In TWO-TONED LOVE (PART I), Maximilian Hecker whispers "devotion" and performs avoidance, sings "black" and means white, tells the story of ambivalent lovers who drive each other away from one another and yet pull their counterpart into their heart, who drown their tears and dry their sorrows, who run their hearts out while holding their fire. In his two-toned love song, Hecker's low falsetto initially hovers over a piano, a Gizmotron, an Organelle and an abysmal synthesizer bass, until TWO-TONED LOVE (PART I) culminates in a great- or rather faint-hearted chorus, during which Hecker's fallen angel's voice soars to unexpected heights before eventually rising up back to the ground. Maximilian Hecker was supported in the sound implementation of his two-toned lovesickness by his congenial partners Johannes Feige (production) and Peter "Jem" Seifert (mix) – the former already the producer of Hecker’s albums "Spellbound Scenes of My Cure" (2015) and "Wretched Love Songs" (2018), the latter collaborator and producer of renowned German acts like Udo Lindenberg, Andreas Bourani and Ich + Ich – who gave TWO-TONED LOVE (PART I) its oppressive breadth and defined elusiveness and countered the wretchedness of the song's lyrical content with a (two-)tonal grace, a sound that could rightly be called "larger-than-low-life".