Every band has their own story, but if you tracked the progress of all the world’s best indie bands, some patterns might start to emerge. First comes the period of raw energy and potential, followed by the acclaimed breakout album, followed by a change in the band’s sound (usually by introducing electronic elements) and accusations of selling out. By their seventh, eighth or ninth album, the band either makes a high profile comeback with a new fan base, or they fade into obscurity.
The 27-year story of German indie rockers The Notwist shares some of these tropes (a breakout album, a move from rock toward electronica), but thanks to a knack for reinvention and a virtuosic musicality, they’ve maintained a creative edge, solidifying their status as a perennial underground favorite.
"Consequence" from 2002's Neon Golden
Starting off in 1989 with a noise rock album that vocalist and guitarist Markus Acher tells us was influenced by “American post-hardcore bands like Moving Targets, Dinosaur Jr., and Pitchfork,” they went on to make a name for themselves by unrolling a dramatically new aesthetic with each passing album. “With every record, the influences got more… experimental,” says Acher.
The band’s fifth album, Neon Golden, which dropped in 2002, is their most iconic work, and it came after several overhauls to their sound. An elegant, emotional record that is regularly named one of the best indie records of all time, Neon Golden veers through spare folk guitar to poppy hooks to a few moments of the droning electronica that the band would explore further in 2014’s Close to the Glass. It’s all flavored with the nostalgic melancholy of Acher’s lyrics.
“We always try to keep a certain edge to everything we do, which doesn't mean it has to sound distorted or loud,” says Acher. “It just has have a certain element of confusion in every song. Something that doesn't seem to fit at first.” This is an apt description of the not-quite-placeable appeal that carries through their all of their music.
The Notwist’s most recent album, 2016’s Superheroes, Ghostvillains + Stuff, was recorded live, complete with crackly audial imperfections and audience cheers. Releasing a live album was a natural step for the band, as their concerts are a thrill to watch thanks to their earnest energy and impulsive experimentation onstage. The YouTube recording of their set at 2014’s Pitchfork Music Festival Paris provides a prime example.
"Kong" from 2014's Close to the Glass
Despite touring extensively throughout their career, The Notwist has never performed in China prior to this month’s tour. “I've been very interested in China for a long time, but never really thought there would be a possibility to tour,” Acher says. “So I'm very happy it's happening now.” He liked Chengdu rockers Hiperson and Beijing psych-rock band Chui Wan when he saw them in Munich as part of a tour by Comecerts, which specializes in bringing Chinese bands to Germany, and he's looking forward to exploring China's music scene further this month.
In addition to their expansive, genre-crossing music, The Notwist is known for the unique lyricism of Acher, who writes and sings in English rather than German. His simple, unusual word choice and syntax often give the songs a surreal beauty. “As English is spoken in so many countries all over the world by non-native speakers, there are many forms of English that are very interesting and poetic,” Acher says, referring to a phenomenon that any expat or resident of an international community is familiar with. “I think it's a limitation, but also an opportunity to write in a language that's not your native one,” he continues. “I like it somehow. It’s abstract and emotional; a poem right away.”
Shenzhen: May 11, 8.30pm, RMB100 presale, RMB120 door. B10 Livehouse, see event listing.
Shanghai: May 12, 9pm, RMB120 presale, RMB150 door. MAO Livehouse, see event listing.
Beijing: May 14, 9pm, RMB120 presale, RMB150 door. Yugong Yishan, see event listing.
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