For my first article, I tried to find something fairly unique, fairly unknown, but still decent… and came out with Rotersand. They are a German trio self-classified as “industrial pop,” which comes out as a grungy, club-style electronic tune. Musician/producer Gunther Gerl and singer Rascal Nikov started the group in September 2002, and dance music producer/DJ Krischan J.E. Wesenberg joined the shortly after. Rotersand has four albums and four EPs to their name, the latest of each releasing in the second half of 2009. Their latest offering, Random is Resistance, is full of dance floor-friendly beats, crunchy synthwork, and well-keyed vocals to fit the lower tone the band takes to music. They offered this description for the album:






The album’s theme is to attack the “system” of the world that knows people not by name, but by number; that wants all of us to fall in line and behave predictably; that wishes to turn the world into a well-oiled machine. Not all songs stick precisely to the theme, but there is a definitive cohesiveness between them.

Tracklist:
1. Yes We Care
2. Bastards Screaming
3. Waiting to Be Born
4. Speak to Me
5. We Will Kill Them All
6. First Time
7. Beneath the Stars
8. If You Don’t Stop It
9. War on Error
10. A Number and a Name
11. Gothic Paradise
12. A Million Worlds to Lose



The album starts with a semi-short intro, “Yes We Care,” which takes the viewpoint of the system. Contrary to most of the album, this song’s only instrument is an acoustic guitar. Accompanied by a low, somewhat creepy voice, the song baits you with the opening “Hello, my friend,” then proceeds to explain how the system “feeds on you,” can “track you,” and “knows what you did before you did.” It closes with an ironic “Yes, we care,” which may cause some people to look over their shoulders or check their windows to see if they are being watched.

“Bastards Screaming” introduces the synthwork along with some handy guitar contributions and echoing vocals. This song tells the story of a faction that’s fed up with the system’s way of doing things and decides to introduce a little error into its plans. The attack leaves “them bastards screaming” in pain and fury. The lyrics aren’t exactly diverse, but the song makes its point.

The next track, “Waiting to Be Born,” is based primarily on synth techniques. Its story is of the people trapped in the system, fighting to free themselves and “waiting to be born” into a new order; or rather, disorder. The first half of the song tells its tale while the second half is split between the chorus and dance-friendly synth bursts.

“Speak to Me” leads in with some of the more abstract synth sounds I’ve come across, which progress into more club-style beats. The vocals are a bit lower on this song, and take the perspective of one of those trapped in the machine. The singer expresses a desire to escape, to “reemerge from that abyss.” He asks for the assistance of a leader figure whose “vision’s clear” and “words are true.” While the vocals dropped a little, the song overall has a lighter feel to it than the last two.

The album drops back into lower-key synthwork on “We Will Kill Them All.” This is the first song that does not directly relate to the theme. It takes a man’s absolutist stance on a war he’s about to fight and explains it to a child. He believes wholeheartedly in his victory, as the echoes of “it is meant to be” ring under the lyrics. He even goes so far as to tell the child “don’t you fear at all, we will kill them all.” Relations can be made to the war against the system, but this song seems designed to simply tell a story that can stand alone.

“First Time” leads in with a beat-keeping guitar followed by a synth that seems set in doomsday mode. The vocals reflect thoughts running through a warrior’s head before going off to battle. It goes from motivation (“there’s no one else but you to raise you from the dead”) to hesitation (“you’ve got to pay a price when you go from white to black”) to uncertainty (“this could be your first time, and it could be your last time”). Halfway through the song, the synth picks up and grows continuously towards the end, giving the impression of anticipation and a rush of adrenaline. At the end, the song quiets down again and closes with the chorus over a piano, a last moment of contemplation before stepping into the fray.

The seventh track, “Beneath the Stars,” is the first to not have a negative undertone to it. The vocals reach a little higher, which isn’t much, but it’s there. The synth also moves up a bit in tone and speed, giving the song a more upbeat feel. The singer notes that things are finally getting better, that “the sky is clearing up again.” He also states that “I’m listening to my heart again” and “loving what I’m living for.”

The story takes a step backward in plot progression for “If You Don’t Stop It.” This song’s pace is the fastest yet. Echoing vocals offer the urgent message of “if you don’t stop it, they won’t stop it.” This song can be seen as a general call to action. Despite its speed, however, only twelve unique lines of lyrics tend to make the tune seem repetitive. For those who like fast beats and don’t really listen to lyrics, this is for you.

The track that shares its name with the EP, “War on Error,” directly addresses the theme of the album. The music itself sets a tone for confrontation and conflict somewhat akin to foot chases in movies. The song opens with the complaint that “this is not my world.” This is followed by an announcement directly from the heads of the system, requesting “your cooperation in providing any requested data in a structured, detailed, and predictable manner.” They go on to declare “war on error” and warn you that “random is resistance.” The singer proceeds to inform them that “it’s my life, it’s my mind, it’s my heart, not a digit.” Even if you don’t believe in the theme here, the song can still seem very motivational.

“A Number and a Name” shifts gears, introducing a swing-style beat that moves progressively up and down. It also shifts to the system’s side and serves as a mockery of the people under its thumb. It claims to be “shaping your tomorrow” and promises to “keep you safe, stuck in your illusion.” Its position is clearly stated with the line ““keep you safe, stuck in your illusion.” Its position is clearly stated with the line “you’re just a number and a name.” This song offers a refreshing break from what’s been offered up to this point.

The penultimate track, “Gothic Paradise,” turns into a dark, dance-friendly tune that stands alone more than any track before it. The verses are strung with crunchy synth beats, while the chorus is more melodic. The vocalist inquires if you would “like to watch a human sacrifice” that “leaves your body petrified and shivering with fright,” then invites you to “let us crawl this creepy carnival” and “dance along with pain and grief, and joyfully believe in gothic paradise.” This song just has a certain morbid appeal that grasps even the non-gothic listeners and won’t let go.

The final track, “A Million Worlds to Lose,” serves as a warning to what will happen if the system wins this war. It starts by explaining how you as an individual mean virtually nothing to them, then states that “we love our ins and our outs, our sins and our doubts, our dims and our louds,” citing these as the “million worlds to lose.” The somber tone of the song reflects the gravity of its message.

I personally wouldn’t rate the album as a whole in a top ten or anything, but there are a few standout tracks. “Yes We Care” gets a nod for its creepy factor despite the short length. The next few songs are “safe” songs, not bad but not exceptional. “War on Error” serves as an excellent motivational song, even more so if you believe in the message it presents. Skip one, and “Gothic Paradise” can be added to any shadow-tinged setlist or DJ’s repertoire with minimal conflict. The album as a whole earns a 7.8/10 from me. I’m a fan of this sort of thing, so feel free to disagree with me…after you give it a fair listen, of course.

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