(Too bad it belongs to the early output of the band; what they do today I don't know - probably something that is pretty far away from their beginnings, like it happened to nearly everyone.)
Regarding the music issue, I remember there's been a documentary a long while ago in the media governed by public law here (in den Öffentlich-Rechtlichen) called "Die Champions der Charts", which anatomized this subject pretty well - of course, it took a bigger look at the German "market" at the time, but it also came down to the international roots of the "hit factory". And at that point, the subject downright couldn't avoid to mention this one guy from Sweden who wrote dozens of popular hits throughout the 90s. As Markus Kavka (who once worked for the German MTV channel, but who's also very well-read in a lot of subjects and issues) pointed it out: You even realize how you get stupid from this style of music that this Swede created. It's relatively simple-structured, and if you know about the fact, then you also realize how much these songs created under his watch/from his feather sound very similar.
In that documentary, they also took a good look at how YouTube changed the way of composing music overall. Like, for example, in earlier times, you could afford yourself an intro up to 1,5 minutes, now it is that you literally have to get the song ready to present in 30 seconds. In 30 seconds the whole song to be presented must be there in full blow or the average consumer moves on to the next video. (That's why many songs these days also sound like lost and having no real structure, no real beginning and no real end, and sound like they're the constant background noise of the party.)
Interesting also how similar patterns are active in the background of the German singer/songerwrite wave that is on for quire a couple of years already. All this music with German lyrics which doesn't do Schlager, which specifically sounds like somebody who cannot really sing nor really rhyme or find a hook-line to pull people with him, it's also very much created by a certain circle with dozens of artists they work for. But officially, most of those people are sold like indie bands or the type of "dreamy, touchy-feely guy who writes songs". If you ever hear this kind of style of music with German lyrics, combined with that public image the artist(s) get sold with, on top with very shallow-sounding lyrics and subtle product-placements, then you know you're listening to music from the German-speaking music factory.
(Too bad it belongs to the early output of the band; what they do today I don't know - probably something that is pretty far away from their beginnings, like it happened to nearly everyone.)
Regarding the music issue, I remember there's been a documentary a long while ago in the media governed by public law here (in den Öffentlich-Rechtlichen) called "Die Champions der Charts", which anatomized this subject pretty well - of course, it took a bigger look at the German "market" at the time, but it also came down to the international roots of the "hit factory". And at that point, the subject downright couldn't avoid to mention this one guy from Sweden who wrote dozens of popular hits throughout the 90s.
As Markus Kavka (who once worked for the German MTV channel, but who's also very well-read in a lot of subjects and issues) pointed it out: You even realize how you get stupid from this style of music that this Swede created.
It's relatively simple-structured, and if you know about the fact, then you also realize how much these songs created under his watch/from his feather sound very similar.
In that documentary, they also took a good look at how YouTube changed the way of composing music overall.
Like, for example, in earlier times, you could afford yourself an intro up to 1,5 minutes, now it is that you literally have to get the song ready to present in 30 seconds. In 30 seconds the whole song to be presented must be there in full blow or the average consumer moves on to the next video. (That's why many songs these days also sound like lost and having no real structure, no real beginning and no real end, and sound like they're the constant background noise of the party.)
Interesting also how similar patterns are active in the background of the German singer/songerwrite wave that is on for quire a couple of years already.
All this music with German lyrics which doesn't do Schlager, which specifically sounds like somebody who cannot really sing nor really rhyme or find a hook-line to pull people with him, it's also very much created by a certain circle with dozens of artists they work for. But officially, most of those people are sold like indie bands or the type of "dreamy, touchy-feely guy who writes songs".
If you ever hear this kind of style of music with German lyrics, combined with that public image the artist(s) get sold with, on top with very shallow-sounding lyrics and subtle product-placements, then you know you're listening to music from the German-speaking music factory.
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