Their first work, Die Kemenaten scharlachroter Lichter (1997) was accepted positively by critics. The band's next work was the "Russian trilogy" consisting of the albums Das Tagebuch der Hanna Anikin, Das Schachbrett Des Trommelbuben Zacharias and 39 Jahre für den Leierkastenmann. "39 Jahre für den Leierkastenmann" (subtitled "Ein Stück für die Judenstadt") is a play of three acts that narrates the misfortunes of four Russian and Jewish musicians during World War II. In 2004 they released Ein Toter Fährt Gern Ringelspiel (limited edition). The band released "Kokon. Ein schaurig-schönes Schachtelstück" in 2011, and released their last album to date, "Des Winters finsterer Gesell" in March 2013.
Band's discography:
* Kissarna (demo), 1994
* Mysterious Realms / Heidebilder (split with Amestigon), 1996
* Die Kemenaten Scharlachroter Lichter, 1997
* Das Tagebuch der Hanna Anikin, 1997
* Das Schachbrett Des Trommelbuben Zacharias, 1998
* 39 Jahre Für Den Leierkastenmann, 2001
* Ein Toter Fährt Gern Ringelspiel, 2004
* kokon. Ein schaurig-schönes Schachtelstück, 2011
* Des Winters finsterer Gesell, 2013
Band's websites:
* http://www.angizia.com/
* http://www.facebook.com/angiziaofficial
* http://www.myspace.com/angiziaofficial
Zehn tote Hampelmänner
Angizia Lyrics
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DER WERKELMANN
Zehn tote Hampelmänner zappeln hin und her,
zehn toten Hampelmännern fällt das gar nicht schwer.
Zehn tote Hampelmänner zappeln auf und nieder,
zehn tote Hampelmänner tun das immer wieder.
zehn tote Hampelmänner, die sind gar nicht stumm.
Zehn tote Hampelmänner spielen gern Versteck,
zehn tote Hampelmänner tun das auch im Dreck.
The song "Zehn tote Hampelmänner" by Angizia tells the story of ten dead "Hampelmänner" who are puppet-like figures that are synonymous with being lifeless and mechanically controlled. The song opens with the imagery of their lifeless bodies still moving and flopping around as if they were still animated. The repetition of the phrase "zappeln hin und her" and "zappeln auf und nieder" creates a feeling of uneasy anticipation as the listener wonders what will become of these motionless hampelmen.
As the song progresses, we see that these ten dead hampelmen have a mind of their own and are capable of playing games and having fun, even if they are still lifeless. The indifference to their own death and lack of actual existence as animated beings is seen in the way they continue to play "Versteck" and "im Dreck." This could represent how in society, people can fall into a robotic and lifeless rhythm where they continue to work and live without questioning anything.
Overall, the song might be an allegory to society and how we continue to participate in mundane and lifeless activities, unaware of our own "lifelessness" and lack of control.
Line by Line Meaning
Zehn tote Hampelmänner zappeln hin und her,
There are ten lifeless puppets that are swinging back and forth.
zehn toten Hampelmännern fällt das gar nicht schwer.
It is easy for ten dead puppets to do that.
Zehn tote Hampelmänner zappeln auf und nieder,
Ten dead puppets are bouncing up and down.
zehn tote Hampelmänner tun das immer wieder.
The ten dead puppets do this repeatedly.
Zehn tote Hampelmänner zappeln ringsherum,
Ten dead puppets are wiggling all around.
zehn tote Hampelmänner, die sind gar nicht stumm.
Ten dead puppets are not silent at all.
Zehn tote Hampelmänner spielen gern Versteck,
Ten dead puppets like to play hide and seek.
zehn tote Hampelmänner tun das auch im Dreck.
Those ten dead puppets also do it in the dirt.
Contributed by Caleb I. Suggest a correction in the comments below.