Congratulations on the new album “Remove The Ties” and your 35th year as a band — an impressive milestone. In the interview below we aim to explore the ideas, production choices and artistic intentions behind the record: the sound-design decisions that shape the “New Düsseldorf Sound,” the band’s longevity, and the creative process that produced these eight tracks. Please answer in your preferred level of detail; we may edit lightly for clarity and length for publication in Progressive Rock Journal.
“Remove The Ties” reads like a manifesto. Can you explain the concept behind the title and what “removing the ties” means for the band personally and artistically?
The album is about liberation and that we have to remove the ties that keep us from finding the truth.
You’ve been described as creators of a “New Düsseldorf Sound.” How would you describe that sound in your own words, and how does it differ from the classic Motorik/Kraut lineage people associate with Düsseldorf?
The Düsseldorf music scene has always been very varied – we were probably the first band to reanimate a certain period that was lost in history especially in Germany. I remember when we released “2001” the press said it is the first psychedelic album to come out of Düsseldorf, these people did not know about early Kraftwerk, NEU! or DOM! Kraut Rock was absolutely out at that time. We are the children of the 1960s generation and as music progressed, we absorbed a lot of different influences but still it is very much typical Düsseldorf what we do. I don´t think that there is a “classic” sound but something like a certain vibe that can only come from Düsseldorf because the city used to be different and very progressive in the literal sense. The Düsseldorf CREAMCHEESE was the first psychedelic club in mainland Europe with strobe and light show, a lot of the Kraut Rock bands played their first shows at this club. My favourite club was LINE LIGHT, the successor to CREAMCHEESE. It was a very natural process. I guess we are a vital part of this tradition – probably that´s where the idea of a “New Düsseldorf Sound” comes from.
The press notes point out a careful avoidance of overused genre labels. How do you feel about the terms “Neo Psychedelic” and “Neo Kraut Rock” — helpful shorthand, limiting categories, or both?
It is much cooler to set trends instead of following them! All these labels are mainstream today and so they do not say anything at all. Just look at the vinyl revival, vinyl records were cool when nobody wanted them. The mainstream cashes in on the coolness the underground created. Although we helped popularize all this, we do not want to be associated with it.
On a songwriting level, how did the material for this album come together? Were songs developed from jam-based studio sessions, individual demos, shared improvisations, or a mixture of methods?
I make some music, I add some lyrics and that´s it. Actually I write the songs while they are recorded. A lot is “first take” to keep it fresh and I think there is nothing better than a “first take”. It´s very simple, I want to avoid thinking, that´s why I make music, songs have to write themselves and we channel them to tape.
“Computer Dreams” was noted as having apparent Kraftwerk echoes but remaining distinctly Vibravoid. Can you talk about the specific musical elements (arrangement, synth/timbre choices, rhythm) that make it uniquely yours?
I guess the most specific thing is my bad pronounciation. I am not a native speaker so I have a strong German accent but still I try to make good lyrics. If I added some more guitars it could sound different but I thought a song with that title has to have a “computer sound” and of course I like Kraftwerk. The song´s chorus has echoes of Joy Division and Joy Division were big fans of Kraftwerk, too. Maybe the Vibravoid effect is that we can combine from a lot of sources and decades. A band from the 70s could not be influenced by 90s music but we can be influenced by both decades, so it is a very natural thing. There is a lot of humor in this song and we really like to laugh and make jokes, maybe that´s what makes it very much a Vibravoid song.
“Neustart” is the first single and the video is already out. What was the concept behind the video, and how important are visual elements for communicating your music today?
For us Vibravoid is a total work of art, so everything we can use as a means is welcome. The visual aspect is very important. We started as a light show trying to emulate the 1960s style of visuals and then became a band as we could not find a band to accompany because in the 1980s retro-psychedelia was a real underground thing and only very few bands existed. We make videos because they are somehow important, a lot of people explore music through Youtube etc. We are doing everything by ourselves, so we have to use what we can find. We try to put it in our style and keep the efforts low. Probably all this combines to create our style. I think the most important thing is, it has to be flashy.
“The Power Of Dreams” balances Psychedelic imagination with Pop hooks. How do you approach the tension between accessibility and experimentation when writing a song with hit potential?
Psychedelia was Pop music in the 1960s. The great 3 minutes songs with these elements to make them mind blowing and far out. I always loved this approach as well as making free form music. I think music has to be entertaining and hooks help to draw people into the music and make it more accessible especially for recorded music. The experimental free form music is much better for playing live as you can directly interact with the audience what is not possible with recorded music but still it is very much experimental due to the unusual use of effects and sounds.
Several tracks are described as carrying a Heavy Psychedelic and hypnotic atmosphere. What production techniques, effects or instruments were essential to achieving that texture on this record?
I still use the gear that I had bought in the 1980s early 1990s like tape echoes, old fuzz boxes or other effects. I was still in school and could only afford to buy cheap second hand gear that nobody wanted back then… this was totally OK because we wanted to make “retro music” and using the old gear fitted well. I like it that way because it helps to make honest music instead of relying on equipment and tricks. The song is important and must be good if you maybe play it just with an acoustic guitar and no extras. I still use my beloved Tascam 4 track cassette machine which guarantees an analog process. I guess this makes our sound.
“Increasing The Pain” has been called a potential “teaching material” finale. Without spoiling too much, what is the structural idea behind that track and how did you build its climactic arc in the studio?
The song came about as a spontaneous reaction to a guy who had totally pissed me off – it was about the production of a video where we would have ended up looking like total idiots. I always let everything flow, because a good song has to write itself. It made sense to use the theme at the end as a grand finale, at least that’s what the song dictated. I think the result turned out really good, so there was no reason to do anything else.
“Vocals on A State Of Mind” are described as “drilling into the brain.” How do you conceive vocal lines in relation to effects and mixing — are vocals treated as a lead narrative or another instrument in the overall sonic tapestry?
I have learned that vocals are the most important thing in music because the human voice is the primary instrument. When we started the band we needed a singer but could not find one, so the other guys said I have to sing because I play guitar. I thought that´s a very bad idea because I can´t sing well and do not look the part as I was really fat. On our first recordings my vocals are really shit. So I put a lot of effort into having at least audible vocals. I think I could improve over the years and I am still learning how to create good vocals. I think I am a much better lyricist and always kept the focus on writing stories instead of just words and so I try to find a balance between delivery and content. I am very happy if this works. And of course I lost a massive lot of weight.
Over 35 years the band necessarily evolves. Which moments, decisions or changes in personnel (if any) do you consider decisive for reaching the sound presented on “Remove The Ties”?
We have had a very steady line up for the last decades and actually we like each other very much and are very close, so there have not been too many changes in the line up. Much more important is the urge to not repeat ourselves and make better music, better songs and better albums. Personally it is always a big struggle to make albums because I am never satisfied with the sound and so I hope that every new album is better than the previous ones. Maybe that´s what kept the band going over all the time. And of course we really enjoy what we are doing and I hope that this can be heard in the music, too.
How did working with Tonzonen Records and Cargo for distribution influence the release strategy — formats, press, territories, or promotional ideas — if at all?
Working with Tonzonen is a relief in many ways. We recorded our first album in 1994 but could not find a label because there was no interest in the music we made, so we started to release everything by ourselves and proved everyone wrong as we immediatley sold over 3000 copies in almost no time. We finally were signed by Nasoni Records in 2000 and due to my love for vinyl records, which were totally dead at that time, I became heavily involved with that label. I split around 2010 because I was not happy with the label´s politics. So I started our own label and suddenly we were selling more and more records. We were distributed by Cargo from the beginning. I had absolute control what was great but as we started to sell even bigger quantities, I got hooked up with even more work. Apart from that we worked with other labels like Fruits De Mer, Fall Out, Sulatron, Anazitisi and many more. When vinyl became mainstream again, I started to loose interest and so we closed Stoned Karma Records and moved to Tonzonen Records who already released our album Loudness For The Masses in 2015. At the moment I am very happy with this decision because Tonzonen is a good label and is really doing a great job so I can fully concentrate on the music.
The press text suggests this album might be fully appreciated only after many years, like your debut. Do you see your work as creating an immediate impression or planting long-term seeds? How do you reconcile those two objectives?
I really don´t know but it seems highly possible. Referring to the question about the inflationary use of the terms “Psychedelic” and “Kraut Rock” it could be true. When we started, “Kraut Rock” or “Hippe” were an anti-statement. Today almost every band uses these terms. Or think of the vinyl revival. We released vinyl records when most shops did not even sell them anymore, now everyone is making vinyl records. I am tempted to say we were 30 years ahead and it seems to still apply to most things that we do. We just do things and other people have to evaluate them, the future will tell.
For listeners unfamiliar with Vibravoid but curious about modern Psychedelic music, which three tracks from the album would you recommend as the best entry points and why?
It´s difficult to pick individual tracks but I guess “Follow Me Follow You”,“Neustart“ and “A State Of Mind” could be a good starting point because these songs are pretty much psychedelic.
Looking forward: after this release, what are the band’s short- and medium-term plans (touring, special editions, collaborations, or next recording phases)?
At the moment I am working on the new album to be released in 2026. By the end of this year we will release a very special live recording from 2002 through Tonzonen. I am also thinking to finally release the Vibravoid movie “Im Zeichen des Zwilling” (In The Sign Of The Twin), the full soundtrack had been released some years ago but the movie has been shown just 2 times so far. I hope that I will quickly find a new booking agency as I am fed up with doing it myself and that we will be on the road again as soon as possible.
Thank you — we appreciate the time and insight. With “Remove The Ties,” Vibravoid prove once again why they remain at the forefront of modern Neo Psychedelic Rock. Spanning hypnotic grooves, kaleidoscopic textures, and inventive song structures, the album is a bold statement of artistic freedom, showing that even after 35 years, a band can still push boundaries and surprise listeners. From the driving rhythms of Neustart to the meditative climax of the title track, this record captures the essence of a “New Düsseldorf Sound” while carving its own unique path. For fans of psychedelic exploration and timeless creativity, “Remove The Ties” is more than an album — it is an invitation to immerse oneself fully in Vibravoid’s visionary universe.
Pre-Save the album here: https://vibravoid.ffm.to/removetheties
Physical Pre-Orders with limited edition vinyl will be available from August 10th on, via Tonzonen Records here: https://www.tonzonen.de/shop