A few days ago I was asked if I wanted to do an interview with AGON’s foremost head of double-dyed hair, Jonathan Lyon, to talk about the new music video the band (including Jonathan, Elisabeth Schaduw and Alice Jones) is releasing. Since I spend a lot of time with him I thought that would be an easy task and I said yes. But going through our short shared history - we met about a year ago - made me realise that I already have more than enough material needed for this sequence - so I figured the best idea would be to just gather those pieces of memory together and try to create a from-the-top-of-my-head collage portrait, finishing with the new music video.
Jonathan and I usually meet up for walks. Before we start I pick him up at his place, which is surrounded by several graveyards (including the one where the Brothers Grimm are buried), a ridiculous amount of themed playgrounds, and a vast and semi-robotic park that would remind everybody who ever played „The Sims” of the god-complex you get when you repeatedly use the „MOTHERLODE” hack until you have enough money to build a palace filled with luxury objects, just to watch it crumble again. There’s designer swings that look like guillotines, orphaned windmills, walkways built from the same materials as an S&M dungeon, and of course a blood-red concept playground (backed up by blood-red concept houses).
Jonathan’s place itself is not any less timeless - with its furniture taken completely from dead people’s leftover inheritances (he swears his microwave witnessed an elderly woman’s last minutes), the constant sound of something leaking and its superficially neat but possibly mold- infested kitchen which only ever contains almonds, black tea, eggs and protein powder.
We usually start our graveyard walks by treasure hunting. The last things I remember being amazed by were a grave covered with neon toys, a grave covered with what appeared to be pralines, and a cat’s tomb covered with the ashes of her self-proclaimed death-obsessed owners. The day before yesterday we found a series of empty bee hives which perhaps were bee-graves.
We then would leave the graveyard to continue on in „The Sims" area or to explore the local avantgarde playgrounds (which are no fun in the daytime when they are all filled with kids). All this is documented in a series of meritless self-timer selfies which I hope will become meritless self-timer selfies on caps. I don’t know how long those walks take on average but coming back generally feels like wormholing.
If the urge to treasure hunt fails us, then we usually end up consuming woefully underrated modern classics of CGI cinema - like „Beowulf 3D” which Jonathan is inexplicably obsessed with - watched with severe doubts and yet the warmest appreciation.
A few days ago we saw the short film „Land Of Tomorrow”, in which a time-travelling clone tells her toddler ancestor about the coming end of the world while standing on a hill watching exiled human bodies burn up as they re-enter the atmosphere at night. In that moment I thought of Jonathan telling me about a philosophical theory in which God created the world and then left it as it was, not interacting with it or putting hands on it anymore. Following this, every man-made creation would be a rebellion against things as they are, therefore a rebellion against God - and so therefore Satanic. A consequence of this would be to see Satan as an artist, and the ancestor of all other artists. I found that really calming.
Words Ringo Lukas