As the group Sono, Lennart A. Salomon, Florian Sikorski, and Martin Weiland polish synthie pop until it gleams, sprucing it up for the third millennium. In their Hamburg studio, where international mainstream hits are usually mixed, forthright megalomania is the gas pedal and false modesty the brake. Why? For pop to sound great, it has to be thought of on a grand scale.
If music is also supposed to be understood as language, then Sono speaks Esperanto. In German Sono simply means Klang (sound, tone) perhaps only an onomatopoeic coincidence, but perhaps also a promise. Esperanto, that strange and visionary language, is comprised of simple words, whose origin one thinks one knows and whose meaning one can also intuitively deduce without an exact translation. With Sonosâ music, the case is quite similar. Regardless of which musical mother tongue one feels committed to, Sonosâ vocabulary of electronic pop music is so elementary and clear that difficulties in understanding are as good as ruled out. Their full, high-resolution, megalomaniacally perfected sound even provides inveterate electronics dyslexics with a serious aha-experience and lovers of electronic music with the suspicion that it has to be an English production. Thereâs no question that the band that calls itself âKlangâ lives up to its name.
So that you donât get the wrong idea: The three guys from the coast are anything but big talkers causing a stir while having grand pop dreams. In their work, they have six legs rooted to the ground – real realists who know what they are capable of. And whoever has already seen one of their videos, was probably also convinced by their healthy dose of self-irony. And right when itâs needed they donât hesitate to conjure up the big clunker from popâs treasure-trove: feeling, soul, and messages that canât be misinterpreted. Despite the dense structures of their songs, a charming fluffiness predominates, which itself envelops very hard, bouncing electro beats in fleecy clouds and robs heavily sweet melodies of their emotionalism. A cool sensuality shimmers in Lennartâs singing, which he is above all completely able to develop with all the time in the world in the peaceful songs. Without toying around, he plays with the boyish timbre of his voice, which can be as seductive as the soft, cold glaze of a bar of white chocolate just out of the refrigerator. Despite classical songwriting, Sono resists every retrogressive retro aesthetic. Instead it orchestrates its version of synthie pop with hypermodern worlds of sound into a corset-free style, which unpretentiously makes its contribution to the current state of musical affairs.
Sono has worked together as a band for three years now and feels a bit overwhelmed by its quick success. In the beginning the group had to shop around for a label like all other no-name bands, but in the end was able to conclude a contract with a major label, Polydor. And not only did their first single âKeep Controlâ become a surprise hit in Germany, but it also spent an entire six weeks on the U.S. Billboard Dance Charts, where in 2001, it was the very first German hit to be selected title of the year. Various colleagues like Trooper Da Don, Guano Apes, and Justus Kahncke declare themselves fans, while others like Fischerspooner, Rammstein, and Timo Maas commission them to do remixes. With its first album âSolid Stateâ, Sono opens the way to new audiences which is even a surprise for them – the long player is not only well received by the dance and pop scene but by the gothic scene as well and strengthens the bandâs claim to produce work that is not restricted to a certain genre and that opens the way to new territories.