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Interview
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z #


Samsas Traum



The real world is more exciting than any fairytale



Prologue
Maybe somebody would disagree with me but I'm deeply convinced that the leader and founder of Samsas Traum Alexander Kaschte is one of the most interesting and talented musicians of the 2000's. He is contradictory and sometimes uncomfortable to get along with, often he is unpredictable, but he’s always interesting due to his creativity, his judgments and his desire to get to the problem heart. When someone asks me to recommend something from the extensive Samsas Traum’s discography, normally, I’m lost, since the most Alexander’s albums are completely different, each one has its own best points and the final choice always depends on personal preferences of a listener. Gothic, black, heavy, symphonic, trip-hop (a little bit) - all of this organically gets along together in Samsas Traum’s music not affecting conceptual peculiarity of every single work. That's why in some ways I even envy those who only have to embark on a journey into a strange and sickly charismatic world of Samsas Traum where one can get lost. Alexander Kaschte’s interests of today are connected not only with the music itself. Combining his Samsas Traum’s visions with prose, being inspired by personal reflections as well as the experiences and impressions of childhood and opening possibilities of the photography, Alexander manages to combine all mentioned in his literary and artistic projects. But his humanitarian activities of helping children who live in the Chernobyl Exclusion zone deserve a big respect. It has been a long way for me to get the opportunity of such interview, but the result really worth! Alexander is one of the most convincing and sincere interviewees I’ve ever talked to. I think even those who are really familiar with Samsas Traum music will be able to look at it from a different angle after reading this stuff.
Samsas Traum
Let’s start with your latest album "Poesie: Friedrichs Geschichte". Are you happy with this record, what kind of feedback has this album got in general? Can we say that "Poesie…” completely fulfill your expectations? Or the audience’s reaction was unexpected for you in any way?

“Poesie: Friedrichs Geschichte” was highly acclaimed by the press and our fans, the album got a lot of attention. In the end, it didn’t help us – we never sold as few copies of an album as of “Poesie”. Regarding sales, the album is the worst flop in the history of SAMSAS TRAUM. I’m never happy with my albums and they never meet my expectations – which, I think, is a good trait of character. The concept of the album is very difficult: whereas the music is quite experimental, working on the lyrics was a scientific process demanding utmost neutrality and a lot of historical researches.

And what’s the main concept of this album?

The album tells the story of Friedrich, the story of a boy who grew up in the Nazi era and whose great passion was writing poetry. Regarded by his peer group as maladjusted, and labelled as schizophrenic by doctors, the fate of countless other disabled and mentally ill people befell him. That is to say, his life was ended in the most terrible manner in the Nazi death camp Hadamar, in the name of ‘euthanasia’. Hadamar isn’t far away from my hometown Marburg
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an der Lahn. The initial idea of “Poesie: Friedrichs Geschichte” was to combine Triphop-inspired music with spoken vocals dealing with a topic you’re usually not confronted with in pop-music.

You have a new image almost every album. Music also changes. That reminds me such artists as David Bowie and Peter Gabriel. Is this a search for yourself, the desire for self-improvement and personal integrity? Or is it something else?

Photographs of me mattered a lot to me in the past, but they don’t matter to me anymore. I want the music and the content of my lyrics to be more important than the face of the musician creating the music – an attitude which is currently rare in the music industry, especially in the so called German Gothic scene. I think that the constant changes in my work are just mirroring the constant changes in my life. Besides that, they are an expression of the fact that I’m easily bored. I don’t want to repeat myself, I want to do different things all the time, I want to learn and grow, I’m restless. The process, the challenge of writing an album is more important to me than the album itself. I don’t listen to my music anymore after it’s recorded.

Generally, you release ambitious, «big» albums that remind me the golden era of classic rock and art rock. I immediately think of such works as "The Lamb Lies Down On Broadway" Genesis, "Tales From The
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Topographic Oceans" Yes, "Tarkus" ELP, "Physical Graffiti" Led Zeppelin, Frank Zappa's works. You have something in common with these bands. Not in terms of musical style, of course, but in terms of creativity and self-reliance. How do you like that comparison? Correct me if I'm wrong!


Thanks a lot for this comparison, that’s a nice compliment. Just like it’s the case with many other artists, the reason for my “big” albums can be found in my childhood. Kids being told that they’re stupid, useless and slow constantly want to prove themselves to the world once they’re grown up. They want to show everybody how great and talented they are. It has got nothing to do with being a genius, it’s just the result of a decade of torture – a psychological defect.

All your albums are stylistically diverse. Goths, fans of black metal, general metalheads and people just interested in unusual music listen to your albums. Do you feel the connection with any of the scenes?

No, I feel no connection towards any musical scene. At the moment I’m exploring the fields of intelligent experimental electronic music, I’m generally interested in everything strange, difficult and unusual. I have rediscovered vinyl after buying an old record-player, vinyl brought back my passion for music. I’m currently listening a lot of “old” albums, Italian progressive rock of the 70s, psychedelic music, Shostakov
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ich … Modern society, modern culture, modern music – it bores me, it all sounds the same.

Can you describe the creative process for your albums? First, you have a whole "musical image", the story, or is it start with a concrete melody? So, did you use to move from big to small, or vice versa - from small to big? Do you see the whole picture at once, or it is like a mosaic gradually formed from the individual elements?

For a period of a few months after finishing an album, my head is empty and I feel mentally exhausted. After a while, surprisingly, “impressions” and “visions” of a new album start to rise and I think about what I have to do to achieve that impression inside the heads of my listeners. In terms of food I can say that I don’t see the entire meal, I don’t see the single ingredients, I start to understand how I want everything to taste like. That’s the moment when I start writing new material. My way of working turned out to be more conceptual the older I got, earlier albums were written more spontaneously – but back in the old days the entire process was far more confusing. Anyway, I never just wrote songs, I always had the full body of work in mind.

How often do you rely on your intuition in creative process?

Even though the music of each album is underlying a general concept with strict conceptual borders, the way of writing
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the songs is very intuitive. Changing my musical style on every release is also a way of preventing me from boredom, of staying creative and intuitive. That’s one of the most horrific but also most exciting aspects about music: Anything can happen. The tiniest change of a sound, of a note, of a word can take you to a different direction. You have to live with this feeling of insecurity. If you try to control music, you’ll go crazy.

You’re always full of ideas. How much of them do you manage to fulfill? Do you ever have a situation when you have even more plans and ideas than you can realize?

It’s like that since years – I have more ideas than I can realize, more projects than I can work on and less time and strength than I need. Having a child doesn’t make things easier. I should start selling my ideas, I should give some of them away like Pushkin to secure that they will be used at all.

You said that Samsas Traum is a part of you, your good and your punishment. Samsas Traum’s albums are “diaries, pictures and articles about what is happening to you, written and sketched in the book of your life”. If we assume that one day you will create your perfect work, then you will understand all your problems and contradictions. Reaching absolute integrity and completeness, what will you do next?

One can never reach absolute integrity and comp
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leteness. I didn’t stop writing and thinking about myself but I stopped taking myself too serious. The birth of my daughter, the difficult time I spent in Russia, going to Ukraine – I have witnessed different forms of reality, I’m not the center of my world anymore. There are many things that interest me, there are many topics to write and sing about. The real world – if you’re ready and able to confront it – is more exciting than any fairytale. I wasted a lot of my life with thinking about myself and considering myself as important. My biggest wish now is to travel as much as possible.

In an interview in 2006 you said that you should become a revolutionary! And that it would surely happen but not earlier tan after the eleventh album. What did you mean? Why could it happen exactly after 11’th album? By the way, "Asen'ka und die Worte der Wölfe" was your eleventh album ...

Oh my goodness - throughout my career I spread so much bullshit – sorry for that. In the past I thought that I should become a revolutionary, now I think that I should become a politician. I have been telling everybody since 2001 that SAMSAS TRAUM will release only eleven albums; I honestly can’t remember what I meant with proclaiming this, maybe I thought that after the 11th album something magical would happen, maybe I thought that after eleven albums I’d be a gothic-superstar. What do we learn from this? Don’t
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waste your time with reading what young men say in their interviews! “Poesie: Friedrichs Geschichte” was my 11th album, this is a list of all my studio-albums:

1999: Die Liebe Gottes - Eine märchenhafte Black Metal Operette
2000: Oh Luna Mein
2001: Utopia
2003: Tineoidea oder: Die Folgen einer Nacht - Eine Gothic-Oper in Blut-Moll
2004: a.Ura und das Schnecken.Haus
2007: Heiliges Herz - Das Schwert Deiner Sonne
2007: Wenn schwarzer Regen
2009: 13 Jahre lang dagegen - Anti bis zum Tod
2011: Anleitung zum Totsein
2012: Asen'ka - ein Märchen für Kinder und solche, die es werden wollen
2015: Poesie: Friedrichs Geschichte

Is Black Metal still important for you?

In 2006/07 I still felt a strong connection towards the black metal-scene, but my interest in this genre disappeared after listening to almost every existing black metal-album. My collection was HUGE. Unfortunately, there’s nothing new to discover as soon as a band is using guitars.

Each of us has its own weaknesses and shortcomings. Surely you know your own weak points... The question is: what do you prefer to do with that: do you try not to think about it or do you try to fight it… maybe you hate your weakness or feel sorry for yourself?

I definitely try to fight them and to improv
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e, but it’s quite daunting to see myself fail every day. One of my weakest spots is that I can’t stop feeling disgust for other human beings. I regard humans as disruption.

Are you a vain man? Sometimes it's hard to deal with you …

No, I think that “ruthless” describes me a lot better!

There are many images in your art that are associated with childhood. Why? Maybe you have some childhood memories which are important for you so far? Is there something that you always want to get back? Or vice versa, maybe you have something (in your childhood) that you want to forget forever, but you cannot?

The family I’m coming from was no happy family, me and my sisters were suffering a lot under the conflicts between my mother and my father. I think that I was traumatized in my childhood on various occasions and I believe that there are certain things that happened to me which I can’t remember. My brain locked them in the darkest corners of my mind. I try to encircle those traumas with the help of my music and my books and I hope to find the painful spots of my past. I got extremely close to them with the help of “Das Buch der toten Kinder”, but the human psyche is a difficult thing to deal with. I’ll get professional help as soon as I’m ready, I’m even thinking about hypnosis.

Long ago Samsas Traum became some
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thing much more than just music... But maybe it's you who become something much more than just a leader and musician of Samsas Traum. Nowadays your work is rather a multifaceted cultural project that includes music, books and humanitarian activities. From which point did you realize that it all turned into something more than just a conceptual band? When did you feel that you’re stressed by limits of being just a music project?


I understand what you’re talking about but this development didn’t happen purposely, it happened step by step. Reading Alexijewitschs books resulted in “Das Buch der toten Kinder” which resulted in me flying to Ukraine and connecting to photography on Maidan. I would love to focus more on photography, but it’s even harder to feed your family with pictures than with music and merchandise. But what you state is true: I was, after the release of “Asen’ka”, extremely bored with music and pissed off by the German Gothic scene – it was, once upon a time, a scene of beauty, intelligence, disobedience and avantgardistic projects. Now it’s just a bunch of fat and ugly orks with bad breath who listen to cheap techno music. Exploring the fields of photography helped me to continue expressing myself without music for a while.

By the way, tell me about your literary activity. In particular, about your latest two books: “Kranke Geschichten” and "Weisser als das Wasser".

“Kranke Geschichten” isn’t a book of mine, it’s an anthology containing short-stories of different authors. I’m featured in that book with a story called “No fucking, please”, dealing with a couple in desperate search for a quiet place where they can make love. “Weißer als das Wasser” is a perverted and rude interpretation of the Brothers Grimm’s “Hänsel und Gretel” – Hänsel is mongoloid, Gretel is deaf-mute and they’re fighting against neo-Nazis in eastern Germany.

That’s were all my questions within this interview. Thank you for your answers. Maybe you have something to add? Maybe we missed something?
“All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart.”
- Andrei Tarkovsky

Interview by Alias
5 ÿíâ 2017
the End


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