From the Tallest Building in the World - #5

I really enjoy the privilege of sharing my own personal view of our band and our experiences on and off stage in ‘A Look in Between’. But for the album release, I had an idea: I remembered the days when many of my favourite bands and musicians released track-by-track audio commentary on their albums. So I asked my Wüstenberg colleagues if they would like to write about a song that means a lot to them. And I am thrilled that Heike Probst (the amazing singer on ‘Hold On To’) and our fantastic producer Jörn Schlüter decided to join in.

The first thing I realised was that our favourite songs on the album are very diverse. The second thing I realised was that it's great to find out what others associate with songs that we've played together countless times. And the third thing I realised was that there should be many more albums with track-by-track commentary.

Enjoy reading!

Torben

Track 1: ‘The King's Gambit’ – Simon Scherer, Banjo & Mandolin

Franz asked me to play the song with him quite a while before the band existed. It immediately won me over: incredible groove, awesome melody and powerful lyrics about the struggle with oneself.

When he said he was starting a new band, I agreed without even having time for it. Luckily, I was so reckless!

King's Gambit, a risky (chess) opening with an uncertain outcome, is what we all dared to do with this band, and it's paying off: it's incredibly fun, the vibe is extremely positive and contagious, everyone is giving their all – and I have no doubt that we'll win the game.

Track 2: ‘Call Me A Fool’ – Jörn Schlüter, Producer

‘Call Me A Fool’ was one of the first songs we worked on in the run-up to production. The song encapsulates much of what I feel about the whole album: everything is magic! Everything is illuminated!

This music is neither cold nor calculating, but carries the magic of the beginning because these seven great musicians allowed themselves to be enchanted. Enchanted by a new possibility, by new friendships and by music that miraculously emerged among them.

‘Call Me A Fool’ is about signs in the stars, mysterious dreams and the little miracles that are hidden everywhere. Accompanying this are a richly playing band, great melodies and one of those wonderful tunes from banjo and violin that are so important to Wüstenberg's music. Magical.

Track 3: ‘Hold On To’ – Heike Probst, Singer

There are songs that are like a nice date. You listen to them, you quite like them. You can imagine meeting them again. But let's be honest: you wouldn't sell your house and garden to move in together.

Okay, I admit it: Wüstenberg songs generally have nothing to do with a nice date. My house and garden have been at risk several times. But ‘Hold On To’ has a special meaning for me despite all that.

I remember how I felt when I heard the song for the first time. We were sitting in the living room. Franz played it on his Sigma. After just a few seconds, it not only captivated me – I had tears in my eyes. What I heard not only moved me, it touched me deeply. The composition rolls out the red carpet for the lyrics. ‘Hold on To’ would never let me go, that much was clear.

You're wondering what became of the house and garden?

I can't tell you when it was anymore. Was it when I stood in front of the microphone to sing the harmony for the album? Was it during the music video shoot in the 1961 Volvo? Or was it at the LKA Stuttgart, when I stood on stage with the incredibly impressive personalities and musicians of Wüstenberg?

I have no idea. It doesn't matter anymore.

I sold everything.

Everything.

Track 4: ‘Trading Manners for the Madness’ – Catherine Kuhlmann, Piano & Organ

‘Trading Manners for the Madness’ – for me, this means discovering a new side of myself that is enormous fun. It works because the people behind it are so incredibly warm with each other that being brave and trying new things is not only okay, but expressly encouraged – so that a (sometimes crazy) idea can be picked up immediately, developed further and woven into our collective music-making.

Wüstenberg is not just a cool band with new music – I get to grow and bond with these amazing people. And I look forward to the madness that is yet to come. On stage and beyond.

Track 5: ‘Man with No Baggage’ – Béatrice Wissing, Violin

Really? We're going on tour without brass? I joined Wüstenberg because of those brilliant demos, whose rich brass sound immediately grabbed me. Okay, that's not quite how it was. Franz once told me that the first six seconds of an encounter are crucial. Is that why I still hear brass instruments in songs where there aren't any?

I remember it clearly: I was sitting in my Golf and heard ‘Man with No Baggage’ for the first time. That groovy rhythm, paired with a visually stunning interlude that immediately touched my film music-loving heart. And yes – the melody works damn well with mandolin and violin. It's an honour for me to be able to play this wonderful melody. It's one of my personal highlights in the set, and every time I play it, the brass instruments accompany me as if they were there with me live.

Track 6: ‘Paradox of Love’ – Alexander Lauer, Bass

This song is very close to my heart, because it represents a paradox for me too ... I loved the song from the very first moment – and yet I had the hardest time with it in the recording studio, such a damn monster of a groove, such a pain! Can you actually hear that I’m playing double bass on it? Well, I fake a double bass on a fretless bass.

Hmmm, and lyrically: what is love really? Feeling? Truth? Something supernatural? In any case, it's only real when there's unconditionality involved. And with that comes vulnerability and risk. And with that comes the need to really care for each other – and that's only possible if everyone participates, right?

Track 7: ‘Good People’ – Franz Wüstenberg, Vocals and Guitar

You can dream of the tallest building in the world — but you’ll never build it without the right people.

Even though the image of the “Daredevil Sky Boys,” the steelworkers of 1930s America, has been hopelessly romanticized, it still captures the essence of something true: if we want to create something extraordinary, we have to work together. With courage, with a vision, and with a strong community.

We may not be playing our shows on a steel beam swaying 264 meters above the ground, but when, during “Good People,” each musician in this wonderful band gradually joins in and together we set the air in motion, I can’t help but smile to myself — knowing that together, we could build the tallest building in the world.

P.S.: At the next show, please play air guitar during Torben’s ridiculously awesome solo.

Track 8: ‘Revenge is for the Weak’ – Phil-Jonathan Kämpflein, Drums

To me, ‘Revenge is for the Weak’ is a song full of energy, the perfect song to ‘let off steam’. I still remember well how I pounded the drums in the studio as if they were my arch enemy.

On the one hand, I associate the song with injustice, disappointment and rejection, but at the same time with the decision not to let it get me down, to get up and keep going.

They took away my richesBurnt my house downThey left me there to dieBut I have come around

I like that we've added a wild, loud, rocking song to our repertoire with ‘Revenge is for the Weak’. As a drummer, I'm totally into it!

I also like that Wüstenberg isn't afraid to sing about all facets of life with a lot of depth. Not just the white ones, but also the supposedly black ones.