SOURCE – Congratulations on your fantastic album, Tatkraft. Could you please tell us a little about it? What is your strongest memory from the recording process?
Benjamin König (Guitars, bass, keys) – The debut album Tatkraft was created from both old and new ideas. It even contains a few parts that I had written for LUNAR AURORA. In this respect, with its combination of old and new ideas, it serves as a bridge to the here and now.
The whole development process went very quickly. I composed the songs, recorded guitars, bass, and keys, brought in three singers who did an incredible job, found a drummer who recorded his parts at home, and went to Victor Bullok at Woodshed Studio, where he re-amped the guitars and handled the mixing and mastering.
I then signed a record deal with HAMMERHEART RECORDS. This entire process only took about a year. That was pretty damn quick for a project that had previously existed solely as a world of ideas.
The energy and dynamism found throughout the album are reflected in the songs. So I’m very happy with how it turned out.
My strongest memories of the entire development phase are of sitting spellbound in front of my speakers as new recordings from the musicians came in. Because of the long-distance collaboration, I had to rely on them to contribute their own ideas. The result blew me away every time!
SOURCE – Upon release, how did the initial critical response align with or diverge from your expectations? In what ways did this early feedback influence your perspective on the album’s strengths and weaknesses?
Benjamin König (Guitars, bass, keys) – It was clear to me from the start that this album was special and would either be embraced or rejected. Something in between didn’t seem possible. And so far, both types of reactions have occurred. However, the positive reviews far outweigh the negative ones.
Interestingly, the positive reviews praise exactly the aspects of the album that the negative reviews criticize. For example, many appreciate the song structures and how everything flows into one another, while others claim the compositions don’t work. People perceive things differently, and that’s okay.
And I would have been surprised if the album hadn’t sparked some controversy. Personally, I am very happy with it, and the nature of the reviews has no influence on how I see the album.
SOURCE – In the era of globalization, non-English music has seen a remarkable rise, with various genres achieving mainstream success worldwide. How do you view the growing prominence of music sung in languages other than English? Do you believe this shift reflects a deeper desire for cultural exchange in music, or is it merely a trend driven by the expansion of digital platforms and social media?
Benjamin König (Guitars, bass, keys) – I think it’s quite natural that globalization leads to a renewed focus on one’s own origins and roots, as a result of various cultural and social mixtures. The blurring of boundaries in every respect brings with it a stronger desire for distinction. You can see this all over the world.
The idea of “we are all equal” is noble, but it leads nowhere on its own. Of course, all people are equal and should have the same rights, but that’s not the same as making everything identical. This is also reflected in music. Origin and regional characteristics are being brought to the forefront again, and that’s a good thing—as long as it’s not politically instrumentalized, it’s an enrichment.
SOURCE – Let’s zoom in on some of the songs. For instance, “4. Schlittenfahrt” and “3. Ohne Gråb” stood out to me because they have such grand momentum. Could you tell us a bit more about these tracks?
Benjamin König (Guitars, bass, keys) – “Schlittenfahrt” (Sleigh Ride) is a song I associate with many things. On one hand, it reminds me of wild rides through swirling snowflakes from my childhood. On the other hand, I had the film The Fearless Vampire Killers by Roman Polański in mind. I love that movie and its mood! I wanted to give it my own personal expression. I immediately knew that Martin Falkenstein’s vocals were perfect for this track—and he did a fantastic job!
“Ohne Gråb” (Without Grave) is a simple, raw song, intentionally free of embellishment. It combines a meditative quality with a restless and angry spirit. It’s basically about those who, unburied, have not found their way to the afterlife—call them ghosts or wanderers of the in-between worlds. The lyrics are deliberately simple because the message and longing are best conveyed directly: morbid, and with few words.
SOURCE – With the guest appearances on Tatkraft, what was it like working with those artists? Did you always plan to feature them on the tracks they performed?
Benjamin König (Guitars, bass, keys) – I had the luxury of working with three singers. Dividing their parts was relatively easy. They all have very distinctive voices, so their contributions felt natural.
When I composed the songs, I had no idea who would do the vocals. Only after all the songs were finished did I start looking for singers.
The collaboration was very professional. You could tell that experienced musicians were coming together. They focused on the music and what it required in terms of expression—not on saying, “But I want it to be like this.”
SOURCE – As album promotion increasingly shifts online, do you miss more traditional forms of promotion, such as live TV performances, radio interviews, and magazine features? How have you adapted to the digital-first nature of today’s music promotion landscape?
Benjamin König (Guitars, bass, keys) – I think that no matter how you promote yourself, the biggest challenge in today’s music world is the sheer number of bands out there. There are so many that a writer could spend the whole day writing reviews and still not cover all the daily releases.
Sometimes I browse through a cross-section of new releases and, to my taste, find a lot of sameness. What I often miss is something imaginative—music with heart that you can actually feel. Many bands seem highly professional in terms of playing and visuals, but after listening, I’m often left feeling empty.
I don’t know whether TV shows or radio reports offer better promotion or create more personal impressions. There are certainly many undiscovered great bands—but also too many average ones “at the top.” I think digital platforms are not bad and offer a huge range of choices. Everyone has their favorite places. But at the end of the day, I keep thinking: wow, there are a hell of a lot of bands out there!
As we are a project that will probably never play live, I can only rely on the usual social channels and stay active there.
SOURCE – Streaming has completely redefined how music is discovered and consumed. How has your mindset evolved over the years when it comes to releasing new material in a landscape where algorithms and playlists often dictate what reaches listeners?
Benjamin König (Guitars, bass, keys) – I don’t think about algorithms. When I’m working on a song, it’s all about what I want to express—I don’t consider how the song will find its way later.
It’s sometimes astonishing to hear the music that gains popularity. Whether it’s deserved or not, I often don’t understand it. Maybe I’m too old or simply not interested enough to grasp how algorithms work these days. In the end, it’s just me with my guitar, writing songs. When I release something, I can only be surprised by whether—and how—it reaches listeners. I simply do what I can within my means.
SOURCE – Is there anything you’d like to say to those who’ve supported you from the beginning—and to those who are just now discovering your music?
Benjamin König (Guitars, bass, keys) – A big thank-you to everyone who has followed and supported my musical work over the past decades! As far as SUN AFTER DARK is concerned, we’re just getting started. The album has only recently been released and is just now beginning its journey.
If you’re looking to discover something imaginative and independent, the debut album Tatkraft is the right place to start. Music without conventions or stereotypical thinking.
It’s interesting, by the way, to hear all the terms people have used to describe the album. They keep searching for a genre—but none of them really fit.
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