Their official biography reads as follows: Our story begins – as many of these stories do – with a TDK 60 minute cassette. It's back in 1992 and Kurt Cobain with Smells Like Teen Spirit is playing himself into the nirvana of rock'n'roll and hitting us in the gut. Wow! At roughly the same time, Adrian packs in his drummer job with The Bash — freeing his hands to do the old Fender Strat thing and, in fact, record on to that TDK 60. He calls his one-man band "Lovebugs", enters the cassette for a Band Contest in Basle ... and ends up being invited to take part in the final round.
So he finds Sebastian on bass and Julie on drums – more for their charming personalities than for instrumental virtuosity. And then it all happens pretty dammed quick. First gig, the final, victory, thank you!
Adrian and Sebastian then record their first album Fluff in all of five days in league with 17-year-old temp drummer Simon who has been a permanent fixture since then, irreplaceable actually, because not only is he an amazing drummer but also an amazing cook. We play a few gigs and Adrian wants to pack it in again. Making music is OK, he says, but being the frontman is a pain. Well, we persuade him to stay on and, before long, we have played countless gigs in small clubs. And, between all that, recorded our second album: Tart.
The third album appears in 1996: Lovebugs. Recorded in London, produced by George Shilling and Tony Harris. We storm the Top 40 and our single Fantastic is what you might call our minor breakthrough on the Swiss music wallpaper scene. We sign major recording contacts in Germany, feel pretty fantastic, immortal at least. Just the right mood for getting on to the TourBus for a few months.
Thomas also gets on: live, we need extra guitar; he needs a good band. And the tours go on — with Marc Owen, Republica, Vivid and Ocean Color Scene. We become addicted to life on tour. We hang on to Thomas because, apart from making the right noises with the guitar, he's cool with studio buttons and, in the morning, he looks so grotty.
In 1999, BMG/RCA prescribe us a recording producer who – from the very start – we don't hit it off with. The proverbial straw that breaks the camel's back. After a really vicious battle with the record company (all that small-print crap) we record an album under the name of The Symbol. No, not really, we sign a deal with Warner Music Switzerland and, at long last, in 2000, bring out Transatlantic Flight. All that turbulence seems to have paid off. The album sells in 13 countries and represents now our ultimate breakthrough. The concerts are sold out. We shoot a video in LA and give loads of interviews from Moscow through Niederbipp to Helsinki …
While Sebastian publishes his glam rock project Fucking Beautiful, we work on our fifth studio album Awaydays. Wanting to go new places, we record the album in the rehearsal room (with Thomas as producer) and bring in a string orchestra. Adrian starts to think of packing it in again but eventually gives up smoking instead. At about the same time, Awaydays gets to the number one spot in the Swiss charts and Sebastian announces his departure from the band. We play one last tour with him and wonder about how things should continue.
Come autumn 2002, we retreat to the heel of the Italian boot – Apulia – to work on 13 Songs With A View. There are now five of us and we're searching for a new Lovebugs sound. Bass player Florian is more than a mere substitute for emigrant Sebastian: he brings a new earthy edge to the band and raises the average IQ by 35%. The same tidal wave also dumps Stefan on board MS Lovebugs. In an official capacity, that is. For almost three years, he's been pounding away on the keyboards for us — both on stage and in the studio. 13 Songs With A View is, in a word, a bitch, and gives us a really hard time. Yup, the search for our joint roots is difficult, taking 13 long months in the studio. An eternal labyrinth. But also a welding torch for the new line-up. The result is rawer and harder than previous albums. A true milestone, we reckon. Whereas the Swiss radio stations reckon that our sound is too noisy. TV gets cold feet as well and even drops us from a programme at literally the last second. They are worried that our music might hit the viewers in the gut (hmm, sounds familiar). Whatever. A short time later, to kick off our tour, we play Letzigrund Stadium with the legendary Stones to a crowd of 40,000 before, at long last, setting off on an extended club and festival tour again.
December 2003. We've done some 1,000 gigs (I think) and recorded seven albums. Tired? No way! But where can we now sail to without going round in circles? One thing is clear: we need a producer who will accompany us, give us feedback and be in on the songs as they emerge so that we don't drift into studio quicksands again. Someone who can stand up to the Lovebugs steamroller. Adrian has the shocking idea of having a go with that swine Chris von Rohr. In fact, the chemistry works at the very first meeting and soon we have a veritable swimming pool full of creativity — not to mention a genuine friendship.
Together we work on the eighth CD. It's to be an unplugged album, recorded live and featuring the best from 11 years of Lovebugs. Old hits are re-arranged, stripped down to the bare essentials. We want it to be intimate and direct. After nine months of preparation, we perform Naked (!) on stage in Basle ... and, well, it's one of our best concerts ever. Included on the album version are five new songs, some really moving moments and acres of goose pimples.
For six months or so, the subsequent Naked Tour takes us though old theatre prosceniums and cinema halls. Backed by mood and guest musicians, we play unplugged into the summer. It's during the festival season of 2005 that – in parallel and in secret – we start plugging our cables in at the rehearsal room again. We hunger for electricity and sounds but first Adrian has to have on operation on his respiratory system while the rest of us send postcards from our holiday resorts. Each taking a creative breather, so to speak.
In autumn 2005 – by which time we're up to our knees in new material – a Taiwanese record company calls up suddenly and invites us to hold a series of interviews and concerts in Asia. We leave the freshly served Creative Soup on the counter and fly "naked" to the land of the permanent sushi enthusiasts where we (a) score something of a success and (b) get to know something about chopsticks, isolation and sleeping tablets. Then, in the middle of a snowstorm and an infinitely long winter, we eventually realise where we are going and who we wish to take along with us. Things are going to be epic and huge and also deep enough to drown in, a unified whole indeed. So, after a three-year absence from the studio, In Every Waking Moment will not be a stroll through the park, more like an intense midnight ramble J
To read the map and shine the torch, we hire Roman Camenzind. The man who never sleeps and who always has a good idea just when one is needed.
In February and March of 2006, we record In Every Waking Moment at locomotive speed and, only one week after Switzerland gets kicked out of the last 16 of the Football World Cup, a Lovebugs CD soars to Number One on the Swiss album charts … again.
Discography
IN EVERY WAKING MOMENT (2006)
NAKED (2005)
13 SONGS WITH A VIEW (2003)
AWAYDAYS (2001)
TRANSATLANTIC FLIGHT (2000)
LIVE VIA SATELLITE (1999)
LOVEBUGS intl. version (1998)
LOVEBUGS (1996)
TART (1995)
FLUFF (1994)
Group Members
Adrian Sieber: vocals, guitar
Thomas Rechberger: guitar, vocals
Stefan Wagner: piano, synthesizers, vocals
Florian Senn: bass
Simon Ramseier: drums
Website
http://www.lovebugs.com
Pop 'til You Drop
Lovebugs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
On satellite all day
Straight from the supermarket
Up to the milky way
Now you say super-duper
Fake pleasure and fake pain
We're all your superlovers
But we don't recall your name
you're just another superzero
Cocaine bought your airplay
Cheap when the supersale's on
But you don't care anyway
You're travelling supersonic
Drowning in champagne
We know you're superficial
You're losing your own game
pop 'til you drop
Pop 'til you drop
Pop baby
Pop 'til you drop
Pop 'til you drop
you just wannabe superfamous
Sell your mother and your soul
Shone like a supernova
Now you suck like a black hole
You loved the super troopers
Those songs that made you cry
But now you're nothing super
And you dreams become a lie
pop 'til you drop
Pop 'til you drop
Pop baby
Pop 'til you drop
Pop 'til you drop
From the basement to the top
Lovebugs's song Pop 'til You Drop is a critique of the music industry and the way some artists will do anything to become famous. The song describes a character who has become a "superhero" thanks to their music but has lost touch with reality. They spend their days on satellite television channels and travel at supersonic speeds, drowning in champagne. The lyrics suggest that the character has become fake, superficial and obsessed with their own fame.
The chorus of the song, "Pop 'til you drop", reinforces the idea of the character's obsession with popularity and how they are willing to do whatever it takes to stay on top. The final verse describes the character's descent into failure as they become nothing special and their dreams of fame begin to unravel.
Overall, Lovebugs's Pop 'til You Drop is a clever and thought-provoking commentary on the music industry and the dark side of fame. The song highlights the importance of staying true to yourself and not getting caught up in the quest for fame and popularity.
Line by Line Meaning
You're just another superhero
You're nothing special, just another overhyped celebrity.
On satellite all day
Your fame is artificial and relies on constant media attention.
Straight from the supermarket Up to the milky way
Your success is based on superficial, marketable qualities rather than true talent.
Now you say super-duper Fake pleasure and fake pain
Your personality and emotions are just an act - you're putting on a fake facade.
We're all your superlovers But we don't recall your name
You have fans, but they don't really care about you as a person - you're just a fleeting trend.
Pop 'til you drop Pop 'til you drop Pop baby Pop 'til you drop Pop 'til you drop
Keep manufacturing and promoting your music until you can no longer sustain yourself.
You just wannabe superfamous Sell your mother and your soul
Your pursuit of fame is so desperate that you're willing to betray and sacrifice important relationships and values.
Shone like a supernova Now you suck like a black hole
You had a brief moment of brilliance and success, but now you're rapidly declining and draining everything around you.
You loved the super troopers Those songs that made you cry
You used to appreciate authentic, heartfelt music - now you only care about shallow, commercial hits.
But now you're nothing super And your dreams become a lie
Your pursuit of superstardom has led you to lose touch with your true self, and your ultimate goal is unattainable.
From the basement to the top
You may have started from humble beginnings, but you're now part of the superficial, commercial music industry.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind