In this section you will find new Antichrisis songs of all kinds: pre-production outtakes as well as rare or unreleased tracks, song sketches etc. At the moment there are only a few tracks, but its number will increase within the next weeks.
Crossing the Line
A very sinister song about some kind of Armageddon: Finally the fates decide that this planet is having it up to here with mankind and that creation could be bloody well better off without human race, hence they're calling the Angels of Doom to straighten things up. The middle-part of this track might have become a bit sanguinarily and violent, but then that's Angels of Doom for you (Maybe it's all because I've just recently re-read the highly recommendable novel "Good Omens" by Terry Pratchett and Neil Gaiman). The funny thing about "Crossing the Line" is that it originally started as a very heavy piece of Doom Metal much in the vein of early Sabbath, but then I layed my hands on the keyboards and couldn't stop until it transmuted bit by bit and much to my own surprise into a Tibetean Dancefloor track.
Stone Rain
"Stone Rain" is a very strange track blending lots of different musical influences such as Panjabi percussion & chantings, classic vocals, gothic metal and electronic sounds. Its lyrics deal with the subject of breaking-up and what it feels like when you're abondened and each accuse of the once beloved person hurts like a rockfall or - as I've put it in this song - a rain of stones.
You Walked Away
During a blues session I got the idea of coming up with a blues track of my own as well - but in the end "You Walked Away" received that special Antichrisis-touch so it didn't sound any longer like the 12 bar acoustic blues song that it originally was meant to be. Again the song deals with the end of a relationship with both sides flogging a dead horse by trying to regain something that has gone lost irrecoverably.
Seestern
"Seestern" means "Starfish" in German and it is a short instrumental interlude that I've written long time ago. I don't know yet if it will appear on "The Legacy Remains", too, but somehow this slightly melancholy tunestuck with me for several years, my girlfriend loves it and so I thought I should record it and see what will happen.
Ride On
"Ride On" is a wonderful Irish ballad originally written by Jimmy McCarthy, but much better known in Christy Moore's version. It was one of the first new songs that I've learned at the Irish Sessions when I moved to Nuremberg a few years ago, and so this ballad reminds me of those days when I had to open an new chapter in my book of life. Nevertheless it would have been somehow boring if we would have done just another folk version of this song, hence we gave it quite modern treatment with Naex appearing on flutes.
Ocean's too Wide
I have to admit that I simply love SynthPop acts like Soft Cell, early Depeche Mode (before they went all preposterous and pompous), Human League ("Travelogue" and "Reproduction" are such brilliant albums), Yazoo or early OMD - and so I wrote "Ocean's too Wide" as a kind of tribute to those heydays of Electronica. This track also contains a very fine pipes-solo by Näx as well as vocals by Katja and Frank. Nevertheless "Ocean's too Wide" won't make it on our forthcoming album, because Jens, our producer, just can't stand mere keyboard-tracks: so much for headbangers!
Nevermore/Kill me (early demo version)
"Nevermore/Kill me" is the essence of Antichrisis in its days of yore and innocence: shoddy sounding guitars, lots of grunts and other indefinable vocals and - sad to say - no bagpipes at all, because Naex hadn't joined Antichrisis at that time. I recall that this song was recorded sometime around 1997 on my old pre-digital-era 8-track-tapedeck (now spending its sunset years as a bottom-of-the-line mixer at Philipp's place), and that Naex' brother Martin used to go completely bonkers about "Nevermore" because for some strange reasons (which may have been caused by a severe dog bite) it turned out to be his favourite Antichrisis track. Hope you're going to enjoy it, too, despite its rather questionable sound quality.
Nightswan (very early demo version)
There was this time in 1998 when the female singer who was supposed to sing "Nightswan" had just left the band and I was desperately searching for a replacement: as I couldn't find a suitable vocalist of the opposite sex I had to deal with the fact that this track's pitch was much too high for my voice, but someone had to finish the pre-production recording before we entered Bluehouse Studio for the very first time, hence it was my turn to be the laughing stock: the joke was most definitely on me, but I did my very best anyway.