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People always want to know, as soon as you tell them that you are a musician, what kind of music you make.

Which is a very sweet and understandable question, but in our case a pretty hard one to answer.

As any journalist who has written about us, or anyone who was ever in an audience will tell you - it's hard to sum up, but people have called our music;


"Queer jazz"

"Punk cabaret"

"Guerilla chanson"

or sometimes just



We quite like the term "Amokkinder des Berliner Chansons" for us, which means something like "The Reckless Children of Berlin Chanson", but we also like to describe the way we see our task as musicians with the famous quote;

"It's our job to comfort the disturbed, and disturb the comfortable"


How that sounds musically comes out in lots of different ways, but it's probably best to listen for yourself.


A bit of background though -


Princessin Hans initially grew out of an interest in the question of how popular music in Berlin and Germany in the 1920s and early 30s might have developed if the Nazis had never come to power. Censorship during Germany's 'break with civilisation' meant a lot of people experimenting with music at the time were forced to leave the country, or even had their careers - if not their lives -  ended by staying here.


There are many contemporary musicians who recreate the historical music of the time, but we asked ourselves how contemporary German pop music might sound if it still had the DNA of those days, but had continued to evolve - being influenced over time by rock and roll, punk, disco, hip hop and so on, but retaining the essence of its early 20th-century roots.


The music we make reflects our interpretation of that spirit, but is very much grounded in our everyday experiences as citizens of Berlin in the 21st century.


We are always pushing ourselves to try new experiments (mainly because we are both very curious people who tend to get bored quite quickly otherwise) both in our music and lyrics, and see ourselves as contributors to a long heritage of questioning - often with a lot of satire - the norms and power structures of the times we live in.

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