The hit's writer, Dan Bălan, was devoted to the gothic doom metal band Inferialis in the late 90s. Judging by an old rehearsal room demo, the band sounds like Nightwish with a growling vocalist. They didn't bother with synths.
The problem was that the band was firmly on the margins, but Bălan wanted international success. After a few years, he started making a different kind of music together with Petru Jelicovschi, the singer of his heavy band. "More commercial," Bălan described it.
Thus was born the band O-Zone, which released its debut album in 1999, and the style that After the first album, Jelicovschi left the band, and Bălan sought out two other members: Radu Sîrbu and Arsenie Todiraș The band's goal was still to conquer the world. O-Zone moved to neighboring Romania in search of a bigger music market. The move was made easier by the lack of a language barrier: Romanian is spoken in both countries.
Although Bălan had made a complete musical turnaround, he still used the same synthesizer he had played in his heavy band. He was particularly enamored with its drum sounds, which led him deeper into electronic music. One of the eternal topics surrounding Dragostea din tei is money. The song became such a big hit around the world that it inevitably started to create a buzz around it.
In the early years, the income was not massive, but since then, copyright income has accumulated. In 2013, Dan Bălan was surprised on the set of a Romanian TV show by being asked if he had earned more than 10 million euros from O-Zone's copyright income.
"As the author and producer of the band's songs, I have earned much more than that," he confessed.
O-Zone's story ended prematurely in 2005, when the band broke up due to internal disagreements. In addition, Arsenie Todiraș, the least well-known of the band members, has set off on a world tour this year under the name O-Zone. The comeback is reminiscent of many other old greats: one original member and two dancers are on stage. The rest of the original trio, Radu Sîrbu and Dan Bălan, are not involved. The success of the hit on Finnish radio waves was indeed associated with symbolic significance. While Moldova was previously a central part of the Soviet cultural circle, Dragostea din tei brought the country into European culture in an unprecedented way.
Later, in the wee hours of the night, I find myself thinking about how a single synthesizer and its drum sounds influenced a young heavy metal musician, Dan Bălan, in Chișinău, the capital of Moldova – and through his hit, all of us.
Without that instrument, there would hardly be Dragostea din tei.[1]
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