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Edge of Dawn: Anything that gets you through the Night

img  Tobias Fischer

As the old saying goes, you've got your entire life to write your debut and a coule of months for the follow-up. You, however, simply took all the time you needed. What exactly have you been working on for the past three years?
Mario: It's extremely important to us that each album represents some sort of musical progression. Which is why we allowed ourselves the luxury of honing every single aspect of our creativity: Songwriting, lyrics, arranging, sound design and even mastering. Over the past years, I've dealt with the most diverse genres, which has helped me to expand my horizon. Musical diversity is of seminal importance to me and I thus felt strongly about increasing the stylistic outreach of the band as well. After finishing production work, I also spent a lot of time on the mastering. My goal was for the album to sound dynamic and vivid rather than compressing it to death. We both hope that this has translated into an album which you'll gladly put on repeat.


Has your mode of collaborating changed compared to your debut?

Frank: Mario and me are still sharing duties in the band. Usually, Mario will send me a demo and we'll start developing the song together from there. Compared to Seabound, I'm more closely involved in arranging the songs with Edge of Dawn. I greatly enjoy this aspect, since I will mostly already have ideas about the lyrical direction of a track on a first listen. All of my ideas and figments of dreams, which might be of use to me, are stored away in a file. Sometimes, these will comprise of nothing but loose words, at other times a quote or a news report. Once an album takes on a more concrete shape, I will use this archive for a more focused search,  turning my attention towards issues appertaining to the overall subject and filtering incoming informations according to whether they'll fit Edge of Dawn or not. All songs furthermore include autobiographical parts. Without music, I'd probably not be walking the streets, but spending time in some kind of mental or correctional institution. (laughs)


What were the main topics of the album, then?
Frank: The album title is a quote by Frank Sinatra. The idea being that there are situations where everything is permitted as long as it serves the purpose. Anyone who has spent a night without sleep suffering from fear will know that this feeling can be similarly intense as a real, life-threatening danger. To me, this quote was therefore always about more than just getting through a single night alive. The artwork picks up on this supernatural aspect by depicting lyrics framed by selected biblical quotations. Increasingly, the songs of the album were all pointing to a single issue: Dealing with the question of what is „right“ or „wrong“, which everyone will eventually have to discuss over the course of his or her life. Whether or not you can justify something to happen is influenced by a plethora of daily considerations.  The more people are affected by your actions, the more finding an answer to this question is turning into one of personal morals. That, to me, is a key topic of the album.


I was impressed by how your arrangements are hardly ever straightforward or predictable ...
Mario: Each song is a work of its own for us. I therefore try and approach each track in a unique and personal way. This doesn't just mean continually trying out new sounds to extend the timbral palette of Edge of Dawn, but also to experiment with arrangements and tension arches. Frank and I enjoy passing ideas hence and forth while arranging songs. I will send him the pieces by email and he'll offer me some feedback and ideas. It's an incredibly exciting process since a track can move into a entirely direction this way. For „All the Time“, Frank contributed a minimal arrangement consisting of nothing but drums, a simple bass line, an atmospheric pad and his vocals as the basis for the final version. Taking this structure as a point of departure, I dressed up the song as it were and included additional vocal lines. It was fun producing a song in this, for us untypical, way.


Are you trying to recreate the notion of a band in the studio?

Mario: I've always been intrigued by the combination of electronic and organic elements, because it reflects the duality of Edge of Dawn on a musical level. Especially the machine-like character of electronic sequences and the vividness and expressivity of acoustic drums are an exciting contrast to me. Some of the most influential and timeless works, not just from the realms of electronic music, are marked by a convincing blend of synthetic and natural sounds. Think of Nine Inch Nails' „The Fragile“, The Prodigy's „The Fat Of The Land“ or „Black Holes And Revelations“ by Muse. We definitely care more about a diverse sound than catering to a particular scene in general, because this musical growth implies looking beyond our usual borders. Of late, I've been especially charmed by juxtaposing orchestral elements and synthetic sounds. „Capture“, which I originally intended to be an instrumental version of „Denial“, is a case in point.


On the one hand, „Anything that gets you through the Night“ is an extremely immediate album. On the other, it grows with each listen. Did you consciously approach the album with this in mind?

Frank: To me, the impression of the album growing in depth with several listens is the result of it playing with traditional listening habits and refusing to be labeled. Of course, it's still an album of electronic music, but I would personally rather refer to it as „detailed“. We invested a lot of time to finetune the music, stories and the artwork of the CD in such a way that the result would be coherent. So there will naturally be a surface, which immediately reveals itself. But there is also a subsurface structure, which will require more time to decode.

Homepage: Edge of Dawn
Homepage: Dependent Records
Homepage: Metropolis Records

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