The music of Weena Morloch is difficult to describe, because many of his songs are instrumental in a very weird way. Alexander Kaschte himself put it this way: “a death-industrial inferno, which doesn’t leave anything except for burned earth” (back of the “Einer gegen alle” DVD).
The first release was entitled “Kunst - X = ?” and contained only “noise.”
it was later rereleased as a DVD in the “Einer gegen Alle” - Ltd. box set after “Kunst…” Kaschte released the CD “Kadaverkomplex”
on this CD, on which the songs were more danceable and also had vocals and lyrics.
The first EP, called “Trauma 7,” appeared as the bonus disc of “Samsas TraumTineoidea, oder: Die Folgen einer Nacht: Eine Gothic-Oper in Blut-Moll[/album]” (2003).
Weena Morloch apeared on the remix album of “Tineoidea” entitled “Arachnoidea oder: von Babalon, Scheiterhaufen und Zerstörungswut,” which in English would be “Arachnoids, or, Concerning Babylon, Stake (for burning people alive) [or, depending on context, funeral pyre!], and Destruction.”
After that, Weena Morloch got some attention when Samsas Traum’s fanbox “Einer gegen alle” was released—including a remix album and a huge live concert of those songs along with a visual image of Weena Morloch and the album “Epanalepsis,” which was paraphrased as a “death-industrial-inferno.”
The name “Weena Morloch” owes its origin to a mistake of Alexander Kaschte’s. Morlocks were a fictional species created by British author H. G. Wells for his 1895 novel The Time Machine. “Weena” is the name of the girl that the unnamed male protagonist falls in love with in the future world he travels to, and the name “Morloch” is derived from the Morlocks, the cannibalistic hominids.
Edited by ClaireConrad on 16 Mar 2012, 03:50
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