Mar 142007
Yendri2 logo
Yendri2 picture

Chain D.L.K.: After eight years of Yendri, what do you think have been your highlightsand what do you think about each of your releases?
Yendri: Highlights? I think it was when I got signed. I never noticed anything ofthe success or the lack of it or whatever. Up to now, I didn’t even hear oneof my own songs being played in a club. I really like all of my releases,especially Dangerous Thought, Fluch und Segen and Malfunction.

Chain D.L.K.: After Breakdown of Reality we find fewer EBM Influences and the increaseof a certain “dreamy-ambient-dark” atmosphere. What brought you to thismixture?
Yendri: I just make the music I like to listen to myself and which also expresseshow I feel. On the other hand you can do much more interesting stuff if youdon’t just distort everything. 😉 Well, it also has to do with a big changeof equipment which also led to new sounds beyond the harshness.But as a conclusion, I don’t know. Maybe it will get harder and moreaggressive on the next album.

Chain D.L.K.: In 2002 you did your Lillith album, Survive the Cold Eternity. Whatconvinced you that you were in need of a side project for those tracks? Isit a thing you’d like to do again sometimes?
Yendri: The Lillith project was a “closed” project I did in summer 2001 in about threemonths. The images were all taken during the following winter.The music was a bit different from the other releases, even more of a “darkambient style” with no EBM elements at all. A Yendri fan (if something likethis even exists) would be pretty disappointed not to find those tracksthere. The whole atmosphere of Lillith is a bit influenced by bands likeLycia.And yes, I sometimes think of releasing another one like that. The time willcome….

Chain D.L.K.: Your first albums are out of print. Do you think you’ll find a way toreissue them?
Yendri: Maybe on iTunes…or as a re-release. I sometimes get requests for the firstalbums; even I myself have just 2-3 copies of them at home.But it would absolutely not pay off to actually re-release them just for the5-10 people who actually want it, because there is a minimum of copies youcan produce.

Chain D.L.K.: Is there something you’d like to change about your earliest recordings?
Yendri: No. They’re just okay the way they are. Sometimes I even like the somehowalmost analog touch of the old hardware I used (it was really just a verysophisticated soundcard then, with everything on-board, but then again itwasn’t really all that reliable), so the timing wasn’t really tight and thesynthesizer module sometimes ran amok. But I like that.

Chain D.L.K.: What happened with Trisol Records and what forced you to push back yourmusical activities for three years?
Yendri: Well, I was active in those three years as well, but Trisol no longer seemedto be interested, as they didn’t react to demo CDs anymore. Also my contractended then. But nevertheless I really appreciate what they have done for meso far.

Chain D.L.K.: I read somewhere that Playdoll is more a collection of songs (unreleased,covers and remixes) than anything else. That definition seems to fit thatrelease, because there isn’t a defined atmosphere like on the otherreleases. Is this true? Was your intention to do a sort of sum of ideas yougathered during the label switch?
Yendri: Yes. It was an idea of Rudy and me. I sent him an .mp3 CD full of unreleasedstuff (some hours of music) and he was almost shocked and thought it was ashame that they hadn’t been released yet. So we both picked the best songsand put it on the Playdoll album.

Chain D.L.K.: How did you get in contact with Rudy and how did you decide tocollaborate?
Yendri: He just wrote me an email and asked if I could do a remix for him. Thenanother remix followed and the idea to release the Playdoll album.

Chain D.L.K.: Since then you mixed a good amount of :Wumpscut:’s tracks. What is thething you usually like about Rudy’s sound and what’s your preferred way ofremixing a track?
Yendri: I like the straight and aggressive sound which has a great dark atmospherewhile not sounding like all the others. It’s also still a small miracle forme how he achieves this special kind of distortion with his voice. Well, Icould just ask him. But…I don’t want to destroy the magic 🙂 When I remix, usually I just take the vocals. It can also be good to knowthe original, at least for me, because when I listen to the original songs,I get lots of ideas what to do else with the whole song.Remixing Rudy’s most recent songs was a bit harder, because I got theinstrumental tracks first and the vocal tracks came much later, so theremixes may sound more like the original than I actually wanted.

Chain D.L.K.: Malfunction is your new album. Starting from the opening track “JustHurt Me,” the listener can say that that is going to be a good album withambient and electro/darkwave influences. Can you say something about itscreation?
Yendri: Yes, the songs on Malfunction have all been created between the end of 2005and the end of 2006, so there’s no such chronological chaos like onPlaydoll.Most songs had numbers (written in English) as a work title, just because Ididn’t know what would come out when I began working on them.So “Just Hurt Me” had been “One”, “Ich Kann Nicht Mehr” had been “Eight”.Almost a third of the numbers are still unreleased. One of them, “Four”, iseven on Playdoll. So “Just Hurt Me” was all ready when Playdoll came out.After “Nineteen” I returned to using non-numbered work titles, beginningwith “Nayaara” and “Lantra” which just kept their working titles.

Chain D.L.K.: I noticed that usually you like to have a final mix balanced on mid/bassfrequencies. Is this to help the gloomy atmosphere or is it only a result ofthe sounds you like to use?

Yendri2 picture

Yendri: Maybe both. It has also to do with my personal preference. My ears are stillquite sensitive at high frequencies which is a bit unusual for my age, so Itend to turn down or avoid the very high frequencies a bit. And I just likebass sounds very much. Could never be enough, but the hardware wouldn’t makeit 😉

Chain D.L.K.: Reading the lyrics of “Nayaara” and “I Will Find You” it seems that youare talking about some desperate relationship situations, while on “RightNow (For the First Time)” it seems that hope finally surfaces (even thoughwhile melodically the song is melancholic, it seems to translate musicallyinto tears of joy?). What usually makes you feel these kinds of feelings?
Yendri: It’s just life. And a lot of thoughts go through my mind all the time. Imyself being a pessimistic person, those thoughts are rather sad. Good pointabout the “tears of joy”. I did explain it the same way to anotherinterviewer, because it is actually what I wanted to express there.

Chain D.L.K.: “Coming Home” talks about likening your home to a nest where one findsrefuge and rest. A lot of your songs give me the impression of a sensibleperson that too often has been “raped” by the outside world. Am I totallywrong?
Yendri: No, you’ve a point there. I think that’s how most of us “goth” or “dark”people feel like. I have been an outsider for most of the time and didn’tget much understanding from the outside world.

Chain D.L.K.: How often do the lyrics reflect totally upon your nature and how oftenare they purely fictional (even though, obviously, they all containsomething of your personality)?
Yendri: I think 75-80% are personal, the rest is fictional. But I think there’s nosong which is completely personal or completely fictional. It all blendstogether a bit.

Chain D.L.K.: For Playdoll and Malfunction you set up an account for downloading bonustracks. How did you decide what to leave out of the album? Do you thinkyou’ll ever put those tracks on proper releases?
Yendri: It was just a question of space in the first place. On the other hand, thoseare the tracks I personally like very much but which didn’t make it onto theplaylist. There were also 1-2 tracks Rudy advised me to have on CD insteadof others…which are in the download section now. For me personally, thosedownload tracks are in no way ³B-sides² or in any way not as valuable asthose on CD.

Chain D.L.K.: Have you any news about new videos you are working on?
Yendri: No, unfortunately not, as I just don’t have the time right now.

Chain D.L.K.: Something more you’d like to add?
Yendri: Just thanks to all who support me. 🙂

Visit Yendri on the web at:

[interviewed by Maurizio Pustianaz] [proofreading by Benjamin Pike]

Jul 222003
Yendri logo

Yendri Picture

Yendri is an atmospheric electro-ethereal artist (in more than one sense of the word) from Germany. She’s also a painter, photographer, etc. This will be a journey into the melancholy side of what we know as Deutschland. ;-)Here is a little introspect from Mrs. Yendri herself. Enjoy!

Chain D.L.K.: So, first off tell us a bit about yourself, introducing yourself to the world (or the people who read this site haha).
Yendri: I’m Yendri and I make electronic music. It’s not so easy to say what genre that is, but my first album (“Inhaliere meine Seele und Stirb”, 1999) I was filedunder “Industrial”. You could also the music as “synth-pop”, “dark-house”, “ebm”, or just electronic music, to keep all genres included. I did everything for the Yendri project on my own, the photography, cover designs and the website, because it is my own personal vision.

Chain D.L.K.: I notice you paint a good deal too. Do you ever use these for CD covers or liner notes?
Yendri: No, I don’t think they’d look good on a cover. If they were going to be on a cover, I’d spend more time working on them. Sometimes I think about what it would be like to be a political cartoonist but if I did that, Id never do it under the name “Yendri” ; -)

Chain D.L.K.: Would you say you’ve ever tied a painting and a song before? Or do the same creative energies and emotions go into both?
Yendri: No, I usually don’t intend to do that, but that can happen accidentally. It’s a very different process, although I think it involves the same creative energies. It’s even the same when I’m programming.

Chain D.L.K.: Do you try to get artistic with photo shoots or is that more the cameraman’s work (as often is the case with artists), such as him telling you to scoot this way or that way?
Yendri: Most of the time there’s no cameraman. All the older pictures which were shot outside or on the first album’s cover are by Heidi Rohlfs. All of the newer ones, after 2000, I took, using a self-timer. But that’s just because Heidi lives in another City and I don’t know anyone here I would let take my picture, so I do it on my own now. Sometimes I spend the day walking around abandoned factories or other interesting landscapes to find new motives.

Chain D.L.K.: Do you also do all the ideas and directing for you videos?
Yendri: Yes, of course. But most of my videos are spontaneously directed, and then I add in a bit of computer work once they’re done. For “Breakdown of Reality” I had a friend with me who did most of the camera work. When shooting (or better: programming) “Please, Dear Machine”, I was very much inspired by The Matrix. There are those orange pods in the background I rendered with a freeware raytracer.

Chain D.L.K.: When making music versus paintings and other art, what kind of mood do you search for? Or does the energy constantly stay there?
Yendri: I don’t search for any kind of mood, it just comes by itself. I tried to find the mood a lot, but when I searched for it, it always came out wrong. There’s no way to enforce it.

Chain D.L.K.: Why did you choose an abandoned factory for the video “Breakdown of Reality”, especially considering the police presence and danger from drug dealers (I don’t know if they are as violent there as they are here)?
Yendri: No, we were not afraid of the drug-dealers or the police. It just wasn’t funny anymore knowing that they were all around us. The policemen told us not to go into the buildings because they could fall apart, or else there would have been some other really nice opportunities.

Chain D.L.K.: I’ve never been to Hamburg, but I hear it is magnificent. Pretend you are taking me on a tour of Hamburg, what are some of the sights that I would see? How would you compare it to places like Bochum or Bavaria?
Yendri Picture Yendri: Bavaria is kind of like it’s own country. Many tourists think of Bavaria like being the most representative place for Germany. It absolutely is NOT. You won’t find anyone in Lederhosen and very seldom anyone eating Sauerkraut in Hamburg. Some interesting sights would be the Speicherstadt (a part of the harbor where they stored wheat), or the Ohlsdorfer Friedhof (a cemetery as big as a small town, it’s known to be the biggest in Europe), Blankenese, it’s a part of the city that resembles more a little Italian or Spanish village at the sea, the Alster for me, the whole place is worth seeing ; -) There’s much more to look for, but that depends on your personal taste.

Chain D.L.K.: What is the fate for the unmastered songs on MP3. com that you have, such as “Rock Of Dogs”?
Yendri: Now that mp3. com only allows 2 songs, it’s just not interesting. What about a “lost song” collection? There are actually about 24 unreleased songs left.

Chain D.L.K.: What do you say would set you apart from a lot of the ethereal vocalists out there?
Yendri: Maybe, that I cant sing? Lol, just kidding (or not? ). Well, I often use a similar combination of effects on my voice (like in “Everything Counts”, the Depeche Mode cover). That’s why many people can easily recognize my songs. But I don’t know many other ethereal vocalists.

Chain D.L.K.: Is that you singing on “Rock Of Dogs”?
Yendri: Yes, with a lot of distortion and some pitch-shifting ; -)

Chain D.L.K.: Were those unmastered songs meant for another project, or for a film experiment? Or how did they come to be, yet never used?
Yendri: There’s no telling which songs will end up on an album and which songs won’t because I don’t assign songs to a specific album when I write them. Some of the songs are just there because they are not on an album. That’s not because they’re bad, it’s just that I picked other songs to be on the album. And, who’s interested in them anyway? Not many, I think.

Chain D.L.K.: With almost all areas of art conquered, would you consider the next frontier: bringing your music to a choreographed stage show or taking part in one?
Yendri: Hm, I have to admit that I don’t like those typical musicals very much. At least not that typical ones, like the musicals that Andrew Lloyd Webber does. Maybe it would be funny to do a Bollywood style performance for some of the tracks, imagine a typical Indian set with all the bright colors and lights and then a horde of goths dancing like Indian Bollywood Dancers or just film it in black & white and all of the hardcore goths will be satisfied.

Chain D.L.K.: Ok, a question from one who paints to another painter: I toss you a marble, tell me what you see when you catch that marble. Or even what it appears as it midair.
Yendri: I see those green symbols of data raining from above in numerous columns?

Visit Yendri on the web at:

[interviewed by Shaun Hamilton] [proofreading by Erica Breyer]