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
Psychoday
Lovebugs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
With baloons in the trees
Like memories in my thoughts
Throw a wep all over me
Psychoday
And I exactly feel
Like the bottles all around
I know that I run away
A swear it's the last time
I won't pretend anything
And sometimes I blurt it out
I try so hard
To get you off my mind
And I'm not in love
And I nearly believe it
Psychoday
Desguise myself again
Slip in the streets
The city's a party
The lyrics to Lovebugs's song "Psychoday" depict a sense of confusion, introspection, and escape. The mention of "balloons in the trees" and "memories in my thoughts" suggests a dreamlike atmosphere, where the singer is surrounded by reminders of the past. The line "throw a wep all over me" could be interpreted as a plea to be immersed in emotions, to have them engulf and consume the singer.
The chorus, with the repetition of "Psychoday," creates a sense of detachment from reality. The singer claims to know that they are running away, but they also announce that it will be the last time. This conflicting statement implies a struggle with escaping a situation or a pattern that they can't fully break free from. The mention of bottles and blowing circles in the air adds to the theme of escape and distraction.
The lyrics also express an internal battle. The line "I try so hard to get you off my mind" suggests that the singer is desperately trying to forget someone or something, to move on from a difficult situation. They want to convince themselves that they are not in love, and they almost believe it. However, the use of the word "nearly" implies a lingering doubt or longing.
The final mention of disguising oneself and slipping through the streets, with the city being portrayed as a party, suggests a desire to blend in and lose oneself in the midst of the chaos. It could symbolize the longing for anonymity and a temporary escape from the pressures and expectations of everyday life.
Line by Line Meaning
Psychoday
A day filled with psychological chaos and confusion
With balloons in the trees
Symbolizing joy and celebration, but in this chaotic day, they are out of place
Like memories in my thoughts
Memories linger and float around in my mind, adding to the chaos
Throw a wep all over me
Cover me with a veil of emotions, making it difficult to see clearly
And I exactly feel
I am experiencing emotions intensely and precisely
Like the bottles all around
Similar to the bottles strewn everywhere, I am overwhelmed and scattered
And I blow circles in the air
Symbolizing my attempt to find clarity and direction in this chaotic state
I know that I run away
Acknowledging my tendency to avoid confronting my emotions
A swear it's the last time
A promise that this will be the final instance of running away
I won't pretend anything
Determined to be genuine and honest with myself and others
And sometimes I blurt it out
Occasionally, my emotions and thoughts spill out uncontrollably
I try so hard
Putting immense effort into
To get you off my mind
Attempting to stop thinking about you
And I'm not in love
Convincing myself that I am not experiencing love
And I nearly believe it
Although I try to convince myself, deep down, I know it's not entirely true
Psychoday
Continuing to describe this chaotic day
Disguise myself again
Putting on a mask and hiding my true emotions
Slip in the streets
Moving through the busy city unnoticed
The city's a party
Viewing the city as a vibrant and lively atmosphere, contrasting with my inner turmoil
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind