St. Thomas Boys Academy ‘Homecoming’ album review
Undoubtedly, St. Thomas Boys Academy have the power any good band should at their live shows; their balanced hybrid of Oi!-based punk and traditional third wave ska makes for a very evened-out set list and a powerfully energetic performance. In addition, the first album ‘Welcome to the Academy’ had a really excellent output of tracks. Naturally, upon hearing of a new release by this band, I got excited, attended the CD release show, and picked up this 20-minute long album to see what the boys of the academy could do with Marky Shift as another guitarist and four more years of experience of playing out. Needless to say, the additional guitarist and additional experience created a vastly different sound.
The first song, ‘Motorhead’, is an angry love song that has no actual connections to the famous proto-crossover thrash band, but still starts the band off with the energy that they are remembered for. I still can’t connect the song title to the lyrics, unless if cocaine is anthropomorphic or something to that effect. The next song is technically a cover of guitarist Marky Shift’s old band The Red Shift’s song ‘Circle Pit’, although it’s much faster and now has a horn line for the chorus. This track is a great improvement on the Red Shift track and is a real show-starter for the band. Next is ‘Just Believe’, a cry for the working family to be returned to its glory days. It’s a plea for a man to be able to support himself and his family, for his company to not abandon him and outsource labor, forcing a painful economic regression. It’s a very somber track, but it is hopeful and energetic nonetheless. After this is ‘Staring at the Sun’, which is a greater emphasis on the Oi!/ street punk influences of the band. It’s a decent track, but I’ve noticed the live version is a lot more powerful, the chorus is much louder, and the horn lines more influential. Still solid Detroit ska, however. Following is the title track of the album, which is the best track of the entire album. It has the bouncy third wave feel to the verses and the powerful street punk feel to its chorus. This is probably the highlight of the band; this track is one of the best tracks to come out of the Detroit ska scene in the past decade. After the title track is the song ‘Is This the Point?’, which was, at least to me, a bit of a filler track; it was okay, but it just didn’t grab me in the same way the rest of the tracks had as of yet. Next was ‘Greyhound’, the song which brought the album back to greatness; this track was a true narratie announcing what the band truly felt, speaking loud and clear. Wrapping up the album was ‘Poor Should Unify’, which pushed the family man-centered, working-class oriented philosophy of St. Thomas Boys Academy to the breaking point, driving their points home, calling for the Detroit proletariat to unite and call for a sustainable future in the greater Detroit area. The riff is particularly memorable and the vocals are absolutely stunning.
This album has set the bar for this recent wave of Detroit ska to equal. Since Treehouse Rivals never released anything beyond a 5-song EP, these guys are the best of the best for Detroit ska with this album. If there was ever a successful fusion of the origins of 2-Tone ska and the punk-ska hybrid of the third wave, this is fucking it. It doesn’t hurt to throw in some brutal Detroit grit into the blender to concoct a smoothie of an album to be consumed as soon as possible. Considering the price of this album, it is WELL-worth the investment. Get this whenever you can, however you can, as soon as you can.
-Aunty Social
About Me
- Aunty Social
- Detroit, Michigan, United States
- I'm a punk rock guru from Detroit. Part skinhead, part crusty, part metalhead, part hardcore kid, part party kid, 100% punk rocker.
Wednesday, December 22, 2010
Tuesday, December 7, 2010
Refuge Skateshop Benefit show review, November 13, 2010
Refuge Skateshop Benefit show, Trumbullplex, November 13, 2010
I’m generally unfamiliar with the situation regarding Refuge Skateshop, outside of general money troubles. However, the shop undoubtedly draws a strongly supportive crowd of punk rockers, old, young and in-between. When word had gotten out that the shop had some issues with cash flow, Hawk I frontman Ian Courtney gathered his resources and was able to get an eleven-band bill together to help raise money for the ailing establishment. While it was originally booked at the Bohemian National House, unforeseen problems (power was shut off) occurred and the show was swiftly moved to the Trumbullplex, without a hitch I might add. The show opened its doors at 6 with the bands kicking the event off at 6:30. A raffle for cool punk shit, an eleven-band bill for a killer price, and a majority of these bands being ones I had not heard before made me think, “What could possibly go wrong?” Nothing, it seemed, could.
The first band to roll off the street and onto the stage was Down N Out, who came in with a newer hardcore sound. “Oh boy, another Agnostic Front and Cold as Life wanna-be”, I thought to myself. The band continued on and eventually ended with a few good songs. The speed was kicked up a notch, and the band showed how they were a bit more than just a rip-off of a played-out, generic trend. They actually had something worthwhile about them. That energy, that personal drive, that speed, was what drove this band to be a damn fine opener. I’ll be looking out for these guys.
With a swift change-over, Build & Destroy was on next. With a couple of mic issues, the sound cut in and out vocals-wise. However, despite the relatively unique vocal style employed by the singer, I was not won over by this set. The sound used by the band seemed to lift the style used by most new-age hardcore bands a little too much; breakdowns were the center of this band’s sound as opposed to one of many techniques used to express themselves. Build & Destroy has some capability to be a strong local act, but breakdowns aren’t so much a focal point as they are a single point to be used ad hoc.
Next was Louder Than Bombs, who were one of the two bands I had actually seen before. This rock-infused set of punk wasn’t quite as impressive as when I saw them last at the Garden Bowl in December of last year, but it was still decent. With a variety of influences, they set themselves apart and with that comes a difference in perception for me. The music was good rock and decent punk, and regardless of genre, it really IS motherfucking loud.
After Louder Than Bombs was interim band Shades of Red, who only played about 7-8 minutes of music, but made it impressive still. They didn’t use breakdowns as the main point of reference for their music; they kept up their speed and did not let up. I saw a band with some real potential here; hopefully I can see a demo in the near future. Hardcore youth, keep your eyes and ears peeled. Jimmy Lawson may well have the golden touch.
Face Reality was up now; the first thing I noticed was that the singer had a varsity jacket with Michigan Straight Edge on the back and a giant X on the front. I have a bit of an axe to grind with the straight edge mentality as a whole, so I didn’t know if I was going to see a genuinely awesome set of punk or if I was going to be at a sermon for the United Church of Straight Edge. Upon starting the show, the frontman came full-force with his youthful energy and passionate punk rock drive as his band thrashed behind him. Using breakdown and thrash techniques sparingly, these kids were the highlight of the night; I was really blown away by how fucking good they were. These guys are definitely one of the best straight edge bands in the state, and earned a spot as one of my new favorite local bands. Check. This. Shit. Out.
Hawk I, with a play on a popular Marvel Comics character for a name, took center stage next. The vocalist, Ian Courtney, was the mastermind behind this entire show, and his hard work did not dilute his performance energy, as the band put forth a really powerful show. The singer put so much energy into his performance that all that was necessary was for the band to keep time and push the energy onwards and upwards. Needless to say, they did and it showed. The heart was what drove this set into being as good as it was. I underestimated these guys; get a demo, go to a show, experience this sheer force that is Hawk I.
Following was From Hell, who had been playing a decent amount of shows in the area lately, although I had yet to catch them. Finally I did, and I saw what I had been missing. The loud factor in punk rock can only work so much before it is overextended, and that was the downfall of this set. The singer screeched and the band itself took the “wall of sound” theory of song-writing a bit too far. I see a band that could do something with themselves, but hinder their chances of being better by beefing up their distortion and speed to the point of where it’s indiscernible. If the sound got toned down a bit and the screeching singing was less forceful, this band could be something big.
The second band I had seen previously, Nightbringer, was next. Although making a few annoying comments regarding paying electricity bills, the singer and the rest of the band pushed out a fucking lively, Luciferian set. It’s been a bit since a band got me so goddamned pumped, and these guys did it. From songs off of their recently released 7” record and a few new tracks currently in the works, they crafted a dark energy that will positively haunt the Detroit punk scene for some time. Every member is an indiscernible, irreplaceable piece of this killer act. I think after I get tired of personal favorites Black Flag, SFA, and E.T.A., I’ll listen to these guys when I get pissed off. What a force this band is to reckon with.
After Nightbringer left the stage, the Detroit Birds united on stage for the first time in four years, and it was obvious that they had been yearning to get out there. They set the crowd off in a spectacular way, and having never even heard of them before, they put on a killer show and played some good tunes; whatever their reputation was, I’m sure it is well-deserved if this set was anything close to what these fuckers once were. I know I’ll be seeking some shit out by these guys soon. It was thoroughly impressive and well-deserving of the name Detroit.
Playing second-to-last was oddly named band Razzle Dazzle, or Rzl Dzl for short. I’d read a bit about the band and it seemed like they were a powerful force like the bands who played this night. I was not really disappointed or impressed with these party animals. The band clearly had sway over the crowd, but I didn’t really “get” it. It was a little out there and it wasn’t bad, but it wasn’t for me. Maybe a compilation track that differed from what the set I saw had to offer would change my mind.
Closing the set was the band Fireworks. I only stayed for two songs, but from what I gathered, the band was slightly pop-ish punk, sort of like the Buzzcocks, but without the enjoyably cheesy love songs. I did like what I heard, however. I would definitely check these guys out if you haven’t already. I’m sure I will.
The Skateshop took in $1400+ from this show, and hopefully it brings some life and luxury to the shop/ venue. Without a doubt, it brought out how united hardcore fans can be for the right cause. I also rediscovered why I dislike Vans shoes and still dislike the straight edge mentality. I had a pleasant experience checking out these bands, and this show won me over as a Refuge supporter.
-Aunty Social
I’m generally unfamiliar with the situation regarding Refuge Skateshop, outside of general money troubles. However, the shop undoubtedly draws a strongly supportive crowd of punk rockers, old, young and in-between. When word had gotten out that the shop had some issues with cash flow, Hawk I frontman Ian Courtney gathered his resources and was able to get an eleven-band bill together to help raise money for the ailing establishment. While it was originally booked at the Bohemian National House, unforeseen problems (power was shut off) occurred and the show was swiftly moved to the Trumbullplex, without a hitch I might add. The show opened its doors at 6 with the bands kicking the event off at 6:30. A raffle for cool punk shit, an eleven-band bill for a killer price, and a majority of these bands being ones I had not heard before made me think, “What could possibly go wrong?” Nothing, it seemed, could.
The first band to roll off the street and onto the stage was Down N Out, who came in with a newer hardcore sound. “Oh boy, another Agnostic Front and Cold as Life wanna-be”, I thought to myself. The band continued on and eventually ended with a few good songs. The speed was kicked up a notch, and the band showed how they were a bit more than just a rip-off of a played-out, generic trend. They actually had something worthwhile about them. That energy, that personal drive, that speed, was what drove this band to be a damn fine opener. I’ll be looking out for these guys.
With a swift change-over, Build & Destroy was on next. With a couple of mic issues, the sound cut in and out vocals-wise. However, despite the relatively unique vocal style employed by the singer, I was not won over by this set. The sound used by the band seemed to lift the style used by most new-age hardcore bands a little too much; breakdowns were the center of this band’s sound as opposed to one of many techniques used to express themselves. Build & Destroy has some capability to be a strong local act, but breakdowns aren’t so much a focal point as they are a single point to be used ad hoc.
Next was Louder Than Bombs, who were one of the two bands I had actually seen before. This rock-infused set of punk wasn’t quite as impressive as when I saw them last at the Garden Bowl in December of last year, but it was still decent. With a variety of influences, they set themselves apart and with that comes a difference in perception for me. The music was good rock and decent punk, and regardless of genre, it really IS motherfucking loud.
After Louder Than Bombs was interim band Shades of Red, who only played about 7-8 minutes of music, but made it impressive still. They didn’t use breakdowns as the main point of reference for their music; they kept up their speed and did not let up. I saw a band with some real potential here; hopefully I can see a demo in the near future. Hardcore youth, keep your eyes and ears peeled. Jimmy Lawson may well have the golden touch.
Face Reality was up now; the first thing I noticed was that the singer had a varsity jacket with Michigan Straight Edge on the back and a giant X on the front. I have a bit of an axe to grind with the straight edge mentality as a whole, so I didn’t know if I was going to see a genuinely awesome set of punk or if I was going to be at a sermon for the United Church of Straight Edge. Upon starting the show, the frontman came full-force with his youthful energy and passionate punk rock drive as his band thrashed behind him. Using breakdown and thrash techniques sparingly, these kids were the highlight of the night; I was really blown away by how fucking good they were. These guys are definitely one of the best straight edge bands in the state, and earned a spot as one of my new favorite local bands. Check. This. Shit. Out.
Hawk I, with a play on a popular Marvel Comics character for a name, took center stage next. The vocalist, Ian Courtney, was the mastermind behind this entire show, and his hard work did not dilute his performance energy, as the band put forth a really powerful show. The singer put so much energy into his performance that all that was necessary was for the band to keep time and push the energy onwards and upwards. Needless to say, they did and it showed. The heart was what drove this set into being as good as it was. I underestimated these guys; get a demo, go to a show, experience this sheer force that is Hawk I.
Following was From Hell, who had been playing a decent amount of shows in the area lately, although I had yet to catch them. Finally I did, and I saw what I had been missing. The loud factor in punk rock can only work so much before it is overextended, and that was the downfall of this set. The singer screeched and the band itself took the “wall of sound” theory of song-writing a bit too far. I see a band that could do something with themselves, but hinder their chances of being better by beefing up their distortion and speed to the point of where it’s indiscernible. If the sound got toned down a bit and the screeching singing was less forceful, this band could be something big.
The second band I had seen previously, Nightbringer, was next. Although making a few annoying comments regarding paying electricity bills, the singer and the rest of the band pushed out a fucking lively, Luciferian set. It’s been a bit since a band got me so goddamned pumped, and these guys did it. From songs off of their recently released 7” record and a few new tracks currently in the works, they crafted a dark energy that will positively haunt the Detroit punk scene for some time. Every member is an indiscernible, irreplaceable piece of this killer act. I think after I get tired of personal favorites Black Flag, SFA, and E.T.A., I’ll listen to these guys when I get pissed off. What a force this band is to reckon with.
After Nightbringer left the stage, the Detroit Birds united on stage for the first time in four years, and it was obvious that they had been yearning to get out there. They set the crowd off in a spectacular way, and having never even heard of them before, they put on a killer show and played some good tunes; whatever their reputation was, I’m sure it is well-deserved if this set was anything close to what these fuckers once were. I know I’ll be seeking some shit out by these guys soon. It was thoroughly impressive and well-deserving of the name Detroit.
Playing second-to-last was oddly named band Razzle Dazzle, or Rzl Dzl for short. I’d read a bit about the band and it seemed like they were a powerful force like the bands who played this night. I was not really disappointed or impressed with these party animals. The band clearly had sway over the crowd, but I didn’t really “get” it. It was a little out there and it wasn’t bad, but it wasn’t for me. Maybe a compilation track that differed from what the set I saw had to offer would change my mind.
Closing the set was the band Fireworks. I only stayed for two songs, but from what I gathered, the band was slightly pop-ish punk, sort of like the Buzzcocks, but without the enjoyably cheesy love songs. I did like what I heard, however. I would definitely check these guys out if you haven’t already. I’m sure I will.
The Skateshop took in $1400+ from this show, and hopefully it brings some life and luxury to the shop/ venue. Without a doubt, it brought out how united hardcore fans can be for the right cause. I also rediscovered why I dislike Vans shoes and still dislike the straight edge mentality. I had a pleasant experience checking out these bands, and this show won me over as a Refuge supporter.
-Aunty Social
Negative Lifestyle/ School Jerks split tape review
Negative Lifestyle/ School Jerks split cassette review
Cassettes are fading, unfortunately. With the advent of better technology and the lack of nostalgic value, cassettes don’t really have much going for them. They function as a good source for homemade demos and an underground source for 4-track music, but outside of these things, they aren’t terribly useful for much else other than perhaps hiding illicit narcotics. Still, this small sect of underground cassette music yields a surprising amount of really good punk rock. This tape is one such example.
Negative Lifestyle is the first band on this cassette. Hailing from Eastern Europe, the sound on their side is a tad removed from American hardcore, being much more lo-fidelity and much more ominous. These songs are fucking dark; color me surprised. They sound like Ian MacKaye stole the mic from John Brannon and fronted Negative Approach, with a minor nod to UK thrashcore greats Voorhees. The stinger’s angry, but doesn’t really growl like Brannon and Rollins did. He’s more of a yeller, and it really suits the music much better. Three tracks with a youth crew-like vocalist and a quick, fast-paced, ominous vibe. Gnarly. The second side to the tape was Toronto sons the School Jerks. They came roaring back with three bratty, classic 80s hardcore tunes that sound like a kindergarten class screaming to a well-written, sophisticated rant, complete with groovy power chords and well-timed drums. Everything this band puts out fucking rules, even if it only trickles out three or four tracks at a time. I’m waiting for more.
Cassettes aren’t coming back, but if more bands release shit like this split tape, the judgment day for cassettes will be far delayed, and I hope it is. Solid, stellar, and short.
-Aunty Social
Cassettes are fading, unfortunately. With the advent of better technology and the lack of nostalgic value, cassettes don’t really have much going for them. They function as a good source for homemade demos and an underground source for 4-track music, but outside of these things, they aren’t terribly useful for much else other than perhaps hiding illicit narcotics. Still, this small sect of underground cassette music yields a surprising amount of really good punk rock. This tape is one such example.
Negative Lifestyle is the first band on this cassette. Hailing from Eastern Europe, the sound on their side is a tad removed from American hardcore, being much more lo-fidelity and much more ominous. These songs are fucking dark; color me surprised. They sound like Ian MacKaye stole the mic from John Brannon and fronted Negative Approach, with a minor nod to UK thrashcore greats Voorhees. The stinger’s angry, but doesn’t really growl like Brannon and Rollins did. He’s more of a yeller, and it really suits the music much better. Three tracks with a youth crew-like vocalist and a quick, fast-paced, ominous vibe. Gnarly. The second side to the tape was Toronto sons the School Jerks. They came roaring back with three bratty, classic 80s hardcore tunes that sound like a kindergarten class screaming to a well-written, sophisticated rant, complete with groovy power chords and well-timed drums. Everything this band puts out fucking rules, even if it only trickles out three or four tracks at a time. I’m waiting for more.
Cassettes aren’t coming back, but if more bands release shit like this split tape, the judgment day for cassettes will be far delayed, and I hope it is. Solid, stellar, and short.
-Aunty Social
Live to Kill- 4 Track Attack tape review
Live to Kill “4-Track Attack” cassette review
This recording is, by far, the most unequivocally raw recording I’ve ever heard comprised. This mix of crusty, grinding thrash possesses a lot of rage and political disgust. However, the band may have benefitted from a more refined, cleaner sound. This is not to say the songs are shit (I’ll get to my opinion of them in the next paragraph), but there is indeed a reason this is called “4-Track Attack”. A cleaner re-recording of these songs would undoubtedly help this strong band receive more positive attention from fans and critics alike.
The first song, “The Human Condition”, is a speedy, lengthy burst of fury with a heavy, hopeless cry for help by means of a unique guitar riff that was rather memorable. The next tracks kicked the speed up and threw the proverbial gloves off, attacking with more raw fury. Live to Kill specializes in grinding crust with high-pitched shrieks that are actually decipherable; this is where they stand apart from over-the-top crust and lifeless grind. The third and fourth tracks carry the torch only further, pushing for a very lo-fi, low bass, screeching sound that pushes further towards thrash than crust, and this approach only gives the band more of a demographic and a better sound. Rounding out the tape is a cover of Aus Rotten’s “They Ignore Peaceful Protest”, a crusty track that fits the band well, albeit the track is not Aus Rotten’s best or most coverable (Fuck Nazi Sympathy and Perverted Patriotism are my personal favorites). The band does the song justice as the session runs out as the tape continues.
For raw, thrashy crust punk, this tape is worth a listen. The band could, however, benefit from a re-recording of these tracks to bring a more leveled, stronger, and deeper sound to this music. The tracks are not worth overlooking and the best possible justice deserves to be done to them.
-Aunty Social
This recording is, by far, the most unequivocally raw recording I’ve ever heard comprised. This mix of crusty, grinding thrash possesses a lot of rage and political disgust. However, the band may have benefitted from a more refined, cleaner sound. This is not to say the songs are shit (I’ll get to my opinion of them in the next paragraph), but there is indeed a reason this is called “4-Track Attack”. A cleaner re-recording of these songs would undoubtedly help this strong band receive more positive attention from fans and critics alike.
The first song, “The Human Condition”, is a speedy, lengthy burst of fury with a heavy, hopeless cry for help by means of a unique guitar riff that was rather memorable. The next tracks kicked the speed up and threw the proverbial gloves off, attacking with more raw fury. Live to Kill specializes in grinding crust with high-pitched shrieks that are actually decipherable; this is where they stand apart from over-the-top crust and lifeless grind. The third and fourth tracks carry the torch only further, pushing for a very lo-fi, low bass, screeching sound that pushes further towards thrash than crust, and this approach only gives the band more of a demographic and a better sound. Rounding out the tape is a cover of Aus Rotten’s “They Ignore Peaceful Protest”, a crusty track that fits the band well, albeit the track is not Aus Rotten’s best or most coverable (Fuck Nazi Sympathy and Perverted Patriotism are my personal favorites). The band does the song justice as the session runs out as the tape continues.
For raw, thrashy crust punk, this tape is worth a listen. The band could, however, benefit from a re-recording of these tracks to bring a more leveled, stronger, and deeper sound to this music. The tracks are not worth overlooking and the best possible justice deserves to be done to them.
-Aunty Social
BUS 125 Collective- Release #1 review
BUS 125 Collective zine & tape review “Crook by the Book”
Upon being in the local music scene for about a year, I noticed around March or April of this year (2010) that no one really had any locally produced fanzines and the thriving local scene we had was going unnoticed and undocumented. So I started my own personal zine, which I’ve put out three issues of so far, since compiling and releasing various work I’ve written/done from March 2010 onward. For a while, I noticed I essentially had a monopoly on this zine market. At least, until now. I was excited to see another local zine putting out something, especially when it consists of both a print zine and a cassette.
First, the cassette. It’s a compilation tape with four local acts. The first track is from a band called End Trails, and I heard something new, yet something old was there. It was new hardcore, playing a very tired style of it. Not a terrible song in and of itself, but melodic, breakdown-based hardcore doesn’t impress me much. The next track was from Build & Destroy, and it opened with a sample sounding like old-school hip-hop. Eventually, the song kicked into a hardcore track and that played out okay. I’ve been told these guys use a lot of hip-hop influence in their music. I didn’t see it so much here, but it was at least a good intro. More hip-hop, please. The third track is from Louder Than Bombs, who play rock with a heavy punk vibe, close to melodic hardcore. The track was pretty good, but definitely a newer sound I haven’t heard much of before. A worthy compilation track, to say the least.
After this, the tape turned over and the band Face Reality came upon the airwaves. Within seconds, I was taken by force by the furious, angry vibe of the band. Think Vitamin X, but local and a little better. Scratch that, a LOT better. Next was another track from Build & Destroy. This track was much stronger than their first one, bearing a more hardcore sound to it. Loud and angry, but no hip-hop influence here; a worthy endeavor/outing nonetheless. After this was a second track from Louder Than Bombs. This, too, was a more punk-ish track than the first one, and it was much stronger. With screaming melodic singing, the track stood out both vocally and musically. Perhaps good melodic hardcore does exist somewhere that hasn’t been sucked in by a black hole already. Closing the cassette another ripper from Face Reality. With even greater fury, the band ripped every throat out on the way to the top of the Michigan straight-edge scene. This band has so much potential and could retire now and still be one of the strongest bands I’ve heard as of recent locally.
Next, the zine. The zine itself is obviously a throwback to low-fi, raw production of old-school zines, and sometimes computer software just can’t beat literally copying, pasting, and slapping something cool together with one’s own two hands. This zine also has what mine generally doesn’t: a wide variety of different kinds of material, like a recipe, a comic, a how-to guide, and a greater presence of pictures. That’s mostly because BUS 125 is a collective with multiple different minds and insights, and I’m a one-man operation. Despite the differences between my product and theirs, I really enjoyed this zine and tape. Get involved, support local publications, do something to support one another. Don’t sit by and be inactive, wasting your life thinking everything is beyond reach; it isn’t. The world is generally composed of two kinds of people: those who do and those who do not. The only way to make any difference is to make decisions individually, and take action by one’s own will. The world caters to them, not you inactive hermits.
-Aunty Social
Upon being in the local music scene for about a year, I noticed around March or April of this year (2010) that no one really had any locally produced fanzines and the thriving local scene we had was going unnoticed and undocumented. So I started my own personal zine, which I’ve put out three issues of so far, since compiling and releasing various work I’ve written/done from March 2010 onward. For a while, I noticed I essentially had a monopoly on this zine market. At least, until now. I was excited to see another local zine putting out something, especially when it consists of both a print zine and a cassette.
First, the cassette. It’s a compilation tape with four local acts. The first track is from a band called End Trails, and I heard something new, yet something old was there. It was new hardcore, playing a very tired style of it. Not a terrible song in and of itself, but melodic, breakdown-based hardcore doesn’t impress me much. The next track was from Build & Destroy, and it opened with a sample sounding like old-school hip-hop. Eventually, the song kicked into a hardcore track and that played out okay. I’ve been told these guys use a lot of hip-hop influence in their music. I didn’t see it so much here, but it was at least a good intro. More hip-hop, please. The third track is from Louder Than Bombs, who play rock with a heavy punk vibe, close to melodic hardcore. The track was pretty good, but definitely a newer sound I haven’t heard much of before. A worthy compilation track, to say the least.
After this, the tape turned over and the band Face Reality came upon the airwaves. Within seconds, I was taken by force by the furious, angry vibe of the band. Think Vitamin X, but local and a little better. Scratch that, a LOT better. Next was another track from Build & Destroy. This track was much stronger than their first one, bearing a more hardcore sound to it. Loud and angry, but no hip-hop influence here; a worthy endeavor/outing nonetheless. After this was a second track from Louder Than Bombs. This, too, was a more punk-ish track than the first one, and it was much stronger. With screaming melodic singing, the track stood out both vocally and musically. Perhaps good melodic hardcore does exist somewhere that hasn’t been sucked in by a black hole already. Closing the cassette another ripper from Face Reality. With even greater fury, the band ripped every throat out on the way to the top of the Michigan straight-edge scene. This band has so much potential and could retire now and still be one of the strongest bands I’ve heard as of recent locally.
Next, the zine. The zine itself is obviously a throwback to low-fi, raw production of old-school zines, and sometimes computer software just can’t beat literally copying, pasting, and slapping something cool together with one’s own two hands. This zine also has what mine generally doesn’t: a wide variety of different kinds of material, like a recipe, a comic, a how-to guide, and a greater presence of pictures. That’s mostly because BUS 125 is a collective with multiple different minds and insights, and I’m a one-man operation. Despite the differences between my product and theirs, I really enjoyed this zine and tape. Get involved, support local publications, do something to support one another. Don’t sit by and be inactive, wasting your life thinking everything is beyond reach; it isn’t. The world is generally composed of two kinds of people: those who do and those who do not. The only way to make any difference is to make decisions individually, and take action by one’s own will. The world caters to them, not you inactive hermits.
-Aunty Social
Death Crisis tour in Grand Rapids show review
Death Crisis tour show at the Cage, Grand Rapids, October 18, 2010
There are approximately 150 miles of road in between Michigan’s two most populous cities, Grand Rapids and Detroit. It comes out to being about a 2 to 2.5 hour drive from the east coast of the mitten to the west coast. However, that isn’t the only divide between the two cities. Within each city is a thriving punk rock scene, and yet there remains a wall of division higher than the one between punk rock and polka. Grand Rapids bands are a rare sight to see in Detroit, and bands in Detroit are of little more assistance, largely ignoring western Michigan altogether. This is a tragic occurrence on both fronts; both sides of the state have significant contributions to offer the all-encompassing hardcore scene. I have experienced the Detroit scene, and until this show, I hadn’t seen exactly what the Grand Rapids scene had to offer. So off I went to see what I saw as the perfect show to investigate what western Michigan was all about, punk rock wise.
The Oiley Menace, from Muskegon, was the first to take the stage at this small little warehouse in the heart of downtown Grand Rapids. Grinding away short, loud songs of a grindcore nature, this three-piece was an intense band, but I have not and probably will not understand grindcore outside of its inherent ridiculousness and the hilarious song titles that arouse my morbid, misanthropic, politically incorrect, and insensitive sense of humor. The band itself was okay, but I didn’t see anything particularly outlandish. This band is very new though, so I won’t count them out yet. Good for grindcore, not so much for a guy who admittedly fails to understand it.
Next up was touring band Death Crisis, from San Diego. These guys came around Detroit or possibly Lansing earlier this year, maybe late last year (hint: my memory isn’t so good), and I did not happen to catch them then, so I was overjoyed to catch them this time around. Having never heard this band before, I did not know what to expect. What I got was the intense, thrash-filled style of 80s hardcore I love, with a very heavy slap on the back to Los Crudos, incorporating some Spanish lyrics into their venom-spewing tracks of pissed-off hardcore. This band was a fresh perspective for me, a group of multi-cultural punk rockers from the other side of the continent, perceivably feeling the same anger and rage I do. The differences between our respective communities are not so large after all.
Following them was Positive Noise, fronted by Punks Before Profits headmaster Ryan Cappelletti. I had only heard one track and did not notice anything unusually unique, so I didn’t know which way this set would go. What Ryan and Co. delivered far exceeded my expectations; Youth of Today mixed with RAMBO and a healthy dose of organic cocaine and communal awareness is what drives this band. The outward frustration channeled into positivity was represented in the lyrics and that really set the band apart from 625-ish thrashcore. This was the band that proved Grand Rapids is not to be ignored, by Michigan locals or by touring acts.
Wrapping up the show were anarcho-punk locals Attention Span. Cage owner Trent took the mic and raged his street punk influenced anarchist noise to the crowd to much avail. The snotty anger and raspy rants engrained what is good about anarcho-punk. Dark sounds, a quick beat, and a pissed-off vocalist with a lot to say displayed that Attention Span is a force to be reckoned with on every lake shore in the state.
After delivering my zines to the crowd, I visited a local friend and afterwards left to deconstruct the wall of division between these two scenes.
-Aunty Social
There are approximately 150 miles of road in between Michigan’s two most populous cities, Grand Rapids and Detroit. It comes out to being about a 2 to 2.5 hour drive from the east coast of the mitten to the west coast. However, that isn’t the only divide between the two cities. Within each city is a thriving punk rock scene, and yet there remains a wall of division higher than the one between punk rock and polka. Grand Rapids bands are a rare sight to see in Detroit, and bands in Detroit are of little more assistance, largely ignoring western Michigan altogether. This is a tragic occurrence on both fronts; both sides of the state have significant contributions to offer the all-encompassing hardcore scene. I have experienced the Detroit scene, and until this show, I hadn’t seen exactly what the Grand Rapids scene had to offer. So off I went to see what I saw as the perfect show to investigate what western Michigan was all about, punk rock wise.
The Oiley Menace, from Muskegon, was the first to take the stage at this small little warehouse in the heart of downtown Grand Rapids. Grinding away short, loud songs of a grindcore nature, this three-piece was an intense band, but I have not and probably will not understand grindcore outside of its inherent ridiculousness and the hilarious song titles that arouse my morbid, misanthropic, politically incorrect, and insensitive sense of humor. The band itself was okay, but I didn’t see anything particularly outlandish. This band is very new though, so I won’t count them out yet. Good for grindcore, not so much for a guy who admittedly fails to understand it.
Next up was touring band Death Crisis, from San Diego. These guys came around Detroit or possibly Lansing earlier this year, maybe late last year (hint: my memory isn’t so good), and I did not happen to catch them then, so I was overjoyed to catch them this time around. Having never heard this band before, I did not know what to expect. What I got was the intense, thrash-filled style of 80s hardcore I love, with a very heavy slap on the back to Los Crudos, incorporating some Spanish lyrics into their venom-spewing tracks of pissed-off hardcore. This band was a fresh perspective for me, a group of multi-cultural punk rockers from the other side of the continent, perceivably feeling the same anger and rage I do. The differences between our respective communities are not so large after all.
Following them was Positive Noise, fronted by Punks Before Profits headmaster Ryan Cappelletti. I had only heard one track and did not notice anything unusually unique, so I didn’t know which way this set would go. What Ryan and Co. delivered far exceeded my expectations; Youth of Today mixed with RAMBO and a healthy dose of organic cocaine and communal awareness is what drives this band. The outward frustration channeled into positivity was represented in the lyrics and that really set the band apart from 625-ish thrashcore. This was the band that proved Grand Rapids is not to be ignored, by Michigan locals or by touring acts.
Wrapping up the show were anarcho-punk locals Attention Span. Cage owner Trent took the mic and raged his street punk influenced anarchist noise to the crowd to much avail. The snotty anger and raspy rants engrained what is good about anarcho-punk. Dark sounds, a quick beat, and a pissed-off vocalist with a lot to say displayed that Attention Span is a force to be reckoned with on every lake shore in the state.
After delivering my zines to the crowd, I visited a local friend and afterwards left to deconstruct the wall of division between these two scenes.
-Aunty Social
Death Invades Earth Interview from April 2010
Death Invades Earth interview:
1. So, how has death invaded earth? (i.e. how’d the band arise?)
D.I.E. started out as a 5 piece, and after a couple of practices we chose to be a 3 piece. 5 was too many for simple music. So we have me (Tony) on drums and vocals, Rob, bass and vocals, and Alan, guitars and back vocals.
2. What is the Flint music scene like now? Has it changed for better or worse since the days of Dissonance and others?
My first show I saw was Soul Side, with about 200 people at the show, it changed my life; I wanted to play drums. The scene went downhill due to violence. With past bands we were lucky to see 30 people. With D.I.E. lately, our shows have been doing good seeing around 60 to a 100 people in our hometown, and not too bad out of town.
3. Who recorded your first full-length? How do you feel it came out?
Spring Records in Fenton Mi. did our recording. Our 5 song EP has been selling very well; our full length should be out soon.
4. Have you guys had much success playing outside your hometown? If so, where?
Not too bad, we played a show in Battle Creek at Planet Rock and we felt very welcome. We sold a lot of shirts ad CDs at the show, that’s always good. Also the Double OO in Redford seems to do good for us.
5. Is it difficult to both play the drums and sing at the same time?
That’s the question I get asked most. Not really, I’ve been doing it for most of my drumming days (20 years) give or take a couple of bands.
6. What is your biggest influence as a band and why?
Like I said, Soul Side changed my life. Suicidal Tendencies help me through my teens. I think I try to put that in our music in hopes someone will feel that way about us.
7. I hear you have been involved with the Hood Core Music Alliance. Tell us a little about that.
J.J. of Grog has done a great job with Hood Core; Lots of good bands and good people. As long as we work together, it should do well for a lot of people.
8. Is it easy being both a hardcore punk band and being an otherwise socially responsible member of society (i.e. husband, father, laborer, etc.)?
I (Tony) have 6 kids and a wife of 15 years, Alan has one kid and a girlfriend, and Rob has a wife of 12 years. Our families are very supportive of the band. We try to take off one week a month for the family, but it’s hard, because we love to play out also.
9. What, do you feel, is the best way to get involved in and contribute to the local music scene?
We’ve started a monthly show at Cameron’s (our local spot) called, Saturday Night Hardcore. We’re trying to bring out of town acts to support our scene, and pick them up some more fans.
10. Have you been in any other bands before Death Invades Earth? If so, what were they?
Somewhat Slack was my other band that did well. Rob, was in a band called M.F.S. from the Flint area. Alan and myself were both in Empty Arms before D.I.E.
11. Do your wives, girlfriends, and kids enjoy your music (if they listen to it)?
Rob’s wife has missed 1 show since we’ve been a band. Alan’s girlfriend has been to a couple of shows and supports him mostly. My (Tony) wife has been to a few shows, and my kids love us and make every all ages shows we play.
12. How often does Death Invades Earth practice? Would you like to see more practice or do you think you can get by with less?
We practice one day a week, and I wish we could get one more day in, but one is better than none.
13. Is hardcore punk only good as a standalone genre or can metal, rockabilly or other elements be added without reducing the quality?
Myself, I think as long as the band is good, there shouldn’t be a problem. I just like to see a good tight band no matter what style.
14. Have you opened up for any particularly famous bands? If so, who were they?
The 80’s metal Detroit band, Halloween, is the biggest name we’ve open for, and it was a letdown.
15. What future plans do you guys have as a band?
Working on new songs, and doing what we do.
16. Do you guys harbor as bleak views on life as you do in some of your music?
The bleak part of our music is to get your attention; I guess the real message is between the lines. I try to be positive in a negative world, it’s tough, but I have to keep my head up for my kids.
17. Is it tough to get the ability to play shows in Detroit with its distance from Flint?
I think if we try harder, which we plan to, I think it will be easier. We just have to get our foot in the door.
18. Anything else you’d like to throw in?
We would like to thank all the clubs, bars, bands, and people we’ve meet so far, for the support you’ve given us. We hope to see you all again soon. And thank you for your time David; we appreciate what you’re doing.
1. So, how has death invaded earth? (i.e. how’d the band arise?)
D.I.E. started out as a 5 piece, and after a couple of practices we chose to be a 3 piece. 5 was too many for simple music. So we have me (Tony) on drums and vocals, Rob, bass and vocals, and Alan, guitars and back vocals.
2. What is the Flint music scene like now? Has it changed for better or worse since the days of Dissonance and others?
My first show I saw was Soul Side, with about 200 people at the show, it changed my life; I wanted to play drums. The scene went downhill due to violence. With past bands we were lucky to see 30 people. With D.I.E. lately, our shows have been doing good seeing around 60 to a 100 people in our hometown, and not too bad out of town.
3. Who recorded your first full-length? How do you feel it came out?
Spring Records in Fenton Mi. did our recording. Our 5 song EP has been selling very well; our full length should be out soon.
4. Have you guys had much success playing outside your hometown? If so, where?
Not too bad, we played a show in Battle Creek at Planet Rock and we felt very welcome. We sold a lot of shirts ad CDs at the show, that’s always good. Also the Double OO in Redford seems to do good for us.
5. Is it difficult to both play the drums and sing at the same time?
That’s the question I get asked most. Not really, I’ve been doing it for most of my drumming days (20 years) give or take a couple of bands.
6. What is your biggest influence as a band and why?
Like I said, Soul Side changed my life. Suicidal Tendencies help me through my teens. I think I try to put that in our music in hopes someone will feel that way about us.
7. I hear you have been involved with the Hood Core Music Alliance. Tell us a little about that.
J.J. of Grog has done a great job with Hood Core; Lots of good bands and good people. As long as we work together, it should do well for a lot of people.
8. Is it easy being both a hardcore punk band and being an otherwise socially responsible member of society (i.e. husband, father, laborer, etc.)?
I (Tony) have 6 kids and a wife of 15 years, Alan has one kid and a girlfriend, and Rob has a wife of 12 years. Our families are very supportive of the band. We try to take off one week a month for the family, but it’s hard, because we love to play out also.
9. What, do you feel, is the best way to get involved in and contribute to the local music scene?
We’ve started a monthly show at Cameron’s (our local spot) called, Saturday Night Hardcore. We’re trying to bring out of town acts to support our scene, and pick them up some more fans.
10. Have you been in any other bands before Death Invades Earth? If so, what were they?
Somewhat Slack was my other band that did well. Rob, was in a band called M.F.S. from the Flint area. Alan and myself were both in Empty Arms before D.I.E.
11. Do your wives, girlfriends, and kids enjoy your music (if they listen to it)?
Rob’s wife has missed 1 show since we’ve been a band. Alan’s girlfriend has been to a couple of shows and supports him mostly. My (Tony) wife has been to a few shows, and my kids love us and make every all ages shows we play.
12. How often does Death Invades Earth practice? Would you like to see more practice or do you think you can get by with less?
We practice one day a week, and I wish we could get one more day in, but one is better than none.
13. Is hardcore punk only good as a standalone genre or can metal, rockabilly or other elements be added without reducing the quality?
Myself, I think as long as the band is good, there shouldn’t be a problem. I just like to see a good tight band no matter what style.
14. Have you opened up for any particularly famous bands? If so, who were they?
The 80’s metal Detroit band, Halloween, is the biggest name we’ve open for, and it was a letdown.
15. What future plans do you guys have as a band?
Working on new songs, and doing what we do.
16. Do you guys harbor as bleak views on life as you do in some of your music?
The bleak part of our music is to get your attention; I guess the real message is between the lines. I try to be positive in a negative world, it’s tough, but I have to keep my head up for my kids.
17. Is it tough to get the ability to play shows in Detroit with its distance from Flint?
I think if we try harder, which we plan to, I think it will be easier. We just have to get our foot in the door.
18. Anything else you’d like to throw in?
We would like to thank all the clubs, bars, bands, and people we’ve meet so far, for the support you’ve given us. We hope to see you all again soon. And thank you for your time David; we appreciate what you’re doing.
Hellmouth interview from March 2010
Interview with Hellmouth, March 2010
1. Who is Hellmouth, members wise, and what history do you have?
Jeff: The line up since the beginning has been Jay, Alex, Justin and myself. The band is basically a collective of 4 people who have a like-minded theory about life, people, music and presentation. We’ve all been in numerous bands over the years and our history is deep-rooted in the Detroit hardcore, punk and metal scene.
2. What is Hellmouth? How did you arrive at the name?
Jeff: A hellmouth is basically a gateway to hell. There are many artistic portrayals of the “hellmouth” as a huge, demonic mouth eating people. I just thought it was a cool sounding name for a band. It fits us.
Alex: If Bosch or Bruegel were painting a Hellmouth, it was an image borne of Catholic dogma in the 16th century. It lives in a different context circa 2010. Now I think Hellmouth is Woodward Avenue in Detroit. Now I think Hellmouth is inside the minds of Jeff, Jay, Justin and me. To be honest, Bosch's Hellmouth was imaginary, and ours is anything but. So I think the real Hellmouth is right here, right now.
3. What kind of philosophy does Hellmouth espouse?
Alex: If Hellmouth espoused a philosophy then it wouldn't be dogmatic. It is what it is. Hellmouth is routed in reality and Hellmouth is routed in the present. The past and future are literally figments of our imagination. Hellmouth is freedom. Fuck fatalism. Do what thou wilt shall be the law of the land.
4. With your recent jet in local popularity, do you look at Hellmouth as more of a frame of mind rather than just four guys playing music?
Jay: The people who embrace us have the same ideals and are no different than us. So yes a frame of mind; the music is secondary. D.E.W.N.
Alex: I hope it’s more than music. If people can feel what we feel or get a glimpse into where we're coming from then I think a connection is being made. I think it's bigger than 4 old fuckers thrashing around on stage.
5. What are your inspirations musically and personally?
Jeff: I like music that moves me emotionally and makes me want to be creative. Personally, my own anger and disdain with so many things in the world inspire me to write and play.
Alex: Hearing, seeing, feeling, tasting, sensing something for the first time is inspirational.
Jay: I'm very content to know other people feel the same disgust, anger, frustration etc.. about the state of the world and humanity. At this moment, now, I'm driven by the people. D.E.W.N.
6. How long did it take you to write and record your first demo?
Jeff: Not very long at all. I don’t remember the specific time, but it really felt like we went in to record soon after the band was formed.
Jay: I had some songs for a few years and this vision, but couldn’t find anybody like minded. When the 4 of us finally formed it was an explosion. The Order D.E.W.N.
7. How did that recording make its way to Ferret?
Jeff: Oddly enough, we owe credit to Myspace. Within 2 weeks of posting our page and the demo songs, someone in the Ferret office stumbled onto us and passed it along to the owner Carl. He contacted us and told us that we played the type of music he grew up listening to. The rest is history. We have nothing but great things to say about the label and the people involved.
8. Around when did “Destroy Everything” make its way to being released?
Jeff: January of 2009.
9. Who does most of the art/design work for Hellmouth?
Alex: I try and execute the majority of the visuals. We've collaborated with a couple artists and illustrators we identify with for some work, but I try to be the glue that holds the identity together. Hellmouth isn't music to me, it's holistic art.
10. What current projects are you undertaking at the moment? I’ve heard talk of a few splits.
Alex: We recorded for a split with Explode and Make Up (from Chicago). The cover art has been printed but I don't know when the vinyl's gonna be done. We recorded for a split with Embrace the Kill, In Defence and Mouth Sewn Shut. I'm working on the art for that right now. We also recorded some covers for a split with Wreak Havoc but the harddrive crashed so I don't know if those songs are going to be salvaged. We have a bunch of shit in the hopper, but it's all at the mercy of the labels.
Jay: A very dear and close friend of mine, Jeff Dean, is in the band Explode And Make Up from Chicago with Dennis who sang for 88 Fingers Louie. It's SICK! Jeff is one of my best friends we thought it would be cool to do a split together. How cool is that! D.E.W.N.
11. When would you anticipate seeing your next full-length released?
Alex: Late summer. Andrei Bouzikov is already painting the cover.
12. How do you feel about some of the crowds at your shows?
Jeff: For being the size band we are (which isn’t very big) we have some of the most dedicated and crazy people that come out and destroy with us.
Alex: Hellmouth shows are getting pretty fucking gnarly. Lansing loses their shit every time. Detroit never lets us down. Never. We have some real dedicated cult members. True blood.
13. What do you think about the current Detroit punk scene? How do you think you’ve helped/changed it?
Jay: I really feel the efforts of this band, as far as putting shows on and trying to be the glue and foundation for Detroit, are working. Jeff putting out records, us bringing in out of state bands, us trying to set up a network and introducing people to each other has payed off. I see so much potential in the Detroit scene that it almost warms my heart. Almost. D.E.W.N.
Jeff: To me it felt like the punk, hardcore and metal as a community disappeared for a while. There really hasn’t been a unified scene since the mid 90s. I think a resurgence is starting. I’m starting to see good bands, reliable record labels and venues, and new media outlets (zines, websites). It’s these things that are bringing people back and bringing new kids in.
14. How do you feel the scene has “gone soft”? What can be done to change this mentality?
Jay: You have to survive the Detroit scene. If you do and you still want to be a part? You must love it and want to live it. No fly by night, halfsteppers wanted here, just lifers. D.E.W.N.
Jeff: When I said it has “gone soft,” I’m comparing the scene to back when I started to see shows in the mid 80s. When I went to see shows, it felt like all hell could have broken loose at any time. It was like a test of guts to be involved in the action. That’s the feeling we want to create with our live shows. It doesn’t mean we want people fighting or any of that bullshit…in fact, if you start a fight at one of our shows, you’re going to have to deal with us because we won’t put up with it. We have an old school mentality. We want circle pits, stage dives, arm in arm sing-alongs, head banging, front of the stage pile-ons….none of this pansy ass Warped Tour crowd surfing, hi-fiving the band garbage. I want a kid who is timid about being involved at a show to join all the other lunatics in front and after the show think to himself, “Wow….I survived and had a great time! I want to do that again!”
Alex: Jeff summed it up. It needs an air of violence. A feeling of “holy fuck, I just managed to survive. How did a riot NOT break out? Fuck!” And sometimes a riot does break out. We want everyone to go home in one piece, but to feel like for 30 minutes it was a fine line between safety and a prison riot.
15. Any favorite active band in the area other than yourselves?
Alex: I fucking love the Nightbringer recording. Beast in the Field are so goddamn heavy live. YOTP are almost TOO heavy live. Those guys make everyone else sound like pussies after they play. Devastating. I dig Easy Action.
Jeff: I’m just gonna name my top five right now…Year Of The Pig, U.D.I., No Grave Like The Sea, Nightbringer, and Beast In The Field.
16. What do you think was your best (or worst) show and why?
Alex: All our Lansing shows have been exceptional. Mayhem show was awesome. Casualties show at the 'Stick was almost sold out and that was fucking unreal. We've slayed some sick shows out of state, too, but our best reception is always on home soil.
Jeff: We’ve been lucky to have very few of what we’d consider bad shows.
17. Where can you pick up Hellmouth merch?
Alex: Merchnow, our myspace site has links. At shows. At Flipside Records in Clawson and Record Time In Roseville.
18. Are there any good sources of information about Detroit hardcore? If so, what are they?
Jeff: Detroit Area Hardcore Blog, MI Hardcore Myspace, Bottom of the Barrel radio show, Detroit Punk Preservation Myspace.
Alex: http://detroithc.blogspot.com/
19. What would you say/do with someone with a passing interest in punk rock to get to participate more?
Jay: Get to know your local scene, people, places, bands, collectives, houses etc... once you do you will know where to go from there. D.E.W.N.
Alex: They shouldn't need prodding. You're either in or you're out.
20. Anything you want the hardcore public to know that we didn’t cover?
Jay: I don't consider us a hardcore band. I love HC but we mix everything up and it's more than a band or music. It's a Cult. D.E.W.N.
Jeff: We hate a lot of things, but we probably don’t hate you, so people shouldn’t feel intimidated to come up and talk to us at shows. We’re no different from the people in the audience.
1. Who is Hellmouth, members wise, and what history do you have?
Jeff: The line up since the beginning has been Jay, Alex, Justin and myself. The band is basically a collective of 4 people who have a like-minded theory about life, people, music and presentation. We’ve all been in numerous bands over the years and our history is deep-rooted in the Detroit hardcore, punk and metal scene.
2. What is Hellmouth? How did you arrive at the name?
Jeff: A hellmouth is basically a gateway to hell. There are many artistic portrayals of the “hellmouth” as a huge, demonic mouth eating people. I just thought it was a cool sounding name for a band. It fits us.
Alex: If Bosch or Bruegel were painting a Hellmouth, it was an image borne of Catholic dogma in the 16th century. It lives in a different context circa 2010. Now I think Hellmouth is Woodward Avenue in Detroit. Now I think Hellmouth is inside the minds of Jeff, Jay, Justin and me. To be honest, Bosch's Hellmouth was imaginary, and ours is anything but. So I think the real Hellmouth is right here, right now.
3. What kind of philosophy does Hellmouth espouse?
Alex: If Hellmouth espoused a philosophy then it wouldn't be dogmatic. It is what it is. Hellmouth is routed in reality and Hellmouth is routed in the present. The past and future are literally figments of our imagination. Hellmouth is freedom. Fuck fatalism. Do what thou wilt shall be the law of the land.
4. With your recent jet in local popularity, do you look at Hellmouth as more of a frame of mind rather than just four guys playing music?
Jay: The people who embrace us have the same ideals and are no different than us. So yes a frame of mind; the music is secondary. D.E.W.N.
Alex: I hope it’s more than music. If people can feel what we feel or get a glimpse into where we're coming from then I think a connection is being made. I think it's bigger than 4 old fuckers thrashing around on stage.
5. What are your inspirations musically and personally?
Jeff: I like music that moves me emotionally and makes me want to be creative. Personally, my own anger and disdain with so many things in the world inspire me to write and play.
Alex: Hearing, seeing, feeling, tasting, sensing something for the first time is inspirational.
Jay: I'm very content to know other people feel the same disgust, anger, frustration etc.. about the state of the world and humanity. At this moment, now, I'm driven by the people. D.E.W.N.
6. How long did it take you to write and record your first demo?
Jeff: Not very long at all. I don’t remember the specific time, but it really felt like we went in to record soon after the band was formed.
Jay: I had some songs for a few years and this vision, but couldn’t find anybody like minded. When the 4 of us finally formed it was an explosion. The Order D.E.W.N.
7. How did that recording make its way to Ferret?
Jeff: Oddly enough, we owe credit to Myspace. Within 2 weeks of posting our page and the demo songs, someone in the Ferret office stumbled onto us and passed it along to the owner Carl. He contacted us and told us that we played the type of music he grew up listening to. The rest is history. We have nothing but great things to say about the label and the people involved.
8. Around when did “Destroy Everything” make its way to being released?
Jeff: January of 2009.
9. Who does most of the art/design work for Hellmouth?
Alex: I try and execute the majority of the visuals. We've collaborated with a couple artists and illustrators we identify with for some work, but I try to be the glue that holds the identity together. Hellmouth isn't music to me, it's holistic art.
10. What current projects are you undertaking at the moment? I’ve heard talk of a few splits.
Alex: We recorded for a split with Explode and Make Up (from Chicago). The cover art has been printed but I don't know when the vinyl's gonna be done. We recorded for a split with Embrace the Kill, In Defence and Mouth Sewn Shut. I'm working on the art for that right now. We also recorded some covers for a split with Wreak Havoc but the harddrive crashed so I don't know if those songs are going to be salvaged. We have a bunch of shit in the hopper, but it's all at the mercy of the labels.
Jay: A very dear and close friend of mine, Jeff Dean, is in the band Explode And Make Up from Chicago with Dennis who sang for 88 Fingers Louie. It's SICK! Jeff is one of my best friends we thought it would be cool to do a split together. How cool is that! D.E.W.N.
11. When would you anticipate seeing your next full-length released?
Alex: Late summer. Andrei Bouzikov is already painting the cover.
12. How do you feel about some of the crowds at your shows?
Jeff: For being the size band we are (which isn’t very big) we have some of the most dedicated and crazy people that come out and destroy with us.
Alex: Hellmouth shows are getting pretty fucking gnarly. Lansing loses their shit every time. Detroit never lets us down. Never. We have some real dedicated cult members. True blood.
13. What do you think about the current Detroit punk scene? How do you think you’ve helped/changed it?
Jay: I really feel the efforts of this band, as far as putting shows on and trying to be the glue and foundation for Detroit, are working. Jeff putting out records, us bringing in out of state bands, us trying to set up a network and introducing people to each other has payed off. I see so much potential in the Detroit scene that it almost warms my heart. Almost. D.E.W.N.
Jeff: To me it felt like the punk, hardcore and metal as a community disappeared for a while. There really hasn’t been a unified scene since the mid 90s. I think a resurgence is starting. I’m starting to see good bands, reliable record labels and venues, and new media outlets (zines, websites). It’s these things that are bringing people back and bringing new kids in.
14. How do you feel the scene has “gone soft”? What can be done to change this mentality?
Jay: You have to survive the Detroit scene. If you do and you still want to be a part? You must love it and want to live it. No fly by night, halfsteppers wanted here, just lifers. D.E.W.N.
Jeff: When I said it has “gone soft,” I’m comparing the scene to back when I started to see shows in the mid 80s. When I went to see shows, it felt like all hell could have broken loose at any time. It was like a test of guts to be involved in the action. That’s the feeling we want to create with our live shows. It doesn’t mean we want people fighting or any of that bullshit…in fact, if you start a fight at one of our shows, you’re going to have to deal with us because we won’t put up with it. We have an old school mentality. We want circle pits, stage dives, arm in arm sing-alongs, head banging, front of the stage pile-ons….none of this pansy ass Warped Tour crowd surfing, hi-fiving the band garbage. I want a kid who is timid about being involved at a show to join all the other lunatics in front and after the show think to himself, “Wow….I survived and had a great time! I want to do that again!”
Alex: Jeff summed it up. It needs an air of violence. A feeling of “holy fuck, I just managed to survive. How did a riot NOT break out? Fuck!” And sometimes a riot does break out. We want everyone to go home in one piece, but to feel like for 30 minutes it was a fine line between safety and a prison riot.
15. Any favorite active band in the area other than yourselves?
Alex: I fucking love the Nightbringer recording. Beast in the Field are so goddamn heavy live. YOTP are almost TOO heavy live. Those guys make everyone else sound like pussies after they play. Devastating. I dig Easy Action.
Jeff: I’m just gonna name my top five right now…Year Of The Pig, U.D.I., No Grave Like The Sea, Nightbringer, and Beast In The Field.
16. What do you think was your best (or worst) show and why?
Alex: All our Lansing shows have been exceptional. Mayhem show was awesome. Casualties show at the 'Stick was almost sold out and that was fucking unreal. We've slayed some sick shows out of state, too, but our best reception is always on home soil.
Jeff: We’ve been lucky to have very few of what we’d consider bad shows.
17. Where can you pick up Hellmouth merch?
Alex: Merchnow, our myspace site has links. At shows. At Flipside Records in Clawson and Record Time In Roseville.
18. Are there any good sources of information about Detroit hardcore? If so, what are they?
Jeff: Detroit Area Hardcore Blog, MI Hardcore Myspace, Bottom of the Barrel radio show, Detroit Punk Preservation Myspace.
Alex: http://detroithc.blogspot.com/
19. What would you say/do with someone with a passing interest in punk rock to get to participate more?
Jay: Get to know your local scene, people, places, bands, collectives, houses etc... once you do you will know where to go from there. D.E.W.N.
Alex: They shouldn't need prodding. You're either in or you're out.
20. Anything you want the hardcore public to know that we didn’t cover?
Jay: I don't consider us a hardcore band. I love HC but we mix everything up and it's more than a band or music. It's a Cult. D.E.W.N.
Jeff: We hate a lot of things, but we probably don’t hate you, so people shouldn’t feel intimidated to come up and talk to us at shows. We’re no different from the people in the audience.
Thursday, August 12, 2010
Against the Grain 'Redline' EP review
ATG “Redline” EP
As music has progressed, bands have begun to lose some old-school rock influences. This is a double-edged sword, but the addition of these influences creates a new, fresh sound, especially when most punk rock takes different influences from more recent bands. Against the Grain, almost always referred to as ATG, is the perfect blend of this 70s rock style and modern punk rock. It is a truly refreshing sound upon one’s ears. The first official release by ATG is the “Redline” EP, available for free from both the band and the internet.
“The Legend of Johnny Rat (Ride Tonight)” sets the tone for the whole album. It is a song you can break a beer bottle and start a fight to, yet enough classic rock influence seeps in to keep the aging elitists at bay. This is the best song on the EP; however, this doesn’t mean the rest of it is bad, it merely means the best came first. “Suicide Steve” is an exceedingly fast song ideally heard on a DRI LP or a D.S.-13 CD. It’s incredibly energetic and highly enjoyable. “Empty Vein” is the catchiest song on the EP. The chorus just invades your brain and rapes it to the point of fist-pumping and screaming. “Same in the End” is a slightly (and I do mean slightly) slower track, yet its power is still pushed to the forefront with every power chord. “Redline”, the final track, speeds the tempo up for good and cranks the intensity all the way up to 11. This EP is worth whatever iTunes would charge for it. Luckily, it’s free, so pick up your complimentary copy today.
-Aunty Social
As music has progressed, bands have begun to lose some old-school rock influences. This is a double-edged sword, but the addition of these influences creates a new, fresh sound, especially when most punk rock takes different influences from more recent bands. Against the Grain, almost always referred to as ATG, is the perfect blend of this 70s rock style and modern punk rock. It is a truly refreshing sound upon one’s ears. The first official release by ATG is the “Redline” EP, available for free from both the band and the internet.
“The Legend of Johnny Rat (Ride Tonight)” sets the tone for the whole album. It is a song you can break a beer bottle and start a fight to, yet enough classic rock influence seeps in to keep the aging elitists at bay. This is the best song on the EP; however, this doesn’t mean the rest of it is bad, it merely means the best came first. “Suicide Steve” is an exceedingly fast song ideally heard on a DRI LP or a D.S.-13 CD. It’s incredibly energetic and highly enjoyable. “Empty Vein” is the catchiest song on the EP. The chorus just invades your brain and rapes it to the point of fist-pumping and screaming. “Same in the End” is a slightly (and I do mean slightly) slower track, yet its power is still pushed to the forefront with every power chord. “Redline”, the final track, speeds the tempo up for good and cranks the intensity all the way up to 11. This EP is worth whatever iTunes would charge for it. Luckily, it’s free, so pick up your complimentary copy today.
-Aunty Social
Explicit Bombers, Dick Hickey, Aggro or Die! show review, Premier Theatre, 5/21/10
Premier Concert Theatre, May 21st, 2010
Punk rock has evolved in an interesting way since the late 70s and early 80s. Instead of the scene being populated with angry young kids, some barely old enough to drive, the punk rock scene in Michigan stands primarily with guys in their 30s and sometimes 40s. This isn’t a bad thing, but it sure doesn’t speak well of my generation. It does give punk rock a bit of credibility, or durability, as the case may be. There are a few younger bands in the Michigan punk scene, and I saw one of them tonight.
The Explicit Bombers are the youngest such band I have seen as of late. A three-piece from the rural hell known as Howell, these guys play, hmm, just punk rock. It’s not hardcore, but it’s fast. It’s not pop punk, but there are some catchy chorus chants in their music. It’s not really ’77 style, because the music is modern. It’s just punk rock, without any (forgive the pun) explicit subgenres. Blasting through a good half hour set, these guys kept it pretty short and avoided stagnancy. This band has a whole lot of potential if they can get their sound heard, get a bit of a reputation, and jump on some bigger shows. I think that the potential for this band definitely outweighs what I saw; what I did see was good, and hopefully what I will see will be even better.
Next was Dick Hickey, bringing with them only a rapist van and their unique, snotty, reckneck-core persona. They have an upcoming EP that’s almost ready for sale, and despite the recent addition of these songs in their set list, they have nearly a full-length of brand new songs that they have performed, including ‘Destroying the World’ and the hit single ‘Jamie’s Song’, written for their former drummer. Despite being relatively young and dirt poor, Dick Hickey has established themselves as a bona-fide force for Michigan punk rock. They have truly pissed on the weeping willow in Punk Rock Forest. Look for Dick Hickey wherever bipolar nymphomaniacs and ironic humor are commonly found.
Last up was Aggro or Die!, another band that can only be described as punk rock, albeit for very different reasons. They have so many influences that the only pervasive element is skateboarding and J. Voltage’s unnecessary hootin’ and hollerin’. Actually, it’s very necessary, because the most notable thing about Aggro or Die! is the strong musicianship; guitarist Damien belted out more than his fair share of leads, drummer Eddie could be in a death metal band, and Beardsley and Bob are great at keeping rhythm (a highly underrated skill). In short, they can all play very well. Focusing mainly on nostalgia such as old video games, skateboarding, and inside jokes, Aggro or Die! are probably THE band you’d hear someone listening to skating down a bustling metropolis filled with snobby hipsters, tight-assed rich white businessmen, paranoid cops, and occasionally, your friendly neighborhood fellow skateboarder. These guys speak about keeping it (punk rock) a threat, and do they do that? They sure do. People are still disgusted at skateboarders, graffiti, a life not including a happy marriage with children, and open-mindedness. Punk rock is still a threat, so let’s keep it that way!
This show was rather short, but the quality was very high, even worth the staggering admission price. $8 for a local show is a bit much, especially in this kind of location. Start the basement and house show circuit again! DIY or die!
-Aunty Social
Punk rock has evolved in an interesting way since the late 70s and early 80s. Instead of the scene being populated with angry young kids, some barely old enough to drive, the punk rock scene in Michigan stands primarily with guys in their 30s and sometimes 40s. This isn’t a bad thing, but it sure doesn’t speak well of my generation. It does give punk rock a bit of credibility, or durability, as the case may be. There are a few younger bands in the Michigan punk scene, and I saw one of them tonight.
The Explicit Bombers are the youngest such band I have seen as of late. A three-piece from the rural hell known as Howell, these guys play, hmm, just punk rock. It’s not hardcore, but it’s fast. It’s not pop punk, but there are some catchy chorus chants in their music. It’s not really ’77 style, because the music is modern. It’s just punk rock, without any (forgive the pun) explicit subgenres. Blasting through a good half hour set, these guys kept it pretty short and avoided stagnancy. This band has a whole lot of potential if they can get their sound heard, get a bit of a reputation, and jump on some bigger shows. I think that the potential for this band definitely outweighs what I saw; what I did see was good, and hopefully what I will see will be even better.
Next was Dick Hickey, bringing with them only a rapist van and their unique, snotty, reckneck-core persona. They have an upcoming EP that’s almost ready for sale, and despite the recent addition of these songs in their set list, they have nearly a full-length of brand new songs that they have performed, including ‘Destroying the World’ and the hit single ‘Jamie’s Song’, written for their former drummer. Despite being relatively young and dirt poor, Dick Hickey has established themselves as a bona-fide force for Michigan punk rock. They have truly pissed on the weeping willow in Punk Rock Forest. Look for Dick Hickey wherever bipolar nymphomaniacs and ironic humor are commonly found.
Last up was Aggro or Die!, another band that can only be described as punk rock, albeit for very different reasons. They have so many influences that the only pervasive element is skateboarding and J. Voltage’s unnecessary hootin’ and hollerin’. Actually, it’s very necessary, because the most notable thing about Aggro or Die! is the strong musicianship; guitarist Damien belted out more than his fair share of leads, drummer Eddie could be in a death metal band, and Beardsley and Bob are great at keeping rhythm (a highly underrated skill). In short, they can all play very well. Focusing mainly on nostalgia such as old video games, skateboarding, and inside jokes, Aggro or Die! are probably THE band you’d hear someone listening to skating down a bustling metropolis filled with snobby hipsters, tight-assed rich white businessmen, paranoid cops, and occasionally, your friendly neighborhood fellow skateboarder. These guys speak about keeping it (punk rock) a threat, and do they do that? They sure do. People are still disgusted at skateboarders, graffiti, a life not including a happy marriage with children, and open-mindedness. Punk rock is still a threat, so let’s keep it that way!
This show was rather short, but the quality was very high, even worth the staggering admission price. $8 for a local show is a bit much, especially in this kind of location. Start the basement and house show circuit again! DIY or die!
-Aunty Social
Cunt Saw/Total Hipster Crusher split tape review
Cunt Saw/Total Hipster Crusher split review
A strange obsession with drugs and almost totally incomprehensible vocals are paired with near blast-beat drums and equally fast guitar to make the Cunt Saw side of a split release. The name, cringing to some, is rather humorous much like the music. Grindcore, at least in my eyes, is ideally lo-fi and grimy, unlike a few bands who have tried to record with high quality equipment and make this genre something that it isn’t with a tired sound. At least Cunt Saw doesn’t try to hide the fact that it is indeed lo-fi, grimy and bordering on noise. It’s not a great release for what I listen to, but for the price and for those who like grindcore, it’s worth a look or the very minor investment.
The other side of the tape, with the band Total Hipster Crusher, is much like the first, but in a different way. The sound is, again, lo-fi, grimy and loud, but it speaks in a different language (figuratively), similar to what trailer trash from Hazel Park and what a hick from Mississippi look like paired next to each other. Different in many ways, but the same in basic appearance. This side was also not bad, but again, grindcore is not my ideal music.
Give the tape a listen if you enjoy grindcore, anarcho punk or lo-fi noise music; a $2 investment is good for a tape. If not, or if you don’t have something with a cassette player, you might want to pass.
-Aunty Social
A strange obsession with drugs and almost totally incomprehensible vocals are paired with near blast-beat drums and equally fast guitar to make the Cunt Saw side of a split release. The name, cringing to some, is rather humorous much like the music. Grindcore, at least in my eyes, is ideally lo-fi and grimy, unlike a few bands who have tried to record with high quality equipment and make this genre something that it isn’t with a tired sound. At least Cunt Saw doesn’t try to hide the fact that it is indeed lo-fi, grimy and bordering on noise. It’s not a great release for what I listen to, but for the price and for those who like grindcore, it’s worth a look or the very minor investment.
The other side of the tape, with the band Total Hipster Crusher, is much like the first, but in a different way. The sound is, again, lo-fi, grimy and loud, but it speaks in a different language (figuratively), similar to what trailer trash from Hazel Park and what a hick from Mississippi look like paired next to each other. Different in many ways, but the same in basic appearance. This side was also not bad, but again, grindcore is not my ideal music.
Give the tape a listen if you enjoy grindcore, anarcho punk or lo-fi noise music; a $2 investment is good for a tape. If not, or if you don’t have something with a cassette player, you might want to pass.
-Aunty Social
Final Assault 'Under Boot' CD review
Final Assault ‘Under Boot’ review
Final Assault, with their ‘Under Boot’ album, has done what only one other band has been able to do: Make D-beat interesting. Also, to be fair, that other band is Discharge itself, making ‘Under Boot’ the turning point for Final Assault to be the flag-bearer of the D-beat movement. It is raw, gritty and fatalistic in every way. They have a prophecy that the top brass of the military essentially conspire to keep citizens afraid of a shapeless enemy, and to ‘protect’ us, they bring their death, destruction and chaos to foreign lands who want nothing of us. Well, that’s my hypothesis, at least. Whether it’s accurate or not, you’d have to ask the band, but I would assume so; this is the soundtrack to the apocalypse that will bring the world to its knees.
The most noticeable trait in this record would have to be Jason Outcast’s voice. His voice roars, a B-52 flying overhead as it carpet bombs its target. The Final Assault logo of a winged skull dropping is akin to Jason’s voice. The guitar is like a fucking chainsaw, ripping through the bass and drum beat (which, by the way, is also a supersonic beat) with furious vengeance. Being a military enthusiast, I fucking love the brutal anti-military, sort of revolutionary punk this record has to offer. It’s not easy to enjoy D-beat, but the addition of some thrash pushes Final Assault to the front of an international D-beat network (they just brought in a band from Finland) and another piece of Detroit punk is added to the figurative puzzle. Insanely fast, absolutely pummeling, and utterly hopeless, ‘Under Boot’ is a record you will be proud to have in your collection. Crank it up, unleash the terror that is Final Assault on the world, and free your mind from the control of the powers that be.
-Aunty Social
Final Assault, with their ‘Under Boot’ album, has done what only one other band has been able to do: Make D-beat interesting. Also, to be fair, that other band is Discharge itself, making ‘Under Boot’ the turning point for Final Assault to be the flag-bearer of the D-beat movement. It is raw, gritty and fatalistic in every way. They have a prophecy that the top brass of the military essentially conspire to keep citizens afraid of a shapeless enemy, and to ‘protect’ us, they bring their death, destruction and chaos to foreign lands who want nothing of us. Well, that’s my hypothesis, at least. Whether it’s accurate or not, you’d have to ask the band, but I would assume so; this is the soundtrack to the apocalypse that will bring the world to its knees.
The most noticeable trait in this record would have to be Jason Outcast’s voice. His voice roars, a B-52 flying overhead as it carpet bombs its target. The Final Assault logo of a winged skull dropping is akin to Jason’s voice. The guitar is like a fucking chainsaw, ripping through the bass and drum beat (which, by the way, is also a supersonic beat) with furious vengeance. Being a military enthusiast, I fucking love the brutal anti-military, sort of revolutionary punk this record has to offer. It’s not easy to enjoy D-beat, but the addition of some thrash pushes Final Assault to the front of an international D-beat network (they just brought in a band from Finland) and another piece of Detroit punk is added to the figurative puzzle. Insanely fast, absolutely pummeling, and utterly hopeless, ‘Under Boot’ is a record you will be proud to have in your collection. Crank it up, unleash the terror that is Final Assault on the world, and free your mind from the control of the powers that be.
-Aunty Social
School Jerks, Amoebas, Kommie Kilpatrick, Plastic Boyz show review, Lager House, 5/12/10
PJ’s Lager House, May 12th, 2010: School Jerks, Kommie Kilpatrick, Amoebas, and the Plastic Boyz
Garage is generally considered a forerunner to punk rock; it started beforehand, it was made by the same demographic, and both genres are pretty simplistic. However, as punk rock has evolved with multiple subgenres and even more sub-subgenres, garage has become a different genre that can be effectively combined with punk, and being that Detroit has been an important hosting ground for both, it is only fitting that a few bands still fly the flag for both of these genres. Three local bands have done this well, and they shared the stage with a touring old school hardcore band from Toronto.
Opening were the Plastic Boyz from New Baltimore. Granted, I missed about half of the set because of work, but it wasn’t too big of a deal. Unfortunately they were not quite as spot on as they usually are. Singer Kelly was a tad bit inebriated and forgot some of the words, which led to everyone else messing up a bit and it didn’t quite mesh together well as a sound. However, the Plastic Boyz are still a serious hardcore force for Detroit punk rock if they keep their heads molded on straight.
Next were the Amoebas. Although they only have one 7” for sale, these guys have several songs written and laid out. It is also noteworthy to say that their 7” has the two songs that would fit right in on the radio after the Damned and before the Dead Boys in 1977. Their set is a strong garage sound with punk influences. It is very different from other garage and punk music, and although I can’t stretch it far enough to utter the word ‘unique’, it is a gem, a very rare, very valuable discovery nonetheless. The only complaint I can muster is that they are from Grand Rapids and not Detroit, which means fewer shows here.
Then, the School Jerks came onstage and truly shined. The guitar work is crazy, the drumming is manic, and the singer is a demented, Canadian hellspawn with a snotty, high-pitched voice. This band is hardcore punk incarnate. Let me restate this more clearly: This band is what hardcore punk became notable and beloved for, and they are probably one of the best bands to come out of this genre in the last decade. There are, of course, a few non-punk influences, but this is as 80s hardcore as you can possibly get. Buy their vinyl, spray paint their name on walls, ride a skateboard with their name written on it, do anything to support this band that involves any commitment short of quitting your job. That’s how good they are.
Last up was Kommie Kilpatrick, a humorously named garage out of Wayne State University in downtown Detroit. With their emphasis on short songs about city life, partying and sex, there isn’t a whole lot not to like. While their set was played in front of a handful of people and technical difficulties marred some of the guitar work, the band still did reasonably well. Kommie Kilpatrick has a unique sense of humor they inject into their songs and it is coupled well with simplistic garage punk in the vein of a cleaner version of Teengenerate.
This show was a sweet release from a boring day at work. Investigate the Toronto punk scene; it is really taking off, and with Molested Youth at its side, the School Jerks are the heads of this movement. Take a road trip and check it out!
-Aunty Social
Garage is generally considered a forerunner to punk rock; it started beforehand, it was made by the same demographic, and both genres are pretty simplistic. However, as punk rock has evolved with multiple subgenres and even more sub-subgenres, garage has become a different genre that can be effectively combined with punk, and being that Detroit has been an important hosting ground for both, it is only fitting that a few bands still fly the flag for both of these genres. Three local bands have done this well, and they shared the stage with a touring old school hardcore band from Toronto.
Opening were the Plastic Boyz from New Baltimore. Granted, I missed about half of the set because of work, but it wasn’t too big of a deal. Unfortunately they were not quite as spot on as they usually are. Singer Kelly was a tad bit inebriated and forgot some of the words, which led to everyone else messing up a bit and it didn’t quite mesh together well as a sound. However, the Plastic Boyz are still a serious hardcore force for Detroit punk rock if they keep their heads molded on straight.
Next were the Amoebas. Although they only have one 7” for sale, these guys have several songs written and laid out. It is also noteworthy to say that their 7” has the two songs that would fit right in on the radio after the Damned and before the Dead Boys in 1977. Their set is a strong garage sound with punk influences. It is very different from other garage and punk music, and although I can’t stretch it far enough to utter the word ‘unique’, it is a gem, a very rare, very valuable discovery nonetheless. The only complaint I can muster is that they are from Grand Rapids and not Detroit, which means fewer shows here.
Then, the School Jerks came onstage and truly shined. The guitar work is crazy, the drumming is manic, and the singer is a demented, Canadian hellspawn with a snotty, high-pitched voice. This band is hardcore punk incarnate. Let me restate this more clearly: This band is what hardcore punk became notable and beloved for, and they are probably one of the best bands to come out of this genre in the last decade. There are, of course, a few non-punk influences, but this is as 80s hardcore as you can possibly get. Buy their vinyl, spray paint their name on walls, ride a skateboard with their name written on it, do anything to support this band that involves any commitment short of quitting your job. That’s how good they are.
Last up was Kommie Kilpatrick, a humorously named garage out of Wayne State University in downtown Detroit. With their emphasis on short songs about city life, partying and sex, there isn’t a whole lot not to like. While their set was played in front of a handful of people and technical difficulties marred some of the guitar work, the band still did reasonably well. Kommie Kilpatrick has a unique sense of humor they inject into their songs and it is coupled well with simplistic garage punk in the vein of a cleaner version of Teengenerate.
This show was a sweet release from a boring day at work. Investigate the Toronto punk scene; it is really taking off, and with Molested Youth at its side, the School Jerks are the heads of this movement. Take a road trip and check it out!
-Aunty Social
Positive Strike 's/t' CD review
Positive Strike- s/t CD
I had never known Germany could pump out so many punk bands (Slapendehonden, Funeral March, The Spermbirds are among some of them). I came across one such band the other day by means of a Pennsylvania band’s distro box and they suggested I give this band a listen, since I had a Minor Threat back patch on my jacket, and they thought that they sounded a lot like them. I would disagree a bit, but there definitely is a resemblance.
Positive Strike is a pummeling power chord hardcore band, with the speed of Minor Threat with a different, much cleaner guitar. This record goes by very quickly; fifteen tracks in twenty-two minutes is more than enough to give the band the time to say (or scream, in this case) what they want to say. The singer sounds almost exactly like the dude from Municipal Waste with his scream-babbling like an Amtrak chugging along in the middle of the night. The guitar is mostly power chords, but it’s so fast that it doesn’t really matter; the guitar is not the force of most of the songs, the lyrics and vocals are. The rhythm section punches out some pretty fucking serious fury, and in the middle of all of this, is Positive Strike’s self-titled CD. If you see it, buy it; it’s worth a listen for anyone who likes Municipal Waste or some second 7” Minor Threat. Definitely worth at least a few bucks to buy.
-Aunty Social
I had never known Germany could pump out so many punk bands (Slapendehonden, Funeral March, The Spermbirds are among some of them). I came across one such band the other day by means of a Pennsylvania band’s distro box and they suggested I give this band a listen, since I had a Minor Threat back patch on my jacket, and they thought that they sounded a lot like them. I would disagree a bit, but there definitely is a resemblance.
Positive Strike is a pummeling power chord hardcore band, with the speed of Minor Threat with a different, much cleaner guitar. This record goes by very quickly; fifteen tracks in twenty-two minutes is more than enough to give the band the time to say (or scream, in this case) what they want to say. The singer sounds almost exactly like the dude from Municipal Waste with his scream-babbling like an Amtrak chugging along in the middle of the night. The guitar is mostly power chords, but it’s so fast that it doesn’t really matter; the guitar is not the force of most of the songs, the lyrics and vocals are. The rhythm section punches out some pretty fucking serious fury, and in the middle of all of this, is Positive Strike’s self-titled CD. If you see it, buy it; it’s worth a listen for anyone who likes Municipal Waste or some second 7” Minor Threat. Definitely worth at least a few bucks to buy.
-Aunty Social
The Burnouts Rxall Generation EP review
Rxall Generation EP, the Burnouts
I would best describe this EP as bipolar; there are elements of this that I love a lot, and there are some elements that piss me off in a bad way. Let me start off by saying the recording quality on this recording is astonishingly high for a punk band; whoever the engineer was for the EP should probably get their name out there a little more if they haven’t already. The drums, bass, guitar, and vocals are all crystal fucking clear. Not much else could have been done to make the quality of the recording itself higher.
All the songs fuse 80s hardcore punk with some straight-edge hardcore from the late 80s (think youth crew a little bit, at least in the breakdowns and drumming), and some decent singing. The music itself is pretty awesome; the guitars stop and go on a dime, the drumming follows with, and the bass is galloping right along with the music. If you enjoy hardcore punk, feel free to buy/download this EP. It is well worth the couple of bucks it costs, or the time it takes to download it.
The only area where I take some issue is with the vocals. Some of the screams in between the lyrics are reminiscent of a blend of screamo and death metal, and this is okay sometimes, but on a repeated basis begins to annoy the listener, especially in the short length of this recording. In lieu of screamo yelling, I would probably just not say anything. I’m not one to tell people how to play their music, but this is a pretty minor detriment to a pretty damn good band, and it could be solved in one quick fix if they wish. The lyrical content is pretty standard, but pretty standard for punk is above average for all music, so ultimately, I render this EP worth buying and listening to.
-Aunty Social
I would best describe this EP as bipolar; there are elements of this that I love a lot, and there are some elements that piss me off in a bad way. Let me start off by saying the recording quality on this recording is astonishingly high for a punk band; whoever the engineer was for the EP should probably get their name out there a little more if they haven’t already. The drums, bass, guitar, and vocals are all crystal fucking clear. Not much else could have been done to make the quality of the recording itself higher.
All the songs fuse 80s hardcore punk with some straight-edge hardcore from the late 80s (think youth crew a little bit, at least in the breakdowns and drumming), and some decent singing. The music itself is pretty awesome; the guitars stop and go on a dime, the drumming follows with, and the bass is galloping right along with the music. If you enjoy hardcore punk, feel free to buy/download this EP. It is well worth the couple of bucks it costs, or the time it takes to download it.
The only area where I take some issue is with the vocals. Some of the screams in between the lyrics are reminiscent of a blend of screamo and death metal, and this is okay sometimes, but on a repeated basis begins to annoy the listener, especially in the short length of this recording. In lieu of screamo yelling, I would probably just not say anything. I’m not one to tell people how to play their music, but this is a pretty minor detriment to a pretty damn good band, and it could be solved in one quick fix if they wish. The lyrical content is pretty standard, but pretty standard for punk is above average for all music, so ultimately, I render this EP worth buying and listening to.
-Aunty Social
The Family 's/t' CD review
The Family ‘s/t’ CD review
A few select bands have crafted their own genre and crew of sorts here in Detroit. It is a group of guys from tattoo parlors and gyms (mostly, I can’t speak for all of them) who come together to play music. They all play similarly styled music, but it is a little different in each of its own ways. Bloody Knuckle Combat, H8 Inc., Dogz of War, and The Family are among this group. They are all family men with decent-paying jobs and still find the time to get together and create some very heavy, very angry music. Case in point: The Family’s self-titled ten-track CD that was recently released.
The music on this CD is pretty decent. Most of the time, the beat doesn’t exceed the 4/4 beat, and coming from someone who enjoys pulse-pounding 80s hardcore, this can be a bit of a drag. Still, the sound is very consistent, very clean, and the tempo does pick up at certain points. It does what it promises: It is loud, full of rage, and conveys these feelings to the listener in a very concise fashion. AS for the 4/4 criticisms, that’s what some people like. I myself enjoyed listening to the CD and it is worth the $10, but in the end, I’m a geek for fast, loud, and unintelligible. This band is worth checking out, however. Buy the CD, strike up a conversation, and maybe even go to a show! These guys were nice enough to sell me a CD before they even played after I was ejected from their CD release party for being underage, so they’ve got class, and they’ve got a 23-minute, ten track CD. Go out and support!
-Aunty Social
A few select bands have crafted their own genre and crew of sorts here in Detroit. It is a group of guys from tattoo parlors and gyms (mostly, I can’t speak for all of them) who come together to play music. They all play similarly styled music, but it is a little different in each of its own ways. Bloody Knuckle Combat, H8 Inc., Dogz of War, and The Family are among this group. They are all family men with decent-paying jobs and still find the time to get together and create some very heavy, very angry music. Case in point: The Family’s self-titled ten-track CD that was recently released.
The music on this CD is pretty decent. Most of the time, the beat doesn’t exceed the 4/4 beat, and coming from someone who enjoys pulse-pounding 80s hardcore, this can be a bit of a drag. Still, the sound is very consistent, very clean, and the tempo does pick up at certain points. It does what it promises: It is loud, full of rage, and conveys these feelings to the listener in a very concise fashion. AS for the 4/4 criticisms, that’s what some people like. I myself enjoyed listening to the CD and it is worth the $10, but in the end, I’m a geek for fast, loud, and unintelligible. This band is worth checking out, however. Buy the CD, strike up a conversation, and maybe even go to a show! These guys were nice enough to sell me a CD before they even played after I was ejected from their CD release party for being underage, so they’ve got class, and they’ve got a 23-minute, ten track CD. Go out and support!
-Aunty Social
Interview with Garold Vallie
Garold Vallie interview
1. Who are you and what do you do now, for those who haven’t heard?
My name is Garold Scott Vallie. I am a professional skateboarder from Southgate, MI. I played drums in the hardcore band, Captain Feedback in the 90’s. I do a bunch of stuff, but currently I am shopping a TV pilot, do an internet radio show, skate, speak to schools, writing a book, produce art, skate….all trying to influence the younger generation to get off the couch, DIY, be yourself, follow your passion.
2. When and how did you get into punk rock? Did friends play a part or did you discover it on your own?
My cousin, Tim Tolley came to visit from California and brought the Dead Kennedys, Bed Time for Democracy with him. I was sold. I then started searching it out. At that time I was skating a vert ramp, Downriver, with some older guys…John had a big Mohawk and Bob had a shaved head, they were into a bunch of hardcore stuff. Those guys are who I wanted to be and so I wanted to listen to that music and follow what they did.
3. How do you feel skateboarding and punk rock continue to represent and relate to one another? Is it a corporate sponsorship connection (similar to how Vans is) or is it about something like similar ideals?
For me, skateboarding, punk rock, art…it’s all creativity and there are no rules. You can do it the way you want to. That is the connection. Punk rock has always been; DIY, do it your way, there is no uniform, structure, you really can’t do it wrong…its independence. Skateboarding is that same thing. Vans and the corporate thing, they helped me a lot with the Warped tour contest series, and have introduced a lot of great bands to a new generation, so in that sense they have helped punk get a wider audience. I am not all for the; go to the mall, buy the uniform, etc. Punk should be independent, do your thing….like I said, no rules.
4. What was playing in Captain Feedback like? Did you attract some decent crowds for shows? What was your favorite venue to play?
Playing in Captain Feedback was a great time in my life. I was skating a ton, working full time, and playing in a band….does it get any better? Eric and Jerry were the best bandmates and we had a lot of fun. We played some great shows at St. Andrews and the Miami. I liked the Miami a lot.
5. What was the Detroit punk scene like in the 1990s? Were there any particular up or down points that made a difference in its history?
For me, I thought the scene was real cool. It was still what I was excited about. Bands like the Clone Defects kept things true, and younger guys were killing it like the Scurvies. There were great bands and great friends. You know, even bands like Mudhoney and some of the Sub Pop stuff was still cool. People showed up, drank some beers, and danced. One of my most memorable shows was Stiff Little Fingers…that was freakin PUNK. They were dressed like dads. It was probably 95 (maybe) and they were not in any kind of; I wanna be 18, gear. They wailed and I was glad to see them.
6. Did you ever go to the original Blondies? If so, what was your opinion/feelings on it? Nope.
7. What was your favorite band of the old Detroit punk guard? Do you have a current favorite?
I liked a lot of Ska at that time as well. I really liked going to see Gangster Fun and the Exceptions; my favorite in the early 90’s was Hoarse. They were a little more poppy, but John Speck is a great guy and continues to produce quality music. I am a Suicide Machines fan (not sure if that is later)…Hellmouth is great by the way. I also like the A-Gang.
8. Why do you think people still look down on punk rock and skateboarding with a negative attitude, with a lot of unsupported assumptions? (Case in point, the Baltimore cop harassing the teenager a couple of years ago, video of it is on YouTube)
Well, I think it has changed. Skateboarding, if you play by the rules they put in place, is okay. Same with punk rock. If you go and buy the uniform at the mall and don’t go too far, you are okay. It’s when you push the envelope, take things to an uncomfortable limit…that’s when there’s friction. The real punks ask the questions and bring up issues that people just don’t want to address….that’s when trouble starts with anything.
9. Do you think any punk rock scene can be brought back up to the level of popularity it was at in the 80s? What do you think can be done, if anything?
I think shows like ‘Keep it a Threat’ are great. Zines like this are what the foundation of punk was built on. The Detroit scene is real cool and I think when you have economic and political unrest, Punk rock really gets some momentum. People who are really into Punk think for themselves and have a drive that few have. Why do you do a Zine, why does Transitions put on a concert, why do people screen shirts in there basement….the original ideals are still there. So much is handed to people now a days….people need to work for a cause, for what they want…it makes it 100 times better and worth it.
10. Does the advent of the World Wide Web, Photoshop, and the ease of use in technology help or hurt something like punk rock, which is more of a simplistic DIY lifestyle created without much technology?
No. It just gives a new avenue. You can reach so many people and do so much because of the ease. I have created a TV show, radio show, and continue to have ideas….look them up on the net….know that I can do anything and figure it out. I am not a TV person. Looked it up, figured it out, did it. That’s the DIY punk ethic…..get off your ass and do it….don’t talk about it. I don’t have to go to the library and read about screen printing. I can get it instantly and print tomorrow.
11. What kind of skateboards do you ride? Do you have a particular place you prefer to ride?
I have rode for several bigger companies and decided I didn’t really dig some of the stuff they did, so I joined with a partner and started a company in 2004. After 4 years and the company not doing what I was hoping, I decided to start my own company….PRPL HRT skateboards. We are 2 years deep, in 5 states, Canada….I do it. The graphics, the web, the team….I am not saying that for any kind of ego boost, I am saying that because….DO IT YOURSELF. PRPL HRT Has been built by word of mouth, being cool, showing up, skating, eating at peoples house, meeting new friends, sleeping on floors….I learned that by coming up the way I did.
12. Is it more fun to skate at a park on ramps or on the streets among other people? Why?
I like skating backyard ramps, pools and bowls. The new parks are great. Farmington Hills (Riley Park) is an amazing place. We didn’t have that growing up. I have friend that still rage the streets….break out generators and lights to skate a spot…that’s rad too. Skating…if its rolling done the street, doing a frontside grind or a switch tre, it doesn’t matter….it’s all good.
13. Why do you think kids don’t take as much of an interest in punk rock as before?
It’s different. They think that Punk rock is what you buy at Best Buy. There is some good music there, but the local scene…the actual people producing their own stuff…that’s what Punk was originally built on and kids don’t even know it exists. I brought a 12 year old with me to ‘Keep it a Threat’. It was my buddy’s son and he wanted to hang out and skate. That young person is a true punk fan and will chase it. He saw what the real deal is and wants a part of it. People like Bill Danforth, Duane Peters, John Broge, and Elmer Vallie….those are the guys I looked up to and I am trying to give the younger generation someone like that.
14. Anything you would like to add?
I want to thank you Dave for doing this. I wanna thank; PRPL HRT, VOX shoes, ATS skateshop, Indy, EFX, Global Vision, AGA, MID….I still what I do because people like that let me. THANKS.
1. Who are you and what do you do now, for those who haven’t heard?
My name is Garold Scott Vallie. I am a professional skateboarder from Southgate, MI. I played drums in the hardcore band, Captain Feedback in the 90’s. I do a bunch of stuff, but currently I am shopping a TV pilot, do an internet radio show, skate, speak to schools, writing a book, produce art, skate….all trying to influence the younger generation to get off the couch, DIY, be yourself, follow your passion.
2. When and how did you get into punk rock? Did friends play a part or did you discover it on your own?
My cousin, Tim Tolley came to visit from California and brought the Dead Kennedys, Bed Time for Democracy with him. I was sold. I then started searching it out. At that time I was skating a vert ramp, Downriver, with some older guys…John had a big Mohawk and Bob had a shaved head, they were into a bunch of hardcore stuff. Those guys are who I wanted to be and so I wanted to listen to that music and follow what they did.
3. How do you feel skateboarding and punk rock continue to represent and relate to one another? Is it a corporate sponsorship connection (similar to how Vans is) or is it about something like similar ideals?
For me, skateboarding, punk rock, art…it’s all creativity and there are no rules. You can do it the way you want to. That is the connection. Punk rock has always been; DIY, do it your way, there is no uniform, structure, you really can’t do it wrong…its independence. Skateboarding is that same thing. Vans and the corporate thing, they helped me a lot with the Warped tour contest series, and have introduced a lot of great bands to a new generation, so in that sense they have helped punk get a wider audience. I am not all for the; go to the mall, buy the uniform, etc. Punk should be independent, do your thing….like I said, no rules.
4. What was playing in Captain Feedback like? Did you attract some decent crowds for shows? What was your favorite venue to play?
Playing in Captain Feedback was a great time in my life. I was skating a ton, working full time, and playing in a band….does it get any better? Eric and Jerry were the best bandmates and we had a lot of fun. We played some great shows at St. Andrews and the Miami. I liked the Miami a lot.
5. What was the Detroit punk scene like in the 1990s? Were there any particular up or down points that made a difference in its history?
For me, I thought the scene was real cool. It was still what I was excited about. Bands like the Clone Defects kept things true, and younger guys were killing it like the Scurvies. There were great bands and great friends. You know, even bands like Mudhoney and some of the Sub Pop stuff was still cool. People showed up, drank some beers, and danced. One of my most memorable shows was Stiff Little Fingers…that was freakin PUNK. They were dressed like dads. It was probably 95 (maybe) and they were not in any kind of; I wanna be 18, gear. They wailed and I was glad to see them.
6. Did you ever go to the original Blondies? If so, what was your opinion/feelings on it? Nope.
7. What was your favorite band of the old Detroit punk guard? Do you have a current favorite?
I liked a lot of Ska at that time as well. I really liked going to see Gangster Fun and the Exceptions; my favorite in the early 90’s was Hoarse. They were a little more poppy, but John Speck is a great guy and continues to produce quality music. I am a Suicide Machines fan (not sure if that is later)…Hellmouth is great by the way. I also like the A-Gang.
8. Why do you think people still look down on punk rock and skateboarding with a negative attitude, with a lot of unsupported assumptions? (Case in point, the Baltimore cop harassing the teenager a couple of years ago, video of it is on YouTube)
Well, I think it has changed. Skateboarding, if you play by the rules they put in place, is okay. Same with punk rock. If you go and buy the uniform at the mall and don’t go too far, you are okay. It’s when you push the envelope, take things to an uncomfortable limit…that’s when there’s friction. The real punks ask the questions and bring up issues that people just don’t want to address….that’s when trouble starts with anything.
9. Do you think any punk rock scene can be brought back up to the level of popularity it was at in the 80s? What do you think can be done, if anything?
I think shows like ‘Keep it a Threat’ are great. Zines like this are what the foundation of punk was built on. The Detroit scene is real cool and I think when you have economic and political unrest, Punk rock really gets some momentum. People who are really into Punk think for themselves and have a drive that few have. Why do you do a Zine, why does Transitions put on a concert, why do people screen shirts in there basement….the original ideals are still there. So much is handed to people now a days….people need to work for a cause, for what they want…it makes it 100 times better and worth it.
10. Does the advent of the World Wide Web, Photoshop, and the ease of use in technology help or hurt something like punk rock, which is more of a simplistic DIY lifestyle created without much technology?
No. It just gives a new avenue. You can reach so many people and do so much because of the ease. I have created a TV show, radio show, and continue to have ideas….look them up on the net….know that I can do anything and figure it out. I am not a TV person. Looked it up, figured it out, did it. That’s the DIY punk ethic…..get off your ass and do it….don’t talk about it. I don’t have to go to the library and read about screen printing. I can get it instantly and print tomorrow.
11. What kind of skateboards do you ride? Do you have a particular place you prefer to ride?
I have rode for several bigger companies and decided I didn’t really dig some of the stuff they did, so I joined with a partner and started a company in 2004. After 4 years and the company not doing what I was hoping, I decided to start my own company….PRPL HRT skateboards. We are 2 years deep, in 5 states, Canada….I do it. The graphics, the web, the team….I am not saying that for any kind of ego boost, I am saying that because….DO IT YOURSELF. PRPL HRT Has been built by word of mouth, being cool, showing up, skating, eating at peoples house, meeting new friends, sleeping on floors….I learned that by coming up the way I did.
12. Is it more fun to skate at a park on ramps or on the streets among other people? Why?
I like skating backyard ramps, pools and bowls. The new parks are great. Farmington Hills (Riley Park) is an amazing place. We didn’t have that growing up. I have friend that still rage the streets….break out generators and lights to skate a spot…that’s rad too. Skating…if its rolling done the street, doing a frontside grind or a switch tre, it doesn’t matter….it’s all good.
13. Why do you think kids don’t take as much of an interest in punk rock as before?
It’s different. They think that Punk rock is what you buy at Best Buy. There is some good music there, but the local scene…the actual people producing their own stuff…that’s what Punk was originally built on and kids don’t even know it exists. I brought a 12 year old with me to ‘Keep it a Threat’. It was my buddy’s son and he wanted to hang out and skate. That young person is a true punk fan and will chase it. He saw what the real deal is and wants a part of it. People like Bill Danforth, Duane Peters, John Broge, and Elmer Vallie….those are the guys I looked up to and I am trying to give the younger generation someone like that.
14. Anything you would like to add?
I want to thank you Dave for doing this. I wanna thank; PRPL HRT, VOX shoes, ATS skateshop, Indy, EFX, Global Vision, AGA, MID….I still what I do because people like that let me. THANKS.
Interview with J. Voltage from Aggro or Die!
Interview with J. Voltage from Aggro or Die!
1. What was your first introduction to punk rock? What was that like for you to experience?
Well I guess that would depend on your definition of "first experience". It's funny really but as a kid I had no idea the music I listened to was punk rock at all. Like most kids growing up I just listened to what my parents listened to. And children just like what they're parents like because we look up to them. But I had really cool parents and people in my life especially in my teenage years. My step father Gary was one of them. So in sorts you could say my first punk rock experience was seeing the Ramones play the Michigan State Fairgrounds. But I was way too young to fully wrap my head around that at the time.
So, I feel my first real punk rock experience was in high school. You see I got in a fight with some kids over this Black Flag shirt I wore to school that day. I stole this shirt from my step-dad’s closet before school that morning. Ya know, so I could be "cool" and wear a sweet ass punk shirt seeing as I had the attitude to match. And it back fired. All that day kids called me "Black Fag" until I just couldn't take it anymore. So I tried to kick their asses even though I failed they never called me "black fag" ever again. So I ran all the way home and as I approached my front door I realized that in the fight I had gotten blood and rips on his shirt. And I knew he'd be at the table next to the front door waiting for me to come home so we can shoot the shit.
SO I flipped it inside out. And as soon as I got the shirt back on he opened the front door. What was I thinking? How was I to hide a white shirt with black letters on the front now saying "galF kcalB" across my chest? And not to mention the fact that it was pretty much destroyed. He just stood in the door way looking down at me. He took off his ball cap, wiped the sweat from his fore head, twice, and smirked.
Hiding his laughter he said as stern as he could "dude, we need to talk". "SO you like that band?" he said. So I was like "umm yeah dude, they're pretty rad?" He knew I just wore it because he liked them, and talked about them all the time. And all the kids in my school had no idea about music unless it was on MTV and it would make the kids think I was cutting edge or something. Dude we all start off as posers, right? He thought this was like the opportunity of a lifetime. He said "Kid, have I got a surprise for you, Mr. punk rocker!" He brought out four huge ass crates of records, reels, and note books. You see, he used to book and interview bands back in the late 70's up to the mid 80's. The man had tons of cool shit and just gave to me. Most kids get into punk rock because their parents or society doesn’t understand them. But for me it was very different, like I said my parents were very cool.
And as for my first taste of a "real punk rock show". That next weekend my step dad was reading the local rag or ‘zine. He was laughing out loud as he said "tomorrow I'm taking you to a real punk rock show". "but I'll let you choose, seeing as you like punk bands based on the name of the band alone, so Butthole Surfers or Jack Kevorkian and the Suicide Machines, what’s it gonna be?" I chose the Suicide Machines. I can remember being there with my step dad and all the kids calling me a poser. And he told me we’re all posers at one time or another. He said "Fuck ‘em; none of these assholes have parents cool enough to get in the pit with them". And ya know, he was right. I jumped in the pit and never looked back.
2. What band were you in (including high school bands) before Aggro or Die! became your primary project?
Well I tried to start a band in high school. But a majority of kids I went to school with just did not get me at all. Well, With the exception of one dude I tried to make a band with. But he told all the kids we toured across country with Rancid, which never happened. That pretty much ruined my chances of starting anything serious while I was in high school. But in the summer of 98', I was asked by a friend of mine to start a "project of sorts" and after months of asking he finally lured me to his parents’ house to start Nuke and the Toxic Offenders. That band played its first show on Halloween night in 1999. We were a band until December 2002.
It started as a cure for our boredom and to have an excuse to get off the couch and do something on the weekends. We didn't really have a lot of friends, and weren't particularly cool or anything. We never really knew the potential of that band until that potential outgrew the band. We were also a bit naive as well, but that band would eventually be the driving force behind the things Nuke and I do today. To this day he is one of my closest friends.
3. When did A.O.D.! really begin to come to fruition?
You mean like how Aggro or Die! got started? Okay, well as I was saying in the last question, after Nuke and I had parted ways in 2002. I was devastated; I had basically locked myself up in my basement for almost two years. Yeah you could say I took it hard. I did. During that time I wrote some very angry music. At first I was just going to do The Toxic Offenders minus nuke with all new music. I was originally going to do the vocals for this band. But all in all, I just wanted to step away from the Toxic Offenders thing all together. In hindsight I felt too bitter, but didn't want it to show. And besides if I was to do a band like nuke at all I'd have to be able to compete with his vocals. No chance dude! I'm no singer for sure. So I dropped that all together. And besides as the two years went by, my anger towards Nuke was beginning to fade. So I proposed the idea on the guys.
At the time it was Dave Bones and "then" Mark Evil of the Toxic Offenders. I tried to sing for my first time and the boys suggested that we look for another singer. So, I took that as defeat and just gave in. But my brother Mike stepped in. Just as I threw in the towel he was right behind me to snap me right in the ass with it. He made me a bet that he could get some dudes that not only get my music, but won't give a shit about the Nuke stuff. Even though we had been trying various musicians for the last two years, they all ended in "You don't wanna sound like nuke?" to "Dude this shit is way too fast! You never played this fast in Nuke!" But that was my whole point! I didn't want to. I was trying to do something that said more about who I am. My brother Mike found Eddie later that week. Now, I had named Aggro or Die! long before this, I was just unsure on how to explain the name. So I just used the acronym. "A.O.D" and told everyone who ever tried out that the name is up for debate but "A.O.D" is not. I had a purpose with that but with new band mates coming in, I didn't wanna scare ‘em off with a name they might not get.
Eddie got his friend Eric to play bass and knew a guy named Matt who was interested in singing, which was good for me cus' I'm a bit of a chicken shit. Not soon after, I got with guys and had to explain "A.O.D". This bits a little on the personal side but I'll tell ya. Aggro or die! means many things. On one side, it's the name of a song by my favorite band, 7 Seconds. On the personal end it was my way of reminding me of where I came from. And while I may be able to many things with this life, to quit is not one of them. So the name Aggro or Die! is my analogy for how I live my life. It's like do or die to the very fullest of the term. Or simply shit or get off the pot.
They all had ideas for "A.O.D." but I just wanted to use Aggro or die! and since then I've yet to run into a kid that doesn't say "what is an Aggro or Die!?" and cus' I like to explain how I came up with the name. It feels personal to me. As well as to tell it. And I never get tired of it. After all, naming a band is supposed to be personal, it don't get more personal than that. And ironically enough, Aggro or Die! played its first show with Nuke and the Living Dead on January 21st of 2006. Aggro or Die! took four years to happen.
4. What was playing in Nuke and the Toxic Offenders like?
Ummm, a blur. I'm kidding. It was over way too fast though. I had some very cool moments being in Nuke and the Toxic Offenders. At first the scene for the kind of music we played hadn't really hit Detroit too hard yet. Plus I'm pretty sure we just wrote what we were capable of at first. We were no musicians at the time we started out. But as time went on we really pushed the whole "punk rock and roll thing" mixing up old style rock and roll with surf and punk. In the end I think we were very capable of crafting the sound we wanted. And before too long, bands were
following in our footsteps. I won't lie about it, it felt pretty cool. That band catapulted me into music so hard, it's all I known ever since.
Nuke had very strict practice and show routines. Nuke was a very well organized front man. I've learned a whole lot from him. The one thing about the Toxic Offenders I really liked most was not really having a scene to answer to. We kinda carved our own path. And we just did not take shit from anyone. The best part of being in the Toxic Offenders was living by our own rules. That and well, being offensive to those we thought were dicks anyway. Some highlights that I remember most are seeing great bands like the Koffin Kats, V8 Nightmare at first, playing many of their first shows with Nuke and the Toxic Offenders. Shit it's downright surreal having Vic Victor hold the Toxic Offenders as highly as he does. In many ways he has kept the spirit of my first band alive and well. Nuke and I poke around at the idea of doing a reunion show every so often. Who knows maybe we'll actually do it someday.
5. Does punk rock mean as much to you as it did when you were younger? Why?
I'd say more in every way possible. I mean while you’re a kid, punk is kinda a place of belonging or something different to get into that kinda separates you from the pack. But as I get older, I realize how much more than that it is. You begin to realize its potential as a vehicle for your generation’s voice. When I first got into punk all I cared about was going to shows or what band was playing and with whom, never really paying attention what went into getting bands into the shows and the kids into the music.
And now it seems as though the kids have become numb to music at all, or at least enough to feel it directly, in the scene that is. Scenes have pretty much dwindled away. And well, let’s face it, Michigan is broke and so are half the bars and clubs. So that plays a factor in lack of places for bands to play. And that causes a lack of interest in the kids. And I think if the kids don't see this as a huge problem. Punk as you and I know it will die. If we don't care enough to raise our voices, or think in radical ways, the music and scene we all say we love will vanish into obscurity. So yeah, it means way more now than it did then. I think I owe it myself as well as others to keep this thing going. Or at least give it my best shot.
6. Was it hard to adjust to doing vocals after Matt left?
I'd be a liar if I said no. Matt was a great singer and front man. As well as an amazing and dynamic personality for Aggro or Die!. When Matt announced his leaving Aggro, his last request as a member of Aggro or Die! was that he do a final record with us, and that I should pick up
after him as the bands lead singer, just as I should have when the band initially started. And his reasons were all valid. If I write most of the words and music, then having me sing them would make sense. If anything, I'd mean the words more than anyone else. And that's a huge part of Aggro or Die!. However, mixed feedback from friends, fans and family, having me sing and not play guitar just didn't seem like the thing for us.
And we've had great support in this transition. Jason (Hellmouth) had our back and suggested we try his friend Jeff out. And while Jeff was a perfect fit vocally, he was far too busy at that moment in his life, as well not wanting to support a record that he would not full be on. At that time we were still thinking having Matt on the record would not be a bad idea. In his words as well as our own, a singer should support and push a record if they plan to be on it. And well, that's a very true statement. So even though things did not work out with Jeff, he left a more than lasting impression on us. We then decided to lessen vocals for Matt on the up and coming record. Half Matt, half me. But unfortunately through poor communication, Matt didn't like the idea at all. And while I understand Matt's point of view, if Aggro or Die! were going to move in the forward direction, we should just start over.
So I took Jeff's advice and decided to front Aggro or Die! myself. And while it's been difficult to adjust to, my band mates have given positive feedback and are happy with this decision. No doubt it feels different not having a guitar do the talking for me. I am content on how things are coming along. Hell, I've never sung for anybody let alone front a band. But I like the feeling I get doing it.
7. Has Aggro or Die! changed its sound now that you’re singing?
I'm sure it may sound different on record. But that has always been a goal for us. Aggro or Die! really doesn't have a specific sound to be exact. Or at least, not in my opinion. We kinda just go with a general theme for the record side of things while focusing on live shows and maintaining our own sound for them. As for the vocals, that's up to the listener to judge. But I think things are a bit more fleshed out these days. We are very picky about things like that and so far the responses have been very positive and encouraging. So in a nutshell I'd say in some regards, yes. But in spirit, no. We didn't have to change musically to fit my voice into the mix. Instead I've worked my vocals around the music.
8. Do you listen to primarily punk rock from around the world, the U.S. or Detroit? Why?
I love music from all over the world dude. It's always cool to reach out and embrace music on a global scale. Be it punk, hardcore, ska, thrash etc. from all walks of life. We do heavily support Detroit and local music, mostly cus' we feel we are a part of it too. And I think it's easy to relate to because Detroit bands speak a common language that kids from Detroit see and feel on a daily basis. Because I live here, Detroit music is a soundtrack to my everyday life. But music is music, and wherever it comes from isn't so much a factor. I'm just happy knowing that kids everywhere are out there doing it. I'm always stoked to see young minds creating a voice through their music.
9. Have you played with any out-of-state bands? Who and when?
Yes, and I'd say too many to recall all of them. But there are a few that have stolen our hearts. Quarterlife Crisis is a band that we've grown very close to. They are from Long Beach, New York. If ya haven't heard of them yet, get to a computer quick and look ‘em up. We have been
friends since we first played with them in 2006 here in Detroit at the 2500 Club. We have taken two small tours with them, on the East Coast as well as the Midwest. Last summer was a great tour; short but powerful. We also played with great bands like the Alcoholocaust, Seasick, Iron
Minds, and the dudes from Thrashantos. Also keep in mind all the great out of state bands that come out to Keep it a Threat fest.
10. When did you conjure up the idea for the Keep It a Threat festival?
Well it's been a thought of mine for quite a while. Even in the first 7” that Aggro or Die! did, I mentioned keep it a threat at the end of my closing statement. That was more than a year from the first KIAT. But the KIAT we know as the fest was a collaboration between me and my friend, Dougie Tangent. He was playing with his band the Dewtons at Jamestowne Hall in Saginaw when we got together after he had played and talked a bit about the "good old days", when shit was D.I.Y. and you could go and see a shit ton of awesome bands from all over the place at one show, as well as find out about bands and how to start one as well. Nowadays, people horde info like that because they think that it's some kind of privileged information for them or their peers, like-minded as they are. And that they keep they're scene "poser" free by establishing a bullshit hierarchy. That they in turn feel like pillars of their scenes because they know "people". Fuck people like that! They are the reason the scene has dwindled down to just them.
The original idea was just to throw a big ass show that involved skateboarding, punk rock and its community. And throw a show in a place where kids could skate and thrash at the same time. And do it here in southeast Michigan, where we are from. All the good fests are never in Southeast Michigan anymore. So why not have one of our own, right? And a place to get kids into music as well as creating it. To me the "Threat" is how society views opinionated and socially aware young kids, and the impact they have on their structure. And if kids no longer express that threat, or stand up and voice themselves, then punk music or whatever it may be called in the future is pretty much doomed. The fest I remember that conveyed that message to me was Michigan fest.
Michigan fest was really cool back in the day. I remembered everything about it. The bands, the booths that all the D.I.Y. and local bands had showcasing the how-to's for copyrights, making your own merch, and even booking your own tours. And it was the first time I saw Los Crudos too! That show changed my life, and Dougie's too, cus' we shared countless stories about that same show. We just felt that was lacking today. So we just wanted to do our part in preserving something that gave us so much to look forward to and give it to kids who don't have that much to look forward to these days. On a personal end, to me, KIAT was also my way of keep up with my step dad Gary, who did plenty of shows in his time with bands like Negative Approach, Black Flag and countless others. Without him in my life KIAT would have never happened. He passed away just a few weeks before first taste of what it was like to walk in his shoes. I could totally see him out there, that "old dude" moshing with the kids. He would have loved it.
11. What bands do you have confirmed for the second annual festival? Where can people go to find more information about it as it approaches?
Well, Dave. I just can't spill all the beans just yet. But you can bet on Aggro or die! and D.A. to be there. As well as Iron Minds, A.T.G., and the A-Gang are all confirmed, and have been. But it's way too early to give any more details with how things go. The actual line up will no doubt change as it did last year right on up to the last minute. So not being a dude to write a check my ass can't cash, best way to stay informed is to check with the website. www.myspace.com/keepitathreat. We are always talking to bands from all over, as well as taking advice from bands and kids alike. We are doing this for all of us: young and old, hardcore and poser. Keep it a threat is about bringing music to kids of all kinds.
12. Do you feel the first Keep It a Threat festival was a success?
Absolutely; if you’re asking questions about it, or other kids are asking about it, then yes. There were lots of things I wish we could have done better. But we'll learn from it and carry that over in years to come. I'm having fun with it and that's what counts.
13. What is the primary message you want to communicate with this festival?
Stand up and do something! So many out there will bitch cus' they’ve got no place to play or see shows, or there aren’t any bands out there anymore and nobody does it like they used to. It's the same excuse, but really it's because people lack creativity and ingenuity. I say, start your own bands, make your own places to play! Fuck, kids did it in empty warehouses with generators hooked up to car batteries and shit, or in abandoned houses with kids pressing their own t-shirts and patches, or young aspiring journalists out there, putting in tons of hours at the local copy house making ‘zines. Fuck! Make your own labels for crying out loud! If you create it the only one that can kill it is you. With all that we have at our disposal these days, it's a shame that most kids don't even lift a finger. So, in short, the message I want to communicate is: Get off your ass today and make a history of your own! And while back in the day is great to remember, if our minds rest on yesterday, we won't have shit to look forward to tomorrow.
14. What your regular ‘adult’ lifestyle, do you still go to shows? How often?
Not nearly as often as I'd like too. But I do get out every once in a while. Aggro plays tons of shows, so in that light, I see plenty. But I do like see other bands, especially ones that don't play near me often, or bands that I hear about a lot. And with Aggro making a new record the last few months have been largely spent away from shows. And being a full time parent of a two and a half year old can slow down shows a bit. But all in all, as long as Aggro keeps playing shows, I'll always be able to catch shows. I just can't wait till my son is old enough to go to shows. I hope I don't embarrass him. I thought it was cool going to shows with my step dad.
15. What’s your favorite local band to watch/listen to?
I guess that depends on my mood. I love lots of local bands. But some of them really get my motor going at the end of the day. If I'm particularly in a shitty mood from work Hellmouth is an awesome stress reliever! The Hand-Me Downs have a way of making me feel good too. They are fun as hell to see. And if I'm feeling down, they are always there to pick me up. D.A. is an awesome band too. They rip it up fast as fuck and some of the best times I've spent at shows recently have been at theirs. D.A. was also the first band Aggro played with that made me turn to the dudes and say "We gotta tighten shit up dudes! These guys are way tight with each other!" I've been turned on to some other bands very recently that blew my mind. Trace the Veins are the shit; high energy dude. They came out of left field to me dude. They are like my new must see band. Them and Against the Grain, who are both amazing as hell to see. And of course all these bands are in my cars CD player, always!
16. What can others do to support their local punk rock scene? Is there something they shouldn’t do?
Well, dude. I think what you are doing is very cool. Writing about bands, music, and the scene is a very productive and lasting thing, especially if it comes from kids with a non biased agenda. Not talking about reviews or anything like that. That's important in putting your opinion of a band out there for kids to read about. But the thing I'm talking about is capturing the experience of what it’s like to be there. Not to mention that it’s important in creating the images or capturing
the memories that can be shared when were all dead and gone. If not for active kids like yourself, punk would have died long time ago. So thank you. What's not cool is pushing other kids away from it. Like I've stated before, we are all posers at one time or another. If we segregate other kids based on musical tastes, we thin out the scene, furthermore destroying what it means to be a punk. I think it's all of our responsibility to create a lasting impression on the youth. After all, they will be doing it way after we do and so on. If we are to survive, we have to get over ourselves.
People being assholes to kids for not being in the know will leave a nasty taste in my mouth; it's just not necessary to be that way. Also, being inventive as far as how we do shows or how we create or put out music is imperative to survival in this day and age. Seeing how things are here in Detroit with our economic situation, D.I.Y. is the way to do it. And the very most important thing of all is talk about it. Make the kids aware of it.
17. Is it a little bit ironic that punk rock, which is mostly liberal, is inhabited almost entirely by young white males? If that’s a bad thing, what can be done to change it?
I think..., Wow! Dave that's tough! Myself, I'd love to see all kinds of kids from every walk of life into what I do. But it's in what people have made it out to be. I think that girls don't come to shows too often because most kids aren't aware of them in mosh pits, or in the worst case scenario, are too aware of them. And take advantage of them not being able to defend themselves from grabby teenage hands. It's completely inappropriate but it happens all too often to girls.
As far as say, kids of other ethnic backgrounds, I'd say that's up to the individuals themselves. Again, it's in what people have made punk out to be. But if we continue to see it as black or white, boy or girl we are only walking in the wrong direction simply by acknowledging a difference between them. It is simple, a kid at a show is still a kid at a show regardless of race and gender. I think the right thing to do is create a positive and lasting experience for those around you regardless who it is, and if we continue to emphasize that type of mentality, we'll get
there. It takes all of us to make things like that happen. Communicate that and it will happen.
18. How is your new full-length coming along? When do you think it will be out?
As of this time, we're about 75 % done. But we want it to be perfect. So it's kinda like a "It'll be done when it's done" situation. We do everything D.I.Y. So money and getting shit recorded during shows and work schedules have played a role in the lengthy process of putting this thing together. But I'd say it should be out no later than late summer. We have a reason for that, but you'll have to wait to know exactly what I mean.
At this point only three tracks need vocals, art is being produced, and money has been saved up. So there's still hope of getting this thing done for Keep it a Threat fest. Fact is, we just want this record to be special. It's a huge turning point for us, and kids who listen to us deserve nothing but the best out of us. I can tell you I'm very proud of it thus far. And we hope you dig it too.
19. How much time and effort goes into managing a band?
Well, let's put it this way, you really gotta love it to do it. It can be enormously tough at times. And while it may be easier to have someone else do it for you, it always feels 10 times more rewarding when you do it yourself. Working with bands and venues can be stressful, cus' you
never want to step on toes, and someone almost always seems to feel screwed out of something at one point or another. But when you get things rolling in the right direction there's no better feeling on earth.
I'd also say that reaching out to a community of like minded people is a must. Nothing can truly be done alone. Things like word of mouth, advertising, and just getting kids into it. It takes everyone to do that. I'm sure you know that. Putting out a record or comp isn't all
peaches and pussy dude. But seeing it in a kids hand, or hearing about it through other kids is an awesome feeling.
20. Anything else we missed that you want people to be aware of?
Yes. Each other. And by that I mean in the pit or in other social settings. Kids don't get into punk or any other scene because they want to be disrespected, beaten at shows, or hurt by those they think are on their level. I speak from a lot of my own personal experiences. I know and very much remember what it feels like to be an outsider looking into something I thought I belonged to. Hate is just ignorant.
1. What was your first introduction to punk rock? What was that like for you to experience?
Well I guess that would depend on your definition of "first experience". It's funny really but as a kid I had no idea the music I listened to was punk rock at all. Like most kids growing up I just listened to what my parents listened to. And children just like what they're parents like because we look up to them. But I had really cool parents and people in my life especially in my teenage years. My step father Gary was one of them. So in sorts you could say my first punk rock experience was seeing the Ramones play the Michigan State Fairgrounds. But I was way too young to fully wrap my head around that at the time.
So, I feel my first real punk rock experience was in high school. You see I got in a fight with some kids over this Black Flag shirt I wore to school that day. I stole this shirt from my step-dad’s closet before school that morning. Ya know, so I could be "cool" and wear a sweet ass punk shirt seeing as I had the attitude to match. And it back fired. All that day kids called me "Black Fag" until I just couldn't take it anymore. So I tried to kick their asses even though I failed they never called me "black fag" ever again. So I ran all the way home and as I approached my front door I realized that in the fight I had gotten blood and rips on his shirt. And I knew he'd be at the table next to the front door waiting for me to come home so we can shoot the shit.
SO I flipped it inside out. And as soon as I got the shirt back on he opened the front door. What was I thinking? How was I to hide a white shirt with black letters on the front now saying "galF kcalB" across my chest? And not to mention the fact that it was pretty much destroyed. He just stood in the door way looking down at me. He took off his ball cap, wiped the sweat from his fore head, twice, and smirked.
Hiding his laughter he said as stern as he could "dude, we need to talk". "SO you like that band?" he said. So I was like "umm yeah dude, they're pretty rad?" He knew I just wore it because he liked them, and talked about them all the time. And all the kids in my school had no idea about music unless it was on MTV and it would make the kids think I was cutting edge or something. Dude we all start off as posers, right? He thought this was like the opportunity of a lifetime. He said "Kid, have I got a surprise for you, Mr. punk rocker!" He brought out four huge ass crates of records, reels, and note books. You see, he used to book and interview bands back in the late 70's up to the mid 80's. The man had tons of cool shit and just gave to me. Most kids get into punk rock because their parents or society doesn’t understand them. But for me it was very different, like I said my parents were very cool.
And as for my first taste of a "real punk rock show". That next weekend my step dad was reading the local rag or ‘zine. He was laughing out loud as he said "tomorrow I'm taking you to a real punk rock show". "but I'll let you choose, seeing as you like punk bands based on the name of the band alone, so Butthole Surfers or Jack Kevorkian and the Suicide Machines, what’s it gonna be?" I chose the Suicide Machines. I can remember being there with my step dad and all the kids calling me a poser. And he told me we’re all posers at one time or another. He said "Fuck ‘em; none of these assholes have parents cool enough to get in the pit with them". And ya know, he was right. I jumped in the pit and never looked back.
2. What band were you in (including high school bands) before Aggro or Die! became your primary project?
Well I tried to start a band in high school. But a majority of kids I went to school with just did not get me at all. Well, With the exception of one dude I tried to make a band with. But he told all the kids we toured across country with Rancid, which never happened. That pretty much ruined my chances of starting anything serious while I was in high school. But in the summer of 98', I was asked by a friend of mine to start a "project of sorts" and after months of asking he finally lured me to his parents’ house to start Nuke and the Toxic Offenders. That band played its first show on Halloween night in 1999. We were a band until December 2002.
It started as a cure for our boredom and to have an excuse to get off the couch and do something on the weekends. We didn't really have a lot of friends, and weren't particularly cool or anything. We never really knew the potential of that band until that potential outgrew the band. We were also a bit naive as well, but that band would eventually be the driving force behind the things Nuke and I do today. To this day he is one of my closest friends.
3. When did A.O.D.! really begin to come to fruition?
You mean like how Aggro or Die! got started? Okay, well as I was saying in the last question, after Nuke and I had parted ways in 2002. I was devastated; I had basically locked myself up in my basement for almost two years. Yeah you could say I took it hard. I did. During that time I wrote some very angry music. At first I was just going to do The Toxic Offenders minus nuke with all new music. I was originally going to do the vocals for this band. But all in all, I just wanted to step away from the Toxic Offenders thing all together. In hindsight I felt too bitter, but didn't want it to show. And besides if I was to do a band like nuke at all I'd have to be able to compete with his vocals. No chance dude! I'm no singer for sure. So I dropped that all together. And besides as the two years went by, my anger towards Nuke was beginning to fade. So I proposed the idea on the guys.
At the time it was Dave Bones and "then" Mark Evil of the Toxic Offenders. I tried to sing for my first time and the boys suggested that we look for another singer. So, I took that as defeat and just gave in. But my brother Mike stepped in. Just as I threw in the towel he was right behind me to snap me right in the ass with it. He made me a bet that he could get some dudes that not only get my music, but won't give a shit about the Nuke stuff. Even though we had been trying various musicians for the last two years, they all ended in "You don't wanna sound like nuke?" to "Dude this shit is way too fast! You never played this fast in Nuke!" But that was my whole point! I didn't want to. I was trying to do something that said more about who I am. My brother Mike found Eddie later that week. Now, I had named Aggro or Die! long before this, I was just unsure on how to explain the name. So I just used the acronym. "A.O.D" and told everyone who ever tried out that the name is up for debate but "A.O.D" is not. I had a purpose with that but with new band mates coming in, I didn't wanna scare ‘em off with a name they might not get.
Eddie got his friend Eric to play bass and knew a guy named Matt who was interested in singing, which was good for me cus' I'm a bit of a chicken shit. Not soon after, I got with guys and had to explain "A.O.D". This bits a little on the personal side but I'll tell ya. Aggro or die! means many things. On one side, it's the name of a song by my favorite band, 7 Seconds. On the personal end it was my way of reminding me of where I came from. And while I may be able to many things with this life, to quit is not one of them. So the name Aggro or Die! is my analogy for how I live my life. It's like do or die to the very fullest of the term. Or simply shit or get off the pot.
They all had ideas for "A.O.D." but I just wanted to use Aggro or die! and since then I've yet to run into a kid that doesn't say "what is an Aggro or Die!?" and cus' I like to explain how I came up with the name. It feels personal to me. As well as to tell it. And I never get tired of it. After all, naming a band is supposed to be personal, it don't get more personal than that. And ironically enough, Aggro or Die! played its first show with Nuke and the Living Dead on January 21st of 2006. Aggro or Die! took four years to happen.
4. What was playing in Nuke and the Toxic Offenders like?
Ummm, a blur. I'm kidding. It was over way too fast though. I had some very cool moments being in Nuke and the Toxic Offenders. At first the scene for the kind of music we played hadn't really hit Detroit too hard yet. Plus I'm pretty sure we just wrote what we were capable of at first. We were no musicians at the time we started out. But as time went on we really pushed the whole "punk rock and roll thing" mixing up old style rock and roll with surf and punk. In the end I think we were very capable of crafting the sound we wanted. And before too long, bands were
following in our footsteps. I won't lie about it, it felt pretty cool. That band catapulted me into music so hard, it's all I known ever since.
Nuke had very strict practice and show routines. Nuke was a very well organized front man. I've learned a whole lot from him. The one thing about the Toxic Offenders I really liked most was not really having a scene to answer to. We kinda carved our own path. And we just did not take shit from anyone. The best part of being in the Toxic Offenders was living by our own rules. That and well, being offensive to those we thought were dicks anyway. Some highlights that I remember most are seeing great bands like the Koffin Kats, V8 Nightmare at first, playing many of their first shows with Nuke and the Toxic Offenders. Shit it's downright surreal having Vic Victor hold the Toxic Offenders as highly as he does. In many ways he has kept the spirit of my first band alive and well. Nuke and I poke around at the idea of doing a reunion show every so often. Who knows maybe we'll actually do it someday.
5. Does punk rock mean as much to you as it did when you were younger? Why?
I'd say more in every way possible. I mean while you’re a kid, punk is kinda a place of belonging or something different to get into that kinda separates you from the pack. But as I get older, I realize how much more than that it is. You begin to realize its potential as a vehicle for your generation’s voice. When I first got into punk all I cared about was going to shows or what band was playing and with whom, never really paying attention what went into getting bands into the shows and the kids into the music.
And now it seems as though the kids have become numb to music at all, or at least enough to feel it directly, in the scene that is. Scenes have pretty much dwindled away. And well, let’s face it, Michigan is broke and so are half the bars and clubs. So that plays a factor in lack of places for bands to play. And that causes a lack of interest in the kids. And I think if the kids don't see this as a huge problem. Punk as you and I know it will die. If we don't care enough to raise our voices, or think in radical ways, the music and scene we all say we love will vanish into obscurity. So yeah, it means way more now than it did then. I think I owe it myself as well as others to keep this thing going. Or at least give it my best shot.
6. Was it hard to adjust to doing vocals after Matt left?
I'd be a liar if I said no. Matt was a great singer and front man. As well as an amazing and dynamic personality for Aggro or Die!. When Matt announced his leaving Aggro, his last request as a member of Aggro or Die! was that he do a final record with us, and that I should pick up
after him as the bands lead singer, just as I should have when the band initially started. And his reasons were all valid. If I write most of the words and music, then having me sing them would make sense. If anything, I'd mean the words more than anyone else. And that's a huge part of Aggro or Die!. However, mixed feedback from friends, fans and family, having me sing and not play guitar just didn't seem like the thing for us.
And we've had great support in this transition. Jason (Hellmouth) had our back and suggested we try his friend Jeff out. And while Jeff was a perfect fit vocally, he was far too busy at that moment in his life, as well not wanting to support a record that he would not full be on. At that time we were still thinking having Matt on the record would not be a bad idea. In his words as well as our own, a singer should support and push a record if they plan to be on it. And well, that's a very true statement. So even though things did not work out with Jeff, he left a more than lasting impression on us. We then decided to lessen vocals for Matt on the up and coming record. Half Matt, half me. But unfortunately through poor communication, Matt didn't like the idea at all. And while I understand Matt's point of view, if Aggro or Die! were going to move in the forward direction, we should just start over.
So I took Jeff's advice and decided to front Aggro or Die! myself. And while it's been difficult to adjust to, my band mates have given positive feedback and are happy with this decision. No doubt it feels different not having a guitar do the talking for me. I am content on how things are coming along. Hell, I've never sung for anybody let alone front a band. But I like the feeling I get doing it.
7. Has Aggro or Die! changed its sound now that you’re singing?
I'm sure it may sound different on record. But that has always been a goal for us. Aggro or Die! really doesn't have a specific sound to be exact. Or at least, not in my opinion. We kinda just go with a general theme for the record side of things while focusing on live shows and maintaining our own sound for them. As for the vocals, that's up to the listener to judge. But I think things are a bit more fleshed out these days. We are very picky about things like that and so far the responses have been very positive and encouraging. So in a nutshell I'd say in some regards, yes. But in spirit, no. We didn't have to change musically to fit my voice into the mix. Instead I've worked my vocals around the music.
8. Do you listen to primarily punk rock from around the world, the U.S. or Detroit? Why?
I love music from all over the world dude. It's always cool to reach out and embrace music on a global scale. Be it punk, hardcore, ska, thrash etc. from all walks of life. We do heavily support Detroit and local music, mostly cus' we feel we are a part of it too. And I think it's easy to relate to because Detroit bands speak a common language that kids from Detroit see and feel on a daily basis. Because I live here, Detroit music is a soundtrack to my everyday life. But music is music, and wherever it comes from isn't so much a factor. I'm just happy knowing that kids everywhere are out there doing it. I'm always stoked to see young minds creating a voice through their music.
9. Have you played with any out-of-state bands? Who and when?
Yes, and I'd say too many to recall all of them. But there are a few that have stolen our hearts. Quarterlife Crisis is a band that we've grown very close to. They are from Long Beach, New York. If ya haven't heard of them yet, get to a computer quick and look ‘em up. We have been
friends since we first played with them in 2006 here in Detroit at the 2500 Club. We have taken two small tours with them, on the East Coast as well as the Midwest. Last summer was a great tour; short but powerful. We also played with great bands like the Alcoholocaust, Seasick, Iron
Minds, and the dudes from Thrashantos. Also keep in mind all the great out of state bands that come out to Keep it a Threat fest.
10. When did you conjure up the idea for the Keep It a Threat festival?
Well it's been a thought of mine for quite a while. Even in the first 7” that Aggro or Die! did, I mentioned keep it a threat at the end of my closing statement. That was more than a year from the first KIAT. But the KIAT we know as the fest was a collaboration between me and my friend, Dougie Tangent. He was playing with his band the Dewtons at Jamestowne Hall in Saginaw when we got together after he had played and talked a bit about the "good old days", when shit was D.I.Y. and you could go and see a shit ton of awesome bands from all over the place at one show, as well as find out about bands and how to start one as well. Nowadays, people horde info like that because they think that it's some kind of privileged information for them or their peers, like-minded as they are. And that they keep they're scene "poser" free by establishing a bullshit hierarchy. That they in turn feel like pillars of their scenes because they know "people". Fuck people like that! They are the reason the scene has dwindled down to just them.
The original idea was just to throw a big ass show that involved skateboarding, punk rock and its community. And throw a show in a place where kids could skate and thrash at the same time. And do it here in southeast Michigan, where we are from. All the good fests are never in Southeast Michigan anymore. So why not have one of our own, right? And a place to get kids into music as well as creating it. To me the "Threat" is how society views opinionated and socially aware young kids, and the impact they have on their structure. And if kids no longer express that threat, or stand up and voice themselves, then punk music or whatever it may be called in the future is pretty much doomed. The fest I remember that conveyed that message to me was Michigan fest.
Michigan fest was really cool back in the day. I remembered everything about it. The bands, the booths that all the D.I.Y. and local bands had showcasing the how-to's for copyrights, making your own merch, and even booking your own tours. And it was the first time I saw Los Crudos too! That show changed my life, and Dougie's too, cus' we shared countless stories about that same show. We just felt that was lacking today. So we just wanted to do our part in preserving something that gave us so much to look forward to and give it to kids who don't have that much to look forward to these days. On a personal end, to me, KIAT was also my way of keep up with my step dad Gary, who did plenty of shows in his time with bands like Negative Approach, Black Flag and countless others. Without him in my life KIAT would have never happened. He passed away just a few weeks before first taste of what it was like to walk in his shoes. I could totally see him out there, that "old dude" moshing with the kids. He would have loved it.
11. What bands do you have confirmed for the second annual festival? Where can people go to find more information about it as it approaches?
Well, Dave. I just can't spill all the beans just yet. But you can bet on Aggro or die! and D.A. to be there. As well as Iron Minds, A.T.G., and the A-Gang are all confirmed, and have been. But it's way too early to give any more details with how things go. The actual line up will no doubt change as it did last year right on up to the last minute. So not being a dude to write a check my ass can't cash, best way to stay informed is to check with the website. www.myspace.com/keepitathreat. We are always talking to bands from all over, as well as taking advice from bands and kids alike. We are doing this for all of us: young and old, hardcore and poser. Keep it a threat is about bringing music to kids of all kinds.
12. Do you feel the first Keep It a Threat festival was a success?
Absolutely; if you’re asking questions about it, or other kids are asking about it, then yes. There were lots of things I wish we could have done better. But we'll learn from it and carry that over in years to come. I'm having fun with it and that's what counts.
13. What is the primary message you want to communicate with this festival?
Stand up and do something! So many out there will bitch cus' they’ve got no place to play or see shows, or there aren’t any bands out there anymore and nobody does it like they used to. It's the same excuse, but really it's because people lack creativity and ingenuity. I say, start your own bands, make your own places to play! Fuck, kids did it in empty warehouses with generators hooked up to car batteries and shit, or in abandoned houses with kids pressing their own t-shirts and patches, or young aspiring journalists out there, putting in tons of hours at the local copy house making ‘zines. Fuck! Make your own labels for crying out loud! If you create it the only one that can kill it is you. With all that we have at our disposal these days, it's a shame that most kids don't even lift a finger. So, in short, the message I want to communicate is: Get off your ass today and make a history of your own! And while back in the day is great to remember, if our minds rest on yesterday, we won't have shit to look forward to tomorrow.
14. What your regular ‘adult’ lifestyle, do you still go to shows? How often?
Not nearly as often as I'd like too. But I do get out every once in a while. Aggro plays tons of shows, so in that light, I see plenty. But I do like see other bands, especially ones that don't play near me often, or bands that I hear about a lot. And with Aggro making a new record the last few months have been largely spent away from shows. And being a full time parent of a two and a half year old can slow down shows a bit. But all in all, as long as Aggro keeps playing shows, I'll always be able to catch shows. I just can't wait till my son is old enough to go to shows. I hope I don't embarrass him. I thought it was cool going to shows with my step dad.
15. What’s your favorite local band to watch/listen to?
I guess that depends on my mood. I love lots of local bands. But some of them really get my motor going at the end of the day. If I'm particularly in a shitty mood from work Hellmouth is an awesome stress reliever! The Hand-Me Downs have a way of making me feel good too. They are fun as hell to see. And if I'm feeling down, they are always there to pick me up. D.A. is an awesome band too. They rip it up fast as fuck and some of the best times I've spent at shows recently have been at theirs. D.A. was also the first band Aggro played with that made me turn to the dudes and say "We gotta tighten shit up dudes! These guys are way tight with each other!" I've been turned on to some other bands very recently that blew my mind. Trace the Veins are the shit; high energy dude. They came out of left field to me dude. They are like my new must see band. Them and Against the Grain, who are both amazing as hell to see. And of course all these bands are in my cars CD player, always!
16. What can others do to support their local punk rock scene? Is there something they shouldn’t do?
Well, dude. I think what you are doing is very cool. Writing about bands, music, and the scene is a very productive and lasting thing, especially if it comes from kids with a non biased agenda. Not talking about reviews or anything like that. That's important in putting your opinion of a band out there for kids to read about. But the thing I'm talking about is capturing the experience of what it’s like to be there. Not to mention that it’s important in creating the images or capturing
the memories that can be shared when were all dead and gone. If not for active kids like yourself, punk would have died long time ago. So thank you. What's not cool is pushing other kids away from it. Like I've stated before, we are all posers at one time or another. If we segregate other kids based on musical tastes, we thin out the scene, furthermore destroying what it means to be a punk. I think it's all of our responsibility to create a lasting impression on the youth. After all, they will be doing it way after we do and so on. If we are to survive, we have to get over ourselves.
People being assholes to kids for not being in the know will leave a nasty taste in my mouth; it's just not necessary to be that way. Also, being inventive as far as how we do shows or how we create or put out music is imperative to survival in this day and age. Seeing how things are here in Detroit with our economic situation, D.I.Y. is the way to do it. And the very most important thing of all is talk about it. Make the kids aware of it.
17. Is it a little bit ironic that punk rock, which is mostly liberal, is inhabited almost entirely by young white males? If that’s a bad thing, what can be done to change it?
I think..., Wow! Dave that's tough! Myself, I'd love to see all kinds of kids from every walk of life into what I do. But it's in what people have made it out to be. I think that girls don't come to shows too often because most kids aren't aware of them in mosh pits, or in the worst case scenario, are too aware of them. And take advantage of them not being able to defend themselves from grabby teenage hands. It's completely inappropriate but it happens all too often to girls.
As far as say, kids of other ethnic backgrounds, I'd say that's up to the individuals themselves. Again, it's in what people have made punk out to be. But if we continue to see it as black or white, boy or girl we are only walking in the wrong direction simply by acknowledging a difference between them. It is simple, a kid at a show is still a kid at a show regardless of race and gender. I think the right thing to do is create a positive and lasting experience for those around you regardless who it is, and if we continue to emphasize that type of mentality, we'll get
there. It takes all of us to make things like that happen. Communicate that and it will happen.
18. How is your new full-length coming along? When do you think it will be out?
As of this time, we're about 75 % done. But we want it to be perfect. So it's kinda like a "It'll be done when it's done" situation. We do everything D.I.Y. So money and getting shit recorded during shows and work schedules have played a role in the lengthy process of putting this thing together. But I'd say it should be out no later than late summer. We have a reason for that, but you'll have to wait to know exactly what I mean.
At this point only three tracks need vocals, art is being produced, and money has been saved up. So there's still hope of getting this thing done for Keep it a Threat fest. Fact is, we just want this record to be special. It's a huge turning point for us, and kids who listen to us deserve nothing but the best out of us. I can tell you I'm very proud of it thus far. And we hope you dig it too.
19. How much time and effort goes into managing a band?
Well, let's put it this way, you really gotta love it to do it. It can be enormously tough at times. And while it may be easier to have someone else do it for you, it always feels 10 times more rewarding when you do it yourself. Working with bands and venues can be stressful, cus' you
never want to step on toes, and someone almost always seems to feel screwed out of something at one point or another. But when you get things rolling in the right direction there's no better feeling on earth.
I'd also say that reaching out to a community of like minded people is a must. Nothing can truly be done alone. Things like word of mouth, advertising, and just getting kids into it. It takes everyone to do that. I'm sure you know that. Putting out a record or comp isn't all
peaches and pussy dude. But seeing it in a kids hand, or hearing about it through other kids is an awesome feeling.
20. Anything else we missed that you want people to be aware of?
Yes. Each other. And by that I mean in the pit or in other social settings. Kids don't get into punk or any other scene because they want to be disrespected, beaten at shows, or hurt by those they think are on their level. I speak from a lot of my own personal experiences. I know and very much remember what it feels like to be an outsider looking into something I thought I belonged to. Hate is just ignorant.
Interview with the Spears
The Spears interview
1. I know you guys are a bit of a supergroup, but how and when did The Spears itself form?
We started a few years ago. Hunter Oswald was our first drummer. We all pretty much knew each other.
2. How would you describe your sound?
We are just trying to do our own thing, whatever that is.
3. Has the band ever toured outside of Florida? If so, where?
We did a quick southeast run last October , but it was just a couple Florida shows and a couple Georgia shows. so far we've had limited time as everyone is in other bands or busy.
4. What is the Florida punk scene like, to someone who doesn’t know anything about it?
It's probably like any other scene anywhere else. Good bands and shitty bands.
5. Have you hosted touring bands? Who were the best of them, if any? Would you consider hosting bands now?
We've done that a couple of times, but it's only if they are good friends of ours.
6. Has anyone ever requested, or have you ever played, a cover from one of your old bands?
7. Do you have a particularly memorable show that you played? If you did, what made it so memorable?
(Pink Lincolns). We played with Screeching Weasel and the Queers so it was almost appropriate. It was a cool show.
8. What material have you released so far? Where can you buy it?
We have a 7" on choking hazzard recs, a cd (and limited vinyl) on jailhouse recs (it is called "shove"). We also have songs on a few comps.
9. What are the bands’ biggest influences, music or otherwise?
As far as music, I like a lot of stuff. the germs, descendents, Otis Redding, Bowie, Saccharine Trust, Black Flag, old Stones, Wire, Stooges, Gerardo Ortiz.
10. Are you on a record label or are you independent? Do you think that this predicament helps or hurts you? Why?
We put our 7" out on a small label in Canada, our CD is on a small label in Virginia. It's more realistic than trying to get RCA or Sony to think we can sell more CDs than Justin Timberlake.
11. Have you ever been banned from a venue? If so, which one and what happened?
Not as the Spears, not yet, but give us time. There's a place in Tampa and a place in St. Pete that won't book anything I'm in because of things in the past.
12. On a side note, what is the economy like down in Florida? Can a low-skilled, 20-something get a sustainable job?
Florida is a "right to work" state- i think it has something to do with minimum wage, or something. Yes, come on down- you don't need training or experience to be a doctor, lawyer, or animal trainer.
13. Is skateboarding popular in your area? Do you guys skateboard?
There are skate parks here, so it must be. I don't skate (I have a car).
14. What are your thoughts on the dilemma where a lot of hardcore originals (i.e. people who played in the 80s when it started) are still going at it?
I like how you call it a dilemma. My first thought would be that they look a little older nowadays.
15. Does any squatting take place in your area at all? If it does exist, how common is it?
I'm not sure how common squatting is here, but there's a lot of homeless people. Not sure where one stops and the other one starts.
16. Do The Spears have a logo? Can it be spray-painted?
We don't have an official logo , but our shirt has a jesus fish with a spear thru it. I think it's funny. Some people don't.
17. With a relatively unique sound, do you listen to a lot of different music or do you forego any music-based influences altogether?
We individually listen to a lot of different stuff. Most bands want to fit neatly into a category, or want to sound like other bands. We aren't that worried about that stuff.
18. Are there many venues to play in Florida? Where are they?
Yes. They are in buildings on streets.
19. Are there any record stores to go to in your area?
There is a store in St. Pete called Sound Exchange. New and used, and they have lots of cool stuff.
20. If anything, what else would you like to add?
Most people are liars.
1. I know you guys are a bit of a supergroup, but how and when did The Spears itself form?
We started a few years ago. Hunter Oswald was our first drummer. We all pretty much knew each other.
2. How would you describe your sound?
We are just trying to do our own thing, whatever that is.
3. Has the band ever toured outside of Florida? If so, where?
We did a quick southeast run last October , but it was just a couple Florida shows and a couple Georgia shows. so far we've had limited time as everyone is in other bands or busy.
4. What is the Florida punk scene like, to someone who doesn’t know anything about it?
It's probably like any other scene anywhere else. Good bands and shitty bands.
5. Have you hosted touring bands? Who were the best of them, if any? Would you consider hosting bands now?
We've done that a couple of times, but it's only if they are good friends of ours.
6. Has anyone ever requested, or have you ever played, a cover from one of your old bands?
7. Do you have a particularly memorable show that you played? If you did, what made it so memorable?
(Pink Lincolns). We played with Screeching Weasel and the Queers so it was almost appropriate. It was a cool show.
8. What material have you released so far? Where can you buy it?
We have a 7" on choking hazzard recs, a cd (and limited vinyl) on jailhouse recs (it is called "shove"). We also have songs on a few comps.
9. What are the bands’ biggest influences, music or otherwise?
As far as music, I like a lot of stuff. the germs, descendents, Otis Redding, Bowie, Saccharine Trust, Black Flag, old Stones, Wire, Stooges, Gerardo Ortiz.
10. Are you on a record label or are you independent? Do you think that this predicament helps or hurts you? Why?
We put our 7" out on a small label in Canada, our CD is on a small label in Virginia. It's more realistic than trying to get RCA or Sony to think we can sell more CDs than Justin Timberlake.
11. Have you ever been banned from a venue? If so, which one and what happened?
Not as the Spears, not yet, but give us time. There's a place in Tampa and a place in St. Pete that won't book anything I'm in because of things in the past.
12. On a side note, what is the economy like down in Florida? Can a low-skilled, 20-something get a sustainable job?
Florida is a "right to work" state- i think it has something to do with minimum wage, or something. Yes, come on down- you don't need training or experience to be a doctor, lawyer, or animal trainer.
13. Is skateboarding popular in your area? Do you guys skateboard?
There are skate parks here, so it must be. I don't skate (I have a car).
14. What are your thoughts on the dilemma where a lot of hardcore originals (i.e. people who played in the 80s when it started) are still going at it?
I like how you call it a dilemma. My first thought would be that they look a little older nowadays.
15. Does any squatting take place in your area at all? If it does exist, how common is it?
I'm not sure how common squatting is here, but there's a lot of homeless people. Not sure where one stops and the other one starts.
16. Do The Spears have a logo? Can it be spray-painted?
We don't have an official logo , but our shirt has a jesus fish with a spear thru it. I think it's funny. Some people don't.
17. With a relatively unique sound, do you listen to a lot of different music or do you forego any music-based influences altogether?
We individually listen to a lot of different stuff. Most bands want to fit neatly into a category, or want to sound like other bands. We aren't that worried about that stuff.
18. Are there many venues to play in Florida? Where are they?
Yes. They are in buildings on streets.
19. Are there any record stores to go to in your area?
There is a store in St. Pete called Sound Exchange. New and used, and they have lots of cool stuff.
20. If anything, what else would you like to add?
Most people are liars.
Plastic Boyz interview
Plastic Boyz interview
1. How were the Plastic Boyz molded?
Kelly: The way most plastic is molded. Injection Style.
Mike: Welp, I met Kelly in ‘95 and he had a crass shirt in kindergarten and I had a Flux of pink Indians shirt, so we immediately bonded; love at first sight. Just 2 punx growin’ up on the tough streets of EASTPOINTE. Anyway, me and Kelly played way back in the 2000's. Finally caught our break in mid '09
2. Who did the recording on your first demo and on your EP? How do you feel those came out?
Kelly: The demo was all of us (mike, Kelly, skrat, Kyle) on Mike’s 4-track and the EP was recorded by Bry-man from ATG and his bud Nick for free. I liked it at first, but I think we’re going to try a little better quality next time.
Mike: Nick had model cars in his basement, dude. Shit was alright.
3. Do you feel you’ve made a lot of progress as a band, especially for one less than a year old?
Kelly: Not as much as Kommie Kilpatrick.
Mike: or Lies Unknown to name-drop a few.
4. What has been the best show you’ve played as of yet? Why?
Kelly: The March 26th bloodbath at the painted lady. State was playing and I sliced an artery. PONK.
Mike: Halloween W/ Human Eye, Heroes + Villains
5. Is there something specific that influences each member of the band (i.e. is there one simultaneous influence for every member, like a band or experience)?
Kelly: We have many influences, so I won’t name them.
Mike: Neil Young, Massey Hall 1971 Rock N’ Roll at its prime.
6. What’s the craziest moment you’ve had as a band so far?
Kelly: The Basement 414, I was very drunk and everyone hated us. That was cool. And the March 26 Painted Lady incident.
Mike: Muskrat’s little brother’s 9th birthday party, going shot for shot with a nine year old is pretty fuckin’ crazy.
7. How do you feel some of the Detroit-area clubs have treated you?
Kelly: Shitty for the most part. Fuck New York New York and Fuck TNT’s, The Basement 414 are a bunch of pussies; we got “Banned” because I said “faggot” and I made a joke about kids with trust funds. They called me a nazi. Most of the other places we’ve played have been alright but my top 3 are The Painted Lady, Now That’s Class in Cleveland, and Ground Zero in Milwaukee.
Mike: Painted lady; they are awesome to the bands, brah.
8. What’s the best band out there, both locally and nationally?
Kelly: You mean favorite? Locally: Human Eye, State, Amoebas, and Dick Hickey. Nationally: Black Flag, The Smiths
Mike: Local: The Human Eye, The Stooges, Question Mark & the Mysterians
Nat’l: Of Montreal, MGMT, Fontana…
9. Where did you go on tour and how was that experience? Any recommendations for other bands that might tour?
Kelly: Cleveland Rocks, Milwaukee Rolls, and Ann Arbor sucks.
Mike: You were there man! Why don’t you fuckin’ tell me!
10. What kind of bands would you like to see come through Michigan? Would you host a show for them?
Kelly: Good ones. Yes.
Mike: Anyone we played with on tour. I’d put them fuckers up real quick.
11. Do you have any upcoming plans (i.e. new songs, new merch, another tour, etc.)?
Kelly: We got 4 new songs; canned hate, and rock-n-roll wigger and then throbbin Williams and obliterators hands but we haven’t played those two yet. No current tour plans but we may be releasing a cassette and we will have new shirts for sale for $4 and buttons soon. Patches are $1 and the 2012 calories EP is $2. We are sold out of the original demos.
Mike: We may record in Minneapolis in June too.
12. Anything else you’d like readers to know?
Kelly: We hate punk; we just do it for the money and coke, and hoes.
Mike: single and looking. Ladies?
1. How were the Plastic Boyz molded?
Kelly: The way most plastic is molded. Injection Style.
Mike: Welp, I met Kelly in ‘95 and he had a crass shirt in kindergarten and I had a Flux of pink Indians shirt, so we immediately bonded; love at first sight. Just 2 punx growin’ up on the tough streets of EASTPOINTE. Anyway, me and Kelly played way back in the 2000's. Finally caught our break in mid '09
2. Who did the recording on your first demo and on your EP? How do you feel those came out?
Kelly: The demo was all of us (mike, Kelly, skrat, Kyle) on Mike’s 4-track and the EP was recorded by Bry-man from ATG and his bud Nick for free. I liked it at first, but I think we’re going to try a little better quality next time.
Mike: Nick had model cars in his basement, dude. Shit was alright.
3. Do you feel you’ve made a lot of progress as a band, especially for one less than a year old?
Kelly: Not as much as Kommie Kilpatrick.
Mike: or Lies Unknown to name-drop a few.
4. What has been the best show you’ve played as of yet? Why?
Kelly: The March 26th bloodbath at the painted lady. State was playing and I sliced an artery. PONK.
Mike: Halloween W/ Human Eye, Heroes + Villains
5. Is there something specific that influences each member of the band (i.e. is there one simultaneous influence for every member, like a band or experience)?
Kelly: We have many influences, so I won’t name them.
Mike: Neil Young, Massey Hall 1971 Rock N’ Roll at its prime.
6. What’s the craziest moment you’ve had as a band so far?
Kelly: The Basement 414, I was very drunk and everyone hated us. That was cool. And the March 26 Painted Lady incident.
Mike: Muskrat’s little brother’s 9th birthday party, going shot for shot with a nine year old is pretty fuckin’ crazy.
7. How do you feel some of the Detroit-area clubs have treated you?
Kelly: Shitty for the most part. Fuck New York New York and Fuck TNT’s, The Basement 414 are a bunch of pussies; we got “Banned” because I said “faggot” and I made a joke about kids with trust funds. They called me a nazi. Most of the other places we’ve played have been alright but my top 3 are The Painted Lady, Now That’s Class in Cleveland, and Ground Zero in Milwaukee.
Mike: Painted lady; they are awesome to the bands, brah.
8. What’s the best band out there, both locally and nationally?
Kelly: You mean favorite? Locally: Human Eye, State, Amoebas, and Dick Hickey. Nationally: Black Flag, The Smiths
Mike: Local: The Human Eye, The Stooges, Question Mark & the Mysterians
Nat’l: Of Montreal, MGMT, Fontana…
9. Where did you go on tour and how was that experience? Any recommendations for other bands that might tour?
Kelly: Cleveland Rocks, Milwaukee Rolls, and Ann Arbor sucks.
Mike: You were there man! Why don’t you fuckin’ tell me!
10. What kind of bands would you like to see come through Michigan? Would you host a show for them?
Kelly: Good ones. Yes.
Mike: Anyone we played with on tour. I’d put them fuckers up real quick.
11. Do you have any upcoming plans (i.e. new songs, new merch, another tour, etc.)?
Kelly: We got 4 new songs; canned hate, and rock-n-roll wigger and then throbbin Williams and obliterators hands but we haven’t played those two yet. No current tour plans but we may be releasing a cassette and we will have new shirts for sale for $4 and buttons soon. Patches are $1 and the 2012 calories EP is $2. We are sold out of the original demos.
Mike: We may record in Minneapolis in June too.
12. Anything else you’d like readers to know?
Kelly: We hate punk; we just do it for the money and coke, and hoes.
Mike: single and looking. Ladies?
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