by Brezel Göring

In 1998 Françoise Cactus and Brezel Göring made a tour in Japan. Françoise became addicted with a little rabbit called My Melody. It is a little white animal with a red hat, on which it has a huge flower. In Tokyo is a whole shop with My-Melody-merchandise, so she bought tons of items there.
Back in Berlin we decided to call our next record My Melody. The music should be like the rabbit: a lot of melodies, with a cute, soft sound… The sound finally was rougher than expected: We bought an old 8-track-wheel-to-wheel on the flea-market and recorded the whole record in
our flat. The voices where recorded by Miele at the Rauchhaus-Studio in Berlin and the final mix was made by Kurt Dahlke at the Atatak-Studio in Düsseldorf.
Another plan for the record was not to allow instruments bigger than the size of a hand – besides of guitar and drums.

“What can I do to please these eyes? – Beautycase, ready for action!” With this sentence the whole record starts. “Beautycase” is a song about a talking beautycase. A girl is sitting desperate in front of a mirror and the beautycase opens up and offers its help by naming all his contents: On a
vinyl-7″ we recorded Part II, with more make up and beauty-stuff. The music always reminds me of old-school-good-time-block-party-Hip-Hop that
was maybe popular in 1983. The beautycase itself has a
flea-market-vocoder-voice which adds the flavor of yesterdays futurism.

Another idea for the record was to make a whole concept-album about love. It didn’t came to a whole album, but there are a lot of songs dealing with love in the title. The first example of the love-complex is “I love you Ono”.
This sounds like a love-song to Yoko Ono, our favorite Beatle, but actually it is a cover-version of a song from the Japanese band The Plastics. The lyrics offer a critic of capitalism and consume in dadaistic English: the Ono is more a OH NO! The extra-ordinary musical invention in this song is – besides
the new-wave-plastic-garage-sound – the complicated drum-rhythm Françoise is playing.

“Plötzlich ist alles anders”: “I was cold like a fridge, stiff like a broomstick, I was unhappy like a stone… But suddenly everything has changed: I’m hot like a oven, flexible like a snake and talk like a parrot …” We don’t get the solution why this fundamental change took place, but we are glad that it happened. The music is strictly hand-size-instrument-mini-sampler-madness.

“Larmes toxiques” is about a girl with toxic tears. Her boyfriend likes to make her cry. He licks her tears and gets poisened. It is a slow and sad song with the tragically dying boy in the end.

We have nothing against “Discjockeys”, but most of the time they are nothing else than music-waitresses. They only play other people’s records with a grandezza, that suggests that it is their music. The song is sung from the perspective of a DJ who sees himself as a creating genius, who goes deep into the psyche of the dancers and knows what they need, but in fact he is only playing the electrophone.

“Ich liebe dich, Alexander” is the second love-song on the record. Françoise tried to write a bestseller, because in Germany a lot of guys are named Alexander. So if everyone of them would buy the record, she would buy tons of new clothes … But the Alexander in the song is an arrogant, dirty, lying and cheating object – a love-song to an
unlovable person. Musically it could be filed under “Fast Marimba Rock’a'Billy”.

“Tout le monde se fout des fleurs” = everybody ignores the flowers, the words of love, the tears: this is soft sentimental music about soft sentiments that everybody shits on.

“In this valley of tears that is called live, come with me to forbidden places, away from those who call us bad girl/bad boy”. “Vilaine Fille, Mauvais Garçon” is a detuned-twang-guitar-thrasher, composed by Serge Gainsbourg.

The song “Sous la douche” is a bossa nova-latin-lover-song about heavy petting under the shower. The music was originally recorded for our first record OH AH. We discovered the tapes years later and time-machine-alike the guitar of Lesley Campbell appears on the record.

“Du und dein Automobil”: A car-crazy-girl takes a crash-course in scaring animals and walkers along her way. Primitive Hip-Hop-music with Wolle X on drums.

“Partir ou mourir” already opens with the red-alert-synthetic-trumpets of San Reimo. Then comes the catastrophe: a couple has to leave the town, because they cheated everyone, everybody is after them: Leaving is a little bit like dying, but staying means dying for sure. This is fast get-away-car-driving-music: leaving or dying.

“Ringo, I love you” Yeah Yeah Yeah. Part three of love-songs. Originally this song was interpreted by Cher, who was a background singer in the studios of Phil Spector. She wanted to do her own record, so Spector wrote her this song, which was no hit at all. We were listening to a “Girls in the garage”
-sampler on the wrong speed – on 45. This song sounded really good, so we made a cover-version of it. We were never satisfied with the mix, so Françoise mixed, for the first time, a song all alone.

Konishi from Pizzicato 5 was having his birthday-party in Berlin. Everybody was playing a song for him. We made a home-organ French translation of “Tokyo mon amour”. We liked the result so much, that we recorded it for the record.

“Milky Boy Bourgeois” is a two-minute-insult against bourgeois rich kids. Joachim Dalmer, the cousin of Brezel Göring, is playing a trumpet solo.

Wolfgang Müller wrote the song “Die Krise” for Stereo Total. It is a song about the crisis: everything is going wrong, this is the crisis. The swinging reggae music is a contrast to the sinister subject. Wolfgang Müller was in the 80ies in the band “Tödliche Doris” which both Françoise Cactus and Brezel Göring name as a main influence.

Brezel always wanted to sing a song from the perpective of a young, juvenile lolita-like girl. He choosed “Joe le taxi” which was originally sung by Vanessa Paradis.

The cover of My Melody was created by Sabina Maria van der Linden, who also made the cover of the first record OH AH.