“The Barberboys” Interview, Cover Photo, WTH

Diese Band, von der jetzt alle sprechen, The Barberboys, nun hat die renommierte britische Musikzeitschrift THE CREAM einen Artikel über sie gebracht, und man darf es weder glauben noch gutheißen, dass die Bandmitglieder aus Kamerascheu mich vor die Linse für das Titelbild herbeiriefen – ich sage nur: Sollte eine so bahnbrechende deutsche Band wie die The Barberboys nicht mutig mit ihren real faces in die Medien gehen, könnte man sie über kurz oder lang noch für ein Fake halten. Ich distanziere mich hiermit diesmal ausdrücklich von der diesmaligen Fluchtreaktion der Bandvorsteher Alexander Barnabas Kazimir von Ritzhaupt und Maximilian Benedikt Lorenz von Schwartzbaugh. Hochachtungsvoll, Ihr allerwertester Holger Maria Leberecht von Kalbsau.


That band which all ze Germans are raving about lately, The Barberboys, they’ve been covered in an article in the renowned British music magazine THE CREAM. And one shall neither believe nor endorse the indelicacy by which the band members asked me to pose for the title page, out of pure camera-shyness. All I have to comment on this is: as long as a ground-breaking German band such as the The Barberboys won’t step boldly forward with their real faces one day or the other people will think they are all fake. I hereby distance myself assertively from the flight reaction of band provosts Alexander Barnabas Kazimir von Ritzhaupt and Maximilian Benedikt Lorenz von Schwartzbaugh. Yours respectfully, Holger Maria Leberecht von Kalbsau.

さいきん話題になってるあのドイツのバンド、ザ・バーバーボイズ、何とあの有名な英国の音楽雑誌THE CREAMで記事になってる。そして、信じがたいことにバンドメンバーのあまりにもオーバーなカメラ嫌いのせいで(これは決してよしとして是認すべからずことだが)知り合いである私を雑誌表紙に出てくれと頼まれちゃった。これに一言:ザ・バーバーボイズみたいな画期的ドイツ・バンドがずっと真フェースでマスコミに進んでいかないと、いつかファンたちにも世の中にもフェイクとして思われかねない。これをもって私は、こういった彼らの逃亡反応から敬遠して、バンド責任者のアレクサンダ・バルナバス・カーズィミア・ヴォン・リッツハウプト並びにマクスィミリアン・ベネディクトゥ・レーレンツ・フォン・シュワルツボーに訴えます。敬具、ホルガ・マリーア・レーベレヒトゥ・フォン・カルブスアウ。

– Ach ja, weil “die Schrift so klein ist”, hier der Artikel in voller Länge…
Read the article in its full length here…

- 記事のコピーを載せました・・・

THE CREAM, “The new German Soundgefühls” excerpt:


Speaking of emerging rock bands, we challenge our readership to face yet another avant-garde formation from Germany – The Barberboys! These ambitious and reckless young men from Heidelberg are causing a stir in the petrified German underground scene. Some accuse them of cannibalizing the aesthetics of weaker local bands. Some think they shamelessly exploit the decadence of the underprivileged. Say what you want, but by galvanizing sophistipop influences with grindcore samples The Barberboys are scissoring and undulating together nothing less than a new history of pop. They’ve just finished their first overseas tour along the Baltic coast, filling club houses from Riga to folk stronghold Panevėžys. On Facebook, they already got more followers than Elton John in his heyday. And did we mention they’re working on a scandal-ridden band biography?

The band’s biggest accomplishment, however, lies in cunning self-marketing, says senior guitarist Maximilian Benedikt Lorenz von Schwarzbaugh (not related to Bristol-born harpist Alica von Schwarzbaugh).
“We were just two guys hanging around a barbershop in downtown Heidelberg. We didn’t play music. We simply had this dream of a cult band. That’s when we began producing logos, a website, stickers, and so on, without even having a single song.” What started out as a gag quickly caught fire in their provincial hometown. People, as tired as the Barberboys of permanently proving achievement and self-assertion, gathered around the barbershop.

Things turned serious when Luxembourgian indie label Large Door approached the pseudo-band. “When they asked us to actually sing in front of a crowded hall we almost died of fear. But the money convinced us.” And front vocalist Alexander Barnabas Kasimir van Ritzhaupt adds: “We knew there’s this momentum for gathering new subjects for a 21st century aristocracy. We just had to do it.”
He recalls the first live gig. “It was a disaster. Not so much because of technical skills. Our drummer just blew it.”

But Fortuna was on the band’s side. Not only did they master the instruments gradually, they now invent new ones for each song. Vocalist Barnabas’ soothing voice (“I’ve got a brownish timbre, for the ladies.”) proved to be a jammy shot. The attentive listener finds experiments with spectral music and twelve-tone serialism on their latest album PINK PUKEING [sic!] PUSSY. And when you engulf yourself in the psychedelic soundscapes of their theme song “Purpur”, you know it’s alchemy at work.

Are the B-Boys post-modern rock prophets? Who cares. If their appeal for a sleepy Utopia (“Barberonien”) alone isn’t going to rock the foundations of Germany’s steel-hard meritocracy, be sure the vista of their pirate logo will. THE CREAM already sees chorusing masses waving skull flags through Heidelberg’s street: Barberboys! Barberboys!

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