We’ve Got a Situation Here
Having come to fruition with their eleven-track debut album entitled Glaxo on Alison Records, this Cubase-mad foursome from the north of Germany trumps in the alternative scene by distilling a slew of different music styles into their very own energetic brand of music under the name Situation Leclerq. While all the tunes work extremely well for anyone listening to the brand-new album on the home stereo — especially Shiny Boots and Elevator Boy are the bomb when cranked up to full volume — these guys are obviously out to perform their music and antics on stage, which simply make the crowds go wild. So if you’re up for some quirky disco-rock injected with a good dose of rave-ness, why not abandon the couch and make your way to one of their uplifting shows. The boys of Situation Leclerq would be glad to see you at a gig or two, scheduled at German clubs over the next few months, after which they’ll take some time off and settle down all nice and cozy with a big cup of hot chocolate to commence work on their next big studio release using the latest software by Steinberg.
Steinberg had the opportunity to talk to Nils Nordmann, keyboardist and guitarist for Situation Leclerq.
How did you guys get together to form Situation Leclerq?
Situation Leclerq formed in 2003 rising from the ashes of the indie-rock band Byron. And Sascha joined us after our drummer had left the band. Instead of playing the same sound, we decided to experiment with electronic instruments. It took about three years to create a sound we all liked.
What kind of musical background do you four have?
Our backgrounds are quite different, but three of us have their roots in the hardcore music and later on in the indie scene. But on common ground, all of us like indie/electro music as well as late ’70s and ’80s stuff such as Gary Numan, The Cars, Depeche Mode, Joy Division and Talking Heads.
Situation Leclerq have just released their first album Glaxo on Alison Records. How did you get started on this endeavor?
In 2007 we went to Denmark to write and record new songs. We rented a house on the edge of a fjord, thoroughly enjoying the atmosphere. Returning to Germany we not only had ten songs in our pocket, but were also 100% satisfied with what we had accomplished — for the very first time. We began to contact different labels with which we had several long conversations. In May 2008 we met Alison Records at the Pop Up music trade fair in Leipzig. We had a really good feeling with these guys right from the start. No promises, just facts in a sympathetic way. After signing the contract, it all went very well for us, and the first part of our tour’s been fantastic.
How do you begin working on a song? Do you follow any particular procedure?
Mostly, we start with a loop or a sequence to which we improvise. Then we record it all and begin to arrange the song in the sequencer. Only when we’re satisfied with the aesthetics of the sound, do we start with the lyrics and create the vocal lines, also recording them immediately. In the end, we try to reduce the number of tracks used by the song to a minimum.
Describe your studio and stage setup?
We use a lot of analog equipment like the Yamaha DX7 and other synthesizers. I have a MacBook Pro on which I've rewired Cubase and Ableton Live plus I use several soft-synths the likes of Massive. We often send recorded synths through amplifiers and rooms to give our sound that analog feel.
Why is Cubase your first choice when it comes to recording music? Do you recall when you were introduced to Steinberg software?
Cubase is the program I started with in the late ’90s and I’ve stuck to it ever since. It’s easy to use, and I can modify things quite quickly. The range of MIDI features is amazing, and I like being able to modify audio parts directly.
How do you create the sounds you use in your songs? How much time do you spend developing sounds?
This is the main part of our songwriting process. Writing the actual song involves little time and effort, but we spend hours and hours experimenting with sounds, trying to avoid presets which can be pretty difficult at times. We sample a lot, such as recording noises “out of the mouth” and modifying them on the computer, plus we use a lot of analog devices to give our music that certain touch.
What VST plug-ins do you enjoy using the most?
We don’t use many VST effects, but I really like the HALion Player.
After the tour what's next on your agenda?
We’ve just finished making a video clip of Shiny Boots which will be released late February. In April we’ll be releasing the single B.O.O.K.S. including some remixes and bonus songs after which we’ll be going on tour again. As for May, we’ve already booked a house in the Luneburg Heath [ed. note: popular tourist destination in northern Germany] to write and record our second album.
Lastly, the famous desert island question: which five tunes could you absolutely not live without?
I can only speak for myself: Dark Side of the Moon (Pink Floyd), Revolver (The Beatles), Black Celebration (Depeche Mode), Gymnopédies & Gnossiennes (Erik Satie) and Le Sacre du Printemps (Igor Stravinsky).
Thanks for this interview. It’s great to have had you here. I believe the readers enjoyed every moment of it.
MySpace page: www.myspace.com/situationleclerq
