Interview: We Butter The Bread With Butter – Goldkinder future

Posted by Morgan Y Evans - Walking Bombs on Tuesday, September 17, 2013 at 12:06 AM (PST)


“Goldkinder stands for a new path, a new experience and also symbolically for your own determination.” – Maximilian Pauly (bass)

German quartet We Butter The Bread With Butter (WBTBWB) has released their new full-length album, Goldkinder. Boasting mixing assistance by the legendary Stefan Glaumann (Rammstein, Apocalyptica) and produced by the band themselves, the new WBTBWB material takes their distinct heavy rock with elements of metal and electro-pop sound to new heights.There really isn’t anyone else who sounds like WBTBWB right now. You can try and try to reinvent the wheel but it is only every so often a Ghengis Tron or early Korn or Red Harvest comes along.

It’s hard to stay fresh. People are debating the fine line between homage and plagiarism in regards to Avenged Sevenfold’s new #1 Hail To The King release (a record designed to push nostalgia for older metal to a new generation AND help A7X mature).  Nobody gave Coheed & Cambria as much grief when they borrowed from “Kashmir” so liberally and used a King Diamond song title for one of their biggest tunes. Some recent Trivium sounds a lot like post-Load Metallica vocally.  The awesome Five Serpent’s Teeth by Evile is basically a new version of …And Justice For All, but it still rips. People are more critical of A7X ‘cuz they started like a seemingly jock-ish Good Charlotte type band for the emo-core set in the early 00’s. A7X made dubious political statements when younger and were always a little silly, but have grown in time to be a killer live band and to have weathered a lot in the wake of mortality’s bite and their Nightmare-era. Whether their current sound is marketed or cuz they are true fans of Metallica enough to just slightly tweak the basic structure of “Enter Sandman”, M. Shadows is at the top of his game on “Shepherd of Fire” (even if the band still have just passable guitar solos, always their biggest technical flaw).

I went on that tangent solely to illustrate how even the bigger scene bands tend to revert back to early inspirations at some point, but WBTBWB are moving forward at light speed into their own uncharted territory. Better than Crossfaith and surely as weird as Between The Buried and Me, this band doesn’t fit in any one scene or sound. Lots of catchy and memorable but intense shit on this here new Goldkinder record. “Meine Brille” reminds me of something from my favorite Linkin Park album Meteora until spooky keys,  weirdo cartoon voices and crazy growls come in. “Psycho” has marching band drums into keys then a huge fist pump headbanging, hump the universe in the face part. “Kind im Brunnen” starts out like an old western movie and then an awesome repetitive snare and crazy melody loop in! Love that tune and a killer way to close album. “Viva Mariposa” is probably my favorite on the record. A dance song in places but powerful and epic like metal.

Metal Riot talks to Max from WBTBWB about the new album. Click HERE to read it now!

 I heard between albums you wrote 80 fucking songs? What are you, the Rolling Stones, huh? Did you ever get discouraged or feel too picky? I guess the process worked cuz stuff you stuck with is awesome. Are there any B-sides that survived?

Maximilian “Max” Pauly, bassist: At least 80 songs. We never really got discouraged! It’s more likely to notice that a song doesn’t fit in the concept anymore, although you like it. It’s just important to not get stuck around an idea that will probably not come to an end. Since we always start with the instrumental composition there are a lot of never-finished songs. I would call it a B-C-D-E Side Instrumental Blueray, to answer your B-Side question.


I respect that. Growing up in my scene the early version of Coheed, a band called Shabutie, would rehearse and jam so much that every time I hung out with them they’d have written like 15 new tunes! That rocks you got into that creative a groove together. From the Der Tag an deem die Welt unterging album to now, Projekt Herz was a good middle EP to show the sound shift. Bands I love with long careers have shifts over time. Even Slayer have embraced SOME different ideas through their career. As long as you don’t end up sucking like some new Megadeth, it’s cool. Do you want every record to be different?

Well, that’s easy to answer, yes! What is the idea behind repeating yourself? Yes, you may find security and the safe way through your career repeating the stuff you know, your fans will love; this is not our idea of music. We want to surprise ourselves, we want to surprise and sometimes shock our listeners, we love testing around and to capture a moment shot of ourselves as musicians. I guess we are too young to grow up with such stereotypical borders of making music and since there is so much more to experience, why don’t give it a try? If you are happy and sincere with the things you do, you don’t really worry too much about people not liking it, because in the end, you did it for yourself. Real fans notice the creative core and style and appreciate a band for the courage of trying. For example: One of my favorite bands is Incubus! Every time they bring out a record I’m so surprised that you start seeing the whole idea behind a record instead of searching for the copy of your favorite songs from earlier days. 1094695_10151777068579528_1028525289_o

I agree that Incubus is underrated. They just put out an amazing double live record that blew away a lot of heavier stuff. So…My German is limited. I can say Grolsch and fantasize about kinky German women but that is about it. What does Goldkinder mean? Do you guys have lots of overrated dubstep in Germany now like we do in America?

That’s some kickass-German you got, haha. Goldkinder stands for a new path, a new experience and also symbolically for your own determination. You take the choices of your life every day and if you know what you want and you got enough courage to do it, you will be happy and shine. Translated Goldkinder means “Children of Gold.” By the way, who is this Dubstep everyone is talking about? Well it’s ok, I guess! But I don’t know if the new-hyped-dubstep songs over here are overrated, because I don’t really listen or talk to people about dubstep.



 How was it playing with Trivium recently? I love the new record they did with David Draiman producing. And your U.S. Tour with Incredible Me? How excited were you to finally tour here? I am so pissed I couldn’t make the NYC show : (

Just amazing. Touring with a band that brings a really professional working atmosphere, inspires you a lot. Every chat, ever show has been a gift too us and they are all really modest and nice guys. It was fantastic to meet a band, you have listened to for years, being really down-to-earth. It’s one of the most exciting things to finally tour the U.S. Still today we do almost everything by ourselves and since we are all coming from Berlin or small villages around, this is just a crazy and exciting experience to all of us.

Do you prefer festival appearances where you are guaranteed to shock someone in the audience or smaller club dates of loyal fans who know what to expect and who freak out and rock?

That’s hard to say! We love playing festivals and club shows. The club atmosphere is more familiar and festivals make you a little more nervous. If they all freak out and rock in the end, we don’t really care on which stage we just stood on.

 Was recording this madness hard? How did you end up getting Stefan Glaumann to mix? It sounds sick! Very impressed. Seriously, how the fuck do you come up with this style? Are you at the gym and just start yelling crazy shit and singing fucked up guitar parts?

Not at all, haha. We always record at our guitarist Marcel Neumann’s room, without any pressure. We lock ourselves up in one room, we breakfast together, drink some tea, focus on what has to be done and start creating. You would have to laugh, when you see us in the studio. We are all really quiet and don’t really speak much.

That’s hard to imagine, since the band is so loud (even for skinny white dudes). And the mix?

After all the songs were recorded, we were searching for someone who could help us with the mixing stuff. It wasn’t easy finding the perfect guy for this job. Again we didn’t want to find somebody that would let us sound like the 30 other bands he mixed the last year. It was very important to us, to stick to the heavy foundation we got and not to lose our style. Stefan Glaumann brought a lot of experience and easily understood what we were aiming for.

What is your proudest accomplishment as a member of this band so far?

I can’t really tell you. This U.S. tour or shows in Russia and Scandinavia with -4°F are just to unreal, until you realize, that you have just been part of it. The other thousand memories are blocked by my brain to not get to nostalgic here.





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