In case you not seen it here is Justins response on Facebook to someone(Steibel) who said Godflesh are milking their fans by these recent shows by only playing old material and that they would be better to write new stuff.
Here is what he said;
Justin K Broadrick Okay, Stiebel, well at the very least you are genuine; I was concerned that you may simply be someone affected by another's opinion, whereas you are sincerely a follower of the band and it's output. Which is chiefly the reason why I considered it appropriate to address your comments, and the fact that the comments, albeit negative, are on my events page on my Facebook page, I would usually delete such comments due to the fact that I do not wish to entertain any 'internet slanging matches' between anyone on my pages, it makes me question why I post and answer queries, etc in the first place, since I despise that area of the internet....The are are other followers of Godflesh who also hold your opinion, not many from what I am aware, but there are, and although I disagree with your assumptions as to the motivation behind our choices of live environments, I respect that some will hold this opinion. I am defensive regarding our decisions, sometimes publicly - being seen as fleecing our audience is not how we wish to be perceived. To be absolutely honest here, and I will make no apologies to anyone for this statement - we spent, quite literally, as Godflesh, playing every toilet imaginable between 1988 and 2001, yes, sometimes there were bigger venues, of course, especially as we increased in size, or, supported 'large' more well known acts, but mostly, and earlier in our career they were not, and we'd virtually play for free; Ben and I lived in one room for almost 2 years whilst establishing Godflesh, and often stole food to survive, whilst existing on the English 'dole' system. After such an existence, once our music earned us some money, one can only imagine that we were shocked that anything could be earned from our music...BTW - we still earn no money from our back catalogue whatsoever, due to being naive and signing literally our lives away with Earache Records, nor will we ever see any money from our back catalogue, fact, back when we existed, and the industry was somewhat buoyant, money was earnt from advances, advances for royalties. So, finally, and ironically, since we reformed, we are able to earn some money from Godflesh, and do exactly what we want, we're finally empowered...oddly, and contradict your assumption of that playing an older record can surely not be remotely creative, on the contrary, revisiting older records is actually revitalising, and somewhat rejuvenating musically; having not played the material for so many years, I realise now what made these records 'tick', and they are inspiring, directly, the newer material. I assume some may be wondering reading this, why I feel the need to address this all so deeply, but music, quite clearly, is indeed my life, to be accused of doing things musically that I have no deep or meaningful connection to is insulting, I don't do anything I don't feel - I split Godflesh on the day of an two month American tour, for example, which cost me a horrendous loss of money, besides the loss of many personal things in my life, and I did this because I simply did not want to do it anymore; the safe option wasn't an option, and it virtually cost me two years of my life. Festivals, selfishly, are a context of performing without having to tour a country in any explicit way - I say selfish, because yes, this choice is made under the assumption (or hope!) that followers of the band will go to said festival if they wish to see the band enough, coupled with the assumption that the festival will hopefully feature other bands people would wish to see too, selfish again, because we do not wish, at our ages (early and late forties), and with our existing commitments (me with my first child, who's development and life I wish to be a part of on an daily basis), Ben has a full time work commitment which he could not afford to finish to play live in Godflesh on an full time basis, nor would he want to, he left the band originally because the existence of a touring musician is not something he wished to pursue for all his life! Contrary to what seems to be perceived generally, touring is actually far from glamorous, unless of course one is Metallica, Coldplay, U2, etc etc...this fact is more than well documented amongst many biographies, etc, additionally, I myself, am first and foremost a studio musician / producer, I realised with some of the last jesu tours in 2007, that all this touring is entirely anti - creativity, playing the same songs night after night, for months and months, there is your perfect example of anti-creativity, not revisiting and playing an album one made 20 years ago, once! Okay! I have made here a rather elaborate, and albeit defensive answer to the above accusations, dramatic? yes! I take such accusations personally, my music / art is personal to me, so I see such accusation as personal, and they demand a response, but this is not a personal defence against you, Steibel, but this rather long winded answer is generally for those who have been questioning the motivation behind the reformation of Godflesh, and in my opinion, what I have wrote does not even vaguely touch upon how loaded this subject is, but I hope I have at least clarified, to those who question us, you included, why. Some will say I do not have to validate our current existence, unfortunately, for me, I feel I do, I may not change any minds, but at least make one question, as I do myself, on an hour to hour basis!
Joined: 04 Sep 2006
Location: In the land of the silver fern
Interesting that Justin responded to it, but an interesting insight... Personally, I like the fact he's been playing the older material live as it's what I listen to more regularly.
It's pretty tough that he's being accused of 'milking it' especially from a financial point of view when he's going to struggle to make a living from playing this type of music in the first place... unless I'm mistaken? I'm not aware of his tropical island getaway, private jet, chauffeur driven rolls royce, etc.
i think there are too many purists. shouldn't he be allowed to make a living? i mean, fuck... it's not like he is raping people for millions. he is going to make a minimal amount and quite frankly i don't understand this mentality that an artist shouldn't make any money. fuck that. justin deserves some pay, i say.
you want to know who is milking it? joe blow and everyone in between. get fucking real. really.
The band has been dead for 10 years and look at what they have done now: played gigs, re-released two albums that haven't been payed attention to for ages outside the community and now they are going to releasea live album on a festival label that has released headlining slots as live albums for years.
We're still far from cups/bedsheets/coloured vinyl-terrotory. What's to complain about?
Last edited by avocado diaboli on Tue Apr 16, 2013 8:46 am; edited 1 time in total _________________ Life Is Easy
exactly. they can come back and play festivals, play old cuts, and make a little money all they want, but if these actions aren't committed in conjunction with working on RELEVANT new material that justifies resurrecting the project, then their artistic credentials are in serious doubt. and seeing how you got a guy who's getting defensive about having his integrity called out, and another guy who doesn't even have the interest to tour, this doesn't bode well for the Godflesh being around.
i don't see a new album being worth a jesus fuck christ.
listen to Eight Bells instead.
_________________ What's more fun.. Punching someone or being a pious soul?
Carcass, from what I remember, either sued or threatened to sue the shit out of Dig concerning back royalties and whatnot they were still owed.. Hence why they were all very involved in the remasters they put out a few years ago and Carcass went on their reunion..
I believe ND were involved in a lawsuit as well with Dig around the time Napalm Death split with Earache and were VERY vocal about how shitty the label is nowadays.
Earache made one last cash grab off of them with that Noise For Musics Sake comp (and even threw in some of the old Bullen era demo material).
Ive still got a picture somewhere of Matt Pike setting an Earache Records hat on fire right after Sleep was signed to London and began working on Dopesmoker.. Again, even those chill hippy stoners Sleep, nothing good to say about Earache at all.
I dont buy their reissues anymore. Last ones I did were a couple Carcass ones. Especially since Justin has told me himself "Eh you own how many copies of this now?? Go ahead and grab it". Ill buy the shit direct from Avalanche but Im not giving Earache another dime.
Joined: 30 Aug 2007
Location: GÃ¶teborg, Sweden
I'm one of those who felt 'milk' was an appropriate term for one reason or another.
JKB's reply was fiery and, I feel, genuine.
So...Godflesh can play whatever the fuck they want and put out a new album of whatever the fuck they want (a la...I don't know...the band's entire CAREER). I seriously doubt popular opinion was taken into consideration when Slavestate was being recorded, let's face it.
So, I recant my former concerns about this all being spawned from the wrong reasons. Bring it on.
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