eclipsed: Tell me the origin of the band.

Francis Tobolsky: Well, I started the band with an ad when I moved to Dresden four years ago to study. In my old hometown Chemnitz I didn't see the chance to find like-minded people. My claim was to make classic blues rock by Free and Rory Gallagher. First of all our drummer Axel Pätzold reported himself on the ad and peu à peu they all came together. About Tim George on guitar and finally Patrick Dröge on bass.

eclipsed: And how did you find your way to this special sound, a mix of classic hard & blues rock with Tull's flute, Krautrock influences and modern retro rock à la Blues Pills?

eclipsed: Your new record sounds like a musical version of "Night Hawks", the painting by Edward Hopper. It has such a sinister mood.

Vile: The record was made in the same way as my earlier records. I had a handful of songs I wanted to record. When I went into the studio, I was satisfied with the songs I had prepared best. But the better songs were the ones I just wrote on the side and in between, because they reflected a certain moment. That's one of the characteristics of this record. A lot of things actually only decided the moment we recorded them. The plate thus demanded its own shape.

eclipsed: On this record everything somehow belongs together. It has a holistic form. But if you listen more closely, you will find many very different details. It's like Otis Redding and Lou Reed making a country record with Sonic Youth as backing band.

The man is constantly on the road, but there is no whining, quite the opposite: Wille Edwards, rough-and-ready singer à la John Mellencamp, congenial guitarist in the best Ry-Cooder manner and mastermind of the English trio Wille And The Bandits, completes the interview backstage immediately after a performance. In this case, people meet behind the scenes of the Burg Herzberg Festival, at which the three bandits, although set for the afternoon, received euphoric applause from thousands of spectators.

"I'm an urban hippie," laughs the 31-year-old broadly over his likeable face. "It gives me unbelievable fun to stand on a stage every evening and confront myself with myself for two hours. That's a lot of work. And it's the most beautiful state I know of, packed with emotion, energy, ecstasy. You can't get closer to your ego anywhere."

In the September issue we also discussed his campaign against the seed giant Monsanto. But Neil Young has already changed the battlefield again. His latest skirmish is with Donald Trump. The US billionaire and arch-conservative presidential candidate had got himself into Young's trouble for running his song "Rockin' In The Free World" during the public announcement of his candidacy - quite legally, as the businessman tweeted with pleasure: His office had acquired the rights of use for one day at ASCAP, comparable to GEMA in Germany. Trump also distributed a photo via the Internet showing him together with the controversial Canadian: A few months ago Young had auditioned Pono at the real estate tycoon for financial support for his online music service and had himself photographed with him.

The address is very tasteful: The Beverly Estate Drive at the end of Benedict Canyon is one of the quiet, secluded corners of Beverly Hills. Less than ten minutes from Sunset Boulevard and yet high in the mountains, with panoramic views of the City of Angels and surrounded by picturesque greenery. Those who reside here are right in the middle and yet completely out of the public line of fire and neither have to fear tourists nor paparazzi. Once you have passed the inconspicuous gate, which does not allow any speculation about the size or style of the property, you stand in an inner courtyard with a fountain to which three buildings are connected: the main house, a guest house and a studio complex. Everything was built in 1951 in the Spanish colonial style, with cream-coloured walls and dark woods. Current market value: around four million dollars. "Probably the best investment I've ever made," giggles the landlord. "I moved in here in 1995 at a bargain price.

The atmospheric black-and-white photo on the cover of "Crosseyed Heart" speaks volumes. It shows the 71-year-old Keith Richards exactly as he is: as a rock'n'roll zombie with abysmal furrows in his face, testifying to wild excesses and concentrated life experience. But also with a real, hearty smile. Nothing is set here, nothing is retouched, it is the real deal. "I don't need make-up and no soft focus", the Stones guitarist explained in the US magazine "Billboard". "Because I stand by who I am, the product of my lifestyle. And I don't have to pretend, especially since nobody would believe me anyway."

The owner of a discotheque in Philadelphia is responsible for the first full contact between minimal music and popular music. In 1968, he commissioned the minimal music pioneer Terry Riley to compose a kind of signature melody for his nightclub. But instead of writing something of his own, Riley took a recently published R'n'B number and turned it to the left: He completely reassembled Harvey Avernes' three-minute "You're No Good" using tape recorders and a sine wave generator. At the end there was a 21-minute freak-out - the first remix in pop history. Riley had transformed the soulful source material into a psychedelic sound collage, in which verse and chorus intertwine, the chorus is staccato-like mounted one behind the other and the vocal tracks are multiplied and arranged time-shifted like a canon. Electronic noise and the sound of the spooling tape also found their way into the processing. No one took note of this groundbreaking work, of course.

Geneva in July 2015: It is the hottest day of the year and Philip David Charles Collins sits sweating in his hotel suite. The air conditioner has resigned and the drinks are lukewarm. The 64-year-old flew in fresh from Miami just to cut himself from fatigue while shaving. A nasty wound gapes on his upper right cheek. And he doesn't exactly radiate the glamour of a man who has sold 250 million albums: Collins wears an unpretentious striped shirt with pleated trousers, slippers, a bald skull and thick glass bricks, but at the same time proves to be a humorous conversation partner who likes to chat about the new edition of "Face Value" and "Both Sides". The release of these successful albums marks the start of the retrospective of Phil Collins' solo work entitled "Take A Look At Me Now".

eclipsed: The Stones, the Doors, Led Zeppelin or Queen have re-released their music countless times. What took you so long?