The musical walk of Tokio Hotel (PART 6)
Finally I had a little bit of time for continue this fantastic musical walk of Tokio Hotel, I’m so sorry for the huge late from this post and the last one, but I dedicated my time to other stuff and also I was busy with univerisity… but now here it is the sixth part, if you missed the other ones, go HERE
ZIMMER 483 – To the conquest of the Europe (pt.1)
In the band career, the second album can have a different value. For someone it’s the occasion for prove again to conquer a public who there wasn’t with the first one. For other ones, it’s necessary for open new music horizons and find a new public in other countries. For Tokio Hotel, instead, it’s all another story. After the huge success of Schrei, for the four German boys confirmed again their incredible triumph was inevitable, taking a couple of news for don’t record a copy of the first album. The pressure on their shoulders was so much and also the ante up. In this type of situations, someone is panicked, others, instead, play safe and release a dull and without interest photocopy, and in the end someone with great manias records a pompous and out of his music abilities album. Tokio Hotel have been able to find the perfect balance: conserving their identity and put some maturity in their production. The power of Schrei was that multitude of hits from the album. No problem, in Zimmer 483, every song has a first quality refrain, easy to sing, impossible to forget. The wise mix of pop, rock, melodic rock and ballads includes in Schrei to confer the sound identity to Tokio Hotel. And we find again in Zimmer 483 but with different shades. First difference: Bill’s voice. After have changed voice, Bill has lost his child and fragile side, one of the particularity of the band. But without lose the faith, the band confided in the new talent of its leader. Bill’s voice is more low, all Zimmer 483’s songs are played with a little bit more low tones tan Schrei. The sonorities of this new album have grave frequencies so the sound is of a more dense rock, more powerful and with more intense and hot tons in ballads. With Zimmer 483 Bill’s talent as songwriter is confirmed and the themes in this album always are in tune with young singer’s personality. The most serious topic (suicide, violate childhood and drugs, while in the first album reminds to divorce and death) with the add of the pursuit of the freedom and sad love stories (with a great increment in Zimmer 483) are the main themes of this second album. So, as the success deeply changed the life of the boy, as his fans relationship is now one of his new daily reality. It’s so normal that in a song (Wo sind eure Hände), through Bill’s words, Tokio Hotel thank the fans for their devotion over the trust they gave to those four young German boys, arrived in the pitiless music business world (Wir sterben niemals aus). It’s confirmed Tokio Hotel’s ability to talk to their fans without hypocrisies and with their words.
With Zimmer 483, Tokio Hotel are able to do an evolution in the continuity: new hits and a new more mature production, with no doubts the better way for Tokio Hotel to grow up with their fans. And if the secret of that success in Spain in bungalow 483 (which gave the name to the second album), during the composition of this new record, isn’t revealed completely yet, there’s another question without answer: how do Tokio Hotel to don’t make mistakes ever? Maybe the four Germans could answer when the third album will be released…
IN DIE NACHT (Hidden Track)
Coming a little bit back from the first track, you can listen a short version of this song, already listened during the past concerts, where on stage there were only Kaulitz twins. Sweet in the atmospheres, the song evokes touching emotions and takes us in the close relation of the twins.
The song is a beautiful declaration of brotherly love. The words, written by Bill, underline the unique link among the two boys (“Du bist alles was ich bin. Und alles was durch meine Adern fliesst”, “You are all that I am and all that pours in my veins”) e underline that, in front of doubts, fears and adversities Bill and Tom should face in the life, their reciprocal support will remain forever (“Immer warden wir uns tragen. Egal wohin wir fahren. Egal wie tief”, “We support each other forever. Doesn’t matter where we will go. Doesn’t matter in which deep”).
Bill and Tom are the same person, even though they are really different to the eyes of the people… and their link will be stronger than everything.
The song shows the huge evolution of the band, until this first song and first single, leaving the simple and direct production of Schrei for embrace more dense and rich sonorities. A great affirmation of rock identity for the band. The rhythm of the drums is the real protagonist of this song, until the first seconds the music is at a high level and won’t stop it.
One of the recurrent Bill’s themes: leave a world in ruin and arrive the heaven dreamt, which is conquered giving a sense to own existence. (“Vor uns bricht der Himmel auf Wir schaffen es zusammen. Übers ende der welt. Die hinter uns zerfällt”, “In front of us there the heaven’s door. We’ll arrive together after the end of the world who falls back to us”) In the text, Bill expresses losing (“Haben keinen Ort mehr erkannt an dem wir nicht”, “We didn’t recognize the places where we have been once anymore”), effort (“Wir sind durch die Stadt gerannt”, “We run travelling across the city”) and afraid (“Verlager dein Gewicht. Den Abgrun siehst du nicht”, “Leave your bundle, don’t you see the abyss?”). All sensation proved from who is forced to live a interior dilemma: choose the new and the hope or the routine and the immediately comparision? As always, Bill’s intent is wake up again the listener’s consciences and push them to keep in hand their lives. Because, in the end, Tokio Hotel did it too, believing in their dreams. Bill is convinced to can evolve the people: “We wanna motivate the people to change the life when this one isn’t for them anymore”.
Guitars stay calm a little bit in this song with a less fast rhythm and with more dark atmospheres. The refrain is a classic of the genre and shows Bill at the top of his vocal abilities, he pushes the voice to the limit for grow up the tension. Gustav shows his progresses too and in the end of the refrain, put some inspiring heavy metal chord, his fav genre. Another prove that Tokio Hotel know how play a instrument and how arrive to the aim.
One more time one of Bill’s fav themes, already treated in Schrei: a ended relationship. It’s clear that this end isn’t one of the most happy (“Die geier kreisen über unseren Revier”, “Vultures turn around our territory”) and provokes a particular sadness to Bill, or to the character who plays in the text (“Ein Schauer von dir dir hilft nicht mehr viel”, “An outburst from you isn’t useful anymore”). The lyrics have a really negative end, and you can feel the author uses it as outpouring for express the pity and the deception lived in the end of a previous relationship.
“This song can be considerate a love or a friendship song, of lost feelings in general. It’s like we meet an old friend after a long time and we understand to haven’t nothing in common with him anymore. We feel lost and obviously really sad” explains Bill.
TO BE CONTINUED…