"The 'Long Player' album showcases a considerable level of self-absorption"
After six years, "Long Player", the eleventh album from the Fantastic Four's Michi Beck, Smudo, Thomas D, and Andy Ypsilon, is now available at record stores. In 16 tracks, they take their listeners on a musical journey through their 35-year history of hip hop, pop, and soul, sharing insights into their current lives and peering into the future. They previewsed this live at an RTL+ Session, which can now be streamed.
In an interview with ntv.de, Michi Beck discusses the self-centered approach of the new album, age and the new themes it brings, and the life of a "middle-aged white man" with two daughters.
ntv.de: Since its release on Friday, your album and its reviews and comments have become available. Do you still read these reviews or have you stopped doing so?
Michi Beck: I've read about 15 reviews, 14 of which were positive and only one was negative. And that negative review is the one that stands out. All the positive ones somehow fail to impress, while the negative one lingers in your mind.
I can guess which review you're referring to. It seemed almost personal and critical...
Yes, it did. (laughs) I found some solace in the fact that we at least scored 4 out of 10 points, while Coldplay only managed to score 1. So, we're still better than Coldplay, I told myself. Maybe he wasn't the right audience for our music. If someone with different tastes pans our album, it could be a small guarantee of success. I adopted that perspective. (laughs)
Another journalist wrote that the new Coldplay album is "the best music for people who don't care about music".
True. That makes sense. Coldplay isn't offensive to anyone. I tried to listen to their new album completely when it was released. I was on the treadmill at the gym and managed to listen to the first two songs. But then it became dull and I switched back to our album. It's different when you listen to it publicly, even though it's the same. It feels strange, yet familiar, when you stream it with a public perspective.
It's been six years since "Captain Fantastic". Apart from the Corona pandemic, there must be more reasons for the extended break, right? Because even without the pandemic, it's been around four years.
Yes, you're right. Many people consider the pandemic the ideal time to create music. You could lock yourself away and not be disturbed. But it was the opposite for us! It was horrific. I know a few producers who used it, but for us, it was a no-go. We had planned our "30th anniversary" stadium tour, and we could not produce an album during the tour. We cannot work in lockdown or on tour.
So, you started before the pandemic, and then the pandemic happened?
There were a few drafts and ideas from the last album. During the lockdown, I actually wrote two songs. I was in our holiday home in Spain, where you weren't even allowed to leave. One of the songs is about fear and became "Farewell". Also, "Weekendfeeling" and "44,000" were created during that time. So, it wasn't entirely unproductive, but it was far from ideal.
In the end, there are 16 songs. In one review, I believe it was the one already mentioned, it stated that the album is too long. How ungrateful is that?
Very ungrateful.
I found that endearing because it's always nice when someone listens to the entire album. We designed it to feel like a journey: starting with the hits, then a pause, and ending in a more psychedelic direction. This critic seemed to have listened to the whole thing but might have been bored. Interestingly, they gave the second half of the album a higher rating. I thought, maybe they didn't find it as bad as they wrote. That's exactly what we wanted - an album that can be listened to from start to finish. And it's not even that long, only about 48 minutes. In the past, we had albums with 12 or 13 tracks that were over an hour long. We just made the songs shorter. These days, there are usually only two verses instead of three.
People simply don't have the time anymore...
... especially when it comes to listening to music. Everything needs to happen instantly, and many songs start with the chorus to keep the listeners' attention. This streaming listening is different. It's nice when someone listens to the entire album, but it's not mandatory. You don't have to listen to it, it's just an option we offer.
Speaking of time: A major theme on your album is transience. You're now in your mid-50s. Do you think about what comes next more often?
You're dead on, that's exactly what we're delving into with the album. It's transformed into a deeply introspective piece that interacts with life. Some might even see it as a kind of retirement plan. It's all because the rearview mirror view is now longer than the foreseeable future, which is a peculiar feeling. Plus, there's the quandary of producing music as a rapper in today's world and what to pen about, especially in a world so heavily molded by crises and conflicts.
Yet, you avoid them...
We could've crafted anti-war anthems or political rhetoric, but that would've felt like an obligation. We didn't wish to feel compelled to do so just because the world seems so dire right now. That would've paralyzed us further, as it's often hard for us to compose lyrics in the first place. So, we simply jotted down our thoughts, and the outcome is an album that covers themes of time, transition, memories, relationships, and personal experiences. It's a very self-centered album - but that's fitting, because rap naturally leans towards the self-centered. It's just with a slightly altered, perhaps anti-pose posture than what's expected in today's rap world.
Fortunately, your fans can connect with the lyrics because they're in the same life stage. And the younger generation can prepare for what's to come.
I'm not sure if that'll resonate with the kids. It's just that, at our age, we perceive these topics differently than at 13. For the younger generation, what we're discussing might not be very tangible, they might ask, "What are they talking about?" But that could also spark their curiosity. What matters most is sincerity. It must feel genuine, not forced, and it shouldn't turn into clichés. That's what matters - that the "authenticity" shines through.
Then, you chose the title track for the movie "Alter weißer Mann" by Simon Verhoeven and featuring Jan Josef Liefers. How did that happen?
That's an excellent inquiry.
It came about because they approached us to request music for the film. I believe their selection of us, in part, was due to our status as four "old white men," which fits the narrative. They then received our entire album and selected the track "Weekendfeeling." Simon Verhoeven, the director, came by and excitedly explained how well the song suited the film. All I've seen thus far are the trailers. The amusing aspect is that the song originally sprung up during the pandemic. At the time, it was simply about being able to meet people again, attend parties, and venture out. Those were still pandemic-like lines, but in this film context, the song suddenly takes on a completely new meaning.
In "Fliegen" you mention your two daughters. Do they prevent you from becoming a stereotypical "old white man" and help you stay connected with the times and remain open-minded?
You've walked straight into the coolness police - my daughters are actually a good safeguard against turning into a rigid geriatric who tries to be cool. I'm not overly concerned about that. In our household, I am subject to certain constraints that are undoubtedly beneficial.
Do your two daughters listen to the new songs?
They exhibit a healthy indifference towards the new album. In the past, our music was played more frequently at their place, but not anymore. They listen to it once and then that's it. They have their own musical preferences.
You paved the way for what is now commonly referred to as German rap. Do you pay attention to what's happening within that genre?
For a while, I found Luciano quite intriguing because he was able to make that leap into internationality with his style of rapping and pounding beats. I thought to myself: "Perhaps I should try something similar." But I soon realized that it would feel completely wrong. It would've been nothing more than copying. That's how we started 35 years ago, mimicking American hip-hop until we discovered our own sound. Since then, we've been charting our own course, largely detached from the hip-hop scene, but rather seen as an alternative or pop-rap act.
So there's no deliberate or subconscious influence from that direction?
Perhaps it influenced us a little with those double-time rap beats and the trap number that became popular in the past six to eight years. But now we realize that others can execute that better than us. It would be insincere for us to attempt it now. That's why the new album has become more old-school. We told ourselves: We don't have to fulfill any musical or lyrical expectations. We don't have to rap about war or injustice, even if these topics resonate with us on a personal level. We simply do what comes naturally to us - musically and lyrically. That's how the album evolved into what it is.
You collaborated with the Berlin psychedelic rock band Kadavar on three songs for the album. How did that collaboration come about?
Our introductory photographer brought us together. We then connected with Kadavar due to our fondness for psychedelic music, whether electronic or rock, which dates back to our third album "Die Vierte Dimension." This genre resonates with us too. Consequently, we engaged in some jam sessions together and frequented their Neukölln studio twice initially. The initial layouts were developed there, but they were put on hold for around two to three years. Initially, we contemplated crafting a full-fledged concept album with Kadavar, as we were thoroughly impressed by them. We were eager to put on an electrifying performance.
Man, that sounds ambitious!
Indeed, we realized that it was an ambitious undertaking - one that might've exceeded both our and their capabilities. The concept might have lost its charm over time. Regrettably, we never accomplished a concept album, despite making numerous attempts. There are just too many diverse influences that an album requires, and Kadavar alone couldn't accommodate all of them. Therefore, the album now essentially has a "Kadavar touch" to it. If you examine the vinyls, you'll notice that the last side is almost entirely Kadavar's work.
So, how does it feel to be back on tour after such a long hiatus?
Performing a new setlist is the highlight! It's been an awfully long five years. It was always enjoyable, but after so much time - and our last album is already six years old - we crave something new. We're excited about it: a new stage presentation, a new concept, a new album. Over time, a level of monotony sets in with the setlist when you don't have new material. But now, reassembling everything and refreshing the old songs, it's genuinely enjoyable. We have numerous hits, so we need to concoct some fresh medleys to accommodate them all.
Michi Beck spoke with Nicole Ankelmann
The album "Long Player" is now available.
In an attempt to step outside their comfort zone, Michi Beck and the Fantastic Four collaborated with the Berlin psychedelic rock band Kadavar on three tracks for their new album. Despite initially considering a full-concept album with Kadavar, they eventually decided to incorporate a "Kadavar touch" into the final product.
During the album release promotion, Michi Beck acknowledged the mixed reviews, particularly one that stood out in his mind due to its harsh critique. He admired the resilience of the negative review, comparing it favorably to a 1-out-of-10 rating given to Coldplay's latest release.
