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.
We Climb The Wired Fences
The Radio Dept. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You say you like the dark and your hand in mine
We climb the wired fences, pretending to hide
You say that you can sense there's something outside
I must be ill
Keep thinking we pretend
And how long before this has to end?
At best it's simulation
Or can you set me free?
The Radio Dept.'s song "We Climb The Wired Fences" is a beautifully layered and subtly melancholic narrative about finding solace in the company of a loved one amidst a world full of chaos and uncertainty that they can't seem to escape from. The song starts with a scene of two people walking through a park, with the singer's hand held tight by their companion. The lyrics suggest that this is a moment of calm and stability, amid all of the turmoil that surrounds them. As they journey further, they come across wired fences, and with playful abandon, they proceed to climb over them, acting as though they are hiding from something.
The singer's inner turmoil is revealed in the chorus, as they ponder about the authenticity of their present situation. The lyrics are suggestive of a profound ennui and an existential crisis of sorts. The singer expresses their desire to be truly free, to break away from the monotony of their present predicament. This desire for freedom could be indicative of a longing for a life without constraints, something desperately craved by the singer.
In the final verse, the singer admits to being delusional, to have faith in a false sense of security provided by the company of their loved one. They acknowledge that self-medication and excessive ambition have led them nowhere, and they must accept that the world outside the wired fences is where they truly belong. Overall, "We Climb The Wired Fences" is an introspective narrative about the struggles of modern life, and it's no surprise that it has become a cult favorite among alternative music fans.
Line by Line Meaning
Walk you through the park and we're fine
I am accompanying you in the park and everything is going well
You say you like the dark and your hand in mine
You express your fondness for darkness and holding my hand
We climb the wired fences, pretending to hide
We scale the fences with wires on top, feigning the act of concealment
You say that you can sense there's something outside
You claim that you perceive the presence of something beyond the fence
I must be ill
I suspect that I may be unwell
Keep thinking we pretend
I constantly contemplate whether we are just acting out a façade
And how long before this has to end?
I wonder when this relationship will come to a close
On self medication ambition fails
My aspirations are failing on account of my dependence on self-prescribed medication
At best the simulation
At its best, my life seems like an imitation of reality
Or can you set me free?
Do you have the ability to liberate me from this state of mind?
Contributed by Evelyn M. Suggest a correction in the comments below.