Utter Dark Radio Show

c/o Bertrand Garnier HLM Les Bouchauds 63290 Puy-Guillaume

Q: To begin with, let us talk about something you have probably been asked billions of times before, that is the band's origins, background....

A: As always there are (at least) two different perspectives... -the inside and the outside view. Unfortunately, I am not prepared to tell you anything about the inside (or spiritual) "development" that led to the project that we know now as SOPOR AETERNUS, because this would be far too intimate (and painful) to reveal here. However, what I can tell you about is the outside process...: Some when in the year 1987 Holger -who later became my servant and stayed with me for two years- and I became acquainted by a mutual friend of ours, who knew, that we were both interested in performing a certain kind of music. The meeting took place in a club in Frankfurt (Germany) called "Negativ".... I remember that it had been rather cold on this very evening. Some unknown band was playing their rather boring set, a circumstance that forced us to walk back and forth between the street in front of the club and the girls' toilet, always hoping that in the interim the concert would have come to a happy end, so that we could eventually go and hide in the anonymous darkness of the stage... Well, after a certain space of time and a variety of people that were integrated into the action (not the music) ..., came the moment, when SOPOR AETERNUS consciously(!) materialised. That's already it, I am afraid.

Q: .... And what actually is the profound meaning of the patronymic "SOPOR AETERNUS & The Ensemble Of Shadows" ?

A: Once again, I have to apologise for not being prepared to answer your question to your full satisfaction...., this time concerning the Ensemble of Shadows. When I started giving interviews I was stupid enough to ponder on this subject, talking about things I shouldn't have mentioned at all. Especially because I did even have a half of the information at that time, so I confined them to a certain "phenomenon", which simply did not do them justice, at all. Even today there is still so very much I have to learn, so I simply do not dare to talk about it public. On the other hand, I don't really think that it would be necessary at all, because for those sensitive enough, it is rather evident, that there exists a connection between the Ensemble and the dead in Butoh. SOPOR AETERNUS means "Eternal Sleep" (or: Sleep of Death).... -but I believe, you know that already, anyway.

Q: The way you play with body attitudes and rather unusual clothing patterns has most certainly contributed to increase the attention towards the band, and I can assert that you remain kind of an enigma to many a fan. Could you please tell us more about the way you think SOPOR AETERNUS' artistic concept up ?

A: I believe that there is a special intention working in secret behind all things as nothing ever happens without a reason or motive. I also believe that it is so for all lyrics and music... in a certain moment and position within the continuum of space and time... a special melody or music is already assigned. The consequence arising from this idea is the circumstance of having no real choice regarding the selection, instrumentation and final sound of "our" music, -at least not when one has chosen truth as the criteria of the work- since its appearance is automatically defined by our own individual way of being (i.e. consciousness etc.)... in the very moment of the invocation of the song. Indeed, the artist's interaction with her/his entire (spiritual) environment, and with the lyrics, that is the name of the song or poem, actually seem to create this definition. If one keeps in mind that equal things always attract each other, allow me then to illustrate these thoughts by using the following model: Try to imagine an empty room. At its centre a peculiar source of light is sending out its rays. This source of light shall be the essence of the song upon which we have chosen to focus. Attracted by the characteristically pulsating rhythm of this light, the perhaps strangest, yet still corresponding entities, or energies, (however one prefers to call them) enter the room as they follow our invitation, leaving their traces behind whilst moving through it. Those entities, or energies, are the exact equivalent to the instruments and voices of the song. In fact, they do represent them. If we take a closer look at the resulting scenario after a certain space of time, that is, the room, the traces that have been left behind and the source of light all together as a whole... then from this picture we may perceive a symbolic equivalent of the moment when music and lyrics unite. It is, of course, important to capture the very moment of the highest intensity, in order to be as close as possible to the true essence of the song, and therefore also to the emotion one attempts to express in the first place.

Q: To what extent has it evolve since your debut?

A: This is still pretty much the way in which I work ...., it hasn't really changed. However, it did take me a while to first realise how exactly things are connected.

Q: This interview timely catches up with SOPOR AETERNUS' topicality, since you have recently released the second part of the "Dead Lovers' Sarabande" concept. I haven't listened to it yet (shame on me...) , so maybe you could describe this album to our readers. Does it follow the path opened by the previous "Face One" ?

A: Musically .... ? Maybe to a certain degree, yes. Though the minimalistic lightness or transparentness of the first part has become somewhat heavier .... or denser, if you wish. Lyrically, on the other hand, it does deal with the same .... subject(s). However, the overall atmosphere is entirely different, mainly because the aspect of chamber-music is a lot more evident. I believe, someone has described "Dead Lovers' Sarabande - Face Two" as gas-chamber-music..., which is fine with me.

Q: It is always a risky undertaking to stick a label on a band, especially when it assimilates so many influences. Some range your music into the gothic scene. Others speak of dark medieval and other various ambiguous adjectives (atmospheric, folk, occult, to name but a few). So, once and for all, do you feel like belonging to one or more of these genres, and if not, do you actually wish to be affiliated with any definite musical stream?

A: No, actually I do not feel like belonging to any of the genres listed above .... and I always found it very difficult to describe the music of SOPOR to anyone. If I had to define it for some reason then all I could say would be .... that it is rather .... fragile.

Q: In this respect, what are your connections with the current underground scene, especially in Germany? Do you recognise yourself among the ranks of more or less marginal formations which target an audience close to yours?

A: Unfortunately, at least 99% of what comes from this so-called underground scene in Germany is nothing but crap.... -pointless, boring and totally unnecessary. It doesn't even deserve being labelled underground, as it is basically just the same commercial shit you get anywhere else. I am sorry, but it's true. Sometimes I really wonder why the hell some of these kids are making music in the first place ...., but then again it is rather obvious.... -I guess, for the majority of them it is just another nice hobby ...., they probably think it is kind of cool to be in a band .... and attract girls. But I am getting nasty again..., sorry.

Q: As far as I can appraise anything, the "Todeswunsch" album was a rather chaotic one with lots of irregular songs laid out side by side with no real linkage, whereas the following ones (especially from the "Voyager - The Jugglers of Jusa" on ) express a more evident maturity of composition while keeping in tune with the band's freedom of creation. Do you agree with this statement?

A: Well, there is something you have to know when listening to (or working with) SOPOR: all I am doing is to write about myself .... and only about myself ....- exclusively. "Todeswunsch" combines many different aspect, that is true so far. What holds them all together is the overall presence of Anna-Varney. I guess it is save to say, that "Todeswunsch" somewhat serves like an index for the topics of the coming albums. But you are absolutely right ...., "Voyager - The Jugglers Of Jusa" really was the first album that focused on only one specific aspect.

Q: And how do you judge your own progression?

A: Hm .... well .... let's put it this way: "The Inexperienced Spiral Traveller" has been the worst album I ever recorded .... and after that .... it slowly got better.

Q: Likewise, the "Voyager - The Jugglers Of Jusa" album seems to mark a kind of rest in your discography, with steadier songs and less frenzy overall. Did you at that time enter a state of mind which commanded you to break away with the guiding principles until then?

A: No .... at that time I was struggling with my transsexuality and basically everything else that had anything to do with .... this way or another. I felt like being trapped within some strange limbo .... neither this not that .... neither fish nor fowl .... -and all this, of course, had its influence on the music as well, which (to me) is somewhat incomplete ...., and my voice just sounds awful on both albums. I simply couldn't sing .... for whatever reason. So, I totally disagree with you here. If, what you call frenzy, appears to have been calmed down, this peacefulness is not only treacherous ...., but also painfully pretentious.

Q: Incidentally, was the "Dead Lovers' Sarabande" album a way to recover the mournful and gloomy surroundings which enshroud SOPOR AETERNUS's essence..., notably thanks to an abundant use of sad violins?

A: Yes...., after about two years I eventually returned home to the my beloved catacombs and vaults .... -and all the spirits welcomed me. Alas, how very much I had missed them.

Q: Does the recurrent inclusion of elements such as bells and emphatic female choirs bear any theatrical meaning within SOPOR AETERNUS' history?

A: Everything is meaningful ....-though there have never been any female choirs. Well, at least not in a strictly biological sense, if you know what I mean.

Q: If I'm not mistaken, SOPOR AETERNUS is -except from a fringe of connoisseurs- still pretty unknown in France. And so is the gothic/dark movement, which roots barely get over the Parisian catacombs (here I am not speaking about the so-called gothic metal wave personified by female vocals and easy-going guitar riffs). Did you ever have the opportunity to perform in France ? If so, how would you judge the gap existing between the reactions of the public there compared to Germany ? If not, what kind of feedback do you receive from France on your music?

A: I hardly get any feedback on "my" music at all, not even from Germany. Admittedly, I have been to Paris once -I guess it must have been two or three years ago- but I found it rather .... hm .... difficult. You have to understand that I do not speak French, so I was never quite sure at what point the insult (I usually got when showing my face in public) became close to a more than just verbal thread. It simply is very difficult when people are giving you names .... and you have no idea about what they are saying. You just never know when it is getting dangerous. Especially in a country like France, where apparently hardly anyone seems to speak English at all. I am probably carrying owls to Athens now, when I tell you that the French (appear to) have this attitude of being something .... oh, so special .... and that anyone, who wants to talk to them has to learn their language first. But, unfortunately, most of their desired difference lies simply in their enormous impoliteness, which often becomes really annoying. But then again, all this is, of course, just another cliche too .... and merely what I perceived during my very brief (two days) visit to Paris. So, I hope that I haven't upset you now .... -at least not too much, ha.

Q: Now that you have kind of completed the "Dead Lovers' Sarabande" circle (or maybe I'm wrong?), where are you going to find the motivation and inspiration to dig ever further down the gulf of mysticism and melancholy ?

A: Within myself, of course. Where else could I find it, if not there ?

Q: Do you already have another brainwave in mind, any other notion you'd wish to explore?

A: Yes ....

Q: Many people in the underground scene claim that SOPOR AETERNUS has reached a cult-status. What is our feeling about that? Do you have the impression that something has changed in the way people approach you?

A: Well, I dislike it even more to actually meet any of them.... -people.

Q: Does the band's activity provide you with all the means necessary to have control over the production stuff ? In other terms let us crush a taboo subject: is it actually possible nowadays to earn a living from underground music?

A: Oh, I wasn't aware of the fact that this is still considered to be a taboo. Hm, I guess it is possible to make a living with your music, even if it is just considered underground-material that reaches only a rather small amount of people. You would probably have to do a lot of touring and produce at least two releases a year ....-unfortunately, both are criteria we do not fulfil. So, in other words: No... -I have not been able yet to make big money with my art.

Q: You certainly attach a lot of importance to the lyrics, which are remarkably detailed, either in German or in English. By the way, do you compose the music after the texts or the other way round? And how do you decide in which tongue a song should be written?

A: Oh, it works both ways ...., it always depends what aspect shows up first. Though, admittedly, it can be quite confusing sometimes, when lyrics and music do not appear right after each other, so I mistakenly might believe that some lyrics belong to a different melody .... and then get frustrated when (for obvious reasons) nothing seems to work. The language question on the other has never been a problem, because usually the first thing I receive is the title of a song ....., which always carries a certain .... hm .... vibrations, if you wish, and this generally informs me about the specific language that must be used. It simply would not work in any other language .... -at least not for me .... at this particular moment of time. (Though, let's say, an English title does not necessarily imply English lyrics as well. It sounds a little complicated, I know.)

Q: SOPOR AETERNUS' repertoire contains a few songs which lyrics are derived from Edgar Allan Poe's work, so assume that you hold this author in high esteem ?

A: Yes, I certainly do.

Q: Could you list some other references you'd like to associate your music with (authors, painters, movies, other bands...) ?

A: Yes, I could, but I am not going to ....

Q: "Voyager - The Jugglers Of Jusa", and both version sound almost identical. How comes this particular song is so emblematic to your eyes?

A: It the given context it is rather self-explanatory. In general you can say, that sometimes a specific piece of lyric or music carries an information (or problem) you haven't quite managed to solve the first time you worked on it .... and this circumstance therefore requires a second (or even third .... or more) attempt to do so. Sometimes a song has to teach you a lot more than you first thought.

Q: Last question: you are signed under a label called "Apocalyptic Vision". Any reflections related to this much discussed topic?

A: Oh, please.... -not again.

Q: We at UTTER DARK thank you profusely for allowing us to quench our thirst for knowledge about SOPOR AETERNUS, and wish the band all the best for the upcoming century. Here is some free space for you to express whatever you'd like to tell our readers...

A: I apologise for the bad mood I am in today .... -it is summer.

Thank you again and all the best,

Bertrand.