U N I C Y C L E M A N . N E T


25 July 2003

From October 7 until October 27 unicycleman will be touring in Southern and Eastern Africa. They will play in such countries as Kenya, Madagascar, Namibia and South Africa. In Nov.and Dec. they will play some shows in the German speaking parts of Europe. Dates and places how to get there ->

At the moment the band is preparing their new show for the stage. This time unicycleman are extending their line-up to include a real drummer, so you can see 4 musicians on stage now: Peter Bauer, Bert Röhner, Franz Schwarznau and Peter Jakubik.

14 April 2003

The documentation about the tour in 2002 is ready now. More than 70 photos and a half hour long movie will give you an impression of November 2002. ->

20 March 2003

In the gallery ”Dogenhaus” in Leipzig there will be an exhibition of works by unicycleman executed between 1992 and 2002. The exhibition goes from March 26 to april 2.

Info | The art of a unicycleman is balance

UNICYCLEMAN are moving in the system of pop. In the balance between irony and identification they are developing that system in their own ways and with a personal style: quotation, sample, homage. They got the hit-chorus and they got the soundtrack with a lot of little details. What they are celebrating is a clever entertainment-groove, intellect and glamour.

The great variety of their music is continued in multilingual lyrics. They use “tourism-English” as a special form of art, playing with naive sounding German; you can hear vocal samples flowing with the beat. Absurd lyrics arise from the play with words, stars and styles. Original stories and a very experimental way of creating and producing music: That’s unicycleman.

UNICYCLEMAN are perfectionists. Proof of that are the 2 EP’s ”national tracks” and “international tracks”, the singles “Riesa” and “Java” and, last but not least, their CD-Release “Guter Name, sowieso” (A good name, anyhow),WSFA 2001. From excerpts of their music to the silent films “Aelita”(J.Protasanow 1924) and “Mumie Ma”(E:Lubitsch 1918) they have produced an instrumental album due to be released in 2003.
The live shows are complemented by slide shows, realised by P. Bauer and B. Röhner; the “Society for picture and sound”. The slides illustrate the songs or raise the idea to another level.

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FAQ | We like to keep things in balance

Who or what is unicycleman?

Peter: In the beginning it was just a comic figure that I created for a t-shirt-print. But than we recognized that this strange figure fits very well into our musical concept. Since that time, the unicycleman has been our permanent companion.
Bert: Once upon a time I asked a guy from England, what unicycleman really means. He said: ”A man, who drives with just one wheel, but in your case I think a man who’s just off his head.”

Is the unicycleman a symbol?

Bert: Yeah, he stands for something absurd, curious, something for which you can’t really find a definition.

On stage you add slideshows to your music. What exists first, the pictures or the music?

We have ideas, which we put into pictures and music. That means, at first we have a theme and then we work it out in those two directions.
Bert: For example homosexuality…

I think, we keep that in balance now…

Peter For the visual level we have two methods: either we illustrate the song, picture by picture, as a comic-story or we focus all our attention on a special fragment. Here is an example: for the song ”Brenne” (Burn) we use a logo like a sport-label. So we don’t illustrate the meaning of the song. When playing live we very often get people saying that their body wants to move, but their head wants to see the pictures. I think, we can play with that very pointedly.

Some people put you in the category electro-pop; can you deal with that?

Categories are for people who think in categories.
Peter: We work a lot with electronic instruments, but sometimes we sound more accoustic than some rock bands. Electro-pop? No. We prefer the word pop, because it’s a lot more open. The different atmospheres and sounds are described much better by the word pop.

Pop-structures are always combined with experimental elements in your music…

Peter: Breaks are important, because they wake you up. It’s a lot more interesting to work in that way.
Bert: In the process of creating we listen to the pieces very often. So we have different ways of approaching our music. For example, in “Rüdiger”, a song about a homosexual relationship, we use a Debussy-Sample after the verse. That’s a well known cliché about gay-people. They like to hear very opulent music. Playing with expectations is an important part of our way of working.

You have written music for film and the theatre, how did that come about?

Bert: After one year of working as unicycleman, we were asked to write music for the movie ”Frau im Mond” (Woman in the moon). We created soundtracks instead of the traditional silent movie music, which is always based on the piano. We’ve also used some parts of that in our live shows. For all the film and theatre music that we do we always have fixed themes. So we don’t have to think about the visual part, we just work within a fixed framework.
Peter: We are film-freaks. You can hear the influence of that in songs like ”Fassbinder”. Soundtracks and songs are not two different things for us, they are rather two facets of unicycleman.

You can find a lot of quotations and heroes from the history of pop in unicycleman songs. How do you decide what to transfer from the universe of pop to the universe of unicycleman?

Bert: Our own history is very important. There are some songs we listened to in the 80ies that we rediscover now and use their influence for our own songs. If you listen to pieces like ”Never gonna give you up”, ”Riesa” or ”Lemmy” you can find quotations of Astley, Springsteen or Motorhead. I think one of our next projects could be a cover album.
Peter: In the mid-80ies we listened to a lot of synthie-pop, that’s definitely a big influence. In the beginning we played very ironically with styles and clichés. Now the homogenity in the work of unicycleman as a whole is more important to us.

From an interview with Peter Krutsch, September 2002

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1995 „Riesa“
1997 „national tracks“ , „international tracks & remixes“, „Java“
2001 „arabian aerobic“, „Guter Name , sowieso“

Theatre music

1996 “Bildbeschreibung“ Heiner Müller, Inselbühne Leipzig, produced by Knut Geisler
1998 “Herr der Häuser“, Schauspielhaus Leipzig, produced by Walter Politz
1998 “Morgen danach“, Theaterschafft Dresden, produced by Jan Jochymski
2001 “Gestern“, Theaterschafft Dresden, produced by Jan Jochymski

Music for silent movies

1993 „Frau im Mond“ Fritz Lang (1929)
1995 „Aelita“ Jakow Protasanow (1924)
1999 „Die Augen der Mumie Ma“ Ernst Lubitsch (1918)




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