These Go to 11: interviewing Fishrider Records

This week we interview Ian Henderson, runner of Fishrider Records, one of our most beloved labels. Based in New Zealand, the label has brought us plenty of great bands & music, plus a much needed enlightenment from someone who is not afraid to share his wisdom & vast experience on music, so it's a special pleasure to count with Ian thoughts & answers. These Go to 11!

Ian Henderson, Fishrider Records

Mr. Henderson, man on
an indiepop mission

Hailing from Dunedin, Ian created Fishrider Records in 2006 and since then has released bands and recorded music that, in his own words, he would like to have in his own collection. Starting with The Puddle (Ian brother's band, in which he drums) the label today has an impressive roster that includes bands like Males, Trick Mammoth or The Prophet Hens, most of them featured in our discoveries series (take a look!). But Ian is not just a label owner, he's an independent music advocate and activist (check his manifesto), making not only the bands of his local scene be known and heard, but defending an idea of a DIY, small, collaborative music community with his acts. Here we go!

The apple of pop

1. First record that you bought (be honest)

The Beatles 'Get Back' 7'' I'm pretty sure was my first record. I still have it. The Beatles 'Essential Beatles' (a budget compilation) was the first album I bought.

2. First and last concert you have attended (be honest too!)

First concert I can remember was a band called Watchdog playing T Rex and Bowie covers in a park near where I lived in Invercargill NZ. Most recent was seeing musicians from Fishrider Records bands Males & Trick Mammoth playing Beatles covers at a show celebrating 50 years since The Beatles played in Dunedin.

3. Guilty pleasure (song/band you shouldn’t like but you do, yes, it’s the embarrassing question)

I have zero guilt about it but love Joan Jett and I also have two Kylie Minogue albums (the good ones).

Got drums?

4. Most precious music item you own (collector mode on)
Probably my drum-kit. It's an German made Sonor kit bought 2nd hand one piece at a time. It has a great Sonor Designer maple snare. It was used on most Fishrider albums and has been used for shows here by lots of visiting musicians including Rachel Blumberg (who has drummed for The Decemberists, M. Ward, Bright Eyes & Mirah amongst others) and bands including Real Estate.

5. Favorite lyrics (not yours)

Right now it is the line 'Crushing petals with a hammer' from 'Terracotta' by Trick Mammoth. Adrian writes such a great visually arresting lyrics. I like well-crafted lyrics but I can rarely remember verses let alone songs. However sometimes lines like that get stuck in my mind.

She loves rock'n'roll...
& with a reason

6. Musician/s you would like to meet (should be alive, for obvious reasons, but you can choose a dead one too)
I would love to meet Joan Jett of course. I'd really like to meet Stephen Pastel (The Pastels). I'd also like to meet Jaki Liebezeit - drummer of Can, as he was one of the most influential musician on me as a drummer since I was a teenager. A dead musician I'd like to meet - go back in time to meet - Kurt Cobain. To try to persuade him to stick around as he still had a lot to live for and to do.

7. Favorite artwork album (not yours)

I love the Trick Mammoth 'Floristry' album cover, though as it is on my label it may not count. So, I think The Slits 'Cut' might be favourite.

8. Books or movies? Depending on your answer recommend us one (trick: you can choose both) 
Favourite book is 'Caught Inside' by Daniel Duane. It is about a year in the life of a surfer in California and i have read it several times. Favourite movie is honestly just too hard there are so many favourites for different reasons.

9. Release (of yours) you are most proud of

Opposite Sex

Label release I am most proud of is difficult because they all make me proud. The ones I am most involved in making happen are the ones I get most attached to. So, most recently that is  Trick Mammoth's 'Floristry'. However, overall the album that started the recent run of releases by young bands is the one I took the biggest leap of faith with when I recorded & released it - Opposite Sex. I'm most proud of that because it was just such a freakish album in all ways. It broke most of the rules about releasing music but has a spirit which makes it unique and an underground classic in years to come I think.

10. What’s does it mean indie for you? (yes, the “serious question”)

'Indie' is just an abbreviation for 'independent' which just means not owned / associated with a major label. I'm not sure 'indie' has any meaning in music as it means all sorts of things. I guess being independent (as opposed to 'indie') means being able to make my own decisions, break the 'rules' and release music I think deserves to be heard and to help the musicians first rather than the shareholders in a company. I run the label because I love music and respect the musicians I release and want to do what I can for them to get their music heard and appreciated. The downside of being independent is the financial limitations, particularly with the ability to make releasing music sustainable getting each year as less people buy music - even though more people are listening to more music than ever now. There is a huge unethical transfer of income going on at the moment from thousands of musicians and the people who release their music into a very small number of very large telecommunication and internet corporations. No one is talking about that or about how much money we pay to access supposedly 'free' music online and who that goes to.

11. Where do you see yourself in 10 years?
I don't see Fishrider Records still being around in 10 years. If it is I hope it has been taken over by the younger musicians on the label. However I hope I am still helping people with music, playing music though.

Zillion thanks Ian!

The Indie Anthology 31: essential songs

Back to the Indie Anthology, this time... let's get a bit "politically charged". Yeah, after watching "The Punk Singer" it was bound to happen (review of the documentary coming soon).

Song: Hot Topic
Artist: Le Tigre
Year: 1999

I have always had an issue with Kathleen Hanna. I admire her so much and tried so many times to get into her music, but in all honesty, I have never been able to be engaged by her albums fully. I guess straightforward punk (Bikini Kill) and electronic pop (Le Tigre) are just not my genres. With some explosive exceptions, "TKO", "Deceptacon", "Keep On Living", and in a very special way, "Hot Topic". A ridiculously catchy bubblegum pop tune that is also a celebration of mostly female/feminist icons. Gertrude Stein, Billie Jean King, Nina Simone, Sleater-Kinney, The Slits, Joan Jett, and a long, never-ending etc., plus the (I love them) following lines:

So many roads and so much opinion
So much shit to give in, give in to
So many rules and so much opinion
So much bullshit but we won't give in

Stop, we won't stop
Don't you stop
I can't live if you stop 

Can pop be meaningful and joyful? Here's one of the best examples I know, an indie mantra of real heroes. Now tell me: do you think there's any space for all the Lady Gagas, Miley Cyrus, Rihannas and all the utter crap we have today pestering music industry here? NO WAY. From a music level, that's why I was so eager to recommend his latest project, The Julie Ruin, finally an album I really enjoy as a whole. And from another, more vindicating perspective, that's why I'm so willing to celebrate Kathlenn Hanna is back, hopefully to (please do it) kick some asses and shake some minds.

"The Runaways", girls who play electric guitars

The Runaways

Hush, hurry, do it quick, make it bigger, be the coolest... and leave a beautiful corpse. That could be the slogan of many bands over the course of rock'n'roll's history, and would be an appropriate subtitle for "The Runaways", a movie telling the story of the 70s all-girl rock band of the same name. 

The tale could have been disastrous, as the threat of being ruined by cliches is ever-present. Screenwriter and director Floria Sigismondi "paints" her movie in brush strokes, making the real story of The Runaways a burst, high on sex, drugs and rock 'n' roll out of control moments. But the film resists its ups and downs thanks to a constant vibe and energy, and the excellent performances from their main cast.
 
"The Runaways" is based on the book "Neon Angel: A Memoir of a Runaway", wrote by the band's lead singer Cherie Currie, fantastically played by a surprising Dakota Fanning, who gives her extremely difficult role, sexually charged, fragile and confused rockstar' Lolita, a stunning strength. Same praise has to go also for Kristen Stewart as guitarist and future rock icon Joan Jett, more constrained, but also posed by a inner fire that drives her throughout the whole film. Their solid work is the main foundation of the film, fuelled by a third actor, Michael Shannon as the eccentric, overbearing and abusive manager/band creator Kim Fowley. He offers the contrast and one of the most suggestive ideas/contradictions on the film: rock'n'roll as a manufactured product, revolt or sexually open lyrics that are designed to "sell" (the magazine issue), aggressive attitudes and looks on a female band that are tailored to detail. Does it sound familiar to you?

Unfortunately, the brush strokes among which "The Runaways" is built leaves the spectator with too many questions unanswered. In my opinion Sigismondi is more focused on giving her two young female stars a vehicle to shine. They do, and their relationship is quite absorbing and complex (I wish the end of the film had had a bit more substance, though). But we miss the evolution/contradictions of the band. The music part is consciously left (the rest of the band is barely testimonial, there's zero talk on influences or music direction except references to Bowie and the glam era on which the band was created). Jett's moving on and starting her own solo career is also skipped. Things get out of control, there's a final burst, and then it's over. That's enough to make you watch with interest, but also leaves you wondering what it could have been with a bit more of ambition and will to talk about music.

SCORE: 6,25/10

"Lemmy", the rock's heavy rock

Lemmy: 49% Motherf**ker, 51% Son of a Bitch

As you already know, I enjoy music documentaries so much it's easy I could end watching almost everything if its about music, even if the group/artist is completely opposite to my personal tastes. That's the case with "Lemmy", a rockumentary on Motörhead's leader, Ian Fraser "Lemmy" Kilmister, an undeniable hard-rock/heavy metal legend and rock icon.

The good about this rockumentary is that (luckily) doesn't focus on the music, and is not a collection of footage just to please his devote fans. It is a film about Mr. Kilmister, about capturing who he is and what's behind his iconic figure. The conclusion couldn't be more striking: there's no difference between Lemmy, the "rock God" (not my opinion, you'll hear that affirmation thousands of times during the film) and Lemmy the human being. There's no Lemmy and then an Ian. Forget the usual glamorous, decadent or eccentric side of a rockstar. Forget the tortuous and extremely hard disassociation of his musician's life and his life at home. The guy is just the way he is. Always.

Many rockumentaries have their good share of interviews/comments with relevant/related people talking about what it means for them the artist/band object of the film. Many of them are really bland, but in Lemmy's case, if you let aside some worshipping and anecdotes that seem trivial (the passion, enthusiasm and consideration from the likes of Metallica or Dave Grohl looks genuine and moving), you'll hear/see a recurrent affirmation. He's real. He's the person you are seeing. There's no fake, no star-pose. For good or bad. Take it or leave it. Celebrity Joan Jett from The Runaways summarizes it: "Everybody assimilates at some point [...], go along to get along, you know, to get what they need to get... I don't see Lemmy as that kind of guy [...] I see him doing things his way to get where he wants to go. And that's attractive, because people don't do that anymore."
 
Lemmy's portrait is necessarily bittersweet, revealing a complex character to take an insight of. Aside from the expected account on Lemmy's role within music history, we see his everyday routine (bars and slot machines), his musical interests, his personal life, from his views on marriage to a shocking interview together with his son, his collector, more like an obsession, "mode" and (glups) peculiar tastes recalling uniforms, a little recall of his early career (the most hilarious moment of the film, with the Hawkind members trying to justify why they kicked them out of the band due to "different drugs choice") and interesting footage of his current music career: life on the road, band and crew opinions and some brilliantly filmed music clips (but if you ask me, Lemmy's voice is really annoying).

Some could say the rockumentary is a bit loose in its structure, or that, in my opinion it would flow better with a reduced length, but it succeeds well in its goal of bringing a detailed account on Kilmister, with several moments to be remembered. Even for a non Motörhead fan... well let's be honest, even for a metal hater, "Lemmy" is an absorbing film, an unusual, profound and brave attempt to show a music legend that just happens to be a complex human being, with a not very glamorous everyday life. His own life, made of his own choices. He's like a rock, unalterable despite fame, drugs, alcohol, sex, etc. He's the rock's heavy rock.

SCORE: 7,5/10