SOUND OF SMOKE

“Many people live in their own bubble
their own perceived reality.”

“When I write riffs, I often see landscapes
sometimes even a desert that needs to be translated into sound.”

“We’re emotional musicians
if it feels right, we do it.”

“We’ve learned to turn down the voices that say we’re not good enough.”

“Slowness builds tension
and those who get it, get it.”

“The heavy and the light are always dancing together.”

“In the studio, we’re like kids on a playground.”

“If a song feels honest to us, that’s enough
everything else is just noise around it.”

Ten years after their first jam session, distance, change, and new life chapters have only sharpened the creative core of Sound of Smoke.
In this in-depth conversation with Fok ’bs’, Isabelle and Jens reflect on geography, illusion, krautrock impulses, analog recording sessions, and why ‘Mirage‘ feels both grounded in the desert and wide open to cosmic drift.
After the intense phase surrounding ‘Phases‘, you consciously stepped back.
Was that silence more of a protective space – or a creative stress test?
“During that time, a lot changed. Johannes became a father and started a new job. Isabelle moved to Berlin and joined a performance choir project there. Despite all these changes and the great distance between Isabelle in Berlin and the guys in Freiburg, we managed to keep playing shows and develop a new album.”
‘Mirage‘ already suggests illusion in its title.
Is it more about interpersonal illusions, societal narratives, or even self-deception?
“Yes, actually a bit of everything. As a conceptual framework, we wanted to explore the theme of the desert, and that quickly led us to ‘MIRAGE’. Societal narratives probably fit best here – many people live in their own bubble or perceived reality.”
The artwork shows you as silhouettes almost merging with the landscape.
Does your identity as a band feel more stable now – or more fluid?
“Actually both. We’ve been a band for ten years now, and that creates a strong bond. At the same time, everyone’s life situation keeps changing, which makes things feel more fluid. On the other hand, we’ve built a small fanbase, receive regular gig requests, and have a label that supports us and wants to release albums with us. That definitely gives stability despite constant change.”
‘Mirage‘ strongly plays with illusion and perception.
Jens, when composing, do you think in images and landscapes – or more in arcs of tension and dynamics?
“When I compose riffs and melodies, I often have images in my head that I associate with them – like standing on a huge mountain looking down, as in ‘Dancing Like Smoke’. The sense of dynamics usually develops in the band context, when everyone contributes their part and the song takes shape collectively. For the riff of ‘Fata Morgana’, I had a desert in mind from the very beginning that somehow needed to be translated into sound.”
You recorded analog again at Big Snuff Studio – this time in a building with a Stasi past.
Did that historically charged location influence the atmosphere of the sessions?
“It was definitely interesting. A lot of the area has been renovated, but much of it still stands as it did 40 years ago. The inspiration was certainly there. Some of our band photos were also taken on the grounds.”
‘Röntgenstrahlen‘ and ‘Zweierlei‘ mark your first German-language tracks.
Did the language shift also change your attitude or directness of expression?
“Yes, it feels more connected to write and sing certain themes in German. And since we all love krautrock, it’s just really fun to ride that wave together.”
The rhythm section feels especially earthy and dominant on ‘Mirage‘.
Was that a conscious decision to give the songs more foundation – or did it evolve organically?
“I think it evolved organically and has become part of our style over the years – making groovy, grounding music. You could also say it’s partly influenced by Richard, who recorded us, and the overall sound of Big Snuff Studio. The tracks were initially recorded live as a rhythm section – drums, bass, and guitar together. Synthesizers, vocals, some guitars, and percussion were added later. This approach already proved itself during the recordings of ‘PHASES’.”
Between ’60s psychedelic, ’80s references, and modern sound aesthetics:
how do you prevent nostalgia from becoming a comfort zone?
“I don’t think we really ask ourselves that question. We’re emotional musicians and just do what we feel like doing. Of course, there’s a clear tendency toward the ‘good old stuff’, but in the end, it simply develops naturally. If it feels right, we do it – whether it sounds old or not. That’s also why there’s now a slight tendency toward an NDW sound. Ten years ago, we probably couldn’t have imagined that.”
‘Endless Night‘ features reversed guitars and a strong studio character.
How much of your psychedelic sound emerges in the rehearsal room – and how much only in the studio?
“We actually love experimenting with psychedelic elements already in the rehearsal space. And when we get into the studio with more possibilities, we’re like kids on a playground. With ‘MIRAGE’, a lot developed in the rehearsal room first – especially ‘Endless Night’. There are four guitar tracks on that one, so it will definitely sound different live. But that’s exactly why you go into a good studio – to give listeners something on the record that they won’t get at a concert.”
There’s a dystopian note in ‘San Junipero‘.
Does that reflect your perception of the present – or is it more an aesthetic fascination?
“The song refers to an episode of Black Mirror. It tells the story of Yorkie and Kelly, who are able to love each other in San Junipero in ways they couldn’t on Earth. Sadly, in 2026 we have to admit that many things from series like Black Mirror seem increasingly realistic – especially in times when populism and extremes are gaining more support in society.”
Ten years after your first jam session:
what have you unlearned as a band – and what have you consciously learned?
“We’ve learned to turn down the voices that say we’re not good enough. And we’ve learned that there’s a space on stage where we’re allowed to turn things up nice and loud – without the cops showing up.”
Your music often feels warm and inviting, even when the themes are heavy.
Is that a conscious contrast – hardness in content, openness in sound?
“It happens organically. Ultimately, our music is always a product of what each person brings. The spaciousness of the sound is often contrasted with heavy ‘stoner’ parts. I think both fit together very well – just like in life. The heavy and the light are always dancing together.”
If ‘Mirage‘ is a turning point:
will the next journey go even deeper into cosmic expanses – or back to something rawer and more grounded?
“Lately, we’ve all been enjoying krauty grooves a lot – so let’s see, maybe it’ll move more in that direction. I’d say we’ll see what life throws at us next and what kind of sounds emerge from it.”
With ‘Mirage‘, Sound of Smoke embrace illusion without losing clarity, nostalgia without surrendering to comfort, and heaviness without sacrificing warmth.
Rooted in kraut-infused grooves yet open to constant transformation, their journey remains fluid – shaped as much by life’s shifts as by the landscapes they translate into sound.
by Fok ‘bs’