Oaf was brought to Justified Arrogance's attention after we grossly overlooked them on our Best of 2015 list. From the minute we heard "Cheat II", we knew we messed up.
The Pacific Northwest might be the most underrated mean scene in the country. While it is true that the area did briefly produce a number of melodic hardcore bands in the 2000s like Champion and Go It Alone as well as being home to the thinking man's hardcore band Trial, the Pacific Northwest has otherwise had a pretty proud history of spawning some of the meanest and most aggressive bands in hardcore punk. Bands like Brotherhood (who wrote one of the hardest straight edge songs ever) laid down a foundation for what PNW hardcore should be: a punch to the mouth, no bullshit, and to the point. Since then bands like Iron Lung, Cold Sweat, Walls, and countless others have followed this template, helping to fortify the region into a subculture stronghold.
Oaf is the newest product of the PNW. Hailing from Vancouver, BC and beginning in 2014, the band has grown exponentially from an idea to a sound in the last year. On their 2014 demo, the band played to what they wanted to sound like. They tried to capture all of the elements that their PNW predecessors had perfected before them. The demo itself is good and, by itself, is quite good. In September 2015, the band released their debut EP Consume. The time between releases gave the band time to put it all together. The production, the vocals, and most importantly, the control on the record shows the band finally understood where they came from. The vocals are dripping with vitriol, there is a ton of feedback promoting discomfort, the bass is overpowering at times, the guitar is piercing, and even the drums sound abrasive. Oaf plays a sound that makes it seem like they want you to hate them.
The PNW still hates the world. Check them out.
https://oafbc.bandcamp.com/releases
Monday, November 30, 2015
Monday, November 23, 2015
Interview: Riley Gale (Power Trip)
I met Riley Gale eleven years ago at a No Warning show when he spinkicked me in the ribs. We have been friends ever since.
In 2008, Riley Gale started Power Trip with a group of Dallas musicians. I was lucky enough to book their first show. The first intro they ever played was a cover of Leeway's "The Future (Ain't What It Used To Be)". They ended up playing it three times. The first time was because there was an equipment malfunction (which they laughed about). The second time they nailed it. The third time was because one of the group's best friends was late and missed it so they played it one more time. Those three performances of that intro told the story about Power Trip: nuanced, talented, had personality, and loyal to their friends. That's really why Power Trip have gotten as far as they have. Because when you listen to their music you can hear the music tell you "we scoured through all of the subculture, learned what was good, and are doing it better". It's honest and special. Gale's lyrics are the combination of his own life experiences along with his educational background in rhetoric. The result is a band that people will be talking about well into next generation.
The band recently finished recording their second album in Denton, Texas. I was able to get a little bit of Gale's time to ask about the last couple of years and the new album.
Tell me about the Ryan Adams saga. The whole story is pretty bizarre and worth telling.
Gale: I guess that started around August 2013, right after the album came out. He tweeted at our account about how much he liked the record and then Ryan came out to a show in LA and bought a couple shirts, maybe a record. He was pretty quiet, weird, didn’t really hang out just watched the set and left. He contacted us about recording with him and even though I was apprehensive, Blake wanted to pursue. Ryan was kind of a dick when we began asking about details, and he got really defensive when I brought up the fact we have a producer (Arthur). That left a sour taste in my mouth. I mean, I’ve heard of this guy before I knew he liked my band, and didn’t really dig his music. I didn’t like it when I checked it out again either. That was over a year ago. I’ve seen pictures of him wearing our shirt at shows and just didn’t really pay any mind. Then about a month ago, or whenever he dropped that Taylor Swift cover album, I tried listening to it and HATED it. Then like a day after I gave that a whirl a friend from high school sent me a dopey picture of Ryan playing live and was asking about him, because he didn’t know that he was a fan. That set me off. So I made a not so nice instragram post clowning him – I said he was a turd so big no toilet could flush. Turns out, we had a mutual friend, so that got back to Ryan in a couple hours. He sent me a private message and it actually made me feel kind of bad – He was definitely bummed, I could tell it hurt his feelings and he was actually a pretty damned big fan of the band. But I was also conflicted - why should I care what a multi-millionaire sad boy thinks? On the other hand, unless they’re some ignorant racist/homophobic piece of shit, which Ryan is not, then I should never just make fun of a fan. In my mind, punk taught me to accept anyone that was accepting of me. So I came to the conclusion that even if I wasn’t big on this dude’s vibe or his music, I shouldn’t clown a real supporter of our music. We talked on the phone and texted and squashed the whole thing. There were definitely some interesting exchanges, but at this point I’ll respect the dude’s right to privacy.
You guys might be one of the first bands to pick up a hardcore grand slam. You've played Chaos In Tejas, Not Dead Yet, This Is Hardcore, Black N Blue, Beserktown, and Fun Fun Fun Fest since Manifest Decimation has come out. How do you explain Power Trip being able to successfully play all of these festivals to so many different crowds?
Gale: Don’t say “No” if there’s a demand and if the offer even mildly piques and interest. We like to put ourselves out there and play line ups that interest us. We’ve never gone begging to be on a fest, we’re always approached about being added to these badass fests, and that’s an awesome feeling.
You guys are in the studio right now recording your second full-length album. With all the time that has passed since Manifest Decimation came out, what are you (and the rest of the band) being conscious of with this new album?
Gale: For Blake and Chris, who mostly handle the music, I think the idea was to take the riffs to the gym and do some serious cardio and heavy lifting. Songs are faster and shorter, and the heavier parts are heavier. It’s a good progression. For me, the thing at the front of my mind is how to make it catchier without losing substance or at least my own satisfaction with my output. There’s an opportunity to reach a wider audience on this one - a lot of great parts on the record where a quick catchy line could really take a song from good to great. The only obstacle for myself is that I still want to be satisfied with what I am actually saying – I refuse to shoehorn in a bunch of random words just because the syllables will sound good over the music. So, I’m mostly concentrating on finding that balance between substance and accessibility.
Manifest's lyrics were largely concerned with questioning the norms and constraints society imposes on everyone. From the lyrics of “Crossbreaker” (religion) to “Power Trip” (man's law), you resound a pretty powerful theme throughout the entire album. I'd even go so far as to say that lyrically Manifest is a concept album. Was this by design? Are there any specific topics or ideas you're aiming to drive home in your lyrics on the upcoming album?
Gale: I wouldn’t call it a concept album but it definitely had some broad themes that carried over into every song. If it had an overall theme I’d say it’s – why do you think and behave the way you do? Why do we let those in power think and behave the way THEY do? It’s about self-awareness and I think self-awareness can be very empowering. It’s very much an US vs. THEM standpoint, but it’s also about just being fucking educated, being able to back up your beliefs before you set your sights on an enemy. If I can help make a listener’s stances become more solid, or even crumble a previous notion, whatever helps them see their enemies a little bit clearer, than I’ve succeeded in my goal as a vocalist.
Changing gears for a second, how has the ride been the last couple years with the band? I'm talking about playing shows to thousands of people, having people whose music you idolized when you were younger tell you how much love Power Trip, etc. Is it still a trip or something that you've been able to get used to?
Gale: It’s been awesome and I’m absurdly lucky. Often times it’s just surreal, like getting a call from Ryan Adams because you talked shit about him. I’m important to somebody like that? Why? From my POV I don’t DO anything except jump around and yell, but some people find inspiration in that and I gotta roll with it. We HAVE to stay humble though, because ultimately punk/metal/hardcore/subculture is a tumultuous culture and it can turn on you at any moment. I always tell my friends, if my ego gets too big for my britches, then kick my fucking ass. My friends have permission to kick my fucking ass and knock me down a peg. Attempting to stay ever thankful and humbled is crucial to me.
Beyond what you've already been able to do, what are you looking toward for Power Trip's future?
Gale: I have no expectations. It could all blow up tomorrow. The goal is to keep trying and pushing ourselves until it stops being motivating or fun. If we could somehow just pull a Bolt Thrower and write a perfect album and just say, “That’s it’s, we did it. This is the epitome of Power Trip. This is the perfect ‘Power Trip’ album” I’d be happy and content with putting the band down…but we’re not anywhere close to that yet.
When can we expect the album and does it have a name yet?
Gale: Hopefully before summer really kicks off next year. With no delays, it takes about 3 months to get a record pressed from the moment of having everything ready. Music, artwork, lay out… all that. The title comes last. I have ideas, but I have to be able to look at everything in the big picture before I can commit to a title.
So now that the tour with Lamb of God has been announced, how are you feeling about it? What are you expecting (other than getting to see a wall of death every night)?
Gale: I’m thrilled. I was joking around about how fucked up it would be if I tried to call for the “Wall of death” as the openers every night… probably not the best idea. Anyway, this is our first real big opportunity to do something I would consider “mainstream”. Besides a band like, I don’t know, Hatebreed… I couldn’t ask for a better “big” metal band to take us out than Lamb of God. Obviously touring with the legends in motherfucking Anthrax is the highlight but Lamb of God is clearly going to be drawing out huge crowds. I’ve always said, put us in a room of people who like metal, and we’ll win them over. I feel like this is that moment – there will be plenty of people who will be aware of all 4 bands on the tour, but there will be plenty of clueless people I hope we can convert into PT fans. Full disclosure: I’ve never really listened to Lamb of God… but I know they’re huge, and I’m grateful as hell they’ve invited us. It was supposed to be Kylesa but they couldn’t do it so we’re extremely lucky. I’ve had a lot of friends tell me that the LoG dudes are still very much involved with the subculture which is always a plus for me. Also, having our friends in Deafheaven on the tour will help us have some established camaraderie. I’m not the type of dude to go pressing myself on Scott Ian or something. So having Deafheaven around… they’re great guys, having some friends already on the tour is huge relief for me.
In 2008, Riley Gale started Power Trip with a group of Dallas musicians. I was lucky enough to book their first show. The first intro they ever played was a cover of Leeway's "The Future (Ain't What It Used To Be)". They ended up playing it three times. The first time was because there was an equipment malfunction (which they laughed about). The second time they nailed it. The third time was because one of the group's best friends was late and missed it so they played it one more time. Those three performances of that intro told the story about Power Trip: nuanced, talented, had personality, and loyal to their friends. That's really why Power Trip have gotten as far as they have. Because when you listen to their music you can hear the music tell you "we scoured through all of the subculture, learned what was good, and are doing it better". It's honest and special. Gale's lyrics are the combination of his own life experiences along with his educational background in rhetoric. The result is a band that people will be talking about well into next generation.
The band recently finished recording their second album in Denton, Texas. I was able to get a little bit of Gale's time to ask about the last couple of years and the new album.
Tell me about the Ryan Adams saga. The whole story is pretty bizarre and worth telling.
Gale: I guess that started around August 2013, right after the album came out. He tweeted at our account about how much he liked the record and then Ryan came out to a show in LA and bought a couple shirts, maybe a record. He was pretty quiet, weird, didn’t really hang out just watched the set and left. He contacted us about recording with him and even though I was apprehensive, Blake wanted to pursue. Ryan was kind of a dick when we began asking about details, and he got really defensive when I brought up the fact we have a producer (Arthur). That left a sour taste in my mouth. I mean, I’ve heard of this guy before I knew he liked my band, and didn’t really dig his music. I didn’t like it when I checked it out again either. That was over a year ago. I’ve seen pictures of him wearing our shirt at shows and just didn’t really pay any mind. Then about a month ago, or whenever he dropped that Taylor Swift cover album, I tried listening to it and HATED it. Then like a day after I gave that a whirl a friend from high school sent me a dopey picture of Ryan playing live and was asking about him, because he didn’t know that he was a fan. That set me off. So I made a not so nice instragram post clowning him – I said he was a turd so big no toilet could flush. Turns out, we had a mutual friend, so that got back to Ryan in a couple hours. He sent me a private message and it actually made me feel kind of bad – He was definitely bummed, I could tell it hurt his feelings and he was actually a pretty damned big fan of the band. But I was also conflicted - why should I care what a multi-millionaire sad boy thinks? On the other hand, unless they’re some ignorant racist/homophobic piece of shit, which Ryan is not, then I should never just make fun of a fan. In my mind, punk taught me to accept anyone that was accepting of me. So I came to the conclusion that even if I wasn’t big on this dude’s vibe or his music, I shouldn’t clown a real supporter of our music. We talked on the phone and texted and squashed the whole thing. There were definitely some interesting exchanges, but at this point I’ll respect the dude’s right to privacy.
You guys might be one of the first bands to pick up a hardcore grand slam. You've played Chaos In Tejas, Not Dead Yet, This Is Hardcore, Black N Blue, Beserktown, and Fun Fun Fun Fest since Manifest Decimation has come out. How do you explain Power Trip being able to successfully play all of these festivals to so many different crowds?
Gale: Don’t say “No” if there’s a demand and if the offer even mildly piques and interest. We like to put ourselves out there and play line ups that interest us. We’ve never gone begging to be on a fest, we’re always approached about being added to these badass fests, and that’s an awesome feeling.
You guys are in the studio right now recording your second full-length album. With all the time that has passed since Manifest Decimation came out, what are you (and the rest of the band) being conscious of with this new album?
Gale: For Blake and Chris, who mostly handle the music, I think the idea was to take the riffs to the gym and do some serious cardio and heavy lifting. Songs are faster and shorter, and the heavier parts are heavier. It’s a good progression. For me, the thing at the front of my mind is how to make it catchier without losing substance or at least my own satisfaction with my output. There’s an opportunity to reach a wider audience on this one - a lot of great parts on the record where a quick catchy line could really take a song from good to great. The only obstacle for myself is that I still want to be satisfied with what I am actually saying – I refuse to shoehorn in a bunch of random words just because the syllables will sound good over the music. So, I’m mostly concentrating on finding that balance between substance and accessibility.
Manifest's lyrics were largely concerned with questioning the norms and constraints society imposes on everyone. From the lyrics of “Crossbreaker” (religion) to “Power Trip” (man's law), you resound a pretty powerful theme throughout the entire album. I'd even go so far as to say that lyrically Manifest is a concept album. Was this by design? Are there any specific topics or ideas you're aiming to drive home in your lyrics on the upcoming album?
Gale: I wouldn’t call it a concept album but it definitely had some broad themes that carried over into every song. If it had an overall theme I’d say it’s – why do you think and behave the way you do? Why do we let those in power think and behave the way THEY do? It’s about self-awareness and I think self-awareness can be very empowering. It’s very much an US vs. THEM standpoint, but it’s also about just being fucking educated, being able to back up your beliefs before you set your sights on an enemy. If I can help make a listener’s stances become more solid, or even crumble a previous notion, whatever helps them see their enemies a little bit clearer, than I’ve succeeded in my goal as a vocalist.
Changing gears for a second, how has the ride been the last couple years with the band? I'm talking about playing shows to thousands of people, having people whose music you idolized when you were younger tell you how much love Power Trip, etc. Is it still a trip or something that you've been able to get used to?
Gale: It’s been awesome and I’m absurdly lucky. Often times it’s just surreal, like getting a call from Ryan Adams because you talked shit about him. I’m important to somebody like that? Why? From my POV I don’t DO anything except jump around and yell, but some people find inspiration in that and I gotta roll with it. We HAVE to stay humble though, because ultimately punk/metal/hardcore/subculture is a tumultuous culture and it can turn on you at any moment. I always tell my friends, if my ego gets too big for my britches, then kick my fucking ass. My friends have permission to kick my fucking ass and knock me down a peg. Attempting to stay ever thankful and humbled is crucial to me.
Beyond what you've already been able to do, what are you looking toward for Power Trip's future?
Gale: I have no expectations. It could all blow up tomorrow. The goal is to keep trying and pushing ourselves until it stops being motivating or fun. If we could somehow just pull a Bolt Thrower and write a perfect album and just say, “That’s it’s, we did it. This is the epitome of Power Trip. This is the perfect ‘Power Trip’ album” I’d be happy and content with putting the band down…but we’re not anywhere close to that yet.
When can we expect the album and does it have a name yet?
Gale: Hopefully before summer really kicks off next year. With no delays, it takes about 3 months to get a record pressed from the moment of having everything ready. Music, artwork, lay out… all that. The title comes last. I have ideas, but I have to be able to look at everything in the big picture before I can commit to a title.
So now that the tour with Lamb of God has been announced, how are you feeling about it? What are you expecting (other than getting to see a wall of death every night)?
Gale: I’m thrilled. I was joking around about how fucked up it would be if I tried to call for the “Wall of death” as the openers every night… probably not the best idea. Anyway, this is our first real big opportunity to do something I would consider “mainstream”. Besides a band like, I don’t know, Hatebreed… I couldn’t ask for a better “big” metal band to take us out than Lamb of God. Obviously touring with the legends in motherfucking Anthrax is the highlight but Lamb of God is clearly going to be drawing out huge crowds. I’ve always said, put us in a room of people who like metal, and we’ll win them over. I feel like this is that moment – there will be plenty of people who will be aware of all 4 bands on the tour, but there will be plenty of clueless people I hope we can convert into PT fans. Full disclosure: I’ve never really listened to Lamb of God… but I know they’re huge, and I’m grateful as hell they’ve invited us. It was supposed to be Kylesa but they couldn’t do it so we’re extremely lucky. I’ve had a lot of friends tell me that the LoG dudes are still very much involved with the subculture which is always a plus for me. Also, having our friends in Deafheaven on the tour will help us have some established camaraderie. I’m not the type of dude to go pressing myself on Scott Ian or something. So having Deafheaven around… they’re great guys, having some friends already on the tour is huge relief for me.
Last question: what are you reading these days and how is it?
Gale: I’ve been on a heavy comic book kick. Right now I’m blazing through Jodorowsky’s entire The Incal saga and it’s been a lot of fun. I can’t really hang with the heavy big name super hero stuff, there’s not enough substance for me there, but I’ve found tons of material that is both deep and highly entertaining. I’ve read stuff that’s made me laugh, made me scared, and made me think. I’m just learning what an expressive medium that comics and graphic novels can be – they can tackle any complex subject by using the right words, tones, images, etc… and part of the pleasure of reading them is using your imagination to fill in some of the blanks that comics leave for the reader. It’s also just easier to read in the van, which is why I started reading them in the first place. I kept getting motion sickness from smaller text and I was also just burnt out on reading text heavy critical theory so I wanted something easier and more digestible but still rewarding. Comics are a perfect medium for all of that.
Gale: I’ve been on a heavy comic book kick. Right now I’m blazing through Jodorowsky’s entire The Incal saga and it’s been a lot of fun. I can’t really hang with the heavy big name super hero stuff, there’s not enough substance for me there, but I’ve found tons of material that is both deep and highly entertaining. I’ve read stuff that’s made me laugh, made me scared, and made me think. I’m just learning what an expressive medium that comics and graphic novels can be – they can tackle any complex subject by using the right words, tones, images, etc… and part of the pleasure of reading them is using your imagination to fill in some of the blanks that comics leave for the reader. It’s also just easier to read in the van, which is why I started reading them in the first place. I kept getting motion sickness from smaller text and I was also just burnt out on reading text heavy critical theory so I wanted something easier and more digestible but still rewarding. Comics are a perfect medium for all of that.
Power Trip will be on tour with Lamb of God, Anthrax, and Deafheaven through most of the winter season. Tour dates are below:
If you'd like to read more about Power Trip and download their discography, check out their entry from 2014:
Thursday, November 19, 2015
Japanese Legends Invade The West (G.I.S.M. & Death Side)
What an insane day it has been for fans of Japanese hardcore punk.
By now you've heard the news. G.I.S.M. are playing in Holland on April 15th at the Roadburn Festival. This is their first show in thirteen years. More importantly, it is their first show outside of Japan ever. In the place of the late Randy Uchida is Souichi Hisatake (Forward, Gudon, Insane Youth AD). There are only a few people on earth who could ever hope to play in Randy's stead, Souichi is one of them. G.I.S.M. are fortunate to have enlisted his services. While many people are hoping to see Sakevi do some of his antics (something this blog derides), it will be interesting to see how the set will go. There are a million questions going into it. Will they play all of Detestation? How will M.A.N. songs sound should they play them? Will they play cuts off SoniCRIME TheRapy? I hope that the people in the room in Holland are there for the right reasons and not because they hope to see a freak show.
Not long after 9 PM EST this evening, news broke that Death Side will be playing the United States for the first time ever. The show will take place April 16th in New York City. For you ambitious types, yes, this does mean that you can see G.I.S.M. in Europe and try to hop on a flight back to New York for Death Side. The band reunited last August in Tokyo at a show held in honor of their late guitarist Chelsea. Since then, the band has played other shows and look poised to finally make their Western Hemisphere debut. There is no other information on this show yet, but when the lineup and venue are released, we will post it.
The last question to wonder in the wake of all must be "Gauze can't be too far off now, right?"
Monday, November 16, 2015
Artist Profile: Matthew Adis
Art is an important aspect of the subculture. A lot of us who arrive here have done so because the world doesn't make sense for us. We come to the subculture where we find ourselves or learn more about who we already were. For a lot of us that means starting a band and playing music. For others it means starting a zine. For one group, it is art. Artists in the subculture pour themselves into their work in an environment that allows for them to explore the morbid, disturbing, and agitating. Few environments are as conducive to these creative elements as the subculture. Artists' work end up on flyers, shirts, record covers, and everywhere else in between. Too often, many of these artists will end up becoming overlooked. Justified Arrogance will be doing artist profiles to celebrate some of the subculture's best artists and their work.
-Noted Zines/Books (newest to oldest)-
'The Threshold of Atrocity'
'The Criminal Lipstick'
'The Earwig'
'The Life Unsaid'
'Cloud Removal'
'God On Drugs'
Zines, prints, shirts, and other items can be purchased below. Adis can be contacted through his store if you would like to inquire about commissions.
http://matthewadis.bigcartel.com/
http://matthewadis.bigcartel.com/
Merch: Reality Asylum Pins
Another feature of the new Justified Arrogance direction. We do not shill, so much as we share. We don't promote something we personally wouldn't buy. It is important to celebrate innovation and excellence at all levels of the subculture. This includes the production of merchandise. If you are working to create something that no one has seen before or just doing it better than most, Justified Arrogance will take the time to praise your products.
Reality Asylum Pins are a company that have been around for a little less than a year. In that time, they have worked to create pins representing some of the finest bands. From Japan they have selected G.I.S.M. (an incredible production, I just received mine today) and Gauze. Out of the UK they have chosen Discharge and Crass (one of the nicest productions of the band's iconic logo I've ever seen). They also work with great contemporary bands like G.L.O.S.S. and Kromosom.
Enamel pins have recently emerged as one of the hottest / trendy accessories. Reality Asylum shares the same sentiment Justified Arrogance does: why just do something when you can do something no one else is and do it better?
Keep up the good work, guys.
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
Reality Asylum Pins are a company that have been around for a little less than a year. In that time, they have worked to create pins representing some of the finest bands. From Japan they have selected G.I.S.M. (an incredible production, I just received mine today) and Gauze. Out of the UK they have chosen Discharge and Crass (one of the nicest productions of the band's iconic logo I've ever seen). They also work with great contemporary bands like G.L.O.S.S. and Kromosom.
Enamel pins have recently emerged as one of the hottest / trendy accessories. Reality Asylum shares the same sentiment Justified Arrogance does: why just do something when you can do something no one else is and do it better?
Keep up the good work, guys.
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
http://realityasylum.bigcartel.com/
Thursday, November 12, 2015
New Band Spotlight: Smear
Middle America has become a hotbed for a barrage of up and coming bands in the last few years. Some of the strongholds in this new wave of Middle American hardcore punk are the stalwart city of Austin, Northwest Indiana, St. Louis, Chicago, and Dallas.
Dallas' scene in particular has seen a great deal of growth. From just Power Trip, Wiccans, and Tolar, the scene has come to also include great bands like Sin Motivo, The Sentenced, and Slimy Member. One band you may not have heard is Smear. The band has been around for about a year but had not really found their legs until the last few months. The band is made up of Austin Carroll and Austin Waymire and newcomer drummer Keaton Khonsari. It was the addition of Khonsari that pushed the band over the top. What's beautiful about a band like Smear is that they're clearly in that phase where they're figuring out their identity but are mature enough to understand that they need to be their own band. On Smear's latest release Smeared the band juxtaposes two music styles to make sure audiences don't corral and dismissed. Musically, the band's sound can be likened to a lot of the current Midwestern weirdo bands. The music does have a lot more bite to it and this is thanks in no small part to Khonsari's strong drumwork. The vocals are reminiscent of the first wave of Boston hardcore. There's a lot of grounded anger in it.
Smear are only just getting started. Too often young kids want to make a band for the sake of making a band. They're not concerned with being original or having ambition to tour and release music. Smear are the antithesis of that. They refuse to be written off and will work hard to make sure that they won't be. They will be touring the east coast in January. Do not miss them.
Below is a link for their bandcamp where you can download Smeared free of charge
https://smeartx.bandcamp.com/
Dallas' scene in particular has seen a great deal of growth. From just Power Trip, Wiccans, and Tolar, the scene has come to also include great bands like Sin Motivo, The Sentenced, and Slimy Member. One band you may not have heard is Smear. The band has been around for about a year but had not really found their legs until the last few months. The band is made up of Austin Carroll and Austin Waymire and newcomer drummer Keaton Khonsari. It was the addition of Khonsari that pushed the band over the top. What's beautiful about a band like Smear is that they're clearly in that phase where they're figuring out their identity but are mature enough to understand that they need to be their own band. On Smear's latest release Smeared the band juxtaposes two music styles to make sure audiences don't corral and dismissed. Musically, the band's sound can be likened to a lot of the current Midwestern weirdo bands. The music does have a lot more bite to it and this is thanks in no small part to Khonsari's strong drumwork. The vocals are reminiscent of the first wave of Boston hardcore. There's a lot of grounded anger in it.
Smear are only just getting started. Too often young kids want to make a band for the sake of making a band. They're not concerned with being original or having ambition to tour and release music. Smear are the antithesis of that. They refuse to be written off and will work hard to make sure that they won't be. They will be touring the east coast in January. Do not miss them.
Below is a link for their bandcamp where you can download Smeared free of charge
https://smeartx.bandcamp.com/
Wednesday, November 11, 2015
Drunkdriver
This post in no way, shape, or form condones or apologizes for those who commit sexual assault. Sexual assault is a very serious crime and should be treated as such. Any commentary in this piece that could be construed as "positive" is exclusively in reference to the band as a singular entity and not personal praise for drummer Jeremy Villalobos.
People have a funny way of expunging things from history. When Chris Benoit was found to have murdered his wife, child, and ultimately himself, the WWE made it a point to erase him from history. Never mind the fact that before this happened, Chris Benoit was considered to be the most skilled North American born wrestler of all time. Now in many wrestling circles, the name Benoit is a dirty word. Forget his accolades, forget his abilities. In our worst moments, everything we were and everything we had ever accomplished become meaningless. It is a scary thought. That one decision can make society erase you from existence.
Here's a fact of life: punctuation matters. We can make a tragic misstep and stamp a period to it thus ending this part of it (or entirely). We can put a question mark on it, meaning what we were or where we're going is clouded in uncertainty. We can add an exclamation point to emphatically restate who we already were. Ultimately we write our own stories and we can determine how they're punctuated. The biggest tragedies in our lives are always our own doing. I'm not talking about 'if an iceberg hits your cruise liner' kind of tragedy. I'm talking about the kinds of things that get us written out of history and make people uncomfortable at the mention of our name. Life is something that becomes increasingly out of our control as we get older, but despite that we will always have the choice on whether or not we want to be a villain.
We shouldn't forgive Villalobos for what he did because it is unforgivable. What he did is one of the worst things a person can do to someone (and in his case it was to multiple women). At the same time, we shouldn't forget Drunkdriver. What happened at the end aside, the band's other members put their lives into it and it isn't fair that a highly accomplished section of their careers is now a taboo. When people look at Drunkdriver now, it is a discussion on the punctuation to their existence. Some people look at what happened and say it was a period. They're partially right. There are a great deal of people who used what happened as a reason to never talk about Drunkdriver ever again. Other people would look at what happened as a question mark. No one knows how far Drunkdriver would have gone. We will never know. They ended due to an extreme personal calamity. It wasn't because they lost it or they weren't going anywhere. They were the best they had ever been with the world in front of them. That's Drunkdriver's legacy. Question marks, incredible recordings, and an ending that people can never reconcile.
http://www.mediafire.com/download/3kevjkptb51cdk3/Drunkdriver.rar
People have a funny way of expunging things from history. When Chris Benoit was found to have murdered his wife, child, and ultimately himself, the WWE made it a point to erase him from history. Never mind the fact that before this happened, Chris Benoit was considered to be the most skilled North American born wrestler of all time. Now in many wrestling circles, the name Benoit is a dirty word. Forget his accolades, forget his abilities. In our worst moments, everything we were and everything we had ever accomplished become meaningless. It is a scary thought. That one decision can make society erase you from existence.
Drunkdriver is a band. They existed. They were from New York. They played for a few years and were beloved across multiple scenes. They broke up in the face of a scandal surrounding the drummer and accusations of sexual assault. These are the facts. We can denounce them and pretend they didn't exist, but does it change the band? People can point to the drummer's scandal, where others can just as easily point out that the vocalist Michael Berdan (now of Uniform) quickly decried the band's accused drummer. Furthermore, he made the statement upon his departure that he could not live with himself if he had continued on with the band. As people, we choose to only see one side of the coin.
What makes the case of Drunkdriver so tragic (beyond the obvious trauma suffered by the victims) is that they had it all. This was a band that was a rising star across the punk, indie, hardcore, and noise scenes. They were on the same career trajectory as No Age and were destined for bigger things. They released two LPs, Born Pregnant (on the eminent Parts Unknown Records) and a self-titled LP that was released posthumously as the scandal broke out in the build up to the band's record release show. Both of these LPs are perfect. Berdan's vocals have a hint of desperation to them that are unique (even in punk music where desperate sounding vocals are common). His vocals howl out as if he's looking for something (but doesn't know what) to missing something (and is unable to get it). Imagine that feeling you get when you feel like you've lost yourself. Now imagine if there was no way possible to reconcile that feeling. That you were lost but you kept trying to fix it because you're oblivious to the fact that you can't find yourself. Guitarist Kristy Greene creates a soundscape that envelops listeners. The minute you turn on a Drunkdriver song, you are in their world where the sky seems a little darker and the air a little harder to breathe. What you hear on those records is special. We don't know what would have happened with Drunkdriver. That's the band's legacy. They weren't a run of the mill band. They weren't figuring things out. They were quickly on the come up having made a reputation as masters of their sound. You can't help but come away from a Drunkdriver listening session without asking yourself "why?"
We shouldn't forgive Villalobos for what he did because it is unforgivable. What he did is one of the worst things a person can do to someone (and in his case it was to multiple women). At the same time, we shouldn't forget Drunkdriver. What happened at the end aside, the band's other members put their lives into it and it isn't fair that a highly accomplished section of their careers is now a taboo. When people look at Drunkdriver now, it is a discussion on the punctuation to their existence. Some people look at what happened and say it was a period. They're partially right. There are a great deal of people who used what happened as a reason to never talk about Drunkdriver ever again. Other people would look at what happened as a question mark. No one knows how far Drunkdriver would have gone. We will never know. They ended due to an extreme personal calamity. It wasn't because they lost it or they weren't going anywhere. They were the best they had ever been with the world in front of them. That's Drunkdriver's legacy. Question marks, incredible recordings, and an ending that people can never reconcile.
http://www.mediafire.com/download/3kevjkptb51cdk3/Drunkdriver.rar
Mind Eraser
Previously did a blurb on them, giving them the full essay treatment
The human mind is an ugly thing. For every beautiful triumph it has produced, there are ten more atrocities to its credit. Inhumanity is all around us. Thomas Hobbes staked his reputation on the proposition that man's natural state was evil. Niccolo Machiavelli created an entire school of thought on how to manipulate man's evils to work for you. In truth, the driving force of humanity comes from our innate desire to destroy others. A great deal of our technological advances came from research done during wartime. We landed on the moon in a campaign to beat the Russians, not because man had long dreamed to walk on the moon. We were summoning the spirit of Napoleon, not Jules Verne. We are horrible creatures. Selfish, ambitious, and avaricious. There is a reason why so much of our contemporary existence is mired in things that serve to dull our minds. Drugs, prescribed medication, television, ESPN, all of it. Marx would tell you all of this adds up to part of the superstructure and it is a negative feature of society. If Hobbes saw today's superstructure, he would be relieved that there is something keeping all of this potential evil busy. The worst thing in this world is an idle mind. It doesn't wander so much as it does sink.
Boston's Mind Eraser focuses on man's shortcomings. Their themes coupled with their aesthetic could be argued as "evil" but in a much different vein than a great deal of their contemporaries. Unlike black metal acts who write about occult themes or d-beat bands who write about abstract wars, Mind Eraser asserts that the greatest evil of all is the organ inside your skull. What makes it all the more distressing is that this evil is real for everybody. Not all of us will ever be close to a war nor do all of us believe in ghastly spectres, but all of us have done something wrong to someone in our lives. We will likely do something wrong to someone again. That's the nature of the beast; the beast being us. The human brain fails us more in our lifetime than any other organ. If you believe everything you've read to this point, you'd agree that it is because our brains were built to fail.
On the band's debut album Cave, songs like "Internal Dialogue" and "Don't Find Me" highlight the horrors of the human psyche. The album offers commentary against people and the narrator himself (vocalist DFJ). The second album Glacial Reign, features more of the same themes from the first album. The artwork is a homage to Rudimentary Peni's Death Church which is most appropriate considering Nick Blinko, the band's vocalist, famously served time in a mental institution. The band furthered their work into a two song LP entitled Conscious Unconscious which explored the topic of psyche. The band also released an EP titled The Prodigal Son Brings Death touching on other topics with songs like "Insertion" and "Withdrawal Symptoms".
Musically, the band's lineup of Chris Corry, Brendan Radigan, and Craig Arms produce a sound that does well to sonically capture what goes on in the brain. Everything from the fast parts (mania) to the grating breakdowns (depression). The members' talents allows for a lot of interesting mid-tempo parts. This can be likened to something of an even keel state. Mind Eraser musically goes beyond simple powerviolence. It can be compared to a sonic representation of bipolar.
Mind Eraser's discography are documents to teach a psychology class. They don't mince words about what people are. There are no illusions about silver linings. A man can love a woman, but he can also kill his brother. A nation can join hands and sing merry tunes, but it will likely happen on the bodies of millions. There is no love. There is no happiness. Everything is transitory. Your mind is a weapon that will never be happy. It will consume and take until there's nothing left to take from. We are all backstabbers, junkies, liars, users, and abusers. All Mind Eraser's music does is eliminate any denial or illusion we may have had about that fact.
http://www.mediafire.com/download/de9do6v8208wpko/Mind+Eraser.rar
The human mind is an ugly thing. For every beautiful triumph it has produced, there are ten more atrocities to its credit. Inhumanity is all around us. Thomas Hobbes staked his reputation on the proposition that man's natural state was evil. Niccolo Machiavelli created an entire school of thought on how to manipulate man's evils to work for you. In truth, the driving force of humanity comes from our innate desire to destroy others. A great deal of our technological advances came from research done during wartime. We landed on the moon in a campaign to beat the Russians, not because man had long dreamed to walk on the moon. We were summoning the spirit of Napoleon, not Jules Verne. We are horrible creatures. Selfish, ambitious, and avaricious. There is a reason why so much of our contemporary existence is mired in things that serve to dull our minds. Drugs, prescribed medication, television, ESPN, all of it. Marx would tell you all of this adds up to part of the superstructure and it is a negative feature of society. If Hobbes saw today's superstructure, he would be relieved that there is something keeping all of this potential evil busy. The worst thing in this world is an idle mind. It doesn't wander so much as it does sink.
Boston's Mind Eraser focuses on man's shortcomings. Their themes coupled with their aesthetic could be argued as "evil" but in a much different vein than a great deal of their contemporaries. Unlike black metal acts who write about occult themes or d-beat bands who write about abstract wars, Mind Eraser asserts that the greatest evil of all is the organ inside your skull. What makes it all the more distressing is that this evil is real for everybody. Not all of us will ever be close to a war nor do all of us believe in ghastly spectres, but all of us have done something wrong to someone in our lives. We will likely do something wrong to someone again. That's the nature of the beast; the beast being us. The human brain fails us more in our lifetime than any other organ. If you believe everything you've read to this point, you'd agree that it is because our brains were built to fail.
On the band's debut album Cave, songs like "Internal Dialogue" and "Don't Find Me" highlight the horrors of the human psyche. The album offers commentary against people and the narrator himself (vocalist DFJ). The second album Glacial Reign, features more of the same themes from the first album. The artwork is a homage to Rudimentary Peni's Death Church which is most appropriate considering Nick Blinko, the band's vocalist, famously served time in a mental institution. The band furthered their work into a two song LP entitled Conscious Unconscious which explored the topic of psyche. The band also released an EP titled The Prodigal Son Brings Death touching on other topics with songs like "Insertion" and "Withdrawal Symptoms".
Musically, the band's lineup of Chris Corry, Brendan Radigan, and Craig Arms produce a sound that does well to sonically capture what goes on in the brain. Everything from the fast parts (mania) to the grating breakdowns (depression). The members' talents allows for a lot of interesting mid-tempo parts. This can be likened to something of an even keel state. Mind Eraser musically goes beyond simple powerviolence. It can be compared to a sonic representation of bipolar.
Mind Eraser's discography are documents to teach a psychology class. They don't mince words about what people are. There are no illusions about silver linings. A man can love a woman, but he can also kill his brother. A nation can join hands and sing merry tunes, but it will likely happen on the bodies of millions. There is no love. There is no happiness. Everything is transitory. Your mind is a weapon that will never be happy. It will consume and take until there's nothing left to take from. We are all backstabbers, junkies, liars, users, and abusers. All Mind Eraser's music does is eliminate any denial or illusion we may have had about that fact.
http://www.mediafire.com/download/de9do6v8208wpko/Mind+Eraser.rar
Friday, November 6, 2015
Ten Best Hardcore Punk Guitarists Of All Time
Honorable Mentions:
- Kawakami (Disclose)
- Parris Mayhew (Cro-Mags)
- Matt Henderson (Madball)
- Gavin Van Vlack (Absolution, Burn)
- Greg Ginn (Black Flag)
- Porcell (Youth of Today, Judge, Project X)
- Tim Kerr (Big Boys)
- John Hagerty (Naked Raygun)
- Greg Sage (Wipers)
- Frankie Stubbs (Leatherface)
- Chris Rest (RKL)
- Frank "3Gun" Novinec (Ringworm, Integrity)
- Woody Weatherman (Corrosion of Conformity)
- Souichi (Forward, Gudon, Insane Youth AD)
- AJ Novello (Leeway)
- Rich McLoughlin (Breakdown, Raw Deal, Killing Time)
10. Zigyaku (Bastard, Judgement)
9. Randy Uchida (GISM, Randy Uchida Group)
8. Wade Allison (Iron Age)
7. Rob Echeverria (Straight Ahead, Rest In Pieces)
6. Vinnie Stigma (Agnostic Front)
- Kawakami (Disclose)
- Parris Mayhew (Cro-Mags)
- Matt Henderson (Madball)
- Gavin Van Vlack (Absolution, Burn)
- Greg Ginn (Black Flag)
- Porcell (Youth of Today, Judge, Project X)
- Tim Kerr (Big Boys)
- John Hagerty (Naked Raygun)
- Greg Sage (Wipers)
- Frankie Stubbs (Leatherface)
- Chris Rest (RKL)
- Frank "3Gun" Novinec (Ringworm, Integrity)
- Woody Weatherman (Corrosion of Conformity)
- Souichi (Forward, Gudon, Insane Youth AD)
- Todd Burdette (Tragedy, Severed Head of State, His Hero Is Gone, Warcry)
- Mike Dijan (Breakdown, Crown of Thornz, Show of Force)- AJ Novello (Leeway)
- Rich McLoughlin (Breakdown, Raw Deal, Killing Time)
10. Zigyaku (Bastard, Judgement)
9. Randy Uchida (GISM, Randy Uchida Group)
8. Wade Allison (Iron Age)
7. Rob Echeverria (Straight Ahead, Rest In Pieces)
6. Vinnie Stigma (Agnostic Front)
5. Pig Champion (Poison Idea)
4. Anthony "Bones" Roberts (Discharge, Broken Bones)
3. Gary "Dr. Know" Miller (Bad Brains)
2. Aaron "A2" Melnick (Integrity, In Cold Blood, Inmates, One Life Crew, Cider)
1. Chelsea (Paintbox, Death Side, Poison Arts)
Sacrilege
One of the more polarizing topics in the last couple of years is female vocalists in punk. You either love em or you hate em. I personally love them. I think there's a certain abrasive / snotty quality that the female voice's higher pitch offers a complement to the often frenetic paced punk tunes they're singing over. If I had a criticism for female vocals, it is that effects are used a lot that the aforementioned vocal quality I just talked about is lost in the mix. The other side of that coin is that reverb drenched vocals are great so it is another point to the argument that female vocals are cool. In the last few years, there has been a surge of great female-fronted bands in hardcore punk. However if you want to which band is queen of the female-fronted genre, look no further than Birmingham, England's Sacrilege.
A common conversation with detractors of female fronted hardcore punk bands might go something like this:
"I don't like female vocals"
"What about Sacrilege?"
"Well that's different, you can't hate Sacrilege."
When you discuss the best female-fronted subculture bands (punk, hardcore, metal), Sacrilege is always the first band brought up. The rest of the discussion is to determine who is second best.
The band came out of the early 80s UK crust scene. This is the same scene that gave the world Deviated Instinct, Hellbastard, Axegrinder, Napalm Death, and Bolt Thrower. Sacrilege is fronted by the Lynda "Tam" Simpson. Earlier I said a lot of female vocalists utilize heavy reverb, Tam was one of the first to do it. When we think of the best uses of reverb in hardcore punk vocals, Sacrilege's name is almost always at the top, gender notwithstanding.
The band's output includes two demos and three albums. Their first album Behind The Realms of Madness is an essential album both in the crust and thrash scenes. Its pacing is so methodical. The riffs are something that thrash bands in the USA were a few years away from arriving at themselves. The d-beat driven drums never fail to keep pace and, at times, dictate it. Lastly, Tam's vocals are almost paradoxical. When you hear them, it's clear they're a female's, but never once do you make the mistake of presupposing that she is some kind of dainty flower. She have been conscious of this fact when recording: that she needed to sounded menacing but also convincing. Too often when a woman wants to sound "mean" on record, it usually comes off as very forced and laughable. Tam's vocals bear a sense of anxiety, urgency, and anger to them that speaks to a lot of feelings women grapple with daily. It's almost as if Nora from Ibsen's A Doll's House was given time in a recording booth to air out her grievances with daily life. The record itself is perfect. Most thrash records usually have one overbearing element like the guitars or vocals. Behind The Realms of Madness is a perfect blend of biting guitar work, sublime vocals, and strong drum work. It is essential listening. "Shadow From Mordor" is also one of the hardest songs ever written.
Included is Sacrilege's complete discography (yes, even those metal records most people don't like).
http://www.mediafire.com/download/11yf7x25e7xeivj/Sacrilege.rar
A common conversation with detractors of female fronted hardcore punk bands might go something like this:
"I don't like female vocals"
"What about Sacrilege?"
"Well that's different, you can't hate Sacrilege."
When you discuss the best female-fronted subculture bands (punk, hardcore, metal), Sacrilege is always the first band brought up. The rest of the discussion is to determine who is second best.
The band came out of the early 80s UK crust scene. This is the same scene that gave the world Deviated Instinct, Hellbastard, Axegrinder, Napalm Death, and Bolt Thrower. Sacrilege is fronted by the Lynda "Tam" Simpson. Earlier I said a lot of female vocalists utilize heavy reverb, Tam was one of the first to do it. When we think of the best uses of reverb in hardcore punk vocals, Sacrilege's name is almost always at the top, gender notwithstanding.
The band's output includes two demos and three albums. Their first album Behind The Realms of Madness is an essential album both in the crust and thrash scenes. Its pacing is so methodical. The riffs are something that thrash bands in the USA were a few years away from arriving at themselves. The d-beat driven drums never fail to keep pace and, at times, dictate it. Lastly, Tam's vocals are almost paradoxical. When you hear them, it's clear they're a female's, but never once do you make the mistake of presupposing that she is some kind of dainty flower. She have been conscious of this fact when recording: that she needed to sounded menacing but also convincing. Too often when a woman wants to sound "mean" on record, it usually comes off as very forced and laughable. Tam's vocals bear a sense of anxiety, urgency, and anger to them that speaks to a lot of feelings women grapple with daily. It's almost as if Nora from Ibsen's A Doll's House was given time in a recording booth to air out her grievances with daily life. The record itself is perfect. Most thrash records usually have one overbearing element like the guitars or vocals. Behind The Realms of Madness is a perfect blend of biting guitar work, sublime vocals, and strong drum work. It is essential listening. "Shadow From Mordor" is also one of the hardest songs ever written.
Included is Sacrilege's complete discography (yes, even those metal records most people don't like).
http://www.mediafire.com/download/11yf7x25e7xeivj/Sacrilege.rar
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