Signum: How do you decide what's okay for you to engage in, as part of "The System"?

Efrim: ... Lately, I don't know. I used to think that I knew that I was dealing with those issues properly in my life, and lately I don't know, for maybe the last year or so. I really don't know ... I'm having a bad day, and I'll go and buy a record. That sort of behaviour is starting to really drive me up the wall. It's really hard. At the same time, I don't have a bank account — I'm completely, involuntarily marginalized from a lot of things. There are people who I know and respect who engage more than I do in the proper world, people who keep track of their checking accounts well ...

Depends on the person. You're stuck with it, for sure. You've gotta engage yourself with it, for better or worse. Isolating from it yourself does no good for anyone other than yourself. I think that's valid if you just wanna look out for yourself and completely isolate yourself, but it doesn't really change anything. Stuff like that has really been confusing me for a while. I thought I was done being confused by it, but it's come back even bigger and stronger. So I dunno — I know that the words "selling out" just mean nothing to me.

It sounds like the defensive comment of someone who’s been hurt by accusations of selling out, who’s taken the time to think about his relationship to the machine of consumerism – and the primary role of capitalism in the act of making music and delivering it to listeners. But so far, Godspeed! have stuck to their guns. They reportedly turn down lucrative commercial television and Hollywood film offers, and their releases appear on indie labels Constellation (Canada) and Kranky (US) rather than on major labels. But Efrim clearly thinks that the band can use its popularity to send out a worthwhile message.

Efrim: I think that the band has to open its mouth more, to urge people to collectivize themselves on a million different levels, and I don’t mean in the Soviet sense or anything like that. People need to start building community. That’s necessary. There’s a million ways to be a part of that process, and I also think that’s the only worthwhile thing to be striving to do at this point in history, is to work on building communities.

We need to do a better job of making clear that that’s the history of this band, that’s the history of our little community in Montreal, and … it shouldn’t be mysticized or romanticized, you know? We’ve been able to do what we’ve done because, on some level, we got our shit together and we made our own space. A label came out of it and a band came out of it, and then a whole bunch of bands came out of it. It’s the only way; if you wanna do something, you’ve gotta involve people and that’s hard. It’s difficult, people are difficult…

Signum: Do you run into a lot of other people with their own really cool, homegrown communities as you travel?

Efrim: Yeah. Not as often as we’d like to. It’s sort of like… in the same way that I don’t go to twelve-dollar, out-of-town band shows in my own city, it’s like, I don’t really talk to people in bands when I go see them. I feel like there are probably people out there who I’d like to talk to, but they generally aren’t walking up to any of us and going, "Hey, how’re you doing? There’s this really neat thing in our community, do you wanna come check it out?"

And I know it’s out there; sometimes you look into it, and you see it. It’s everywhere, beautiful stories everywhere of people trying to build stuff. I wish we saw more of it. We don’t. We just see the inside of a lot of rock clubs and halls, and… all of a sudden there is no community, the community doesn’t exist anymore in those spaces. We might as well be at a fucking sports complex.

Signum: I think you just answered my next question: A lot of people look for some sort of hope in the alternative culture or some particular subculture, for finding meaning, for finding community, and being able to insert themselves into an existing community.

Efrim:…When that’s done on a superficial level, it’s just awful. I think it takes your whole life to figure out how to better be a part of your community, you know? You can’t just sort of insert yourself. I think everyone feels a lack on that level. Everyone. It’s a constant tragedy that we don’t do a better job, all of us getting together….

Shared experience doesn’t mean community. I think that’s what I’m saying. I think it ends up with uniforms, and maybe even hand gestures or – I don’t know – a certain way you carry yourself, and that can be deceiving? You can look around and think, "I’m part of something." But the real community stuff has nothing to do with any of that. It has to do with conclusions that you come to when you’re lying in bed at night. That’s where it’s at.

 

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Photo:Mauro, Efrim, and the Aladdin Theatre audience. Photo by Marshall Serna.

 

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