Each song on Maximilian Hecker's 8th album SPELLBOUND SCENES OF MY CURE is about a specific place on earth. In Beijing, Tokyo, Seoul, Taipei, Hong Kong and New York, Hecker searches for proximity to unattainable nymphs, for instants when time seems to stand still, for alleged glamour and alleged love. But it's his visits to these remote villages Kastrup (in the area of Copenhagen) and Hennigsdorf (in the north of Berlin) – these "impossible off-Broadway-sites", how Hecker calls them – that, oddly enough, appear to be the end of his spiritual journey and seem to give him salvation and deliverance. Deliverance from the ghosts of his past, deliverance from his mirror image that he sees in the eyes of his fellow beings, deliverance from all social restraints. Because nobody is able to reach, look at, judge and touch Hecker at these sites. He feels sheltered and embraced by Kastrup's and Hennigsdorf's solitude, is finally able to accept himself and hereinafter celebrates real honeymoons with himself. "Hennigsdorf is my Venice", he soon is in the habit of saying. Hecker flirts with the romanticism of social suicide when, in the song "Hennigsdorf", he sings about his New Year's Eve celebration: Having the time of his life in the plastic shower of a bleak budget hotel in Hennigsdorf’s industrial area instead of being amongst people. SPELLBOUND SCENES OF MY CURE is accompanied by 19 impressionist, self-filmed short films, shot during Hecker's journeys to his spellbound scenes, that show him presenting himself in a candid and vulnerable way.