Tokio Hotel’s Humanoid Is Finished, After Brotherly Arguments

Bill and Tom Kaulitz argued over tracklist, producer says.

They’d already settled on a title and a release date, so it was probably time for the guys in [artist id="330"]Tokio Hotel[/artist] to actually finish recording Humanoid, the follow-up to their English-language debut, Scream.

And they have. According to producer David Jost, brothers Bill and Tom Kaulitz have just returned from Los Angeles, where they put the finishing touches on the album, which has been in the works for nearly a year.

“Bill and Tom have just been in Los Angeles to do the final guitar and voice recordings. The production is finished and we’re now mixing the album,” Jost said in a statement to MTV News on Wednesday (August 5). “From the 25 songs we’ve written these past 12 months, we had gotten to a [final] selection of songs, which we’ve been focusing on, production-wise for the last months.”

Jost went on to say that the Kaulitz have whittled those 25 songs down to 13, which will comprise the tracklist for Humanoid. But it wasn’t easy.

“A few days ago, Bill and Tom had a little argument about what should be the final tracklist for the album. But it seems that this internal problem has been solved,” Jost wrote. “Bill has now compiled a track list including all the songs that will be part of the Humanoid album. According to Bill’s latest version, 13 songs will be on the new album.”

And what will those 13 songs sound like? Well outside of some YouTube leaks — snippets from a pair of Humanoid songs, “Dark Side of the Sun” and “Pain of Love” dribbled out back in June — few people seem to know. Jost had previously mentioned that Kaulitz had been drawing inspiration from the world of science-fiction, and earlier this year, production team the Matrix told MTV News that they had recorded eight songs with Tokio Hotel, and that the material was “strong, anthem-y” stuff with a dark edge and “lots of guitars.”

In his statement, Jost hinted that the new material might be more somber and stream-of-consciousness. Or at least that’s what we think he’s saying …

“Already as a young boy Bill held an immense melancholy within himself. At the writing and recording sessions, his emotional extremes are his greatest asset. In the studio Bill’s truth is always his last mood and his latest feeling,” Jost wrote. “Sometimes Bill was entering the studio — dreaming wide awake — and then he pulled out those crumpled-up slips of paper with his song ideas on it, from various pockets and bags.”