BIMfest 18.12.2010     BIMfest 18.12.2010     BIMfest 18.12.2010

BIMfest 18.12.2010
BIMfest 18.12.2010
BIMfest 18.12.2010

Din-A-Tod

Din-A-Tod (D) were responsible for one of the musical highlights of 2009 as their debut “Westwerk” on Out Of Line could capture the spirit of the early eighties very well (sometimes with a club appeal). With their “Warsaw”-cover they could even convince the post-punkfans and after having appeared on M’era Luna-Festival, BIMFEST is more than happy to welcome this Berlin-based electronic sensation.

An interview with the band can be found below!

Din-A-Tod

(Een nederlandstalige versie van dit interview kan u vinden op www.darkentries.be)

Sven Claussen and Claudia Fasold started making music in 2003 because they got tired of hearing bands that did not think outside the guitar/bass/drums box. Musically they make a bond between the 80's Joy Division feeling and catchy analogue synthpop. And they are punk in the way that their lyrics have double meanings and they write about politic and religious topics. Not your average Out Of Line band but one to keep an eye on because their first two album were well received at the Dark Entries redaction. Make sure you arrive early next saturday because this is a band you do not want to miss! We talked with Sven, half of Din (A) Tod.

Hi Sven, can you introduce the band for us?


Sven: Dinatod is a band from Berlin, consisting of Claudia and Sven. We take influence from anything thats vital, be it politics, music or crime. The face of the band is constantly changing, cause the intention behind it is to develop and explore new territories.

What inspires you to make music?


Sven: Listening to music that is well done is most inspiring; also seeing that there are a few bands who manage to write politically relevant lyrics and make good music, like the Pop Group or M.I.A.. Also the fact that only music can express certain emotions and energetics is encouraging.

What do you prefer, real synths or do you also like using software tools?


Sven: We use both, each has its place. Software is easy to use and automate, while real instruments induce a human touch into the music. Software-wise we use Ableton Live and its a very great and musical program. But no program can compete the fun of turning knobs on a real synth.

Your first album contains material from a period of 4 years, do you feel "Westwerk" is different because of the shorter time?


Sven: Yes its more composed as a unit. The Album-concept is very impotant to us.

Did "Westwerk" feel more like making an album than "Sound Of Crash" because of that?

Sven: Yes completely different, as you already said, our first album was more of a compilation.

Being a graphic designer, do you want to make future album artwork in the same concept? Or do you think it will always be something new?

Sven: Claudia's artwork will change as much as the music, but there will be some continuity too.

Is Warsaw one of your favorites? Because usually bands do covers of "Love Will...". Warsaw does have a great drive behind it and I think you caught that really well.


Sven: It is a song that we always loved and a tribute to a great band. It fits good into the album, because its angry and confrontative, I prefer uptempo songs to slow ones anyway.

How come you made some songs containing parts of poetry by Adam of Saint Victor?

Sven: Adams Poetry simply contains a large amount of the medieval christian legends, and his words themselves are rhythmic, they are meant to be sung. I guess that made him an ideal candidate, he didnt just write words, but words with a musical intention. His stories fit quite well with the basic idea for Westwerk which came from watching Pier Paolo Pasolinis films. He saw this relation between a medieval vitality of life and the modern poor classes. Keeping that in mind, I was trying to see the saints, which Adams talks about, as political figures. Their lifes as struggle between idea and reality, their existence as a mere provocation to the political powers that be.

Parts were used in "Glory In The Highest" but what is the song (or poem) about?

Sven: I dont remember, it was a praising of God?s Glory I guess. I assembled parts of it to a new meaning. The interpretation is up to you, it could be a praise of sex apart from its biological function as well as a praise of the Chinese one child policy.

Another song I don't quite get, what's "Fertile, Yes!" about?

Sven: I wont explain it in detail, but I think fertility and the cutting of the harvest are great metaphors for the idea that what you do is judged by its results, and this judgement comes from a higher perspective than your own. Thats quite different from the bourgeois perspective that following egotism is the best way not just for you, but for the whole society.

Berlin sounds like the place to be, I just talked to Velvet Condom and they say there's whole lot going on. They told me most of them are foreign bands like Sixth June and you guys...

Sven: I?m not so into minimal stuff so I can not say much about that scene in Berlin. Berlin is a great place for techno music and I get much inspiration from that. Otherwise the city is quite a toilet, with some exceptions, the Kreuzberg district is one of them.

Do you know Sixth June? They play on friday, but maybe you will only be there on saturday? Any bands you would like to see?


Sven: I?ve heard them. We are looking forward to see DAF, also Autodafeh I?m curious about.

Any final words for our readers?

Sven: Enjoy the BIMFEST, its fantastic when people come together to celebrate music. We are looking forward to play there and make some new friends.

Thanks for the interview!

(Interview by Chris Konings for Dark Entries Magazine)

D.A.F.
Laibach
The Kids
The Bollock Brothers
Autodafeh
De Brassers
Sturm cafe
Din-A-Tod
Emotional Violence
De Prins & Partners
BodyBeats Productions
wool-e-shop
27.11 WELLE:ERDBALL @ TRIX Club - Antwerp - B
Dark Entries
De Luidspreker
Gothville
BBConsulting