Toxic Waste (Follow The Crowd #3)

A fanzine from Omagh, Northern-Ireland, done by ‘Moyni’ Tony Moynihan and Derek ‘Doe’ Lynn (guitar/vocals & bass/vocals of ‘The Icons’). The first is a friend of Dirk Ceustermans (who borrowed me his copy of the 4th issue). The latter passed away in 2013.

Tony’s brother (Mark) kindly provided the 5 published issues…

#1 (1983) featured British punkrock bands such as ‘Criminal Justice’, ‘Screaming Dead’, ‘Dead On Arrival’, their own outfit ‘The Icons’ & No Future recs; there was a report on the scene in Omagh and a trip to London; plus some reviews. Content of the second issue (early ’84): presentations of British bands ‘The Samples’, ‘The Skeptix’, ‘Resistance 77’, ‘The Deceased’, an interview with ‘The Outcasts’ from N. Ireland & ‘Uproar’ from Peterlee, report on the Huddersfield scene, columns on eating meat/war/1984, reviews (records/gigs/zines). #3: presentation of ‘Impact’ from Wales, ‘Soldier Toys’ from Cardiff, a brief chat with ‘L.A.M.F.’ (Sunderland), interviews with ‘Newton Neurotics’, ‘Political Asylum’, ‘Toxic Waste’ & ‘Carnage’, a Dublin scene-report, reviews and more. The issue Dirk C.  has (#4), contains a talk with ‘Hammy’ of the ‘Instigators’, a chat with 3/4 of ‘Conflict’, bits on ‘Carnage’, ‘Scum Dribblers’ and a criticizing piece on + interview with ‘The Exploited’; plus presentations of ‘Allergy’ (Belfast), ‘The Apostles (London), and more. The last issue, #5 (1985): has talks with ‘Stalag 17’, ‘Paranoid Visions’ (Dublin), ‘Chumbawamba’, Joey Ramone, ‘Onslaught’, ‘Xpozez’, etc.

Tony Moynihan moved to London and plays in the punk band ‘The Phobics’ nowadays…

Brob

The zine was done by myself and a mate ‘Doe’ Lynn (who died a couple of years ago unfortunately) and it ran to about 5 issues. Greatest coup was interview with Joey Ramone.

Tony

Lots of stuff to read in these issues (feel free to contact if you want a specific bit) but I’m choosing to post the interview with ‘Toxic Waste’ (because I have a connection with them and they’re also from Northern Ireland). I already re-published an anarchist-feminist pamphlet by the band. This chat dates from the period (after the relase of their Unite To Resist tape) before Dane or (later) Roy ‘Wally’ Wallace joined the band; with ‘Grub’ Glen Thompson on drums, Patsy Preston & Mark Alexander Les Ostrich doing vocals, Marty Martin playing guitar and ‘Mush’ Phil Coffey on bass. The band’s history is online…

Posted in 1984, UK zines | Tagged , , , | Leave a comment

Ebola (Afasi #2)

Joel Abrahamsson did this zine, Afasi (“aphasia“), in the late 90s. The bands interviewed for #2 were ‘Mrtvá Budocnost’, ‘Ebola’ and ‘Code 13’. If you understand Swedish, you can read this issue on afasinr2.blogspot

Brob

I started Afasi in 1997, together with a friend. At that time I lived on the countryside and didn’t have a lot of contact with the rest of the punk-scene but I had been listening to HC/punk since 1990. The first band I interviewed was ‘Operation’ [Sweden] (I did that over the phone). Then I did one with Sned from Flat Earth by (snail)mail. That was right after ‘Suffer’ split up. I also sent questions to ‘Crippled Bastards’. At first they didn’t answer but they did when I contacted them by email. Then I got an interview with ‘Totalitär’ from a friend. My friend and me also did a live one with ‘Oi Polloi’ ( in their van, when they played in Jönköping in 1998). I remember that I used an very heavy, old (from the 70s) tape-recorder that I had bought in a second-hand shop. We talked over an hour I think…

I already drew comics in 1995, so there were a lot of them in Afasi, which was actually the first place where people could read them. I also did an article about John Heartfield [German photo-montage artist] since there were a lot of punk bands that used his art for record-covers.

The first issue got good reviews in Spit Teeth and Absurd (zines) but most Swedish punks at that time didn’t understand what I was doing, so it was only when it got to other countries (through Colin from Hell & Damnation zine and others), that it got a reputation. In 1998 I started the second issue for which I sent questions to Filip Fuchs [Mrtvá Budoucnost guitarist], who became a good friend. I visited him in the Czech Republic when he played in ‘See You In Hell’ in 2005. The day he died in 2016 caused a big sorrow for me and many others. I also did a mail-interview with ‘Ebola’ and a live one with ‘Code 13’. This issue got out in Jönköping in 1999. It was supposed to be printed (350 copies) at my former workplace but because the guy at the printshop (a christian biker) refused to (Some pieces were too ‘obscene’ – There was some raw humour and short stories that only punks understand. “Yes, this is censorship.”, he said, “we can’t print this kind of stuff. We must think of our customers”.), I had to do it myself in a copyshop; so there were only 70 copies done. Three years later a friend and me tried to burn down that working-place at night and two years later it was closed down because of mis-using tax-money.

The third issue (2001) had one interview, with [Australian] ‘Rupture’s ‘Gus’ and ‘Stumblefuck’ just before ‘Gus’ died. Then for some reason I ended Afasi but some years later I started a new fanzine entitled Nyfrälst [new believer], which in many ways was similar. In 2005 I did a complication with some of the bands I interviewed for Afasi and Nyfrälst from (1998-2005) in english. It was distributed in the Czech Republic by Insane Society recs. In 2006 I ended the whole fanzine thing and in 2008 I started my comicbook-label Förlag Goldstein [“Goldstein publishers”]…

Joel Abrahamsson

‘Ebola’ (from Newcastle) was Karin R. (vocals) & her hubbie Micky McGuinness (guitar) – both ex ‘One By One’, Chris(sy) Patterson (drums), Jonny/Jonathan ‘Lobster’ Shaw (vocals; R.I.P.) – replaced by Nick Loaring in Autumn 1996 – and Andrew ‘Andy Stick’ Nolan played (bass; also ‘Sawn Off’ & ‘Shank’). Since Karin has Belgian roots, her bands made it over here quite often: ‘Ebola’ played at the Vort’n Vis twice e.g. (96-05-1997-09-12). ‘Skater’ (Jake Thurlow) took over the drums for a while. Andy Irvine (‘Disaffect’) played guitar and Set Dixon (‘Active Minds’) drummed in a later line-up; Duane Ager (ex ‘Bloodshot’) played bass…

[Translation below; with help from Joel Abrahamsson]

I read in the booklet that comes with the Incubation LP that you are old enough to remember ‘The Raincoats’, ‘The Slits’ and ‘Kleenex’ (‘Liliput’). What has motivated you to still be in the punk-scene after 20 years and what other kind of punk activities have you been involved in, except for ‘One By One’ and ‘Ebola’?

Micky and Karin were both in ‘One By One’, Micky was also in ‘Generic’, I [Andrew Nolan; Andy ‘Stick’] was in ‘Sawn Off’ and still in ‘Shank’, ‘Skater’ [Jake Thurlow] was in ‘Bloodshot’ & ‘Slain’, and Nick is running a label called Enslaved. Chris is still in ‘Sawn Off’ and Jonathan is nowadays in ‘Minute Manifesto’. Micky used to help out with gigs of Flat Earth and sometimes I do one in ‘The Mouth’.

While some of us are old enough to remember ‘The Slits’ and ‘The Raincoats’ etc., I’m not: I haven’t got more then 8 years of punkrock under my belt. What drives me to keep involved? I don’t think any of us knows any better nowadays. We’ve been involved in this since our teens and I don’t know any way out. Styles comes and go but the DIY ethics still represent an alternative to the machine-like big business and rock and roll bullshit.

Tell me about your tour with ‘Stack’ in August? How was it? Any gig (event) that you remember? What do you like the most about touring?

We did a small tour in Germany, England and other places in August 1998 with our friends of ‘Stack’, who sadly split up after that. Memorable gig? I don’t remember to be honest; playing gigs are a colleteral occupation. When I’m on tour, I prefer to get away from life with some of my friends and meet (hopefully) inspiring people. Playing gigs are more like a means to get away from things, I like it better than touring. The most ‘memorable’ event was in Antwerp (Belgium) [‘Ebola’ played at the ‘D’Herbouvillekaai’ squat 3 times in 98-99], which I don’t want the readers to make a part of…

What would you say you to your child that you missed as a kid?

I think this question should be asked to the whole band but I don’t believe anyone in the band gets a lot of joy from the little misfits and some of us really hate children and can’t even in the same room as them. I can’t say I missed much as a child, nor that I had bad childhood, but I can’t say I missed that much except some understanding from my father. I think he was like most men in this country: cold and not open for questions. I can’t speak for the others in the band as they’re not around. []

One thing that differs between England and Sweden is that there are many ravers that are politically active. Are there any ravers that spread their ideas through their music?

I don’t know. I haven’t been to any raves in six years. Punk & hardcore aren’t popular anymore, and techno & rave have the same impact on people that punk had in 1977. There are idiot fashion-victims as there were/are still in HC/punk.

Let’s say that ebola and AIDS are put together by a few scientists. In your opinion, for what purpose would that be?

Pffff…if you read Virtual Government by Alex Constantine you’ll learn about theories and research about the CIA moved nazi-scienties from Germany to safe-places, avoiding trials, to North- and South-America to continue their science of weapons of chemical, biological and noise-based nature. He revealed the idea that AIDS and ebola were both constructed by humans and part of research by different authorities and their secret services, especially the CIA, into defensive weapons that are tested on their own citizens, political dissidents and adversaries. Do I believe these ideas? Sometimes, they’re not that untrue but I don’t have any safe answers and can only speculate. Maybe the X-files will answer that some day, yeah right.

Any other books than Virtual Government that you want to recommend? Do you read a lot of books? What do you think of Dostojevski?

I read millions of book bu I haven’t read Dostojevski yet though. I could recommend The Demon by Hubert Selby Jr, Foucault’s Pendulum by Umbero Eco, anything by James Ellroy and Iceberg Slim, Thus Spoke Zarathustra by [Friedrich] Nietzsche, The Assault on Culture by Stewart Home, The Devil’s Notebook by Anton LaVey and hundreds of more books. I read more than I’m listening to music.

About the lyrics “Pray to the converted, why bother? But wait a minute, who’s the converted?”… I know this isn’t the purpose of the lyrics but could the ultimate moral lesson of it be that all these ‘fuck racism’, ‘fuck homophobia’, ‘fuck the system’ lyrics are still relevant since many people in the scene aren’t converted yet?

Yes, you’re one of the few that understand the meaning of those lyrics. Perhaps I wasn’t very clear for some people. We are accused to pray to the converted but take a look around: there are still loads of idiots in the punk-scene who don’t do anything else than getting drunk and collecting records. There are also lots of young people in the scene and everyone can’t be born a vegan, anarchist, DIY, squatting punker. I would rather see people to be little more specific than to say “fuck the system” (which is joke song of ‘Scatha’ by the way). It’s very easy to have politics that sound good but don’t mean that much.

The British scene seems really inbred because when you hear something of a new band, you would already heard about it from others and the average age of people in the scene is quite high. Do you think this is sad?

Eh what? Why would I think this is sad? OK, taking your question systematically: the British scene is as any scene. There’s idiot ego fights in pubs and some go to heavy-metal concerts, and there are some cool people who believe in what they do. There are good people and there are idiots.

Bands’ line-ups and people’s musical tastes change from year to year. Does ‘Scatha’ sound like ‘Disaffect’ or ‘Sedition’? Does ‘John Holmes’ sound like ‘Health Hazard’? No. The first thing you need to know is that very few people can play an instrument properly in this country. So I would like to state that it’s because they’re fed up with people in whatever band they used to be. I assume this is a response to your question? Is this a fair answer? Do you expect people to quit just because their their old bands split up? (Red.: No, I’m not critising, I’m just making an observation. Sorry if I offended you.) Should bands last forever? Obviously not. Who cares if ‘Ebola’ is ex ‘One By One’ or ‘Generic’. We don’t pretend to be anything like these bands and it would be foolish to think our band is based on one or two of the members of these bands’ line-ups, people’s musical tastes change from year to year anyway.

Regarding the age of people in the scene, well I would guess that’s around the mid-twenties, with old foxes like Micky and Sned that hang on until they die. People come and go all the time and I’m still surprised when I see young people who come to the hardcore festival in Bradford the first time every half-year. It feels good to me that so much fresh people get into this scene after so many years and I think newly introduced people, bring in very good potential for the exchange of opinions (Red.: I think so too).

I would recomend to check out ‘Urko’, ‘Minute Manifesto’, ‘Scalplock’, ‘John Holmes’, ‘Canvas’ (even if their CD isn’t as good as their new stuff) and ‘Slain’.

Since your 7” is a lot faster and more powerviolence than your LP, which is a lot faster than your last band ‘One By One’, can we expect your next record to be even faster than Imprecation?

The next record, who will probably already be released when this fanzine is out, is a little bit faster than our former record. I don’t know, perhaps our next record will be ska. It’s sad when some bands put out new records without developing. Just listen to ‘Spazz’ and how much they changed from their first LP: not very much at all. Unfortunately, DIY lacks of quality-control in many different ways. (Red.: I agree. Just sit down and listen to ‘Bathory’s first record. Damn powerful. Although I doubt that there’s a need for any quality-control.)

‘Ebola’ has very strong political lyrics, would you see your self as a political band or the opposite? Do the lyrics express the music or vice versa?

‘Ebola’ is entertainment, that’s all. If people see us as anything more than that, then this is fine. You don’t think we’re thinking of overthrowing the state every time we play, do you? Punk is entertainment, some bands like ‘Ebola’, try to give a deeper sense to it and make it all more relevant but to most people ‘Ebola’ is just another band playing fast music.

You say that “punk is entertainment, some bands like ‘Ebola’ try to give a deeper meaning and make things more relevant for those who live”. Do you think it’s necessary for the punk-scene to mix with other cultural expressions than just HC/punk? Is ‘Ebola’ as a band involved in anything that’s not related to the ‘scene’?

I don’t think it’s relevant for punk and hardcore bands to move from their own little world, but I think it’s relevant for anarchists and the like to express their ideas outside their own little circles. Punk is music, politics affects us all. ‘Ebola’ is ‘Ebola’; as a band I don’t think we’re involved in anything outside the band, not that I’m aware of.

When will the split 7” with ‘Solanki’ and ‘Servitude’ be released? What will the lyrics be about?

There won’t be a split with ‘Solanki’ and it was never meant to either. There might be (but I don’t know) a split with ‘Red Monkey’. The split with ‘Servitude’ has already been recorded and will be released when the booklet is ready, it would be released by the end of 98 or the beginning of 99 on Clean Plate recs. There will be five songs on it. They’re about the meat-industry (as we now got rid of meat-eating bastard), the idiocy that most people display and the violent attitude towards the world as a whole and respect for people that are important to you.

You said you got rid of the “meat-eating bastard” – how important is it for you that everyone in the band stands behind what you all stand for, and do you see all meat-eaters as bastards?

It would be stupid for me to judge people on their belief-system, so no, I don’t see all meat-eaters as scum. Most people I met in my ordinary life aren’t vegan. “Got rid of the meat eating bastard”, was only an expression of a person in the band I disliked, who didn’t care about other’s ideas or opinions. When a band wants to represent their opinions to the rest of the world – more than just ‘rocking out’, then it helps that some of them like the ideas that the band connects.

I think the meat-industry is a symptom of capitalism that affects the lives of áll of us in this society, to be bought, sold and fucked over by anyone in a certain situation (usually when it’s about money). If someone doesn’t have the slightest bit of respect for life or tries to do something (now matter how flawed it is) for this shitty world we live in, then I see no reason to play in the same bands as them; since the rest of the band is trying to bring out our ideas and he ridicules what we’re against; off course the meat-eating was only the tip of the iceberg and as for the person concerned, I see no reason to spent time on him. So, repeating: I done’t see all meat-eaters as scum, I think they are rather stupid, judging from my own standards, so the comment was more directed to a person I did dislike.

What is the song Bombed Out about?

(Checking the record quickly.)

It’s about two things (though you could discuss that until you die): about the falseness/insincerity of the emo-scene and how devastating it is. It’s also about discovering that your friends are heroin-junkies. Both these subjects are linked to each other: compare fake emo with the real pain of people who witness someone addicted to heroin. “Unable to invest in mainline emotion”. Perhaps I have gone too far this time.

I know you share the same adress as the anarchist group named Tyneside Anarchist Group. What kind of organisation is this, how do they work and are you personally involved in it?

We don’t share the P.O. Box of T.A.G. anymore, I don’t know if they still exist. I was involved in it during a short period when I was living in Tyneside. T.A.G. set up “official” ‘North East of England’ A.F.A. [Anti Fascist Action] -groups, and they’re still doing it today which is a very good thing. As I said before: I don’t know if they still exist more than just their name; I haven’t spoke with any of the other people of them since a long time.

The members are from radical movements (and I even include punks here), they’re short-lived and there are always new people floating by or coming in, while others jump off; groups have the same membership-jumpers and – but I’m not sure about that – most people have moved away. Most work is done by 1 or 2 people and they seldom see result of their work. (Red.: There’s probably goin’ a lot in it.)

What do you think of the fact there’s another band called ‘Ebola’? Have you got any problems with that?

We don’t care, we played with them twice. We don’t sounds the same.

What about the noise-project that you recorded in your bedroom? What is it gonna be called and what label will it be released on?

I’ve been interested in harsh noise since many years now. I started my own project a year ago, the name is ‘Joshua Norton Cabal’ and there will soon be split-CD out with ‘Macronympha’ and a split-tape with ‘Jerstice’ that will be available by the time you’ll be reading this. I’m also on some compliation-records and will have CDs out with ‘NSBR’ and ‘Survivals’ at some point. It’s good stuff that I did on my own and there are records that I’m planning on getting out. My own label, Smack In The Mouth, is just a stepping-stone and can be contacted at S.I.T.M., Bright-O-Three Philip Basement – 72 Queen Street, Glasgow, G1 9HN, UK, if anyone is interested.

You have a jazz-part in some of your songs on the Imprecation 7”. Do you yourself listen to jazz? Any favourite jazz-musician?

Personally, I listen to jazz very little. Most of it is annoying as fuck and I don’t think that part was very jazzy, it was just some plinking on keyboards on top of a fairly quiet bit. ‘Skater’ hates jazz but I like some bands; some people that could be thrown in your face as being a representation for us, would be John Zorn, John Coltrane, Sun Ra, Peter Brötzmann and some other stuff.

Thank you for making the effort to answer my questions. Can you ask me a question and finnish it?

Was it really worth the wait? No, my question comes from a discussion I had with some people I know from Sweden about some bands that are very nazist and hung out in nazi-gangs. I think they talked shit of every band that was on the Uppsala Crust compilation [Your Own Jailer recs, 1996]. Is that true or is it just bullshit?

When I asked him about the details of the rumours, I got this answer:

It was a discussion about some bands that had a very unpleasant attitude by socialising with people who had right-extremist views; the only thing I remember was regarding ‘Nojsbojs’ and ‘Diskonto’, something about their drummer. It was in a discussion with Död & Uppsvälld [Stockholm based HC/punk label run by two guys from the hardcore/crust band ‘Scumbrigade’], and they spoke about various idiots in the scene; I told ‘m about some specific British bands and they told me how shitty the Swedish scene was; and that’s what they told me.

I think Död & Uppsvälld should take their fucking piss label and shove it up their pretentious asshole.

‘Ebola’ can be contacted through Mr A. Nolan – flat 1, 274 Kilmarnock Rd – Glasgow G43 2BL, Scotland. Email: simian@globalnet.co.uk

Posted in 1999, Swedish zines | Tagged , , , | Leave a comment

David ‘Scraps’ (I, Yeast Roll #78)

Sam McPheeters (‘Born Against’ vocalist) has quite a few zines under his belt… Dear Jesus is probably the best known. He did that in the early 90s. Before (late 80s), he and Jason O’Toole collaborated for Plain Truth. In Spring 1992, his band toured Europe and when he got back he did this one issue (I believe) of I, Yeast Roll. This one (#78 is obviously fake) contained tour-stories, a conversation with Ben Hamper (contributor to Michael Moore’s magazine Flint Voice & author of Rivethead), this chat with David ‘Scraps’ (during the ’92 ‘Nations On Fire’ tour) and an interview with Pete/Pietro Ventantonio (a.k.a. Jack Terricloth; vocals & guitar for ‘Sticks & Stones’).

Sam had moved to Richmond, Virginia, where he continued his label Vermiform. I was distributing some of his zines (in ’94 he also did a few issues of Error) and records. Later Sam moved to California. He authored a couple of books and has written for bigger magazines (HC/punk and other). Hopefully he’s keeping up his sarcasm and uncompromising attitude…

David Dutriaux was/is the vocalist of ‘Scraps‘ & ‘Nations On Fire‘)…

Posted in 1993, USA zines | Tagged , , , , , | Leave a comment

Gehenna (Apocalypse Now #1)

 

I have some artwork/drafts of  Raf Peeters (Gooreind, north of Antwerp) that was to meant for a zine. Can’t remember why I never got to see the actual publication… It was announced as follows: “For all you a-political dicks, who are in it for the music: here’s a zine with no music and a lot of politics.”… I believe there was only one issue (the cover read ‘Rain’, ‘Rubbish Heap’ & ‘Culture’; also ‘Gehenna’ & ‘Seein’Red’ were featured). His mate ‘Spat’ (Buttcancer ditribution) – who also made some drawings – was mentioned aswell.

Nowadays Raf works as an artist/painter

Brob

The first and only issue I did was in 1998: interviews with ‘Rain’, ‘Gehenna’, ‘Culture’, ‘Seein’Red’, an article about cocacola, some short stories. I got inspired by the movie (Apocalypse Now) so there was a lot of apocalyptic artwork. Went to school with Dennis Tyfus; it was at a time when Belgium went through a  period of collective fear and psychosis because of the ‘Dutroux-crisis’. My motivation? The same as other people in that ‘scene’ I guess: commitment, a feeling that something is thoroughly skewed in this society. ‘Spat’ didn’t really do that much actually…

I still consider HC/punk as an environment with a lot of great people and a good breeding-pond for real change (I’m thinking about the books on anarchism I bought from you). I still love the music (but also listen to hiphop).

After A.N. I made one more zine (Word Made Flesh) with just graphic experiments: it had a print-run of 2 (!). Now (late 2019) I’m working on a documentary series on how everything in this society is one big lie: some history of how we ended up in this situation, how widespread it is, …). I’m investigating how I can use that necessary rage as a healthy motor/ energy, without letting it exhaust me.

Some thoughts on HC/punk…

I wouldn’t say that HC determined my path but it was a logical phase for someone that wants “to change society”. Early on I got in touch with organisations such as Greenpeace, World Wildlife Fund, etc. but I noticed that these finance themselves and apart from a few cool slogans/merchandising they don’t really change much. I noticed that most of my peers seemed to be nihilistic – because of their purely materialistic lifestyle and their glorification of superficiality. The HC/punk-scene was one of the few places where people were concerned with social problems, not involved self-destructive escapism and where there was a potential for real change; because they didn’t rely on politics and seemed to take things in their own hands.

Nowadays, of course I have a bunch of critical concerns about the whole thing and it seems – despite the inspiration it was for many people – a project that was doomed to fail.

The main point is that it’s a subculture without any ambition and hence is stuck in ‘preaching for the converted’; a frustration that of course lived internally. In my view, the whole ‘anti-establishment’ thing of the 60s also went completely astray by regarding everyone above 30 as the enemy and, hence, not evolving beyond a youth-culture raving about oriental concepts and the umpteenth example of controled opposition. People wanted to form a counterweight against the duty to consume but eventually it remained a marketplace with exhibited goods, a game of production and consumption, of thinking up nice slogans and selling merchandise. Perhaps there was even more homogeneity, herd-behaviour and trend-sensitivity than in mainstream culture because it was mainly carried by youngsters still puzzling together their  identity. In HC/punk they were offered a bite-sized package of themes, fashion, image,… Because it’s such a small and young world, where nothing is economically viable, most eventually give up. The same as with the generation of the 60s, most begin to abnegate their ideals when growing older and adapt in the end.

HC/punk has no theoretical basis at all. In a social movement there should at least be some kind of assembly of what targets to aim for and discuss what goal was achieved; and for lack of result: what it is due to. Internal discussion among people that prioritize the philosophical and those that keep busy with the commercial aspect. When the establishment would act as non-committed and people would unavoidably ‘grow out’ of it after their 30, power would be out of the question. Their organisation is as tight as a tense bow, power gets passed on from one generation to the next, and because they plan 50 years ahead and anticipate on resistance, every resistance-movement runs hopelessly behind the facts. To me, some idealists in the HC-scene are too amateurish or stay thinking in circles, forget that there’s other laws in the music-biz… (Vegetarianism, a phenomenon that occured in the 60s: the fact that there’s vegetarian products in every supermarket, is not the result of collective awareness but of social engineering that was fixed in advance.)

In essence American HC/punk is a controled opposition-movement. As it was with the hippie-icons of the late 60s: it’s about key figures, stemming from military families (‘Minor Threat’ in Washington, etc.) that make the anti-establishment-manifestos. People with sincere intentions get diverted, their energy gets lost and (like with the modern ‘whisteblowers’) steam is released so that the machine keeps running.

The aggression of [straight-edge] HC is in contrast with the positive attitude towards life. Hate and violence are glorified (e.g. ‘Earth Crisis’) There’s attention for lyrics with a message but it’s very one-sided to define yourself by not doing something. It’s a movement of mainly young males, with concerts where particularly male, aggressive behaviour scares off women and older people. There’s a contagious macho-pose with militant, seditious energy that makes you want to stand on the barricades, but it all remains within the confines of the organised event.

The ‘do it yourself’ philosophy’ is a positive thing, it’s a preambule to the youtube-generation that gets presented a deceptive illusionary freedom: you can start doing everything yourself, make music yourself with one click, put it online, etc. But in the end, when it has become the pillar of the entire human culture and society, freedom of speech gets abolished and it becomes apparent that is was all about filtering the truth, definitely not spreading it…

Raf Peeters

‘Gehenna’ was a HC/metal band (“blending death, black and thrash metal”), originating from San Diego (California) and Reno (Nevada). The band described their musical style “negative hardcore; an extreme brand of hardcore with raw black metal influences”. On their 1997 tour (they also played at the Vort’n Vis, 97-10-12), the band consisted of Jensen Ward (drums; later ‘Iron Lung’), ‘Reno’ Dean Christopher ‘DC’ (guitar), Mike ‘Apocalypse’ Cheese (vocals), Mike Rho(a)des a.k.a. ‘Mickey Featherstone’ (bass) and original guitarist Justin Holbo.

Seems like Raf thought this was the ‘right’ band for his apocalyptic zine… An interview with the provocative Mike Cheese…

Posted in 1998, Belgian zines | Tagged , , , | Leave a comment

Dance Of Days (KAO zine #1)

Aljoša Koren (from Maribor, Slovenia) started this zine and Dejan Požegar (Jay-walk label/distro/zine) joined for the second issue. #1 (’97) had interviews with ‘Feeding The Fire’, ‘Dance Of Days’ (Brazil), ‘Fakofbolan’ (Croatia), ‘S.F.U.’ (Slovenia), a Czech Republic scene-report, an article about fur-trade, poetry & reviews. In #2 (’98): ‘Avail’, ‘Mine’ (Swi), ‘Revenge’ (Ger), Abnormal tapes (Slovenia), poetry, articles & reviews.

Brob

I think I have done these somewhere in the second half of the 90s. My motivation? I wanted to get involved in the scene…and get my thoughts out. I believe I did something like 100-150 copies. KAO would mean “as well” or “like”, on the other hand is stands for ‘Koren Aljoša Operations’ 😉

Aljoša Koren

‘Dance Of Days’ was the band of a correspondent of mine: Fábio ‘ Nenê’ Altro. Before that he had been in ‘Personal Choice’. He ran the label Teenager In A Box and sent me some great music (‘Dominatrix’ e.g.)… This interview was done when ‘D.O.D.’s debut-CD (6 First Hits) was released…

[Translation below; thanks Dejan Požegar for help]

‘Dance Of Days’ is a band from Brazil. I really like this band and since they’re unknown over here, I decided to do this interview. Due to the distance between Slovenia and Brazil, it was done by mail. Nene answered the questions. If you want to know more, just write to him at the address below.

For starters, I’ld like to know what you’re doing right now and what’s going on with the band.

Nene We’re currently having a good time with the band, doing various concerts and strongly supporting the things we believe in. Right now, we’re working on some new songs that are due out on a new album sometime in January.

Please introduce the band, band-history, line-up, previous bands …?

Nene ‘Dance Of Days’ began playing in January 1997. I was the singer of ‘Personal Choice’ but that band fell apart in 96; Meirelles, our guitar-player, also plays for ‘Singletree’ and ‘Safari Hamburgers’; Mauricio, our drummer, also plays for ‘Small Talk’; Cesar, our second guitarist, previously was the singer for ‘Lack Of Reason’ – a skaterock band; and we have another member of ‘Lack Of Reason’, Leander, as our new bass-player.

What have you recorded and released so far?

Nene In June we released a mCD called 6 First Hits and the first 1.000 copies are already 100% sold out. Now we’ve reveived another 200 copies and we’re seriously considering re-printing. This is all that we have released so far but we will be preparing something new soon.

How would you describe your music influences?

Nene We play powerful emo with old-school touch (what a bad definition!!!) I don’t know how to describe it. Most of our influences come from ‘Endpoint’, ‘Embrace’, ‘Dag Nasty’, ‘Falling Forward’, ‘Stiff Little Fingers’. Our name is from a song by ‘Embrace’.

Tell me about the scene in your hometown and in Brazil.

Nene São Paulo has a very big hardcore scene but it’s a very divided scene, so it’s very difficult to describe. What I can say is that there’s quite a few bands playing, some zines and emo people, skaters, punkers, straight-edgers, each doing their own thing. People only come together here if a foreign band is playing … otherwise they only go to concerts in their own little scene. Some bands I like are ‘Singletree’, ‘Auto’, ‘Dominatrix’, ‘Suntimes’, ‘Blind’, ‘Kangaroos In Tilt’, ‘Cólera’, ‘Paura’, ‘A Reason To Resist’, ‘Small Talk’, ‘Olho Seco’, ‘Another Side’, … Other Brazilian provinces also have their own bands and zines. I really like ‘Adjustment’, ‘Family’, ‘Dead Fish’ and other bands from other provinces.

Are there a lot of concerts in Brazil? Have you ever been to Europe?

Nene We really have a lot of concerts here, in several cities and provinces (one Brazilian province is comparable to an entire European country, have a look on the map). We’re planning some concerts in Argentina this year and maybe a couple of concerts in America in 1998. Europe would be great but we have to do one thing at a time.

What are you doing besides the band?

Nene I run a record-label, Teenager In A Box, I do shows and I’m “hated by people” [When you do something and are active, there are always people who envy you and complain about something, but they don’t do anything.]. I’m also married and have a little daughter. I also work for some non-governmental organisations, but I don’t think I can be considered a militant these days.

What is more important to you, music or lyrics?

Nene Our songs are done as good as we’re able to do them. We express our feelings through music and lyrics. As you can see on our CD, our lyrics are very personal, even when talking about politics.

Where do you get the inspiration for your lyrics?

Nene Most of them are expressions of our feelings regarding the many things that are happening (or have happened) in our lives.

We face personal matters as the eternal struggle of the individual against social and state-pressure and oppression. And most of the time, we talk about our feelings about this, as individuals surviving external degeneration.

Are the lyrics of ‘Personal Choice’ still relevant to you?

Nene: Yeah, I think they are. ‘Dance Of Days’ is not sXe, but I’m still vegan sXe. I always worry about what I said in ‘Personal Choice’ but I haven’t changed my mind a lot. I don’t want to point at other people anymore and I don’t think straight-edgers are the good guys, they’re as worthless as I thought when I was younger.

What do you think about hardline sXe and what does sXe mean to you?

Nene Hardline is not sXe. They say it themselves. I don’t support any “just ideas” and no form of oppression against individuals in any way. Personally, I still believe in unity as a way of destroying a capitalistically structured society and in building a new world where everyone would live in peace. It may be a utopian ideal but this is the only view as far as I’m concerned. It’s correct that I cannot accept the opinion of people who want to deprive me of my right to live the way I want. That’s why I’m moving away from the nazi-skinheads, the violent hardliners, the “righteous” organisations, the religious mafia and all that scum. Straight-edge for me, of course, is my personal decision to oppose the pressure of the “narco rebel standard” [People who’re against the system (hardcore/punks,…) but are drug-users and therefore not really active.]. But at the same time, it’s also part of my punk/hardcore beliefs, and these have always been a part of me.

Do you participate in any environmental or animal rights organisations?

Nene I’m not militant but I support most of them. In fact, there’s no activist organisation here, and some animal-rights organisations are more interested in promoting themselves than anything else.

Future plans for you and for ‘Dance Of Days’?

Nene I hope I can release a lot of bands on my record-label because most bands don’t release anything around here, so people think there’s no scene here. I want to do many more concerts with ‘Dance Of Days’ and resist the “united nuisance” [Those who destroy or try to destroy their scene; presumably nazis and people the like.] that is destroying the hardcore scene.

Something to add more…?

Nene Thank you for mentioning us in your zine and thank you all in Slovenia. I would also like to tell the people who wrote to me during ‘Personal Choice’ that I didn’t receive most of the mail that was sent to me in 1996 because I no longer have good relations with the owners of my old post-office box. If you wrote to me last year and got no response, please email me at my new address. I’m not a rip off. Thank you.

 

Nene Altro – Caixa Postal 205 – São Paulo – SP – Cep 01059970 – Brazil – South-America

Posted in 1997, Slovenian zines | Tagged , , , | Leave a comment

Christ On Parade (Endless Struggle #7)

There’s already something from the Canadian zine Endless Struggle on this website (from the only issue I seem to have). Randy Smith (From Hamilton, Ontario), who also archives radical literature on his website Arm The Spirit (named after Arm The Spirit “autonomist anti-imperialist journal” that he published in the early 90s) and runs the label Rebel Time recs, sent me issues 6-12 (1988-90). The issues preceding E.S. were titled Secret Burial…

He tells me Endless Struggle was published (supported by a whole bunch of contributors) by Gord Hill (a.k.a. Zig-Zag) from Vancouver, a long time activist (First Nations, indigenous people’s and anti-globalization movements). He also published some books; e.g. The Antifa Comic Book.

The zine featured HC/punk bands [#6: ‘The Accüsed’, ‘Subverse’, ‘Desecration’, ‘Ripcord’; #7: ‘Christ On Parade’, ‘So Much Hate’; #8: ‘Atavistic’, ‘State Sponsered Dissident Crucifixion’ (Oz); #9: ‘Misery’, ‘Infezione’; #10: ‘Generic’; #12: ‘Political Asylum’] and highlighted various activist themes… [e.g. #6: anarchy/government, El Salvador report; #7: political prisoners (Anarchist Black Cross); #8: squatting, anti-racism; #9: anti-capitalism; #10: struggles of native people, animal-liberation, autonomous (and other) resistance; #11: environmentalism/ecology, feminism, Palestinian resistance; #12: Spanish political prisoners, autonomous struggle, anarcho-feminism, anti-imperialism, …]

There was also room for art, letters, reviews, 3rd World Punk (#7), local reports (Sweden in # 9, Mexico & Berlin in #11) and so much more. Gord also ran a small tape-distribution named Trenchfoot and released an ABC benefit-tape (entitled Dawn Of Liberty).

Brob

Before E.S. I had started a zine called Secret Burial. The title was based on a massacre that had occurred in El Salvador in the early 1980s. At the time I was inspired by leftist politics including the revolutionary movement in El Salvador, and one of the first groups I was ever involved with was an El Salvador solidarity group in Vancouver. Another inspiration for me was Pushead, an artist who did much of the early graphic work for a number of bands, and later some of Metallica’s artwork. So I combined this leftist politics with gory, horror type of art. The zine Secret Burial had very low print runs, maybe 30-50 or so. I had no equipment and everything was hand written. After a few issues I got access to a photocopier at a restaurant where my girlfriend at the time worked. I made about six issues of Secret Burial before I had a better understanding of anarchism and learned how to do a better layout of the zine, at which time I changed the title to Endless Struggle but kept the same numeration.

Gord Hill

This interview with ‘Christ On Parade’ (political HC band from San Francisco’s Bay Area) was done right after the release of their LP A Mind Is A Terrible Thing and before their European tour. In the band at that time: Todd Kramer (drums), Ron Nichols (bass; replacing Malcolm Sherwood), Doug Kearney (guitar/vocals) & Noah Landis (guitar/vocals). Earlier on Barrie Evans sang and Mike Scott (‘Econochrist’) played guitar…

pics by Stef Smits (Leuven, Bel, 88-09-18)

Posted in 1988, Canadian zines | Tagged , , , | Leave a comment

Endless Struggle (Puro Pinche Ruido #3)

Puro Pinche Ruido (meaning “pure fuckin’ noise”) was a collaborative effort by ‘Warpig’ Roberto Muñoz López (drummer of ‘Atoxxxico’), ‘T.B.’ Miguel Angel Cortés (‘Atoxxxico’ guitarist; he also covered the Mexican scene for MaximumRock’n’Roll) a.k.a. Thrasher & ‘G.C.’ Jesús Jiménez Martínez. Location: Mexico City.

There are 3 issues (late 80s/early 90s) downloadable from the www. The content? #1: a local scene-report, ‘Anarchus’ (Mex), ‘Fear Of God’ (Swi), ‘Psycho Sin’, ‘Yeastie Girlz’, George Haye of Positive Peer Pressure, ‘The Accüsed’, ‘Hate Crew’ presentation, reviews & ads, etc. etc. #2: a letter-section, ‘Napalm Death’, ‘Youth Crew’ (Bel), an opinion on HC and violence by Nabate (Bel), ‘Filthy Christians’, ‘Stikky’, ‘Ruido De Rabia’, reviews (zines & recordings), etc. #3: columns, reviews, letters, ‘Corrsosion Of Conformity’, Endless Struggle fanzine, etc.

There was also a label named P.P.R. that released tapes and vinyl (‘Atoxxxico’ and some other bands) between 88-94…

Brob

I used to do Furia y Mensaje [fury & message] fanzine and Jesús Jiménez published Armagedon (more metal than HC/punk), so we decided to join forces with ‘Warpig’ as another collaborator; to do things better and more frequent. We had a friend who did an underground art magazine: he helped us with editing and pressing. There were only 3 issues of P.P.R.

I was in bands such as ‘Atoxxxico’, ‘Massacre 68’, ‘Anarchus’ & ‘Cacofonia’, playing bass or guitar… I’ve been active since 80s and never stopped being involved with bands/ gigs/ tours/ labels/ distribution/ HC collectives. ‘Warpig’  is more into commercial rock (huge festivals) and has nothing to do with the underground scene anymore: he writes for mainstream mags and works for radio-shows. I do illegal radio, play for 7 underground (DIY HC/punk) bands, etc.

Miguel Angel Cortés

The Endless Struggle interview appeared 2 years after (1993) Miguel talked with Gord (when he visited)… This anarchist/radical zine, from the Canadian West coast (Vancouver, BC) ended after issue #12. The collective of people writing for it supported the struggles of indiginous people, the Anarchist Black Cross, etc. Read the interview with ‘Infezione’ (Endless Struggle #9) & ‘Christ On Parade’ (Endless Struggle #7).

[Translation below; thx to Miguel for his help]

Now that Cantinflas [Mario Moreno Reyes; actor] died – everyone brought out their photos with him or his interviews, this is the time that one of the best fanzines has disappeared (ENDLESS STRUGGLE). We wanted to publish an interview with one of its editors. Our good friend GORED (baptized here as ‘Jackal’, the Jackal; by his way of eating) came, saw and left. And we interviewed him about 2 years ago!

P.P.R .: What motivated you to do this fanzine (Endless Struggle)? It’s excellent.

Gored: It was like my reaction, because there are many fanzines in Vancouver that have about 15 or 20 interviews with bands, 14 or 15 reviews of albums but are quite superficial, they contain very little information that goes beyond, just music …

P.P.R.: And that has changed?

Gored: Yes, in Vancouver it’s already a bit different. What happened is that we started Endless Struggle as a more political fanzine, with an anarchist point of view and we connect with anarchists and very critical people … We form a kind of ghetto and that’s why I hardly see any fanzines anymore that only cover music, you know … it’s a little hard to say that we form a ghetto but …

P.P.R.: What do you think of the labels or classifications that people impose on themselves?

Gored: Until recently I said: “Yeah, I’m punk.”, then I said “I’m an anarchist.”, but I think that now I’m not so dogmatic about it, I mean my policy is anarchist and my culture or community is punk and that that’s it.

P.P.R.: So it sounds a bit weird “my policy is an anarchist one”?

Gored: Well yes, I made that comment for the purpose of communicating, so that you understand me. Of course I’m a human being before anything else and to make communication easier, I tell you that I’m an anarchist, so that it is easier to understand my philosophy.

P.P.R.: How d’you see: “The bands talk more or less about politics than before.”?

Gored: I think everything is a circle. Before they were punks like Sid Vicious and then progress to something more complicated. Subsequently talking about politics, it’s a kind of fashionable … I think that’s what attracts me to punk: it’s very diverse.

P.P.R.: The people from the English band ‘Anorexia’ told us something similar; they said that there’s a fashion to talk about animal-rights and animal-liberation, which in fact they sing a lot about, but a lot of bands started doing it; so they don’t …

Gored: Yeah many bands believe that if they play hardcore-punk, they should do political lyrics. Almost all hardcore bands have very similar lyrics and that sometimes makes them sound empty or meaningless. What happens is: they feel obligated … and I think they should talk about something honest or that they really feel … sometimes they are so superficial …

P.P.R .: I think the best way to write songs is to express oneself without being afraid that people or your friends will criticize you, or without fearing that you are criticizing something that other people are accepting …

Gored: Yes. I think that’s important. Hardcore is so diverse … punk is a culture of the lower class … I consider myself an anarchist and although I belong to the punk culture, I’m autonomous. Hardcore encompasses straight-edge, noise-core, punk-a-billy, etc. And we also make up those who consider ourselves autonomous.

P.P.R.: We believe that here in Mexico there’s a lot of misinformation and disunity. What would you recommend to solve this?

Gored: To obtain more information, I think you should relate to people in general, not just punks with punks, etc. And keep the fanzines free and as cheap as possible so that everyone has access to the information. If you wish to change things in Mexico, that change is everyone’s job, not just punks. Free propaganda is a great help.

P.P.R.: Ah! It’s obious that you don’t know Mexicans: when you give them something for free they throw it away, they don’t care … (laughter)

Gored: In Canada it’s the same, if you hand out a leaflet, they put it in their pocket and never look at it, but they won’t pay much for a fanzine either. Sometimes it’s frustrating, because you can sell and distribute hundreds of fanzines or there can be hundreds of bands but the ideas are not put into action … I mean, a lot of punks, most are complete idiots so … the change won’t come just from the punks … everyone can participate.

P.P.R.: How was your stay in Mexico?

Gored: I’ve seen very little political movement. And from what I read about Mexico and the Central American countries, I had some preconceived ideas, but I see that here there’s a lot of similarity with what happens in New York or Canada. I’ve seen that there are a lot of 1977 type punks who still listen to ‘Exploited’ or ‘G.B.H.’, and it’s sad because they don’t know what happened to these bands or happens with new ones; there are still punks living like Sid Vicious. Language is a barrier and I can’t say much about what they think, but it’s what I have seen: they still want to impress people.

It’s different because here many come together and in Europe for example the scene is very separated (on the one hand anarchists, on the other punks … etc.). Here everyone mixes, I don’t say that it’s good or bad, just different. Here there’s a lot of sexism and it’s very evident in Vancouver as well but that is how the situation is in Mexico: very patriarchal. That gave me a kind of cultural shock.

In Canada sexism is very subtle and sophisticated, here it’s latent, evident. I believe that machismo hasn’t been really attacked and there isn’t a lot of discussion about sexism. I don’t see that Mexico has racism in the amount that there are in other countries, it may be because there aren’t many immigrants entering here.

P.P.R.: But there are many types of racism. If you’re a man, many people will hate you just for that …

Gored: Yes I know. There’s a mocking or rejection reaction towards the Americans, perhaps because of their imperialist policy. I think I can understand that but it’s also a bit of an ignorant action because … well … I’m simply not my government, Canada; do you understand? I’m an individual; and I came here to meet people, see what happens here, I came as a friend, a comrade and anyway I feel rejection (a little), or some strange reaction.

P.P.R.: To conclude: say what you would like to add …

Gored: I love the idea of exchanging information, fanzines, tapes; etc. I’m surprised by the underground movement in Mexico; where I come from, there’s no knowledge of how it is here. I don’t understand why there are bands that only reach Tijuana, but it’s very difficult to get here, I hope they’re encouraged. If a lot of bullshit metal bands come, why aren’t there any good ones!?

We’re currently thinking about what to do with the fanzine, order our thoughts and see where we are going to put our energies. I want to work on more active things … more physical.

And yes, indeed Endless Struggle stopped existing, the last issue paid tribute to the printing press (with an impressive cover) and those who made the fanzine decided to devote themselves to action … not just words.

Good luck Gored, wherever you are.

Posted in 1993, Latin-American zines | Tagged , , , | Leave a comment