BEAT NOIR DELUXE Interview (2/2)

Automatic translation. Improvements are constantly being worked on.

Beat Noir Deluxe is releasing their third album, *Tempus Fugit*. In our two-part interview, we talk with Sascha Giacomuzzi about playing with contrasts, a demon named loneliness, and castles in the air. Did you miss the first part? No problem— you can read it here.

Orkus: How personal are your lyrics? Do you find it hard to open up like that? Or is it the opposite? Does it help you?
Sascha Giacomuzzi: It really varies. Some songs are very personal and reflect my own experiences. Others are based more on concepts and themes that interest or fascinate me. Then there are also tracks that emerge more from a certain mood—from the interplay of music and emotion—without a clear theme being established from the start. Ultimately, what matters most to me is that the lyrics make sense to me and fit organically into the music. That connection is the key for me.
O: In “The Sound of Loneliness,” the demons return home. What demons do you struggle with in your loneliness?
SG: Loneliness is often the moment when things come to the surface that have no place in everyday life—doubts, fears, old thought patterns. That’s what the song is about. I think everyone has their own “demons”—for me, they’re mainly those inner voices that can make you question yourself or hold you back.

O: There are, of course, different kinds of loneliness. There’s the kind that’s restful and pleasant—but then there’s also the kind that causes you to suffer. What’s your take on loneliness?
SG: For me, loneliness has two sides. There’s the conscious, positive form—withdrawal, peace, and space for creativity. And then there’s the burdensome kind of loneliness where you feel cut off. The key is whether you choose it yourself or whether it’s forced upon you.

O: “What Can I Do” is also a moving song—one that many people can surely relate to. How did this song come about?
SG: The song was born out of a very personal feeling of helplessness—out of moments when you feel like you no longer have any control. That’s exactly why so many people can relate to it.

O: In “Pretty Privilege,” you showcase another facet of *Beat Noir Deluxe* by tapping into the spirit of the times. Have you found that this “Pretty Privilege” actually exists? And what does that say about our society?
SG: The idea came about after watching a documentary on this topic. “Pretty Privilege” describes the phenomenon whereby people perceived as attractive are often unconsciously favored in everyday life—whether through attention, sympathy, or better opportunities. At the same time, it clearly shows how strongly our thinking is influenced by external factors—often without us even realizing it.

O: The album ends on a dreamy note with “Castles in the Sky.” Why was it important to you to give the album such a positive ending?
SG: For a long time, I wasn’t sure whether the song should even be on the album. Looking at it with some distance, it actually seems almost too dreamy or—to be honest—almost too “sappy.” In the end, I decided to include it precisely because it provides a contrast. The vocals are still by Annika Borsetto and give the album a different, deliberately calmer tone at the end.

O: Were there any particular challenges you had to face while working on “Tempus Fugit”? How did you overcome them?
SG: The biggest challenge was actually time. I’m an entrepreneur and have three children—so the album came together over a period of four years, often in small, fragmented bursts of work. On top of that was the fundamental question of whether I wanted to release the songs as individual singles or conceive them as a cohesive album. Ultimately, I parted ways with the label and made a conscious decision to release my music independently and exclusively digitally going forward. Looking back, I moved too quickly with my second album—this time, I wanted to deliberately take more time and delve deeper into the songs. The production and mixing were also a process of development: At first, I worked with Krischan Wesenberg (known for Rotersand), and later with Pacoussa, a young producer from Berlin who has produced for Symba, among others. Over time, I started mastering the tracks myself and also handling my own production. This shift toward greater independence is one of the most important steps for me—and I’m particularly proud of it.

O: What are Beat Noir Deluxe’s plans for the future?
SG: I want to play more live shows, and my current goal is to perform at bigger festivals. A gig at the Wave Gotik Treffen would obviously be a highlight—I’ve been in touch with them for a while now and hope it works out next year.

Claudia Zinn-Zinnenburg

You can also find Beat Noir Deluxe in our July/August issue: