GUTS PIE EARSHOT - BreakbeatPunk!?

Ursprünglich aus der Punkszene stammend, sprengen die beiden Musiker mittlerweile alle Konventionen mit ihrer atemberaubenden Mischung aus Break-Beats, verzerrtem Cello und jener rohen Energie aus ihren Anfangstagen.



HYPNOSE.
Die grösste Leistung, die das Duo an seinen schweisstreibenden Konzerten vollbringt, dürfte die sein, Hardcore-und Metal-Fans ebenso begeistern zu können wie Drum´n Bass- oder Techno-Anhänger. Hier vermengen sich Pop, Pogo und Party, Aggression und Antrieb, Rebellion und Rave.

Das Duo webt einen dichten Teppich aus Breakbeat-Patterns, Punksongs, Streicher-Stakkati, orientalischen Melodien und Techno Attacken - und erschafft damit eine Musik, die spielend die Grenzen zwischen Punk, Elektronik, Drum’n Bass und Rock aufhebt ohne damit auch nur in die Nähe peinlicher „Rock meets Classic“-Acts zu kommen.

Dass Guts Pie Earshot trotz minimalistischer Besetzung gänzlich auf elektronische Stützen wie Sampler oder Laptop verzichten, ist bewundernswert - und kaum zu glauben, hört man sich ihre dichten und hypnotischen Klangwelten an, die man sonst nur aus der Elektronik kennt.



PARTY.
Das Konzept ihrer Konzerte und der Aufbau ihrer Stücke hebt die klassischen Grenzen zwischen Live-Konzert und Party aus den Angeln und erinnert an die DJ Party- Kultur.

Und so kann man sich treiben lassen wie auf einer Techno Party, Pogen, wie auf einem Punk-Konzert oder aber fasziniert zusehen, wie der Cellist seinem Instrument gleichermassen diese luftigen wie dröhnigen Klangfarben zu entlocken weiss, während der Schlagzeuger am Rande des Menschenmöglichen explodierende Breakbeats in rasenden Geschwindigkeiten herbeiprügelt.

Ungestüm sind sie geblieben - explodierende Punkbeats und Metal-Anleihen wechseln sich ab mit Trance, Orientpop und Breakbeats.

Dabei haben sich Guts Pie Earshot ihre politischen PunkRoots und ihre EmoPower aus den alten Tagen bewahrt. Und die Kraft, mit der das Duo seinem Publikum Soundwände um die Ohren und in die Tanzbeine schmettert. Klangwände, die aus dem effektvoll verfremdeten Cello und dem virtuosen Schlagzeug gewoben werden.

Klangwände der Unterlassung, die je nach Song charakterisierbar sind als «Punk ohne Gitarre», «Drum 'n' Bass ohne Bass» und «Techno ohne Technik».



GRENZSPRENGUNG.
Dass der musikalische Coctail nicht beliebig erscheint, sondern grenzsprengend und in allen Bereichen authentisch und homogen wirkt, ist das vielleicht Faszinierendste an diesem Konzept. Und so trifft man Guts Pie Earshot gleichermassen auf DIYPunk-, Metal-, Techno-, Jazz-, und Wagenburg-Festivals an.

Seit 2006 sind sie wieder vermehrt live aktiv, (ca. 100 Konzerte allein 2007) u.a. in Frankreich, Griechenland, Litauen, Tschechien, der Slowakei und Ungarn, der Schweiz und Österreich. Z.B. auf dem Sziget Festival in Budapest, zum 20-Jährigen der "Tambours du Bronx" im Zénith in Paris, mit "Jingo de Lunch" in Wien in der Arena oder mit den Avantgardisten "The Ex" zusammen, auf der Fusion, Anti-G8-Konzerten, Drum´n´Bass-Partys, Worldmusic-Festivals, wie auf Partys besetzter Häuser und Plätze...





GESCHICHTE.
1993 als Quintett gegründet, (u.a. mit Gesang, Bass und Sampler) sind seit 2004 einzig Schlagzeug und das Cello geblieben. GPE liefern damit ein wundervolles Exempel für den bereichernden Effekt personeller Reduzierung.

Neun Alben und mehr als 600 Hundert Konzerte in ganz Europa haben Guts Pie Earshot nun schon zu verzeichnen. In der AZ- und Juz-Szene schon lange eine Legende, diese Band, die dem Punk/HC in den 90ern ein neues Gesicht gegeben hat. Sie haben eine vielschichtige Konsens-Fanbase geschaffen wie sonst nur wenige Bands und zählen zu einer der innovativsten Bands der alternativen Musikszene Deutschlands.



(frei nach stefan strittmatter, basler zeitung)

GUTS PIE EARSHOT are surely one of the most unusual drumnbass-punk bands who music-wise vaguely have something to do with punk/ hardcore. Their music is purely instrumental. This instrumentation may appear minimalist, only cello and drums are played, and yet the music conjures up entire new universes in the mind's eye - or ear.

It creates a unique atmosphere miles away from the structured world of punk, rock, dance-floor or drum 'n' bass. As we know, opposites attract and in the case of this band, they simply implode. Live drum break beats and staccato cello strokes cater for aggressive and tight moments bursting with punk energy and catch the dance floor grooves with its classical, oriental cello melodies.

With their sound they manage to create a whole new tone world oscillating between mourning, melancholy and dreaminess on the one hand, and power, energy, virtuosity and the entire complexity of jazz punk on the other. What emerges is innovative and playful pieces which are yet saturated in beauty - and always a sure seduction to dance.

GUTS PIE EARSHOT are one of the bands who for 13 years now have achieved what only the very few manage: to transfer themselves and their audience into a state of intoxication and, for as long as the song lasts, abduct them into another world.
For more than 13 years now they have been making their own unique way far from the beaten mainstream track and conformity.

Influences from hardcore, classic, breakbeat, jazz, tekno and folk create an hypnotic soundtrack to the famous "in-mind movie".


But both musicians remain true to their punk roots, even meticulous passages never come over as sterile, and the sound still has that somewhat rough charm of a garage band.

It's clear that here the depths of established listening habits are plumbed and put to the test. A band that has broken out of the musical norm to create something completely new, their own thing.

LINE-UP: Duo with Cello: Rizio , Drums: Scheng
ORIGIN: Cologne  / Münster ( D )
FOUNDED : 1993
STYLE: Drum 'n' Cello – cellopunk or: "Punk without guitar", "Drum 'n' Bass without bass", "Tekkno without technics", "Pop without singing", "Classic without...." ...
SOUND MEDIA: 8 CDs / LPs – Currently: "Chapter Two, Volume One"

HISTORY of the BAND:

Guts Pie Earshot emerged in 1993 from the band "Flowerhouse", a then 5-man D.I.Y. / Punk/HC-influenced band, successful In the "scene" with cello, keyboards, bass, vocals and drums.

From 1997 various members drifted away from the band and were not replaced - so as not to lose the original signature of the sound that had developed over the years. The line-up now is:

Patrick Cybinski: Cello in various orchestras (e.g. Orchester Bielefeld), theatre music (live and composition) ("Meeresrand", "Dracula", "Lukas der Lokomotivführer"...), "Blutgruppe" etc.

Jean Jacobi: Drums with "Tecbilek", "Ministry of good Vibrations", "Lucy killed the Dragon"; electronic minimal music: "Scheng" etc.

rizio
( patrick cybinski ) : cello
member since 1991

Other Projects:
Musik für Hörspiele:
- 2004:"Meeresrand" Theatersolo mit Gilla Cremer erschienen bei Hoffmann & Campe
- 2004:"Die Liebenden" NDR-Hörspielproduktion
- 2005: "Dracula-Musik einer Blutgruppe", mit Ensemblemitgliedern des Theater Bielefeld, erschienen im Elf Uhr Verlag

Theatermusik am Theater Bielefeld, Landestheater Linz und Thalia Theater Hamburg:
- 2002: Lessing : "Emilia Galotti" ; P. Marivaux : "Der Streit"
- 2003: Ror Wolf : "Nachrichten aus der bewohnten Welt" ; T. Fontane : "Effi Briest"
- 2004: H. Ibsen : "John Gabriel Borkman" ; V. Olmi : "Meeresrand"
- 2005: A. Tschechov : "Platonov" ; M. Ende: "Jim Knopf und Lukas, der Lokomotivführer"

scheng
( jean jacobi ) : drums
member since 1991

other projects:
Drums bei "Tecbilek", "Ministry of good Vibrations", "Lucy killed the Dragon"; Elektronische Minimalmusik: "Scheng" u.v.m.

Ex members :

Al-X
( alex franke ) : bass
1991 - 2004



a.Punkt
( anneke pohl ) : voice
1993-1998



guntha
( gunther steudel ) : keys
1991-1997

distorted wonderland:

feedback:

give me feedback - I starve - please reflect me - ‘cause I stare into a hole - be my mirror and ask - give me feeedback - love me hate me - now -
 

reflection

see that man - he stands and smiles - he’s so deep inside - his view his life - you want him move move move - but he won’t follow - you want him drool drool drool - but he don’t care - he is a slow but steady swaying shelter - where he gives life to a funny wonderland - and if I compare myself with him - I don’t know where to put the marks - who am I to understand about his mind - I even don’t know mine - my independence seem to vanish in his eyes - and what I see see see is what I dream - he can be rich - can be a bird or be his mother - can be a murderer - a dentist or a priest - can live in india - on mars or in the gutter - can be a leader of a long forgotten time - you want him move move move - but he don’t follow - you want him drool drool drool - but he don’t care - you stare at him - and sometimes you ignore him - it doesn’t matter - because he’s always there - he is your dream - your nightmare and your sorrow - he is the fool that you never want to be - he is your truth - your day and your tomorrow - he is the fool - but first of all - he’s free - and if compare myself with him - I don’t know where to put the marks - who am I to understand about his mind - I even don’t know mine - the reflection of me - once so bright - become distorted day by day - maybe i’m the next one there - who stands and smiles - erected I stand - if no one forces me down - my thinking is straight - if i’m not blind with rage - ont two three - until i’m dangerous - push push push - and I smile constantly -

 enemy today

you’re always hard to please - guess you are my enemy today - no more games to play - i’m not the one you push around - and I step out in the sun - you need someone to get some fun - i’m on the run to blow you some - I will be your misery - see you - I throw stones - I rather want to be alone - to be with me - not be with you is like psychotherapy - i’m the king today - at least the crown for me alone - but where is the crowd - just the mirror to feel proud - and I step out in the sun - I need someone to get some fun - i’m on the run to show you some - I don’t want to be your enemy no more -
 

several parts

the day simon came to town - he was riding a white pony - stetson deep in his face - and the straitjacket wrapped loose around his hips - people where staring at him - this town was too small not to know him - although no one saw for fifteen years - in front of the saloon he stopped - turned at the gathering crowd - a water-pump-gun in his left one and yelled - see me standing here - I am simon b. - what a piece of meat - still tranquilized - but filled with kerosene - and the rage of years - not a trace of guilt I feel these days - i’m here while i’m inside out - now look at the ape you made of me - i’m here and i’m an angry loon - i’m here - mentally deficient man escaped the mental home - police needs any information or help from the rural population to get him back in custody - he is one meter eighty tall - and has last been seen wearing a cowboy costum - he might be confused and helpless - there is no danger for anybody -he is harmless and nonviolent - no one can see me - when I close my eyes - no one can touch me - because i’m never frightened -your disgust moves me - now i’m burning - you’re just another fucking club I couldn’t join - you suck - and I don’t need to - you suck - your beautiful and rich - therefore i’m here to kill you - you suck your own blood - i’m out - i’m out - i’m out - laughter -
 

me grain

and every morning I wake up - like in a bed of nails - my head as heavy as a train - a dream of one ton weight - I can’t grow out of me - my head - my world - my head - the seed - me grain - me grain - like a strange flower - grey as stone - is growing deep inside - absorbing all the light I need - to see more than black and white - I can’t grow out of me - all I see is me - - just me - my head - the seed - me grain - me grain - turning my head from left to right - trying to peel off my skin - ignoring i’m running trough a tunnel and never reaching the light - like dancing in leaden shoes - one step forward - three steps back - thats where I left myself -
 

clean

stay blind - cut deep - choke down - don’t ask - thin leak - small hope - drunk drown - stay blind - hard to feel some real emotion - fear will come up - when i’m wounded - hard to stay blind - a question formed deep inside - why to choose this life - while out of my perception - the flowers bloom so bright - I swear I swear to stop - when I open my pores - I taste just sterile air - no dust no toxication - at least no smell at all - I swear I swear to stop - thanks for your charity - why did I ever want to - leave this safety - my home my plastic castle - I close my eyes i’m free - I swear I swear to stop - thanks for your charity - stay - blind -
 

sonic you

sonic you gets me on my nerves-i´ve fallen out with you-sonic you is so naughty in public-sonic you laughs at me-when i try to be serious-
 

flowerhouse:

no need never

don`t take me up cause my sleep is sweet dont take me up no need to think no power left let me down deep dont show me whats cruel dont show me whats sweet dont let me feel real i am asleep never to high cause i might fall deep could be hurt step on somenones feet left alone i wont feel see speak please dont knock i am asleep
 

isolated

fightin for nothing no more peace and love just paper revolution but of course i write up everything nothing left alive to hate fighting for nothing no more gettin through just for the fun of it there are no answers to my questions i know because i live on both sides of the mirror dont wanna elbow my way cold crazy or connected. its not just survival. you cant make me dont call me hysterical if i feel that fear realityn is relative dont sneer fear is my security fierceneâs is my might my senses they`re sharpened unrest is my price just take a look in my face take a look at my fear its the pain that counts and you cant make me!
 

under my skin

all the words that i`m sorry i never dared to speak out. under my skin stored downright broken glass water flowing upyards. didin`t try to tell.
 

10 inch:

mine

i`m back to the place where i began did it all break hrough won`t you sell my heartbeat too did you cut it out once again my heaart is blank like a blue box cool you can dictate that tictic now did you cut it out creep off pimp i`m loaded don`t you sell my voices for more than my chances did you change my pillbow don`t you it`s mine
 

ripped off

ripped off my tongue ripped off my ears eating the last part left of me cut out my eyes ripped off my heart nothing left you`d like to see i weep and i crawl don`t fade don`t you fade at all and i cried out cut it off that rope blink away that i roll down the slope
 

silence

silence get closer speak to me feed me with words now please don`t get out of my earshot with hundred open ears i wait to swallow a sound please dont get out of my earshot i try to force my brain into these lips remain closed all i hear is just my own thougts the rush of my own blood`s too loud silence can`t hear you please don`t get out of my earshot once i tried to get rid of you tried to noise it down by sceaming at myself stick the finger in my ear not to hear you saying nothing no more rub my hands between your jaw with every silent day a day that noone talks to me silence i`m one of you my tongue loses one word i sceam it out now these are the last words silence save me speak
 

close to distance

the change was slow i`m half of everyone around now i feel nearer when i am far away from you
 

wait:

every day:

i settled my thoughts-i`m looking for you-i`m breathing-one thoughts is enough-i`m learning to laugh-i`m breathing-if I am not near-if i am not here-there is something wrong-no chain is so strong as i`d like to be-i`m breathing-i`ll show you my game-now tell me whats your`s-i`m breathing-and if it don`t fit-i have to admit-i`ll try once moe-everey dayis my day when i think of you

butterfly murder:

now you grap all you can gez-trying to hold on to that dream-that you`ve been feeding for so long-make if your reality-not to feel so alone-not to feel that no one`s near-it is just you inside that lead-and now you`re sensless waiting for something i`d be never able to give-any word could be the word-any smile could be a promise-that will keep you going on to focus things that never happened-did i realy cut so deep-did i bleed right when i stopped it-and now you`re sensless waiting for something i`d be never able to give

wait:

here i stand-i`m waiting for the start to run-then i stumble three steps forwaard and then back-i know i live-how they look at me now-just as if i`m wrong-i decided that it`s better to wait here while the others run-and iwait for them to wait-i am slower if they run-and i wait for them to wait for me-my number one-and they`re running backwards-trying to be as slow as me-but they`ll never catch me now i hide-and like a stonei live-then one day i`m moving-patiently i try make one meter in a year-or two as they walk by-and i wait for them to wait- i am slower if they run-and i wait for them to wait for me-my number one

freakin`:

although i`m freakin`-wouldn`t you prefere to like me?
 
 
 
all texts written by anneke.

"CHAPTER TWO, VOLUME ONE" 2005 DOUBLE-CD / LP:

"manù"
"exist"
"it´s never new"
"if i"
"butterfly" (only cd version)
"smart but angry "
"i so late" (only cd version)
"waiting" (only cd version)
"hidden why" (only cd version)

our new cd, and we are really proud, that after 5 years we did a "real new" ... double- cd ... ;-)the songs are partially new, and partially we took parts old songs, and changed them complete - like a humal sampling library...so it is a trip through all kind of styles we ever did... with a new interpretation, not only, because it is the first one to be only with 2 instruments.we recorded it mostly live in 5/ 2005 at "ORIGINAL MEISTER STUDIO" and it was mixed at "BIG HOUSE STUDIO"- CD release date 22.11.2005 by "BIGHOUSE REC."- LP released by "MAJOR LABEL"

"10 YEARS COMPILATION" ( best of...) 2003 CD

"exit"
"close to distance "
"isolated"
"can´t make me"
"silence"
"enemy today "
"butterfly murder"
"who`s gonna tell my story
"sonic you"
"woodloop"
"under my skin"
"me grain"
"wait"

our "best of" for the 10 years of guts pie earshot..."Wie der CD-Titel schon verrät, ist mit diesem Tonträger eine "Best Of" mit den 13 genialsten Songs zum 10-jährigen Bestehen von Guts Pie Earshot entstanden. Mit wunderschöner Instrumentierung und Annekes mitreißendem Gesang jongliert die Band wohldurchdacht mit den Stilrichtungen Klassik, Jazz, Pop, Elektronik und Punk. Man kommt nicht daran vorbei. Diese geniale Kombination verzaubert und zieht einen regelrecht in den Bann."-CD released in 2003 by "MAJOR LABEL"

"EXIT" (2000) CD/ LP

"exit"
"time of the"
"woodloop"
"reflection"
"smart dub but"
"thaughts"
"smart but angry"

after anneke left the band we thought that it is allways good to be active when you re down...so we did new songs, modified the old ones to be able to be played from an instrumental trio we were suddenly, we did an instrumental tour,we remarked that it works like in a beatyfull dream... so,we made instrumental recordings, and made this album of big feelings.that s where we stand now: an instrumental trio, creating new worlds with our hardcore and punky roots.this album was the first step.-CD re-released in 2003 by "SKULD-RELEASES"- LP released by "MAJOR LABEL"

"WAIT" (1999) CD /LP

"freakin "
"close to distance" (shorter version without synths)
"butterfly nurder"
"who s gonna tell my story"
"every day"
"wait" (song version)

this was the last release with our singer...and it was sooo good! we were happy and satisfied with our sound, with our songs!it was recorded in "Steinberger Studios" (we could see the sun and a little river from there...)the vinyl version was a re-release by "Skuld Releases"- LP is not availible any more, only a cd version

"DISTORTED WONDERLAND" (1997) CD/LP

"reflection"
"sonic you"
"several parts of life"
"sum"
"clean"
"feedback"
"me grain"
"enemy today"

this one was the noisiest, experimental and intensive LP we did. it was an explosional mix of our live experiences, the symbiose of a punk feeling and the other spacy and smooth part we tasted in the film music...and was the last recording with our keyboarder.it was a cooperation between "Revolution Inside" (they did the vinyl version)and "BluNoise"(they did the CD version)it was the last recording with our keyboarder.- not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

"REVOLUTION INSIDE #19" (1996) 7"- compilation

Guts Pie Earshot: "briefe aus dem toten trakt" - not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

"ANATOPIA fim music(1996) LP

wait, raise, sit, go, scream, turn, listen, fly,
lean, dream, fail, rise, move, leave, climb, spread...

first there was a film...we did the music after looking long clips for the documentation film about a squatted place near oldenburg (germany).after all we liked the music so much that we decided to do a record with the recordings.the character of this record is pure, spacy and fragmental, and some of the released ideas became "real songs" later...- not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

"10 INCH (1995) EP

"mine"
"ripped of"
"silence"
"close to distance"

the second record was a ten inch ep, recorded in a little garage-studio in Bonn, and was supported by the label "Revolution Inside"- not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

 

"FLOWERHOUSE" (1994) SPLIT-LP

"no need never"
"isolated"
"you can`t make me"
"under my skin"

A real DIY as a split lp together with a band of the drummer "ministry of good vibrations". It was supported by the new created label "revolution inside".- not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

 

"REVOLUTION INSIDE #4" (1994) 7"- compilation

Guts Pie Earshot: "tumor" - not availible any more, but it´s planned to release a compilation of the flowerhouse, 10 inch, anatopia and singles...

 

All reviews are here

© by Ox-Fanzine / Ausgabe #82 (Februar/März 2009)

GUTS PIE EARSHOT

Grenzen sprengen! Revolution tanzen!
Eines kann man dem Duo, bestehend aus einem Cellisten und einem Schlagzeuger, sicher nicht nachsagen: es sei eingefahren und statisch. Über die Jahre fanden Patrick Cybinski und Jean Jacobi ihren eigenen Weg, sich von der Masse abzuheben und einen Sound zu erschaffen, der durch seine kompromisslose Vielseitigkeit Menschen verschiedenster Subkulturen und Generationen vereint. Was 1993 als Quintett begann, verdichtete sich mehr und mehr, bis sich die beiden vor etwa vier Jahren entschlossen, nur noch zu zweit auf den Bühnen und in den besetzten Häusern dieser Republik und über deren Grenzen hinaus unterwegs zu sein. GUTS PIE EARSHOT verführen ihr Publikum, eröffnen neue Sichtweisen und verschmelzen nebenbei Punk, Hardcore, Metal, Ambient, handgemachten Techno, sowie Orient und Okzident zu einem extrem tanzbaren Konglomerat.

Ihr habt euch über die Jahre ständig verändert. Wie seht ihr eure Entwicklung? Und was ist mit eurer Sängerin passiert?

Jean: Das ist ja schon zehn Jahre her, dass Anneke weg ist, wir treffen uns mit ihr auf jeden Fall immer wieder und es ist jedes Mal schön und vertraut. In den fast 16 Jahren von GUTS PIE EARSHOT hat sich jeder für sich durch verschiedene Musikrichtungen treiben lassen. Ich persönlich habe den Techno komplett mitgenommen, Drum’n’Bass und so weiter, aber auch die alten BLACK SABBATH Sachen gefallen mir sehr. Patrick macht Musik zu Theaterstücken, das beeinflusst uns natürlich. Wir sind beide über 40, ich habe zwei Kinder, wir leben von unserer Musik und diese Lebenssituationen verändern schon die Sicht. Seit 2004 sind wir ein Duo und haben gemerkt, dass uns das instrumentale Spielen ganz neue Freiheiten gibt, ähnliche wie einem DJ. Unsere Konzerte bekamen immer mehr eine Art Party-Choreografie, in die wir auch die punkigen Sachen je nach Stimmung integrieren, als ob wir uns selber auflegen würden – nur eben live gespielt. Dieser Ansatz gefällt uns im Moment am meisten, weil wir unsere Stücke eher wie Rohmaterial benutzen, die live erst richtig Gestalt annehmen. Insofern ist für uns die logische Konsequenz, immer mehr mit DJs zu spielen beziehungsweise sie für uns. Wir wollen die blödsinnige Trennung zwischen Live-Konzert und Auflegerei sprengen. Dabei ist unser einziges Tabu, dass wir keine Sampler und keinen Laptop benutzen. Es gibt immer wieder schöne Erlebnisse, zum Beispiel wenn wir vor Technoheadz spielen, die noch nie einen Berührungspunkt mit Szene oder Punk hatten und dann nach dem Konzert ankommen und erzählen, diskutieren, einfach interessiert sind an neuem Input, auch politischer Art.

Euer Stil ist ziemlich einzigartig und es fällt schwer, euch einem Genre zuzuordnen. Gibt es Vergleiche, die euch nerven oder die ihr besonders gelungen findet?

Jean: Wir haben selber keine wirklich gute Beschreibung von dem, was wir machen. Irgendwann haben wir es „Breakbeat.Punk“ genannt, damit die Leute nicht denken, wir machen Nachmittags-Jazz oder Frickel-Core mit Cello und Schlagzeug. Es ist halt schwer, wenn man einen sehr speziellen, aber auch massenkompatiblen Sound macht, der auch noch generationsübergreifend funktioniert. Zwischen 14 und 60 Jahren ist auf unseren Konzerten alles vertreten. Ich finde es gut, wenn die Leute sehr persönlich nach den Konzerten von ihren Erlebnissen und Gefühlen mit der Musik erzählen. Der Vergleich mit APOCALYPTICA nervt aber total, und ganz schlimm finde ich es, wenn die Leute unseren Sound „jazzig“, „krachig“ und „völlig abgedreht“ finden. Das ist für mich das Zeichen, dass der Sound scheiße war und die Bässe fehlten.

Patrick: Natürlich werde ich oft auf APOCALYPTICA angesprochen. Was die machen, finde ich super und würde nicht ablehnen, mal als Opener für sie zu spielen.

Eure Liste an Konzerten ist ja ganz schön beachtlich. Macht ihr noch was anderes, außer auf Konzerten und Festivals zu spielen?

Jean: Manchmal hab ich den Eindruck, dass wir eigentlich nichts anderes tun. Im Ernst, da wir alles komplett D.I.Y. machen, ist die Zeit zwischen den Konzerten voll mit Checken und Organisieren. Wir sind glücklich, dass wir im November 2008 eine Agentur gefunden haben, die uns sehr engagiert bookt, das heißt, wir haben, was das angeht, im Moment endlich Freizeit. Die Konzerte sichern eben auch unser finanzielles Überleben. Den Rest der Zeit steht an allererster Stelle die Familie, mit all diesen unpunkigen Dingen, wie einfach nur glücklich mit Kindern und Frau sein, Elternabende, auf Spielplätzen hängen, kochen, waschen, Fahrdienst spielen oder einkaufen. Andere musikalische Aktivitäten, wie mein SCHENG Projekt, andere Bands oder meine freiberufliche Tätigkeit sind auf Eis gelegt. Da wäre kein Platz mehr für Beziehung und Kinder. Bei ca. 70 bis 100 Konzerten im Jahr komme ich mir manchmal vor wie ein Fernfahrer. Erst recht, da Patrick in Münster lebt und ich in Berlin.

Patrick: 2007 habe ich drei Monate im Sinfonieorchester in Bielefeld gespielt und im September hatte an den Hamburger Kammerspielen das Theaterstück „Mobbing“ nach einem Roman von Annette Pehnt Premiere, ein tolles Theatersolo mit der Hamburger Schauspielerin Gilla Cremer. Die Musik habe ich gemacht und spiele sie auch live. Ich versuche auch hin und wieder mal zu Hause in Münster zu sein, wo ich ja mit 33 Leuten in der Wagenburg zusammenwohne.

Es scheint, als seid ihr in den besetzten Häusern Europas zu Hause. Unterscheiden sich die Auftritte in einem besetzten Haus von denen in kommerziellen Läden?

Jean: Uns ist es wichtig, erkämpfte Freiräume zu unterstützen. Es ist einfach essentiell, dass es besetzte Häuser gibt, die sich dem Kommerzdiktat widersetzen. Ich bin durch solche Freiräume politisiert worden, sie sind ein großer Teil meiner Geschichte. Aber wir wollen auch Leute erreichen, die sich niemals in ein besetztes Haus trauen würden. Wir versuchen da, die Waage zu halten. Natürlich sind wir am Ende auch kommerziell in dem Punkt, dass wir von unserer Musik leben. Aber wenn wir ein paar gut bezahlte Konzerte spielen, können wir es uns auch eher leisten, wieder komplett ohne Gage für ein Projekt zu spielen.

Patrick: Kommerziell versus unkommerziell als Abgrenzung in der Szene finde ich bescheuert. Natürlich ist es super wichtig, dass es Leute gibt, die im unkommerziellen und auch antikommerziellen Rahmen Veranstaltungen machen. Allerdings können wir da, ehrlich gesagt, oftmals nicht mehr mithalten, wir müssen und wollen von unserer Musik leben, und manche verstehen das schon als kommerziell.

Jenny Kracht
© by Ox-Fanzine / Ausgabe #82 (Februar/März 2009)

here is a sort of faq about gpe, based on an interview i (scheng) gave in 2000. we changed and actualized some parts, so that it isn´t that interview anymore...

--> tell us something about the band history...

ok, we started in ´93 as a punkband, and were looking for a gitarre-player, but we found a cello-player, and we thaught ok, ,so we start with that, and later, there comes a gitarre, can be interesting...later we found out, that it sounds good without gitarre. "we"-that was me,scheng (drums), gunther(keys) , antje (singer in that time) and a bass player wich i don´t remember the name....so, you see, it was more a project...we were called "flowerhouse"i think, the real story began, when alex(bass) joined us, and antje left the band. we made very much experiences on playing 12 hours a day/night, doing endless gigs without singer, without gitarre-it was really a good time...
and than came the big day:

in 1995 anneke came in our live and changed all what we were believing about singer...and we started with GUTS PIE EARSHOT, and made our first real tour and the split-record (wich we simply called "flowerhouse") with "ministry of good vibrations".

--> you've started as 5 piece band, but only2 of you left. was it too complicated to handle 5 diferrent opinions?

5,4,3,2... it´´ true, it seems a little bit strange, now after 10 years we are only 2 people left, but we have the main reason is, that we never wanted to change the "handwriting" of our music!

every new musician would have change more in our music than we wanted... so, it´s much more consequent for us to play as two people under this name, than to search a new voice, a new bass... this would really mean, guts pie earshot wouldn´t exist anymore...

the main thing that our keyboarder/minister of sampling left was, that he wanted to do something other in his live, he is studiing composition for jazz.
after he left, we did not want to search for someone elese, we found, that it sounded good too, without the samples.
then, in 98, it was anneke who was at a point to think of doing something else in her live, she left germany...and it was really hard for all of us-a lot of tears where running...
we did the "wait"-cd, a last tour, and then we stayed alone, asking ourself what to do now...

after a few month we thaught it was time to try, if we can do it -again - "without"-how much we can reduce, until gpe would end...so we did a "kamikaze-tour", and it was real amazing, although some people were fucked up, the most we could win for a new experience...

our bass player "left" the band (he needed an activity pause for one year, and to look after what will happen... so he is a sort of "non active member") in 2004, mainly to have more time for other, new projects like of his new band "PHEW".
this was really a point to think about discontinuing guts pie earshot....
also, patrick and me are very merged it other things in live than guts pie earshot ( children, theater-music, orchestra, working...), and we work only very temporarly, and intensive. this is not easy for other people, and it is a difficult base to work...

so we started 2 test gigs, and... it was amazing... and gave us the power to do that cracy thing: to play with only a cello and s drums...
so, in fact in all the years it was never really a problem of communication between us.
of course we had and have many different opinions, but in all the years we learned very much about another, and we learned to respect each other and to know that each of us is very special and this is what makes our music...

--> how did the cello came to punk/hc waters?

patrick was always a big fan of it!
and we met at many concerts...he takes classic very serious, and he love classical music ( like i do too!)- it is a big part of his life, but the other part is still all kind of good music, and one of it is punk/ hc and the philosophie behind it...

--> can you tell about German underground scene some years ago, when GPE were taking the first steps? what did change during these years?

in the beginning, for me, for many people in the " scene" it was totally clear who is bad , evil and wrong. we were a family with many differences of course, but we were all in the same situation of believing in something really good, and we were thinking, we are the right side to be...

after and after you see more the background, and what goes wrong also in your scene, and the scene became more and more little, because there were so many people doing the "wrong things", and because the establishement had new plans how to destroy us...
every time a squat was destroyed there was a little scene with a history destroyed- the place becomes smaller and smaller- in the beginning everyone hade a little island, but after the people are fighting each other because it has become such a little place, and everyone has an other idee how to organize it...

and so after a while we have the situation that everyone is alone again...

-no, it´s not really like this, but a little bit...

the other thing is that many people are so conservative to think that "their revolution " is the right one, so suddenly punk rock is getting an ugly mainstream of a little scene, and only a copy of itself, because they don´t accept something else than the people do since now 20 or 30 (!!) years!!! they think they are very revolutionair to copy old dead men like sid vicious or other commercial stuff, and are shouting after tecno or drum´n bass because they don´t know it and have fear ...to get their illusion destroyed.

when we started, there where many places to play, many young peopole doing and organizing concerts- mainly for "good things". i think that 90 percent of the buildings doesen´t exist any more, 99 percent of the people neither...

it´s a sad situation, that every 2 years all the people in a place change, and the "old" people are away -mostly doing completely other things because they are fucked up or something like that...

so you meet completely new people who are telling you the same things you heard 10 years before...and you think:ok, it´s nice, they are ok, but i´m a little bit bored to get no new aspects of life, new interesting spirits, music, ideas in the scene, but always the same problems and illusions of people who think they are so cool...

--> nowadays some people say that politics (in general) are the must part of music, while others think music should be apart politics and serve entertainment needs only. what music is for you?

i think, that culture is created by politic, and politic is influenced by culture, and music is only one part of a culture.
if there are no squads, if there is no possibility to meet each other in a way we want, so the culture get poorer because there is no place to make new experiences, to develop alternatives to the mainstream of life, communication and politics. on the other hand this makes, that people search for every little freedom they can get, and this makes them creative and hopefully. so i think music is a mirror of feelings, and if my feeling are motivated by a political conscience, everybody can hear and feel it in the music, and i believe music can open minds for politic feelings and is in the end a politic action. there is no "unpolitical music"- every music is a statement, and you cannot separate it from each other!!!

--> your music has lots of electronic music influences, especially d'n'b. where it came from? what do you find the most interesting in it?

we always develop songs very slowely- that means: someone has an idea, and we do sessions after sesions about it until everyone is statisfied, so every influence of music someone hear at home, every feeling someone is living, has an influence in our music...

there where many influences in the 10 years, cause especially me i hear really ALL kind of music. in the last time also many good breakbeat /techno... but i think the main thing is, that since we play instrumental, automaticly you hear the music in a different way- and especially the rythms- there are many songs, where i did not change anything, and suddenly without the voice, the people hear what i did since years: breakbeat-rythms...

--> some people said about GPE "they're quite famous in Germany now". what does it mean to be quite famous in Germany?

i don´t know who said that! there are some cities where there come about 400 people- is that famous?
i think no, not really! we have many people who travel to many places to see us- it´s nice- but famous? i thought famous is, when you can pay your bills at home, your flat etc...and we are far away from that... ;-)

- GUTS : (innerer, aus den eingeweiden) MUT / "to have..."Mut haben
- PIE: Mischung/Kuchen
- EARSHOT: Hörgrenze / "out of...": "ausserhalb der Hörweite"