On the second volume of “The Zero Hour” Steve Morell is very honoured to have a very special studio guest in his radio show. He invites Mr. Maximilian Hecker into a two hour lifetime retrospective. He is gonna dive deep with Maximilian Hecker into his roots, to his early years and into his new album as well as in the both gonna present electronic works from Maximilian Hecker which are more or less unknown and unreleased. Steve Morell is going down in a deep talk with Maximilian Hecker about his lyrics and the meaning and deepness of his music. Maximilian Hecker was born in 1977 in Germany & lives in Berlin. His music he discribes his music as “melancholic pophymns”. 2003/2004 he went together with Barbara Morgenstern supported by the Goethe Institute on World Tour. Heckers first Album “Infinite Lovesongs” were voted by the “New York Times” as best album of the year in 2001.
Steve Morell writes about his new album:
»Maximilian Hecker - I Am Nothing But Emotion, No Human Being, No Son, Never Again Son«
ist die wahrhaftige Krönung seines Schaffens ..
ein Album was einfach mal nicht mehr Tiefe haben könnte ..
es berührt dich vom ersten Track an .. vom Intro bis zum Hidden Track ..
welcher meiner Meinung nach einer der besten Interpretationen eines Bob Dylan stückes ist, die ich jemals gehört habe .. ausschalten ist definitiv unmöglich .. es veranlasst den Hörer gekonnt zum nochmaligen PLAY drücken .. habe es im auto nach prague gehört .. und mal einfach 4 1/2 stunden nichts anderes gehört .. es war einfach nicht möglich was anderes anzumachen ..
Musikalische Arangements und die Lyrics .. die Art seines Gesangs und eine perfekt gewähle Aufnahmetechnick auf diesem Album übertreffen einfach sein komplett vorheriges Schaffenswerk .. wie tief muss ein Mensch in sich gehen .. um solche Lieder zu schreiben .. ? um diesen Ausdruck von Liebe, Frustration, Traurigkeit und Glücklichkeit auf einem Album zu vereinen ?
aber trotzdem diese Songs so mit Positivität zu tränken das es eimem den Atem nimmt und nach dem hören
man einfach nur das gefühl hat .. sich damit zu identifizieren .. ein Album was einem auch bei mehrmaligen hören
immer wieder neue Inspirationsquellen zuführt ..
Es war das beste was ich mit meiner Zeit machen konnte .. auf dem weg nach Prague .. Das neue Album von Maximilian Hecker zu hören .. und ich werde es immer wieder tun .. Respect an einen grossartigen Künstler welcher sich in einer kaputten & kranken Zeit, selbst immer wieder neu erfindet ohne das es langweilig wird oder er sich untreu wird !
Steve Morell (Berlin Juni 2010)
In 2008, Maximilian Hecker reached a point at which he was no longer able to find any satisfaction in his career. He felt that, since the decision he had taken seven years earlier to make music his profession, he had seldom been successful in expressing genuine emotion in concerts or studio recordings. Hecker felt himself to be constricted in a corset of perfectionism and conventions – partly self-inflicted, partly dictated by outsiders. Retrospectively, he explained, that a large part of what he had achieved on stage and in thestudio had been only a rudimentary excerpt of his feelings, that the channel to his soul felt as if it had been obstructed in such recordings and live performances.
The studio work on his last album »One Day« in April 2008 turned into some kind of torture for Hecker; a smouldering, gnawing fear of failure became his constant companion. He lost his voice, meaning that recordings had to be interrupted for weeks at a time. And his seventh tour of Asia that took place in November of the same year turned into an excruciating experience for him: sold-out concerts, the frequently quoted “squealing girls”, but Hecker did not find any redemption for his »death of heart«.
And then there was Nana. Nana, a Japanese prostitute whom Hecker met in Tokyo at the moment he was at rock bottom. This encounter, which was cathartic and traumatic at the same time – described in the song of the same name on the album – heralded for Hecker his »decomposing mode«, as he calls it: in order to »survive«, he started to destroy all the suffocating elements in his environment – he liberated himself from narcissistic demands, stopped shaving, wore jogging pants as everyday clothing, distanced himself from women, even from the idea of finding true love one day. And he began to make street music again, or rather, to »meditate publicly«, up to six hours at a time, just singing if no one was specifically listening to him – for this was the only way to keep open the path to his soul.
And eventually, Maximilian Hecker began to record his new songs at home, shortly after composing them, using the simplest equipment (often only one room microphone). Exposed to all the street noise and »dirt«. Holding on to the moment of inspiration. Hecker’s soul, his pure emotions immortalised on tape.
All rational processes that before had deadened and delayed Hecker’s feeling – such as arranging, determining the instrumentation, writing succinct lyrics (the lyrics on the album derive largely from a stream of consciousness emanating directly from his heart, improvised at the moment of recording) and finally the professional recording – these were eliminated. Just the essence remains: the pure emotion, the pure artistic innocence. This [quote from Hecker] »challenge to the music business« gives Hecker the musical feeling he believed was lost, brings him artistic bliss and the missing identification with his own
And this is what we find in »I Am Nothing But Emotion, No Human Being, No Son, Never Again Son«: a Maximilian Hecker, risen from the dead, stronger, radiant – like his previously hibernating soul.
video link :
Maximilian Hecker - Holy Dungeon (with lyrics)