Going. | White Wine [DE] - Klub RE

White Wine rozpoczęło się jako solowy projekt Joe’a Heage (31knots, Tu Fawning, Menomena, Dodos). Było to miejsce, gdzie kończyły idee które nie mieściły się w działalności jego pozostałych zespołów. Po napisaniu i nagraniu 2 albumów („Chromakey” dla Polyvinyl Records i „In Every Way But 1” dla Discolexique Records) Joe postanowił odwiedzić przyjaciół w ramach pierwszej trasy koncertowej zespołu. Nieprzyzwyczajony podróżować z laptopem jako jedynym członkiem zespołu, poprosił swojego przyjaciela Fritza Brücknera, który był nagłośnieniowcem na trasach Tu Fawning i Menomena, by dołączył do zespołu na trasie. Bez komputera ułożyli swój występ tak, że każdy z nich grał w jego ramach na syntezatorach, gitarach, perkusji, basie, samplach… i to wszystko często w ramach jednej piosenki. Trasa wypadła świetnie!

Wkrótce potem Joe dostał propozycję zamieszkania w tanim mieszkaniu, drzwi w drzwi z Fritz’em, na rozdrożu które najlepiej wytłumaczą Wam jego słowa: „I was in my mid 30’s, my entire adult life focussed on music/acting/art. No kids, no girlfriend. I was living in LA, the crown Jewel of American excess, success, failure and synthetic life. How could I not jump at the chance to put the romance of Europe into a more realistic view while creating more music?”

Dwa i pół roku później zbudowali swoje własne studio nagraniowe (Haunted Haus Studios), skończyli nowy album „Who Cares What The Laser Says?” (This Charming Man Records, Luty 2016) i zaprosili do zespołu kolejnego członka Chistiana „Kirmesa” Kuhr’a (Zentral Heizung Des Todes). Zostając klasycznym trzyosobowym składem, robią wszystko poza graniem w konwencjonalny sposób. Brückner wreszcie pozwolił sobie wrócić do swojego klasycznie wyuczonego fagotu, Haege rozwija teatralne sztuczki sceniczne, i ciągle rozwija się wpływ Mr. Kuhr’a z jego potężną grą na perkusji i wirtuozerią gitarową. W tym momencie White Wine jeździ z materiałem z nowej płyty "Killer Brilliance" i próbuje pokazać swoim występem wszystko to co ludzkie w muzyce: szaleństwo, smutek, dziwaczność i niekończące się komplikacje. Więcej o "Killer Brilliance" znajdziecie w notce po angielsku, poniżej.


Neal Cassady to mieszanka wybuchowa. Psychodeliczne gitarowe granie łączą z euforyczną punkową energią. Silny narkotyk, mocny na płycie, mocniejszy na żywo. Kończą przygotowania drugiej płyty, nagranej “na setkę” w szczawnickiej chacie i krakowskim studiu Taktik. Zespół ma za sobą kilkadziesiąt koncertów w całej Polsce. Brał udział w kilku festiwalach muzycznych, m.in Jarocin Festiwal, Soundrive 2016
(w klubie B90), Green Zoo i GrassRoots. W 2017 roku zagrał koncert w warszawskiej Zachęcie.




“There's so much complexity in life and human emotion that I have a hard time feeling convinced a song is always either happy, sad, melancholic, angry or scared. I look at these emotions like elements that are constantly colliding with each other, so it's my duty as a songwriter to reflect that. I want to fall in and out of the cracks of genres, finding the nerves not yet hit. It's usually in the disturbing part of the spectrum…”

So says Joe Haege, who’s earned a reputation for unsettling sounds with 31 Knots and Tu Fawning, and who’s also performed as a member of Menomena and The Dodos. Haege formed WHITE WINE (also known early on as Vin Blanc) as a solo project, but it developed into an informal duo following the release of second album, 2013’s In Every Way But One, after Haege invited Menomena / Tu Fawning soundman Fritz Brückner to join him on a European tour. When an apartment fell vacant next to Brückner’s home in Leipzig, Haege deserted Los Angeles, and, newly settled in Eastern Germany, added Chistian "Kirmes" Kuhr (of local heroes Zentral Heizung Des Todes) to the coven while helping to build what would become WHITE WINE’s default home, Haunted Haus. “Having our own fully functioning studio,” he points out, “is just an incredible tool to have at our disposal.”

This new line-up finds Haege delivering the most realised, intense and, at times, horrifying music of his career. The product of 18 months spent touring together, Killer Brilliance emerged, he says, from the trio’s need “to get something dark and sinister out of our systems”, and this is reflected, too, in the album’s title. “We're all killers in some way or another,” he continues. “Some kill hope. Some kill honesty. Some kill fear. Some kill greed. Some kill out of greed. All kill, in some ways, for our sheer survival. However, the underlying fact is that so many ways of killing are simply amazing in their complexity. When you really dig into the details, one can see how there is no escaping a little bit of blood on everybody's hands.”

This sordid realisation is mirrored in Killer Brilliance’s creepy, sometimes even distressing songs. Brückner’s effects-heavy bassoon gives the record a macabre depth, while Kühr’s aggressive drumming and percussion, firmly upfront in the mix, drive songs relentlessly to their ultimate demise. Haege, moreover, displays the urgent, menacing air of a preacher man delivering sermons about an imminent apocalypse. Punctuated by contrastingly feminine, spoken word vignettes that add to the uneasy cinematic mood – one that draws upon dystopic visions to '60's style Film Noir – Killer Brilliance piles in with the rabid ‘Broken Letter Hour’ and the desperately tense ‘Hurry Home’ (which opens notably with the line “Feeding on the flesh of the young and indifferent”) before the extraordinary title track, with its sinister chorus, pops eardrums and eyeballs. There’s also the Birthday Party malevolence of ‘Falling From The Same Place’, the growing threat of ‘Abundance’ – which addresses notions of prosperity and its price – the baroque, carnivalesque ‘I’d Run’ (“Release the devil!”) and the deceptive calm of ‘Bird In Hand’, which begins with Haege’s description of how “The streets were just crawling with people just dying to breathe…” and concludes with the ugly truth that “When one of us wins, some of us must lose”.

Musically, WHITE WINE feed upon an extraordinarily diverse range of ingredients, including PJ Harvey, Liars, Beak, Suicide, Minute Men, David Bowie, Chuck D and Diamonda Galas. “I like to make music that is played when a cafe is closed,” Haege cackles, “and not when it's open.” Lyrically, meanwhile, Killer Brilliance exhibits Haege’s self-confessed “weird affinity for double entendres. It fits my thinking when attempting to cover the ground of a subject. In a world of art and media overload, and the unyielding barrage of advertising, it’s not easy to find any territory not already well-trodden. Many musicians seek to create music of a fantastic escapism, poetically reframing the harsh reality we’re all forced to swallow every day. It's an unbelievable skill that I wish I had. However, I'm not one of these. For some weird reason, I have this need to hold onto the sheer madness of existence, all of the suffering and celebrating happening at the same time.”

Timely and unflinching, this is, by name and by nature, Killer Brilliance. Here’s to your health. You’ll need WHITE WINE.


White Wine began as a solo project of Joe Haege (31knots, Tu Fawning, Menomena, Dodos). It was simply a place for his ideas that didn’t fit his other bands. After writing and recording 2 albums („Chromakey” on Polyvinyl Records and „In Every Way But 1” on Discolexique records) he made a plan to tour Europe as a way to visit friends. Not one for having a laptop as his bandmate, he asked his good friend, Fritz Brückner, who was the sound man for Tu Fawning and Menomena, to be his band for the tour. Without a computer they managed to put together a set that had each of them playing synths, guitars, drums, bass, samples…and sometimes all in 1 song. The tour went incredibly well by all accounts.

Presented with the offer of a cheap apartment right next door to Fritz’s, Joe found himself, only a few months later, at a crossroads that his words will explain best: „I was in my mid 30’s, my entire adult life focussed on music/acting/art. No kids, no girlfriend. I was living in LA, the crown Jewel of American excess, success, failure and synthetic life. How could I not jump at the chance to put the romance of Europe into a more realistic view while creating more music?”

Now a year and a half later they have built their own recording studio (Haunted Haus Studios) completed a new album, „Who Cares What The Laser Says?” (This Charming Man Records, Feb. 2016) and gained another member, Chistian „Kirmes” Kuhr (Zentral Heizung Des Todes). Having now reverted to a conventional 3 piece lineup, they are doing anything but playing it safe. Brückner has finally integrated his skills as a classically trained bassoon player into the band, while Haege is once again putting his penchant for cheap theater antics to work with the new stage show, and the endless supply of ability and talent in Mr. Kuhr has only begun to show itself in with intense drumming and guitar playing. For the immediate future White Wine will be touring in support of their newly released album "Killer Brilliance" and doing what they can to showcase the humanity in music: the madness, the fun, the sadness, the creepiness and the endless complications.


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