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A Brief Visit To The Year 2001 With Totalitär...
TOTALITÄR
I conducted this interview for issue #221 of Maximum Rocknroll. Like many black clad, multiple belt wearing punx of the late 90s & early 00s, I was obsessed with the band. One thing to note, while they state in this 2001 interview that they would probably never play the USA, just two years later they ended up playing two sets at the infamous Philadelphia punk party, Pointless Fest - a video of which is now available for your listening/viewing pleasure.
Let’s start out with a little band history- when did you start, why did you start, who plays what and why don’t you ever play shows anymore? Also what does the name Totalitar mean?
The band was formed in February 1985 when the three (still remaining) original members chose the name Totalitar and decided to stick to the d-beat stuff we all loved. Under ordinary circumstances the band definitely would have disbanded in 1989 when none of the members were interested in rehearsing anymore, partly due to the fact that we’d moved to different cities. Instead we choose to keep a low profile and do whatever we want for the moment. And live appearances just seem too much for us these days. We’re glad to keep it together to record every second year or so, it’s definitely much better compared to nothing - which is the only real option. Totalitar means totalitarian, we thought the name sounded cool.
Why is it important that all your lyrics be in Swedish, and not in English like so many other European and Swedish hands?
Primarily because it would be silly to try to project meaning into a borrowed and disabled format when not necessary. We’re Swedish - our language is Swedish and our content as a band is Swedish. We live and comment on the society that’s close to us. There’s absolutely no nationalism to that notion - it’s just a matter of using the best tools available to work.
There are Swedish bands that manage to write good lyrics in English, but more often than not - the result is cliche at best.
Are you active in other ways in the punk scene, how? If not, why not?
No, not really, apart from some of us who also play in other bands such as Misgovernment, Brainbombs, Meanwhile, Swinehood and Krigshot. We occasionally visit gigs, read fanzines and buy records, but other than that we’re really not that involved.
How has the scene in Sweden changed since you first started- how has it stayed the same? Do you think these changes are for the better or the worse?
No one of us is deeply involved in the scene anymore - so our perspective is somewhat limited. In one sense the scene is probably much bigger today, but it’s also much more divided into different fractions. When we got involved it wasn’t uncommon that people had the logos of both Discharge and Asta Kask on their jackets. Today it seems the scene is divided into cliques that very rarely mix.
Many more records are released - it used to be much harder for bands to get their stuff out. Fifteen years ago you had to release the records yourself, but today there are many more interesting labels around. Also, there’s a bigger international interest for Swedish hardcore - which makes it much easier for the bands to release records and go on international tours.
Apart from that the scene itself doesn’t seem to have changed that much.
On the split LP with DISCLOSE, the song “Vi Brutaliseras” deals with the topic of neoliberalism and the spread of that philosophy- can you explain what neoliberalism is, why is it important? How do we combat it?
Neo-liberalism is an ideology that’s pervaded most of the world without a trace of democracy. The wave of privatization and deregulation in Sweden and elsewhere has led us to a new society very few people asked for, and very few gain from. The core idea is to pave the way for huge corporations to decide on issues that affect us all. It’s a very undemocratic development.
In Sweden one example is the tendency to privatize the social welfare system - which means the rich will get their own insurances. This means you must have money to pay for social assistance when you need it. Those who can’t afford will be left with a deteriorating service.
On a larger scale the neo-liberal ideology has led to a mad casino style economy, where fictional money is used as tools to make fast earnings, without any consideration of the effects. It’s also given almighty power to a system that can crash economies and local currencies.
But there is resistance forming in all parts of the world - the fight is not over.
There seems to be a very negative focus to your lyrics- that almost say that we’ve the forces we struggle against have already won and that there is no hope. Why is this and do you have any hope that we can resist the dehumanizing nature of modern life?
I think our lyrics reflect the unfairness and brutality that reign in the world today - and in that sense the focus is definitely negative. But I don’t think we’ve said there’s no hope. In that case it would be pointless to show anger - and we could resort to copying the atypical punk themes instead.
Any will to change starts with frustration and anger - and the forming of attack and the discussions about how the so-called globalization affects the world is pointing to a turn.
How has the prison system changed in recent times and why is it important for you to talk about it?
The atmosphere is more and more turning back to ideas of revenge rather than understanding. It’s not only immoral, but also irrational - prisons don’t solve problems any better than an eye-for-an-eye method does in private matters.
The enforcement of longer sentences and an attitude where all the blame is put on individuals instead of looking at crime for what it is - a social phenomenon - is very primitive.
It’s important to talk about it because people are getting hurt for no use whatsoever. We should put more effort into dealing with social problems in a more humane and rational manner.
Are you active in protests/demos/political activism? If not, why not?
Definitely active, but perhaps not in organized politics. We’re not active members in any political organization or taking part in direct action. That doesn’t mean we think there’s anything wrong with that. This is partly due to laziness and also because we’re a bit older and have other priorities in life.
Why is it important that your lyrics have a “political” focus? Are they that way just because they go along with the music that you play or are they that way because these issues are really important to you?
Of course the lyrics are part of the total approach - which is aggressive. But the issues are also important to us. We don’t think of ourselves as a “political band” though it seems the punk scene loves to put that sort of tag on us. The prime reason for us to still record every second year or so is because we have so much fun while doing it. But if we can use the space with something we consider worthwhile at the same time - all the better.
Is there a large Nazi/nationalist problem in Sweden? Does it show up in the punk scene much?
The Swedish punk scene has always been clean of Nazis. But yes, the nazi movement is still here - but one shouldn’t exaggerate - they’re a very tiny minority that stands no real chance in gaining real power. But they create hell and terror for minorities and must constantly be reminded that their activities are not tolerated.
How has the EEC changed Europe/Sweden- Do you think it represents a further Americanization of Europe? How does that Americanization show up in Sweden?
The Americanization of Sweden has less to do with the EU than it has to do with television and popular culture and globalization as such. It’s also a very selective influence - it feels as if it is primarily the rubbish created in the US that ends up here. Jerry Springer and McDonalds - thanks a lot.
Future plans/Other things you want to add/closing comments/when are you coming to the U.S. (please please please!) etc
Thanks a lot for the interview. We doubt we’ll ever make it to the US as a band - though both of us really would like to go. Many thanks to the following people for their support; Ken Sanderson, Judy, Ben and Jeff Alburn/Tom Belldritt.