Mit „Everything a War“ legt David Judson Clemmons ein Album vor, das tief unter die Oberfläche geht. Es ist ein Werk voller persönlicher Reflexionen, innerer Kämpfe und leiser Hoffnung – kompromisslos ehrlich und emotional aufgeladen. Im Gespräch mit uns dem Frontstage Magazine spricht der Musiker über den langen Weg zu sich selbst, den Bruch mit äußeren Erwartungen und die Bedeutung von Integrität im kreativen Prozess. Zwischen Erinnerung, Gesellschaftskritik und musikalischer Entschlossenheit wird schnell klar: Dieses Album ist nicht nur Musik, sondern ein Statement – für mehr Menschlichkeit, für Echtheit und für den Mut, bei sich selbst anzufangen.
Frontstage Magazine: Everything a War“ feels deeply personal. What moved you the most during its creation, and how did you stay true to your own style?
David Judson Clemmons: After so much time and struggle has passed in my career I really took a few steps back, some long breaths, and tried my best to go all the way into myself and connect to what it was that needed to be expressed. I thought alot of my childhood times in Virginia, friends, family, people that are living with tragedy and so many heroes who will never be mentioned, etc, I just tried to go deeper because it has always been my goal to bring hope to those who need it most. It may sound „cheesy“ but it is something I believe in and I intend to stay true to that. At the same time I want to provoke thought, not give opinions. I know nothing, especially about other people and their personal needs. I only know that I can stir up some energy and get things moving, that is how I did it this time
Frontstage Magazine: You mention freeing yourself from the concept of time and external expectations. How did this approach influence the album’s sound and direction?
David Judson Clemmons: Also a result of a long career of listening to others, trusting, and trying to rush things to get ahead of the clock. In the end the creative artists simply know what needs to be done, and the way to get their is to build a wall between outside influence. I have not always been good at that, but I took a few steps forward over the last years. I really have turned of the clock, and I rarely think of time anymore. Only in my daily schedule what is sometimes very time oriented however only in small fragments, but not about years passing etc… this haunting me in the past, and was not helping anything worrying about the tik tok of passing time.
Frontstage Magazine: The album title, „Everything a War,“ has a double meaning. What kind of „wars“ are you referring to, and what message do you want to convey to listeners?
David Judson Clemmons: Honestly it is more related to the human struggle, relationships one on one, or families. We make so many small things into big problems, and out of the other side of our mouths we criticize the players on the world stage for not getting along with each other. In the literal meaning I find it completely grotesque, that humans (men) are constantly focused on killing, and just being disgusting examples of life in general. We have enough food, water, land for everyone. There really is a problem in the minds of the power grabbing „leaders“. It just makes no sense….. maybe it starts in our living rooms, as children.. when will we break the cycle? I constantly ask myself , and try to put these feelings into my music and who knows maybe some kid gets inspired and really changes something
Frontstage Magazine:
You emphasize integrity over popularity. How does this philosophy manifest in the production and overall direction of the album?
David Judson Clemmons: I would not mind some more fans, however I also would hate it if I was so famous that I could not go down the street for a coffee. I would surely choose peace of mind over popularity. I have found a nice middle ground, not sure if it will stay like that but for now I can go to the mall and find myself in a magazine, hear myself via stream on the radio in different countries, answer fan mails to people in Brazil or Denmark or Greece etc, but no one recognizes me when I walk around town so it is kind of perfect! This leads into the integrity subject, as I like to think like „what will this record sound like to people in 30 years?“ it needs to be that good, that people will be inspired by the music not only now but also then. I have tried to fine tune this angle of my writing and recording especially now with Everything A War. I did take even more time than normal, spent more money on some things that before I would have let go. I also had the greatest writing team, Felix Ritz on drums and Robert Goldbach on Bass both were solid and dependable and let the songs go where they wanted, taking my advice quite well on ideas which is always a bittersweet kind of thing. You want teamwork but with one common thread, and with different stubborn minds you can lose the thread, and that is what would not work for my music. The perfect mix of teamwork and having a creative head, this is helpful and worked well with EAW. Andi Bukelini is an incredible engineer, and also has his own style and ideas but takes my direction well and we have a perfect working agreement.
Fotocredit: Caroline Wimmer
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