An Interview with THE MEMORY OF SNOW (2/2)

Automatic translation. Improvements are constantly being worked on.

In our two-part interview with Albin Wagener, we talk about his new album “Inside” and follow an exciting detective story along the way. Did you miss the first part? No problem—you can read it here.

Orkus: “Pandora” also captures the spirit of the times. Was there a specific inspiration for the song, or is it simply a sad reflection of our social media-driven society?
Albin Wagener: I wanted to make it clear that when a crime like this happens—the horrific murder of an abused girl—social media and TV stations immediately pounce on it to report on it, comment on it, and attract more attention and viewers. It’s about the cynical and predatory nature of our media society: Someone dies, and everyone tries to get a photo, an interview, blood samples, or anything else they can present to their audience. We are a sick society, especially when it comes to respect in situations like this. So yes, it’s a sad reflection, but at the same time, it’s closely tied to the story of “Inside.” That actually worked out quite well, because this story gave me the opportunity to weave in social commentary about the way we function as a society… and that, to put it mildly, isn’t always pretty.

O: “A Man in Every Monster”—the title says it all… do you think that actually applies to all of us?
AW: That’s a tough question! If I answered “yes,” that would mean that I, as a man, would fall into that category too… I was thinking mainly of men, not women—which, of course, doesn’t mean that some women can’t be monsters as well. In the music video for the song, I used images of men like Elon Musk, Donald Trump, Franco, Mussolini, and others. These are—or were—all powerful men who became monsters. Sometimes I actually think that the monster is always there, lurking somewhere in the dark and waiting for the right opportunity to take control. Maybe it’s because of how men are raised, and I really hope it’s not something biological. Because otherwise, that would mean our species is doomed… or is it? Haha, sorry for the gloomy tone of this interview. But honestly, I always hold on to hope because I hope that, in the end, the world can become a better place after all. That said, hope has to be damn strong these days.

O: How do you deal with your darker side?
AW: The answer is simple: I make music. I try to express myself through music as best I can. It’s actually pretty funny, because most of my friends don’t know this dark side of me at all. If you spent some time with me, you’d probably think I’m cheerful, smile a lot, crack jokes, and am curious about the world. That’s probably my hopeful side, because ultimately, life is maybe all about hope. But yes, I do have this dark, desperate side that sometimes makes me think life is an absurd pile of nonsense. I try to write lyrics, create melodies, and develop soundscapes. That’s how I deal with this darker side. I’m truly lucky to have this opportunity—most people can’t express themselves creatively in this way. If you don’t have this opportunity, you can slip into dependencies …

O: The ending is depressing and yet understandable … When did you realize that the story had to end this way—with the investigator himself becoming the perpetrator?
AW: To be honest, I didn’t know the story would end that way. The ending came suddenly and brutally while I was writing the song “Into the Eyes of a Stranger.” I had the melodies, was working on the musical production, and was developing the lyrics at the same time—something I rarely do. Usually, I work on the music or the lyrics first, never both at the same time. But as the music progressed, it suddenly occurred to me that this had to be the right ending for the album. It had to be tragic. It’s a tragic album, so this sordid story can’t have a happy ending. That would be impossible.

O: You live in France, right? How would you describe the dark alternative scene there?
AW: To be honest, I just do my own thing, like a monk in his abbey. I don’t go to many concerts anymore—except for older bands that I like. But the dark alternative scene has been experiencing a resurgence for a few years now. Sometimes I hear music I like, and that’s how I discovered Thalie Nemesis online, for example. We both started our own label, Meridian Noir Records, and that’s where the album was released. There’s a lot going on in France, especially in the north, but not just there—Thalie Nemesis lives in the south, for instance. There’s also a lot of dark alternative media doing great work, like Obsküre. I’d say the scene is very experimental and tries to blend different elements—metal, drone, synthetic melodies, and so on. It’s not particularly homogeneous: there are many different worlds to discover, and that’s great. Personally, though, I see myself as part of a specific niche within this scene. When I was younger, I was part of the goth scene. Today, the older I get, the more I value my independence.

O: How has your home country influenced you personally and musically?
AW: As I said, I was born and raised in Luxembourg, a country with a rather Germanic character. As a teenager, I listened to a lot of darker alternative music from Central and Northern Europe: De/Vision, Wolfsheim, Zeromancer, And One, and so on. At the same time, older post-punk and new wave bands remind me of my childhood—bands like The Chameleons, Depeche Mode, The Sound, or The The. I listen to a wide variety of music, and that also influences the ideas for the B-sides of my singles. I love recording cover versions and paying tribute to artists I like. During the sessions for “Inside,” for example, I covered Gary Numan’s “Stormtrooper in Drag,” Suzanne Vega’s “Solitude Standing,” and A-Ha’s “I’ve Been Losing You.” I love this process of tackling cover versions—the opportunity to immerse myself in another artist’s song and bring it into my own musical universe. And as for the personal side: I’d say that I don’t really know where I come from or which country is my own. I was born in Luxembourg and live in France, but I don’t feel fully connected to either country. Sometimes that’s a gift; sometimes it becomes an existential problem.

O: What do you love most about Lille?
AW: I love that you’re so close to so many countries! Brussels, London, and Amsterdam are all easily accessible—perfect if you like to travel to different countries. Well, that probably says more about my desire to get away than about Lille itself—sorry! As for Lille: I love this northern French way of life. The people are really friendly, always ready to chat and help out. It’s a joy to live here. Plus, there are so many kinds of beer and so many concerts in northern France! The area is great culturally, too. And because Lille is a bigger city, you can find food from all over the world there. If you haven’t been to Lille yet, I highly recommend visiting the city—after all, it’s not far from the sea!

Claudia Zinn-Zinnenburg

Watch the video for “A Man in Every Monster”: