Ratos De Porão (Chickenfoot #1)

This hardcore zine was done  by a correspondent of mine at the time: Cesar Campiani Maximiano from São Paulo (Brasil). He studied history and was particularly interested in WW2: he ended up writing books about it (e.g. Brazilian Expeditionary Force in World War II). He teaches Contemporary History and History of International Relations in public and private universities.

I only got to see this first issue (with Brazilian bands ‘Ação Direta’, ‘Dizintiria’, ‘Ofence’, ‘Ratos De Porão’ & ‘Skarnio’, and ‘Blockade’ (Ger) & Austria scene-report; plus news & reviews) and don’t know if there were any others… Cesar had done another one before (DG) which I haven’t seen either…

Brob

By the mid 80s the punk/HC scene was undergoing a hiatus: there were no gigs, few bands were still active since the boom of punk in the late 70s/early 80s here in São Paulo. I belonged to a slightly younger generation and resented the fact I had missed the high point of the whole thing. Along with a bunch of friends, we tried to escape the little to none punk-activity in our local scene by means of a network of contacts throughout Brazil and Western Europe. We always had a harder time getting replies from the US, don’t know why. Over these three decades I still maintain my friendships from those times, all of us felt great insatisfaction towards Brazil’s huge array of social and political problems – which we still do, even if our attitude and points of view concerning on how to fix them have changed. The DIY culture of punk is something I will carry for the rest of my life.

Cesar Campiani

The line-up of ‘Ratos De Porão’ in 1989 was: ‘Gordo’ João Francisco Benedan (vocals), ‘Jão’ João Carlos Molina Esteves (guitar), ‘Jabá’ Jarbas Alves (bass) & ‘Spaghetti’ Nelson Evangelista Jr. (drums) – the people that recorded the album Brasil (released on Roadracer recs – a sub-label of Roadrunner recs and hence related to the multinational Warner Music Group).

 

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Huasipungo (Cryptic Slaughter #6)

I started doing Cryptic Slaughter zine in 1995. The intention was for it to be ponderous collage-type ‘art’, found material and overheard gossip/snatches of conversation (the name comes from this, just something I overheard, people on the porch discussing old metal bands…).

The first few issues (#1-5) were some of that, lots of contributions from locals, as there weren’t too many other zines around in our town and in the pre-internet days lots of local kids in the punk scene had things to say, and I was willing to print whatever they contributed… These first few issues were not distributed out of town, strictly local in-jokes and gossip and found things.

Later I found that by including band-interviews, and things that went beyond our town, I could send the zine to people elsewhere and they could make some sense of it, and people were more up for trades and so on. So I toned down the local gossip a bit and added more band interviews, record reviews, all that, but it was still mostly a collaborative zine (#6-12, maybe).

As I got older, I got very frustrated and began to travel and move around a bit, and I lost touch with many of the contributors and with our little local scene. This wasn’t a great time period for me and I had a lot of mental health problems, which I’m afraid dripped into the zine and resulted in many angry rants and deliberately provocative rambling attempting to irritate people and get a rise out of anyone I could… I’m quite ashamed of most of this nonsense (#13-20 or so). I took a break and left the country.

By the early 2000s, I was living overseas and often traveling, far removed from any punk-scene, and I’d also become more interested in writing. So, the later issues are most all long-form travel writing, without any overt ‘punk’ content. I think there ended up being about 30 issues or so, the last one being in 2013 or so. Because I had moved away from ‘punk content’, I found that I’d lost the support of the punk network as far as distribution, reviews, etc., and also the internet was fulfilling a lot of the communication aspect of zinedom.

There are plenty of gems here in my zines, and I had a wonderful time doing it, making lots of friends through zine-trading and writing people, but I’m very glad of the ephemeral nature of zines…

The zine ‘crew’ in the earlier years was me, Judd, JT, Cody, Rice Pilaf, DJ Mac, Kameron, Sybille, quite a few others. JT, Kameron and Sybille also did zines and I did splits with all of them. Sybille’s zine was Lockdown (3 issues?) followed by Rien A Foutre (2 issues?). JT did Tangent zine (4 issues?), Kameron had some various zines, Judd also did Funky Snuts zine with me (5? issues, this was essentially a local offshoot of C.S. once C.S. lost that part). There was also Canadian Passport zine by Griff, which was essentially an offshoot of Cryptic Slaughter. The ‘crew’ was the ’95-’99 period, after that the writing improved and the tone deteriorated. Other split-issues were with Gullible zine (Chris Terry from Richmond, Virginia), Heart Murmur (Benji from Seattle) & Larceny (Shaun Allen from Michigan). These were all personal zines, more or less…

Giovanni C.

Somewhere by the end of the 90s I learned about 2nd Hand Noodles distro (Spokane, Washington). The guy doing that also published a zine of which I only got to see very few issues. Cryptic Slaughter was edited by Giovanni C. – nowaydays an academic with interests in journalism and storytelling, translator and graphic designer – (and some friends). He was kind enough to tell me a bit more about it and contribute some bits. As an ‘appetizer’, here’s an interview he did with ‘Huasipungo‘, the band of my comrades (and volunteers at the NYC ABC No Rio) Esneider & ‘Yeastie’ Jane… Here, in 1996, the line-up was Mike (bass), Dave or Emile (drums), Christian (guitar) & Esneider plus David (vocals).

Brob

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Ceresit (Graffiti #2)

This is a contribution by Steven ‘Stel’ R. Graffiti zine was done by Markus Staiger (Donzdorf, Germany) who would found Nuclear Blast recs. Never seen issues of Graffiti but later got a copy of another one (Message From The Gutter) that he contributed to. This one here dates from 1985 and in the editorial there’s mention of the distribution of (punk) records. The first issue was with ‘M.D.C.’, ‘D.O.A.’, ‘Mottek’, ‘Upright Citizens’, ‘Inferno’, etc. ; #3 got out in June ’85 and apparently there were 5 issues in total.

At its foundation (in 1987) there were already hints that N.B. would drift away from DIY HC/punk. Now it’s a mainstream commercial (multinational) metal label…

My own band played a Smurfpunx gig with ‘Ceresit’ (from Berlin) on 86-12-19. They had already omitted the ’81’ by then. This info-sheet dates from before that (a time when they had changed their line-up and before the recording of their album Three Gallows)…

[Translation below]

‘CERESIT 81’ has been around since December ‘81. Back then ‘Jeusel’ (drums), Daniel [Hansch] (bass), Marcus [Renner] (synths) and Marcel [Fery] (guitar + vocals) were playing. Since ‘Jeusel’ couldn’t really follow our tempo, he was replaced and Ralf [Herrmann] began handling the sticks. ‘Skunky’ then joined the band as second guitarist and off we went to concerts with several German punk bands. But after some time, the existing 5 chords got a bit boring, so we decided to play somewhat more sophisticated and harder. Since ‘Skunky’ preferred to stick to her ‘D.R.I.’ style, Sven joined as second guitarist in October ‘84. ‘Skunky’ is now playing for ‘SM-70’ (some promotion for them, they also need it). The music, as said before, became more melodic, harder and more complicated. Ralf wants to try double-bass drums. We will see. The lyrics should also be more sophisticated. With our lyrics we want to try to encourage people a bit to think about their situation and themselves. That is, we don’t just want to scream ‘destroy and fuck’ but to say something more positive and encourage people to take meaningful actions so that they do something constructive. It doesn’t do any good if you soak your brain every weekend, scream anarchy and go back to work on Mondays. That doesn’t change anything. But we have to emphasize that we don’t refuse alcohol: we also drink, but you shouldn’t try to create total shit, like e.g. some hardcores who took apart a youthcentre where cocnerts could have taken place. We see alcohol as a means to create a good mood but that certainly also works without alcohol. This is also expressed in our drink- and mood-songs. There has to be fun, otherwise you could hang yourself right away. “Let’s have more fun!” Concerning bands we like: there’s ‘Toxic Reasons’, ‘Youth Brigade’, ‘Slayer’, ‘Accept’, ‘Varukers’, ‘Slime’, ‘English Dogs’. Anyone who knows how to get us gigs in the West should definitely write us!!! We want to do a tour in April. So please write!!! People can listen to our music on several tape-compilations and so on. E.g. on 7 After 77 [1983] on 007 Tapes with ‘Toxo[plasma]’, ‘Razzia’, etc. Also on Noise Attack 1, The Great World Swindle, Underground Sound 004 and more. We also have 3 tracks on the first and second [Let’s Have] More Fun compilations. Also with ‘Boikottz’, ‘ST-37’, ‘Inferno’, ‘Rotting Krackers’, etc. There’s also our demo-tape with 4-track recordings on one side and live pieces on the second. A total of 36 titles. All this is on a BASF Chromdioxid II, 90 minutes, + all lyrics. Costs 5 DM + postage. It’s really quite good. I don’t know what more to say. Bye. Marcel

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

The Inapt (Macht Van De Onmacht #5)

At a certain timepoint some people from the Brussels’ region got together to cooperate. By then Onno Hesselink had done 4 issues of his zine Peace Or Annihilation, Erik Van Der Veken had 3 issues of Macht Van De Onmacht and Koen De Cleen 2 issues of Snot. The WC-Papier (“toilet-paper”) collective was meant to help distribute their stuff and organise “activities” and concerts. There was also a band with the same name: ‘WC-Papier’ was Erik on drums, Onno playing guitar, Pascal De Wilde (and Koen?) (bass/vocals). Frank Geeraert was doing bits on a casio…

Macht Van De Onmacht (“power of impotency”) was dubbed an autonomous or libertarian publication. Erik was actually from Wemmel (near Jette, where we met during gigs at De Finkel). I never saw his earlier efforts. The first issue was mostly political/personal stuff and some drawings. The content of #2 (1984): El Salvador, apartheid, Amnesty International, vivisection, conscientious objecting. #5 (’85; done with help of his cousin Frank & friend Patricia) was kindly donated by An Hendriks. It contained some band-interviews (‘The Inapt’, ‘Rattus’, ‘Koyaanisqatsi’, ‘Scoundrels’) and bits about political prisoners in Chili, anti-militarism, nuclear missiles, etc. #6: Chantal Paternostre [anarcho-communist], Heinrich Böll [German author], interviews (a.o. ‘Rapt’), … #7 (July ’86) contained pieces about fascism, Mexico ’86, nuclear plants, Hare Krshna, etc. #9 (January ’87): resettlement of Navaja native Americans, interview with god, vegetarianism, is dating repressive? and more. #10 with a.o. things, thoughts on compulsory schooling, progress vs. well-being, disposable packaging, etc. Own work and contributions. All in Dutch.

Brob

I started Macht Van De Onmacht (solo) when I was still in Sint-Lukas [School of Arts in Brussels]. It came out on a three[/four]-monthly basis. There were 10 issues so it lasted for about 30 months. Soon after we took of with De Nar [“the jester”; anarchist mag] (not a solo-project; Patricia witnessed the birth of De Nar; my partner at the time, Kris, the growth). Onno’s Peace Or Annihilation (Onno) got off in that same period. My cousin (Frank Geeraert) also published (a more art-oriented thing): Zin Van De Onzin [“sense of nonsense”].

Erik

‘The Inapt’ was the first band of my mate Bruno ‘Duco’ D.C. (later in ‘Pigs In Blue Glue’ and ‘Hate Crew’). He was the guitarist/singer, Dimi(tri) Timbremont played drums and a guy named Carl (on bass) was replaced by Karel De Backer (later in ‘ Heart Explodes’; sound-technician at most Smurfpunx gigs). They had a track on a Swiss/German compilation-tape. The guys were from the Aalst region and played one gig in the local punk hang-out (Gele Limonade): 85-05-23, with ‘Dirty Scums’ & ‘X-Creta’. Soon after ‘Duco’ & Dimi joined ‘Pigs In Blue Glue’… Nowadays Bruno teaches political science and studies international conflicts; Dimitri plays jazz.

[Translation below]

1) What are the band’s influences and when did it all begin?

Everything started about nine/ten months ago with the following line-up: Dimitri (drums), Carl (bass) & myself Bruno (vocals + guitar) but after a few months Carl had to leave the band for practical reasons (he lived too far away) and we kept practicing with the two of us. A friend of ours playing bass in a new/cold-wave band from Aalst sometimes joins us to help us out.

Our influences: we try to create an own, specific punk-sound with a dash of rockabilly in it, but that doesn’t mean that we’re not influenced by certain bands (‘Frites Modern’ or ‘Dead Kennedys’ e.g.).

2) Are there any ideas behind the band or is it just fun?

Of course there are ideas behind ‘The Inapt’ but not everything revolves around those ideas. Let’s put it this way: 35% is about the ideas and 65% about the music and the fun.

Our lyrics deal with topics such as fascism, racism, the nuclear menace, etc. The usual stuff actually! We are anti-fascists and also anti-racist. Besides that, we have our own points of view, but if I have to type this all out then I’ll still be here tomorrow…

3) What do you think of the punk-scene, particularly in Belgium and the Netherlands?

Well, see, we think that the punk-scene in the Netherlands is much broader and better developed than over here. The people there are also a lot more more openminded and more critical. This also applies to Germany and Italy. To be honest: Belgium (or rather Flanders) isn’t fertile soil for alternativism. But mind you: that doesn’t mean that there aren’t any nice things here! There are quite a few fanzines and enough bands, the number of punx has diminished lately, but that has a big advantage: all (or most) fashion-, fake and bastard punx are gone; there are a lot more DIY productions and illegal distribution-labels now. Also the communication with foreigners has improved, that wasn’t the case before. The punx have become unnoted in terms of clothing and behaviour. The era of huge mohawks, studs and bondage-trousers seems to be over somewhat. A lot of punk-shops close their doors or get involved into another commercial fashion. That’s not a bad thing. Yesterday I was walking through the Agora-corridor in Brussels with our drummer Dimitri… Man oh man. What garbage one gets to see there… Unbelievable! That had nothing to do with punk, that was pure consumerist seduction! (Apart from a few exceptions, of course.) End of the sermon!

4) Musical influences? Cookbook songs?

As I said before: our musical influences are coming from bands such as ‘Dead Kennedys’, ‘Frites Modern’, and also ’77 punk such as the ‘Sex Pistols’; plus I also like some faster bands such as ‘7 Seconds’, ‘Minor Threat’… We also love decent old rockabilly and genuine reggae.

So far I’ve written all song and lyrics, except for one that is Dimi’s. Inspiration is coming coincidental and unexpected. We currently have about twelve songs, with both English and Dutch lyrics.

5) Your opinions about multinationals, vivisection, …?

We see anarchy as a creation of a society within this society. Well, if there is no state left, who’s gonna pay unemployment-benefits? To us anarchy means: to isolate yourself from the rest in order to live an alternative life. Let the stupid mass and the system suffocate!

6) Future plans?

Well, the first thing that has to happen is for us to find a new and permanent bass-player, and then perform and perform again! If you know someone who wants to play bass for us, let us know. We rehearse in Affligem [village near Aalst (Belgium), known for its abbey and beer]. Anyone interested must of course have their own bass-guitar, but not necessarily an amplifier. If s/he doesn’t have one: we have one ourselves wher you can plug in a bass. My phone-number is: (053) xxxxxx In case I’m absent: please give your name + phone-number + reason so that I can call back.

7) Experiences with neo-nazis + last message?

In school there are enough, too many of those bastards. Usually those neo-nazis are worthless, sick mutts who pretending to be original, but in fact they’re ridiculous! In the past they always harassed Frank P. ([‘Violent Mosquitos’ bassist] who’s in my class) and myself, until we beat one up. Since then we’ve had no problems anymore! Violence is indeed the only way to eradicate such trash. Fascism: is dangerous and too well organised. They have the support of polic[SS]e and other wankers… They screw up our lives and our environment. They bully strangers and then they’re surprised that they encounter resistance!!!

Anything else to say? Yes! Bassists of all countries, unite! Please join ‘The Inapt’ and continue the unrelenting struggle against racism and fascism with us! Spread the news…

‘The Inapt’ will appear on a German compilation-tape together S.C.A.’ (Ned) ‘Die Erben’ (Ger), ‘Urban Desolation’ (UK), ‘Eu’s Arse’ (Ita) and a few other bands. See ya!

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

Capital Scum (Vask Uld Rigtigt #4)

Vask Uld Rigtigt (literally translated as “wash wool correctly”) was the zine done by ‘L.U.L.L.’ (‘Leben Und Leben Lassen’)’s Kent Nielsen (vocals) and Andreas Ludvigsen (drummer) when they were residing at the Wanker Ranch (old farm – ‘L.U.L.L.’s rehearsal-space in Odense, Denmark) halfways the 80s. As far as I know they did 4 issues (1985-87).

Later on Andreas worked on a (glossy) mag (Progress Magazine) that combined music with tattoo-art, and for the metal/trash-label Diehard Music. Nowadays he’s running a tattoo-studio (Big Ace Tattoo). Kent was in a variety of bands and did Devil Dance recs; now runs Viking Wreckchords, plays ukelele music (under the moniker ‘Shotgun Seat DJ’) and has written a book about the Danish punk & HardCore scene, entitled Wie Aus Mir Kein Tänzer Wurde (How I Didn’t Turn Out A Dancer).

Brob

What did fanzines mean to me? They were a window to a bigger and more exciting world. Especially when growing up in the Danish country-side, without any means of communication other than a piece of paper and a pen. Fanzines were the proof that somewhere out there, kids like yourself were experiencing the exact same shitty, formative years.

Here’s the excerpts about issue #1, 2 & 4 of Vask Uld Rigtigt in my book. Can’t find #3…

V.U.R. #1: We actively supported the‘Animal Welfare Association and the Committee Against Animal Experiments. I wrote a lengthy article on the subject in the first issue of V.U.R., including a list of products that didn’t require animal testing and one with brands to keep your hands off. You just needed to know where to look for the information in the pre-internet age. There were also interviews with ‘Büld’ [punk/post-punk band from Aalborg, Denmark], ‘Double + UG’ from Flensburg [Germany], political essays, poems, record- and tape-reviews with a clear focus on the burgeoning European hardcore scene, contributions on Marie Molin’s Sct. Peters Engle and Anja Bjerre’s HA! [zines].

V.U.R. #2: This edition was planned to have 80 A4 pages. Andreas had completed the lay-out in A3, assuming that the printer could scale it down, unfortunately the print-rollers weren’t suited. So he got back in rage, sat down the same night and made a new second edition of 44 A5 pages. In addition to interviews with ‘Rattus’ (Fin), ‘Subhumans’ (UK), ‘Deformed’ (UK), ‘Koyaanisqatsi’ (Bel), ‘Depression’ (Oz), ‘Indiand Dream’ (UK), ‘Poison Girls’ (UK) & ‘Negazione’ (Ita), there was also a detailed interview with our friends of ‘Okkulte Hule Mystikere’ (‘O.H.M.’) from Ballerup (Copenhagen), and columns by ‘Svenne’ [Svend-Erik Jepsen a.k.a. Wanker (R.I.P.)] and myself. I commented on the allegations that we would be separating ourselves from the rest of the local scene at the Wanker Ranch or excluding people. ‘Svenne’ was upset about the riots at the Sort Jul [black Xmas] festival in Sonderburg [Denmark] – even though he hadn’t even been there himself – my anger and that of Andreas & co (on our return from the weekend) was enough for him to get an idea.

V.U.R. #4: Andreas and I released the 4th issue of Vask Uld Rigtigt. As usual, the magazine was a good mix of politics and music. There were interviews with the anarchopunk band ‘Euthanasie’ from Freiburg [Ger], who were also on the cover, as well as other stories about ‘Prophets Of Doom’ (Den), ‘H.H.H.’ (Spa), ‘PowerAge’ (S-Afr), ‘Fistfuckers’ (Ger), ‘The Rest Of The Boys’ (Ger), ‘The 21 Hundredz’ (Can), ‘Agitators’ (Den), ‘Capital Scum’ (Bel), ‘Bluttat’ (Ger), ‘Arch Criminals’ (UK), ‘Government Issue’ (USA) & ‘Wut’ (Ger). Obviously we didn’t just report on bands from North-America but the air was already getting thin for European bands at that time. There was also a Danish scene-report in English by me for our readers abroad, an article on skateboarding, letters to the editor, the entanglements of the Thorn-EMI group in the arms-business and the similarly involved chains/stores such as HMV and the Danish Fona, a ‘L.U.L.L.’ tour-story, the Green River murders, info on a naziskin-meeting in Flensburg and a scene-report from southern Germany by Armin von X-Mist recs. The mixed content of our fanzine was already rather the exception in Denmark. It seemed as if the fronts were getting harder or as if the gap between political activists and musicians was widening.

Kent Nielsen

This interview with ‘Capital Scum‘ was done (somewhere in 1986), between the recordings of their first EP and first album. They were the ‘house-band’ at Scherpenheuvel (Hageland Hardcore) gigs and friends of Hageland recs’ Werner Excelmans (R.I.P.). Listen to some of their live music

[Translation below; with help of Lars Thomsen & Jakob Nielsen]

By Claus and Kent.

‘Capital Scum’ comes from Belgium and is one of the bands that, thanks to the continuously improving networking between countries, is quickly gaining popularity, all around the globe. They play full-on HardCore with almost superhuman energy; and at the same time they seem to cultivate the simplicity that was the original trademark of the genre. After the successful EP they announced plans for new vinyl, and all I can say is that I’m looking forward to the result. But here we go. The interview was done a couple of months ago.

YOU SEEM TO BE RATHER POPULAR IN BELGIUM, EVEN THOUGH YOU’RE A RELATIVELY NEW BAND?

Yes, I think we’re the most popular hardcore band in Belgium, but we’re not as new as you seem to believe. ‘Larrie’ & ‘Pies’ are brothers [Paul & Peter Laermans; guitarist & vocalist], and they formed ‘Capital Scum’ as a two-man-band, ‘Sox’ [drummer Filip Mulders] played in a ‘Ramones’-type band but knew that ‘Larrie’ & ‘Pies’ played in a band for fun. Jurgen [Surinx; bass] played in another band [‘Sticky Vomit’] for a couple of months, but their singer was lousy so he was also looking for a new band.

WHY IS IT, IN YOUR OPINION, THAT SOME PEOPLE IN BELGIUM, APPARENTLY A MAJORITY, TURN AGAINST BANDS THAT ARE INSPIRED BY METAL. ARE YOU INVOLVED IN THIS CONFLICT AND HOW WOULD YOU LABEL YOUR MUSIC?

Haha, it looks like you know ‘Stel’, he’s really into ‘metal’ but us? You know, our singer really likes it, the rest of us aren’t too crazy about it, but it’s true that many people have started to like it, we continue to play HardCore. It’s up to you if you think we are metal-inspired; we don’t think so, but there are some who say we are.

DO YOU PLAY A LOT OF SHOWS? WHAT HAS THE REACTION ON THE EP BEEN LIKE? HOW MANY WERE PRESSED AND HOW HAVE THEY BEEN SELLING SO FAR?

Since we started playing what we call Hageland Hardcore in May ‘84, we did about 40 gigs in Belgium & The Netherlands, and one in Germany, with really good reactions. Have you seen the review in Maximum Rock’n’roll? At first we pressed a 1.000 and now we’re gonna do 500 more. The American company Action records [Ax/ction recs] is distributing it now, and it also sells incredibly well over there. [The EP Clutch The Flag was recorded in November 1985.]

WHAT IS IT LIKE TO LIVE IN BELGIUM? IN ‘SLAVERY’ YOU OBVIOUSLY SING ABOUT RACISM IN THE USA, BUT HOW DOES THE LANGUAGE-DIVISION IN YOUR OWN COUNTRY AFFECT EVERYDAY LIFE? HAS THE PUNK-SCENE, WHICH IS SUPPOSED TO BE FREE FROM NATIONALISM BUT OBVIOUSLY ISN’T ALWAYS, SUFFERED FROM THAT DIVISION OR HAVE PEOPLE BEEN CLEVER ENOUGH TOO STAY AWAY FROM IT?

It’s nice to live in Belgium. There are no language-barriers! We don’t have any problems with the French-speaking population in our area, they often come to our gigs and we’re really good friends. But there are some we really hate: the skinheads from Brussels are fascists and French-speaking. But people here really get stand united at concerts and skinheads don’t come to HardCore concerts anymore.

DO YOU EVER GET THE FEELING THAT THE MUSICAL GENRE YOU REPRESENT HAS SOLD OUT, THAT YOU CAN’T REACH NEW PEOPLE UNLESS BY PLAYING FAST NO-COMPROMISE PUNK, THAT THE TIME HAS COME TO SEARCH FOR NEW DIRECTIONS? ARE YOU INTERESTED IN GETTING A MESSAGE OUT, (IN OTHER WORDS) DO YOU CONSIDER YOURSELF A POLITICAL BAND?

No, not at all, the musical genre we represent reaches much further then the punk-rock audience. People like our style, even metal-freaks love us, we have a message and we spread it, but we don’t force people to accept it. Well yeah, our lyrics are political in a way, but we don’t want to be a “political movement” such as ‘Crass’ or ‘Conflict’. But we have a lot to say about the negative facts regarding the actions of politicians and the blunders they make, like Chernobyl for example, and all the others…

IN (YOUR SONG) FINAL NAIL IN MY COFFIN, YOU SEEM TO CONDEMN THE WAY OF LIVING OF A CERTAIN PERSON THAT THE SONG IS ABOUT. ARE YOU RIGHT TO DO SO, ISN’TN IT HIS/HER OWN CHOICE WHAT THEY DO WITH THEIR LIFE?

You’re right about that, mate, it’s not just a specific person but several. First they were our friends, and really good friends, they wanted to teach us how to live, but we didn’t listen to them and lived our own lives. They couldn’t handle it anymore and dropped out, they tried to push us; now they’re different, before they were almost a part of ourselves. (The story sounds familiar; ed.)

WHAT DO YOU THINK ABOUT ALL THE NEW LEFT-WING TERRORIST GROUPS? IS THAT THE WAY TO GO ABOUT TO CHANGE THINGS?

Not at all, at first we thought it was good; but terrorism kills; as IF we need sacrifices in our society. No, it doesn’t change anything, the police will only become more and more powerful.

WHAT ARE YOUR PLANS FOR THE FUTURE, TOURS, NEW RECORDS?

We are working on material for a new 12” but we don’t know when it’s be released. We’re also working on a small tour and want to play in Denmark, but we will need to know more details. [The LP Tsjerno Kills was recorded in December 1986.]

ANY ADDITIONAL COMMENTS?

Our EP is still for sale; we also sell stickers and T-shirts.

Posted in 1987, Danish zines | Tagged , , , | Leave a comment

Ebullition recs (Jay-Walk #1)

Jay-Walk  was an effort of Dejan Požegar with his (at that time) partner Tina Kraševec. They resided in Maribor, Slovenia. It was, besides a label (released material of Dejan’s band ‘Wasserdicht‘, and ‘Man In The Shadow’, ‘Scuffy Dogs’, ‘Kurort’ e.g.) & distro, also a zine. There was only this #1 with ‘Kurort’, ‘Anarcrust’, ‘Disturbing Foresights’ & Kent McClard (Ebullition), pieces on veganism, the Metelkova squat, etc. All material for an intended #2 was passed on to Aljoša Koren for his publication KAO zine…

Tina studied Sociology and Philosophy in Slovenia and later moved to London to do contemporary dance at The London Contemporary Dance School. Dejan kept distributing and making music (nowadays experimental/ambient electronica).

Brob

We did 1 issue indeed (1994/95) and after that I passed other material on to Aljoša of KAO zine. The fanzine was more Tina’s idea. I was and still am more into music so the musical interviews where mine. Tina did the piece on Crni Gavran (Black Raven; kind of anarchist organisation from the Balkan).

Dejan

[Translation below; thanks to Dejan]

Ebullition Records

Ebullition is a record-label that has been gaining popularity in the HC scene lately. It represents a kind of opposition to commercial labels as Epitaph, Revelation, etc. Kent McClard is the name one often hears when talking about Ebullition. He was a columnist at MRR. Now he runs a label, has a distribution and publishes a fanzine called HeartAttack.

1. Kent, what motivated you to start the whole thing (record label, fanzine,…)? Do you work alone or as a collective?

I started it by myself. Why do you ask? I wanted to be part of the scene. I like HC and everything around it. For the same reason I started my first fanzine No Answers 10 years ago. Later on I decided to start a label and distribution. I always had a vision how it should funcion.

2. What was your first release? And how much releases did you do until now?

My first release was the ‘Downcast’ 7” [1990]. That was the first Ebullition release. In a couple of weeks (by now already out) the new ‘Spitboy’ 7” [1995] will be released and it’s number 22. That always amazes me.

3. All the bands on Ebullition have their unique style. What are the criteria you set for a band’s release?

I have to like them. I like different styles of HC music. When I see a band I like, I ask them if they want to release something on Ebullition. Sometimes it also happens that a band asks me to help out. I have no special criteria on that subject. I just have to like them.

4. Cooperation between Ebullition, Old Glory, Gravity, etc. is as it should be everywhere (no competition). How did it come to that?

My distribution is getting bigger and bigger. Therefore I see no reason not to help the labels I like. The cooperation is mutual. I think the HC-scene doesn’t need any competition. Everybody profits from that. Besides that Kevin [Sabarese; ‘Iconoclast’ guitarist] of Old Glory recs is a good friend of mine and Matt [Anderson; of the band ‘Heroin’] of Gravity recs is a really nice person.

5. I don’t think you can live from your activities?

I can. I live from the label, HeartAttack and the distribution. I work in my office 40-70 hours per week. I manage to collect enough for food and shelter. I don’t have a problem with it as long as it’s in line with my identity, honour and moral values. I do it because I like it and I earn enough to survive. But the pleasure is most important.

6. Why do you prefer vinyl? Are you against the mega-production of CDs? Is this a kind of rebellion against the ‘major’ music-businesses?

I don’t like major labels, because they have no heart for hardcore. HC should be released and sold by those who feel it and live it. Personaly I would do more CDs but most of the people in the scene are not interested.

7. All relations with people you work with around the globe are based on trust. Did the issues with Lost & Found compromise your beliefs? Will that affect your future work?

Not really. I won’t cooperate with them for a long, long time. Bernd [Granz] asked me to trade. I knew the risk because he didn’t have a good reputation. I knew that I shouldn’t work with him. But the L&F experience didn’t make me sceptical towards others. Most of the people in the HC-scene are honest. Sometimes there’s some money-issues.

8. What do you think about the European and American scenes? In US fanzines you rarely see any European bands. And European fanzines are full of US bands.

I think that’s slowly changing. The world is becoming more global. Mostly American youth-culture is spreading out, influencing the European scene. But the other way round is very rare. But I think it’s changing. There are a lot of good European bands but Americans aren’t to interested.

9. How informed are you in the States about the Balkan situation? Do you know any bands from this area?

The information thta is avialbale about the Balkan is pretty good. But it depends on the individual if they want to know about it. Most of the people don’t care. Personally I hardly know any band from that area but I have the basic information about the political situation. I don’t pay enough attention to world politics because I’m occupied with local things. But I think people at least need to have a basic knowledge about world politics.

10. All poetry that can be found with your releases is probaby written by you. It’s pretty personal. Sometimes I can find parts of myself in it. When do you write it? Under what circumstances?

I write when I feel like it. But I have to have inspiration. When I release something and have to pick material for a it, I usually go through some unused material. Sometimes I write something right before the deadline but usually not. I love writing but I don’t always have the time or inspiration.

11. Is there a special goal you want to accomplish with your work or is it just for personal satisfaction? Are you satisfied with everything you’ve done so far? Any plans for the future?

Most of the things I do, I do for myself. And I’m very glad when people identify with the things I do. But I never forget that some people will like it and some won’t. Some will even hate it. But what matters is that I like it.

»I hope to live until I die. I hope to seek out my dreams. And reach for the sky. I try to live as full as possible, which isn’t always easy. But I try.«

 

Posted in 1995, Eastern-European zines | Tagged , , , | Leave a comment

GOD (Antidoto #2)

Before Reptil (a zine that started in 1990), ‘Boliche’ (the drummer of ‘Subterranean Kids’, Barcelona) did Antidoto (1988-90). I’d never seen any of them (‘no hablo español‘) until they surfaced on the www (thx to Luis A.)…

#1 (March ’88) had interviews with ‘Acció Directa’, ‘Monstruación’, ‘Subterranean Kids’, ‘S.C.A.’, ‘Squandered Message’, ‘I Deny’, ‘Último Gobierno’; info on squatting in Copenhagen & Hamburg, a ‘foreigner page’ (in English), a Greek scene-report, info on the No More Censorship! campaign, ‘Circle Jerks’/’Gang Green’ tour-report, etc.

#2 (June ’88): ‘Ludichrist’, ‘The Accüsed’, ‘GOD’, ‘Pure Hate’, ‘Cry Of Terror’, ‘Ewings’, ‘Preter Racio’, ‘M.C.D.’, ‘Gang Green’, Vellocet, ‘Instigators’ interviews; letters, ‘foreigner page’, a piece on the Cros 10 squat in Barcelona, a criticism of rightist US bands, scene-reports of Switzerland & Australia, reviews, etc.

#3 (February ’90) contained interviews with ‘L’Odi Social’, ‘Stikky’, ‘Visions Of Change’, ‘Corn Flakes’, ‘Sick Of It All’, ‘Bold’ and more; info on ‘Kazjurol’ & ‘Oncle Slam’, a huge letter-section, ‘Subterranean Kids’ tour-report, squatting in Zaragoza & Galicia, a column on the Barcelona Olympics, reviews, scene-reports (Zaragoza, Milwaukee & Poland), etc. Came with a tape with bands from Barcelona.

GOD‘ was 3-piece from Amsterdam with Thomas ‘Tos’ Nieuwenhuizen on guitar/vocals, Michael Cavanagh (ex ‘Agent Orange’) on bass/vocals & Daan van der Elsken doing drums/vocals. They did 2 albums for Konkurrel (Sweet Life, ’88 & The Shametree, ’89) and in 1991 the Headrush LP was released on Destiny. Their music was called “post-punk that gradually evolved into jazz-punk or art-metalcore”.

[Translation below]

INTERVIEW WITH ‘GOD’ (THE NETHERLANDS)

DONE BY AZIZ BADRANE (‘HasjieS’ [singer of ‘N.R.A.’; owner of skateboard- and punk record-shop Independent Outlet])

PRESENT: Tos (guitar / voice) – Michael (bass / voice) /// ABSENT: Daan (drums / voice)

A: What kind of music do you play?

T: Crossover, punk, metal; a compilation of all kinds of music from 1970 until now.

A: Do you believe in God?

T/M: No! A pertinent no! Or do you mean the possibilities of the band?

A: If you want, yes. What are your pretensions? Do you want to become famous and earn a lot of money?

T/M: Yes, we would like to earn some money instead of losing it all the time, and make sure that a lot of people know us. I mean, of course we want to earn some money. Otherwise, you have nothing to spend.

A: Do you want to make it your work, your source of income?

T: Yes, but you have to be careful with that. I mean, if it becomes your job, it also gets boring, I think.

A: How long has the band been around?

T/M: Now 2 years ago.

A: Have you played a lot? Where?

T/M: Yes, about 60 concerts in less than a year. We have played in several countries such as Italy, Spain, Belgium, Denmark, Norway and Germany.

A: On your tour of Spain, things didn’t go very well. What went wrong? Would you go back to tour Spain?

M: People in Spain don’t understand our music very well. I mean they are busy with other music so I would say that in 1 year or 5 we would like to play in Spain again.

T: I don’t know. I liked it but there were so few people everywhere we played. I think we came up with something completely new in Spain. Too slow.

A: What do your lyrics talk about?

T/M: About life and the problems you face. Problems that everyone encounters when they think about a topic for 1 hour or more. There are many people who don’t, that’s why it’s good that there are lyrics to read. Some of them sometimes make them think.

A: Do you think there is life after death?

M: What question is that? I don’t want to say anything about that. Everything can happen.

T: No, I think it’s very interesting. I think our unconscious continues. So it’s not physically living. I try to imagine it but I’m still stuck with this issue.

A: So what is the meaning of life?

M: What your life-experiences are. And it will be taken into account by someone. I think this world is coming to an end so everything you do now will be good for the next world: they will be able to learn from our experiences.

T: I don’t know the meaning of life. It’s not for yourself, because you will die anyway. I think I’m doing something useful in my band.

A: Do you have political ambitions?

T: I want to be prime minister.

M: No, I’m not into that: I hate it.

T: It’s just a game that the rich and the powerful people play. You should do the things you find important for yourself.

A: Are you a political band?

M: No, we are not.

A: You recorded a tape in Italy [the band’s LP Sweet Life was recorded in Pisa in 1987] right? Is it okay?

T/M: Yes, it must be mixed in Italy too, but the album will be released in March.

A: You were in other bands before: Tos in ‘Funeral Oration’ and in the ‘Gospelfuckers’ [‘Jezus & the Gospelfuckers’]. (Good years, bad years?), and Michael in ‘Agent Orange’.

T: It seems that I’ve been busy with music for the last 5 years. What is there to say? The documentation is there. Well, the ‘Gospelfuckers’ didn’t release an album but they got a reputation, created by those who were too lazy to do a band of their own or had nothing else to do.

M: ‘Agent Orange’, and before that other bands.

T: All that shit about what those bands did! Both ‘Gospelfuckers’ and ‘Agent Orange’ have a bad reputation. And people still want to tell this to the people who were in those bands.

M: They say things like we were a fascist band. It’s just revenge on people we didn’t like.

A: What do you think about the situation (HC and metal) in the Netherlands? Do you think there’s good bands here?

T: I think the whole scene here admires the big foreign bands musically. Nothing is happening with local bands. Only ‘No Pigs’, but they’ve been around for a while and they try to play what people ask for.

M: People just want to spend money and watch bands. And the headbangers are even worse. I think crossover is just something to keep a little bit alive what is already dead.

A: What do you think of bands like the ‘Stupids’ that were promoted as the new revolution in music by the English music-press, and who proclaim that skate-rock is the new revolution in music and similar things?

T: It’s disgusting, it’s like ‘Bon Jovi’, all dressed up. Yuck!

M: I don’t even know them.

T: They just try to make money on a new trend. I see nothing funny in that.

M: We have turned away from that kind of music, and metal too. We only play heavy (hard) music and we don’t need any label for that. We just play.

A: Like ‘Gore’ or something like that?

T: No, I think that ‘Gore’ also tries to take advantage and play for a select audience. They want to get a lot of attention based on the average trend.

A: Where did you get your influences?

T: Of everything I’ve heard. The basis of our music is the people that drink beers and don’t go to discos to listen to music. I don’t have a radio and I never watch TV or video-clips. That’s what I like about ‘Metallica’. They are the best in their kind of music but they have never made a video. While all those shits like ‘Anthrax’ make videos all the time. It’s disgusting, maybe the music has something to do with what we play, but the difference is that we sweat and they use a spray to look sweaty. That’s fake.

M: Take all types of metal: they all have some kind of scheme (like metal, black metal, death-metal, speed-metal, thrash-metal) when playing.

T: I once argued with a guy about those issues. I think I called ‘Venom’ speed-metal and he made fun of that! You don’t need to give your music a name.

A: Do you get a lot of letters from fans and groupies?

T: No letters from fans or groupies. We change directions a lot but we have rarely received anything. We don’t have shirts or discs, or stickers to send.

M: But we like the fans. I mean it’s good to see the same people again at concerts, especially pretty women.

A: Do you do something besides playing in the band?

T: I’m a builder (?), if they don’t fire me; and I have weird black Pumas (shows one), which will make me filthy rich. My hobbies are reading, collecting shells and making small constructions.

M: I’m going to work soon but I don’t have a job at the moment. My hobbies are playing music, cooking and taking long hot showers.

A: Do you have anything to add to this interview, or for people in Spain?

M: Yes, next time I hope we can receive what we asked for and if the other bands bring their own material, we would be happy to play there again.

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