The musical walk of Tokio Hotel (PART 8)
Perfect in the acoustic version where the bass is the protagonist with its exemplar lines. Bill’s hoarse voice is the second important element for this song. Sometimes reminds to classical Nirvana and the drums are in the background with a soft but strong touch. The band plays all on the refrain.
“Tokio Hotel in drug’s hell” Bill describes in this way the life of a young girl who abuse of drugs, prisoner of her addiction (“Draussen wirds scon hell. Doch ihre Nacht endet nicht”, “Outside is already morning. But for her night never ends”). Refused, the girl tries to get well to a affective hole with the illusory buzz of drugs (“Irgendeine hand, streicht über ihr gesicht”, “There’s a hand that caresses her face”). But it’s clear that this behavior brings to the destruction (“Die Wunde bleibt für immer. ‘n Goldener augenblick und jedes mal wirds schlimmer”, “That bruise that remains forever, a magic moment everytime get worse”), and this happen in the end of the text (“Der Himmel, zieht sich zu. Ihr letzter traum bleibt ungetraümt”, “The sky comes back cloudy. Her last dream will stay unrealized”). With this approach enough stark to the tragic destiny of the victim, Bill wants show to the listeners the perversity of drug that kills with the illusion to makes you feel good. A great taking office, seeing the high number of teenagers who abuse of drugs for escape from real world.
“We know very well that a lot of teenagers are in serious difficult for their addiction. And we want say them: ‘Don’t touch drugs!’” says Tokio Hotel.
The most “metal” song of Tokio Hotel at the time. The power of Schrei’s riff is completely goes past from a guitar theme with the distortion of a amplifier. On the bridge, Gustav beats on the drums with a fantastic rhythm, something of heavy never heard in Tokio Hotel music before. Bill screams and sings on the music for to be at the same level of the sound. One of the most beautiful surprises of Zimmer 483 and ideal for the stage, this song has been written by all the members together… now we understand from where arrive this metal soul….
A rebellion song as could be Jung und nicht mehr jugendfrei in Schrei. Here the mot isn’t toward the old generation but to everyone: details aren’t specify, but it’s clear that Bill is against the constrictions (“Ich fühl mich claustrophobisch eng. Mach platz”, “I feel me claustrophobic. Leave me space”). This rebellion can be for one of the family so much oppressive (“Ich geb dir an mir schuld. Had das alles nie gewollt”, “I blame on you for what happened to me. I’ve never asked all this”) or against an adult who tries to control a young for the fear that he can take his place (“Was Du wolltest ist krepiert. Ich bin das was jetzt passiert. Was jetzt passiert”, “All that you desired is destroyed. Now who rests is me, is me”). What’s clear: Bill needs air, needs of freedom (“Du häst mich nich auf. Ich brech aus”, “You can’t stop me. I break away”). Bill has always been free, her mom left his freedom and he can’t see constrictions: “In this area you meet a lot of people who thinks at your place, and decide for you how you must do. This doesn’t work with us!”
In this song with a dirty rock sound, the bass rumble and the electric guitar develops clear sonorities but no sugary. A particular part at the piano accompanies a refrain with giddy atmosphere. A innocent song, perfect for summer exits.
If the music is simple enough, the text is one of the most provocative of the band. The location is the famous Zimmer 483, the room 483. Bill describe a meeting between two persons in a hotel room (“Hallo. Du stehst in meinen Tür. Es ist sonst niemand hier ausser Dir und mir”, “Hello. You are to my door. There’s no one except you and me”). Although the title is Reden (talk) and Bill repeats that two protagonists are on the bed room to talk, it’s difficult think they are discussing only (“Ich hör dir zu seh Dein Gesicht. Deine Lippen offnen sich. Red langsam, bitte nicht zu schnell”, “I listen you and I see your face. Your lips close a little. Talk slow, please, no too much quick”). It’s a intimate meeting, but Bill specifies they are close from the inside, under cover a gooseberry (“Komm her, wir warden nich gesture. Das hab ich schon geklart. Don’t Disturb”, “Come here, they will not disturb. I take care of it”). Then the teller (Bill or Tom?) has taken outside the room from outside people (his manager? The security? His friends?), moved away from the person with he “talks” in the room (“Vor der Tür Alarm. Die ganze Welt ruft an. Alle zerren an mir. Ich will mit keinder ausser Dir”, “Ring alarm at the door, all the world calls us. Make me crazy. I won’t stay with anyone, only with you”). An end that show this relationship wasn’t authorized from TH’s manager and producers. Ok, we know how much good is Bill to talk about relationships with a negative light… but those words seems too much specify for not be true. What’s happened in that room 483? The mistery continues to exist. “Our second album is called in this way because we composed the first song in the room 483 in Spain. It’s been an easy stay for write songs, nothing more happened” explains Tom.
TO BE CONTINUED…