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Do you remember that scene in Mulholland Drive: Fucked Up interview

20 mai 2008

Une autre entrevue qui date. J’avais fait ça par e-mail pour le BANG BANG numéro 9 de septembre 2006. Fucked Up avait joué au Petit Campus dans le cadre de Pop Montréal. Le masterpiece qu’est Hidden World (que je considère en fait être l’album hardcore de la décennie avec Vengeance de Tragedy) était sur le point de sortir mais il était déja entre les mains de bien des gens. Je capotais vraiment sur tout ce que le band avait fait sur cet album qui restait 100% hardcore tout en faisant les choses complètement différements. J’avais franchement jamais entendu rien de tel.

C’est le guitariste 10,000 Marbles qui a répondu aux questions. Je trouve que c’est une lecture intéressante. J’espère que si vous lisez jusqu’au bout vous ne trouverez pas que je vous ai fait perdre votre temps.


MRR said in a review that you suck and that you are closet Integrity
fans(which is a good thing in my book), and VICE Magazine said you are that
much of a good hardcore band ’cause you basically don’t listen to hardcore.
Where’s the truth about FU ? ‘Cause for me it’s the perfect mix between
hardcore, rock ‘n roll and punk. If it’s true that you don’t listen that much to hardcore what do you blast or more specifically which artists inspire you to put so much passion and energy in your sounds ?

Do you remember that scene in Mulholland drive when it seems like
Betty is in two places at once? She’s going through that house and
finds the dead body, but you know the dead body represents her. That’s
what everyone in Fucked Up is like – we are syncretins. We listen to
only punk, and no punk, we are going to break up but go on tour for a
long time, we are always fighting but we love each other. We always
lie but we always tell the truth. Right now I’m listening to « Waters
of Nazareth » by Justice, and « Invocation to Pan » by Holst, at the same

You guys played, and will play, a couple of shows with Cold World. But you
also share the stage with much different bands in the «crusty»
scene (whatever that means). A lot of fans of these said «crusty» bands
would say that CW are nothing but wigga and Biohazard clones. Do you
think that the time to unite the different scenes within the hardcore
scene is long time overdue? Would you ever play a show with
Hatebreed, Madball or Terror (not that I don’t like those bands) ?

Well I guess we wear different hats, it’s the same thing as the above
question. I just finished one of those Chuck Klosterman books, and in
an essay he wrote about The Real World TV show, he mentioned one of
the common ailments of 21st century individuals is their lack of
ability to play more than one role. He was talking about how each
character on the show was only able to reflect one dominant
personality trait, and that became their personality trademark. I
guess he was referring to the fact that most people or most bands are
just caricatures of one dominant theme. Like, you can be a hardcore
band, or you can be a folk band. But why can’t a band be more than
just of one type? We don’t think it’s strange at all that we would
share the stage with more than one type of band, because we have all
sorts of friends and comrades.

You guys seem to prefer to play many smaller shows than one big show. Like
you did for your record release party. And sometimes you play a place and
play right after in a smaller place (like you did in Montreal on December
31st). Is it really because you want to preserve the energy that is know to
go on at you shows and the interaction of the public or it’s just something
that happen like that ? Are you afraid that the energy that you put on stage would be lost if you play in bigger venue? What’s the biggest place you’ve ever played just for the record ?

The second show you play in a day is always the better one for some
reason. We want to let people know we mean business by playing as
many shows in a week as possible while we are on tour. We don’t have a
lot of time to waste touring so when we go out we have to make it
worth our while, so we play as many shows in as many places as
possible. We aren’t a big enough band to play large venues at this
point. The largest was Ieper fest last summer, to about 2500 people.

Now that you are on Jade Tree we can pretty much say that sky’s the limit
for FU. Is there some relatively big indie bands that you would like to tour with and share the stage with? A few names?


Hidden World. How proud are you of that master piece that needs to be put
right next to TRAGEDY’S Vengeance in everyone’s record collection? Not that it’s the same sound directly but the same importance. What should we
understand from that title? Does FU have a whole hidden world to show us ?

I have never heard that record so I can’t say if that’s a compliment or
not. Hidden World is about what is behind the layers; there are
examples in every discipline. Huxley talked about it in Doors of
Perception, what happens to your brain once you removed the walls of
perception, you can see the Hidden World basically when you use a
sharper tool to see things in greater detail. Buddhists talk about
achieving higher levels of consciousness and acquiring new sensory
abilities. You can even talk about the Hidden World in terms of
belief – like what happens to your life and perspective once you start
believing in new things, like magick or religion. There is a
different hidden world for everyone.

One song that really intrigues me lyrically is Jacob’s Ladder with
lyrics like: «I clearly can see now the devil is not the blight. A pact
with the devil is necessitated to do the work of the angel so wipe away the
tears that have been shed for an impotent Christ» Is it only about religion? Would you mind explaining those lyrics to me a little more deeply?

I didn’t write the lyrics to this song, but Jacob’s Ladder is about
the process of a good person being forced to do an evil thing, and
whether or not evil exists as an ideal. There are lines from either
Blake or Miltion, but it’s revolves around the line «Evil be my good»,
about how one side can swallow up the other until there are sides
anymore. Just imagine being in a sticky situation where in order to
do something you think is right, you have to sacrifice good, and do
something wrong. I think he was using Christ and the devil as
metaphors; it isn’t specifically about religion at all.

VIVIAN GIRLS is a song that seems to deal with the subject of pedophilia
and how some people talk about it with disgust but would like to do it. Am I right or I got it wrong? Could you explain that song a little bit more?
Why do you think the subject of pedophilia is not so often discussed in
hardcore songs ?

Vivian Girls is about the need for filth in order the create beauty.
You can take this dichotomy anywhere – the need for crime in order to
create law, the need for evil for there to be good, etc. The lyrics
to this song are accounts of individuals taking great pleasure in
sickening acts, which brings the two opposing sides to close for
comfort. « Manqueller Man » is about how society has a great need for
brutality, but also a great need to sequester it away. Vivian Girls
describes when brutality and beauty are part of the same desire. We
just release a song called « Teenage Problems » that is specifically
about pedophilia.

You have an extraordinary capacity to combine dirty energy and melodies.
Like the opening of the album, the numerous use of violin on a few songs on
the album and the whistle at the end of HIDDEN WORLD. Is it something that
comes naturally or you really have to talk about it? Is it longer to write
songs that combine this kind of melody so the song matches with it ?

Again, this is part of our syncretic need to combine opposites. We
must be self-loathers. You can always tell if someone hates themselves
by the type of food they eat. If they eat food they think is very
« political », and make food choices based on reasons other than taste,
you can tell they hate themselves, because they have a basic inability
to reward themselves, and feel that even in indulgence they need to be
punished. I’m not saying however that it’s wrong to hate yourself.
We don’t discuss writing music at length, every musician is just
branded with a certain music repose or position, and that’s generally
how they will write. It just comes out that way. It might have to do
with the relative size of our brains to our musical skill, if you know
what I mean.

Do you read zine ? What are the one you are anxiously waiting for ? Does
the hardcore scene suffer from the loss of a publication like TOWN OF

I don’t read many zines. I liked Town of Hardcore. I read mostly books.

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