KING KHAN & THE SHRINES
THE ULTIMATE GARAGE ROCK SHAMAN IS BACK
Our head-dressed hero has returned after something of a hiatus, and this time he’s got a cause to fight for and a whole lot of love to spread. Crack welcomes King Khan to the fold with wide eyes, open arms and eager ears.
King Khan (or King Rama Lama Khan, which ever you prefer) is one of the music world’s great eccentrics. He was born and raised in Montreal, on what was presumably a diet of soul, funk, psych and punk. Having previously made music as part of The Spaceshits, he then formed The King Khan & BBQ Show as well as The Shrines around the turn of the decade. The latter outfit – a nine-strong garage rock ensemble – is arguably his definitive project. Initially the band received little more than a cult following, but as years rolled by, as albums were released, little Khans were born, and wildly joyous live shows were toured relentlessly, they have amassed an international army of loyal fans. But little has been heard since 2008’s modestly-titled The Supreme Genius of King Khan and the Shrines.
And now he’s back with an infectious eighth album Idle No More, a record which takes its title from an ongoing protest to protect the rights of the indigenous people of Canada. It’s a move which emphasises Khan’s long-running ability to engage his triumphant party tones with a wider political consciousness; of enlightening through the collective celebration of music. We were thrilled to give the man himself a bell at his Berlin home, to chat about his new release and to find out just what kept him away for so long.
So where did you record Idle No More?
We recorded the album here in Berlin. Half of it was done in an art studio, the basement bit of my friend’s art gallery. We bought a tape machine and did it ourselves, pretty much.
Can you tell us how you first came across the Idle No More campaign and why you named the album after it? It’s not widely known in the UK.
I grew up in Montreal and when I was a teenager two of my best friends were Mohawk Indians, so I spent a lot of time with them on the reserve during my youth. When I heard about the Idle No More movement I was really excited to see that there’s a new hope rising from pretty terrible conditions. I mean, if you go into Indian reservations some of them are worse of than some third world countries. Sadly enough everyone I asked didn’t really know about this movement, so I figured this would be a good way to promote it. I actually got in touch with them and asked permission and they were really happy for me to do that.
What have you been up to since your last album?
Well a lot of crazy stuff happened in the past couple of years, I mean part of it was I had a nervous breakdown a few years ago, after we were invited to play Sydney Opera House for Lou Reed and Laurie Anderson. I had to take two years off to get my head together. I think the album has that feeling towards it too, kind of like a rebirth.
You speak really openly about previous mental health issues, when sadly so many find that difficult due to the prevailing societal stigma around them.
I think that’s one of the reasons I don’t mind talking about it. I’ve lost a few friends that I wish had sought help because it’s just a question of going out and getting help to fix that sort of thing rather than plummeting into this hole.
Does being open about those things make you feel vulnerable or just stronger?
I guess I’ve dealt with these kinds of issues with friends when growing up y’know, so for me it’s just better to be open about it. I mean in the past two years I lost a lot of friends to various different things and a lot of that is in the record, requiems for people. I guess in a way it’s better to address those things.
Sure. So Wild is about Jay Reatard, who passed away, right?
It is about Jay Reatard but also Jay ‘Berserker’ Montour, there’s two Jays I lost like a year apart. One of them was actually Mohawk Indian too. It’s basically about both of them being wild, amazing people.
Does music help you deal with that loss?
I guess writing songs feels like a healing thing, but it is for the people who receive it too. In a way I never thought of what we do as being pop music because it’s not a contrived thing. I’d say it’s closer to what I love about gospel music, where people get together every Sunday and sing their hearts out. Making light out of something that’s very heavy, in that tradition. I think that’s one of the reasons that people keep coming to our shows, different people, they come to rejoice and feel that joy, know what I mean?
Like a shared experience?
Yeah, but it’s not a business plan. In a way I find pop music now sad. It’s making children mediocre and uninspired and completely destroying creativity, when back in the day this kind of music made people want to revolt and jump up and go crazy.
How do you balance fatherhood and rock and roll?
It goes pretty well hand-in-hand. The kids have been around a lot of great people coming in and out. I’ve been recording stuff in my house for the past ten years so they’re very musical and have lots of great uncles and aunts. I’ve been showing them music since they were tiny. My oldest daughter, before she was talking she’d put on the same Buddy Holly record over and over again and we had to listen to Buddy Holly 30 times a day, but it pays off. Now they write songs and it’s really fun making music with them. Hunx from Hunx and his Punx just put out a single with my daughter actually.
Does your commitment to civil rights and raising awareness for the mistreatment of indigenous cultures play a big part in your stage costumes?
I’ve never really thought of it in that way. My wife makes all the costumes. It’s a family thing. She loves reading about native cultures and stuff, so I guess that influence is there but it’s more in the spirit of the show than a direct link.
What’s your favourite stage wear?
I guess I have no real favourite, there’s been so many. It’s always fun to get progressively more naked during a show. That’s a good trick. People appreciate that.
Your album considers war, death, civil rights and other problems in the world right now. Do you think garage rock is often misconstrued as all fun and fine and dandy when there’s actually a lot of serious messages going on?
Yeah, I definitely think so. Under the whole thing there is this kind of hope, and I think that is the important message to bring to the world: to keep hope alive and realise what’s happening around the world.
Do you have any garage rock desert island discs?
There’s actually one compilation that I’ve had since I was seventeen and to this day I always listen to it, it’s called Hang It Out to Dry, I think it was released on Satan Records and it’s one of the best compilations of great 60s rock’n’roll – it’s definitely one of those records that I would strongly recommend.
Are there any artists who are particularly dear to your heart?
One artist I’m very close to is The Mighty Hannibal. He’s kind of like my godfather in many ways. We’re in touch constantly. He has the most amazing stories from back in the day, of all sorts of people he was involved with, tales from when he was also rolling with Stokely Carmichael and a lot of other Black Power people. I met him nine or ten years ago and he’d just gone blind as he had glaucoma. The doctors had told him “if you don’t take your medication you’ll go blind” and his reaction was “ah man, I’ve seen enough.” He would write gospel songs about how being blind was the best because you don’t judge anyone for what they look like. He’s an amazing person.
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Words: Lucie Grace
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