In 1995, The Radio Dept. was formed by Elin Almered and Johan Duncanson (who were old school friends). The name was taken from a gas station/radio repair shop in Lund, Sweden, which had a large sign with the name Radioavdelningen, ("The Radio Department" in Swedish) hanging outside their shop.
Since 1995 members have been coming and going and at some points there has never really been a Radio Department at all.
Martin Carlberg and Johan Duncanson started playing together in 1998 and decided to use the name The Radio Dept. Since then the band has done lots of gigs and lots of recordings. The Radio Dept. recorded 4-tracks in friends' living rooms or at home, in smelly warehouse, in demo studios with blinking fluorescent lightning and at schools.
In the autumn of 2001 Lisa Carlberg and Per Blomgren (Bass & drums respectively), joined the band and they started rehearsing in the way bands so often do. Soon afterwards they were all joined by Daniel Tjader on the keyboards. Their recordings were sent to the music magazine Sonic and got a nice review. They were also on the free CD sampler that comes with the magazine. That's where Labrador Records discovered and learned to love the band. Now they're a part of Swedish indie label, Comings and goings
Original band member, Elin Almered, left the band before the recording of The Radio Dept.'s debut (lesser matters), but still made an appearance singing vocals for "Strange Things Will Happen".
Per Blomgren, Drummer, left the band before the release of Lesser Matters. The band opted instead for digital assistance with regards to drums & percussions for their songs.
Lisa Carlberg, bassist, departed from the Radio Dept soon after the release of "This past week EP". The band no longer felt the need for a member that solely specialized in bass. The band was taking a new direction and preparing for their second album, "Pet Grief", which wouldn't require a member that played bass guitar.
The current line up of the band is:
Johan Duncanson (Guitar & Vocals), Martin Carlberg(Guitar) and Daniel Tjäder (Keyboards & Synth) (2006).
More details can be found on the radio dept. website: theradiodept.com.
Record Labels.
Slottet:
Created in 2001, this is the Radio Dept's original label. Created & managed by the band themselves. They published and distributed their own recordings in order to spread their music to the world.
The "Against The Tide EP" & coveted "Annie Laurie EP" were both released on this label in 2002.
At sporadic moments over the years, whenever the band have wanted to release something quickly or for free, they'd do so through the Slottet label (e.g. bachelor Kisses in 2008).
Labrador :
After the success of the self released records and some glittering reviews in local publications, several major labels came calling. The Radio Dept. rejected most of these offers and instead signed with Labrador records. Although the band don't consider themselves connected ideologically or musically with Labrador and the other bands on the label, they have much respect for the label which has officially become the home of The Radio Dept.
Shelflife records:
Shelflife are an american indie label that operate on a similar philosophy to that of Sarah Records. They select highly innovative, creative & melodic bands and offer them transatlantic distribution. Several labrador bands had achieved success through shelflife, so it seemed an obvious choice to use them again for the distribution of 'Lesser Matters'. No futher Radio Dept records were released through shelflife.
Rex records:
Rex records was an London based experimental indie label started by an ex-XL employee. The aim was to release demos and promote leftfield indie music. Only two Radio Dept. records were released on Rex, Why Won't You Talk About It and the rare Liebling 7".
XL Recordings:
During 2004/05, XL funded, distributed and promoted The Radio Dept.
During this short partnership 4 records were released. Lesser Matters, Where Damage Isn't Already Done, Why Won't You Talk About It? and Ewan. A short european tour was organised for the band as well as lots of press and an appearance on an XL compilation with the likes of Ratatat & MIA.
Track & Field Records:
Track & Field are another London based record label that took a chance on The Radio Dept.
In 2006 Track & Field were employed to distribute Pet Grief in the UK. They also promoted the band and planned for an extensive UK tour. This plan was abandoned and a series of special one-off London shows were organised to supplant the tour.
Pony Canyon:
After years as an experienced distributor of DVD's & kids toys, Pony Canyon, tried their hand at promoting & distributing indie records. So far they've only distributed a special edition of Pet Grief in Japan.
Soundtrack
Three tracks by the Radio Dept. have been featured on the Sophia Coppola's film Marie Antoinette (2006). They are: Pulling our Weight, Keen on Boys, I Don't Like It Like This.
Let Me Have This
The Radio Dept. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I think I have it all
No one knew this, so take me now
This could be the final song
'cause I think I have it all
Only time can tell
But take me now
If everything must go
Please let me have this
Or take me now
Please let me have this
The Radio Dept.'s song Let Me Have This is a contemplative and introspective track that reflects on the transient nature of life and the desire to cling on to certain moments, experiences, and possessions. The opening lines of the song, "I've reached a point where I think I have it all, no one knew this, so take me now" reveal a sense of satisfaction and contentment that the singer has attained in their life, although it's not clear to others. The singer seems to imply that they have achieved a level of success, happiness, and stability that they feel is worth holding on to.
However, this sense of contentment is juxtaposed with a sense of impending loss or change as the singer acknowledges that "this could be the final song." The singer seems to be aware that their current state of affairs may not last forever and that things may change in the future. Despite this realization, the singer implores the listener to let them have this moment or experience, to hold on to it tightly before it slips away. The repeated refrain of "please let me have this, or take me now" highlights the singer's desperation to hold on to the present, to freeze time and remain in the moment forever, rather than face the uncertainties and challenges of the future.
Line by Line Meaning
I've reached a point where
I have come to a stage in my life
I think I have it all
where I believe that I have everything I need
No one knew this, so take me now
But no one knows about it, so if you just end everything now, it wouldn't matter much
This could be the final song
This may well be the end for me
'Cause I think I have it all
Because I feel content and have achieved my dreams
Only time can tell
Only the future can truly prove it
But take me now
But if it's already the end, then let it be so
'Cause I don't wanna know
Because I don't want to face the harsh reality or the idea of losing everything
If everything must go
If I have to lose everything I have
Please let me have this
Please just let me keep this, my sense of contentment
Or take me now
Or else, let it be the end for me
Contributed by Carson J. Suggest a correction in the comments below.