Incendiary puzzle things out with Wooden Constructions

I think our inspiration comes from completely random things, like a broken traffic light, or some drums from Burundi, or a crying yoga teacher lying naked on the floor. There’s no logic to it.


Incendiary love Wooden Constructions. They are an intelligent, exciting band with a set of clear ideas on how to entertain and inform. You see them live and they are a revelation, you can’t help but get sucked into their scene. So why the hell isn’t everyone all over this band? We asked singer and focal point Gover Meit, an interesting lad to say the least, a few questions. Gover answered in his own inimitable way…

IN: Why the name?

GM: I just knew that if I was ever going to start a band, the name would have to be “Wooden Constructions”. I mean, you have to admit that it does fit in with our music. But how come? I was hoping you could tell me why…

IN: Well, I was intrigued. For some reason it conjures up Tatlin’s Tower.... all that Russian Constructivism... I mean Tatlin’s Tower is, in effect, a Wooden Construction.

GM: Wow, that's interesting! Tatlin's Tower is indeed an image that comes to my mind when I think about "wooden constructions", but I have nothing to do with Russians or whatever political system they came up with at the time; to me, the tower simply looks as if it "could have been one of our songs". But still... this doesn't tell us WHY. Maybe I'd say that the sculpture is crooked but yet powerful in the same way our music is. Do you get what I mean? I hope you agree…

IN: The idea of "Suggestion": your lyrics, your moves on stage... it's all very impressionistic stuff Gover. What drives this element?

GM: When I was a young kid I used to misunderstand everything I came across. I had no idea what was going on in general. I really miss those days. I miss being confused all the time and I miss believing the bullshit stories I came up with to give sense to things. The only place left where I’m allowed to be my “old self” is on the stage. There are no rules on stage, you can do whatever you want, and for some reason it will always make sense to (some) people. Everybody is constantly connecting their own life stories to the music they listen to, even if there isn’t a real connection at all. Now that’s exactly what I want to achieve. I don’t try to tell you anything, I just want to give you as many tools as possible for making up a story of your own.

IN: What inspires you to pull all those faces, for example?

GM: I’m constantly in pain for having to make all those weird sounds on stage. Plus the underground mics normally smell like puke or worse. Please, I beg you, please, get me out of there. I’m dying.

IN: You are an arty bunch. I’ve heard tales of your actor-film student parties, skinny dips in the Vondelpark, free drinks....

GM: Yes, things like that happen, there's nothing to do about it. Don't ask me why, but as soon as you start making this kind of music, the lost creatures of the night come crawling towards you.

IN: Any other inspirations or interests that are central to the band's DNA?

GM: I think our inspiration comes from completely random things, like a broken traffic light, or some drums from Burundi, or a crying yoga teacher lying naked on the floor. There’s no logic to it. All we know is that we don’t want to have any style at all. By doing so, we of course create a very recognizable style and people often think we’re proud of that. But this has never been our intention. We have no opinion about it.

IN: You are a man of the stage - the band make a lot of sense, live, but I sometimes think that doesn't come across on the record. There's no ego or "look at me" stuff round the band. And in some ways (I think) you suffer for it... So.... What would you say you were first and foremost as a band?

GM: This contrast is the band. I strongly believe that whenever you make music, you have to be honest. I think we’re all very honest. We’re probably overdoing it, which is good, I’m proud of that.

IN: What do you feel you need to do to get yourself noticed these days?

GM: You’re asking the wrong guy. I tried everything, but I have no idea.

IN: I should ask you about Pablo Cuancín, so I will...

GM: Pablo Cuancín is dead.

IN: People Now People is an astonishing LP, and it took you a long time to make. Do you feel as if it's a full stop? That you've captured what you wanted to?

GM: Yes.

IN: A strong rhythm propels a lot of your music. Is that the most important element for the band?

GM: Rhythm of course always determines the style of music, you can’t escape it. But apart from that, yes, we are obsessed by rhythm. The drums are kind of like our lead guitar. If you play a rhythm in the right way, bodies simply start moving, whether they like it or not. We get off manipulating the crowd in that way.

IN: Could you ever see yourselves doing something soft & delicate?

GM: Don’t you think we are soft & delicate already? What do you mean??

IN: I take it this is why the naked yoga teacher cried…

GM: The naked yoga teacher cried because he actually tried waterboarding, and we only gave him half of what he thought he would get from us. Naked yoga teachers always cry in my experience.

IN: Plans for 2013?

GM: We’re going to release an EP. Money, money, money. World War Peace.