Pullermann (Reptil #4)


One of my all-time-favourite hardcore bands is ‘Pullermann’ (from Frankfurt, Germany). I saw them perform a couple of times (they played for our Smurfpunx collective twice: 90-03-31 & 90-12-22) and did an interview in Tilt! #6. I’d been introduced to them by Jörg Rosenbaum (R.P.N. recs) and helped distribute their records.

The band had 2 singers: Cybèle (de Silveira) & Mathes ‘S.A.M.’, which blended very nicely: the outgoing, almost boisterous male and the more intimate female (not to be stereotypical). Instrumentalists were Tobias Schlepper (bass), Jörg Wabnitz (guitar) and Stephan Grohe (drums). Their music was very inspiring HC (with ‘Bad Brains’ influences)…


Reptil zine started in Barcelona in 1990. I took the name from the ‘Motörhead’ song Love Me Like A Reptile. We got the chance to do it through Ramón Porta, who was the editor of Metali-K.O., a metal magazine. So for the first time in Spain we got to do a publication specialised in hardcore and punk music with a commercial distribution in all of the kiosks of Spain, Canary Islands and the Balearic Islands. At first it was going to be me and Ramón doing it, but I preferred to ask Jordi [Llansamà; bassist of ‘24 Ideas’] of BCore [Bcore Disc; label] to get involved as well, so he could support his label and the contents of the magazine would be more diverse. Later on different collaborators joined: the people from Desconcierto [zine] – Zamabombo Producciones [concert-organisation] from Zaragoza and others from Madrid, the Basque Country [Euskadi]…

I think we begun at a good time, as in 1990 the promoters and bands started including Barcelona in their tours. The first issue had an interview with ‘Fugazi’ and after that ‘Verbal Abuse’, ‘Pullermann’ and others visited us as well. The first issue was completely on recycled paper, in line with MRR, but the editors (who ran all the expenses and also kept all the benefits), convinced us to use a different type of recycled paper to get a better quality of the images, layout, etc.

After 7 issues and one/one and a half years of work, we asked the editors to give us a minimum money for all of the expenses like mail, photo-developing, etc. but they refused. That was the end of our period with Reptil zine. After that the editors wanted to make more profit from the job we had done, and without our consent they published some more issues pirating and translating interviews from other publications.

After Reptil zine, Jordi BCore started Absolute zine and I did other things.

‘Boliche’ (‘Subterranean Kids’ drummer)

Full copies of Reptil #4 & #7 (in Spanish) are available on the www.

[Translation (by Luis A.) below]


Many of you have seen them on the last tour that they did in our country [Spain]. It wasn’t long ago, and although this interview should have come out in the previous issue, we didn’t want to leave it unpublished and include it in this one because they have some interesting things to say. Others have heard about them and have already got some of their excellent records. If you don’t know them yet, you now have the chance to get to know some of their opinions and then, you might be interested in getting some of their music. We have no doubt that you will like them.

The interview is done by ‘Semolina’ [Juliana Tomic] and as usual she interviews the foreign bands that play in Barcelona. A good example of this were the ones that she did with ‘Fugazi’, ‘Victims Family’, ‘Assassins Of God’, … and now, this next one with ‘Pullermann’.

This interview was done the day after their gig in Barcelona (in a venue called KGB), in a popular rehearsal-place known as La Ratonera (The Mouse Trap), guess what it is? (it’s the ‘Subterranean Kids’ rehearsal-hole). This is what we got from ‘Pullermann’…

S: Semolina – B: Belle – ST: Stephan – M: Mathes – T: Toby – J: Jörg


S: The typical question for the people who don’t know anything about you. Tell me about your start and where the idea to form ‘Pullermann’ came from…

T: I first started to play with Stephan and another two guitar-players four years ago, but it wasn’t serious and we quit. Later on Jörg joined the band and we started squatting a nice squat in Frankfurt: In Der Au. The idea to form the band was just for fun and to play punk-music.

M: The beginning was crazy and it was a lot of fun. At first, when we used to play with two guitar-players I sang in a rude way and Belle in an opera kind of manner because she was studying singing. It was quite a funny mix but at the same time weird…

S: Have you been singing for a long time or did you start with ‘Pullermann’?

M: In the beginning I was very mad and I used to get the lyrics from the comics. Yes, from the American MAD magazine, where you can find good lyrics.

S: And you, Belle? Did you start with ‘Pullermann’ or did you sing before?

B: Yes, I started with ‘Pullermann’.

M: But she had already sung before.

S: When you started, did you get many gigs in Germany?

T: Yes, at first everybody asked us to come and play (laughs).

S: When did you do the first tour with the band?

T: With ‘Loveslug’ [band from Amsterdam with Tony of ‘B.G.K.’] but we only did two days. And also with ‘H.D.Q.’ [UK]: they asked us to go and play in England, so we did a mini-tour over there. That was in ‘88.

M: We didn’t have a record out in those days.

J: We had recorded the EPs but they weren’t pressed yet.

M: It was good but very weird. We didn’t get any food or drinks, we had to play and pay for it.

S: Have you played in Holland?

M: Yes, we played a couple of times in Arnhem and Leiden. We played with ‘Do Or Die’ [all female band from Amsterdam].

S: And in Italy?

B: Yes, in Torino, but not as ‘Pullermann’. Toby got measles during the tour with ‘Subterranean Kids’ and he had to go back to Frankfurt.

M: We played as ‘Kill Roser’, a fun-band. More than anything, we played ‘AC/DC’ and ‘Deep Purple’ covers to have a laugh in the gigs.

B: Our driver was playing casually in another band; he joined us so we could play.

S: Have you played in any Eastern European countries (Yugoslavia, Poland, Czechoslovakia, …)?

M: Yes, we played in Yugoslavia once, but as ‘Kill Roser’ (laughs).

S: In what city?

M: In Ljubljana. We would like to go to other places there but now the situation is a bit erratic, isn’t it?

S: No, the problems are more inside the country. People are still attending concerts in the big cities, near Italy, Ljubljana, Zagreb, Belgrade, … Have you read that in the newspapers? [Semolina is origanilly from ex-Yugoslavia]

M: Yes, the “problems” of Croatia, Slovenia…where police fight against the other.

S: Well, let’s stop talking about Yugoslavia. What is the meaning of ‘Pullermann’?

J: Nothing.

S: Someone told me that ‘Pullermann’ was something to do with taking to pee…

M: Yes, it has two different meanings…

T: For me it doesn’t mean anything, it is just a name. We don’t want to have an English name like any other band, they all sound the same!

B: Yes, but it’s a name that the children have for their penis.

S: The penis?

M: Yes.

T: In Berlin they didn’t want us to play because of that, they said the name was sexist and more nonsense.

S: It is true?

T: Yes, we are sexists… Well; they said that because we call ourselves ‘Pullermann’.

S: That’s very stupid. Apart from that, tell me about your records.

J: We recorded our two first EPs, one of them called simply Pullerman and the other I’ve Got My Rule To Play. We recorded them in three days and we released them on our own label [Angry Mob recs]. It’s a weird story. A man told us that he would release our LP with the two EPs but then he disappeared. So, the solution was to release them as two separate EPs. There are still six songs that haven’t been published anywhere, that was in ‘88.

S: How many copies did you do?

T: 1.000 copies of the first and 2.000 of the I’ve Got My Rule To Play EP. We did the second one together with RPN. The LP was also released by them.

S: And the next recordings?

T: The next one was a live album with Your Choice Live Series. We’re going to be part of a compilation released on Beri Beri recs [label from Hamburg] featuring ‘Spermbirds’, … [Life Is Change Vol. 2] We also have recorded a song for the Frankfurt Hit Collection LP and the Die 2555 Nacht compilation featuring ‘Subterranean Kids’ [benefit-compilation on RPN recs].

S: Are you happy with RPN?

T: Yes, that is very important.

B: At one time some people from England were interested in releasing a record of ours but we eventually did it with RPN because we knew them and we knew how they worked.

M: There isn’t a contract with them but they live near to Frankfurt and we see each other constantly. Like I said before, there is a good working relation (laughs).

S: Since there are two singers…who writes the lyrics?

B: I write mine.

M: I don’t write lyrics, I only think, sing and the lyrics come from there. It’s a very crazy way.

S: OK, but what are they about?

T: I don’t know, it depends on the song (laughs).

S: But what are they about in general?

M: The songs talk about what surrounds us, the hardcore scene, politics, attitudes and people’s problems. There are bands like the ‘Dead Kennedys’ or ‘Crass’ that have brilliant lyrics and people like them, but some really don’t understand them. They just pretend they are good…but they don’t know what the lyrics are about. There are a lot of people that go to hardcore gigs and buy records, but that’s not what it is all about. It’s a general problem. The hardcore scene is only a small part of life.

T: He’s not studying hardcore, but it looks like it (laughs).

M: I hate people who study! Hey, can I get a rider of the gig?

S: OK.

B: They deal with the experience that you get throughout life.

S: A guy from Zaragoza told me something about your song Generation 68. What it is about?

B: Which guy from Zaragoza? The one with the dark hair?

S: Yes.

B: I was talking with him about my parents and what they thought about the Revolution, after the hippies, but that is very personal. It’s about the relationship with students and in general, with young people nowadays.

S: How do you compose?

T: We explain all of our ideas to the others and then we go into our rehearsal-room and improvise on the fly.

S: This guy from Zaragoza also told me about the pamphlets included in your In Der Au LP.

T: We put them in because we spent a long time there. It’s a place where you feel comfortable, where you breathe freedom… We wanted people to be aware of it and to know what we do and what we organise. We thought it was OK.

T: The record isn’t just about music, it’s also our ideas; and this pamphlet, for example, makes you think.

S: Do you all live in the squat?

B: You should decide for yourself if you want to live in a squat or not, or in a community, but for me it’s a paradise.

T: Too much stress sometimes, although we don’t tell anybody what to do. They must decide what’s best for them.

M: Music isn’t everything. Hardcore is like living in a squat, everything is part of an attitude. Hardcore is getting more popular all the time. You can see people with band T-shirts and all that, but there is more behind it. These people are only interested in music. They can say “I like hardcore” but hardcore is something more, more than the posers, the middle-class and people like them…

S: What do you do apart from ‘Pullermann’?

M: We study (laughs). I play music because I like it, I don’t want to get any money off it.

S: And you, Stephan, what do you do?

T: I watch TV (laughs). No, I do an engineering-course.

S: How is the Spanish tour going?

M: Quite well, we got the chance to stay in Spain for three weeks, and as I have no money for holidays, this is a way I can visit other countries and get to know a lot of new people. Our music is the way that we communicate, through it everything comes. Thanks to the music, it’s not like working or having to sell out for a living.

T: When we get some money it’s ok, we don’t say “Oh, I need to release a new record because I have to pay my rent.”. It’s special; you do it when you want to.

S: About the tour: who organised it?

ST: Connie [Conny Hoenes of In Der Au squat] from Frankfurt was in touch with Xavi of Cap Cap (booking-agency)…

S: When did you decide to come to Spain?

ST: When? During the tour with the ‘Subterranean Kids’, they and Xavi’s Cap Cap told us that it would be very good, that people would like it if we came, so since then we started to work on it.

T: Yesterday’s gig went very well but I didn’t like the venue.

S: Where did you first play?

T: In Zaragoza. Musically it was good but in our opinion the atmosphere was a bit subdued. ‘Mimo’ (‘Subterranean Kids’ singer) came with us and explained to the people that we couldn’t speak Spanish, but even then it was still a bit hushed. When we spoke to them in English, they didn’t understand us, and when they spoke to us in Spanish we didn’t have a clue. At the end we spoke to them in German (laughs).

B: At first it was hard but they recognised that we couldn’t speak to them because there was nobody who spoke English.

M: Only two people.

S: What venue was it?

T: It was something like Entalto…

S: Was it a venue, bar, pub…?

T: I don’t know, I found it there (laughs).

ST: It was a bar. It was weird because in Euskadi we only played in Gaztetxes (squat), some of them were free entrance like in Vigo (Galiza [Galicia]), where we played for expenses and drinks.

S: How did it go there?

T: Good, there were quite a few people but not the typical audience of a hardcore-gig but every other type of person… But I liked it and I think the people did as well because I saw they were quite excited.

M: It was exciting because almost nobody in Barcelona knew much about Galiza. ‘Boliche’ (‘Subterranean Kids’ drummer) told us: “Are you going to Galiza? Where? How strange!”. So, because of that we went without knowing exactly what we were going to find. There wasn’t a big hardcore-scene over there. There were normal people who listened to rock’n’roll… but everything was really positive.

S: How many concerts in total?

M: Eight, all over of Spain.

S: Anything else to comment about the Barcelona gig?

M: It was the first concert where there was a big PA, lights, good stage…but the venue was shit.

B: The people who worked in the venue.

M: We don’t usually play in those type of places in Germany because we don’t want the people to pay 400 Pesetas (2,40 €) for a beer… But we have youth-centres and cultural organisations there and here there aren’t any. We can’t do like ‘Fugazi’ does: they come from the USA and say the gigs can’t cost more than 10 German Marks (5 €). When we came here we already found the tickets a bit expensive.

S: What are you going to do when you go back to Germany?

M: Work.

ST: I will carry on studying and playing. Not much, it may be 2 or 3 times per month and not too far away from Frankfurt (just 200-300 km).

S: How is your life normally in Frankfurt?

M: The people are more quiet.

B: But sometimes, there can be lots of concerts, parties…very mad!

M: The people are more reserved than here, everything is more relaxed. At 2 a.m. you don’t see anybody in the streets, they’re deserted.

S: Tell us about your Summertime cover?

B: It’s a special song, it’s for the kids and it makes you feel good… You know: the birds sing, life is easy… It has some slow parts and other parts are rougher. We like it a lot.

S: To finish up, another typical question. What bands do you listen to?

B: In the van we mostly listen to Jimmy Hendrix, Joe Jackson, Glenn Danzig, ‘Descendents’, ‘Crucifucks’, ‘AC/DC’, Frank Zappa…and a lot of 70’s punk.

Posted in 1991, Spanish zines | Tagged , , , | Leave a comment

Tuomiopäivän Lapset (Mangelslakt #1)

Mangelslakt zine was done by Nick Mangel and Emily/Emilee Chen. Originally they operated from Minneapolis. They also ran a distro named CKT ATTACK Productions. Later Nick moved to Oakland (California), Emily to Sacramento. On the defunct website (mangelslakt.org) one could read that the zine started in 1999 and they published 3 issues. In 2001, there was a very long hiatus but almost 4 years later, they started again. Nick also did a blog (varldskrig.blogspot) where he was “writing about shit I’m interested in”…; he also did some columns/reviews in Maximum Rock’n’Roll and Profane Existence.

“The goal of Mangelslakt is to truly represent the whole picture of the international DIY Hardcore Punk scene. We aim to to give people in places which don’t often get the exposure/coverage that they deserve a voice. The current popular definition that is given to ‘international punk’ is very narrow, only including Western countries (i.e. European or North American countries) or West influenced countries (i.e. Japan). Obviously this is not ‘worldwide’ but ‘FIRST’ worldwide. Sure Swedish and Japanese hardcore rules, but there are great bands from everywhere (more obscure places) we are missing out on. Additionally, those who do not fit the ‘mainstream’ punk scene anywhere, are also unrepresented or underrepresented. In a sense, the current state of affairs is also due to our ‘first world’ mentality. We need to critically look at why there is not a lot of ethic, sexe- and gender-diversity (for starters) in our scenes, and why a lot of punk kids just ‘Don’t get it’. To de-marginalise those who are underrepresented in our scenes, we believe, is in-line with the goals of Mangelslakt. We proudly support women, people of color, LGBTQ (lesbian, gay, bi, transgendered and queer) identified people, people with disablities, and many others with the resilience to continue their participation in the punk-scene, in face of the legacy of straight white male dominance. Punk is lucky enough to have become a literally worldwide movement, it’s amazing there are kids like us everywhere around the globe passionate and committed to this way of life. For those of us in Northern atmposhere, the obligation to acknowledge this international community, and destroy ‘first world punk’ is upon us. We believe there are many who also see the biggotry of outright ignoring of those who can’t afford great production, wider distribution and to tour. We who are fortunate (read: privileged) to have the financial and social mobility should (or are obligated to) reach out to everyone everywhere, and help each other with what we’re all doing. Yes, its hard, yes it takes time and provides little if any social or monetary reward unlike being a ‘with it’ local scenester or scenester of the ‘western’ scene but its something we need to do if we want to have a stronger international consortium of HC folks.”

I believe te editors sent a copy of their first issue for possible distribution… Besides ‘Tuomiopäivän Lapset’, #1 featured ‘Disclose’, ‘C.F.D.L.’ & ‘Statewankers. #2: ‘Cluster Bomb Unit’, ‘Força Macabra’, ‘Unholy Grave’, etc. #3: ‘Totuus’, ‘Kirous’, etc. #4: ‘Hellshock’, ‘Deathtoll’, etc.

‘Tuomiopäivän Lapset’ (‘doomsday children’) was a band from Tornio (Finland) with Sanna Ylimäinen (vocals), Mikko Hietanen (guitar), Kake (bass) and Ari ‘Altse’ Alatalo (drums). Their music was fast and pissed scandi-thrash: “dis-core with angry shouting vocals singing in Finish, D-beat feeling and bashing drums”. They did a whole bunch of 7”s (one of which was a split with ‘Disrupt’ on Ecocentric recs). The band performed at the autonomous centre Vort’n Vis on 96-07-07.

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

Exhaustless Revolt (Puffy #1)

Puffy was a zine done by An(neke) Schuurman, a young woman that was heavily into animal-rights & anti-fascism, with help of her (at that time) boyfriend Filip Staes (guitarist of ‘Exhaustless Revolt’). Both lived in Antwerp. Anneke also ran a small distribution (Mon Gat Pion) and sang for the band ‘Ronald Ruck’. #1 (1989) contained info about animal-cruelty, vegeterian recipes, a talk with someone from the (Belgian) Communist Party and talks with the ‘Lapinos’ (from the Bruges area), the (Dutch crossover band) ‘Brutal Obscenity’ & ‘Exhaustless Revolt’. #2 (1990) informed about Nicaragua and there were interviews with the Dutch bands ‘Contageous Disease’, ‘Project Hope’, ‘Profound’ & ‘Seein’Red’, etc.


What was important for me (and undoubtedly also for Filip), was the ideology behind the music. Our interviews with the bands were intended to get to know more about their ideas, opinions, etc. on socials issues; but there was also room for humour… Regarding motivation: we stood behind marxism, and were against animal-suffering and the commercialisation of hardcore. In the end we got politically engaged… We especially wanted to make clear that the scene wasn’t just about music.

An Schuurman

‘Exhaustless Revolt’ (Hoboken, Belgium) were Filip Staes (guitar & vocals), Sven Bossant (drums) and Ivan Mariën (bass & vocals). Their big example seemed to be ‘Seein’Red’: Filip also emphasized socialism/communism, anti-fascism in his lyrics… They played “HardCore with brains”. Filip & Ivan also called themselves sXe. The band did 2 demos: In Unity Lies Strength and Think Now. They also appeared on a few compilation-tapes.

[Translation below]

‘Exhaustless Revolt’ is a HC-band from een Antwerp consisting of 3 people: Sven (drummer), Ivan (vocalist & bassist) and Filip (guitar; also collaborates in this zine). A while ago ‘Exhaustless Revolt’ released a demo, entitled In Unity Lies Strength. You can order it for 100 BeF [2,50 Euro].

One night we sat together cosily and started the tape-recorder to do this interview.

Questions by Anneke

Your got leftist ideas. Do you feel attracted to left-wing parties? What should they do with right-wing parties?

Ivan: I think they have to ban right-wing parties that “use lies as propaganda”. I’m attracted to left-wing parties such as the SAP [Socialist Workers Party] and the KP [Communist Party]. But I certainly don’t feel attracted to the PVDA [Labourers Party (stalinist/maoist)] and the SP [Socialist Party (social-democrats)]. Not to the PVDA, first and foremost because they have a sticker that says Skinheads Have More Hair Than Brains and I think that’s a generalisation; that’s also what the Vlaams Blok [extreme right nationalists] does with the immigrants: “all immigrants are bad”. Their logic is: because there are problems with immigrants, all skins are bad because there are fascists among them. I think that’s generalising, a form of racism. For the rest, I think the PVDA is a bunch of egoists, who actually see themselves as the big vanguard party and don’t want to cooperate with anyone, because they’re too good for that. Also the fact that they don’t really disapprove of stalinism: they say they rely on Marx, Engels, Lenin, Stalin and Mao. Those last 2 shouldn’t be there for me.

I suppose you are against fur. But what do you think of leather (e.g. crocodile-leather,…)? They also say that leather is a by-product of the meat-industry and fur isn’t. Should one therefore wear leather or isn’t that murder? Do you believe that’s equally awful?

Ivan: Well, crocodile-leather,… is awful, because crocodiles,… don’t get eaten and are killed for their leather only.

Filip: Ivory,… too, but of course that’s not leather. But it’s another thing that they kill animals for.

Ivan: But as long as you’re not a vegetarian and you think it’s OK to slay animals to eat them, it’s just as sensible to use the slaughtered animals for their fur or for furniture, leather,… But when you say no to meat and killing for meat, then you have to be consistent somewhere and say “Then I’ll get my shoes somewhere else.”.

What do you think of punx,… who wear a leather jacket and are against fur, but also eat vegetarian food, but wear leather?

Filip: It depends on whether they already had that coat before.

Ivan: Throwing the jaquet away isn’t necessary. Once you’ve bought it, you should continue to wear it. You bought it anyway, it already happened. By the way, those animals were already killed for the meat. If those punx,… bought the coat before an animal is killed to eat,…

Killing in bad circumstances (suffering), is that just as justifiable as killing animals in good circumstances?

Ivan: I find it less bad but it’s still bad. In the end, they take the animal’s life. It’s of course less bad than to hang an animal (pig,…) on a meat-hook and let it bleed to death.

Filip: It remains murder.

People sometimes say that checkered shirts, T-shirts, bandanas,… are equal to millet, vans, vision, chipie, chevignon,… [80s fashionable clothing-brands] This is usually said by the so-called punx,…with a leather jacket, T-shirts with Sid Vicious. They shouldn’t say anything, because a leather-jacket costs much more than a checkered shirt… They also claim that these (with checkered shirts,…) destroy the scene. What do you think of that?

Filip: I think they are more getting down on that trend because many people follow it without thinking about it. (According to them, of course.)

Sven: But if you put on a millet,… There’s many walking around with the millet brand,… But if you put on a T-shirt from a band, to show what bands and ideas you like, then that’s completely different from walking around with the same brand as everyone else.

Ivan: But wearing checkered shirts, bandanas,… is indeed a trend; but I don’t think there’s anything wrong with it. You consciously opt for that trend.

Sven: You’re not going to buy those checkered shirts because they’re expensive.

Ivan: You do that because you like them, but not because they’re a certain brand. When punx with leather jackets say things like that, that those with checkered shirts,… (like ourselves) follow a trend that comes from America, or what do I know, but they also follow a trend that comes from the [???] of the punk-movement.

Wearing a leather jacquet: why is that necessary? Simply because it’s supposed to be necessary to be punk. It is an expression of their thinking; besides they don’t have the right to complain. Actually, it’s difficult to be original nowadays. Why try to be original? As soon as you find something that is original, another will automatically wear it, and that what you find original is probably taken over from someone else.

Filip: It’s a trend in which you can still be creative. (Sven, Ivan and myself completely agree.) You can add your own accents on your clothes. It’s not expensive at all.

Ivan: Certainly not. You can buy 4 to 5 checkered shirts for the price of a leather jacquet, I think.

Filip: A lot more, if you buy a real leather jacquet. You can get checkered shirts at 300 BeF [7,50 Euro]. By the way: wearing a T-shirt from a band is great because usually there’s a slogan or something that can get people thinking, or a picture of an animal that is abused… People are usually interested when they see something like that, I already saw that happening quite a few times.

Ivan: If you walk around with a T-shirt from ‘Oi Polloi’ (Resist The Atomic Menance) and people (also outside the HC-scene) see that on the tram (or elsewhere), they might think about it, and then you might have achieved a a lot more than with music and lyrics… Lyrics…are of course also suitable but then you can’t reach people outside the HC-scene. The best way is what is on your T-shirt or pants. E.g. if it reads ‘Het Vlaams Blok Zijn Nazis’ and everyone can see that, then it’s almost the same as walking around in the streets with a poster with something similar on it.

Filip: Constant action!

What do you think of fun-bands (e.g. ‘Belgian Asociality’)?

Sven: I’ve discovered the ‘Care Bears’ and I think they’re incredible. I don’t know why, they’re just funny.

Ivan: On the one hand, you can ask yourself “HC/punk, that’s a resistance-movement somehow; thinking and showing your teeth against what you think is wrong. On the other hand, even personally, the fact that such fun lyricss, if they are really funny, like the ‘Stupids’, ‘Care Bears’,… then I dig that very much. It shouldn’t always be serious and writing make fun lyrics doesn’t make you a rightist bastard. But they need be really funny and that’s with ‘Belgian Asociality’ not the case, I believe. Those jokes are not just silly but also sexist at times; they actually harm other people with their lyrics; which is not the case with the ‘Care Bears’ or the ‘Stupids’, and other bands.

Sven: Yes, that’s true, but I still really like their music (‘B.A.’). I get really excited by them. I find the music very powerful. It might be simple…their lyrics are shit. (hahahahaha). Well, firstly: it’s not funny but also very hurtful; that’s obvious. (for some) The worst is that many think it’s great (even people outside the scene).

Filip: That gives people who come into contact with the HC-scene a wrong impression about it. They come into contact with something like that and they believe that’s good and they think “That’s the HC-scene.”.

According to you: is there life after death? In what shape? And what would you like to be when you would return from the death?

Sven: Wow, what an incredibly original questions.

Ivan: Really a crazy question, really, an incredible question, we’ve never experienced something like that. Specialist on the spot, perhaps (Ivan points to Sven.)

Sven: Oh well, I don’t know…life after death, I don’t exclude that, that could well be possible. But to say “I’m going to commit suicide because I want something different.”…I’m not too sure of that, but here Mr Filip once came up with a very good case: a counter-proof; that when you grow old and develop dementia, you regress mentally… If a person’s spirit would reincarnate then or something like that in another body, that body, that spirit would remain the same: that would end up having a demented child or something. Then that ill spirit would travel to another body. Do you understand? So: actually I am not too sure of all that yet.

Filip: That’s it, reincarnation is actually far-fetched. You could say: you’re travelling into another dimension.

Ivan: Do you think there’s life after death?

Filip: No, actually not. I don’t exclude that but I think you go into another dimension rather than that you reincarnate.

Sven: No, I don’t believe in that at all. But I do think that there’s something more than just dying and then it’s over with.

Ivan: I always think of it in a biological manner: there’s the feeling that you are more than a body. I think were in the highest possible state to have been developed into. And when we die, whether that is for the [???] and that we can’t come back or go into something else… But I don’t exclude it either. You can’t be sure, that’s the weird thing. You can never answer that question actually, because you can never know for a fact. You don’t know what lies beyond death.

Imagine that it would be like that: how would you like to be?

Filip: I think: myself again.

Ivan: ‘Back to being myself’: here’s our egotripper (hahahahahahah).

Filip: Well, no, not just because of me, but back into a human being, because I think that as a human being you have the most benefit from your life.

Ivan: Is not that a bit afraid of what you don’t know? So you do know now how it is as a human being?

Filip: I don’t think that the life of a cow…is more than that of a human being. You don’t know that but I presume that from what I see.

Ivan: I would prefer to return as a human being, because I think that I can find the most in being human. That is quite logical: I think we can realise/manifest ourselves, what we can do, physically; only flying is the only thing we can’t do.

Sven: Myself I would like to be a goose, because they can swim, fly and crawl.

Ivan: And crawl on each other.

Sven: No, as a person, OK. I think it’s harder to live as an animal than as a human being.

Would you come back now as an animal that is more powerful than a human being?

Ivan: A commie-zombie, you mean. Like a ghost that forces everyone to be a communist. (See cover of our demo.)

Wouldn’t you want to be that?

Ivan: Yes, of course. Botha [South-African politician during the Apartheid] could quickly pack his suitcases. Martens [Belgian prime minister] aswell. If I were obliged to return as an animal, I would rather be (for the looks) a feline. A leopard or a Siberian tiger.

Filip: Me; a kangaroo.

Ivan: Jumping all the time.

Sven: Me; a ladybug.

Which things would you change in this country?

Ivan: Specifically, I would say, in our country, much more democracy. 1) A large proportion of the population (immigrants) is not allowed to vote. 2) If you vote, you vote for a party and that party will decide for you who will be in the government. 3) Those who come become part of government earn much more than ordinary people, in such a way that politics no longer becomes important but what you earn becomes much more important. That undermines democracy. More democracy, e.g. by having members of the government earn as much as an average skilled worker. More government-control on companies, pollution,… A lot less money, actually no money at all for military purposes, weapons,… A lot more for unemployment-benefits, social housing; military service must be abolished, boycott on South-African products, companies must be in the hands of the community so that the profit that is made goes to that community and not to one person.

Filip: But you can not realise that in the whole country: see the Soviet-Union.

Ivan: Then you come up with the problems that the Soviet-Union has to deal with. Communism is not suitable to realise it in one country. But you can take pseudo-communist measures. I think that there should be a red flag on every corner of the street… (hahahahaha) Joke!

Filip: I think that you have to get some sort of social education at school from the beginning. So: learning how to deal with each other,… That kind of lessons. Talk about these things from an early age on, why work together,… Of course that doesn’t fit in with this system.

Ivan: In primary school they have to learn about Marx, hahahahaha.

Filip: They teach a lot of useless things and other things like ‘how to learn to associate with each other’ are just not thaught. They just learn you how to survive, that’s all. They teach you a trade (craft) and then you can start working.

Last message?

Ivan: I think these are cool questions, a great interview and a lot of fun to do. Let it be an example for other zines I’ld say.

Filip: It also thought this was a very cool interview.

Sven: I thought it was incredibly heavy. I’ve never experienced questions like these before.

Posted in 1989, Belgian zines | Tagged , , , | Leave a comment

Subcaos (Recognize No Authority #1)

Diogo (Tovar) Carvalho (from Lisbon) finished this issue (together with ‘Xico’ Francisco Dias) of his zine Recognize No Authority in February 1993. Besides the interview below it contained talks with ‘Corrosão Caótica’, ‘Inkisiçao’, ‘Disrupt’, ‘Embittered’, ‘Subway Arts’, ‘Agathocles’; bits on animal-rights/hunting, a piece on children’s suffering (all in English) and some poltical info (in Portugese). I only got this – I believe there was only – one issue.

During the recordings of ‘Subcaos’ Genocidio demo (1992), the guys in the band were João Abrantes (guitar), Rui Abrantes (bass), Hugo Begucho (drums; also in ‘Alcoore’) & ‘Xico’ Francisco Dias (vocals). When they did shows over here (93-08-01, 94-04-02 & 94-12-31), ‘Subcaos’ (who were also from the Lisbon area) consisted of Diogo (Tovar) Carvalho (vocals; editor of Recognize No Authority zine), ‘Xico’ (or ‘Chico’ or FJ; vocals), João Abrantes (guitar), João Barrelas ‘Libelinha’ (guitar; also in ‘X-Acto’), To-Pê (bass) & David (drums).

Posted in 1993, Portugese zines | Tagged , , , | 1 Comment

Bugeyed (You’re So Hideous #3)

In the early ’90s Ben ‘Sik-o-War’ left Leeds and moved to London (121 Railton Rd squat in Brixton). He changed the name of his zine (Raising Hell) into You’re So Hideous. The zine had many similarities (style, DIY cut’n’paste layout, etc.) with Raising Hell. “Punk to the bone.”… I believe The Pizza, Beer + Guns issue (late 1991-early ’92) was the first issue; it included a ‘Dawson’ interview, ‘Poison Idea’, more squatting, etc. There was also an issue titled the Pizza, Cider & Robots issue (late ’92), that featured ‘M.D.C.’, ‘One By One’, info on squatters (Belgium, London) and “loads of angry political ranting”. The issue titled Crazy Boredom Insect Annihilation (’93) had interviews with ‘Bugeyed’ and ‘Fleas & Lice’, info on squatting, the Belfast Community Youth & Community Group, etc. I’ve never seen the The Gangster Vomit Technology issue (’94?): it contained an interview with ‘Armatage Shanks’, comics, reviews, stories, etc. And I read somewhere there was another (last? #5?) one (produced from Australia) that featured ‘Human Error’, ‘Mutiny’, ‘H-Block’, Melbourne squats, the Spiral Objective label/distro from Australia and a New-Zealand travel-report.

‘Bugeyed’ (from Leeds) played (as described in Tilt! #7) “Noisy and heavy HC loaded with angry power.”. I also wrote: “Devilish! It brings out the bad in people.”. For those who want comparisons; I read somewhere: “‘Venom’ meets ‘Black Flag’; down-tuned, sloppy, negative punk rock”. The band consisted of: Andrew ‘Monkey’ Clark-Monks (guitar), Paul ‘Pig Havoc/Havok’ Clarke (vocals) – both ex ‘Pleasant Valley Children’, Sarah Smith (bass; ex ‘Generic’ & ‘P.V.C.’) and Brian Talbot (drums; also ‘Doom’, etc.). Eric ‘Rich’ Rucker played 2nd guitar on the recordings of their demo (1992) and their album (Monsters Rule My World, LP out on Karl Horton’s label Words Of Warning). I saw them live at a show in the autonomous centre Vort’n Vis: 93-05-01

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Disgust (De Vergeten Jeugd #3)

De Vergeten Jeugd (The Forgotten Youth) was a zine done by Werner Hendrycks. The guy was from Kalmthout (Antwerp) but he turned up at practically all gigs halfway the 80s, always taking pictures too… As far as I can remember he did 4 issues. They were written in Dutch. #1 came out in 1985, issue 2 & 3 in 1986, and #4 in ’87. Contents? Short informative articles, letters, photos, poetry, gig-/vinyl-reviews and interviews (‘Halwagranne’, ‘Bad Influence’ in #2; ‘Disgust’ in #3; ‘Depraved’, ‘Pissed Boys’ in #4).

Then he seemed vanished but he later told me he’d been travelling (Canada, South-Korea, Japan, South-East Asia, Australia, etc.)


I really didn’t have anything to do with De Vergeten Jeugd; it was Werner who did the zine. Werner was a friend of Bart Belmans (‘Bad Influence’ guitarist) and ‘Labie’ (‘Scoundrels’). He proposed me to start distributing records… Sometimes we got stuff from (local and foreign bands) on consignation; we made publicity through flyers at gigs. A few times we sold stuff at concerts but mostly it we did mailorder.

Danny Van Honsté; ‘Bad Influence’ bassist

‘Disgust’, a HardCore band from Venlo, The Netherlands) were Pieter De Swart (guitar), Martin van Kleef (drums), Maurice (bass) & Johan (vocals). They did 2 demos (Brainwash, Oct ’84 & Trash Back, Feb ’85) and the band broke up early 1986 after their first 7″ (The Last Blast; recorded with with Danny Lommen on bass, released on Hageland recs). Pieter and Martin would later start ‘Gore’ together with Danny (ex ‘Pandemonium’).


[Translation below]

What’s the current line-up?

The line-up is as follows: Pieter (guitar – 19 years), Martin (drums – 19 years), Danny (bass -18 years), Johan (vocals – 22 years).

Tell us a bit more about ‘Disgust’, for example, the history?

In 1983 we started as ‘Incest’. Martin and Pieter were already there, and Paul sang and Frank played bassguitar. After a year we split up because we differed far too much ideologically and opinion-wise. Johan came in Paul’s place Maurice replaced Frank. We played as ‘Disgust’ in this line-up for a year. Then there was another change: Maurice left the band and Danny of ‘Pandemonium’ joined. This is about half a year ago.

Lyrics are important. Also for you?

Our lyrics deal with political issues, are socio-critical and talk about things that happen around us. We find the latter very important because it usually concerns something that you can change yourself. That’s why lyrics are also important.

What do you think of the term ‘straight-edge’ and what are your opinions about vegetarianism?

The term ‘straight-edge’ is simply ridiculous. You have to choose for yourself in what kind of things you use. This shouldn’t matter to anyone else. It’s true that, most of the time anyway, people who don’t abuse alcohol or hash e.g., are more intensely and consciously involved with a certain idea or aspiration. Coffee, cigarettes have a negligible effect [?!?!?], so it doesn’t matter whether you use it or not. Hard drugs? We’re definitely against that. It really doesn’t matter to us whether or not you are ‘straight-edge’, if only you’re working on a certain idea. Our vision on vegetarianism has a good and a bad side to it. The good side is if you do it for yourself. You don’t like it or you find the treatment and the slaughter of the animals horrible. There are also people who do it as a boycott. However, this only makes sense if everyone does it. We ourselves are not vegetarians because we don’t believe in change through vegetarianism.

Do you keep your activities limited or are you involved with other creative things?

Usually we are creative or we do volunteer-work. Our singer, however, has a job.

How does the audience react when you perform?

The audience??? We really don’t know if they think it’s good/bad. Usually after a concert a few people who liked it come up to us but there’s also that leave the room when we play. So? We rarely get criticism but perhaps that is because people don’t want/dare to tell us.

Why did you choose the name ‘Disgust’?

We called the band ‘Disgust’ because we had to have a name. It means aversion, and we thought it was a good name.

What does the Belgian and Dutch scene still represent?

Like everywhere else, in the Netherlands and Belgium, we find that punk is dying out a bit. OK people still come to the gigs…but once these are over, people just sit in the pub or lie in bed. Maybe we paint a bit of a bleak picture because of course we don’t know everyone…but really active? There are but a few. In any case, we will keep going for the people who don’t just sit on their arses but who, in their own way, try to achieve what they believe in.

Just about everyone is influenced bu America. You too?

Our music has an American influence, but for the rest? We really don’t know what to think of the American scene. Before we want (or can?) judge, we want to have been over there first. So I think that only the music is an influence to us!

What were the best performances of ‘Disgust’?

The best performances in terms of atmosphere: at the Kippenhok in Amersfoort [The Netherlands], at the Emma in Amsterdam (the first time) and at the Happy House in Aarschot [gig organised by Werner Excelmans: 85-08-31; with ‘Toxic Waste’ (UK), ‘Capital Scum’ (Bel), ‘Vortex’ (Bel), ‘No Debt’ (Bel)].

What are your releases?

We currently have 2 tapes out. Those are: Brainwash & Trash Back. The first tape has 14 tracks and on the second there are 8. They’re both no longer available. Soon there will probably be a 7”. That will be titled The Last Blast.

What are your plans for the future in this no-future’ world?

The only plans for the future are the single and we would also like to do a tour through Italy. For the rest we want to play a lot because that gives a kick.

Anything else to add?

Yes: we hope that people will go out and start doing things themselves and rely on others to get the done. Anyway, thank you…and success with your fanzine.

Posted in 1986, Belgian zines | Tagged , , , | Leave a comment

Channel 3 (Still Dying #3)

The person that did the Eject It (tape-)compilation, Will Binks (from South Shields; Newcastle-upon-Tyne area), sent me electronic files of his old zines. In 1982 (aged 16) he did Hate & War (2 issues) with his cousin Paul Briggs (14 years old). And he did 3 issues of Still Dying in 1983 (with his mate Gary Payne).

The zines featured (mostly UK/punk) bands, some that were known (to us, continentals), some that were unknown. To mention a few that should ring a bell: ‘UK Subs’, ‘Red Alert’, ‘Partisans’, ‘Action Pact’, ‘Abrasive Wheels’, ‘Vice Squad’, ‘Omega Tribe’, ‘Riot/Clone’, ‘The Adicts’, etc. There were also reviews of gigs, vinyl & fanzines, and more.

I learned about ‘Channel 3‘ (CH3) through their track – I’ve Got A Gun – on one of the Punk And Disorderly compilation-LPs (Anagram; 1982). I believe I got their first LP (Fear Of Life) a bit later (that somehow apparently went missing from my collection). At that time the Californian band consisted of Larry Kelly (bass), Mike Burton (drums), Kimm Gardener (guitar/vocals) & Mike Magrann (vocals/guitar). They played fast’n’angry punk-rock.

Posted in 1983, UK zines | Tagged , , , , | Leave a comment