The god hid the wide earth in a covering of fog, caught the fleeing girl, and raped her.
Craig, thanks for agreeing to do this interview. You have a new Randan Discotheque single out, perhaps you could tell us a little about it?
Sure, it’s a double a-side 7” single, with “Ring the Bell” and “National Geographic (2012)”, and it’s a very limited edition of 20, plus a digital download. It also comes with a limited edition riso print, with the song lyrics
I’ve noticed the lyrics aren’t so clear on the print, is that deliberate?
So people have to listen harder.
Why is it released in such low numbers?
Well, after I/we made “Sonderweg” our last full length album I became a little despondent about the amount of time and effort, not to mention money that went into it, without much reward. I pressed 300 copies of it, and I still have at least two-thirds of them left. I wanted to release something that wasn’t going to end up losing me more money.
Have you lost a lot of money?
I wouldn’t say a lot, but I’ve never really made much from Randan Discotheque. With Sonderweg, there was the recording studio, mastering, pressing, promotion etc, not to mention the time I spent on videos and design. I decided I would try a crowd funded approach for the next thing I released. Thanks to the generosity of some friends, fans and family, I was able to raise enough to make a very short run of vinyl. I thought that if I could get them produced for a reasonable amount, and get the money up front, I would maybe end up at least breaking even, and not have boxes of left over vinyl sitting around. I wanted to make something quickly, with music I was still in the process of writing, and hopefully give the funders a sense of helping me along with the creative process. Each of the records is hand painted, and has a personalised message on the back. I felt it was more important to make a personal connection with a few people, than no connection with a lot of people.
That sounds a bit pompous, and an excuse for not having a lot of fans.
Perhaps you’re right.
Tell me a bit about that creative process
The songs were both sketchily written a couple of years ago, but I’ve developed a way of writing now whereby if I have an idea, but the circumstances aren’t right for recording it yet, I can hold off until the time is right. A kind of tantric-writing. Both these songs were written during a week in Kilconquhar in Fife, and I waited until I knew I was going to release something before actually recording and producing them, which is done in my living room
Tantric writing? That sounds like bollocks. What are the songs about?
National Geographic (2012) is a kind of revisiting of the approach I had to the single “Daily Record May 18th 1993” – I subscribe to National Geographic, and sometimes find it hard to retain any knowledge I have gained from reading it. There is too much stuff going on everywhere, and I end up not taking anything in. The song is a list of some of the subjects along the spines of the magazine from 2012. “Ring the Bell” came about during a walk in Elie & Earlsferry, and visiting the ‘Lady Tower’ by the beach there. Apparently Lady Jane Anstruther had the tower built as a kind of changing room when she went swimming. She would have her maids ring a bell so anyone else on the beach would have to leave. I started humming the tune when I first visited, and it developed from there. She had her portrait painted by Joshua Reynolds.
Is it historically accurate?
I have no idea – I imagined Lady Jane as a very sexually confident woman who would go skinny dipping, and maybe had a certain hold over men, including Reynolds, and the locals. There’s a lot of not very subtle innuendo in the song, and ‘ringing a bell’ is an example of that.
You don’t seem to have done a lot of promoting, or gigging in advance of this release, is that deliberate?
I haven’t played a gig in 4 years or so. Although I enjoy it a lot, circumstances change, and its not really something that is practical at the moment. Jobs, life, health, other projects, things happen. Promotion in general makes me feel a little sick. When we were gigging and getting a bit of press and radio play in the past, I thought perhaps this could be a career, but then it kind of petered out, and promotion was depressing. I thought it would be much better to just record as and when I wanted.
Have you done any promotion?
I’ve posted it on facebook and twitter.
That’s not very much
No. I reckon a few people will see it and then it’ll disappear without a trace, much like a lot of creative endeavour nowadays. I’ll send some emails out too.
To friends and family, and people who already know you?
That’s not going to get you much attention.
Or sales. The thing with facebook etc is, you can have 100’s of friends, but very few of them are likely to even see your posts and videos, unless you start ‘boosting’ or ‘promoting’ them. I can’t be arsed with that. And even then, some of them don’t like what you do, and then the ones that do sometimes forget, and then others don’t think anything.
How do you expect anyone new to hear your music?
I’ve no idea, I don’t know if I do.
That sounds a bit pathetic, shouldn’t you put more effort in? You can’t rely on friends to support your creative work?
No, you can’t. I realise that. I think I just want to make something, and move on to the next thing.
What about people who work really hard to build a fanbase, go on tour, to reach the people that are looking for that particular thing? It sounds a little like your making it for yourself, a little self centred and egotistical?
Yes, it is. Most creative work is though isn’t it?
Not everything is
Well, everything I do seems to be. Musicians, artists, most of them have big ego’s or pretend they don’t.
Really? What about Moondog?
Yeah, ok, maybe not, but I’ve never met him because he’s dead. He might have had a massive ego for all you know.
How are sales going?
Well, up to now, I made 20 copies, and kept one to myself, 12 went to funders, and 3 have been sold. There’s 4 left.
So you haven’t even managed to sell those?
No, not yet.
Do you ever think to yourself “maybe the reason I don’t sell is because I don’t do promotion or gigs”?
Yes, maybe. This is promotion though?
An interview with yourself, by yourself, is promotion?
I think so. We’re always told “you’ve got to do it yourself, no-ones going to do it for you”
I guess so. Ok, have you ever thought the reason you don’t sell much is because the music just isn’t very good?
You’ve never thought that?
No, I have absolutely never thought that.
Never ever ever?
No, not once ever. I’m surprised you keep pushing the point.
Have you ever thought about just giving it up?
Yes, I have. But I realise now that it does me more harm to not indulge myself in this way, than if I do. Like masturbation.
Your’re saying Randan Discotheque is like masturbation?
You don’t think it’s possible for music to be more than that? Something that moves people?
Yes absolutely, music can change your life.
What music changed your life?
I would say “Graceland” by Paul Simon. I first heard it when I must have been 5 or 6, and my parents had a tape of the album. I was interested in the rhythms, and the complexity of the words. The images that were conjured up listening to it are still with me now. As I got older, I began to understand more about what was being sung, and then older still to understand more about the conditions the record was made in, with the South African musicians, and the zydeco etc – it retained my interest, and it still does. I like singing “Joseph’s face was as black as the night, and the pale yellow moon shone in his eyes”. The image in my brain when I sing it, is the same as when I heard it as a boy. It wasn’t religious or anything – just a simple image of dark skin with yellow moonlight. I always skip through “Homeless” though.
So what are your plans now?
I have about two albums of ideas sketched out, I’m just waiting for the right moment to develop them.
When can we expect that then?
I have no idea, I was 9 months late with this release, so it may be a while, but I hope not.
Well, thanks for the interview, it was moderately interesting. I wish you the best of luck for the future.
And I to you.
“Ring the Bell/National Geographic (2012)” is available now on limited edition 7” single, and digital download from Randan Discotheque’s bandcamp page
In Genesis 19, we saw that Lot and his daughters escaped from Sodom, and Lot’s wife was turned into a pillar of salt because she made the mistake of turning round to see the Lord destroy the city. We are now towards the end of Genesis 19, where Lot and his daughters have gone up into the mountains and are hanging out in a cave. They are alone, and this solitude worries the elder daughter. She says to her sister that their father is old, and there is no one else around, and they have to ensure their family line continues, and why don’t we get dad drunk, then I’ll sleep with him, then you can sleep with him, and we’ll get pregnant and hey presto line is continued.
So, the elder sister gets dad drunk, sleeps with him; ‘he was not aware of it when she lay down or when she got up’; and the next day she suggests to her sister she do the same, which she does – again, Lot doesn’t realise that any of this has happened. And so, it comes to pass that….
‘So both of Lot’s daughters became pregnant by their father. The older daughter had a son, and she named him Moab; he is the father of the Moabites of today. The younger daughter also had a son, and she named him Ben-Ammi; he is the father of the Ammonites of today.’
– The daughters obviously feel that maintaining the family line is important. Perhaps, they also feel that there are not a lot of folk left after the Lord’s destruction of the cities. This is real dedication to the family, and helps ensure the longevity of Abraham’s line (the line that the Lord had promised would last). I have a feeling that this family line may, following the course of time, prove to be an important one.
– It should not be assumed that the daughters lusted after their father, or vice versa (which the following paintings generally fail to acknowledge…).
– Did they have time to collect wine before they fled Sodom?
– They must have gotten Lot very drunk for him not to realise. Twice.
– The text is very careful to ensure that Lot is not to blame for what happens, in fact, he had no idea! So, all potential shame is placed on the sisters. How can someone be guilty of something they did not know they had done?
– I am looking forward to hearing about Lot’s reaction to the pregnancies, once they start to show.
– It is possible that Lot is being punished (raped) for previously offering his daughters to the townspeople in Sodom. What he was prepared to put his daughters through, is now being done unto him.
There is an enormous amount of painting dedicated to this biblical scene. I imagine it gave artists and patrons the opportunity to have some sexy paint on their walls while still maintaining a certain amount of piousness. The range of approaches is not very wide though. I have chosen the following as some have unusual touches, or are generally representative of the subject. Also, sometimes this scene is called ‘The Rape of Lot by his Daughters’. (CLICK ON IMAGES TO GET A BIGGER IMAGE AND A BETTER VIEW OF THINGS)
Firstly, the Gentileschi’s – father and daughter. Orazio (the father) has painted two L&hD’s. They are pretty restrained, the first showing a tenderness, with Lot almost being mothered. There isn’t so much sexiness, other than the daughter in yellow’s dress slipping off. The wine is knocked over, and Lot seems knocked out. I’m guessing this is inbetween daughters. The group are entwined with complexity, of limbs and colour. One daughter points off to the distance, probably to Sodom to indicate the fate of the city, and perhaps the families lack of male options to come… Its pretty serene this one.
In his second, later version, there is more of a sense of space, plus a bit more sexiness. One daughter (perhaps the elder) seems to be trying to convince the other of something. Again, Lot seems to be treated with motherly/daughterly tenderness rather than sensuality. The wine is knocked over again, but there is an addition of vine leaves, which might serve to answer the question of whether they brought wine from Sodom or not. I really like the colour of the sky and vine together, a hint of bright hopefulness in the midst of the cave.
Here we have Orazio’s own daughter, Artemisia’s version. It’s interesting to think of the closeness of relationship these two may have shared (Artemisia trained in her fathers workshop) and how it might have affected their approach to the subject matter. Both certainly are straining to a complexity of emotions between all 3 characters in the paintings. Lot in this painting is clearly in the process of becoming drunk, and his affection is growing, a hand on his daughters shoulder, another approaching her elbow. It seems a plan is underway. I do wonder if its a good idea to give Lot a slice of bread though, if you’re wanting to get him drunk. The other daughter tenderly touches Lot’s own shoulder about to ask if he wants more wine. Lot’s cheeks are rosy. In the background, mother is turned to salt. Vine leaves are silhouetted in the opening of the cave.
Here we get a bit more raunchy. Simon Vouet paints Lot in a stupor, happy to fondle his daughters breast. He moves his head back a bit in an attempt to regain focus of his daughters face. She meanwhile lifts a leg over his and gazes into his eyes. The second daughter is grinning a wee bit, and struggles to hold onto the grand vase which looks like it could hold plenty of vino – she also seems to be pulling something out of a purse, obviously not a condom – it looks like a digestive biscuit. Lot has lost control, and the entire episode has an unpleasant creepiness to it, which the Gentileschi’s do not.
Joachim Wtewaeil was a flax merchant as well as a painter, but there is a distinct lack of flax here. He was apparently known for inserting sensual, suggestive elements into his nude paintings, and I dare say the pinkish, folded cloth on the ground beneath the nude daughter may be one of these, plus all the ripe and rotting fruit. There’s also a strange bulbous white growth under the nude daughters elbow, which looks pretty testicle-like. Maybe I’m seeing too much. There is an abundance of fruit and wine here, and a difference being that the daughters too seem to have drunk a bit. Their cheeks are rosy as well (though many things make rosy cheeks). Lot’s drunk looking, but not out of control, and daughter two seems to approach him for a kiss. Again, this seems more about getting away with sexy paint than representing any complex moral situation.
I can’t find much out about this one, but once again, sexual gratification for the viewer seems important here. Lot’s right knee, covered in his robe, seems to have taken on the shape of a giant cock. The see through fabric that almost comes straight out of this cock-knee is not too subtle either. Daughter is grinning, but Lot has a very forced uncomfortable expression. Daughter 2 is also topless, and pouring wine from an extravagant height. Daughter 1 has a strange necklace on, with what I’m guessing is the face of Jesus on it – I don’t know what that means, perhaps all this terrible, unavoidable sexiness is being held together by religious intent and nothing else.
I like this Paul Cezanne, not for its depiction of the scene, but because it seems that Daughter has just leapt into Lot’s lap, almost straight on to his boner. While his face suggests surprise, his right hand suggests readiness. Its the only painting which really has sexual energy in it- there is heat, darkness, fleshiness.
This one is quite weird – there’s a lot of pottery, and the figures and clothing all look a bit like porcelain. They have almost transparent skin, and there is just a hint of pinkishness on Lots cheeks and nose. Lots left hand is relaxed, his right daintily begins to undress his daughter, and he gazes down in anticipation of the soon to be revealed breast. It’s all very cold and passionless, not to mention a lack of moral distress. The strangest thing though is that the rock Lot is sat on seems to be wrapped in cloth. It also (honestly) has a hint of glans penis about it. There is a glacial stillness to the painting which I quite like, it just doesn’t seem appropriate to the scene. Francheschini’s paintings all seem to have this porcelain stillness.
Well, this one has a couple of things going for it as far as I’m concerned. First, Lot is reeking. His eyes are all over the place, his fingers aren’t working properly, his legs are spread, and there’s no chance of him standing up without causing all kinds of mess. Secondly, the daughter on the left is posing in a convincingly post-coitus manner, languid, stretching, maybe about to fall asleep. This painting feels exhausted. In fact, maybe Lot isn’t that knackered, maybe he’s attempting to get up for round two. As an aside, apparently Jacob van Loo killed a man in an inn in Amsterdam, and had to flee to Paris. Positively Caravaggian.
Now this one is just ridiculous. What a barrel of laughs they are having, not a care in the world. Looking at some more of Jean-Francois de Troy‘s work, he seems like a class I pompoustier.
This is another Joachim Wtewael. I put this one in, partly because everyone is a bit green, but also because it seems to further add to the fantasy of the (male) viewer, by adding a little touch of potential lesbian action – daughter on the left is looking over to daughter on the right adoringly, while just about to touch her with a raised big toe…I’m also intrigued by Lot’s choice of breast touching technique.
Johann Rottmayr makes the list due to the fanstastic drunken stare in Lot’s eyes. He is 100% waltered.
Marcelle Hanselaar is the only contemporary artist in this list, she is also only the second woman. What I like about this is that the daughters are clearly in charge here, whether Lot likes it or not. Plus, it is the first to show the actual sexual act, and the daughter is on top and in charge, for responsible and practical reasons. I don’t know what one of the daughters is hiding, it looks like a mirror.
And finally, Otto Dix’s interpretation. This is the best drunken Lot – he is grinning with his moustache, and his gaze and raised hand are actually depicted in the act of missing the glass of wine. He cannot focus at all. His right hand is curling up at something, the nothingness just out of grasp of every true drunkard. The daughter (again on top) seems to be using the wine as a distraction while she mounts him, and this is another more complex representation of the act. The other daughter however looks a little too pleased with the proceedings. Is she undressing or covering up? In the background Sodom burns.