Underdog (Step Forward #1)

Jeff Bowers & Eric Astor from Scottsdale/Tempe (Arizona) – vocalist & drummer of ‘Last Option’ – did this zine (probably just the one issue). They also set up a label (also named Step Forward) to release the band’s EP; and did a compilation-tape. ‘Last Option’s LP was released by ‘Heresy’s bassist Kalv(in) Piper…

Most probably I got this first issue from Jack Kahn (Hippycore zine & ‘Desecration’ vocalist; Mesa, Arizona) who wrote a column/edito for it. Bands interviewed (most quite briefly) were all from the U.S.: ‘Rest In Pieces’, ‘Half Off’, ‘Impulse Manslaughter’, ‘SlapShot’, ‘Corrupted Morals’, ‘Underdog’ & ‘Agnostic Front’. There were also some reviews and a bunch of ads.

At the time of this interview (April ’87), NYHC band ‘Underdog’ was Danny Derella (guitar), Carl ‘The Mosher’ Dimola (vocals; replacing founding member Richie Birkenhead), Dean Iglay (drums; replacing Greg Pierce) & Russ(ell) Iglay (bass).

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Black Flag (Final Curtain #10)

Final Curtain was a punk & hardcore music fanzine that ‘Plebb’ Paul May (from Grays, Essex) did in the early 1980s (with support of some contributors). He also did a few compilation-tapes (under that name), one of which was entitled Your Daily Dose Of Misery.

I’d never seen any issues until my mate Dirk Ceustermans borrowed me #10. I believe Paul lives in Seattle nowadays but I couldn’t get a response… Some (later) issues are downloadable from the www and Ben ‘Sicko’ used to review them in Raising Hell…

Contents? Interviews, features, reports, cartoons – too much to mention. Some names… ‘Omega Tribe’, ‘The System’, ‘Esistance 77’,  … (#4); ‘Xpozez’, ‘Varukers’, ‘Lost Cherrees’, ‘Napalm Death’, … (#5, Nov 82);  ‘One Way System’, ‘Mau Maus’, ‘Chaotic Dischord’, … (#6, Jan 83); ‘English Dogs’, ‘Dioxina’, ‘Anti-System’, ‘Potential Threat’, ‘4 Minute Warning’, … (#8); ‘Amebix’, ‘The Sears’, ‘Deformed’, ‘Paralax’, ‘Criminal Justice’, ‘Poison Idea’, ‘Abductors’, ‘Negative Earth’, ‘Mental Distraction’, ‘Funeral Oration’, scene-report from France (#9, Nov 83); ‘Broken Bones’, ‘Black Flag’, ‘Iconcoclasts’, ‘Conflict’ (USA), ‘Red Brigade’ (#10, Feb 84); ‘Dirge’, ‘Scapegoats’, ‘Onslaught’, ‘Post Mortem’ (#11, Aug 84); ‘Lunatic Fringe’, ‘Concrete Sox‘, ‘Sacrilege’, … (#13, Jul 85); ‘Anihilated’, ‘S.A.S.’, ‘Desecrators’, ‘Half Life’, Ivor The Anarchist, … (#14, Feb 86)

The interview with ‘Black Flag’ was conducted (by Kalvin Piper) when the band played in London in 1983. At the time the band consisted of Henry Rollins (vocals), Greg Ginn (guitar), ‘Chuck Dukowski’ Gary McDaniel (bass), ‘Dez’ Dennis Cadena (guitar; also ‘Red Kross’) & Bill Stevenson (drums; also ‘Descendents’, replacing ‘Chuck Biscuits’ Charles Montgomery who was also in ‘D.O.A.’).

I interviewed ‘Black Flag’ (Henry Rollins & Bill Stevenson) in early 1983. I did a fanzine that only lasted 2 issues so the interview was ‘donated’ to Paul May’s Final Curtain fanzine. I was 17 years old at the time – my questions were not exactly insightful but Henry spoke so much and with so much enthusiasm it didn’t matter anyway.

Kalvin Piper

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SS-20 (Colectivo Cambio Radical Fuerza Positiva #1)

The Colectivo C.R.F.P. (Cambio Radical Fuerza Positiva) or Collective ‘Radical Change, Positive Force’ (C.C.R.F.P.) was a community of punks in Mexico City that was formed to create spaces where they could express themselves and were not discriminated. “DIY, rebellion and opposition were the elements on which the Collective was founded.”

The group emerged in April 1987 and the Collective consisted of young men and women who mostly belonged to the HC/punk-movement. Thet were independent and there was no leadership. “We call ourselves pacifists (but not passive) and we believe in human rights, that is why we demonstrate against any type of violence against life, freedom, and we do not accept drug-abuse.” The group aimed to unite and raise awareness among youth. “Being punk doesn’t mean fashion and just attending concerts, but being part of a movement.” The group became known for its ideas of rebellion and its fight against what oppresses us and limits us as human beings.

“The group runs projects of economic and personal improvement, etc., at the same time demonstrating that the community serves to create and not to destroy, as most people think. We accept past experiences and return to the positive, without even leaving reality aside and thus showing our own reality to the people around us. This group has anarchist tendencies because we believe that we are capable of living without the need for repression and other methods that every government uses.”

The collective published three fanzines (#1 & 2 in ’87, #3 June ’88). Although the project of continuing to edit the fanzine was abandoned, the Collective did other activities such as concerts, and distribution of brochures and bulletins in various parts of the city.

In September ‘97 there was a gathering in Mexico City: to plan activities, shows and possibly celebrate the 10th anniversary during an international gathering. There were also conferences and a big exposition of pictures and zines from all over Mexico.

In 2017 members of the C.C.R.F.P. (‘Tobi’ Héctor Daniel & ‘Thrasher’ Miguel Cortes) & the Chavas Activas Punks (CHAPS; ‘Zappa Punk Moreno’ – ex-vocalist of ‘SS-20’) spoke about their experience with community-work, direct action and solidarity. According to Miguel Cortes, Karlos Martinez nor anyone else of the Unidad Punk Libertaria (U.P.L.) showed up. This ‘conference‘ happened at the Museo del Chopo where they used to hold the meetings.

Within the Collective Cambio Radical Fuerza Positiva, the female collective Chavas Activas Punks (feminist “active punk girls”) was born. Despite being widely criticized by their fellow punks for founding a collective only for girls, the CHAPS got together because of the need to have safe-spaces to talk about issues related to being a woman.

‘Thrasher’ Miguel Cortes sent me some bits of # 1 & 2. Here’s some clippings…

editorial #1:

To those who didn’t write or contributed to this first issue of the fanzine of the collective for RADICAL CHANGE POSITIVE FORCE: we want to thank all the people who help either by attending the meetings on Wednesdays or providing venues to organise concerts.

We also want to thank the people of the University Museum del Chopo [contemporary art museum in Mexico City] for letting us use their courtyard as a meeting-place and for their support.

Well, this is the first issue of this fanzine whose purpose is to let you know through interviews, columns and satire what happens in the movement and what the punk movement really is like in Mexico City/ If anyone is interested in organising or contributing: contact us please; and if you want to contribute to the next issue of this fanzine with a column or comment, contact us either on Wednesdays from 7 pm to 8 pm at the Museo del Chopo or on Saturdays at the marketplace of Chopo.

It’s a shame that when told not to introduce drugs, alcohol, etc., in concerts there are people who do it anyway: perhaps they don’t know how to read or they think that getting wasted is the best thing they can do; anyway you have to make a double effort effort to let this situation disappear for good!

The following list is of concerts that were held in different parts of the city; one of the biggest problems (besides the organisation) was that, despite the fact that the admission-price was cheaper than in some other places (from 2.000 Pesos onwards), no one payed for their entrance, haa! But when they were inside they asked permission to go out to get a beer at the store !!! ??? !!!

It seems incredible that people can’t be honest even with the organisers!!! Anyway…

If you’re a restless person and want to do something with us for the movement, contact us and collaborate!!!

editorial #2:

THE COLLECTIVE’S PAGE

Well, we’re still holding on here despite all the problems that have arisen, but unfortunately these problems have not been as one might think, due to the police, venues or permission. The problem is the crowd itself: fortunately not all, if not the breed that doesn’t want to pay even though the prices are ridiculous, and the money is just to cover the payment for the venue, the bands and the rental of equipment.

The only thing this attitude causes, is that less and less concerts are organised since the bands and those who rent the venue fall apart because when they see more people than those who have actually paid, they feel like being robbed and cheated.

The attitude of these guys cannot be explained, since one of the characteristics of this movement is the search for equality, there are those who believe to have the right to get in for free at gigs just because they’re the ones who organise gigs (not only those of the collective, but also those organised by other kids in their neighborhood). And even though most of them all know the madness they have to go through when organising a gig without having resources.

The good side of these gigs is that every day there’s more punk bands from all neighborhoods of Mexico City and its surroundings, and it seems that every day more truly sincere bands are formed to support the movement.

After all this we want to let you know that we want to establish all kinds of collaborations; so you know on Wednesdays at the Museo del Chopo [contemporary art museum in Mexico City]; the following addresses are from people who collaborate with the collective (not all of them).

J. Luis Hernández E. / Miguel Angel Melendez G. / Jose Manuel Colon Bolaños / Ana Laura Hernandez M. / Miguel Angel Cortes O.

[Translation below]

S.S.-20 (Suicide Section of the 20th Century). Trio with ‘Demon’ (‘Energia’), ‘Chucho’ (‘Crimen Social’) & ‘Zappa’ [Zappa Punk Moreno] (‘Virginidad Sacudida’) that started playing around the end of ‘86 in ‘Caos Subterraneo 2’ alternating with ‘Kaos Subterraneo’, ‘Xenophobia’, ‘Histeria’, ‘Herejia’ & ‘Solucion Mortal’.

C.C.R.F.P.: What do most of your songs talk about?

‘Demon’: Against war and religions.

C.C.R.F.P.: Haven’t you thought about talking about ecology?

D.: Yes, we have a statement about Laguna Verde [nuclear power plant on the coast of the Gulf of Mexico].

C.C.R.F.P.: How many songs do you have?

D.: Around thirty.

C.C.R.F.P.: What do you think of the local bands?

D.: All the bands are cool, there’s more unity between punks than other tendencies.

C.C.R.F.P.: Have you thought about playing out of town (in the province)?

D.: Yes, we haven’t had the opportunity.

C.C.R.F.P.: What do you think of the evolution of the band?

D.: Every day there are more punk bands but nobody is aware whether they’re there or not.

C.C.R.F.P.: What do you think about new bands; do you know ‘Chemo’, ‘Droga’, ‘Atraco’, etc.?

D.: They are very enthusiastic, they mistake one thing for another.

C.C.R.F.P.: Have you had problems with the police?

D.: Yes.

C.C.R.F.P.: In what way?

D.: Don’t worry, we haven’t been arrested.

C.C.R.F.P.: Nothing more than normal, right?

D.: Yes.

C.C.R.F.P.: What is the relationship between you people?

D.: We get along well.

C.C.R.F.P.: No quarrels amongst you?

D.: The normal rows during rehearsals.

C.C.R.F.P.: What do you think of an environmental program, would you participate?

D.: Yes.

C.C.R.F.P.: What do you think of thrash and hardcore?

D.: Thrash is more rhythmic but both are fast.

C.C.R.F.P.: Do you consider yourself anarchists?

D.: Yes, according to them.

C.C.R.F.P.: Do you consider yourselves punk, hardcore or thrash?

D.: Hardcore.

C.C.R.F.P.: Who’s the genius behind the songs?

D.: ‘Hucho’ has done the majority of them but ‘Zappa’ and I have done our part.

HERE WE GO WITH THE SECOND PART OF THE INTERVIEW BUT BUT THIS TIME WITH ‘ZAPPA’

C.C.R.F.P.: What do you think of a participating in an ecological program?

‘Zappa’: Well, people would participate more than anything because we bear a cross on our backs.

C.C.R.F.P.: Are you influenced by any bands?

Z.: We’re influenced by ‘M.D.C.’, ‘Batallion Of Saints’, ‘Cólera, ‘Olho Seco’.

C.C.R.F.P.: What do you think of the national and international movement?

Z.: We need more unity, there’s none; in Italy and Spain there’s more communication and they have more support.

C.C.R.F.P.: You people are a threesome, why?

Z.: Well we need a bassist but they get in the way but we got used to being 3.

C.C.R.F.P.: What do you think of the 76-77 punk era?

Z.: It was how our movement developed but we don’t have to rely on bands from that time.

C.C.R.F.P.: Like who?

Z: Like ‘The Clash’, ‘Sex Pistols’, ‘Dead Boys’, etc., as with a music more entry without base in 76-77.

C.C.R.F.P.: Do you consider yourself anarchists?

Z.: No.

C.C.R.F.P.: Why?

Z.: I think that anarchy is a utopia and also to fight for freedom is not necessary, we’re not labels.

C.C.R.F.P.: Something else you want to add, ‘Zappa’?

Z.: Come on, let’s leave the aesthetics and shops, I think that women shouldn’t be described as sexy because of nice dresses or other worthless things. They should be qualified as bringing brains, unity and support among women.

‘Secta Suicidad del Siglo 20’: ‘Zappa’ (vocals / ‘Demon’ (guitar) / ‘Chucho’ (drums).

 

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Nieuwe Koekrand

The Nieuwe Koekrand (“new urine-sediment/faeces-deposit under the edge of a toilet-bowl”) became a very influential magazine because of the hard and dedicated work of Johan van Leeuwen. A nice guy that I’d gotten to know in the second half of the 80s. We never met but wrote each other quite some letters (sometimes very personal) over the years, until he died of a brain-tumour (Feb 7th 2003, at the age of 43)…

Johan also authored 2 books (in Dutch). Johan Was Punk And He Knows It (1997) – subtitled “the not so ordinary life of Johan of the Koekrand”. And Punk Als Verzet(je) (“punk as resistance”): a review/inventory of Nederpunk in the 80s; bands, venues, zines (2002).

He’d joined the editorial staff when the Koeckrandt (old spelling) was still a “punk-rasta paper”. It appeared quite frequently and was packed with interviews, info, articles (politics, art, etc.) and reviews (Johan also ran the original Konkurrent mailorder in its early days). It would be an impossible task to sum up all of the contents and to pick one representative item wouldn’t give due credit to this zinester extraordinaire. Editor from the early days, Diana Ozon, gives a “complete” listing on her website…

Michael Kopijn took it upon him to scan a big part of this historical treasure and I strongly urge everyone who reads Dutch to indulge in it. Anyone else can dig her/his way through the pics, art, cartoons, etc. Michael also wrote a brief history in English.

To get a more indepth idea of the zine’s history and Johan’s motivations here’s an interview that Mat Aerts (Limbabwe, Venlo) did with him for Piss Off zine in 1985. This is my translation:

 

Mat: First of all you should tell us when you started with the Koekrand.

Johan: About five years ago – it has been around for more than five years: other people used to do it but five years ago I got involved. At first together with the people who started it, like Dr. Rat [Amsterdam graffiti-artist; R.I.P.] and the people of Ozon [punk-poet Diana Ozon was the founder of the punk-club DDT666 located in a squat where the editorial office of the Koekrant was located.]. Later I continued it on my own, that’s when it became the Nieuwe Koekrand. Just to indicate that it’s a bit different from what it used to be. It used to be just rasta and punk, well yeah, and rasta wasn’t my thing anyway, so it became more punk and political and all that.

Mat: I’ve also seen some old issues of Koekrand but there’s indeed a strange evolution. There were issues of Koekrand that contained punk only and then there were some with completely different things in it…

Johan: Yes, rasta and…

Mat: I can even remember a Koekrand that had almost only pictures of ‘Theater Of Hate’ [British post-punk band].

Johan: At that time it was already my Koekrand; it depends on what you’re experiencing yourself. At a certain point you had punk and then ultra [short for ultra-modernist; Dutch post- & art-punk movement] came up, that happened a lot in Venlo, Amsterdam, Nijmegen and Eindhoven, and most punks liked that too. It wasn’t by chance that there was a lot of ultra in Oktopus [Amsterdam youthcentre], but that quickly became annoying, there wasn’t much behind it, except for new music, and then there was music like ‘Theater Of Hate’ and the like, that also stemmed from old punk bands. I started to like that, I still like that music, but those bands are now so generally accepted that it makes little sense to write about it in the Koekrand. Currently most of the new things comes from punk and hardcore. Sometimes a modern band is covered but that’s because a lot of people who read the Koekrand enjoy something like that. It’s not just hardcore enthusiasts who read the Koekrand; in the end it’s not a hardcore magazine.

I’ve been doing the Koekrand for five years now, before that I messed around with other magazines [Toilet zine]. But that Koekrand from before those five years was a Koekrand with a ‘c’ and a ‘k’ and ‘dt’ at the end, and a ‘c’ in the middle; some kind of stencil-art thing and all that. I never liked that. When I joined the Koekrand it was more of a fanzine and not so much art-oriented.

Mat: You’ve been part of the punk scene, or underground, for many years now; you’ld have to have a certain vision on that stuff, right?

Johan: I don’t have a distinct opinion about punk, it’s like people mess around a bit, it will continue. Punk goes with ups and downs; at the moment we are probably at a decent acme, while it was nothing two years ago. It’s also related, I think, with other currents in music mainly. Economically things haven’t been going that well lately, and punk has a lot to do with politics, especially for me; that’s also the reason why, for example, many people from the squat-movement feel related to punk. But I know people who are only punk because of the music or the atmosphere that surrounds it, that’s kind of synchronized.

Mat: Does that have something to do with each other: music and politics?

Johan: Well, of course it hasn’t got fuck-all to do with one and other. Well, perhaps everything, maybe nothing, I mean uhh … before that happens; I have a certain political opinion and I think that a certain kind of music fits that well, somehow, I can imagine that people will also like folk music or Jordaan [quarter of Amsterdam] music [sentimental or melodramatic songs of life] with accordion, and with political lyrics. For me that’s the way it is: I like punk music, and I like politics, and you combine that; I notice a lot of people are combining these.

Mat: Can you see a ‘youth movement’ separately from music at the moment? After all, the ‘youth’ spends most of their money on music.

Johan: That’s indeed how it is, but whether you can see it separately… It used to be; and what is a ‘youth movement’?

Mat: What is ‘used to’?

Johan: Before the war or so. The nazis sang songs with about thirty at a time, that was of course also a youth movement… But nowadays many young people are interested in music and so on because it’s a culture that probably fits young people. Fewer people are attracted to painting than to music. That’s why punk is also much broader, you have groups of anarchist painters who daubed all over the city. Besides the Koekrand I also do the Konkurrent mailorder… Apart from that I have done very little, but there are plenty of things that I can still do; what you just said: you do get a certain vision and that vision is of course also a kind of experience or something; in the meantime you know how things will develop or something, you can better see that in advance, and know how people will react to it. You can also undertake other things; set up labels, organise concerts, but I hardly get involved with that, I’ve had little time for that in the past, I had to work. But in the future I will no longer have a job, and then I can focus on other things. The Koekrand and the Konkurrent are simply intertwined, it has a lot to do with one and other.

Mat: The Koekrand is the leading punk magazine in The Netherlands.

Johan: Yes, I hear all kinds of people say that, but you shouldn’t forget, I am just sitting uhh… Well, you know, perhaps that’s all because the Koekrand has been around for such a long time. Many people might think “the Koekrand is up to speed about cartain things”.

Mat: But there’s also a lot in it.

Johan: Yes, but I can’t judge myself. I mainly do it on my own, and Charlotte [Smits; Johan’s partner and mother of his son Rutger] does a few more things, but in the last issue not that much anymore either actually. And you notice that when you have been working on it for a few months, that is when you’ve read things through three or four times, you perceive that as nothing anymore, you just forget about it. When an issue has come out, I prefer putting it in the closet, then I don’t even feel like distributing it. I would’ve already forgotten that issue, I’ld already be working on the next one. I hear people say that there’s a lot in it, but when I compare it to the MRR, it contains very little.

Mat: But you can compare the Koekrand with the MRR, but then limited to the tiny Netherlands. I think a lot of bands also send you a tape or record for a review in the Koekrand.

Johan: I’m not into that myself. There are bands that send a record or so, usually bands that I don’t know. See: a band from Amsterdam never send anything because they know that I don’t appreciate it, I just feel silly; tonight I got free entrance because I’m Johan of the Koekrand, somehow that’s not correct, what status does one get when working on the Koekrand? You also notice that bands are flattering you, and after every gig these guys come up to you like ‘I would like an interview’, then you think, ‘fine, I’ll do an interview with you, but then I feel abused somehow. Not that I don’t want to do that interview but I think it’s silly that people see you that way. I’m just doing something and it’s also quite dangerous, you know, when you… You write something about a band and it turns out that everyone takes it as the truth. That’s simply not true. What is in the Koekrand is what I think about it, and that’s all, nothing more to it. If someone else disagrees or if other people think it’s stupid, then that’s just very normal, and then you should just say it, I think, then you should admit it. It is nonsense to say ‘it was in the Koekrand so that’s how it is’. I have absolutely no clue about music, I know what I like but I really don’t know anything about music or anything. There are bands that I like very much but people shouldn’t hang on to that. Of course it’s nice that people have the idea that the Koekrand is important or something, I do also like that myself, just as someone likes to play in a famous band, but I do think it’s scary, for myself, because you can do a lot of things wrong; and not only that: I notice that most contacts with people are not honest or something, they just act nice to me because I’m Johan of the Koekrand. Kind of like they only act nice to you because you’re the bassist of ‘Pandemonium’, or you play for ‘B.G.K.’ or something. People who normally wouldn’t talk to you but that you see very often, and then suddenly find out that you’re from the Koekrand and Konkurrent, and start acting nice to you, come to have a chat with you every time you meet them. But I’ll just continue with the Koekrand because I enjoy making a magazine like that and because there are also other people who also like the magazine.

Mat: Do you call yourself punk?

Johan: Yes, well, I don’t know. I do think so. I don’t know what punk is. For example, I no longer say whether I’m punk or not. If I say yes now, tomorrow fifty percent of the people will say ‘what he says is nonsense’, the other half says ‘it is true’. When I did an interview for the Agenda (Amsterdam nightlife magazine), they also asked ‘are you punk yourself’, then my first answer was ‘I probably won’t be because I vacuum every day’, and then it turns out that that is what a lot of people remembered. Everyone still goes like ‘hey dude, you vacuum every day’, I think that says everything. When is someone actually punk? I mean uhh… I also wash the dishes every time I’ve eaten, I don’t leave it on the counter for two days.

Mat: Is that punk: leaving the dishes untouched for two days?

Johan: I don’t know, for some people it is.

Mat: Damn what a mess at those punks’ homes.

Johan: But coming back to the question what is punk. I like punk music, get along well with those people and don’t think it’s strange. I don’t think punks are weird, I do like all those characters walking around and acting wild. I just hope they’re still like that at the age of 30 and 40. Unfortunately it’s quite age-related. I’m 25 now myself and begin to put things into perspective, but I do sometimes still have an exciting feeling when I watch a punk band, and I hope that the people who’re 17 and 18 who’re walking around here tonight with their mohawks, throwing beer and pogoing, will have that same exciting feeling at the age of 30.

Lately I started to like real hardcore more and more, that’s because I have the feeling that that’s the only music that is honest. All other music has already been corrupted by the media. That other music is also hust in temporarily. When the craze is over, everyone will have forgotten it, but punk always keeps brawling on.

The conversation continues this way, we chat a bit about the popularity of the ‘Dead Kennedys’, etc.

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Sons Of Ishmael (No Peace Without Freedom #2)

No Peace Without Freedom was put out by a young fellow named Jonathan Foster. I’m pretty sure that his brief involvement in the scene was confined to 1987. When I last saw him (April 1988), to retrieve some records that he hadn’t sold through his distribution, he had moved on to other things.

Tim Freeborn

This zine (from Toronto) is another suggstion of Stephen Perry who has the second issue on his website. Other Canadians told me the name of the editor was David X.

Brob

The creator of No Peace Without Freedom was definitely Jonathan Foster. David X – a friend of JF, about the same age, lived in the same neighbourhood – did his own zine, World Full of Hope.

Tim Freeborn

I’d heard about ‘Sons Of Ishmael’ but it wasn’t until Chris Black wrote me asking for help during their coming European tour that I really got to know them. They’d had the opportunity to tour Europe in 1987 (together with ‘So Much Hate’) but had to decline that offer (‘Ignition’ did it). I helped them with a few gigs and they played a show for our Smurfpunx collective (90-09-02). At that time Myke/Mike Canzi had taken over guitar (from ‘Ditch Dog’) and Daragh Hayes played bass. Later on I did a brief interview with Tim for Tilt! #7. In 1991 I also helped them for their second European tour…

This interview with the band is from their earlier days (1987), when the line-up was Tim Freeborn (vocals), Chris Black (drums), Mike Canzi (bass), Paul Morris (guitar/vocals) & ‘Ditch Dog’ Glenn Poirier (guitar).

‘Sons Of Ishmael’, North American tour 1987

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Operation Ivy (Down In The Hole #2)

Down In The Hole was done by ‘Killercrust’ / ‘3 Ring Psychosis’ band-members Dave Lacey (vocals/drums; played in a lot of bands over the years) and Michael Mullen (bass; later in ‘Tension’, ‘Moutpiece’). They were from Glenageary (co. Dublin). I never got to read it but ‘Tommy Trousers’ (‘Brawl’ stand-in bassist, ‘Moutpiece’) sent me #1 & 2 (’88 & ’89).

Some of the bands featured: ‘7 Minutes Of Nausea’, ‘Ripcord’, ‘So Much Hate’, ‘Stikky’, ‘No Comment’ (powerviolence from California), ‘Heavy Discipline (UK) in #1; ‘Operation Ivy’, ‘Lärm’, ‘Neigbourhood Watch’ (Canada), ‘Mannequin Beach’ (Nebraska) in #2.

Dave and Michael also set up gigs at the McGonagles venue in Dublin. Michael’s brother Dermot Mullen did a compilation-tape entitled Out Of The Trees.

Brob

I contributed some of the band-interviews. The zine deliberately focused on international HC rather than local bands.

Thomas Maguire a.k.a. ‘Tommy Trousers’

‘Operation Ivy’ was a ska-punk band from Berkeley, California. This interview was probably right before they broke up (1989) – in between the releases of the Hectic EP and the Energy album. The line-up was Matt Freeman (bass), ‘Lint’ Tim Armstrong (guitar) – both were later in ‘Rancid’ – Dave Mello (drums) & Jesse Michaels (vocals). Matt toured Europe with ‘M.D.C.’ in 1990 (Smurfpunx: 90-09-14).

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Liège scene-report (Voyageur #2)

Voyageur #1: “This fanzine is free in order to reach as many people as possible. It’s bilingual because not only intended for French-speaking countries. We would also have liked to translate it into other languages but our linguistic knowledge is lacking, the space too … Our goal is to let people who are out there (you for example) present what is happening around our planet: information on the hardcore-punk scenes (bands, zines, concert-venues), on different political and social situations … These columns are therefore open to everyone except racists, homophobics and sexists.”

Voyageur (“traveller”) was a publication by Phil(ippe) Raynal & ‘Fred’ Frédérique Perrotin, who ran Obstination recs (mailorder/label) and organised shows (together with others of the Phoque Aime All concert-collective) in Saint-Jean de la Ruelle (near Orléans). Different from other (fan)zines, it was practically exclusively filled with scene-reports (cities/regions/countries), plus a few ads/flyers. As far as I know there were 3 issues (1995-97).

“Obstination mailorder is an independent distribution-network offering vinyl records (small, medium and large), but also some compact in metal, fanzines and a few videos. Obstination is also an independent record-label whose purpose is to provide assistance to bands without means, and to people and associations who fight for respectable causes. Through our activities we want you to discover people (individuals and groups), new ideas, but also bring together all motivated souls to fight against bullshit in general. Our activities have no commercial purpose, the little profit made is automatically used to finance records, studio-hours, to cover deficits after concerts … If you play in a band, if you run a label, do a fanzine or if you have another type of activity (screen-printing !!! …) which is of course neither sexist, racist or homophobic: contact us; we will help you where we can. To receive our catalog: send us a stamp.”

Liège (Luik/Lüttich) scene-report (1996) written bij Willy ‘Wills’ Nollomont (‘Hiatus’ vocalist/ ‘Unhinged’ bassist)

[Translation below]

Hello, my name is Wills and I think at the moment I must be 26 years old. I live and hang out in Liège for about 8 years and decided to write a little review about our local anarcho-punk scene, we are travelers too.

BANDS

In the second half of the 80s there were a few bands with ‘thrash-core’ tendencies here, almost all of us were inspired by hardcore and metal. I was part of a band based in Verviers, called ‘Extremity’ and we had a reputation as chaotic drunks. In the same town there was the thrash band ‘Asphyxia’ who got ripped off by a crappy metal label. Besides ‘Extremity’ other bands that wreaked havoc were ‘Damaged Corpse’ (thrash-core), ‘Purulent Stench’ (sort of ‘Sore Throat’) and the new ‘Hiatus’, a mix of members of ‘Extremity’ and ‘Damaged Corpse’. ‘Hiatus’ gave their first two concerts in 1989, one in a school in Herstal, the second in the cafeteria of the central railway-station of Liège. After two demos the band released a series of EPs & split-EPs, and the second LP El Sueño De La Razon Produce Monstruos was released in April 1995 on the independent and DIY label Nabate. ‘Hiatus’ have toured all over Europe, in Eastern countries and also in the U$A and Canada. In fact ‘Purulent Stench’ was the first version of ‘Hiatus’; they released a very loud demo called Harmony In My Headache. The other members of the old bands all reformed into less politicized metal bands while some members of ‘Hiatus’ formed two more bands with friends: ‘Unhinged’ was born around 1993. This band sounds a bit like emotional, fast-paced hardcore, with discordant guitars and female vocals. A demo Making Room For The Unexpected and an EP Resisting The Murder Of Self were self-produced and released on the guitarist’s label, Nabate. The demo should be released on labels in the East. ‘Unhinged’ has toured extensively in France, the UK, Switzerland, Holland, Germany and of course Belgium. A second demo has just been recorded in France in April 1995 and it serves as promo for the upcoming LP. For a few months now there has also been the band ‘Glue Bag’: mixed vocals, lyric-wise ‘Disorder’ influences, more ‘Ripcord’ and ‘Hiatus’ musically. ‘Hiatus’ drummer, now a dad in Glasgow, formed a cover band there called ‘Discore’, with former members of ‘Disaffect’. ‘Hiatus’ got back together in late May for a U$ and Canada tour. In Wallonia, in Verviers there’s also ‘Higgins’ (punk-rock) and ‘Grindfeast’ (very much like ‘Excrement Of War’): very nice and very punk; in the Ardennes there’s ‘Disjonctor’, ‘René Binamé Et Les Roues De Secours’, there was also ‘Passwar’, ‘Vladimir Et Les Aérosols’, ‘Don Jones Et Ses Bourses’ and many other bands that I would qualify as ‘fun-core’.

ZINES

Around the end of the 80s, Alain of Nabate, Phil from ‘Hiatus’ and some other mates did a punk zine called Out Of Control. After that Alain published a political information-sheet called Uppercut, Manu contributed but they quit a few years ago. Since then, to my knowledge, there hasn’t really been a punk zine, just a few zines from people who are mainly interested in music. This is the reason why I created the zine Rabougri last year. Number two came out recently, and the first 100 copies were gone in a few days. Thanks to everyone. There should be an English version sooner or later, rather later. Everything in its time.

COLLECTIVES & VENUES

There are quite a few collectives and alternative venues in Liège, so I will only mention a few. Around 1990 Les Amis De La Place 4 was born: in that year the collective organised a gig for ‘Sore Throat’ and ‘Hiatus’. At the time we didn’t have a fixed location for our activities. We often collaborated with the Zone Libre collective which was more rock-oriented. Since then, the venue La Zone got started, with members of the two collectives. There’s a lot of bands performing there each week, the styles are very diverse and the entry-price is affordable. The list of international bands that have performed there is very long. In the centre of town there’s also the bar Planète Interdite [«forbidden planet»] where Bradford’s ‘Headache’ recently played. Soon there will be ‘Hiatus’ and Unhinged’. There are often dub / reggae / psychedelic nights organised by Indica Sound, rap nights, theme nights (soon Cannabis Week), etc. In the 80s there was a political squat called La Galére [«difficult situation»] where our friend Phil organised his first punk party. It was evicted and recently homeless people and ecologist politicians have squatted a building with, 200 people. An agreement was made to pay a minimum rent (around 300 FF [1800 BeF or 45 Euro] per month).

LABELS

Nabate of course: anarcho-punk, sincerely and honestly DIY. The first releases were the Exclusion compilation-LP on sexism and the EP by ‘Revulsion’ (UK). Since then Nabate has helped quite a few cool bands (‘Disaffect’, ‘Sedition’, …) working with Flat Earth from Bradford. Nabate will be releasing the LPs of ‘Hiatus’ and ‘Unhinged’ before taking a break to go to China. They also have an extensive mailorder-list of literature and music.

THEATRE

Les Acteurs De L’Ombre [«actors in the shadow»] (cf. La Zone) make theater and are politically active, they are subsidized by the state and based in La Zone.

There you go, that’s about it. Bye!

SOME ADDRESSES

[…]

Posted in 1996, French zines | Tagged , , , , | Leave a comment

Hackfleisch

“Hackfleisch is a punk fanzine, the way I always wanted it: no concert-announcements, no record-reviews, but compacted anger, frankness and the willingness to make enemies.”

I got to know Karl Nagel (real name Peter Altenburg, orinally from Wuppertal) around the time he was the singer of ‘Militant Mothers’ (a band from Hannover that played a gig for our Smurfpunx collective; 90-03-03). He seemed like an intelligent, well-read, erudite person but most of his writings were in German and since my kowledge-level of it is that of secundary school, I lack of the nuances and often misunderstand the irony/sarcasm. Hence I never fully read the zine he did: Hackfleisch.

There were 6 issues (1982-1986), all in German. Almost no band-stories or interviews, mostly punk-scene experiences, developments, stories about the chaos days, etc. Karl sent me PDFs of #2 (pogo on the tram, an ‘untermensch’ reports, heil Nagel – destroy Nagel, nazis = skins ?, anarchism & punk; women’s power, etc.) & #3 (youth ’85, anarchy, punk, the phantasy of power, chaos days, leftist dreams, etc.), and an excerpt from his book Reflux that shines a light on his intentions with the zine (which I translated with his help):


Leader visions and failure frustration

My chances of a life as a human wrecking-ball seemed not bad: Punk was at the centre of the ‘zeitgeist’ and failures can also cause a lot of commotion here. In my eyes that was the core of the idea behind punk. My failure of my science fiction fanzine Whistler seemed like a qualification for a career as a punk fanzine editor. Fantasizing, big-talking, typing, awkward graphics and combining everything into a tangled mess – I can do that!

Yes, chopping up a wonderfully inferior anthem for rioting losers, that’s it! Fuck rock’n’roll “culture” and politics in all body-openings and process it into minced meat!

Hackfleisch [minced meat] – that should be the name of my punk fanzine! Written and designed for people like me!

The thought ignited, the starting-shot sounded. I had hardly any money and started out small as a loser, in DIN A5 size. A bit dwarfish for the intended world-conquest, but Hackfleisch should appear every two weeks – that seemed doable to me, with a size of 12 pages. Created as a news fanzine, I wanted to put a briquette on every issue and finally make my magazine a disgusting mirror [Der Spiegel; Germany’s largest, most influential weekly], the leading voice of punk. And become Rudolf Augstein [journalist; founder of Der Spiegel] of the depraved and the broken ones.

When I copied and stapled the first issue , a new fanzine had appeared in Hannover shortly before: Pogoflittchen. [Pogobitch] My timing was bad but the mood was good.

I sold a few zines to friends and through the local Govi record-store [mail-order company]. I really wanted to rake in at a concert in Korn [Unabhängiges Jugendzentrum (UJZ) – independent youthcentre – Kornstraße]. Punks all over – perfect target-group, easy job! I thought it would be fun. Getting to know people and stuff. Girls, maybe. By myself, without a girlfriend, Hackfleisch seemed like a suitable tool to draw the attention.

I posted myself at the entrance. A copy of Hackfleisch in hand, the rest of the zines in a plastic bag.

“Hey, dude, wanna buy a fanzine?”, I said to the first one.

The guy with a beer in his hand and punquette on his arm stopped and looked at me first, then at the magazine. Took it in hand, leafed through it. Acted as if someone wanted to sell him a CDU [Christlich Demokratische Union Deutschlands; conservative political party] leaflet, or a refrigerator or a car.

“Is it free?”

“Nah. 50 pfennig [1 DM (ca. 0,50 Euro) = 100 pfennig].”

“Ill take one if you give it as a gift to me.”

“Forget it.”

“You just want to make yourself look important. You and your commercial shit.”

I would have gladly punched him in the face for this, but I knew that my thin arms were not made for fights. So I switched to agitation, propaganda and whining.

“Come on, dude … you also get something out of it when people in the scene do something, don’t you?”

“I don’t care.”, the guy said, leaving me and my zines behind. The asshole’s girlfriend laughed.

Many laughed and smiled, others threatened to punch me out of their way.

Half an hour later, I put the zines back in the bag and stashed all the shit behind the counter. I didn’t feel like a fight that I would lose anyway.

Better to have fun like the others!

The idea of publishing Hackfleisch every 2 weeks soon landed in the bin. The final straw was an action that was announced in the zine. ‘Tempo’, one of my punk-pals, had designed and ad for his band ‘B-Test’. He had the idea for Pogo in der Straßenbahn [pogo on the tram], and ‘B-Test’ would play there. It was scheduled for Saturday, January 29th, 1983.

When I reached the meeting-point at the final stop of line 14 at exactly half past six, a few dozen punks (plus hippies and anarchos) had already arrived.

My joy about the newly discovered punk reliability quickly vanished when the first spike-head patted me on the shoulder.

“Awesome action, you do dude!”, he said. “Super organisation!”

I was irritated. “Not mine. I just published the call.”

“Oh come on … admit it, I won’t tell anyone!”

He didn’t believe me, just as many others who talked me over with similar jabbering.

I was happy when it started: We got on the tram, ‘B-Test’ made their noise, the crowd became hungry for tumult, and a tram experienced pogo firsthand. It swinged like a fishing-trawler on high seas as the atmosphere peaked. The beer flowed, the mood reached a peak.

15 minutes later, the fun came to an abrupt end: cops fought their way through our ranks to arrest people. Most of us managed to get away, and finally a small troop gathered around me.

“What are you going to do now, Nagel?” one asked.

“I’ve got no idea.”, I answered.

“But you should know what to do if you’re setting something like that up.”

I’d had enough of it, I went home. I didn’t want to be a leader making decisions for others. And the desire to make fanzines was gone, at least for now.

It took me two months to put the second issue together. I used Adolf Hitler on the cover and embarrassed myself with calculated vulgarity. I greeted my readers with ‘Heil Nagel’ and announced that the news-zine had turned into an egomanic fanzine. I thought some splashes of wickedness would make me unattractive as a leader.

Nevertheless the second issue of Hackfleisch strengthened my reputation as a scene-celebrity, but the bottom line was that nobody was really interested in the zine itself. Perhaps there wasn’t enough stuff about pussies, fucking and pogo in it; who can tell that in retrospect?

I only did 74 copies, limiting the readership, and I gave half of these away.

Meanwhile I had a girlfriend at least, I could hardly believe it myself. She called herself ‘Climax’, I was madly in love with her.

‘Climax’ was four years older than me and had a record-collection that filled an entire shelf-wall. Mind you, she didn’t understand that I was into music that came across as fierce, mean and coarse, and when I would be in a band it should sound that way. (‘Middle Class Fantasies’ or ‘Dead Kennedys’).

One day ‘Climax’ put records from ‘Bauhaus’ and ‘Sex Gang Children’ on the turntable.

“Listen to this, it doesn’t sound like your music.”, she said. “No negative shit – this is positive punk!”

I racked my brains over what was ‘positive’ about the dark and depressive sound of that music, but a few weeks I discovered newcomers such as ‘Black Flag’ and ‘Bad Brain’. A completely different league: “This is the future, not that self-piting howling!”, I told her. “Mark my words!”

The new sound was faster and sounded harder than the usual hardcore-punk that I knew from Germany or England. The American vocalists screamed their hearts out in a way that made me shiver. I hád to see that!

Soon the ‘Bad Brains’ came to Hannover, at Korn. The condensation dripped from the ceiling as they delivered one orgasm after the other on the stage. I saw pure magic – during their song Fearless Vampire Killers the singer’s hands seemed to fire lightning in the air!

They were African-American and rastas, wearing dreadlocks and paying homage to their god and emperor Haile Selassie, and that irritated me. Just as ‘Black Flag’ singer Henry Rollins a few weeks later: he creeped through the Korn pub, wearing a parka and long hair. To explode like an angry, muscular sewer-rat during Six Pack 15 munutes later, so that all German and British bands, compared to this, seemed like people on early retirement.

In fact, I had seen the harbingers of a new era, but hadn’t understood any of it. In my world, punk ruled as I knew it.

In the summer of 1983, my Adler typewriter was called into action again for a short period. Diva (the woman that did Pogoflittchen) and I made a special zine about the Chaostage [‘chaos days’, at the time a famous meeting of punks, which were accompanied with violence and destruction, and got a lot of media attention too]. They had just happened and shaken Hannover for the second time, and it was clear that we didn’t have to worry about selling a zine like that. Cash From Chaos!

We hit the shit, the zine appeared as A4. And it looked damn dirty!

The savior of punk

A year later, in the summer of 1984: my community-service was over, bloody arguments with skinheads were the order of the day. Nevertheless I didn’t return to Wuppertal. Instead, I moved to a punky shared flat; a little later, Linde shifted down a gear punk-wise, became a taxi-driver and sold me his studded jacket.

Because I wanted to be a super punk-rocker, I pierced another 200 rivets into it and painted in Gothic print – what else? – “No More Peace” on the back of the jacket, accompanied by a mushroom-cloud. Now I was part of the rivet-emperor tribe. A warrior for punk!

During the third Chaostage, everything boiled down to a huge, bloody massacre between punks and nazi-skins. 2.000 punks from all over Europe arrived, and after a short but violent confrontation with around 150 nazi-skins, the colourful dragon withdrew from the city to the youthcentre on the Glocksee [autonomous youthcentre]. There a long battle with the police began.

Rioting punks dismantled the interior of the youthcentre into individual parts and used them as projectiles. A social worker’s record-collection flew through a window onto the state-power. On the roof of the U-shaped building masked people threw with everything that they could get in hands. Below, water-cannons sprayed away anyone that didn’t look like police.

Driven by booze and drugs, the mob raged across the premises; some older punks from Hannover ran purposely through the bizarre scenery. They tried to avoid the worst. When I saw how a drunken punquette hitting a tree, shouting: “The nazis … the nazis … everyone to the trainstation!”, I had enough of it. Like everyone else who had their senses together, I made sure to got away and begged myself through a police-cordon. Others stole a canoe from the Glocksee workshop and crossed the Ihme [river]. Unfortunately, the boat wasn’t finished yet, which is why it sunk together with the people in it. When they reached the other bank (swimming), soaking wet, they were given a warm welcome by thugs of the Borussia front [extreme-rightist Borussia Dortmund hooligans].

The battle of the Glocksee continued until late into the night; I hid myself at home and didn’t dare to think about the day after. “Damned, what went wrong?” I wondered.

During the days that followed, everyone knew that something fundamental had changed. Turning point! Many now called us “jerks with coloured hair”.

After that, the majority of the punk-scene was occupied with its own decline. Some laid drunk in the gutter, others devoted themselves to hard-drugs and made fun of the street-punks who devoted themselves to excessive boozing. But not for long.

Many got out. An alternative was hardcore, fresh from America. Others didn’t feel like changing course and stayed true to their punk.

I got scared: Was No Future for punk right now? All over? Never – rather switch to megalomania: I was the ónly one who could give punk back its original sting, and therefore Hackfleisch had to be rescued from sinking! From now on, the meaning of punk would be determined by Karl Nagel, the terrible thinker! You know that villain from the Marvel comics? Always fighting the Fantastic Four, losing all the time?

One thing was clear: I never wanted to get on my knees for whatever bore. The new Hackfleisch had to have the attraction of tasty genitals! Looking so cool that éveryone wants it! I would cheer the many letters and words towards the willing buyers like the concealed stuffing of a Trojan horse. Because there were a few things that were a heavy burden on my punk heart.

My head was full of ideas clashing with one and other, accompanied by the sound of loud marching-music I put the best ones into practice. Hack! Hack! Hack!

Like an asshole in the frenzy of success

A few weeks later I was at a punk-concert walking around with a stack of papers in my hands. ‘Mengele’, a friend, had taken me in his car to Bielefeld, with two boxes of Hackfleisch.

The third issue, with a print-run of 1.000, was supposed to flood the punk-scene. Full risk, no more half matters! I had been able to convince the printer that he was facing a genius. The creator of the best punk-fanzine ever!

The printer’s name was Lutz Lieber, an old lefty who was stranded on the “Green Alternative List” (GAL). He resided in the Hannover city-council for them. However, his activities weren’t really really “green”; he was rather a cheerful communist with a lot of sympathy for everything that smelled of unrest and riot.

Lutz liked punks and apparently he liked me too, because he printed minced Hackfleisch on credit. I found that very pleasant. Or maybe Lutz was just hoping that my rubbish zine would help to break down the system, speed up the overthrow. Of course, money was secondary.

The mysterious electric typewriter that I had spotted in Lutz’s office was more useful too, for my plans to conquer the world. “You can type all your text for the zine on it if you want.”, he said. Of course I wanted because the thing was a marvel of modern technology!

It was called ‘IBM Composer’ and I was amazed when I saw what it could do: justified text, pin-sharp typeface, and you could change the font in the middle of the text and, for example, italicize individual passages! Damn! This gave the Hackfleisch a real cool magazine-look.

Like its prehistoric relative – my vintage Adler [typewriter brand] – the ‘IBM Composer’ beat the power of an electric guitar by length. Perfectly made for me because I had failed at playing guitar years before. The noisy metal of the ‘IBM Composer’ should from now on shoot a constant fire and make the world tremble for our superpowers! Somehow. Together, Adler, the ‘IBM Composer’ and I were the hottest band in the world. And Lutz the roadie, technician and groupie, all in one.

“What about the photos?”, he asked one day. “Should I scan them?”

But I wasn’t that dumb, on the contrary: I copied the small-format pictures up to page-size, copied copies of copies of copies, and subsequently painted them with indian ink, felt-tip pens and opaque white. The layout needed to be a punch in the face and by no means look gridded clean!

So it turned out that after a while I was hanging out at a punk-gig again. No, not to jump around the place on a ‘we want noise’ evening. The field-trial, the litmus-test of my masterplan, started right here and today.

A few bands were playing at the AJZ [autonomous youthcentre] in Bielefeld, but for me it wasn’t about music that Saturday, I hung out in the courtyard.

I didn’t talk to anyone about Hackfleisch but everyone could see the zines in my hands. There were a lot of them, they were big, they looked awesome! No more shameful plastic bags, no hide-and-seek game! The previously inconspicuous A5 zine now showed off in A4. No band on the cover, no Adolf, but the megalomaniac Nagel himself! The punk god! In a pose that I borrowed from a Marvel comic and then re-enacted.

A stack of Hackfleisch under the arm, with an axe between the legs – I’d bought it in a hardware-store and gave it the name “lawyer” – I stood in the courtyard of the AJZ, waiting for prey. Bringing my lawyer into the venue was an easy exercise, I knew some guys from the AJZ-team and ‘Böckchen’ had arranged everything.

“What have you got there?”, so it started? A punquette, already a bit tipsy, looked at me and my zines with big eyes. A poison-green mountain of hair grew over her forehead, the ‘Boskops’ logo painted over her jacket in full width. I called her ‘Froschkopp’ [frog-head] secretly.

The usual leafing through followed. Her attempt to transmit arrogance was accompanied by a dash of agitation. Something was different. I kept talking to someone else and paid little attention to the woman. I could play the asshole act too.

“How much does it cost?”

“Two marks fifty.”

‘Froschkopp’ seized her beer between her knees, pulled a few coins out of her purse and gave them to me. That’s why I put out a zine.

“Have fun!”

When ‘Mengele’ and I drove back to Hamburg around 2 p.m., 50 zines were gone. The whole trunk-load.

This went on for the next few months. Another reason why Hackfleisch also sold well, was the way I pissed off leftists and autonomists in it, and publicly questioned the “natural alliance” between punks and radical leftists. The Hannover political scene wanted to know what was going on. It caused a storm in glass of water and from then on the advocates of the revolution didn’t like me very much anymore. That wouldn’t change in the decades to come.

During the following weeks, more and more letters came in. Readers wanted to distribute Hackfleisch, distributers included the zine in their assortment. In the end, almost 2.000 of my masterpieces were gone (I had to print extra and Lutz got his money!). Without advertising, without sliming – that’s how it should be!

This was followed by two more issues in the same style, with (the special) #5 in between, which I put together again as an A5 with a small print-run to annoy the collectors. These already existed in the 80s too, you see.

By the end of 1986 I was at some concert with the 6th issue of Hackfleisch and pulled off the tried and tested act. The new issue of the zine was about ‘love’.

A guy with a leather jacket, black hair and studded belt stumbled out of the toilet. I recognized him immediately. It was the same empty-head that years ago called little sweet Hackfleish “commercial shit”. But the encounter seemed to have disappeared out of his brain a long time ago.

“Hey, dude … Gimme one!”, he said, pulling money out of his pocket without being asked. “Very cool what you’re doing. The others leaving real punk … the straight-edge wankers. They think they’re better because they don’t drink. But you’re holding up the punk-flag … when everyone deserts, you’ll be the last punk standing!”

But I didn’t want to be the last one to turn off the light. And especially not for people like him. For this enlightenment I gave the zine for free and went home.

After that it was over. No Hackfleisch anymore. I let my hair grow and packed my studded jacket in a removal-box. It sounded like boredom and death to worry my brain to death about how to preserve true, real punk for the descendants. The act was over.

I understood: Hackfleisch wasn’t made for “people like me”. Such a species didn’t exist. Or at least not where I was hanging out. Did they exist elsewhere anyhow?

A year later, Adler was replaced by an Atari computer. A PC followed and then a Mac. Adler was too old for the new times. The machine from the day before yesterday started to gather dust in some corner and was forgotten.

For the next 30 years, I wasn’t interested in typewriters and colour-ribbons. Instead, I had fun with ‘chaostage’, bands, pogo-anarchy and comic-production – all digitally forged! In the end, even print and paper got under the wheels of time, the triumphal march of the Internet seemed unstoppable.

Until the bell rang and the pizza came. But that’s another story …


On Karl’s Wikipedia-page Hackfleisch is described as a “punk-scene magazine that gave controversial comment on the development of the punk-scene”. Karl also published/authored comics and “litter-/nestpolluting literature“. He was also politically active (even candidate for the federal parliament for the Anarchist Pogo Party, APPD) but is best known for his involvement with the Chaostage (calling it an antifa-meeting is too simplistic, says Karl). His enemies (nazis) described him as “subversive, destructive, parasitic, anti-social and hostile”… If you don’t read German, you can also just have a look at his punk-foto archive.

“However well the enemies of the working-class disguise themselves and no matter how many infiltrants the imperialists smuggle in – We’ll get them all!

Posted in German zines | Tagged , | Leave a comment

Wretched (Wrakvee #4)

Wrakvee (“wounded or diseased cattle”) was made by ‘Sauber’ Herbert Mooij, together with ‘Hipix’ Wibrand Dragt (both from Hoogeveen, The Netherlands). There were 5 issues, started 1983, lasted until 1985. The complete series are available online thanks to Michael Kopijn.

Most of it was written in the Dutch language. Interviews were rather brief, info quite chaotic, layout pretty messy (the first 2 issues). #1: ‘Puinhoop’, ‘Bloedbad’, ‘Vacuüm’, poet Bart Droog (about the autonomous group Destructief Jong Nederland), King’s Road punx, and various odd bits; #2: ‘M.D.C.’, ‘Pandemonium’, ‘Antidood’, ‘La Résistance’, Xcentric Noise records & tapes, ‘Späxøll’, reviews, etc.; #3: Denmark scene-report, ‘Lärm’, straight-edge, ‘Chaos UK’, ‘Zyklome-A’, ‘Indirekt’, ‘Power Age’, and more; #4: ‘Krank’, ‘Deformed’, ‘Power Age’, ‘Oigasm’, ‘Vortex’, ‘DeLuxe Green’, ‘Outrageous’, ‘Xpozez’, ‘Wretched’, reviews; #5: ‘Oigasm’ controvery, ‘Vacuüm’, ‘Wolfbane’, ‘Antisect’, ‘Born Without A Face’, scene-reports (Belgium, Friesland, Amersfoort), reviews.

Brob

The zine was founded by Herbert and Wibrand because they couldn’t start a band and because they got bored with Hoogeveen. Herbert did the last issues by himself because Wibrand had lost interest. The name came from a girlfriend who pointed out how pertinent it was.

Michael Kopijn

The intro to this interview with ‘Wretched’ (from Milano) reads: “We met the band at Dick’s house. We print this in English to avoid translation-errors.”. The line-up at that time (Dec. 1984) was Daniele De Sanctis (guitar; ex ‘Indigesti’), ‘Crema’ (drums; ex ‘Rip Off’), Gianmario Mussi (vocals), Fabio ‘Fabietto‘ Mussi (bass). It was just after the release of the Finira’ Mai? 7” and the Libero Di Vivere / Libero Di Morire LP.

Brob

We (‘Bloedbad’) supported ‘Wretched’ (replacement for ‘Pandemonium’); it was our last  concert [Groningen, 84-12-22]. My mate Dick Jochems from Hoogeveen drove them and organised the tour (also ‘Antisect’ and others).

Michael Kopijn

Posted in 1985, Dutch zines | Tagged , , , | Leave a comment

Crass (Guilty Of What #3)

Chris Low (a.k.a. Spike) from Stirling, Scotland started doing this zine in his early teens. As far as I know he did 3 issues. #1 with ‘Discharge’, ‘Crass’; #2 (82): ‘Anti-Pasti’, ‘The Wall’, ‘China Pig’, ‘The Fakes’, etc. & #3 (82): ‘Rubella Ballet’, ‘Conflict’, ‘Crass’. Never seen any issues but Chris was kind enough to provide various bits (available on request).

He became the drummer of ‘Political Asylum’ 1983-ish (the Fresh Hate tape) and was also part of ‘The Apostles’ (until ’84). After that he played for ‘Oi Polloi’ (e.g. Unite And Win! LP; under the moniker ‘Skullheid’) and various other bands.

Nowadays Chris fills his time with photography (gallery) and DJ-ing.

Brob

Guilty of What? Fanzine ran for three issues over 1982-1983. It was assembled solely by myself at home using my mum’s old typewriter, scissors, glue -stick, the mandatory WH Smiths blue plastic stencil and any Letraset I could steal from the local art-shop. My father got the first issue copied at his work. Issues two and three were printed by the bassist of my first band, ‘Toxic Noise’, who was working on a ‘Y.O.P.’ [Youth Opportunities Programme] scheme’ (early 1980s governmental ‘Work Opportunity Programme’) at a printing-company in Stirling, which he did for me on the side for free or the cost of a few drinks. I also got him to print ‘Twisted Nerve’ #5 by my friend Miles [Ratledge; drummer] of the original ‘Napalm Death’. As I produced my zines years before I could drink (I was at at school and living with my parents), all my pocket-money and everything I made from the sales of my zine and cassettes I put out on my tape-label went straight back into the fanzine, buying records and going to gigs. Needless to say mail-costs were heavily subsidised by the time honoured ‘boomerang post’ i.e. soaping or applying sellotape to postage-stamps so they could be repeatedly reused.

Like everyone involved with anarcho-punk at the time I’d have said I did it “to get the message across”; all my fanzines had articles on the standard, anarcho-punk topics: nuclear disarmament, apartheid, vivisection, fox-hunting, etc. Being active and campaigning against them seemed just as important as the music at the time. The reality is probably a cross between that and writing a zine simply being a fun thing to do and having some sort of precocious creative urge within me that it satisfied. There was the ‘fan’ angle too – providing a legitimate reason to write to and sometimes meet the bands and musicians I admired – ‘Crass’, ‘Flux’, ‘Discharge’, ‘Alternative’ [“the Scottish ‘Crass'”], ‘Omega Tribe’, ‘Dirt’, ‘Poison Girls’, etc. (‘fandom’ being much maligned within punk and, more-so, anarcho-punk culture). Access and response were major factors that determined content. Access in what bands I could successfully make contact with and response as in how – and if – they responded when I wrote to them with questions or attempted a telephone-interview. Some were successful – ‘Crass’ always responded to postal interviews with detailed answers – whilst others, ‘Poison Girls’ and ‘Discharge’, ‘The Wall’ and ‘Anti-Pasti’ were pitifully short. I also covered local Scottish bands such as Stirling punk heroes ‘The Fakes’ and (from Dunfermline) peace-punks ‘Alternative’.

Another perk I soon discovered was that producing a zine allowed me to blag free stuff (posters, records, etc.) and once I discovered tape-trading became an avenue for the reciprocal exchange of tapes of my early bands  (‘Distraught’, ‘Political Asylum’) with those of other bands I communicated with throughout Europe and the rest of the world. I remember being sent a lot of letters and tapes by bands from Finland and Sweden including ‘Kaaos’, ‘Shitlickers’ and ‘Rattus’ amongst other seminal D-beat acts.

I believe fanzines were incredibly important to the punk-scene and more-so to the anarcho-punk movement in that they provided a focus for these scenes that may otherwise have gone unreported in the local press or radio. Also by publishing contact-details of other zines and bands, they facilitated communication between like-minded individuals and bands, which was a very important element to the early DIY punk scene. Zines allowed those who may have been socially isolated or who couldn’t play an instrument an avenue to contribute to the scene just as much as those in bands. There really WERE “no rules” when it came to fanzines! You could write about whatever you wanted and the final product could be hand-written and end up being read by ten people – or ten thousand! Just because there WAS such freedom people could experiment, which produced some uniquely provocative and graphically striking works; from a scrappy, largely illegible classics like [British fanzines] Pigs For Slaugher and Cobalt Hate to something as professional and beautifully presented as Gee Vaucher’s agit-prop visual magazine The International Times.

There were various reasons I stopped producing zines: Guilty Of What was very much an ‘anarcho-punk’ zine and by late 1983 the scene was beginning to change into something I had little interest in, mostly due to the influence of the USHC ‘thrash’ sound and heavy metal, both of which I had little affinity with. I always thought when ‘Crass’ split in 1984, anarcho-punk lost much of its direction and became just another music genre rather than the movement for change it had previously seemed. But maybe that was just me? I was only fourteen at the time…

Chris Low, London, July 2020

Below is an interview (mail & telephone) that Chris did with Pete Wright and Andy Palmer of ‘Crass’. People might also wanna read the talk with others in the band Crass (Religieus Bloedblad #9)

 

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