Knochenschiff #1 

You entered the charts with “Into The Fire” on rank 18, you filled the venues with your tour in spring and again in fall. Would you say you reached the aim of the disc, to transform the flame into a big fire?

I think it's a long way until the fire really blazes away. The flames blaze higher, they also blaze lower again, because we also check out new towns. The statement of “Into The Fire” is not about reaching the aim now, but rather pursuing our own way. I belong to the people which say: “The aim is the aim.” We aren't there so far and hopefully we will never be, because then I think it will get boring.

You have many cover-versions and remixes on your bonus-CD for “Into the Fire”. How does a remix develops and what's the zest thereon?

I think that's different for every remix and every song and every artist. It's due to how these versions emerge. For example the remix I made for “Für Immer”. We were in Bremen with Subway to Sally at the Eisheilige Nacht. Suddenly the question: “Oh damn, we still need a remix.” came up. I occasionally heard this and said I'd love to do it. Thereat Simon offered me to choose a song. He allowed me to listen into the new album, before it was released. “Für Immer” got immediately caught in my mind. For me the pleasure regarding this remix was that the original song was already very well developed. It's very progressive and musically very sophisticated. I realized I couldn't make something even bigger, more symphonic and complex. So I wanted to simplify it to something danceable. Something which belongs more into the Rammstein-riff-corner. For me the fascination was, to reduce the song to its basic elements.

How was it regarding the remix Subway to Sally made for you for “See you soon”?

You have to ask the guys themselves. But I can imagine that it was very interesting to make a progressive rocking version out of it. In the end, they only left the vocals of “See you soon” and built a completely new song round it. We were totally impressed when we listened to it. Therefore it's in the first place on our bonus-CD for “Into The Fire”. Thus: Very impressing, kudos!

We directly ask Simon Michael, the drummer of Subway to Sally: How has the remix for “See you soon” emerged and why for this song?

Simon Michael: Lord of the Lost contributed one song to our jubilee-sampler. That's why Chris came to me with the idea I should make a remix for them. I asked Chris which song he would suggest and he said “See you soon”. That's how easy the choice of the song was. I think it was very short dated. I had exactly one day for it, because there was also business in my studio. So I kept the vocals of the track and built the rest newly round it. Including recording the instruments, I was finished in the evening.

Which versions from the bonus-CD are your favorite ones, except the one from Subway to Sally?

I love the weird version of “Blood for Blood” from Coppelius, because it's very brave to make such a song completely different. Another favorite is the Rabia Sorda remix. It reminds me of a Jump'n'Run game.

Do you want to make more songs like “La Bomba”?

Not suchlike ones. You can do this just once. It's not funny if we again mix a Latin-samba thing with metal for our next album. It should stay something unique. It would also devalue the song “La Bomba”. But we are for sure a band which always is surprising, because we musically like to play with borderlines. We also think experimenting is too awesome to cease it. We are known for not knowing what will come from us and that every album is always again a surprise. This will surely go on.

How much time do you need approximately until your make-up is alright?

It doesn't need a lot of time. We still give us a lot of time – on purpose. It's like a ritual to get in the right mood for a show. We schedule about an hour for getting dressed and applying make-up. But when we're in a hurry, it also works in ten minutes.

What do you think, how many kilogram make-up have you already used?

It's hard to say. I think we looped about 10kg make-up through a few hundred concerts. (laughs)

330,000 clicks for “La Bomba”, 54,000 clicks for “Six Feet Underground” and 133,000 clicks for “Afterlife”. How does this feel for you? (As from October 03^rd, 2014)

The clicks for “Afterlife” and “Six Feet Underground” are in the normal, expected parameter. “La Bomba” has completely gone through the roof after an half year. In one year, it will probably have one million clicks. That's weird, a big compliment. [*835,500 clicks as from February 02^nd, 2016]

It also shows for “La Bomba” that the song is enjoyed way beyond the scene or at least makes curious. For sure not everyone who sees it likes it. But the song still goes the circuit very heavily. Amazing how many clicks this are every day worldwide. That's nice. It was also a bit the intention of the song: to international snub people and examine, if they get to like it or not. That's always fun.

How was it during the filming of the song “Six Feet Underground”?

It had some of the magic, which can be seen in the video. We had to dig the grave and bury our instruments for real the evening before. We really unearthed them in the video. We let ourselves in with the feeling and message of the song in the video. This finding back to the original, unfading, immortal love for the music. It was an amazing moment to smash the coffin lid. To take out the instruments. We had to repeat it very often, because of the camera angle. It's less magic during the shooting than it is later in the video. But it was a video where these magic moments were present. Also during our solo scenes, when we were sitting in the sunset. It was very atmospheric. We were two, three days at this old farm. We could have made it all in one day. But we made it with a lot of time on purpose, to enjoy it and also to feel the video.

How important is authenticity in your videos for you?

We always like when everything is real. Like videos like “Die Tomorrow”, where we were falling out of planes and boxing. “Beyond Beautiful” was real sex in front of a camera. We like when it burns and feels real.

179 episodes TV of the Lost. Curse or blessing?

It's both. It's a curse, because we have to film and cut every day. No matter if we feel good or bad. We will go ahead with it as long as we can. But it's a blessing for the fans that they have the possibility to see what we are doing. Afterwards, no matter how stressful it is, it's also a blessing for us. It's like a photo album for us. During so many concerts you forget so much what has happened. That's a possibility to watch this again and wallow in memories.

When do you have to time to cut all the recordings and whose task is this?

In the beginning I've cut a lot of TV of the Lost by myself. Also our former guitarist Sebsta did a lot. Some day I said “I run out of steam, it's getting too much!” Then we shared it more or less. There was a lack of time. To arrange a TV of the Lost episode of about ten minutes, it needs two to three hours for cutting. On tour, when you have to make ten videos, it's about twenty, thirty hours of work. So I taught the band some film editing.

Since then this task rotates between the other four band members and partially also the crew. Everyone does it differently, everyone chooses for himself. We can recognize who cut the episode, because everyone has its own style. When everyone's term is only after every fourth concert, or even less, if the crew is cutting, then you're also again up for it. Hence it stays fresh.

Since some time you're interviewing other musicians for TV of the Lost. Do you gain experience out of this?

This experience is in fact existent, because it's very interesting and revealing, because we don't prepare for these interviews. Not like the interview which you're conducting right now. At which you came up with questions, which you traipse round and I answer, but it's rather a conversation which evolves. One is asking a question and during the conversation it results in another question from the other one. That's a completely dynamic interview. I actually pose questions which interest me in my colleagues. Thereby I could get to know a lot about my colleagues. I'm looking forward to, as we are with Subway to Sally now, doing this with them too. I already mentioned it by Eric and Bodenski. There will be, when we will meet again someday, two Eye to Eye interviews.

How did you came up with the idea of the Fandy [Fan-phone]?

I don't remember exactly. It was just there someday. According to the motto: We make TV of the Lost, we make Meet&Greets, we already tried everything. But why not phoning? Suddenly it came up and we belong to the kind of band which tries to implement every idea, no matter how crazy it may sound. At least tries. Many things also work.

What have you experienced through the conversations via your Fandy?

Partly there are really great conversations. Where very interested fans are calling, asking questions and being happy. You just have to imagine how it must be to be able to call your favorite band. I would have been very happy, when I was young. I would have thought it's amazing. It was also a bit the idea behind it. Sure, there are also strange people involved. There are psychopaths everywhere on this planet. They are also among our fans as well as among our colleagues. There are happening some strange things which are more like stalking. You can just hang up then. Sometimes there are also immediately explicit offers for phone sex. That's a bit complicated when you're sitting in the bus with twelve persons. But nice try – everyone how he wants. Everything can, nothing must. It's a nice experience, we will intersperse the Fandy now and then.

You had an interview with 'BILD' [German yellow press] and were celebrated as the new sex-god of the gothic-scene.

No. The heading was “Are you the new sex-god of the gothic-scene?” But the question wasn't posed in the interview, therefore also not answered.

So the BILD celebrated you very one-sided?

That's the BILD, it's normal. If we gave an interview for a car magazine, it would be about cars. If we gave an interview for Penthouse, what we did, it would be mainly about sex. When we have an interview with BILD, there are surely questions which are coming from BILD. Some thought it was crap. There were shouts like: “Oh, you're selling yourselves! You're jumping trough hoops for BILD.” No, I think that's totally different. When I'm asked questions, the answers are still mine. No matter if BILD or not. BILD presented our album and we didn't have to change our songs for it. I rather have to say: “Respect to BILD that they have the courage to choose a content like us.” Usually it's always about boulevard. It makes me proud that we were presented like we are in the BILD, without jumping through hoops.

Were you satisfied with the interview?

Sure, because what I said is written in it. Thus it's okay, that's press freedom. Everyone can pose question how he wants to and I give my answers. There is nothing to whine about.

You're a band which sells a lot because of “Sex Sells.” How is it for you, do you think, during concerts, about the fact, that there are fans which are coming more because of your look and not the music?

I don't think about it during a concert. We always do this “Sex Sells” with a wink. Who's dealing a bit with Lord of the Lost will notice that we laugh at bit at ourselves and our behavior. We're not the Chippendales or something like this. We think it's funny. We like to play with this rockstar-being without actually being rockstars. We're just five normal guys. If people are coming just to see sweaty, naked upper bodies, it's totally okay. We can't tell someone how he likes to be entertained. For example movies: One is watching it because of the story. Another one because of the explosions. The next one because boobies can be seen and the next one because of the soundtrack. It's the same for a band: Some like our music, some like how we look, some like our backliner. Doesn't matter. Everyone should enjoy the concert how he wants. If it's because of our look, okay, then we'll use the next years until we're old and fat and then, someday, it will be about the music only.

You can't change anything regarding your look without your fans commenting on it. Do you appreciate the attention or is it bothersome?

I appreciate the attention when I'm on stage, because it belongs there. Apart from that, I don't like the attention. I'm pretty reticent and quite during signing sessions. I'm not someone who's running outside, in front of the venue, bathing in fans. The attention regarding hair color and beards is okay. It belongs to it. I think it's frightening upon the moment when I receive e-mails with the content: “Hey Chris, I can't listen to your music anymore, because you have a beard.” Or: “I don't like you anymore, because you have black hair now.” That's an inexplicable approach for me. But here we are again at the freedom of the fans to be entertained by whatever he or she likes. My voice doesn't sound differently, just because I have a beard. Whoever it bothers, oh fuck off, don't listen to us. There are enough vocalists, which don't have a beard. They should listen to their music.

Your Facebook account has been blocked, because your real name is not Chris Harms. How did you manage that you still can operate with your stage name?

I was heading to the Facebook center, with all documents, the evidence that Chris Harms and I are the same person: record deal, contract of publication, GEMA-member voucher, booking agency contract, etc. There I was turned away with the documents in my hands and sent the copies of same via mail to Facebook. And then, suddenly I was allowed to be myself again.

How have you experienced the time without Facebook?

It was amazing. If it was up to me, I wouldn't to this crap, I don't need social media platforms. But LOTL needs them, so I go along with it. It's a part of my job and I take my job very seriously.

From where do you know Subway to Sally?

In the past, I listened to them a lot on CD. But I'm not so much a folklore-fan with bagpipes and so on. Means it was always a band which interested me desultorily. Then we meet face-to-face. I think at M'era Luna two years ago. I got to know Bodenski and the tall Simon. Then the offer, which honored me a lot, to join the Eisheilige Nächte came. They wished for it. As a result I concentrated more on the band. Then the new album “Mitgift” was released and it was THE album of the year for me. It's one of the most magnificent albums and perfectly matches my taste musically. It's also one of my ten favorite albums.

How was it with you and Subway and Sally on tour? Did you get to know the Sallys better?

We only on tour really approached and made friends. I especially found a soul mate in Bodenski. He's a man I respect highly and like very much. The small Simon talks in the same language as I am, regarding production and songwriting. Eric is someone with whom I can sit down for hours, talking, drinking. Frau Schmitt – to fall in love, very sweet. It's wonderful to got to know the guys.

You recorded the album Meilenstein with Harms&Kapelle. How will it evolve? Will there be live shows?

I don't know so far. It's a side-project, Lord of the Lost always takes priority. If there is the time somehow, there will be shows with Harms&Kapelle. Maybe also a second album.

How does the music from Harms&Kapelle differ from the one from Lord of the Lost?

Lord of the Lost is loud and rocking and dark and wild. Partly melancholic. Always very viscous for my feeling regarding melancholic songs. Harms&Kapelle is something very different. It's more folk, country, rock'n'roll based. German-speaking. It's emotionally in a completely different cosmos for me. It's a wonderful balance. I can't bring it down to a common denominator, except I'm vocalist for both bands. But it's emotionally a completely different topic for me.

What's different to write songs in German?

The own language inspires to different topics and different expressions. I also had the possibility to tell things in German, which I already told in other songs in English. In the end, Harms&Kapelle songs are not that far away from Lord of the Lost songs, if you translated the songs. You phrase it differently in German. The difficulty with the German language is for me that you always drift off to trash. In English it's good with “Baby” here and “Baby” there. It's very difficult in German. Not to end in corny children's poems, that's difficult for me. The master of his subject, Bodenski, is very inspiring for me. He can master it very good. To analyze Subway to Sally's texts was for me a very nice approach to deal with the German language. It showed me a bit how to find the right way.

In spring you will have your big acoustic-tour with classical musicians. What can your fans expect from the “A Night To Remember-tour” and how will it go on with Lord of the Lost?

The fans can expect an eleven-piece band: we and six musicians. A small chamber orchestra will be involved. It will be very calm. Very classic. It's not only an acoustic-tour, but an acoustic-classic-tour. It's not “western-sound unplugged concert”, but it will be musically very sophisticated.

The people will be sitting. It will be Lord of the Lost from a totally new side. Next year will be a year of contrast shower for us: Hot – cold. In summer, an EP will be released, which will be the contrast of the tour. The hardest and fasted thing we ever made. Next year will be a challenge for our fans.

Will the acoustic-songs also be on an album?

Yes, there will be an album with 13 old songs in new versions. As well as at least six new songs, maybe some more. The songs were written only for this album. The album will be called “Swan Songs” because, as you know, the swan sings its most beautiful song right before he dies. I thought it was a nice picture.

I hope you won't die after this album?

I hope so too. We will see.

At the end, do you have an advice to success for young musicians?

Practicing.

And if this is not enough?

Well, it's always a mix between right song at the right time at the right place. And you should never leave the factor luck out. But mainly: practicing.

Is there anything you want to tell the fans of Subway to Sally?

I want to thank everyone who visited the Eisheilige Nacht and thought we were great. This tour helped us as a band. We meet many interesting, alertly people. We haven't expected it, because Subway to Sally are musically very different from us. After the tour together, we could go home successfully. It makes us proud and also honors the Subway to Sally fans for their musical openness.

Author: Silke Hellwig

Translation: Nico Scissorhands