Violence : The Truth

photo : jezebel

In a candid chat over a rock and roll milkshake, Taxi Violence’s drummer, Louis Nel, reveals al(most everything) about renewed independence, the second coming and a looming departure for northern reaches.

Taxi Violence has rocked the motherland from the far reaches of Oppikoppi to the close-knit Cape cliffs and back and forth for a while now. Not bad for four boys from the ‘burbs who swiped a sensational name from a headline that now gets them noticed every time they’re in the by-line. But then, this is the band who secured sponsorship as 24.com’s favourite and throw their weight around on stage like they’re one of the most engaging live acts in the land, (something that some of the more decent critics don’t deny.)

photo : jezebel

But here’s been some recent speculation about the future of South Africa’s independent stalwarts. It’s all very well that they’re household names on Cape Town and Jozi rock scenes, but they’ve only released one album since they first gigged in 2006 and fans want a bit more than that to take home with them. The muttering goes that while their music is highly digestible, there must be something in their freethinking formula that is blocking the flow. Is it because they turned down an open contract with a label? Or because they haven’t performed abroad yet? Whatever it is, change is on the guest list, because after ages of fanning the flames of success and not quite burning their way to worldwide renown, they’re suddenly single again sans full time manager or dedicated praise-singer, and still doing it their way. Drummer Nel and Jezebel spoke about then and now.

*

Jezebel : industry people are sniggering about the re-release of your debut album, Untie Yourself. Obviously you’re not doing it for them. So are you doing it for your fans?

Nel : Yeah. We sold out of copies of Untie Yourself over a year ago. We became really frustrated because nothing was done to manufacture more units. Somewhere along the line we were so sick and tired of telling someone at the show, ‘sorry we don’t have a CD to sell you’. We took it really personally. I mean, how would you feel if you saw a band live, liked it, wanted the CD afterwards and they didn’t have one for you?

Jezebel : I’d feel they didn’t really care about their public. Which you do. Or they were new. Which you aren’t. So what’s new about Untie Yourself ?

Nel: We’ve changed the packaging…but not the cover.

Jezebel: Same material?

Nel : There’s an extra track “Hold ‘Em Or Fold ‘Em” which we recorded in (bassist) Jason’s bedroom while we were doing preproduction for our upcoming release, The Turn.

Jezebel : Can you hear that it was recorded in his bedroom?

No. Because George is that good. He record and mixed it, and we had it mastered externally. It’s very lo fi; it doesn’t have as much production as you’ll find the track has on The Turn.

Jezebel : how do you feel about the new material, since Jason settled in and you started composing together?

Nel : I’m a little afraid that we might lose a few fans who love Untie Yourself. But on the other hand this is what I want to sound like. I think we’ve finally found the ‘Taxi sound’. Untie Yourself was kind of an experiment.

Jezebel : Were you aware of that at the time?

Nel : Ja. We loved the songs, and it was a very good exercise. I can’t believe it did as well as it did. I mean, a SAMA nomination? After that the first steps were taken towards the new sound. Then a new bassist, with a different style, different sound, his own way of playing.

Jezebel : And to think he once followed you around as a fan, and used to wish he could be in the band , and now he’s helping form the new sound.

photo : jezebel

Nel : He is. He’s brought a new element to the writing.

Jezebel : How does the writing work?

Nel : There isn’t a single songwriter in Taxi Violence. We write together. We’re a very democratic band. Sometimes too democratic. Sometimes we can’t make a fucking decision. I wouldn’t say that Jason has necessarily made our sound darker, coz we’ve always liked the dark element in music. But the new album is more mature. I think we’ve matured. A lot. There’s a song on the new album that borders on adult contemporary, for us. It’s a song that was written by the former bassist (in 2007, I think). Many times we tried to play the song live, but we couldn’t kick it. And then we played it for our big acoustic show (the DVD recording). We then added drums (instead of me on guitar).

Jezebel : you’ve been talking about a brand new album for a while now. You recorded in May. Why did it take so long from your first release? Did you first need to bond over a few sweaty games of squash and find out if Jason really is a great cook?

photo : jezebel

Nel : We were waiting for him to become Kulula mag’s “Hottie Of The Month”. No, seriously, this album more or less 3 years in the making. I think that’s a little too long in South Africa between releases. But a new bassist is a major change.

Jezebel : Change seems the word of the day. You've discontinued your professional relationship with your former band manager, Sean Wienand, (Headline Artists). How did you come to a decision about that?

Nel : It was hard. We’ve reached a point in our careers where we needed to get to take the next step. We rethought business plan and strategy. Our main objective was to not be dependent on a single person to do the behind-the-scenes stuff, we decided to work with people based on their strengths. On a commission basis. This way, if we make a mistake, it’s our own fault.

We’ve decided to remain self-managed for the time being. We’ve reached the stage where we can, and over time we’ve also surrounded ourselves with people who are very good at what they do.

Most bands think that they can’t do it themselves. I feel the only reason you’d need a manager is if you or any of the other member don’t have the time to run around and do things, or if you don’t have the connections to strike deals. If you’re good at networking and have a day job that allows you free time, then you can be your band’s manager. But I do think you need a good booking agency. Preferably a company who has strong ties locally and internationally.

Jezebel : Who’s handling your booking, then?

Nel : Southern Pulse. It’s made up of the founding member of Roadshock, Leon Retief (ex-drummer for Chris Chameleon’s defunct cult clan Boo!), and Oppikoppi Productions.

Jezebel : Aha. Which begs the obvious question - going overseas any time soon?

Nel : We’ll be going over with them in September / October, to Germany and Holland, and they’ll act as tour manager. When you go overseas, you’re basically starting all over again. Going over to Germany is going back to square one. The strategy with Southern Pulse is to do it country by country , a 3-tour plan (one this year, one – or two, depending – next year) . When Boo! Was still playing and touring they did something like 17 tours to Europe in all. Leon started making connections and networking, he’s a very together guy, and obviously saw a potential future in it. His ties are mainly in Holland. His perceptions are that after 3 (successful) tours , you can start to estimate your impact on the markets there.

What’s your idea of a “successful” tour?

When you get rebooked the next time, for more money, and more people attend.

Jezebel : You’re going to Germany for Popkomm? A friend from Berlin told me it is very commercial.

Nel : It’s not a music festival they way we know. It’s more a music industry gathering. People exchange music, bands play throughout Berlin. So it’s more a shmoozfest.

Jezebel : Sounds like a step in the right direction. Any parting thoughts?

Nel : In a nutshell, we’ve made some really difficult business decisions, hopefully the right ones. It’s easy to get despondent. It’s the passion and love that drives you. I just want to play.

We want this album to get what it deserves. I feel it - it’s going to be groundbreaking…for me, at least. I suppose that’s good enough.

Jezebel : What does this album deserve?

Nel : it deserves-

Jezebel (interrupting): YOU . [pan left to audience. Oh, wait, this is a blog! Well, then, alt tab to Facebook…] See if you can Untie Yourself again (available now), or take The Turn in August. Because, as lyricist and vocalist George Van Der Spuy pointedly points out, “life is not a problem to be solved but a mystery to be lived”…

photo : jezebel

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On the other side of Violence, we spoke to another stick man, Leon Retief about booking agency Southern Pulse’s take on Taxi …

Jezebel : What is your vision for your partnership with Taxi Violence?

Leon: To take over the world. one Taxi at a time.

Jezebel : How is Taxi Violence being vehemently independent a positive for Southern

Pulse?

Leon : I come from a strong [background of] independence, I have learnt that each band and label is structured differently and need different tactics to expose and promote them.

[Jezebel’s note : Leon toured with monkipunks Boo! as drummer For many years ]

Jezebel : Any concerns about the new client? Their timing seems a bit off, and I’m

not talking about the drummer. One album in almost five years... no overseas

visits…

Leon : We start a fresh relationship irrelevant of their past. I believe Taxi will do well in Europe and I am willing to spend time on them and do my best.

Jezebel : Any idea (given your experience abroad) how their sound might go down with

diverse European audiences?

Leon : I have been playing it to a few people while currently on tour and the reaction is pretty good.

You don’t need to come from any special place to sound good. The song is King. As I think they have great songs, I don’t see any problems on this side.

photo : jezebel

Jezebel : From what you've seen, how difficult is it for an unknown act to break into an established scene in Europe?

Leon : It is hard work like anything else. You have to tour and sell yourself constantly. There is a bigger market here, so you have more work than in South Africa, where it is relatively easy.

I would like to mention that sometimes it is easier for unknown acts that are genre-related to play EU because of the circuits. In other words, a Ska band can play a full house to a new audience in Linz, Austria, not because they are good but because they played Ska. These are factors you have to calculate when arranging a tour. It is like playing to a full house of South African people in London. A lot of South African bands don’t want to play this type of show. But when you think of 15 pounds a head and 500 people in venue, things change.

Jezebel : Lastly, what do you feel is an ideal set-up for a band in an increasingly digital age and a shrinking global village - to straddle two continents? To relocate to the first world (and all its competition and infrastructure? To use international experience to create more hype at home? (tricky question. necessitates considering what success really is, also where the media, music

and the public fit in to it)

photo : jezebel

Leon : Each to his own. I believe using the international scene but always returning home is the best. But that doesn’t mean it is for everyone.

Every band in this day and age should have a MySpace account. EU promoters work solely on MySpace. Bands need to be organised and almost self-managed even with a manager. What I mean is that they should be self contained before having extra people cutting the pie. It never works when a band sits on its laurels and expects everyone else to do the work.

Taxi Violence on MySpace

other linky links:

Popkomm

Southern Pulse

Jason Groupie Ling

SAMA

Taxi’s Violence’s New Bassist

VIOLENCE REBORN :

THIS IS NOT A TRIBUTE SHOW, THIS IS ROCK & ROLL.

A few weeks back I impulsively stood another gig up and screeched around the corner to the warp-floored Zula for my first taste of the new Taxi. I was dubious and curious, excited, and apprehensive. They were delighted, enthused and intense. The stage throbbed. The dance floor heaved. They look thrilled and sound superb. I was relieved.

So just how many roads must a man walk down before…? I don’t know. I think it's more cryptic than that – change will change you, and can’t tell the future; so you'd better trust the music.

The Violence recently shuddered under sonic shifts that transplanted original bassist, Loedi Van Renen, into northern soils. From southpaw to outlaw in a swift series of extended goodbyes; ‘Richard Gere’ is outa here and there were tears in our eyes. There were fears too, of course, as anybody with vested belief in the band would agree.

Change is terrifying when there’s a good thing going; and, boy, do Taxi have a lot of love to show for their labours. This is their first major upheaval since they started making their seamlessly sexy sound 3 years ago. Fate’s spoils have spoilt them, though, and their sudden lack came with a bit of luck. Without skipping a beat, Taxi Violence is tactfully intact with new bassist. Enter Jason Ling on the four-string.

It seems the time has come for a different kind of Violence. So here's the butterfly theory (aka Flapping Around to certain die-hard fans) :

It would be weird for a new phase in one of the most synergistic musical outfits around to take place out of context. It didn’t. While the story is still fresh from the farm, it winds back a long, long way. All the way, in fact, to the first birth. Like many babes, this new addition to Cape Town's Rock 'n Roll family is the result of a long-standing passion. (and I’m not talking about all those amorous, Titanic parodies that keep turning up on Facebook). Back at the ranch (which is our back yard and beloved, grubby watering hole); Jason has always been a fan of the band he now forms part of. “You’ve probably seen me at every Taxi gig in the last two years” he muses. Too true. (Clearly there’s more than one fanatic around here). So how did their paths first cross?

When Taxi Violence were in the early stage of their prattle and hum, they opened for Andy Lund’s Roswell Kings who sported - *kaching * – the once long-haired Ling on bass. Jason subsequently heard ‘Devil and Pistol’ at the Levi’s Young Guns (no pun intended. really.) and did what any good baddie would do under the influence: he swooned, he fell in love, he bought the album (have you?) and then followed the band like a groupie till he found himself with his feet on the stage and his fingers in the music. All roads lead to home, after all!

I caught him off guard at The Shack one night after band practice. Say hello to the new kid on the bloc…

[Jezebel wears red in this interview]

* * * *

The Low-Down On Ling:

New kid was once a little kid, né? The music had to come from somewhere - tell us about your musical background.

"My parents aren’t musical at all. In school they sat me in front of a piano and it’s still the only instrument I can read music for. I got to high school and started learning the trumpet. I taught myself guitar and played for a couple of bands and then in 2003 Andy Lund (of the former Roswell Kings) asked me to take over from Jono Brittan on bass when he went to the UK. I learnt the songs and have been playing bass since then."

Nervous now?

"I’m never nervous going on stage, no matter the size of the crowd; I’m more nervous coming OFF stage. Loedi left big shoes to fill, in a way, and the anticipation is there – what’s it gonna sound like, how’s Taxi going to continue?"

How was it so far? (3 shows together so far –one @ Stellies, one @Zula, CT, one @ Springbok, Southern Suburbs)

"It was good; on Thursday the crowd loved it. But most importantly the guys in the band said, ‘Fuck, that rocks’. Along with Sean [Wienand, Taxi’s manager and head boy at Headline Artists], these are the people and opinions that really mean the most.

On Saturday a lot of people came to see the new Taxi Violence. We rocked out; balls to the wall and when we came off everyone had some good things to say. Everything you saw on stage on Saturday - that was me. That’s how I auditioned, in a way. If I feel it and it makes me move, there’s no doubt someone in the crowd is going to move. That’s how I’ve always seen and perceived it. I can’t stand bass players that just stand there, it just bores me.”

Stupid question, now. IS a bass guitar easier to learn than a normal guitar, seeing as it has fewer strings?

“Ja, but sometimes fewer notes mean more. Bass is about taste. As soon as the bass player plays a wrong note, that’s the one note you‘re likely to pick up."

Ja, the synergy and sensitivity of a bass player is paramount to the whole sound. Bass is not a conscious sound, it blends but it also dominates in a very underhanded way.

"You gotta really listen; it’s there, but you don’t know its there. The bass makes you move. It’s the balls! A lot of bass players seem to have to put a hundred notes in, but I’m comfortable just playing a root note if it resonates, and it gives the bottom end to the song which is an essential thing. That’s my thing. Play for the song and not yourself.”

I was concerned about Taxi finding somebody who they could flow with. I knew that the person would not have as long a personal history with them (Loedi, Rian and Louis played together for 14 years). I’m really curious about the new stuff you write together.

“That’s what I was saying to the guys, you know. First of all, for me, when I watch Taxi, I can hear it in the songs, I can hear it in the style they play – it’s a band that hangs out a lot. The drums, bass and guitar section have been together for years which makes them work ‘cos they know each others' styles of playing. Along with George, we all have similar goals and tastes in music which comes through in the songs they’ve written and the songs we will write. Taxi’s music and style appeal to me cos they write as a band and everyone has a say. It just makes the whole writing process easier. As for the buddy-buddy stuff, we’re still getting to know each other properly but so far we’ve had a laugh each time we’re down at the pub."

Where’s the synergy for you?

“It’s just the style. It’s cleverly structured and George knows where, what and how to sing. It just works. I’ve been in bands where I write everything – 2 guitar parts, drum and bass parts - and try write the lyrics. I’m telling everyone what to do, it’s just them covering the songs, and they CAN’T FEEL IT. Compare that to a band that sits in a room, and jams for hours on one song. Eventually they come up with a product which is complete, and they can’t wait to play it live. And that’s the synergy that comes through on stage, that energy – everyone’s got their part.

For me Taxi is one of the tightest – if not the tightest – units that I’ve seen.

As you pointed out earlier, it’s easy for me to learn fifteen songs; I’ve done a lot of tribute shows. I basically listened to the Taxi album a couple of times learnt the whole CD backwards, but I told them straight up that, for me, the main test IS gonna be when we start writing. I’m not trying to imitate, I’m trying to bring a different energy to the band. So far our rehearsals have been focussed on getting the band tight as a unit but in-between the set we’re constantly putting new ideas out there, even if it means swapping instruments. On the whole, I’d say it’s been very productive and who knows, maybe a few songs might come out from those jams."

How do you feel about the inevitable attentions you’ll receive from women projecting their experience of the music onto you?

“Look, I’m the oldest in the band. Last year was really tough but my headspace is really clear now, I’m happy being single and rocking out on the music. That’s all I want.” (said with a smirk of a smile)"

Erm, I hate to break it to you, but you’ve just entered a five-way relationship.

“Good!”

This new love affair almost didn’t happen, though.

“I owe so much to Joshua Grierson [Mercurial]. Last year I came very close to hanging up everything. I was doing tribute shows and hating it. Like, 'this is what I’ve become? A has-been?' And then I saw Josh and he was the first artist in a long time that completely moved me, and I was like, ‘wow, can I play bass for you?’ and he said no.

I asked him for about two months and then he said 'Ja. Ok you can play electric guitar for me’. I brought out my whole collection, worked for about six months, and the one gig we had scheduled, the power went out. Then I heard Loedi was leaving Taxi and I thought it was just a lie. I saw George at the Shack and he said it was gonna happen so I started practising bass again.”

Besides the music, what else makes you like Taxi as a band?

"The other thing I really love about Taxi is that you can pick up from their on-stage performance that the guys are serious, they wanna be there, and the way they talk about it - they’re passionate about it. They’re prepared to put in whatever it takes to make things happen. I know what the stakes are. I love the music that they play so much that even if they were just starting out and needed a bass player, I would have auditioned just as hard and been just as committed. A lot of guys audition for the wrong reasons – a big band, whatever. I’m there because I love their attitude. I’m there because I want to be surrounded by creativity, and musicians who want to write good songs. And the sound IS gonna change. It’s getting harder and a bit heavier but still keeping the Taxi signature."

I see you strap your wrist with tape.

"I play pretty hard so my wrist tends to burn and bleed so I started strapping it. It probably comes down to poor technique."

So less blood, more violence?

“No! More blood. More violence. It’s the only way.” (laughs)

How do you feel about being called “Asian Persuasion” by George the other day?

“That’s how we joke; I get it every day, I’m so used to it – I’m Chinese but South African born and bred. If you can’t laugh at yourself, don’t laugh at all. I told George to go on stage and say 'Yeah, we just toured China and everything was so cheap there that we bought a new bass player.' "

Eish!

“At the end of the day, it’s about the music.”

* * * *

The proof, of course, is in the pudding, but if Jason’s newfound punctuality is anything to go by, it seems he’s absolutely amped. “I’m normally half an hour to 40 minutes late for anything, but now with rehearsals and gigs, I’m the first there.”

With a typical excess of understatement, he puts it in a nutshell that you can crack right away; “I’m excited to part of Taxi, I really am.” (That’s childish glee couched in grown-up talk if I ever heard it.)

Our faith is intact. The music is safe. The violence continues. Turn up the volume and let’s see what they come up with…

btw, Ling's serious demeanour does not exempt him from signing boobs or wearing cool Beatles T-shirts that drunkards always try to buy or beg off him, and always fail. If you can tell me what bass guitar he plays, I'll give you a Taxi Violence badge.