The (International) Noise Conspiracy: Bebop agitprop

The (International) Noise Conspiracy makes its punk polemics swing

By Mike Prevatt

It should come as no surprise that politically outspoken Swedish rock act the (International) Noise Conspiracy has scheduled nearly 50 American concert dates for its 2004 tour thus far. After all, this is the year when Americans decide whether to keep President Bush in office or not, and the band that once wrote a song called "Capitalism Stole My Virginity" has some things to say about that.

"America is the last superpower standing," says T(I)NC lead singer Dennis Lyxzén, via phone from a tour stop in Minneapolis. "Everything that happens here affects everyone everywhere. So we are not going leave that alone, not by far. As a citizen of the world, I think I'm entitled."

The nearly six-year-old quartet--often lumped in with the raucous Scandinavian rock scene, thanks to its blend of late '60s garage pop and '70s punk--is not only accustomed to being booed and verbally assaulted by members of its audience after its stateside performances, it takes a degree of pride in such dissent.

It has toured America valiantly in the past, supporting two full-length albums--2000's Survival Sickness and 2001's A New Morning, Changing Weather--as well as a 2002 EP called Bigger Cages, Longer Chains. The election aside, this year the gig-load remains heavy as it prepares for the summer release of Armed Love, the first T(I)NC album to be released by American Recordings and helmed by esteemed rock producer Rick Rubin (Johnny Cash, Red Hot Chili Peppers).

Lyxzén won't give away much of Armed Love, though he does hint at its sonic leanings. "It's hard to talk about, it comes out really abstract if you've never heard it," he says. "It's very heavy, kind of straight to the point, no screwing around--really heavy '70s rock."

He did, however, tell Billboard.com in February that the album's themes approach political action through personal change and love--surely not the standard operating procedure over at the Pentagon. With proposed titles like "Under a Communist Moon," T(I)NC seems to be setting itself up for more post-gig criticism. It seems to understand and even appreciate such anger, unless it's misunderstood.

"It would be weird if people, especially in this country, did not take offense," says Lyxzén. "I think it's a healthy sign. It's cool when people call us on our shit--and [yet] kind of weird when people scream, `You like Osama bin Laden, you commie bastard!' We're just like, `What?! No!!'"

This would all infer that the band is deadly serious about its music, but T(I)NC is one of the few punk-oriented bands interested in the entertainment aspect of its art, and isn't afraid of livening it up. ("We're not a crust punk band at all!" says Lyxzén.) Though its main inspirations are the MC5, Phil Ochs and the Clash, the band's sound is famous for its sense of rhythm, with Northern soul/mod and American jazz elements intermittently balancing out Lyxzén's impassioned cries. At times, the music is joyous and flamboyant, evidenced in its otherwise searing 2001 song "Bigger Cages, Longer Chains."

This sometimes provokes dancing among crowd members at gigs, and whether they get the lyrical messages or not, the band finds this to be complimentary. T(I)NC also beams when its critical supporters label the groove-friendly, well-dressed Marxists as "sexy." It's just one more way of demonstrating the dynamic of this complex yet intoxicating act.

"It's funny, a band so outspoken politically and come from a punk rock background, and people call it sexy," says Lyxzén. "I think it's awesome."