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In November 1990 the world started to get curious about Tilo Wolff's Projekt LACRIMOSA as his music in form of a tape "Clamor" reached people in discos and in the Independent and Underground scene.This melancholic music filled with classical elements and surrounded by poectic lyrics and intensive singing was something new which fascinated many and quickly a scene was raising up, which was nearly already forgotten.Why choose performing in German in front of a mostly English speaking international audience? TILO WOLFF: When I started with Lacrimosa I didn’t even think of having concerts, it wasn’t planned at all and it took me like three years to get on stage after I started with Lacrimosa.At that time I already had two albums released and never thought of concerts especially concerts outside Germany or Switzerland.
You played (on album Elodia) with London Symphony Orchestra. They have they scores and they play what’s written there, But we react very much to the audience during concerts, so we couldn’t do that. In the beginning of the evening you know how it would end because it’s scheduled already.
Of course it’s influenced by Gothic and a bit by metal or whatever but it’s nothing “fixed”. TILO WOLFF AND ANNE NURMI: Many traditional houses in very good shape… You had some collaborations in the past with Witt, Kreator, and also Atrocity, who will be playing on the same stage this weekend.
This morning I’ve been walking around in jeans (not blue, of course, but black ones :-), we’re not very strict in our dress code, we wear what we like. Tell us something about your future collaboration plans.
How do you account for your Gothic appearance on stage?
TILO WOLFF AND ANNE NURMI: I don’t know if it’s actually “Gothic look” but more like the way we like to dress and wear.Have you ever thought of a symphonic tour, together with an orchestra? TILO WOLFF: I wouldn’t do a tour with an orchestra from two reasons. And that’s not what we understand as live concert, live concerts should always be different, always a surprise. The second one is to find places in which you can get a band plus an orchestra of, say, 70 people on stage, to fit all together and to have a proper sound… And if you do something it would be a shame to do it in concert places…