In late summer 2007, three young men met from three different countries randomly behind the thick walls of the Berlin techno Mecca Berghain and had an epiphany. The idea was to make machine music that has a human soul, to use as a guitar synthesizer and synthesizers than guitar. In other words, to create a music that refuted the cynical, pseudo-intellectual assertion, 'music that moves the body, the mind can not move, and vice versa'. Short, I Heart Sharks.
It was followed by four years of touring - appearances in deserted stairwells, repurposed aircraft Hangarn, as support to European tours by acts like Friendly Fires or Natalia kills - Coupled with hours of bus journeys over highways and months of cooperation squatting in dark rehearsal rooms formerly East German cellars. Standstill? None. 2011 published I Heart Sharks their debut album "Summer", a collection of nostalgic which preceded Tour years sonorisch summary songs. was financed album with the support of fans who participated in buying Mitnehmseln and souvenirs, from lyrics to tickets for future Secret gigs, on the project.
More fans, Larger Venues - 2012 held ready for the band three tours and a summer of performances. They played on the Melt! Festival, from the side Kraftklub in the Dortmund Westfalenhalle and the home race at the Berlin Festival, the same time also provided the faux-German anthem for 2012 with their song Modern Times.
The second album - the first time in Iceland Records - came hand in hand with Hurts producer Joseph Cross. As Location a disused textile factory in Manchester and the former GDR Funkhaus in Berlin served. Thus make both cities, each with their own, meaningful, musical history a perfect parallel to the music is - the northern English industrial city with its red bricks, stormy climes and their Factory Records'schen past meets the formerly divided city with their tireless electronic music scene, memories at Bowie and karaoke bars.
Added to this was the collaboration with 80s legend and Ultravox frontman Midge Ure, a unique opportunity for I Heart Sharks to combine their own vision of the future music of the golden era of New Wave and integrate them into the actual matter of the album.
The result - as the band itself - is a hybrid: Of the synth-soaked soundscapes on Headlines towards the mechanical, straight guitars and the mighty chorus on "The High Rise". The fragile, urban poetry of Bee bedded on more confident arrangements in which the lyrics unfold its own existence. "Karaoke"Reminiscent of a modern interpretation of Bowie's Heroes, an ode to the working class to those of us who are in the gutter, but still feel as a star."To Be Young " however, engaged in a sober tone our concern to waste one's youth, in the center and begins just this moment between optimism and melancholy one. The new album offers a selection of luxurious pop songs, accompanied by Robert Smith's malaise - the soundtrack of a generation of people for whom the world was promised, but got nothing except empty words.
We are dealing with escapism in its purest form, with reckless ambitious pop music that forcibly snatches us the dreary everyday life and in a world abducted in the promise still count where every day summer and no hits are played on the radio. A balancing on a tightrope stretched between modern music of the modern era - the New Age - and the nostalgic sounds of days gone by. A masterpiece of German engineering paired with English heart and New York cutting. These are urban hymns from honest Pop. Here everyone is welcome. Here we can all be heroes yet.
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