PeterLicht

For most aspiring new artists, fame is focused on being recognized on the road. Cologne’s songwriter flipped stage director flipped prizewinning poet PeterLicht, nevertheless, has always experienced a somewhat different undertake the matter. Whilst his shock underground strike “Sonnendeck,” a sloppily created electro-pop anthem, went along the country’s alt-radio channels in 2001, so that as the associated video, although decidedly home-made, went alongside Madonna and Eminem on MTV, no one really experienced a idea who the brand new guy within the electro stop was — and even what he appeared as if. The singer remaining the spotlight for an cartoon office seat in the single’s video. No photos from the designer had been released, no displays played, no general public appearances made. Publications had nothing at all to printing alongside their many praises for a fresh star increasing. “I drill a opening in to the present, observe what comes dripping out, and transform it into something gorgeous,” PeterLicht once mentioned about his uncommon approach to producing music. Not really unlike additional German recording performers of that time period, the songsmith mixed old-school indie songwriting using the bleeps and clicks of electro-pop (and house production kept creation costs to the very least). But PeterLicht’s primary appeal surely is based on his lyrics, subversively naïve and strangely funny essays on politics, like, and life once we have no idea it (however). An initial collection of tunes, the EP Sechs Lieder — released in 2000 beneath the improbable moniker Meinrad Jungblut — didn’t make a huge splash in the fish-pond, but just a couple months afterwards (and under his brand-new name), the irresistibly odd “Sonnendeck” arrived and helped PeterLicht’s initial full-fledged record, 14 Lieder, to unexpectedly healthful product sales. 14 Lieder was accompanied by Stratosphärenlieder in 2003 as well as the relatively prophetic Lieder vom Ende des Kapitalismus (Music on the finish of Capitalism) in 2006, followed by the reserve Wir Werden Siegen! Buch vom Ende des Kapitalismus, that was finally marketed live by the writer himself on a little tour of the united states, at last disclosing his encounter to his supporters. Still, PeterLicht continuing to avoid open public publicity where he could, buying TV cameramen to remain free from his encounter and professional photographers to only consider images from behind. In 2007 PeterLicht’s article Die Geschichte Meiner Einschätzung des Dritten Jahrtausends (THE ANNALS of My Evaluation of the 3rd Millennium) won the general public prize from the renowned Ingeborg Bachman Literary Prize, and in 2008 PeterLicht’s third record, Melancholie und Gesellschaft, premiered — for the very first time featuring a complete band production and therefore veering in the eclectic artist’s effective electro-pop formula.