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Dark wave, Synthpop, Art rock. Maybe. Drawers for the ones who need them. There hasn’t been a clear concept for the thing we do, although the electronic ambience and possibilities always had a great impetus on our work and was one of the only thing that persisted since the beginning. Guitars come and go, some electronic Gothic notions took their place and left as they had come. Samples took their place and were reduced to tiny snippets, not to be recognised any more. The sound and attitude of Days of Triumph’s music changed with the conceptions of sound. The remaining thing is, that these conceptions for the most part never seemed to be compatible with market and huge sales numbers, is, that the songs seem to be quite bulky, songs for the few, songs for some, the ‘Fallen’.
Roots an'a Moorland
The tale of ‘Days of triumph’ reaches back to 1990, when initial members Jan and Markus made their first musical ventures with ancient Yamaha-Keyboards, Atari_STs and cassette-recorders. Back then they met each other in school and learned both had performed in several musical projects. The emerging ‘Days of Triumph’ was at first conceived as a cliché pop project among others. But the cliché lasted over the years and expeditions into punk, rock, ‘Schlager’ and strange fun things were various, short and products got lost over the years - we'll make you think. In 1994, when the album ‘Moorland’ was recorded and the first CDs were produced - the first hardware CD recording devices were on the market and CD-R a state-of-the-art novelty for about 20$ - Daniel joined for collaboration and remained with his ideas and instrumental abilities until the production of ‘Head and the Chainsaw’ over the year 2002.
In other news... the world
2001 brought a change in the line-up, when André joined the band for some vocals, guitars and lyrical work, whereas Daniels influence became lesser, so the project became Days of Trio in in a way. In November 2002 ‘Head and the Chainsaw’ was finished as the third album. The music was promoted on various internet platforms, mainly mp3.com, which isn’t existent anymore due to financial reasons. The main harvest from this endeavour was meeting some musicians, one basis for our later musical joint ventures. After contacting various record labels ‘Head and the Chainsaw’ was finally released on a small hand-made self produced basis and plans for an official release by a record label subsided after several tries. Most Days of Triumph songs undergo an extreme morphing until they acquire their final form. Some of those orphaned pearls of the production process were polished, finalled and released as a side edition of ‘Head and the chainsaw’ in 2003, named the ‘demons of Tror edition’. And the demons persisted…
Where is Gesture?
As we ponder through the mists lying on the desert plains of the land Kaletzo the last story has yet to be told over the muffled sounds of distant drums. The ‘braintrip’ was an intro to the following years, where the machines mainly stood still in the lair of dot, and work was focussed on various side-projects and solo projects: Jan took the path of noise with his ‘ Pdysolencer ’-project, Markus collaborated with ambient ‘ Syngularity ’ and the british singer and songwriter Maxine Electronix . The pseudo-punk-project ‘ Uranoos ’ found some friends and had some success in a local club. Many of the various ‘Methods of Wasting it’ were conceived and tested in these years until they were found worthwhile for inclusion on the new album. And there it is, for listener’s pleasure – or unsettlement.