How subversive is Iroquois? Why Americans laugh about elephants? And why can not we start with Nicole's "A bit of peace" no longer revolt? The Woog Riots have taken for us the time to answer these and other questions. More after the jump! " once i made a record / i did it all for you "
(Woog Riots)
(Woog Riots)
The act of rejection of the juvenile - not always in line with your own worldview located - Code of the parent generation is admittedly more difficult. Iroquois themselves lose their appeal in a decidedly heterogeneous society. What should we scare yet, even if the shock was transferred to the school program? Only yesterday again saw a banker papered with medium-length hair. Finally, we want to say here! But: what to and what should we rebel only when even hairstyles can give no subversive character? Gender arrangements? Pandering? Cuteness? Nothing? Please tick! The formulaic of rebellion Silvia Battisti carry-Rudow and Marc Herbert alias Woog Riots in its name and may be trusted to the many reviewers of their current album PASP, they also seem to play an active, critical core to have a monopoly on. The want to believe it is a pleasure, for behind PASP (People, Animals, Society, Places) hide truly indispensable critical positions that need to be first to show. The song " People Working With Computers " is about a stoic allegory of the factory worker who has swapped his overalls for a keyboard, another example is "Paul McCartney " - a swan song of patriotism. The list goes on. And they would continue
mean the real players behind the texts to be unfair. For the Woog Riots are far more than mere Problemaufzeiger and far more critical of the system as DIY Riot-pop. Silvia Battisti-Rudow Marc Herbert and have created their own reference system in which it is all about equal areas. Since criticism is next next humor and authenticity of their own musical socialization. It constantly blinks from the stage, constantly tried a flat space between artist and audience to create, so to soften the borders. Is going around these areas is also available in our interview that we had with the Woog Riots.
Live
You were recently for a few gigs on the island. In principle, this was not your first trip to the UK. As you will received in England?
Woog Riots: This was our third tour of Woog Riots UK, apart from a few sporadic concerts, we had previously in London. This last tour was very euphoric from the audience. The "Crowds" are not huge, but what was more to the fact that we had organized the tour to friends and other bands, without major PR support.
Are there differences between the English and the German public?
WG: The "native speaker" are pleased with the lyrics and we are very often addressed enthusiastic after the shows. Since coming to light in ambiguities that have attracted our attention not even himself. This happened at this year's U.S. tour, where the song "Elephants & Mirrors" because of the line "my trunk is so long" arrived very well. In the UK, the pop culture a much more important than ours. Since you can still talk with the grandmother as the organizer of The Smiths.
When you see live, one can not help but to the concept of intimacy. Tells her personal anecdotes, the instruments, investigated and the contact with the audience. That, however, very unconventional and unpretentious - which is certainly regarded as a compliment. The whole thing seems too often as an attempt to erase the distinction between audience and artist. The room, so to speak, to turn it into a flat, where the size differences are not only anatomical and artificial. Is this a deliberate act?
WG: It is a conscious act, because we do not want to ask with feigned coolness of our audience. The more people there, the harder it is however. The audience will participate in what happens on stage. We will also be good if we in the audience are, as we often go to concerts by other artists. Since the scheme is fast rock'n'roll times boring. Most of all, we of course if we make it, all that dancing.
How important is authenticity on stage? Or another way: what do you mean by authenticity?
WG: The own presence is important. What good is a mounted high-gloss image if it does not fit into our critical texts. We see ourselves in a certain way, even as political. Sometimes, however, we are already torn and consider whether we should even occur as power plant or Who Made Who. We already had a working meeting with a friend, theater director and there was just this question of how we want to be authentic. One creates a fictional character is a close contact with the audience is lost. Since no one speaks up after the concert, that would be a pity.
How important is the dialogue with the audience?
WG: After the show we talk a lot and are open to questions and conversations. During the concert, we encourage to contact us in music or dance dialogue. The dialogue with the audience is very important to us.
PASP On your new album PASP you take many Or precarious position on contemporary issues. This, however, in a rather unusual way. Sometimes stories are told. Sometimes you negotiate fairly cryptic everyday problems and present it in an unusual context. And often the text is replaced by the musical interpretation often a thoroughly ironic refraction. In People Working With Computers "or" Backstage Lemonade "you can simultaneously hear the example, very beautiful. Do you have such interpretative approaches in mind when you work with the songs?
WG: We like our songs to take a stand. Thus, Issues and perspectives given, which should still be room for other interpretations. In "Backstage Lemonade" we describe role expectations of mothers and how they are not supposed to connect to a life as an artist. The catchy chorus we sing but only on the lemonade, the backstage is drunk with the mother.
What was actually the idea of your new album in four key areas of People, Animals, Places and divide society and what their aim?
WG: The core areas have emerged while writing the first songs already. There were pieces of people, animals and places. The idea into a concept to do so was in the very early development of the album. Thanks to the red thread, you can see the drive as a complete work. To understand PASP, needs more than just individual downloads of the best songs.
How do you develop your lyrics?
WG: First, there are chord progressions that are joined with dummy text to tunes together. The blank text consists of fantasy in English and has been the perfect flow to the groove. The next step is the dummy text is filled with words. The issues arising from daily experiences, observations and discussions between us. We write the lyrics actually in conversation.
How important has comedy in the Woog Riots?
WG: We are humorous people. Therefore, we have serious issues also happy with a wink. Pure lamentations and accusations is not our thing.
Musical socialization
Where would you locate your roots? What are your influences?
WG: There are many roots and influences. From pop and underground music of the sixties to the present. We are impressed by the counterculture of the '60s as an art were, literature, comedy and music is more intertwined with each other. When there was punk for the first time to make the authorization music with a do-it-yourself approach. The band models ranging from Velvet Underground, Television personality Lites to LCD Soundsystem and Hot Chip.
I would like to dwell a little on your musical socialization. Among other things, you have 2004, a compilation specifically initiated under way and released on her and especially The Fall Mark E. Smith pays homage (" Perverted by Mark E "). A look at the booklet and on the ranks of the represented artists (Barabra Manning, Jeffrey Lewis, Rock Formation disco ball, Preston School of Industry and Tocotronic) makes one sense that you have invested in this project a lot of passion and time. What is special about The Fall?
WG: We have heard since the 80's The Fall and were fascinated by Mark E. Smith. The radical nature of his person may chant, the constant repetition in text and music, the openness to diverse stylistic elements such as electronica and dance is unique. The idea for the compilation came about after a Woog Riots sample. We stated then that we already knew some songs of friendly bands on The Fall. Together with our then bass player Mathias Hill (Rock Formation disco ball) then we have written to all kinds of bands and songs to over or cover versions of The Fall asked. Thus came then quickly set up a double CD.
your affection to the New York Anti-Folk can not be concealed. For the song "Backstage Lemonade " you could even win Kimya Dawson. How did this cooperation?
WG: The assignment to the New York anti-folk is really intended not been. We like Moldy Peaches, because the way in which the vocals from Kimya Dawson and Adam Green was divided us very well liked. The most interesting part of the anti-folk scene is the "networking". You trade off, going to concerts, helping each other in booking concerts. As Kimya was on tour in Germany, she was looking for a "child safe" place for the night. Silvana had offered that she could stay with her, as she herself has children. The song "Backstage Lemonade" has fallen like Kimya, she knew the problem from personal experience. We have then added their vocals right after breakfast.
Who would the New York anti-folk team received their success so far to cooperate?
WG: most likely have to Beck, because he has managed to combine classic songwriting with dance and electronic elements. Adam Green, we already have our first single with "Friends of Mine" gecovert.
to have Jonathan Richman once said in an interview: " There was no greater in the seventies Provocation than to be nice! "Something similar has said intro-editor Walter Benjamin over you. On the one hand, he describes some of your songs in content as critical of society and on the other hand, he praises that you simply can find only superficially charming. Is precisely the cuteness is an act of rebellion?
WG: us was the attribution of "cuteness" more harm. We had the impression that we were taken in Germany by less serious and the Audience remained limited. In the seventies, that perhaps may have been even more provocative, but since Nicole's "A bit of peace" can therefore no longer start riots.
lurking behind this "cuteness" is also a very subversive kind of criticism. Here comes as such a song like " People Working With Computers " which is incredibly rhythmic and danceable. From the text, however, he seems almost stoic, and describes the modern factory worker who has swapped his overalls for a keyboard. However, this concept works, as the manner of performance rather adapts to the content. How difficult is it to exercise direct criticism?
WG: "Autobahn" by Kraftwerk was never referred to as cute, even though the text was very simple and catchy. In this sense we find the term "stoic" matching. "Click, Click, Click," the chorus of "People Working with Computers" is very catchy and now works as a code among fans. At the same time describes "Click, Click, Click" but actually the monotony of many workstations. So you lay down all right with your assumption that we would rather practice subversive criticism than to give false understanding cuteness. Direct criticism then sounds more like political bard, or German-Punk, this is not enough for us pop. Direct criticism of the manner of the Golden Lemon, we find, however, very good.
One more final question: When is it a new album by the Woog Riots can expect?
WG: will appear in the fall of 2010 our new album "Futurology". Of course, again a concept album ...
Thanks for the interview!
photos: by schorn
Woog Riots
"PASP"
what's so funny about / indigo, 2008 CD
riots home
Woog Woog riots
"Strangelove TV"
what's so funny about / Indigo, 2006 CD
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