Song of the Day 7/5/10
Less than a month til our best 666 songs of alltime countdown reaches #1! Monday’s song is #24:
Joy Division – Day of the Lords
Three JD cuts in a row – and there are more to come. This is just about their loudest, most scorching anthem. “Where will it end, WHERE WILL IT END????” From Unknown Pleasures, 1979.
Song of the Day 5/26/10
The best 666 songs of alltime countdown continues every day, all the way to #1. Wednesday’s song is #64:
Joy Division – No Love Lost
The transition from bouncy synth-and-bass dance tune to scorching punk rock literally takes your breath away. And it’s got one of Ian Curtis’ best vocals. It’s on one of the Substance anthologies, and if you can find a live version (the band rarely played it), it’s likely to be amazing. Turn it on.
Song of the Day 5/20/10
The best 666 songs of alltime countdown continues every day, all the way to #1. Thursday’s song is #70:
Joy Division – Shadowplay
In the shadowplay acting out your own death, knowing no more
See assassins all grouped in four lines dancing on the floor
In 1979 Britain, the spectre of fascism was never faraway, and as personal as Ian Curtis’ lyrics are, he never lost sight of the outside world. The price of liberty is eternal what? This one’s on Unknown Pleasures, from 1979. To stream the song, click the link and scroll down to a cool early video.
The Lucid Culture Interview: Tom Derungs of New Indie Label Weak Records
Unlike the other music blogs, Lucid Culture pretty much steers clear of showbiz news. After all, it’s the music that listeners are interested in, not who’s pushing it. Did you ever go into your local record store, if it still exists, and ask the bewildered clerk, “Do you have anything new from Universal?”
And in the indie rock world, vanity labels come and go as fast as the label owners’ parents can write a check – or stop payment on one. But once in awhile we get a news release that grabs our attention – like the relaunch of Ardent Records, Alex Chilton’s original label, or in this case the launch of a new Swiss indie label, Weak Records. Founded by songwriter Tom Derungs – who records under the name of Bobby Vacant and released a haunting, auspicious album last year on Luxotone titled Tear Back the Night, Weak Records isn’t your ordinary record label, as we found out quickly:
Lucid Culture’s Correspondent: Isn’t starting a record label in 2010 something akin to opening a blacksmith shop in 1920? Or a typewriter store in 1990? Can I ask a fundamental question: why?
Tom Derungs of Weak Records: Or a vinyl shop in 2010. Every artist needs a hook, a signifier to be signified to. Call it a desirous and symbiotic crucifixion. Most artists just need help. We at Weak come from the book business. Long ago we recognized the need for an outside source to support the little guy. Most bands or writers can’t afford it on their own. They are hopelessly inept at marketing and self-promotion. We started this to help them. It’s a non-profit label and a platform to get people’s work recognized. Nothing more. And a labor of love in a world of dead blacksmiths.
LCC: “Weak Records” sounds pretty sarcastic to me. Why that name? Is there any underlying philosophy behind the concept of the label?
TD: Again, the little guy. All the shy, trembling waifs writing songs and poems in their dirty bedrooms. We want to deconstruct the word “weak” and spit it out again with new energy and meaning. Empower it. Ennoble it. There are four physical forces in the universe and one is the weak force. The sun is fueled by it. Decay is a part of it. Our bodies are fused by it. We are all decaying. Every big bad-assed, bully one of us. You can watch it at the subatomic level. And as the biggest bully of them all once wrote: the meek shall inherit.
LCC: These days most musicians are making a go of it on their own without a label. Other than the positive association that comes with your name, what does Weak Records have to offer artists?
TD: We’ve got really cool badges. And free household objects for personal ritual use that come free with each one of our fanzines in zip locked bags. But seriously, we also support our artists with hard cash. It’s not a huge amount, but they can then decide themselves if they want to use it for quality mixing, production, mastering or packaging costs. Or just keep it outright. Our contracts are simple. Artists own copyright flat out and can move to a larger label at anytime and take their content with them. Weak is there to help. Not to make money.
LCC: Will you be producing physical product as well as distributing via the web?
TD: Yes. Both.
LCC: Where are you located? Will you be distributing where you are or worldwide, or are you going to license to other labels/distributors for various markets?
TD: We are located in Switzerland and will be working with distributors mainly in the US and Europe. As we know the indie shops are sadly having a tough time. Be they bookshops or record shops. We can also supply direct, but the logistics of working with a distributor is easier. Licensing with another label would be great, too.
LCC: In addition to your own album coming out next year, you’re also releasing albums by Riders of the Worm, a punk act; the Black Iron Brothers, whom I believe are a spinoff of Captain Ludd, an acoustic/Americana band; Police Bulimia, who from what I can tell sound kind of like Snakefinger; and the Jesus Taco, whom I only know as a takeout Mexican restaurant in Spanish Harlem here in New York. What can you tell us about these bands? Is there a common link between them, a specific reason why you chose to launch the label with this stable of acts?
TD: We’ve always been torn between folk and punk, blues and rock & roll. Like a Frank Black song that goes from light to heavy within just a few measures. But poetry is a huge part of it. Poetry is the main link among these bands. Whether it be a juvenile punk band from Reno Nevada like Police Bulimia or a hopelessly melancholic singer-songwriter like Bobby Vacant. There has to be rage and expression, depth and meaning, sadness and elation, textual substance. Angst. Weakness and vulnerability. We’ve got a large folk, post-punk and blues feel to our acts but poetry threads them all. Riders of the Worm is just plain wild, like the Minutemen meet Negativeland, and the Black Iron Brothers is pure blues, slide-guitar, ambient experimentation much like Califone.
LCC: You’ll also be launching a zine, Savage Laundry. What can you tell us about that, will you have a dead tree edition or just an online presence with that?
TD: Well, you won’t be able to download THIS! We’ll be hanging it up with clothespins at venues. Copy, paste, and print. The theme of Issue #1 is neo-hoboism. Traveling hobos had a code of ethics. Rule number one: “Decide your own life and don’t let another person rule or run it for you,” and also, “Don’t take advantage of another person who is in a vulnerable situation.” It’s all very beat-ific. Woody Guthrie. Kerouac. The homeless. We’ll also have lots of poetry in it. Rants. Reviews. The official “Squat to Pee” column. There might be a free PDF download but you need the real issue to get the free mystery object in the baggie. We have some graphic novel artists to contribute drawings as well.
LCC: If I can be completely harsh and cynical here, we get dozens of news releases a day from fledgling record labels. What makes you different?
TD: Poetry. We are perhaps the only indie label (I think) recording both music and poetry. We want to merge the two genres wherever possible. We will be issuing poetry EPs, full-length poetry albums, both on CD and on the web. Currently we are working on a Weak Poetry sampler with poetry/music combinations such as “Cancerland” which is a guitar-based and Patti Smith inspired poem/song and hugely critical indictment of motorway-exit ugliness and industrial, cancerous consumerism. There will also be cross-over with bookshops. Bobby Vacant has done a number of gigs in independent bookshops and we plan to distribute there as well.
LCC: Can I ask what your association with Luxotone, the marvelous little Chicago label that put out your previous album, will be?
TD: Luxotone is a fantastic indie label and we will be supporting them one hundred percent. The production on Tear Back the Night cannot be beat. There will be another collaboration down the road sometime, hopefully. Luxotone have done great things but haven´t got the recognition yet.
LCC: As Lucid Culture readers know very well by now, your 2009 album Tear Back the Night is very highly regarded here: it made the top ten on our Best Albums of 2009 list; it was number one on my personal list, so I’m naturally interested in what we have to look forward to on your next one. Who will you be working with, is there a theme, whatever you feel like telling us about it. Unless you’re going to keep it a complete mystery until release date…
TD: Thank you for your support. The next Bobby Vacant album is tentatively called Pull Down the Clocks. It will still have the acoustic singer-songwriter whispery feel to it but with more of an edge. Less production. Some faster, punkier songs with just a little bit more distortion. The songs are written and ready to record. There will be extra vocals and some session musician work as well. The songwriting is more solid and only the best songs will make the cut, even if it´s only 10 songs. No fillers. Only the best songs. There’s about 20 songs ready to go. It’s all about the quality of the songwriting.
LCC: What will the initial release on Weak Records be and when is it coming out?
TD: The Black Iron Brothers are currently recording and the album should be released by this summer or in the autumn at the latest. Again, we are looking for the best quality here. Their first album Deliver was recorded in Zürich at a really good studio with really good session musicians, and we want to make the new one just as good. They still haven’t decided on the title yet. We would also like to do a Weak sampler but refuse at giving it any official FAC-style number but are hugely inspired by Factory Records, their graphics and packaging. Sandpaper sleeves are our favorite at the moment.
LCC: Ouch. I once had an album by the Feederz, an obscure punk rock band from the 80s who did a really funny cover of the Olivia Newton-John lite FM hit HaveYou Never Been Mellow. And that came in a sandpaper sleeve. I ended up getting rid of it, which I probably shouldn’t have. Can you send mp3s instead?
Song of the Day 3/21/10
The best 666 songs of alltime countdown continues every day, all the way to #1. Sunday’s song is #130:
Joy Division – Interzone
Fast, scurrying, manic-depressive punk rock with a sweet minor-key hook from Unknown Pleasures, 1979. “And I was looking for a friend of mine.”
Song of the Day 2/8/10
The best 666 songs of alltime countdown continues every day, all the way to #1. Monday’s song is #171:
Young Marble Giants – Salad Days
Just so you know, we deleted Romans by the Church to make room for this one. It’s the catchiest cut on the influential postpunk band’s 1980 debut Colossal Youth, a spiky lo-fi gem with eerie deadpan vocals from frontwoman Alison Statton. The link above is a considerably ironic, dodgy live clip from a 2008 reunion show in Barcelona.
Song of the Day 7/25/09
Every day, our top 666 songs of alltime countdown gets one step closer to #1. Saturday’s song is #368:
Public Image Ltd. – The Order of Death
Brooding Italian movie theme from 1983 with layers of synth over a drum loop, John Lydon intoning the mantra “This is what you want, this is what you get,’ which ended up serving as the album title after guitarist Keith Levene either quit the band or was fired depending who you believe. Some fans prefer the more poignant but less ominous acoustic guitar version from the Commercial Zone lp released by Levene as retaliation in 1985.
Concert Review: Wire at South Street Seaport, NYC 5/30/08
A pounding, hypnotic, energetic show, revealing the seminal British punk/new wave band none the worse for the thirty years since they played their first New York show at CBGB in 1977. If anything, the prototypical art-school punks are more minimalist than they were three decades ago when their highly influential debut album Pink Flag came out. Running their guitars through a labyrinth of digital reverb and delay effects, they roared through almost an hour of the “modernist deconstructed rock distanced from the form” or whatever bullshit their website says their music is about. Like so many of their punk contemporaries, they weren’t the greatest musicians, but their uniquely eerie melodicism was matched by an equally quirky sense of humor: frontman Colin Newman’s off-key, semi-shouted nonsequiturs have always imbued with a very subtle, very British sense of fun, something their legions of imitators (REM, said Michael Stipe, would never have existed without Wire) have been oblivious to. This wasn’t the original unit: they now have a woman (not Justine Frischmann) serving as the second guitarist, and her aggressive, noisy playing is just what this band needs to keep the old songs sounding fresh.
The set they played last night spanned the group’s entire career, from the barely ninety-second 106 Beats That, from Pink Flag, to a long, pummeling, danceable number that hung on the same chord for about four minutes as the overtones from the guitars built a seemingly impenetrable wall. A lot of Wire’s songs make great dance music, but, predictably, the surprisingly small crowd scattered around the stage didn’t move a muscle. Although, as one concertgoer remarked, it was a totally 90s crowd in all the best ways, a refreshingly diverse mix of gay and straight, old and young, with hardly a $300 bedhead haircut to be seen anywhere.
“You haven’t taken the opportunity to see the Eagles,” Newman noted (apparently the El Lay schlockmeisters were in town: who knew?). Some things never change: Wire’s subtly biting, percussively optimistic tunes remain just as much of an antidote to top 40 as they were three decades ago.
“I’m going to get epilepsy up here,” said bassist Graham Lewis, imploring the light person to be a little less creative. Otherwise, they didn’t say much, hitting the audience with one song after another, flailing away through several of their signature, sudden, cold endings. The last of their encores was a song they’d played at that first CBGB show, inbued with all the energy and intensity that one could hope for from a band from that era.
The next stop of the evening was Crash Mansion, that tourist trap on lower Bowery where El Jezel were playing the release show for their new cd The Warm Frequency. Word on the street is that it’s excellent, the album that Portishead should have made this year but didn’t. Sadly, it didn’t take long to figure out that the bands were running way, way behind schedule. Surrounded by the entire cast of the O.C. (or what looked like it, anyway) and with plenty of booze at home, the choice was clear. But you should see El Jezel sometime – they play around town at least once a month.
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