[SITD] - Ultimately the most important thing is the result, not the fact if an artist makes use of popular software programs or good-old synths

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08 Dec, 2009

[SITD] - Ultimately the most important thing is the result, not the fact if an artist makes use of popular software programs or good-old synths
From their very first official release ("Snuff EP" released in 2002) the duo Carsten Jacek - Thomas Lesczenski, better known as Shadow In The Dark [SITD] became a 'hot' band in the dark electronic universe. Today they've launched their 4st full length to date and the less I can say is that this is for sure their best album to date! "Rot" reveals a harder approach in sound with several potential dancefloor killers. We tried to catch [SITD] right after their "Rot"-tour. It seemed to be a very good opportunity to get some more details from this great new album! (By Stéphane Froidcoeur)

SL: I guess you guys will be just back from the "Rot"-tour when getting these questions in your mailbox so how did the tour happened?

Carsten: The "Rot"-tour was a fantastic experience for us all. We were totally overwhelmed by the reactions of the audience. It's incomparable to stand on stage and look how the audience reacts to our music. It's a wonderful feeling to share your emotions with the crowd, to give something and get something back. We are very grateful to our fans!

SL: You went on tour with Reaper and Amnistia! How did the tour with these bands come true and how was the contact between the bands?

Carsten: Before the tour started we had a meeting with our booking-agency Neuwerk. We were in complete agreement that [:SITD:], Reaper and Amnistia would be a great package for the tour. Reaper and Amnistia are wonderful guys and we've enjoyed every minute we spend with them on tour.

SL: You mainly played in Germany, but also in the UK and The Netherlands! Do you feel some differences between the audience and reactions from these countries and where's your favorite audience and place to play?

Tom: Generally, we like to perform live. We have no preferences.

SL: In times of financial crisis and decreasing cd-sales, touring is often the best way for a band to convince people buying their cd and making some money! What do you think about it and what do you expect from the future?

Tom: Like every single band in this scene, [:SITD:] is confronted with this problem. And yes, we wouldn't be able to survive it without going on tour. We can only stand by, shaking our heads in disbelief, as we watch the music into which we have invested months or years of our lives being ripped and copied for free. Consider this example: If 75% of the audience at a concert gained entry with forged tickets, the promoter, the band, the concert agency, and the venue would all be broke in a matter of weeks�

SL: Over now to your new album entitled "Rot"! I personally experience this 4th album as your hardest one to date! What do you think about it and what kind of album did you have in mind when starting the writing?

Tom: That's right. Before we started working in the studio we set ourselves specific standards we never let out of sight during the creative process of the album. We wanted to make an album, sounding much harder and more direct compared to its predecessor. To achieve this specific, genuine immediacy and authenticity we focused on the bare essentials and removed needless dead freight. Furthermore, we upped the BPM count significantly. One basic concern of ours also was to create a certain roughness production-wise, not heard from us in such consequence since "Snuff Machinery" and "Laughingstock".

SL: How much time did it take to compose and achieve this album and where there some songs, which caused you more trouble than other ones? Tell us a bit more about it?

Tom: We're constantly working on new songs. As soon as we have any idea, we record it as demo or lyric draft. After returning from our North American tour end of 2008, we started specifically working out the collected ideas. No, there was not a particular song, which caused us more trouble than other ones.

SL: What has been the first song you composed for "Rot" and in which way did this song opened a path for the other songs?

Carsten: The title track "Rot" was the first song we've written for the new album. The red colour of the skies described here are a metaphor for the positive associations with the colour "Red" like warmth, energy and love. In our darkest ours we often oversee the positive signals and are not susceptible to them. 'Rot' is meant for all those standing on the edge not knowing how to move on. 'Rot' is a positive signal, a rescuing hand meant to keep us away from the abyss. We're purposely utilizing a pictorial language to make it possible for the listeners to find themselves within the song. There are songs not letting go of you and the title track was such a song. We basically wanted the album to have a high degree of club compatibility, but of course it's also important to constantly re-invent yourself and to explore new musical grounds for yourself. We guess, "Rot" is a good example for that. It has definitely opened a path for the other songs of the new album.

SL: More personally to you what symbolizes this colour (red) to you and especially as title of your new album?

Carsten: "Rot" is a strongly accentuated title which is expressing just what we're connecting with [:SITD:]. "Rot" (Red) stands for warmth and energy, joy and passion, but also for aggression, rage and a revolutionary fighting spirit. Everything we do, we're pursuing with all our energy, joy and passion which is something we also want to convey to our listeners. Furthermore, "Rot" is THE signal and warning colour. This, in turn, can be adapted on our songs, which you can interpret as wake-up calls with which we want to address social injustices in society. Let's take "Frontal" as an example. The song's main topic is the growing number of intrusions of the state into the privacy of its citizens, often covered as counter-terrorism. Through data preservation of phone and Internet data it is possible for the state in Germany since 2008 to trace back who was in contact with whom within the last 6 months.

With the help of this data collected from all citizens, they can now create movement profiles, trace back business contacts, and identify private relationships. Also it is possible now to draw conclusions about personal interests and the private situation of the communicating person. Other measures like eavesdropping operations or the possible implementation of a Trojan program financed by the German government are another cause for concern. We're always wondering about how passive big parts of the German citizens react about this; or better condone it. We won't look away and will express our point of view and so, we've come full circle with the album title again, because we do what we do with lots of rage in our guts and a revolutionary fighting spirit, so the title is important to the album in more than one way.

SL: As already mentioned 'red' as a color symbolizes a lot of items so what's your favorite one and why?

Carsten: "Rot" is also the traditional colour of the labour movement we can completely identify with as children of the German Ruhr area. The colour stands for our origin and roots.

SL: It also brings me to the front cover of the album showing a red flag (with the logo of your band) in the midst of a sea (lake or whatever). What did you try to represent here?

Carsten: We didn't want anything bold, but wanted to create an open room for interpretations. We wanted something that is beyond realism. The red flag on the water surface admittedly is a surreal scenario. It was our goal to explore the unreal, the dreamy, as well as the depths of the unconscious and to expand the field of experience limited by human logic with the fantastic and the absurd. That's why we chose this surrealistic approach. The good thing about an artistic depiction is that everyone has different feelings and associations when looking at a picture. There's no universal explanation neither for a song nor for an artwork. As an artist you can express your intentions with certain depictions, but that is not to say that other renditions are wrong. It's quite the contrary: Art is playing with these open spaces, so does music and also language. There's always more than just one truth. What you're getting out of it for yourself all lies in the eye of the beholder. In case of the cover we wouldn't feel comfortable with limiting the imagination of the beholder by delivering our own view.

SL: Did you use new material to compose this album? What have been the main tools you used?

Tom: Various synths and software programs. Partly new, partly old. Every song has its unique requirements, which we try to fulfill.

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SL: I sometimes hear musicians complaining about bands using 'popular' software programs instead of the good-old 'vintage' synths! What's your opinion about this question?

Tom: There are pros and cons either way. Ultimately the most important thing is the result, not the fact if an artist makes use of popular software programs or good-old synths.

SL: Some songs are quite interesting for the deeper lyrical content! So tell us a bit more about the main ideas behind "Stigmata Of Jesus" and what evokes religion to you?

Carsten: "Stigmata Of Jesus" describes a crucifixion scenario, but from the point of view of a "Stigmatized" person who physically feels the sorrows of Jesus and is mentally going through them as well. Some cases report that the crucifixion wounds of Jesus appear on living human bodies and that these open wounds wouldn't heal for years just like they wouldn't become infected. There are reports about a blood flow against gravity. Of course you couldn't describe something like that medically.

Therefore, are in dispute with theology, partly classifying "Stigmatization" as wonder. The first documented case of stigmatization is the one of Franz of Assisi (1181/82 - 1226). There's a kind of thoughtfulness and spirituality which you can feel in many [:SITD:] songs. We don't advocate any religion. We have our own spirituality, our own view of the universe and how it works. We respect religion and we are fascinated by religion and how it motivates people, but we're more fascinated by what the beliefs are and the traditions, and how it becomes a social tool. We are sharing strong emotions with our audience and if it works for you, and it helps you, that would be great!

SL: "Zodiac" is another (and I dare to say a quite trendy item in the dark electro scene) interesting song, which refers to a serial-killer, right? How did you come to write these lyrics and what does this subject evoke to you?

Carsten: We engaged ourselves with the phenomenon of the "Zodiac" killer. Besides movies we studied all available sources on the Internet. Amongst them we found photographs of the original letters of the killer whose identity couldn't be proven beyond doubt until today. The bizarre letters coded with symbols and signs, the killer sent the police and local press served us as an important source of inspiration. Thus, corresponding fragments can be found in the lyrics as well.

SL: "Rot" seems to be a real 'hot' release in Germany as the album has been number one in the famous D(eutsch) A(lternative) C(harts)! I can imagine you must have been very proud of it, don't you?

Tom: We are very glad that we have reached the top of the DAC again and we would like to thank all DJ's and fans for their fantastic support!

SL: Honestly, what does the D.A.C. really represent for a band as it doesn't say anything about the number of copies an album is selling, but just about the meaning of a DJ-pool (who establish this D.A.C.)?

Tom: A respectable DAC-ranking represents the feedback on the dance floors. For a band like us it's important that the DJ's spin our records at the clubs. It has a considerable promotion effect.

SL: Over now to the limited edition of "Rot". Tell us a bit more about the content and especially about the remixes?

Tom: "The Insanity Of Normality (Final)" is the opening song of the limited edition. Many times instrumentals won't receive as much estimation as a song with vocals. This is actually too bad, because the same heart's blood and passion went into it. In case of "The Insanity Of Normality" we still had so many ideas after finishing the intro that it would ultimately become the "Final" version which has found its place on the bonus CD. Followed by the "Extended Version" of the title track "Rot". Furthermore you'll find remixes of the song by S.A.M., Reaper and Aesthetic Perfection. Project Pitchfork have done a remarkable remix of "Redemption". "Heldenhaft (Feat. Othura)" is the closing song of the bonus-disc. Othura is a very talented artist who worked for herself thus far without greater public attention. She sent us a link to a self-created video of 'Heroic'. She would write lyrics to the song off the "Bestie:Mensch" album and add vocals to it. We loved her voice right away and quickly came up with the idea of doing something together and release it. The only problem was that we wanted only new songs to come on the album. Another thing that wouldn't fit into the concept was her lyrics. They were perfectly crafted but we were missing the reference we had in our minds to this instrumental piece and so we decided to rename "Heroic" into "Heldenhaft" and to write own German lyrics for it. The idea and the lyrics met with positive feedback on her side, so we invited her into our studio to make the idea reality. That's how the song eventually found its way on the bonus CD.

SL: The remixes of Reaper and SAM (both from "Rot") are a quite judicious choice for the meeting between different styles and influences! What did you thought when they returned you the remixes?

Tom: We were delighted with the results of their work. Well done, guys!

SL: One more question about remixes. I noticed that you did 3 remixes for Oomph! This is quite impressive and especially for such a big name from the German scene. How comes and do you have a particular kind of relationship with Oomph!?

Tom: We know each other since many years. We have played several concerts together and we talked about the vague idea of a remix-collaboration. In spring 2006 I had a deejay gig together with singer Dero at the "Oomph! Day Party" in Berlin. On this day, the concrete plan was born to create a [:SITD:] remix for the Oomph! single "Das Letzte Streichholz". The band, the record company and lots of Oomph! fans were really satisfied with the result of the first remix. So it was obvious to do it again. Consequently we have remixed their singles "Träumst Du" and "Sandmann". So the story goes�

SL: It seems you already confirmed to be on stage at the next WGT (Leipzig) from 2010! What makes this festival that particular and do you have some favorite festivals?

Carsten: The WGT is an annual world festival for the dark music and art scene. With its regular 25.000 attendants, the WGT is the largest event of the dark subculture worldwide. It's definitely one of our favorite festivals and we are really looking forward to play there in May 2010.

SL: I think you appeared on a DVD from this other famous festival (cf. M'era Luna), but what do you think about releasing an own DVD? Is there anything planned here?

Carsten: We have no concrete plans in such a direction, but in a few weeks we will talk with our label and our management about the plans for 2010 and then we'll see what the future has in store for us.

SL: Your discography starts to become quite impressive while you always remained faithful to Accession Records! What makes this label that particular and what kind of relationship do you have with the other bands and especially with Adrian Hates (as label owner)?

Carsten: Accession Records preserves an even course. We have a close relationship with Adrian Hates and the other bands like Painbastard, Diorama or Diary Of Dreams for example.

SL: We're pretty close to the end of 2009! According to you what have been the main facts of this year (generally speaking and musical wise)?

Carsten: Generally speaking the World Economic Crisis and its consequences and musical wise the new DJ Hell album "Teufelswerk" (great stuff!).

SL: Any wish(es) for 2010?

Carsten: Peace and mutual understanding.

Band: www.sitd.de / www.myspace.com/xsitdx
Label: www.accession-records.de / www.myspace.com/accessionrecords

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