FreakyFilmFan4ever wrote:Well, terrible or not, it still isn't something to get that upset about. It's too weak to really make that serious of an impression.

Seen wrote:It's the whole "MY BEAUTIFUL EVANGELION IS RUINED FOREVER IT DOESN'T SOUND LIKE THE ORIGINAL WAAAHHHH" thing that's making them so mad.

Rebuild hate is usually like this, too.

Bagheera wrote:No, it's the "remix isn't great and video much less so" thing that's making them mad. Now, they don't really have any reason to be mad -- the impact on the franchise is about nil and it doesn't affect anyone who doesn't care to seek it out

Jayfive wrote:I was just plain disappointed. I was hoping for something that had a bit more 'oomph'. The 'dubstep' remix in particular I found rather weedy. I know this is on a smaller budget than the original with it's full choir and session musicians and all, but even so...

Bagheera wrote:No, it's the "remix isn't great and video much less so" thing that's making them mad. Now, they don't really have any reason to be mad -- the impact on the franchise is about nil and it doesn't affect anyone who doesn't care to seek it out -- and they're expressing their criticism extremely poorly, but those are separate issues. Being dicks about it doesn't mean people dislike the new versions just because they're new.

Seele00TextOnly wrote:That was random and uncalled for...

Bagheera wrote:. . . the hell does that have to do with anything?

Seen wrote:It's the case for a lot of them. You've seen the "original is always better" argument, right? Plenty of fans for every series have this mindset. I'm not saying that's how it is for every fan, but for many of them it is. The wording "this is the worst remix ever" is a bit over exaggerated.

A good portion of the rebuild hatred is based on the "original is being disgraced / is always better." Not ALL of it, obviously, but you can't deny that it's there.

Bagheera wrote:I'm not. I just don't see how it's even remotely relevant here, since this has nothing whatsoever to do with the new movies.

telling me what you want me to do

Jayfive wrote:Get better producers. Her voice was the problem on KST 2.0, it was the ropey backing track. Dubstep-lite made me disappoint.

BTW, does anyone know if she's actually seen the sequence KST is played over?

Each Evangelion true fan knows the wonderful song Komm, süßer Tod, but few know the artist who performed this song…

We’re talking about Arianne Schreiber, simply known as Arianne!

Born in South Africa, Arianne moved to the U.K. when she was 19. Besides Komm, süßer Tod she sang another beautiful song for “The End of Evangelion”, Everything You’ve Ever Dreamed, but this song was then left out from the final version of the movie. Both songs were composed by Shiro Sagisu and the original lyrics were written by Hideaki Anno himself, and then translated into English by Mike Wyzgowski.

Apart from those things, people don’t know very much about her. But we at Distopia Evangelion have been able to get an exclusive interview with her, where she talks about herself, her music and her experience with “The End of Evangelion”.

Let’s find out together who this multifaceted artist is…

Hello, Arianne, could you give us some information about you? Until a few years ago it wasn’t possible to trace anything about you and your career, except for a post on EvaGeeks forum.
I am a singer, dancer and actress. I have sung with George Michael, Alabama 3, Schwein, KMFDN, Stylophonic, Crookers and many others, even appearing on Italian MTV channel. I have spent much time touring and recording in Italy and throughout Europe. Now I live in Australia, I teach aerial yoga, I am a vegan chef as well as a burlesque artist, and still writing and recording for Smash The Box.

How did you get in touch with “The End of Evangelion” production, therefore with Shiro Sagisu?
I was introduced by a famous songwriter called Rob Davis.

Did you already know the series? Who is your favourite character?
I didn’t know the series so it was a great revelation. I’m not sure who my favourite character is…

Everything You’ve Ever Dreamed and Komm, süßer Tod are two magnificent songs, an ode of love and a prayer of death, respectively. Hideaki Anno’s original lyrics are really soaked with pessimism compared to the final versions. Can you remember your feelings and vibes while you were reading the lyrics or performing the songs? Which one do you prefer between the two songs? Which did you prefer to perform?
I love both songs. I remember being very excited to be in Japan and to be recording in a few different amazing studios with such talented people. It was really an honor.

In your opinion, why did they use a song rather than the other at the end of the movie?
Komm, süsser Tod is the perfect mix of bittersweet. It conveys sadness but the music contrasts with the lyrics… this juxtaposition makes it perfect for such a dramatic end.

You sing in two bands, iCON and Smash the Box. Could you tell us about them?
iCon is produced by Mike Chapman (producer of Blondie, Tina Turner, Suzie Quatro) and is more rock’n’roll based; Smash The Box is a fusion of dance and analogue synths, it covers all topics from sex to spirituality and I make it with my producer Marc Dolley who lives in the U.K. We do a lot of stuff online but also travel to meet to work in the studio together. I’m excited as this project is coming along really well and should be available soon.

In 2012, with your project Smash The Box, you recorded a new version of Komm, süßer Tod. Was it a tribute to your fans and those of the series?
It was a tribute to my fans.

What do you think about “Rebuild of Evangelion”? Do you think it was really necessary?
All creativity is necessary.

Is there any chance to see you involved in the forthcoming last chapter of “Evangelion: New Theatrical Edition”?
I wish I had… I did try, but it wasn’t easy to get in touch.

Marco “C’est Disco” Gargiulo
Translation by Luca Moretti and Sara Porello