Witching Riffs: Behind the Sound of OVERMAN

Introduction: Due to time constraints as regular individuals running Witching Buzz and focusing primarily on writing reviews, we are limited to publishing only one (occasionally two) review(s) per day. However, we strongly believe in providing greater exposure to deserving bands and musicians who have put in immense effort. As a result, we have launched a new section called “Witching Riffs: Behind the Sound.” In this section, we have crafted a series of intriguing questions that we pose to every band or musician who wishes to share more about their unique projects. While the questions remain the same for each participant, the diversity among bands ensures that the answers will be fascinating and diverse. So, sit back, relax, and enjoy this captivating journey as we delve into the minds and stories of these talented artists.

OVERMAN / Germany

1. What drew you to the immersive and hypnotic sounds? How do you aim to captivate your listeners with this genre?
Already at the beginning of our first experiences with music we discovered trance. A kind of meditative state in which we were happy to stay, which we were allowed to explore… and now are allowed to share.
We work across genres. That’s probably the key. Music is the middle and we approach it from different perspectives from the outside.

2. Can you share the story behind your band name? How does it reflect the essence of your music?
Overman as a name is inspired by Friedrich Nietzsche’s “Also Sprach Zarathustra”. Also, we live in a world where men get pregnant and women have electric lovers – this kind of feels like the age of man is over. The Overman is Superman and is a contrast to the blurred image of mankind.

3. What are some unconventional or unexpected influences that have shaped your unique blend?
From the early tape recordings to the origins of blues and jazz to rock and back again. We’ve heard it all and think our “doom jazz” isn’t well known.

4. How do you approach creating expansive and atmospheric soundscapes? What techniques or methods do you employ to achieve that signature vibe?
We always work with many melodies that overlap and disappear, so that the listener sometimes doesn’t have a blueprint to get the mood – and therefore gets the feeling of wanting to interpret this mood. This is a moment when you correct your point of view, with luck you lose yourself in this space for a little while.

5. Are there specific themes or emotions you seek to convey through your music? How do alternative music help you express those concepts effectively?
It is probably confusing that suffering in the world is the greatest common denominator that overcomes languages. We suffer and share our suffering with others. We’re angry and we don’t have enough middle fingers.
Every song has its own world that we can immerse ourselves in. As we do this, we forget ourselves and are no longer there, no longer us, no longer suffering.

6. Share a remarkable moment or incident from your journey as a band that exemplifies the spirit of your music.
An Indian man on the train smoking cigarette after cigarette and crying that we cut down all his trees for his rolling paper.

7. In what ways do you envision your music progressing or evolving in the future? Are there any new elements or experimental approaches you’d like to incorporate?
We allow ourselves more and become more orchestral as far as the instruments are concerned. We would like to collaborate with other languages, regions of the world.

8. Is there a particular song in your discography that perfectly encapsulates the essence of your music? Please elaborate on its creation and significance.
For me, “margin for error” – it’s a musical playground to make “mistakes”. In the beginning, the mistakes are hardly noticeable and have little to no consequences. As in life, with increasing age, the consequences become more fatal, even life-threatening.
But you have to have done this and recognized it in order to arrive in the middle of your life, wherever it may be.

9. Are there any emerging or lesser-known artists within your music genre realm that you find inspiring or deserving of more recognition? Feel free to share their names and what you appreciate about their work.
Yonathan Gat, Caribou, Grinderman, Ayyuka, Elephant 9, Bert Jansch.

10. What do you hope listeners experience or feel when they immerse themselves in your compositions? Is there a specific mood or sensation you aim to evoke?
When we inspire action, in any direction, we succeed. When someone finds strength, finds themselves, recognizes community, or is inspired, we are grateful. We would be happy if the listener sees things through our music that we didn’t expect.

11. Turbo Regime:
– Fuzz or distortion? – Fuzz
– Analog or digital effects? – Analog
– Sabbath or Zeppelin? – Sabbath
– Heavy riff or mind-bending solo? – Mind-bending solo
– Vintage gear or modern equipment? – Modern

OVERMAN Facebook.

You can order It Is All Overman HERE.
Label: Sliptrick Records
Promo: Grand Sounds PR

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