“2123 (Album)” by Plexus Solaire
When you think of Vienna, you might think of Mozart, coffee houses, or St. Stephen’s Cathedral. But Vienna is also a city that offers space for creative and innovative musicians who don’t follow conventions. An example of this is Plexus Solaire, a band that has chosen French as its (mostly) preferred language of art. A band that is inspired by the visions, reflections, and illusions of Vincent Wohinz and Alexandre Fedorenko. Two artists, two continents, and yet one world. A world full of contrasts, full of borders, but also a harmonious whole, as can be heard on their latest album “2123”.
“2123” is an album that delivers polished pop, Indietronica, which explores new horizons and finds sparkling pop shades, but in its song-like nature is still the offspring of the two artists mentioned. An offspring that has grown up, but still can play.
The trio is completed by Jürgen Bauer on drums. He forms, along with Peter Strutzenberger on bass, the rhythm section, which grooves until the end, no matter what may happen. The two provide the necessary drive and the balance between the different styles and moods that make up Plexus Solaire. You breathe confidently and elegantly.
“2123” is an album that doesn’t lose its appeal and reveals new things again and again. An album that you shouldn’t miss if you’re looking for fresh and high-quality music, but also if you want to discover new things next to the beaten path of the mainstream.
“2123 (Album)” by Plexus Solaire [DE]
Wenn man an Wien denkt, fallen einem vielleicht Mozart, Kaffeehäuser oder der Stephansdom ein. Aber Wien ist auch eine Stadt, die Platz für kreative und innovative Musiker bietet, die sich nicht an Konventionen halten. Ein Beispiel dafür ist Plexus Solaire, eine Band, die Französisch als ihre (meist) bevorzugte Sprache der Kunst gewählt hat. Eine Band, die von den Visionen, den Reflexionen und den Illusionen von Vincent Wohinz und Alexandre Fedorenko inspiriert ist. Zwei Künstler, zwei Kontinente und doch eine Welt. Eine Welt voller Kontraste, voller Grenzen, aber auch ein harmonisches Ganzes, wie auf ihrem letzten Album “2123” zu hören ist.
„2123“ ist ein Album, das verfeinerten Qualitäts-Pop bietet, Indietronica, der über den Tellerrand blickt und dort schimmerhafte Pop-Nuancen entdeckt, aber in seinem chansonartigen Wesen doch das Kind der beiden genannten Protagonisten bleibt. Ein Kind, das vielleicht erwachsen geworden ist, aber immer noch spielen darf.
Das Trio wird von Jürgen Bauer am Schlagzeug komplettiert. Dieser bildet zusammen mit Peter Strutzenberger am Bass die Rhythmussektion, die bis zum Schluss groovt, egal was auch passieren mag. Die beiden sorgen für den nötigen Drive und die Balance zwischen den verschiedenen Stilen und Stimmungen, die Plexus Solaire ausmachen. Man atmet selbstsicher ein und elegant aus.
“2123” ist ein Album, das seinen Reiz nicht verliert und immer wieder Neues offenbart. Ein Album, das man nicht verpassen sollte, wenn man auf der Suche nach frischer und qualitativ hochwertiger Musik ist, aber auch wenn man Neues neben dem Trampelpfad des Mainstreams entdecken will.
Q&A
Which artists/musicians form Plexus Solaire, and what sparked your interest in music?
Vincent Wohinz: vocals, guitar
Jürgen Bauer: Drums
Alexandre Fedorenko: vocals, guitar
Peter Strutzenberger has been supporting us on bass since 2022
I've been playing since I was 9 years old. Shortly afterwards I started making my own songs, which I then also sang. My first impressions were my older brother Philipp's favorite records. Namely the Beatles, Elvis, Kiss, Status Quo, Wolfgang Ambros and French chansons from Serge Gainsbourg to Edith Piaf. That always remained quite mixed up.
“Je t‘aime” sounds splendid, a fusion of Indie Rock, alternative and chanson. What inspired this song?
I wanted to do something different. I had the first episodes of Griffin and remembered a period in my life where I often lay in bed after daring nights out and did a lot of things wrong again. I'd already messed up a few things when it came to love. It was kind of a reappraisal.
The song is also included on your latest album, “2123”. How would you capture its essence in a sentence or two?
Looking deep inside yourself with your eyes closed and realizing that you're not capable of giving your love the right signs to make it last.
Did you select from a pool of tracks, or did you have a predetermined number that you worked on from the start?
2123 is a work from different periods of our career. Songs were written before and after Corona. Walter Gröbchen (monkey.) put them together for us. It's a wide range of styles. We dared to do everything that wasn't possible before. Stefan Plattner-Deisenberger and Max Perner support us in the production of the songs. I like 2123 very much. We've managed a lot, even a summer song with Day and Night.
What were the main challenges that you faced in recording the new album? Were any of the songs especially difficult?
The time itself. The emotions. The band almost broke up. Rehearsing in lockdown or the corona lockdowns. I was immensely worried about getting something because of my vocal chords. The shock of the war, only to release our positive songs Je t'aime or Day and Night.
How would you describe the band’s creative process? Do you have assigned roles, or do you experiment as you play and voilà, you have a new song/idea?
The English songs were new to me. Episodes turned out great. Le dernier métro is wonderful. Rendez-vous magique and Je t'aime are very much in our French rock style. Often I write my songs at home, the band then works out the overall picture in the studio. Then there were the songs by Emanuel Rudas, who left us in 2020. This is where I did my part vocally, found the words that fit. Jürgen found the right beat to round everything off. The album was a little different to the previous ones. Alexandre played great solos and had less to sing than before.
In 2123, I or Emanuel came up with a lot of ideas. But there are also phases where Alexandre wrote Songs or we experiment, play around. Basically everyone contributes their ideas. It's amazing that we've already created a special sound.
You released your first album in 2005, which means your musical journey has lasted for almost 20 years. Which five songs of yours would you recommend to our readers?
Apart from Je t'aime, I would recommend Malheureux, Les Horrizons, Le dernier métro, Episodes and Day and Night.
Do we have a chance to see you somewhere live on stage?
March 14 at the Chelsea in Vienna. Then more dates will follow.
Nowadays, songs tend to have a playtime of 2 minutes. Do you think that is adequate to “tell the story”?
2 minutes is short, the Beatles managed that well. The length doesn't really matter. It's about the inspiration.
If you could have a conversation with any musician, alive or dead, who would it be?
George Harrison and Falco
What are your aspirations for the future?
That love conquers hate in this world
NENESBUTLER PRESENTS MUSIC - SUBMIT YOUR MUSIC NOW!
