We answered a few questions about the band during quarantine, for the spanish fanzine Face The Lie. As we were pretty excited about the questions and thought it could have some interest, here it is in its english version.
(photo : Manon Monjaret)
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Hi guys! How are you doing? Before starting maybe we should put ourselves in a situation. Who are Chaviré? In which other bands do you play or have you played? What motivates you to tour, make songs?
Hi, thank you for giving us some space to talk about CHAVIRĂ and what we put behind this band. As a presentation, we could say that the band started at the end of 2013 and that we played our first shows at the end of the next year, in 2014. We previously played â or still play â in A.S.T.R.O., COLD HEART DAYS, DĂDALE, GHOST FRIENDS, HOMESICK and WATERTANK to name some of our other bands. We started to play together as some friends, convinced by our love for the same songs and the desire to bind them with some politics we felt connected with. Six years later, it is still those three main reasons that hold us together, writing songs and play them live.
Last summer you released your new album, titled Maintenant Que Les Flammes Sont Partout ("now that flames are everywhere"). What did you wanted to express with this title? And what can you tell us about this album?
We tried to give this record a title that would be the testimony of the era that surrounded its creation. We think it's pretty clear for everyone who looked at the world around us that we couldn't possibly spend three months without seeing the people from a country rising up against their leaders and taking the streets against them. We wanted to dedicate the album to those involved in the increase of those flames all around the world and sing for their constant multiplication.
The lyrics of this album seem to me a bit more convoluted than those of your previous albums, you have to give them more readings to understand them. Did you wanted to change your way of composing the lyrics or was it an involuntary evolution?
As usual, our lyrics are very influenced by the books and authors that go with the writing process. You are right saying that maybe it is a bit different from the previous records. We always said that the lyrics were very influenced by some texts and that we stole a lot to put it in our songs. This time it's still the case but we tried to give some more space to poetry and theater. As time goes by, we were a bit scared to look like those anarchist bands that repeat slogans song after song... We are glad to hear that you noticed this change of things, it is obvious to say that there is politics everywhere but it is better to show it, by using an unexpected extract of a anthropologic book or some lines from a poem. For the first time with this record, we tried to quote most of the references so maybe it will give some ideas and things to dig in.
What is the story or background behind "Alice, 1977"?
Radio Alice is an Italian radio from the end of the 1970s located in Bologna. It's closely linked with the italian autonomous movement from the same era and more precisely the A/Traverso collective. The quotation «Le pouvoir n'est pas seulement lĂ oĂč se prennent des dĂ©cisions horribles, mais partout oĂč le discours enlĂšve le corps, la rage, le hurlement, le geste de vivre» comes directly from an A/Traverso leaflet. Overall, the song was written in opposition with some of the quirks of the communities that surround us, where it is more valuable to look radical, rather than actively trying to change the world. At some point in the italian movement, there was this turning point where it didn't make sense for some of them to claim their worker identity, their women identity, mostly because all of these categories were those of the power, of this world, and these communities wanted to split up with this world and its categories.
With âAlice, 1977â, the idea was to put this era to the attention of people who perhaps don't know it, allowing them to find some inspiration in it. Most of the questions we're passing through are obviously not new, and it was in our opinion a political sequence where these questions found some interesting treatment.
What does CHAVIRĂ mean?
It could be translated in english as âcapsizedâ, it refers to the moment right after a boat has overturned. We won't lie, this name is at first the result of a joke, more or less.
One of the things that surprised me in a good way when I first knew about you was that you didn't have Facebook, but instead you have a Tumblr page with, in addition to information about the band, a lot of political texts. Do you just donât care about Facebook and those networks? Why did you chose Tumblr?
We âchoseâ to make a Tumblr page at first because it seemed to be the easiest thing to put something a bit more âpersonalâ than just a Bandcamp page. Moreover we were so unable to manage a website by ourselves, and none of our close friends seemed able to build one that we could manage easily... In fact, the way we decided to be visible on the Internet has been very determined by our poor capacities and the fact that we decided, since the beginning of the band, that we preferred to make us visible only when we had something to say rather than just be here to be here â it is pointless to try to tackle professional rock bands in this game, doesn't it? And yet, we recently created an instagram account... We also wanted to upset some diehards from the other side!
What do you think of the term emocore? For you, when does a group cross the hardcore barrier to enter emocore? Is it a matter of lyrics, sound, attitude,...?
Well, it's just a subgenre doesn't it? The barrier is just crossed when the one who makes the poster decides to call a band this way. It has been historically a way to gather bands that were playing at the same time from the same area (for the Revolution Summer it basically works like this), but at some point, it is a way to play punk music.
It was said about you that you take music too seriously, belittling those who play only for having a good time without sending a message. Don't you conceive how someone can do it or is it simply not your thing? Do you have friend bands like that?
Well, if music obviously contains a game aspect â who would deny it? â, we would rather play it with smart people. It's not about any kind of content or attitude, it is mostly about having the feeling that we share more with some bands than some chords or shirts. We are still sorry for those who felt judged by us, we couldn't fill the lack of interest they seem to have for themselves, and at some point we still can't understand why they needed our approval so much.
Do you conceive a hardcore scene without politicizing? And a DIY without a political background?
We have to be careful with this sentence that repeats to anyone who would listen that âpersonal is politicalâ: the recent history proved us that it led us to believe that we just had to buy at organic stores and not to say swear words to become a potential ally for an ongoing revolution, to simplify. But music contains this interesting idea that it can't be undone from its whole production process: its material production obviously (from gear to electricity), but mostly because its production is tied in a network (people who play, who release, who book to make it easy), under technical and aesthetically pleasing considerations (how do we want to sound? do we play well enough? does the interpretation fit to the idea?). At some point, the choices and the answers to those questions imply to get you into some positions that translate political views about the world. Depending on how they fit with others, it can create friendships and even âscenesâ. In order to answer your initial question, we could say that obviously we do conceive a scene without politicizing (but it is even more than that, we'd rather say âwith views about the world that are radically different from oursâ), the question consequently becomes âdo we have something to share together then?â and it is immediately easier to answer.
In Maintenant Que Les Flammes Sont Partout you included a song about May 68, something that lately interests me a lot. How influential is this and the situationist movement today?
There is a very tenuous link between the uprising of May 68 in French universities and the Situationist International, as you may already know it. It is hard to fully understand why, but a part of this relation seems a bit forgotten today in the official history, one of the main reason is to be found in the fact that Situationists refused to be represented as leaders, as opposed to some figures at this time. Fortunately, Kristin Ross relates this incomplete story in her fascinating book May '68 and Its Afterlives, talking about how this political sequence has been erased and captured by the freshly reshaped neoliberalism to present it as a liberal and individual revolution. As we already said for the autonomous movement that took place in Italy during the second part of the '70s, these moments are very inspiring and rich in lessons. They refer to insurrectionary times when the power could really be overthrown.
In the case of the Situationist International, it's important to understand that since the late '50s the group theorized and wrote about the reconfigurations of the post-war capitalism, and the advent of the consumer society which really arose at this moment. It was a moment of radical artistic avant-gardes: Antonin Artaud just died ten years before, the surrealist and lettrist movements were still recent experiences for the situationists, the Beat Generation was experiencing overseas and this artistic emulation gave them paths to explore and to renew the forms of art without separating it from the revolutionary horizon.
With these months that have passed since the appearance of the Mouvement des gilets jaunes, what balance do you make of it?
We lived something that could be considered as the most unsettling political event of the decade or even more, with the appearance of this gilets jaunes movement last year. Still today, it is hard to gauge the political and existential impact created by the outbreak of these yellow vests on some roundabouts in the November dawn. We're not overplaying it by saying that they helped to re-draw the lines of the political division, in that they opposed the revolutionary action to the revolutionary posture and bliss, and proved us that revolution was a question of desire instead of a rational one. For a part, they were people that never took part in radical politics as we can understand it, that never attended a demonstration or organized a strike, etc. In some areas they created what could be considered as communes, existing as a community in a world â this unbearable fiction â that had always made them existing as individuals.
It seems that in the whole world people are waking up and taking back the streets seriously. Either in Chile, Venezuela, or in France itself. Have we reached the maximum pressure point for people to explode?
We took so long answering this interview that in the meantime Lebanon went up in flames too, and while most of these countries were facing some major representation crisis with the whole institutional politics, a virus sent us back in our respective homes as separated individuals. We're insisting on the concept of âindividualâ because it's fundamental to understand that this category is a pretty recent one that has emerged with the modern definition of âsocietyâ. It's very clear now that both the âindividualâ and the âsocietyâ have emerged in order to defeat communities that were an ungovernable model for the powers, or at least less easily governable in that they were indivisible entities. We have to consider the return of this hypothesis after two hundred years of capitalism, the need of community (this is basically what communism is all about) comes back to the point, by every means, and the people go out, fight the police, and take the streets.
I read that in your first concerts you distributed sheets with the lyrics and explanations. Do you keep doing it? What was the reason, make clear parts that were open to various interpretations, expand information on the subject or try to make people really listen to what you have to say?
We distributed our lyrics for quite a long time, but to be honest we haven't done it for a while. This move was influenced by some bands before us, mostly from this first french emo wave with band that used to do so. The idea was to put the lyrics right in front of the audience, as something we could claimed but also as a starting point to talk about. One of the reason that led us to stop was also the idea that there are other ways to âtalkâ: gesture, music and intensity that can become languages when we start to take them seriously and make a good use of it, they can convey things that words sometimes cannot.
Do you read / do fanzines? What importance do you give them in the hardcore / anarchist scene? Lately I have heard more than one person saying that it isnât coherent to continue to make fanzines on paper and contributing to the environmental impact having such powerful networks which reach as many people as the Internet. What do you think of this?
Some of us used to write fanzines back in the days, and we also have to recognize that after have been serious fanzine-readers we're less curious these days. Because of it, we are tempted to say that there are less issues than a few years ago, which is probably wrong and mostly influenced by the fact that we don't really dig in. We talked above of this idea of ânetworkâ, and fanzines do participate from this idea that autonomy should be earned everywhere it is possible. At some point, we could say that there is victory everytime a fanzine can bypass the traditional plan established by the music industry.
About the fact that 200 printed zines could possibly contribute to the environmental impact, well... maybe some people should try to think about how âgreenâ their online datas are, in fact it really is a stupid accusation. Once again it mostly lies on the idea that politics is an affair of separated individuals doing their own parts more or less, which is the one of the lies of the liberalism. We can continue to pee while taking a shower and turning the lights off when leaving a room, it's pointless if we don't take seriously the idea of overthrowing economy and industries.
Related to the previous question, what is your opinion of the Internet? Does it make us better or worse?
Do you really think that four guys who have a hell of a job creating a Tumblr page could have any useful opinion on this internet thing?
A few days ago a friend told me that if one day I go to France I must go to Nantes, because it is the best city in the state. What happens in Nantes to have earned such fame? Is it really that cool? Because one of the things that you talk about on your album Interstices is about the feeling of apathy generated by living in a gentrified and clonic city, isn't it? What good things happen in your city?
With Interstices, we wanted to summarize what creates this unified feeling from one metropolis to another, from almost every gentrified city center. This is the fascinating thing with the metropolis paradox: on this captured-by-control-dispositives territory, there are at the same time desertion acts and zones that try to re-think autonomy and rooms of manoeuvre. What makes Nantes pretty specific at some point is this relation between the city center and its countryside. In fact we can't fully understand what makes this city special without talking of the well-known ZAD of Notre-Dame-Des-Landes right? Everybody knows it for the resistance against the airport that was supposed to be built there (and that will never be) but the thing is that the ZAD was, and still is, a territory fighting for its material autonomy, which tries to bind metropolitan resistances with the experience of building a form-of-life from the community: an attempt to build a commune for real.
Three of us have lived in Nantes for almost ten years now. Is the city really hype these days? It is hard to tell in our cases, we're living there and cannot really take this stance to measure the impact from elsewhere. Let's just say that this is a city with many secret stories, artistic and political ones, and since we're living in Nantes we felt connected to some of them and tried to take part of. I guess this is what holds us here. In concrete terms, we could talk about La DĂ©rive which is a bar and a community canteen we're involved in. It's a place where you can drink, eat, attend a book presentation or a movie or just come to play chess with a friend. There are places like Les Ateliers de Bitche where you can attend nice shows, and La Commune de Dalby Football Club to play football on Sunday afternoon with some friends.
In your Tumblr you include a very interesting text about the pros and cons of the free price. It attracts me a lot, because besides allowing anyone to feel excluded based on their economy, it empowers you in the process and makes you abandon the role of passive consumer, but I share the opinion that if it becomes institutionalized and becomes something systematic it can lose the critical and anti-capitalist background. Have you set or have you considered putting your albums and merch at free price?
When we first read this text about donation in Maximum Cuvette (a french zine from Grenoble), we thought it was smart enough to practically ask the question of the economy inside a microcosm that tends to get rid of it, to examine the institutional process always contained in economy and at the same time how this âname your priceâ thing could bypass the rigidity always contained in standard economy. You're absolutely right and the text says so, at some point donations can feed the illusion that we got rid of the economy which is obviously a lie, it is just an attempt to manage with its rigidity but under a re-institutionalized form: this is never enough and it is important to be aware that donations are just a way to make the best of the situation.
Since we started CHAVIRĂ, our merch as always been on donation. It was at first the easiest way to manage with selling merch to us. We talk about it together from time to time, we sometimes evoke the idea to sell merch at a flexible-fixed-price, like âa record costs 10âŹ, if you really can't afford it, well, less is fine tooâ. For now we keep it this way, also because it became a kind of a habit, but to be honest this donation thing is so ritualized around us that it often works as a disguised fixed price, and does not really empowers anyone at the merch table because almost everyone there can afford what you sale. To be honest, we're more and more lax with our whole merch stuff and barely see the point in having five different shirt models and buttons and patches and so on mostly because we're not really into it anymore...
Many times I feel frustrated in some way by trying to explain the operation and ethics of DIY to people who are not involved in it. How would you explain this?
Well, we would point at the fact that the ethics behind the whole DIY thing in punk community is mostly based on the increase of a practical autonomy. This is mostly about what DIY should be all about, the growth of a network that could exist by itself, for itself without depending on any power or institution. This idea of a proper existence is important, because it implies some requirements with ourselves trying to build something that is not just an âalternativeâ, a counter-model based on a mirror effect from the cultural institutions, because this just reinforces the legitimacy of it, putting us back to the margins. When this is said, we didn't say much, but let's keep in mind that the operation led by DIY is one of the many attempts where autonomy is experienced (we talked about the ZAD and the late '70s Italy already, there are many examples). These autonomous experiences can be sometimes hard to translate with words, most of the time they are understood when they're lived, when they overtake the words to become perceptible, incarnate. In fact, the words can't describe the mixed feelings of joy, mutual requirement, friendship of these autonomous attempts that hold people together, how can it be explained as something else than the promise of a fast-track life?
You have made some very cool ripoffs of Orchid, Embrace, Portraits Of Past, ... for stickers and merch. Do you have any more in mind?
Let's say we have already done way too much of them for just one band. So everyone knows that we have great tastes and that we're not too bad at Photoshop (s/o to our best ripoff that you did not mentioned which was a Chanel one), but it has to stop now!
In addition your flyers, covers, "logos" like the (A) made of flowers are very worked up and for me they have very good taste. Do you take care of this or do you entrust it to friends? Which graphic artists inspire you the most?
For sure this whole artwork thing is something that matters to us, we wouldn't deny it. But it is pretty clear that it has evolved a lot since the moment we started the band from things more âtraditionalâ â not to say expected, such as the combo of typewriter font and linocut drawings which is the perfect example â to more personal artwork: since the last record, the Atelier McClane duo took care of the whole graphic thing to tie the images with the sound and the words. Some of us have an interest in visual arts and we have friends who consider that any revolutionary act will need to find its own form, which implies to think about its graphic one. Let's just mention the work of the Atelier McClane obviously but the Capital TaboulĂ© collective from Rennes too, the Super Terrain collective from Nantes, Bonjour Grisaille and the Atelier Summercity from Brest, Marine Le Thellec from Marseille to talk about our friends and favourite ones. We couldn't end this list without also mentioning Hugues Pzzl who made the artwork of Interstices and our split with BASTOS, and who contributed a lot to renew the visual forms of the punk scene in France â a renewal that was so much needed.
Which situations, books, movies, people, actions, bands have inspired you the most, both to do things with Chaviré and to do things on your personal life?
This is always a touchy question, fortunately we left as much references as possible in the whole interview that could be used as a part of the answer. And obviously we'll be happy to develop if anyone wants to know more, our mailbox is always open!
What are you most keen on to lately? What do you like to do in your free time? What frees you from everyday boredom?
Since we are, as a large part of the world population, currently cloistered home while answering this interview, we have plenty of this free time you're talking about. Here in France, it's been a month of quarantine and we mostly spent it separated from each other but with friends and families. We tried to take advantage of the situation writing new songs, sharing playlists and movie recommendations, keeping in touch together. We don't know when the zine will be out but this moment is very decisive and we have to be really attentive, in order to act as soon as it will be possible. A few weeks ago, an absolutely incredible text entitled âMonologue du virusâ has been published in the French media Lundi Matin and has since been translated in various languages (https://lundi.am/What-the-virus-said). Recently we also discovered the Leftove.rs archives (https://leftove.rs) which is an incredible database about autonomy with many leaflets, zines and books from pretty much everywhere around the world.
Future plans?
Improving dad skills.
Doing more muay thai.
Getting degrees.
So far, thank you very much for the patience of answering all this! Anything else to add? See you, hugs!
Thanks again for sending this absolutely fascinating interview, which is hands down one of the most interesting we've ever answered to. Hope we've been precise enough, feel free to write us if it's not the case in these troubled times.
