The space in between
Beat / How did you get involved with film?
Thomas / Volker Heise invited me in 2009 to do the music for his mammoth project „ 24h Berlin – Ein Tag im Leben“. It was a 24-hour documentary that ran on the third program. From this, the album „Gute Luft“ was created at the time.
Beat / In 2018 there was another soundtrack album to a Heise documentary called „1929 - The year Babylon“ …
Thomas / Yes. That was to a documentary, which ran to „Babylon Berlin“ in the ARD in the German television. From this, „Böser Herbst“ developed without any major musical changes. Unfortunately Volker was indisposed and left Matthias Luthardt to direct it. „1929“ was put together quite straight from the pieces I had given Volker. With „Böser Herbst“ I developed the stuff even further and compiled the album from these new versions. It‘s soundtrack-inspired, but not a pure soundtrack in terms of production. For me, it‘s a further development of the 1929 idea, that is, that the music is based almost exclusively on sound sources and snippets from that time.
Beat / How does that work in detail?
/ I took pieces from this time, such as the accordion intro of Marlene Dietrich‘s „Lili Marleen“. From this I pick a single note or a chord and use it to build pads. Or I put a brass riff together
