Billy’s new music video, California High, is now on Youtube!! How do you like it?
Le nouveau vidéoclip de Billy, California High, est enfin en ligne sur YouTube! Qu’en pensez-vous?
Billy’s new music video, California High, is now on Youtube!! How do you like it?
Le nouveau vidéoclip de Billy, California High, est enfin en ligne sur YouTube! Qu’en pensez-vous?
Hey guys, how are you all doing today?
Tokio Hotel just announced something very exciting for you! They are organizing a ‘Summer camp‘ this year. They have not said where yet, only that it will be on an Island, and for 4 days, 3 nights.
The number of tickets available will be limited to 500. People will have the option to sleep in tepee (100). There will also be 275 beds, so there’s a big chance that you will have the option to bring a tent (like for 30STM’s ‘Camp Mars’), most likely for a cheaper price.
If you are interested in Tokio Hotel’s Summer camp, we wish you a LOT of fun with the band (which is just bound to happen..). Please stay tuned for more information on this unique experience!
Bonjour tout le monde, vous allez bien?
Tokio Hotel vient d’annoncer qu’ils organisent pour leurs fans cette année un ‘Camp estival‘ !!! Ils n’ont pas encore dit où précisément, seulement que cela se passera sur une île, et pour 4 jours, 3 nuits.
Le nombre de billets disponibles sera limité à 500. Il y aura possibilité de dormir dans des tipis (100). Il y aura également 275 lits, donc il y a une grande chance que vous aurez l’alternative d’apporter une tente, probablement pour un prix moins élevé (comme c’est le cas pour le ‘camp mars’ de 30STM).
Si vous êtes intéressés, nous vous souhaitons énormément de plaisir avec le groupe. Restez à l’affût pour plus d’informations sur cette expérience unique!
It’s finally here! We have been waiting months for this music video to be released, and it will officially premiere on YouTube Friday at 11am PT / 2pm ET ! Don’t forget to subscribe to Billy’s channel to be the first to watch it. If you are not aware yet, Billy is Bill Kaulitz’ side project, but do not worry: Tokio Hotel is still coming up with some new breathtaking music next year!
Il est enfin là! Nous avons attendu la sortie de ce clip pendant des mois, et nous pourrons enfin le visionner sur YouTube vendredi à 11h (heure de l’ouest) / 14h (heure de l’est)!! N’oubliez pas de vous abonner à la chaîne de Billy pour être le ou la première à le visionner. Si vous n’étiez pas encore au courant, Billy est le projet solo de Bill Kaulitz, mais ne vous inquiétez pas: Tokio Hotel revient tout de même avec de nouveaux titres époustouflants l’an prochain!
Welcome back, aliens! It has been such a long time since we’ve been on this blog and we feel like it is time to come back to share our love for Tokio hotel.
Bonjour chers aliens, nous sommes de retour! Cela fait une éternité que nous ne sommes pas passés sur ce blog et nous sentons qu’il est temps de revenir partager tout notre amour pour Tokio Hotel avec vous.
I believe the North and South American tour cancellations were very hard on all of us, for our friends in the States, in Mexico, in Chile, etc. It was especially hard right here in Canada, as we were supposed to have four dates (Montreal, Toronto, Edmonton and Vancouver), which made us all so excited, as we haven’t had the chance to see our guys here for almost a decade. Sadly, Tokio Hotel never gave the fandom a proper reason to cancel and promoters everywhere did not have any more information than us either and were just as confused. It caused us to stop amazing promotional projects with them, such as our contest to win tickets for the shows. They had also given us posters to promote the band in the streets, and we were working on more projects, and had even considered working with a charity to promote awareness for a cause. It was disheartening to see all this be shattered into pieces.
Je sais que l’annulation des tournées en Amérique du Nord et du Sud a été très difficile pour nous tous, pour nos amis aux États-Unis, au Mexique, au Chili, etc. C’était particulièrement difficile ici au Canada, puisque nous devions avoir quatre concerts (Montréal, Toronto, Edmonton et Vancouver), ce qui nous avait bien sûr rendu très fébriles, considérant que le groupe n’était pas venu depuis 2008. Malheureusement, Tokio Hotel n’a jamais fourni au fandom la véritable raison de ces annulations et les promoteurs n’ont pas eu plus d’informations que nous à cet égard, et étaient eux aussi confus. À cause de tout cela, nous avons dû arrêter nos collaborations avec eux. Nous organisions entre autres un concours afin de vous faire remporter des billes de concerts, ils nous avaient également donné des posters pour afficher dans les rues. Nous travaillions également sur d’autres projets et avions même considéré travailler avec une association caritative, entre autres. C’était triste de voir tout cela partir en fumée.
Reasons for cancellation were ‘technical problems’ and ‘immigration issues’. We remember how they have had a similar problem in 2015 with the Canadian borders, except now the problem seems to have been with the whole continent. We really hope this won’t happen next tour, as it caused such drama worldwide, such as we had never seen before after more than 10 years in the fandom. Fans everywhere were disappointed, and sometimes mean to the whole band on social media and in e-mails. The band even had to unallow comments for a while, and we really hope you understand why we, also, needed a break from that. We decided to take time for ourselves for a while, to work harder on our studies, for example.
Les seules raisons que nous avons finalement eues pour les annulations sont ‘problèmes techniques’ et ‘problèmes d’immigration’. Nous nous souvenons qu’ils avaient eu un problème similaire en 2015 avec les douanes canadiennes, excepté que cette fois, le problème concerne l’entièreté du continent. Nous espérons sincèrement que cela n’arrivera pas à nouveau à la prochaine tournée, puisque cela a causé énormément de ‘drama’ autour du globe, du ‘drama’ comme nous n’en avons pas vu en plus de 10 ans dans le fandom. Les fans un peu partout étaient déçus, parfois même méchants, que ce soit sur les réseaux sociaux ou par courriel. Le groupe a même dû désactiver les commentaires un moment, et nous espérons vraiment que vous comprenez pourquoi nous avons eu besoin de prendre une pause de toute cela. Nous avons, à la place, pris du temps pour nous, et avons, par exemple, mis plus d’accent sur nos études.
On the brighter side, Tokio Hotel gave three more shows at the end of April, two in Berlin and one in Moscow, so the Dream Machine tour still ended on a good note. We are glad for that. Tokio Hotel also released a music video for the song ‘Easy’. It is actually beautiful, despite how it has been received upon its release. If you were sad back then and did not feel like watching it, like many fans like you, you should definitely watch it now. The shots from the tour are incredible :
Sur une meilleure note, Tokio Hotel ont eu trois concerts supplémentaires à la fin avril, deux à Berlin et un à Moscou, donc la tournée Dream Machine s’est quand même terminée d’une bonne façon, et nous en sommes reconnaissants. Tokio hotel a également sorti un clip pour la chanson ‘Easy’. Le clip est en fait très beau, malgré la réception qu’il a eu à sa sortie. Si vous étiez tristes lorsqu’il est sorti, comme beaucoup d’entre vous, vous devriez tenter de le regarder à nouveau. Les images de la tournée sont incroyables:
It’s not all. We have exciting news.. but don’t get too excited either! Tokio Hotel are currently working on new music. They are considering releasing a new album in March next year, as they have said in their concert Q&As a few days ago. This date is not official, as they are not sure if they will really release it in March next year, but that is what they are looking forward to and, if it isn’t in March, it should at least not be long after. Either way, we are getting new music soon and that’s totally what matters, right?!
Ce n’est pas tout. Nous avons des nouvelles excitantes… mais ne vous faites pas trop d’attentes! Tokio Hotel travaillent actuellement sur un nouvel album. Ils aimeraient le sortir au mois de mars prochain, comme ils l’ont dit dans les Q&As de leurs concerts il y a quelques jours. Cette date n’est pas officielle, puisqu’ils ne sont pas sûrs eux mêmes s’ils vont le sortir en mars prochain, mais c’est tout de même ce qu’ils souhaitent. Si ce n’est pas en mars, ce ne sera donc pas très longtemps après. Peu importe, ce qui compte, c’est bien qu’on va avoir de nouvelles chansons, n’est-ce pas?
As for this website, we had no idea what would happen with it after all that happened, but we would feel sad to leave it like this. I am considering rebuilding parts of the website as soon as possible and keeping what can still be interesting for the future. Future posts will include official band announcements, news, interviews, photoshoots and fan projects. We invite you to follow Bill, Georg and Gustav on Instagram for their daily posts, as they are not related to the band (even though we do love the pictures of their dogs, of their daily meals, and the occasional pictures of Gustav’s daughter). This website, in particular, will focus on Tokio Hotel’s music, and will keep on following the rules Universal Music had established when it started. All in all, it will be a safe place about Tokio Hotel’s music, and we will respect the guys’ privacy. We are here for their music, and not to gossip about who is dating whom. There are enough websites of this kind out there.
En ce qui concerne ce site internet, nous ne savions pas ce qu’il en adviendrait après tout ce qui s’est passé, mais nous serions tristes de le laisser ainsi. Je pense donc reconstruire les sections du site aussitôt que possible, et ne conserver que ce qui pourra être intéressant. Les futurs articles seront des annonces officielles du groupe, des nouvelles, des entrevues, des photo shoots, des projets de fans, etc. Nous vous invitions à suivre Bill, Georg et Gustav sur Instagram pour voir leurs posts quotidiens, puisqu’ils ne concernent pas vraiment le groupe (bien que nous aimons voir les photos de leurs chiens, de ce qu’ils mangent, ainsi que les photos occasionnelles de la fille de Gustav). Ce site web, en particulier, se penchera sur la musique de Tokio Hotel. En bref, ce sera un endroit consacré à la musique du groupe, et nous comptons respecter les règles qui existaient déjà à l’époque d’Universal Music. Nous respecterons donc la vie privée des gars; nous sommes ici pour leur musique et non pour savoir avec qui ils sont en couple. Il y a suffisamment d’autres sites comme cela.
Finally, I hope you will stay with us on this journey, as I am sure the new Tokio Hotel album will be totally amazing, as always. If you are willing to join the Fan Club, we are currently looking for new amazing colleagues who share our love for the band. It does not matter where in the world you are from (you only have to speak either English or French, or both). Please send us an e-mail at firstname.lastname@example.org. Examples of things you could have to do: update the website and/or social media; translate news; promote the band online; promote the band in the streets (when the new album will be released, and depending on where you live); organize fan projects and fan actions, potentially fan meetings and contests. Moreover, if you have creative ideas, or extremely creative ideas, they are welcome as well. We will always take your ideas into consideration.
Pour terminer, nous espérons que vous resterez avec nous, puisque je suis certaine que le nouvel album de Tokio Hotel sera génial, comme toujours. Si vous aimeriez vous joindre au Fan Club, nous recherchons actuellement de nouveaux collègues qui partagent notre amour pour le groupe. Cela n’a pas d’importance où vous vous trouvez dans le monde (vous devez simplement parler soit anglais, soit français, ou les deux). Envoyez-nous s.v.p. un courriel à email@example.com. Voici le genre de tâches que vous pourriez avoir: mettre à jour le site internet et/ou les réseaux sociaux; traduire les nouvelles; promouvoir le groupe en ligne; promouvoir le groupe dans les rues (lorsque l’album sortira et dépendamment d’où vous habitez); organiser des projets ou des fan actions, potentiellement des rencontres entre fans et des concours. De plus, si vous avez des idées créatives, voire extrêmement créatives, elles sont aussi les bienvenues. Nous prendrons toujours vos idées en considération.
Before leaving, we would like to share with you this amazing remix from the AlienTheam. It sounds… I am not actually sure if there is a word to describe how good it sounds? You definitely have to hear it for yourself. But we do believe that you will absolutely love it. So Enjoy!
Avant de vous laisser, nous aimerions vous présenter le dernier remix de la AlienTHeam qui est bel et bien toujours en action. Nous n’avons pas de mots pour exprimer à quel point nous l’aimons. Vous devez absolument l’écoutez par vous-mêmes. Nous sommes sûrs à 100% que vous allez l’adorer. Le voici donc!
Tokio Hotel just came up with a new music video, and we think it’s pure art. Check it out 😉 / Tokio Hotel viennent de sortir un nouveau clip, et nous pensons que c’est du véritable art, qu’en pensez-vous?
With the documentary Hinter die Welt producer Oliver Schwabe succeeds to show what’s beyond the world of Tokio Hotel. The movie premiered at the film festival Cologne last week. In the lecture Beuys will be Beuys Bill Kaulitz talks about development, his fears and self-confidence.
The twin brothers Bill and Tom Kaulitz founded Tokio Hotel 17 years ago. Since 12 years they’re in the public eye. Bill Kaulitz reveals that nothing has changed within the band since then: “we were looking for a bass player and drummer, which would play the songs, Tom and I create.”
Nowadays the band still has the same working process, as the documentary reveals: Tom does the production works and creates new songs with Bill. Bill takes over all visual parts of the band, like light design, stage costumes and concepts for music videos, while Georg is responsible for live events, the booking and finances of the band.
“Georg couldn’t play bass at all.”
The fact that Bill and Tom choose Gustav Schäfer and Georg Listing as drummer and bass player is due to the fact that there weren’t much other possibilities in Magdeburg: “there were only these two guys.”
On top of that it wasn’t an obstacle for the twins that Georg was just learning to play the bass: “Georg couldn’t play bass at all. We all were really bad with our instruments. Bust Georg was just starting to learn playing the bass for six month. He couldn’t play at all.”
In the opposite to Georg, there was Gustav Schäfer who had to show his drum skills: “Gustav had to do something like a casting for us. We were in our rehearsal space and Gustav played a Phil Collins song, if I remember correctly. This is how he came into the band. This is how everything started.”
Today Bill remembers clearly that there was no other option for him than doing music: “Doing music was always a serious thing for Tom and me. Georg had a lot of other hobbies back then. He was playing handball. But Tom and I always knew: music is our life. Sure for Gustav and Georg it was amazing, when we released our music in 2005. They just accepted it as how it was. But for Tom and me this was always our number one plan… a total drive since we were kids. We never wanted to do something else.”
Kaulitz only sees one difference to when he looks back at the beginning of Tokio Hotel: “I just remember when we had our first performances when we were 13 years old. I was like: ok, give me a microphone! give me a stage! I want to go out there and perform.”
What Kaulitz doesn’t remember is how he formed his self-confidence at this time: “No idea where I got that from. I guess it came from the dynamic I have with Tom. We were always together. I knew I’m never alone.”
“There’s not one idiot who gives a fuck about you. That’s the best thing.”
Nowadays Kaulitz has a different perspective on his life. As he sees himself with a huge backpack, which is filled with fears and bad experiences which he made through the past. At the same time he works on getting back a little bit lightheartedness every day: “Bringing back the lightheartedness, which we had when we started as band, is a challenge which I try to master every day. We always rather want to go back. We want to get away from this music industry shit. At some point it gets to complicated and then you kind of lose your creativity. You’re not good anymore in the essence of what you really want to do – music.”
But Kaulitz manages to leave everything behind, as soon as he gets home after a tour: “Flying back home… going out and then there’s not one idiot who gives a fuck about you. That’s the best thing.”
At the same time Bill Kaulitz reveals that it was not always like that. When he moved to Los Angeles in 2010 he had to learn living life. Kaulitz remembers that his friends still make jokes about this time: “My friends are still teasing me with this. I remember the first time when I went out to party, I brought along a security guard and I always had a driver with me. In Los Angeles I continued to live the same life I was living in Germany. I just took it with me when we moved overseas, because I didn’t know another life.”
“people think it’s sexy nowadays. they’re like: she wants to have sex with girls and she wants boys and she also wants the people in between.”
Kaulitz already had to deal with press and media, asking him about his sexuality, when he was 15 years old: “In Germany it’s still a question. People are still wondering: “who is joining his bed tonight? Who does he have sex with? Who does he bring home? Who does he fall in love with?”. But these were always questions I never gave a clear answer to. I feel like I give a lot of answers in my songs though. But it’s still a thing which drives people crazy. Nowadays a coming out isn’t really exciting anymore, cause everybody does it. But people still keep asking me these questions. It still drives them crazy not to know who’s sleeping in my bed tonight and I love that.”
Some laughters appeared when host Steve Blade quoted Bill Kaulitz’s twin brother Tom from the documentary: “I get everything from Bill, which other people are searching for in a relationship. So basically I just need somebody for the sexual part. And that’s something you can easily find.” Steve Blade asked Bill if this is a healthy attitude: “I don’t know. I guess others have to judge if it’s healthy. We sometimes wonder the same. We’re like one person and sometimes we don’t get how we are and how others see us. When we’re lonely, we’re together feeling alone. It never happens that one of us is pushing the other one up. When we’re feeling depressed, we’re feeling sad together. Everything always happens together. That makes it of course hard for a partner. Especially for Tom it’s more difficult. When I’m in love, it can happen that I’m just gone from today to tomorrow. I tend to do my own things then.”
„Tom has to tell in which distance they need to place the barriers in front of the stage. And then you ask yourself: isn’t there somebody else to decide this?“
What producer Oliver Schwabe impressed the most about the band was their energy and effort which they put in all their work: “they’re control freaks, which I found really interesting. It happens that somebody calls Tom out of the wardrobe, because Tom has to tell in which distance they need to place the barriers in front of the stage. And then you ask yourself: isn’t there somebody else to decide this? No! It’s always Tom! And he does this every day during the tour for month. This is something which impressed me a lot.”
Original article: flackernflimmern.com
“ich muss durch den monsun, hinter die welt” these are the lines that made Bill Kaulitz and his band Tokio Hotel famous in 2005. At the same time producer Oliver Schwabe started to recognize Tokio Hotel and was fascinated by them: ‚what I really found interesting was that Bill combined all codes from subcultures, while he as person took place in mainstream media.‘
Guided by this fascination Oliver Schwabe tried to get in contact with the band. But he failed due to the success and high demand for Tokio Hotel: “I was working on a movie at this time and I tried to reach out to you [Bill]. But I wasn’t able to get in contact.”
Today, 12 years later, Oliver Schwabe and Tokio Hotel made the documentary Hinter die Welt (engl. title: beyond the world), which premiered at the Filmfestival Cologne. In the context of the lecture Beuys will be Beuys Bill Kaulitz and Oliver Schwabe talked about how they build mutual trust, about the developing process and how they used the movie to portrait the band.
“Stop talking. Just come over!”
Oliver Schwabe filmed Tokio Hotel during the past two years on their world tours, in the studio and in their very own environment. When they started talking about working together, Bill invited Oliver: “we had skype-sessions and then Bill suddenly told me: ‘stop talking. Just come over. Then you’ll see what’s possible’. Then I flew directly to Mexico. I arrived at night and I went back to the airport, at 6am in the morning, to see the band arriving.”
The teaser of Hinter die Welt shows what Oliver Schwabe experienced in this moment:
For Tokio Hotel it was really clear early on that they wanted to do the documentary: “we knew that working with Oliver would be a team work. It always felt like we’re in this together. We wanted to do the movie because there are some misunderstandings. People kept talking about things. This was our chance to tell our own story and make things clear.”
Oliver Schwabe was aware that it’s not always easy to let a stranger into your own world, since he already dived into a lot of different world for other documentaries he produced. That’s why he offered Tokio Hotel to let them do the final inspection of the movie, with this agreement Oliver was able to build trust, while the team of Schwabe was critical about it: “my colleagues told me ‘are you nuts?’ when they heard about my agreement with the band.”
But the agreement of the final inspection gave Bill Kaulitz the feeling that he could let himself completely sink into the movie: “this was the final moment to say: ok, let’s do this. If it turns out crap, then that’s how it is. But if it won’t turn out crap, we will have a really good movie. And I believe we do have a really good movie.”
Another challenge Schwabe had to deal with was diving into the Tokio Hotel world while he accompanied the band at their feel it all tour in Russia in 2015. Not only to walk into their world, but to deeply dive into it and become a part of the world itself. Schwabe revealed that he not only met Tokio Hotel, when he started to film, he met a whole family instead. A family which was built over years to have the strength to master the past and very difficult situations. This is how he dealt with it: ‚when you meet them, you just burst into a family. It then takes a while, until you’re allowed to say something there. But I just waited. I waited until my time came.”
“This is like Peter Pan, like in a fairytale. You can see it in their eyes!”
After Schwabe became a part of the Tokio Hotel world, he continued to accompany the band to their Dream Machine tour in Cologne, Paris and Russia. In Russia Schwabe was especially inspired by the contrast between the country and the band: “that’s why I wanted to go to Russia again. It made a lot of sense to me to film there. For example in Novosibirsk where everything seems to be grey and where it’s stilll snowing even though it’s almost May. And then they come into the venue and it’s like Peter Pan, like in a fairytale. You can see it in their [fans] eyes! It’s a promise of a different world and this makes so much sense to me.”
Schwabe portraits not only the contrast of the different environments around the band, which are taking place in Magdeburg and Los Angeles. He also manages to show the opposition of the environment of the fans and how this suddenly changes when they see and meet Tokio Hotel. He produced a documentary in which he highlights not only the world beyond Tokio Hotel, but also different aspects, backgrounds and environments, by using impressive pictures of the different worlds. But the movie doesn’t only look at the band itself. He also takes a look at the band members. Gustav and Georg, which usually like to be in the background, talked about how they felt when Bill and Tom left Germany and what they thought about the mandatory break. Besides this Gustav and Georg visited Tokio-Hotel-wise historical places in their hometown Magdeburg, like the Gröninger Bad or their first rehearsal space. This way Schwabe succeeded to show one more world: the history of Tokio Hotel, which completes itself through memories and narrations of Gustav and Georg.
Original article: flackernflimmern.com
Pictures: Photoshoot in Berlin, by Chris Gonz.
Tokio Hotel: “We really don’t want to put up with music industry bullshit”
Earlier this year, consistent German quartet Tokio Hotel put out the fresh and divisive Dream Machine. Having billed it as their most ambitious and daring record to date, frontman Bill Kaulitz and his men trekked the world in pursuit of putting on the perfect live show, one which complemented the new music as pristine as possible. We called up Kaulitz to discuss the record, its live show and where on earth they’ll go next.
Hey Bill. How are you doing?
I’m good, thank you! How are you?
I’m good too, thanks! Your most recent studio album, Dream Machine, came out this year. Can you tell me more about how you approached it, particularly in comparison to previous records?
On this album we were far freer to do whatever we wanted. We didn’t want to talk to any record labels or management companies, and we cut out everyone along the way, producers included. We wanted to go back to the basics and just rely on our instincts to create something that made us happy. Tom (Kaulitz) and I went into the studio to write the first demos, and then we spent a full year recording it. We did everything on our own, and nobody else was involved. It was the first time that we’d done it like this, and it ended up being the album we always wanted to write. Afterwards, we played it to people to see who wanted to be involved, and who our best partner could be. We did it the other way round, basically. We were super happy with Dream Machine, and I’m personally still very excited about it.
After you finished the album, you switched from Universal Music to Starwatch. How did that come about?
So basically, Starwatch already wanted to talk to us even before the album, right after our ten years with Universal Music has ended. We were happy to be free as a band and talk to whoever we wanted, but with Starwatch we just weren’t ready to talk to them yet. We went and made the music first, and once we were comfortable we had a talk. Markus from Starwatch told us to just take our time. When we were ready, we flew out to speak with him, but before he even heard the record he decided to offer us a contract. He told us he was a big fan and that he had a lot of confidence. Luckily he was happy once he did hear the album!
Later this year you’ll be bringing your live show back to Europe. What can we be expecting this time round from a live production sense?
We started touring Dream Machine in March this year, and we’ve always liked to put on a show. We even try to do stuff that hasn’t been done before when we play in smaller club venues. We always want to entertain people and give them a show that they’ll never forget. Everything we do with Tokio Hotel is big, and this time round we’re doing encore shows because the first run was so successful that people wanted us to do it again. There was huge demand. We’ll probably play a couple of new songs and mix up the set to keep it interesting for us, and there will also be a very big production with special effects, lights and costume changes. There’s always a vision in our heads for either a video or live show, and when we prepare to tour we pick our favourite new songs and attempt to create a show which both the old and new fans will like. Some people grew up with the old stuff and want to hear that, and other people come to hear the new stuff as they discovered us later on. They don’t even know the old songs. We always try to create a live show that’s exciting for everyone, even us. Sometimes there are songs that we’ve played so often that it starts to get boring; it’s like having a hit song everyone loves that you don’t want to change too much about. There’s a very fine line, and on this tour we’re going to pretty much play every new song.
Did you go into the studio for Dream Machine with a particular live show in mind, or did you approach it the other way round?
On our older album tours, we had such a big production that it was pretty challenging for us. We were scared with this live show, because the previous one was already quite over the top in itself. We wondered how we could make it even better, because the bar had already been set pretty high. Dream Machine is far dreamier and way more playful, and it’s not as hard as the previous record. Our lighting guy and set designer for the previous tours both stayed with us, which is because we like to keep the same people involved all the time. We sat down with them and tried to create something dreamier, something different. I think that we did a good job, and I feel like it’s the best show we’ve ever put together. We enjoy ourselves a lot.
You’ve come a long way since your heavier beginnings. Do you ever have the desire to go back to that style of music and potentially incorporate it more into your current electronic sound?
The thing is, songs like Monsoon are so different to what we do now. It’s almost fifteen years old! The band has changed so much musically, so there’s a very fine line involved when it comes to changing the songs in a way that fits the current live set and what we do today musically. We also want to keep everything authentic and to the point of what a song is about. Sometimes we twist it, but the boys just play so many instruments at the moment. Tom rarely plays the guitar anymore, to be honest. There’s only three musicians in the band, but there are also a lot of different sounds. We rehearse a lot, and we always want to play everything. On some songs we’ve worked with seven different laptops, and we really do our best to play all of that live and process it just like we did on the record. There’s a lot of preparation involved.
So would you consider yourselves more of a live band, as opposed to a studio band?
I think we enjoy both, to be honest. Tom particularly enjoys being in the studio, and he’ll be in there every day writing and producing different things. He likes to be in the background a lot. As a band, we like both sides, as we all like writing songs. I really like being onstage after a while, because I just need to perform and be out there. I love being onstage, so I feel like I’m the pushiest when it comes to that. I love the process of creating a live show, but Tom not so much. He prefers being in the studio, but on the whole I think we’ve always been a live band.
Have you got any idea of in which direction you’d like to take your music in the coming years?
I think we’ve totally found our sound Dream Machine, and I believe this is the signature of what Tokio Hotel is. It’s the most authentic record we’ve ever made, as nobody else was involved at all during the process. We might collaborate with writer and producer friends along the way, but we really like how we did it on this record. We only want to have fun, and as we’re in this stage of our careers we really don’t want to put up with music industry bullshit. We don’t want to compromise with anything, and we’re not hunting for commercial hits anymore. It’s all about our music and the accompanying live show, and it means something to us. Direction and genre-wise, new music is really going to sound a lot like Dream Machine.
Thanks for your time, and good luck!
Original article: Allthingsloud.com
“We have an authority problem”
Bill and Tom Kaulitz from Tokio Hotel
Your breakthrough was in 2005. For five years you’ve been totally into it and gave your all but after that, you went to LA, fully exhausted. Which period fulfilled you the most?
Bill: The current period. The older you get, the more you realize the madness. It felt like a trance when we were teenagers. For me, the current period feels better. When you are younger, you take things more easily. Today, things are more difficult. Working a whole day isn’t as easy as it used to be when we were younger. After a tour, we are already ready for holidays. As a young man, you also have less fears. However, when it comes to creativity, the band is much better than it was.
How was it when you moved to Los Angeles?
Bill: We didn’t do anything for a year. At 20 years old, we simply wanted to have a normal life. We hadn’t been existing as people outside the band all those years before.
When the success came, did music labels or others affect you?
Bill: We’ve always had an authority problem. We always had to fight to take part in the decision-making process. The label didn’t like us; we were always the complicated band. Nevertheless, due to our success, it was okay. The band existed before, it was our baby. We wanted to control everything. Anyway, we had to arrange ourselves with Major-Label, etc. It was really nice with the current album; we did everything on our own. Writing, producing…
Back then, when there was the extreme fan-hype, some fans exceeded the limits. Breaking into your house was the highlight. Did you lose respect in people?
Bill: At least we had the feeling that we did not belong anywhere. You are far away from humans. I didn’t like that. I love it to be around people.
Do you learn to deal with pressure in extreme situations? Does that shape character?
Bill: We always wanted to have responsibilities. We were only 15 when we moved out of home to have our own apartment; we set up a company, and sat around with lawyers and tax consultants all the time. But the older we got, the more we wanted to let go of the backpack.
Tom: It would have been better if we had not taken so many responsibilities back then. We always took too much, also during school time.
Bill: You want to cope with success the older you get. Going on stage is not easy-going anymore, not as it was at 14. I always have to take back the easiness. That’s what we did with the new album, back in the roots of when it was only about music. That’s why we’ve produced everything on our own — without any label or management. Thankfully, we were at a point in our career where having fun mattered. We want to make things we want to do, far away from the music industry.
Was there a point where you were aware of making history — especially for people? We do connect moments and phases/stages with songs.
Tom: You realize that when people tell you their stories. Today, you realize it even more than before. We totally missed that.
Bill: You are so overwhelmed. When a fan stands in front of you and starts crying, so much energy comes together. I was exhausted after hearing those stories.
How was it when you became millionaires? Does that change character or does it only makes it stronger?
Bill: Money does things to people. I like it how money can give you something like freedom. We did not want to be dependent on someone, even not when we were younger. Our pocket money was like a budget that we managed.
Tom: Now we do whatever we want with our money.
Bill: Money must be fun. I want to experience and live. We should probably be more careful. But, for example, we invest a lot in our career. Expensive videos, expensive productions and performances. Most of our money is spent on Tokio Hotel.
You never wanted to follow the rules. Is that kinda part of the success, breaking the rules?
Tom: You get the best ideas in emergency situations. For example, if you don’t like what producers make with your music, it’s probably better when you do it on your own. If you are unhappy with a situation, you get good solutions from it.
Bill: I can’t imagine a life without breaking the rules.
Bill, as a lead singer, did you have role models?
Bill: My stepfather showed me the movie Labyrinth with David Bowie. That man really inspired me. I even had the same hair. I also listened to Nena. But I never had that kind of role model whose poster was on my wall. But of course, several artists inspired me.
Is there someone you want to meet/get to know?
Bill: Unfortunately, they are all dead. Bowie, Prince… They were extraordinary. I’d like to meet Depeche Mode; they are really cool.
The new album “Dream Machine” is more electro. Did you change or did the fans want something new?
Tom: If you ask the fans, they would have been happy if we had done the same thing Avril Lavigne has been doing for like 40 years now; the same music. That would have also been the easy way. Finacially, it would have been interesting as well. But we have never made decisions according to money. We just changed as humans.
Bill: I could show you so many emails in which people write that we are committing career-suicid. But we don’t want to do it like Avril Lavigne or Pink, who are still doing the same music as they used to make in the beginning.
Tom: We don’t have a dividing line between business and life. We are our music. We don’t go “to work”. It’s all the same. Our music reflects.
You once mentioned that you want to open a nightclub. Why?
Bill: Because we like to party. I always felt attracted to nightlife. Also people’s abysses. I have always wanted to play a junkie in a movie. I like to watch live how people fall out of their roles. Everyday life sucks. I want to experiment. When we go out at night, we bring about twenty people together, who don’t know each other. That’s why we want to open a nightclub. Preferably in LA. There, they don’t have the nightlife we have here (in Berlin).
Translation by Hazel
Bill: I heard a song this morning — I always have to look at my phone for that — the song was awesome. It was from Rationale. It’s a mood booster and I listened to it this morning.
Tom: I start Mondays with Bon Iver – ‘I can’t make you love me’. It puts one in a good mood immediately. That’s definitely my Monday song.
Bill: J’ai entendu une chanson ce matin — je dois toujours regarder mon téléphone pour cela — la chanson était géniale. C’était de Rationale. Elle remonte le moral et je l’ai écouté ce matin.
Tom: Je commence mes lundis avec ‘I can’t make you love me’ de Bon Iver. Ça met de bonne humeur tout de suite. C’est définitivement ma chanson du lundi.