourite workhorses as they provide lots of inspiration, clean user interfaces and mind-blowing sound quality - but M-Tron Pro and Virtual String Machine by GForce as well as Miroslav Philharmonik by IK Multimedia are also providing great additional sounds.

So all that’s left is sound processing itself: For these purposes I’m always coming back to IK Multimedia’s T-Racks for engineering and mastering, and if it comes to FX I’m quite often making use of Uhbik and Toontrack’s EZmix, but Logic’s own implemented FX-section is also highly recommendable.

But always keep in mind that it’s not the equipment that counts but your own creativity and skills instead!

“Adrenalin” uploaded - and some breaking removal news

Just finished mixing and mastering “Adrenalin” which can be downloaded for free here. It’s the very last song that I’ve produced in our old tenancy in Zirndorf, because we’ll be moving to Renzenhof next week. This means also that I don’t know yet when we’re going to be connected to the internet again (dealing with german Telekom in such cases is never exactly what one would call a pleasant user experience), so there possibly won’t be any news from Antichrisis for quite some time. But as soon as we’ve sorted everything out we’ll be working on new tracks again.

In the meantime we hope you’re going to enjoy “Adrenalin” as much as we did when we were working on that song - and we also hope to be back on the track real soon!

By the way: New Antichrisis Interviews at (in German only, also includes a very profound review of A Legacy of Love Mark II) and at (in French only).

"Crossing The Line (Dark Feather Remix)" uploaded

A few months ago Holger Warschkow of Dark Feather asked me for a contribution to his zine’s 10th anniversary edition, and I was more than glad to agree to provide a remix of “Crossing The Line” that I was working on at that time.

Maybe a lot of you might think something like “Duh - does the world really need another dispensable remix? Aren’t remixes just a bad case of flogging a dead horse with making some extra money from an already released song?” - and of course I can’t completely deny that attitude.

But there’s something else about remixes: In the older days (yes, I was born in the sixties, so I should know all about those good ol’ times!) a band recorded a song on tape and once it had been mixed and produced that song could not been altered any more - it was on tape, it was done, and the only thing you could do was a bit of remastering when you felt the need for it.

But these days are gone: Nowadays with all those hard disc recording-prospects there is no such thing like a “finished” track any more. Thanks to your software sequencer’s total recall-capabilities one can work on a project, finish it - and re-open it again 12 months later with all the proper settings just for adding an idea for a new guitar line. And me, I surely love that kind operation method.

Besides, since I’ve released the first version of “Crossing The Line” I couldn’t help but notice that this track needed a more powerful Techno beat to make it work — maybe there are some things that you’ll only find out after having “lived” with a song for a couple of weeks.

Anyway, that’s the reason why I picked up “Crossing The Line” again and revised it for Dark Feather No. 10: the groove’s emphasis is now focused completely on danceability and there’s also a more aggressive midsection as well as additional vocals by Ayuma.

"No Going Back" uploaded

Just uploaded a new song called “No Going Back”: Some of you may remember this track because its demo version appeared on this website long time ago. “No Going Back” was written during the time I wrote lots of other stuff for “The Legacy Remains” (i. e. the album that never was), but I wasn’t really satisfied with the original version.

But when Ayuma started singing that song I instantly knew that we were working on the real thing. I also noticed that my primal scintillation of recording “No Going Back” as a plain vanilla ballad without any drums and bass was a flop, as the song seemed to lack the sparkling brilliance that is now added by the rhythm section (thanks to Toontrack’s Superior Drummer and Spectrasonic’s Trilian).

I’m really proud of this version because Ayuma’s vocals bear that special kind of melancholy airiness that emphasizes the overall feeling of that song: the battle is over and you have lost - and there’s absolutely no way of ever going back. But at the same time this means that there’s no more burden on your shoulder: though you’ve been bereaved of something that once was so precious to you, you are now free from a situation that was only causing pain in the end. Let your tears flow for the past, but the future’s promise lies already ahead and it’s sounding like a sparkling waterfall from afar.

Maybe this is one of Antichrisis’ most catchy tracks so far - but don’t get fooled by the song’s overall easiness: still a deep sense of valediction is lurking under its surface.

"The Point Of No Return" uploaded

Although I’m pretty occupied with watching the Football World Cup in South Africa these days, I’ve anyway found the time to upload a new Antichrisis track called “The Point of No Return”.

This song has seen quite a few transformations since I’ve written it sometime in 2002; at first it was called “The Way”, but I could never get my head around finishing it — until I played the demo version of that song to Ayuma last January: As soon as she heard the track she was instantly hooked to it, and after rehearsing a couple of times she came up with those great vocal lines you now hear on that recording. Besides, “The Point Of No Return” contains also great performances by Frank J. Hennig and Näx, so thanks a lot for your contribution, guys!

But after I had finished mixing the 78 tracks that “The Point of No Return” consists of I swore to myself that I would never be recording as many tracks for just one song again — possibly!

Nightwish Syndrome

Question: Many gothic metal bands have used female vocals very well but also in excess nowadays. How do you feel about it? What is the main difference between a female and a male musician to you?

Sid : Yes, it seems that the Nightwish-syndrome has taken over the gothic metal-scene, quite often in order to disguise the male singer's incapacity, but that point doesn't concern us at all: I am a pretty good vocalist myself, but I like the idea of integrating a female voice because of the different colour that this vocals provide to the big picture of Antichrisis.

This doesn't necessarily mean that I'd prefer the male voice being responsible for the aggressive or powerful parts of the music whereas the female singer does all the soft and lyrical bits — this kind of stereotype is much too predictable and boring, hence I'm simply avoiding this mode of operation.

The difference between a male and a female musician? I don't see any difference in general because in my book musicianship doesn't depend on gender categories, just on artistic ones — and if it comes to singing, it's merely reduced to the fact that there are not that many men able to sing soprano, whereas women hardly reach the pitch level of the bass.

Melancholy or Beauty?

Question: Which are the main feelings you want to transport through your music? Would it be melancholy or beauty -- or both?

Sid: The main idea behind Antichrisis is that music and lyrics as an individable entity should be a reflection of my soul, a mirror of my dreams, my visions, my desires and my emotions. Hence this music is of very personal and intimate matter, for it reveals my inner self completely.

Melancholy and beauty are both part of my world of emotions, as well as love and hate, sadness and joy, fear and hope, strength and weakness, desire and lust, depression and confidence.

Playing Live

Question: Have you ever played live? I would be really interested in your gigs which must be a great experience. Another band I know once mentioned that their dream would be to play in an ancient church. Have you ever thought similarly about this as well?

Sid : We have actually been playing live when touring Europe (Austria, Switzerland, Germany, Belgium and The Netherlands) together with Tristania, The Sins of thy Beloved, Siebenbürgen and Trail of Tears in spring 1999, but it wasn't exactly a satisfying experience for us: poor organisation, lack of essential equipment, bad promotion and other unpleasant circumstances made this some kind of "Tour de Force" — 19 gigs within 3 weeks without a day off, surrounded by a horde of permanently drunken Scandinavians wasn't that much fun! Anyway, we tried to make the best out of it and act as professional as possible (quite tricky if you haven't the chance of doing a soundcheck!), so we could at least prove the audience that Antichrisis is also a splendid live-act! Unfortunately Näx couldn't be with us on that tour, as he had to pass his exams at that time, so the tour-band included just me, Dragonfly, Brown Jenkin on Guitar, a mad session drummer and our japanese friend Roland on Keyboards and Sequencer.

Nevertheless I do enjoy live performances, although I'd prefer an old pagan temple to a Christian building for an Antichrisis-gig — as long as there are enough sockets somewhere: Otherwise it'd be a rather "unplugged" experience (which wouldn't mean a serious problem to Antichrisis either, as we're capable of doing an acoustic set as well).

Acoustic and Electric

Question: In which ways have you succeeded in mixing acoustic and electric music?

Sid: When I wrote the songs for "Cantara Anachoreta" and "A Legacy of Love" I usually started with evolving the basic chords on acoustic guitar, but for "Perfume" things were different, because of its emphasis on electronic sounds and grooves. I started with just some basic rhythms and bass lines when working on the "Perfume"-material, which was a modified way of creating and arranging songs.

Personally, I don't see any reason for drawing a parting line between electronic and acoustic instruments: They both have their advantages, and they're both wonderful tools for creating the musical soundscapes of Antichrisis.


Question: Do you think Perfume has met the expectations of your audience? Will Antichrisis ever hit the airwaves of commercial radio station or do you consider yourself as being not "mainstream" enough?

Sid: To be honest, I don't care about our audience or its expectations very much: First of all, my music belongs to me and no one else — if other people like it as well, then this is just a lucky coincidence and not the main reason for my musical output. That's why I don't want to push Antichrisis in any way whatsoever: As a human being, I'm constantly developing, and these developments will cause effects on Antichrisis' music as well.

At the moment our music is published by a record company — maybe one day we don't need record companies any more, but who cares? I got some recording devices at home, and I certainly won't stop writing and recording new stuff anyway, may it get published or not. I'm not in this business for fame or money.

In the end, I'm just a songwriter who simply does what he has to do — although I think Antichrisis does provide a certain commercial appeal as well: Songs like “Goodbye to Jane”, “Our Last Show”, “Wasteland” or “Like the Stars” with proper support could easily enter the charts, as they are both catchy and mainstream-compatible though still maintaining that special Antichrisis-touch.

Music is my Heartbeat

Question: Sid, you were born in 1962: What makes you continue in the fields of music after all these years. Perhaps music is such a large part of yourself and your life that you simply couldn't live without it?

Sid: Yes, music is one of the most essential gists in my life, and it's not a matter of age at all: it only depends on how devoted you are. If it's just a pastime, then you'll lay down your guitar as soon as you've settled down and other things have become more important. But if you're a passionate musician, nothing will stop you from expressing your emotions through melodies, harmonies and rhythms.

Of course my musical taste has changed through all these years: Although I still listen to that old school of '77 Brit-Punk (Those were the days... sigh!), I'm nowadays also listening to classical stuff, Irish Folk, TripHop, Country & Western and Reggae (just to name a few): As long as it is a "good" song, I don't give da damn about its musical style.

Dedicated to Folk Music

Question: Näx, you're using traditional instruments such as uileann pipes and bodhran. Are you dedicated to folk music?

Näx: Yes, I can`t deny that I am dedicated to folk music, especially to the traditional Irish music. Sometimes I think that I'm even addicted to it.

When I got into contact with Antichrisis it became apparent that the sound of the Irish uilleann pipes would perfectly fit into Sid's music, so we started off to experiment with this mixture.

Beside of this musical aspect it is really interesting for me to play traditional instruments and music in a non-traditional context. I would like to make the traditional music and the uilleann pipes become known to people who have no special interest in this stuff. Everybody knows what the Great Highland Pipes sound and look like, only a bunch of people know that there are regional forms of bagpipes like the galician Gaita or Böhmischer and Mährischer Bock in Germany, which may sound a bit crude sometimes. But there is another sound which is well known by films like "Braveheart", "Rob Roy", "Titanic" or musicals like "Riverdance" or "Lord of the Dance", and nobody knows which instrument creates this sound. They only know that non of the average bagpipes sound like this, but also no saxophone, clarinet or oboe. Perhaps a keyboard?

Besides of making music with Antichrisis I want to show people that there is an bagpipe-instrument, which is held in high regard in Ireland and amongst folk fans, but which still can be discovered by the worldwide rockpopmetaltechnopunkgrungegothic-andwossisname-audience.

Musical Development

Question: When did your interest in music start? And how was your musical development?

Sid: My first-time acquaintance with music started with listening to Roy Orbison (him of the sunglasses and the angelic voice) on the good old valve radio (those were the days!), subsequently superseded by Glam-Rock-protuberances like T. Rex, Gary Glitter. Slade, Sweet and The Kursaal Flyers.

But soon after my 14th. birthday, being on holiday somewhere in the outback of Bavaria, some blessed DJ played "God save the Queen" by the later-to-be-awful Sex Pistols (them of the plugged bass-player) on the wireless , and from that very moment I turned into a punk. Blimey, it was just my luck being a punk in a little quaint village that seemed to be bogged down somewhere between the Palaeozoic and the Precambrian era on the evolutionary scale!

As entering upon a punk career meant getting utterly fucked up almost every night, I thought I'd do myself a favour if I went into that Dark Wave/Gothic-business instead, which to everyone's surprise served me pretty well during the next 5 years: The likes of Joy Division, Bauhaus, Killing Joke, Theatre of Hate, Christian Death (them of the good-looking singer!), Throbbing Gristle (them of the grotty singer) or Cindytalk weren't exactly what one would call a boisterous bunch, but after all they made me give up drinking.

A couple of years later I accidentally realized that Irish Folk could be even more melancholic and depressing than any Cure-album, and by getting myself an acoustic guitar, I turned out to be a neo-hippie long before Tracy Chapman or The Walkabouts were invented — and I also found out that buskin' is a hard way of making some extra money.

After one wicked weekend (we're talking about the golden age of every weekend being amazingly wicked) I was feeling kind of sentimental and put on the dead-gorgeous "Pretty Vacant"-single by the later-to-be-unnecessarily-reunited Sex Pistols, but unfortunately the record player (that popular stone-age device for listening to music before CD-players were invented) was on 33 1/3 rpm instead of the much more suitable 45 rpm — and that bungling of mine suddenly turned into pure enlightenment: Punk did sound so much more annoying if played at lower speed! But a few months later I had to find out that some creeps had nicked this brilliant invention of mine and called it "Doom Metal": you just can't trust anybody!

To cut a long story short: Some time in the Nineties I thought it would sound quite nice throwing all my musical preferences in the big boiling cauldron and seasoning the strange dish with a strong dash of pop music — and that's how Antichrisis got on the menu!

Background Influences

Question: In which ways have you succeeded in mixing your obviously various background influences to such a wonderful and unique sound?

Sid: I do listen to a large variety of different musical styles, be it Punk, Folk, Metal, Classical music, Dark Wave, Country & Western, Reggae, TripHop a. s. o. and one can learn a lot just by listening carefully to different styles, hence theres a multitude of influences reflected in Antichrisis, which makes it quite impossible to describe Antichrisis’ sound without ending up with a slightly dumb expression like Celtic- Folk-Doom-Black-Gothic-Britpop-Dark- Wave-Grunge-Ballad- Metal or any other pompous description like that.

Antichrisis can't be described in musical terms except with adjectives like unique, refreshing or thrilling. I mean there are bands that do sound like Joy Division, bands that sound like Massive Attack or bands that sound like The Pogues — but there's only one band being able to come up with a compound of all these and many more musical ingredients while still creating its very own musical vision, and that's Antichrisis!

I don't bloody care about artistic limitations: inspiration comes in any shape it likes, and it'd be a shame trying to restrict it to just one kind of musical expressiveness: if a song comes to me as a folk ballad, I'll translate it exactly that way into music; if it comes to me as a piece of gloomy doom metal, I'll have to let it happen that way! Musical limitation means standstill to an artists creativity.

Take "Forever I Ride" for example, where you'll find at least four different musical patterns within one song: It starts like an up-tempo folk-song introducing a medieval brass band in the bridge, then turns into a stirring metal-refrain, followed by a bewitching atmospheric ballad with fairy-like vocals, when suddenly a ravishing black metal-part with a powerful female lead and wistful Irish bagpipes emerges a.s.o. — there are bands who would make at least 3 complete albums out of the ideas that I've put into just one song!

I do not actually create songs: They come to me like dreams or visions any time they want, they are prodigies of inspiration and that is why I actually cannot plan or propose anything. It's like sitting by a river-bank, watching the petals, leaves, boughs or other things floating by while picking up the most remarkable ones. The songs do seem to create themselves as they go along, both musically and lyrically. All that's left for me to do is giving them a certain shape like a gardener trimming a tree.

About Musicians

Question: When listening to your vocal performances, I can detect a certain passion and also an ability of acting in different characters. It seems that you're identifying yourself with each song. What do you think is the quality of a good singer? And don't you think that many young bands of today's scene do not feel real passion for what they're doing?

Sid: Being a good singer requires the ability to re-live the situation of the song you're singing: song and singer have to melt into one, the song's story has to become part of the vocalist's emotional world. This is only possible if the lyrics do reflect your feelings and experiences — then singing a song can become something similar to playing the leading role in a drama: like every good actor you have to become another character, reveal other facets of the human soul. A good singer is always able to immerse into a world of its own when singing a song.

A musician (just like every proper artist) has to be a visionaire; if not, his art would be nothing more than mere craftsmanship. Many young bands seem to care more about meeting an audience's expectation or copying their idols instead of developing their own musical language — that's not vision, but a frame without a picture. All that matters is musical inspiration, the artist's vision, and not a certain image or crazy outfits.

Gifted Musicians

Question: Were you born as a gifted musician or how did you manage to play so many instruments?

Sid: I wouldn't say I'm gifted as I've never learned to play any instrument properly.

Also I'm not at all a "good" musician if it comes to technical skills: All I know is how to hold a guitar (pointed end in the air, right?) and how to play a few basic chords — that's it.

My so called talent lies in writing and arranging songs so that they sound as if one had to be pretty smart to perform them.

Not a Gothic Metal Band

Question: According to you, what distinguishes you from the average gothic-metal stereotype?

Sid: The mere fact that Antichrisis ain't a gothic metal band! Like a painter uses a multitude of colours to create a landscape, I'm using different musical ingredients to form the soundscape of Antichrisis — and Gothic or Metal are just two shades of a thousand and one musical colours of my palette.

Antichrisis can only be categorized by emotional values, not by any assignments of musical styles.