Bled White

Bled White already carries a contradiction in itself. You have the red, the blood as Urstoff of life and the carrier of passion. On the other hand, white as a noncolour, unites everything in itself as purity, innocence, and an empty canvas with that as an invitation to feel for themselves. Bled White plays musically with these contradictions. Although the songs are perhaps disenchanted, they shouldn't cause disillusion. Like movies of Fellini or Godard: aesthetic, but true. Latter once said, "That is not blood, that is red." Christian Kuehn, the head of the project, is a representative of a generation burdened by cinematic and literary models. He wanders through his reality, examines, and describes, but he never transfigures. Except, he finds out that things are not good. Bled dry. Nevertheless, they are worthy of life and love. This is also reflected in the sound: as an architect of great sound walls, which he lets collapse in the next moment, in the musical spectrum of acoustic ballads, gloomy electro folk, swaggering strings pathos, and traces of Synthie-Pop. Songs that are rapt and rapture. The melancholy in symphony is always in contrast to the disarming intimacy and an optimistic finale. Mortality and sentimentality for what is, was, or will be.