Interview with Dylan Walker of Full of Hell

Interview with Dylan Walker of Full of Hell

1. When did you guys form as a band? What was the scene like then? How did the band come to form? What influence, musical and philosophical, did you share?

The band formed in 2009 and I joined up with them at the end of that year. At that time I'm not really sure what the scene was like as a whole. I wasn't entirely aware of things in the same way that I am now. I think it might have been a little cooler in central PA. I remember seeing a Converge/Pulling Teeth show that was insane in Harrisburg. 

As far as shared influence within the band, I'd say Spencer and I bonded right away because we enjoyed the same extreme music and wanted to create the same thing in the long run. Philosophically, we seem to overlap on many things but that was not what brought the band together in it's current form at all.

2. How did you wind up coming across A389 records? Did you submit your stuff or were you found by Dom? Do you still like your older work as much as your new stuff?

We found out through the grapevine that Dom was a fan of our 7"s. We just sent him an email and he suggested doing an LP together. Personally, I can't say I enjoy our older material as much anymore. I still appreciate it and I'm not ashamed of it or anything. I just feel like we've fleshed things out quite a bit more at this point.

3. How do you feel about the hype you've accumulated? Do you think it attracts new and different people or is it people that show up who aren't really in it for the music? Not that that's any detriment to you, but it is peculiar to see that such a cacophonous band has become a big name in the underground.

It's hard to really notice if there is any "hype" or not. That's the funny thing about it for me. I would assume and hope that it attracts new and different people as well as people that may not have a true interest at heart. I'm always fascinated that so many people enjoy what we're doing. As time wears on, we definitely attempt to create harsher textures with the music, but people have stuck around. I appreciate it.

4. How did you get on Maryland Deathfest this year? Who did you see that you liked? Did you get a decent reception from any fresh, out of town faces?

We were asked by the guys that run the festival to play. It was a great honor and definitely something that I'd dreamed of being a part of someday. I'd like to think we got a good reception. It felt like a really cool set. Not a game changer, but absolutely awesome.

5.  What are your influences lyric-wise? Reading the liner notes to Rudiments of Mutilation, I would say that they are very interesting, but can be confusing. (Also - side note/ sorta off the record: are you a med student or do you just have an interest in anatomy and literature? You're far better written than I am.)

I'm influenced by everything in my periphery, like everyone else. All mediums of art, in particular of course, other song writers. I'd say the biggest influence outside of literature would be human experience. Nothing really inspires you or horrifies you more than when you are a part of something interconnected, that's right in front of your face. ( I'm not a student. I like to read and I love the english language. I feel like single words can define entire songs so i'm always trying to find that word.)

6. What is Baltimore like as a city and a scene? What bands would you recommend from the area? Venues for possible touring bands to play? the east coast feels like a daunting place for midwest bands.

I'm not actually from Baltimore, nor do I live there, so my experience is limited. From what I've seen Baltimore has a pretty long legacy of hardcore punk and metal. The best band in Baltimore right now is Noisem. As far as venues, there is no go to all ages spot anymore, as I'm not sure how often Charm City Art Space even has shows or if anyone goes there anymore. The Barclay House, Golden West Cafe, Ottobar and this K-Pop club called Club K (get it?) have all been having good shows for some time.

7. How have your musical influences changed since the start of FOH? Has it expanded, refined, narrowed or increased? Has it influenced the band and it's music at all?

Absolutely. We've thankfully kept our minds and ears wide open for the past few years and I would say have refined and increased what we listen to. I feel like I've come full circle back to everything I liked when I was really young, and it's come full tilt into what I've grown into as an adult. It has absolutely effected the band. We are finding ourselves so much more comfortable with the idea of incorporating what might not be accepted by people that enjoy our band, simply because we want to do so. 

8. What advice would you give to a band of youngsters who want to form a band or just started one, but are unsure what to do? Is touring, playing out, setting up your own shows, promoting oneself as hard as it seems?  What should someone do to get his or her name out there for the unsuspecting masses?

I would say that if you are not passionate and not obsessed, it will not work for you. It's always going to be like beating your feeble hands against a thick brick wall, but you just need to pick yourself up and keep trying. You can't resign yourself every time you fail, because you are going to fail over and over again. The obsession and passion is what has kept me interested for years. I get so much enjoyment out of simply performing live and writing music that I don't even care where we are most of the time, as long as there's a show that day. I've had that feeling since I've been like 13 years old. You need to be obsessed. 

Promoting yourself is hard and sometimes feels cheap. I think with couth and hard work you can manage to accomplish something. You also need to know the music you are playing and have a genuine need to play it, not just because it's what's cool this year. It's easy to tell when someone is just shape shifting through current trends. Play what you like and keep your nose to the grindstone. That's what I'd say.

9. How do you feel about cassettes as a music medium? Are they dead/on life support, or just perceived as such?

I like cassettes. It's an interesting discussion because I feel like it's totally a dead format, but that's almost the point. Noone releasing a tape is making money off of it. So generally, the only people that will put tapes out will be people that genuinely give a fuck about their music. I like that labels won't really touch tapes. Fuck the labels. It feels like a people's medium to me. Maybe not, but that's the way I see it.

10. What are your thoughts on the new-found Entombed/Nails worship that many hardcore and metal bands seem to be taking up lately? is it cool or just repetitive? 

I get it. I think that maybe there could be far worse trends to come into style. There are some bands that come to mind that are really killing it with scandinavian influence but overall I feel like it's very forced and boring. So, cool or repetitive? A bit of both, as with everything else. Maybe right now since it's still such a big thing, there might be a little less of a balance with quality.

11. Do you follow sports at all, or no? Why or why not?

Nah, it just never interested me. Dave and Brandon from FOH like Baltimore teams.

12. What are your views on respective scenes you've toured and seen recently? Any places in particular popping off aside from your hometown?

There are a bunch of areas doing sick things. I think the one that needs to be noted the most is Florida. I think that state had a bad reputation for some reason, but noone realizes that that state is absolutely killing it with bands and that the shows are amazing. We always have so much fun down there and there are so many talented bands and people. A lot of respect for all of them.

13. What would you say is your greatest accomplishment as a band? How did it come about, how did you do it?

Hard to say. I consider it a great accomplishment to have been to Europe 4 times, 5 times by this coming June. It's easy to make things happen in a community of people that genuinely care about music. I want to try and keep the band in that kind of circle. Another accomplishment that comes to mind that is more specific would be playing alongside some of our favorite bands at 305 fest in Miami a couple years ago. It was a huge deal to see Bastard Noise, Noothgrush, Iron Lung and Dropdead and be able to play alongside them. 

14. What do you feel about politics nowadays? Does it have a place in the music scene or is it something to leave out of music and save for another time?

I'm not apolitical, but I do feel like I have an amalgam of beliefs that don't really put me into either major US party. Sometimes I'm sadly apathetic about what's going on in our country and the world beyond. It most certainly has a place in the music scene. There are many examples where punk should absolutely be a vehicle for social and political change and backlash. It should also be a place for people to not give a fuck and destroy themselves. It's your world!

15. What's on the horizon for Full of Hell? I know you're on tour now, but do you have any new songs or projects planned out for when you return?

I've lined up some tours for us in 2014 that have me very excited. We are pretty much just touring with bands that we respect and are huge fans of. We are starting off with an east coast trip alongside Brooklyn black metal band, Mutilation Rites. We have a split coming out for record store day with someone we are fans of, and later this year a collaborative LP with a true legend, and it's something that I am still in disbelief about. It's gonna be a nice year for us, I hope.

16. Anything else you'd like to add?

Thank you for this interview David! Listen to Jarhead Fertilizer, Purge, the Body, DOC, Fucking Invincible, Sokushinbutsu, Column of Heaven and Joanna Newsom.

Whitewalker- Played Rough demo review

Whitewalker- Played Rough demo review

This reminds me of two very specific songs:  “It’s Only Alcohol” by the Freeze and “Anesthesia (Pulling Teeth)” by Metallica (back when they made decent thrash).  The mumbling, unclear, asymmetric, nonlinear noisy punk sound of the former song has several parallels to Whitewalker’s songs on this demo.  Secondly, the bass tones are similar to those in the latter song, as they almost sound like a guitar.  Mixing the symmetry of punk and the asymmetry of noise, this demo is short, cacophonous, and lacking in the typical attributes a song would have.  Worth a listen for people who like the weird shit.

-Aunty Social

Bone Dance- self titled LP review

Bone Dance- self titled LP review

What a phenomenal piece of work crafted here- this has become one of m yfavorite go-to records for all-around situations:  Angry, tired, productive, bored, you name it.  Bone Dance’s self-titled record fits ‘em all.  For a while, this band had left me feeling the need for more- their CDEP only has three songs, and the split LP they released with two other bands only had two.  Not much to go on, sad to say.  However, this record does more than whet the appetite- this is the gift that keeps on giving.

Some albums try to genre-bend and mix multiple different kinds of sound into one, relatively unique one- most don’t do well at it, but this record does that and more.  Mixing hardcore, metal, crust, and noise music, this is pretty fucking unique, sound-wise.  The guitars rings of groove metal and heavy hardcore riffs, the bass is clear and crunchy, the drums easily and seamlessly transition from fast to slow to medium and right back to fast, and the vocals, though cacophonous, are not indistinguishable from the words he utters.  This band knows just what they are doing, and despite being very mad at the world, retain their lyrical intellect and complexity.

The albums kicks off with “Comfort”, and the chaotic, brutish, raw vocal “Wait your turn to become NOTHING!” as the guitar growls on in rather loudly to roar the song off to a brutal start, maintaining the force throughout, and the intro line periodically being recited, as though to drill it into one’s mind.  “Burnout” and “Conniver” creek in the doorway with creepy curst-influenced hardcore tunes filled with vigor and an unquestionable sincerity to them.  As “Conniver” ends, the sickest, most mind-blowingly psychotic riff comes in; it’s as though a mosh pit o murder massacre was in mind when it was conceived.  This riff will make one lose their mind and all self-control- that’s how powerful that 10-second (or so) riff is.  “Writhing in Ecstasy” continues to pound away in blissful riffage, never to relent or relinquish a great degree of the brutality the intro riff possesses.  “White Guilt” is a layer piece, one successfully delivering the shorter blasts to the end of the first side of the record with a sinister symphony not quite of epic proportions, but perhaps not far from it, either.

The second side begins with “West”, which barrels through with the same sonic intensity as the first song- an appropriate place to put such a punishing song.  The song drags on for a while, enough time for the point of the song to get embedded as a seed, to blossom or become a blemish as the listener adapts to it.  “Children Having Children” and “Barren” are a sad but oddly optimistic (at least sonically- the lyrics are a different matter entirely) set of tales, one of which is about teenage pregnancy and how rampant it has grown to be (honestly- even Boise, Idaho must not have a lot going on to encourage kids to be knowledgeable and pragmatic about sex).  Someone had to say it, and I’m glad it was a band as angrily brutal but provokingly thoughtful as Bone Dance to say it.  “The Skinny” begins as many of the other songs on the record do, but this is one… this one ends with a raspy, helpless, insane catcall of “Regret!” that is at times at times alternated with a despondent, high-pitched shriek of the same word- a great ending.  Finally, “Feral” closes out the album, and this feels the heaviest and most complex of all the songs on this record, and also happens to be the longest of them all as well, at just over five minutes.  In that relatively long period of time, the band never gets boring or cliché, or even mediocre.  This song rips just like the rest of ‘em.

As high a regard as I do hold “Master of Reality”, this is my new go-to record for every high, low, middle, and breathing moment of life.  Not only one of my favorite records of 2012, this might just be one of my most notable and favorite records of all-time.  Time will tell, but I’m not bored yet- I hope I never am.

-Aunty Social

Cougar Problems- Sonless EP/ tape review

Cougar Problems- Sonless EP/ CS review

I can’t help but wonder, “What the fuck am I listening to?” when I first put this on.  One would believe this music is akin to the gender-bending weirdoes found only in the recesses of social networking- identifiable, but only barely so.  The reverb on this is almost overwhelming, and since there is no guitar, the bass is seemingly tuned weird to compensate.  This is asymmetric noisy punk played at mid-tempo and without a guitar- one really has to be in the right state of mind to understand it- otherwise, it seems like nothing more than cacophonous, noisy, slightly rhythmic feedback.  You will probably never ask yourself this question, but what if the Shitlickers listened to Japanther or Wolf Eyes and made the guitars and bass sound similar, if not the same?  Cougar Problems would be the result.  Get these guys some gigs at the M.U.G., the D.A.A.C., or anywhere in Ypsilanti.  Weird noisy punky music- I really don’t know how to feel about it.

-Aunty Social

Scum- Nuclear Winter EP review

Scum- Nuclear Winter EP review

From the initial demo, this is a step up in songwriting, and a statement from the band that indicates that they are indeed vinyl-worthy; the title track and the initial track are the songs communicating this.  Although an obligatory Discharge cover is included (and it’s damn near impossible to fuck up covering a Discharge song), the rest of the songs are raw D-beat noise punk at its best.  The vocals are a bit removed and distant from the rest of the music (not out of sync, but instead sounding like there is a distance between the singer and the mic being used to record it); it is odd, to be sure, but it seems to work for them.

The guitars are ominous and moody, definitely higher echelon than is usual for noisy D-beat; the intro for the title track is straight up scary as fuck.  The bass is appropriately present, filling the low end of the band’s sound and contributing to the ominous sonic waves.  The drums are straight D-beat done right, no more and no less.  I would have covered a Discharge song if I were them, but the sheer magnitude of the title track more than makes up for that minor issue.  Aside from that single thing, this is an absolutely killer EP cassette.  I’m hoping to see a 7” from these Scum-bags sometime soon.

-Aunty Social