One of my favorite all time sludge bands are returning
despite all doubt. Hailing from Nottingham, their two LPs in 1994 and 1996 are
certified punk-doom metal classics. One of the most repugnant to commit their
vile rants to wax, Iron Monkey have returned. Check out their new video. Ugly.
RELAPSE RECORDS Release
"Cult UK doom/sludge outfit IRON MONKEY has shred the
official video for “9-13”, the title track of their first new full-length in
almost two decades. Watch the Jack Atherton directed video now via Decibel
MagazineHERE
9-13 is set for release on October 20th on CD/LP/Digital via
Relapse Records. Physical packages and digital orders are available via
Relapse.com HERE
After disbanding in 1999 after the death of their original
singer J.P. Morrow, IRON MONKEY has reformed for phase two of their mission.
Recorded in their hometown of Nottingham in Spring 2017 A.D. with producer
Johnny A. Carter, 9-13 is 9 songs and 48 minutes of total nihilism. Now older,
more cynical and more isolationist, IRON MONKEY are back to usurp the scene,
then crush it’s skull. Without question, their most focused, aggressive and
direct material to date, 9-13 is an all-out assault of violent hatred and
nightmarish negativity. Recommended listening for fans of pain, suffering, and
misanthropy."
Loyal Until Death. That’s a bold
statement. It is honorable to be able to predict your bonds and values decades
down the line. One listen to Remain
Defiant and all will be convinced of this trio’s solidified convictions.
Enmity is released with tsunami level impact. The dual vocal approach, heavy
riffs and blistering drums secure that only the most vicious audience will
relate. The Florida based band, which Nakia Romero, vocals/guitars, and Greg LeBeau,
vocals, began in 2012, just added their new drummer, Lance Martin. Loyal Until
Death brings their second full length, out now. The LP is a heavy, energetic, vital
album.
The furious message starts with contempt.
“Loyalty in anyone is extremely rare these days. People are really narcissistic
these days.” That repulsion spawns the disgust in the opener, starting: “Remain!
Defiant!” Fuck the law, fuck the system, fuck the church, fuck your religion.”
As Romero’s growl continues, more superficial concepts are decried. As the
album moves, the lyrics get deeper and more challenging. Each song has Greg
LeBeau, with a screamier voice and condensed lyrical content, bandy with Romero’s
lower vocals and succinct phrasing. Romero, handling guitars and bass along
with vocals, as he did with their debut, Born
of Violence, is a beast juggling his responsibilities well. This focused
energy continually pushes and propels the frenetic pulse of Remain Defiant.
Fans
of First Blood (especially), Hoods, Hatebreed, 100 Demons, Ramallah and Strife will
find familiar ground. But coming from the South, metal definitely is an
enormous influence. Romero cites death metal and Crowbar. Crowbar is also a
visual inspiration. Romero tapped Eliran Kantor, who did Crowbar’s The Serpent Only Lies; and Hatebreed, Testament, Sodom, Hate Eternal. The
Belgian artist paints vivid, saturated images of Roman war and decimated landscapes;
illustrating emotion, gravity and depth not usually seen on a hardcore cover. Remain Defiant is on 1732 records, which Romero started just for this
album. The transparent vinyl versions are a vibrant companion to the striking
cover.
The music embedded in the wax is staggering as well. A
continuous flow is present and captivating throughout the eleven tracks. Inspired
by NYHC’s crushing weight mixed with bounce, Romero is proud of the organic and
dynamic ability of the band to adapt the songs. - hutch
1. First, I love the art work. (on Born
of Violence too) It’s cool to see atypical subject matter on a hardcore
record. Tell me about the specific painting and why you chose it.
I have ALWAYS been a fan of actual album cover artwork. You
know, real sick oil paintings and things like that. I would just stare at them
for hours on end. I wanted to be sure the artwork was really eye-catching and
profound for this record; something really special and memorable. I am a huge
fan of the older dark Renaissance type oil paintings from long ago, as you can
see from our previous releases album covers. I wanted it to be original only to
us; not a copied picture from the internet. So, I started doing some research
on album cover artists. We really started writing the record around 2015. I had
seen the artwork for Hatebreed’s Concrete
Confessional album which was done by Eliran Kantor (You can read my 2015
interview with Eliran here! – hutch) and I was like “Damn! That’s sick”. So, I
went through his portfolio on his website and knew this was the guy. Then, time
passed and we were getting closer to finishing the record. We were at the point
where we had working titles and lyrics for most of the songs and the music was
already recorded. Then, the artwork for Crowbar’s The Serpent Only Lies came out. I was like, “Holy fucking shit!
This is the sickest album cover I've ever seen in my entire life!” I mean, it
had the old Greek statue looking guy, the fleur de lis, the snake, and those
color tones were out of this world. So, right then and there I (contacted)
Eliran. That’s when we started communicating back and forth about our album
artwork. I sent him some rough takes of most of the songs without the lyrics.
It was just music. We didn't even have the vocals recorded yet. And I emailed
him copies of lyrics. And once we set the definitive title as “Remain Defiant”,
I sent that to him and kind of described what that meant and what the record
was basically about and he took it from there. And the final result is it’s
just one of the most amazing paintings I've ever seen. The color scheme that he
used on there was a little different from his previous works. He stated that to
me and he said he made it a point because he wanted it to really stand out. I
mean if you look at the record you have the whole rainbow in there. It's an
absolute beautiful piece. So, it was specially made for the record.
2. How
have you – as a band, and personally - spent time in between albums?
Well, personally, we spend the time working our jobs like dogs.
(Haha) As a band, we've spent the times between records at a warehouse that we
used to have in Fort Lauderdale for about 5 or 6 years. Writing more songs and
playing local shows. When Lance joined in 2014, we literally lived in that
warehouse for 4 - 5 days a week hours and hours and hours at a time. Just
jamming and writing riffs and parts of songs. We clicked so well. I mean it was
like I could play three chords and he would play 4 different beats and we would
have a song. I mean it was ridiculous how fast we were just churning out songs.
Some were good, some were just there. Some didn't make it on the record and
most of them did. We probably, between us wrote 40+ songs for this record. I
think the hardest part was narrowing it down to 11. (Hahaha) But we chose the
more aggressive, relentless, unforgivable, and punishing songs to put on this
record as with the lyrics. It's a little tough now because I just moved to
Franklin Tennessee, so we haven’t gotten together and jammed in a while like we
used to.
3. How did recording do? Producer? Duration? Studio?
The recording process went very well. It was smooth and natural.
It was our first time recording at Iceman Studios with Daniel Colombo. It was
really amazing. We recorded pretty much live. I would play guitar standing in
front of Lance, playing in his ear and he would just play. We basically just
played 3 - 4 takes on all the songs and just went with the best take. Old
school style. We wanted the more natural feel. We didn't want to play to a click
track. We didn’t want the quantifying, robotic feel. We wanted the hardcore push/pull
energy and emotions felt throughout the record. We recorded drums first and I
think it took like a day and a half. We originally recorded thirteen songs and
narrowed it down to eleven. And, then, I went in and recorded all the guitars
and bass tracks. Then, we sat on that for a while because there were a few
songs that we didn't have lyrics to. So, we had to write lyrics. We went back
in about 6 or so months later and wrapped it up. There's actually a couple of
songs that we're changed right on the spot live. The second track of the record
“What Never Dies” which is kind of like the sing-along anthem. The original
ending riff was really slow and heavy and sludgy. It sounded good, but to me it
just kind of cut your legs out from under you coming from the chorus and to
that break. So, I looked at Lance and I'm like “Man this song is so moving but
you know, it just, your legs get cut out from under you at the end. We have to
write a different riff. We have to write a fucking extreme, old school, fucking
New York style sounding, fucking beatdown riff.” We ran through it a few times.
The new riff was written right there. Then, we ran with like two or three takes
of it and the rest is history. We also changed the ending riff to “The God To
Your Repentance”. The original riff kind of almost sounded like the verse part.
So, again, me and Lance are like “We got to change that riff”. I actually took
an ending riff with the lead guitar parts from one of the songs that didn't
make it on the record because I really always liked that riff. So, we played it
a couple times to see how it would fit going into it and it fit good. We played
like three or four takes of it and that was it. It was kind of weird at first
going back listening to those songs and hearing different riffs at the end when
you originally wrote it with other riffs. (Hahaha) Daniel really got some
killer drum tones in the room that he set it up in. We then dialed in the
guitars and bass tones and I mean the production on this record is just to me,
it sounds incredible. I mean, we're really happy we went with him. It was very
relaxing, easygoing, and we didn't feel rushed.
4. What is the Florida scene like these days?
The Florida scene is pretty damn good. For years South Florida
has produced some incredible hardcore bands. Most of your influential early 90s
bands like Strongarm, Tension, and Culture (huge
fan of all three! – hutch). I mean they used to have killer shows there
every weekend. Between metal and hardcore, there endless talent there. I mean
Florida is the death metal capital of the world. So just a breeding ground for
great bands from metal to hardcore. This day and age the music scenes
definitely are different from back in the 90s and early 2000’s. But there's
always going to be some kind of scenes in Florida because it just nonstop
harvests musician. It's like a hatchery for bands. There’s always going to be
something going on. You have Miami. You have Palm Beach. You got Orlando,
Tallahassee, Jacksonville. You can literally do a week tour just in Florida
with all the different cities and scenes. (hahaha)
5. Growing
up, what bands got you fired up and influenced you?
It’s funny. Growing up I was the biggest KISS freak when I was
like five or six years old. My mom bought me all the records. My sister used to
dress me up like them on Halloween. My first concert was Kiss in 1979 in Baton
Rouge, Louisiana. My mom brought me. I was like 5 or 6. I was always into music.
Growing up in Louisiana, there’s always some Zydeco playing at the fair or on
the weekends somewhere. My parents always had some kind of music on the radio.
I used to go spend the weekend at my grandparents’ house out in the country where
my two cousins used to live and they had a record player with some vinyl
records. I must have been around 7 or 8. Something like that. They had Ozzy and
Sabbath records. Some Skynard. They were a little older than me. Like teenagers.
I would just sit there and listen to the records and stare at the album
artwork. The one that really captured me was Black Sabbath Mob Rules. To this day it is my all-time favorite album. I think
that album has definitely changed my life. I used to just play that record over
and over and over again, ironically, and stare at the artwork. Once, we move to
Florida. I started getting into band like Iron Maiden, Metallica, Megadeth. I
was into skateboarding. So, I started getting into the punk and crossover bands
like The Exploited, Misfits, and DRI, things like that. I really got into death
metal once I heard Death’s Leprosy. Death
was one of my favorite bands. Chuck Shculdiner was huge influence on me. Obituary.
Massacre. All the good Florida death metal bands. And then my buddy gave me a
cassette tape and that tape pointed me in the direction more of the street
style hardcore. That tape was the first Biohazard. That's when I heard the mixture
between hardcore and metal. I was playing guitar since I was 13. Heavily into
Metallica, Megadeth, Iron Maiden, and Sabbath. So, hearing that NYHC style for
the first time was eye opening. The groove and aggression was undeniable. Then,
through skateboarding and hanging out, I met Greg. We would go to his house and
his sister was a little older. She had a bunch of Old School hardcore vinyl. He
would play those records. That's when I first heard Agnostic Front and Judge. We
would go to each others’ houses and all we would listen to would be either
Agnostic Front, Sick Of It All, or Biohazard. When Agnostic Front One Voice came out - it blew me away.
Hearing Matt Henderson mixing those stylish leads over the music was amazing.
That to me is their best record. It can't be matched. Then, from there, I got
into Madball and most of the old New York style hardcore bands and the straight
bands. Bands like Strife. Being from Louisiana. I have always been into Crowbar.
They have been one of my all-time favorite bands ever since their first record.
Loyal Until Death tunes in B standard basically because of Crowbar. I got that
from just jamming along with Crowbar songs. So, that's also another band that
has a huge influence on me and you can hear in some of the riffs. Especially,
the last riff in “The Molding Of A Man”. As far as noticeable influences in the
music writing, I would have to say that Crowbar, Agnostic Front, and Strife are
the most prevalent.
6. What does rest of 2017 hold?
Now, that I live in Tennessee it's going to be a little tougher
for us to get together. But, I'm communicating with a killer hardcore band from
the UK who is supposed to do a US tour early next year. We're trying to see if
maybe we could jump on that for 10 to 12 days and possibly follow them into
Europe. I would like to book a small tour for the South East U.S. for this
fall/winter to support the new record. I have started communications to try and
put that together.
7. The digital is on Spotify. Have you gotten good feedback (album is
sick!). And then vinyl is coming out 7/7. 150 gm virgin vinyl, limited colors.
Did you guys or label push for this (or both)? Are you guys vinyl dudes?
Unbelievably, we have been getting more feedback than I ever
expected. It's really starting to catch some traction. We've done a few
different interviews with other magazines and there's a lot of sites out there
that have reviewed the album. And so far all the reviews have been very positive.
We knew it was going to be kind of a special record because of the focus that
we took in the album, the songs, the lyrics, and the direction we took with the
music as far as the emotional standpoint and just really putting everything
into this. And it's really amazing to hear some of the comments that we get
from the record. Hearing that from other people on the outside looking in
really means a lot because it’s hard to look at it that way and judge and
comment on your own creation because you've played the song hundreds of times
and you’ve heard lyrics a million times. So, you know, I really respect and
take to heart people's opinion when they hear it hitting them in the face for
the first time. Because that's the way I do as a music lover and a fan of a ton
of bands out there. When I hear their record for the first time hit me in the
face and it's good, it's just an unbelievable feeling. As far as the vinyl,
that was something that I brought up to the guys and I really pushed for.
Because the label is my label that I started specifically for this record. So,
I really pushed to get the vinyl and even though it's so fucking expensive to
make these days. (hahaha) We decided to do it just to have it. Especially with
the killer artwork and how good the recording came out I thought it was only
fitting to just go the extra mile spend a few bucks and get some vinyl and some
killer colors to offer to people that would appreciate it. And I’m glad I did.
They are moving fast! I just started collecting vinyl again. When I was younger,
I had bunch of records but just over the course of my life moving thousands of
times you know, they got lost somewhere along the way. So, I started back
collecting a couple years back. Greg has a killer collection that he inherited
from his older sister passed away a couple years back. I'm talking priceless 7”
pieces from the old school New York hardcore days that are probably irreplaceable.
If I were him, I would take out an insurance policy on them. (hahaha)
8. Being a band in 2017 with Social media, merch sales dependent, and
less big label support – more left to the band’s hustle. Would you agree? How
is it compared to when you started?
Success this day and age definitely depends on how hard you grind
and hustle. DIY can't be any truer of a statement. I mean it's hard enough
trying to book your own shows and get on shows with other bands in other
cities. It's not like the old days where you have a huge label behind you who
has booking and promoter connections. But hardcore has always been about the
harder paths of life you know, so. Definitely depending on how hard you hustle.
Social media can definitely work into your favor. It's thousands of hours of ass-time
sitting in front of the computer, but it's endless. There's endless possibilities.
Through Facebook. Through online marketing. I mean if you have a great product
and you market it the right way through social media, you never know. People
could get behind it and next thing you know you’re somebody. It happens every day.
9.
What does it mean to remain defiant in 2017? What can one do?
The title for us means that we haven’t
changed throughout our life. We are all still the same mother fuckers that
listen to the same music and are brothers to the same people since we met and
started this shit in 1991. We don’t change with progression. We don’t
participate in fads or trends. We fucking hate that shit and that’s what we
write about. Our way of life and thinking in this day to younger kids is
incomprehensible. We don’t buy into the social justice bullshit. We don’t need
fucking safe spaces. We are grown men that can handle our fucking business
anytime, anywhere, with anyone. We don’t call the fucking police. We don’t film
crimes with our phones and post that shit on Fuckbook and try to snitch on a
mother fucker. We mind our own fucking business. We carry a sense of pride and
we don’t give a rats ass what people think of us. As far as what one can do to
remain defiant, one first has to know what to defy.
10. How common or rare is Loyalty to find
in others?
Loyalty in anyone is extremely rare these
days. In family. In friends. People are really narcissistic these days. They
think they’re the most important piece of shit on the planet. I’m fortunate to
have some pretty solid brothers that I’ve known since high school. We’re all
friends with the same group since back in the day. But I think the most
important thing is to be true and loyal to yourself.
This is an explosive, dark hardcore record. The chaotic energy gathers influence from Fugazi's feedback presence to Burn's bounce. But more correlative would be Outspoken, Mouthpiece, Battery, etc; a good mash of DC meets NYHC. "Equity Head" is the standout track for me, maybe even because it is the most straight ahead hardcore song. "Sisyphus" is the opener almost venturing into Cro-Mags territory - dark and menacing, fast and angry. "Out of Darkness" has a great bounce.
Being Pat Flynn, hell, 4/5 of Have Heart, there is certainly that vibe. But only the closer, "May I Be I", really capture that spread out sweeping vibe (which, to be honest i grew weary of). 3/4 of this EP move forward with urgency and spite. The vocals are furious and commanding without being self-righteous or pretentious. The mix is great, utitilizing the band's raw presence, nothing grandiose.Recommended.
Xibalba Diablo Con Amor Adios
Closed Casket Activities
Review by Hutch
Three songs fill up quick EP from the boys who devastated eardums and venue floors with Tierra Y Libertad in 2015. This EP dropped a month ago, so i am a touch late, but hey, it's killer. Xibalba played their tenth anniversary show on 2.26.17 and have no plans of slowing down. These SoCal titans match beatdown hardcore with death metal mastery perfectly. The slow churn of the riffs are amazing as they contort and twist the definition of a breakdown.
In one aspect, a review is a little silly, because these dudes have not changed their sound, per se. But they are taking that sound to the next level on Tierra Y Libertad and now, Diablo Con Amor Adios. Each release steps up their song writing since their multi-released debut. This EP, on Closed Casket, is available on a cool orange splatter vinyl 7" and other variations. The band knows precisely how to execute the hard ass sound they cherish.
The title comes from the culmination of the three song titles, "Diablo", "Con Amor", and "Adios". "Con Amor" blazes forward, fast hardcore or death metal, whatever you dub it, it slays. Gang vocals ensure maximum crowd participation. The chunky breakdown in the middle is barbaric. Thus track is 3 minutes; "Adios" is 5:23 and "Diablo" is shorter at 2:22. In this 11 minutes Xibalba fuck with time changes and delivery. There is enough variety to keep all parties interested. "Adios" has a cool swing in the mid-swing riff that adds soe flavor before it jumps into a gallop tempo. Never concerned with too much with tech (hence they hardcore feel over some DM band wanted to be worshiped for solos). Xibalba is all about heart, sweat, blood and spirit. This music is savage and should be bridging fans of all genres. Grimy and raw, evil and tough - this is a great release.
Yuppicide
- Revenge Regret Repeat
Interview by Hutch.
Dead City Records - December 2015
Yuppicide
started in 1988. The mid-Nineties’ albums brought in that NYHC bounce with a
rugged punk and Oi! sound. They were hard to define but always confrontational.
Not preachy, but creatively defiant and antagonistic to the listener, they were
political and socially-minded via personal keyholes. Their lyrics represented
larger issues through myopic stories. Their main three albums Fear Love,
Shinebox, and Dead Man Walking hold a revered position in the hall of NYHC.
Their live show, with a flair for costumes and unbridled energy, secured their
legend. Dead City Records released their demos again, and their full anthologyin
2010. That was their story until some reunion shows and a 2012 EP woke their
audience from the dead. Revenge Regret Repeat was released on December 5th
of 2015. Their sound is honed and more focused on this full length. Yuppicide
are still pushing boundaries and addressing issues instead of generic slogans.
This may be their fiercest work yet. Vocalist Jesse KFW Jones and guitarist Steve
Karp took time to answer my questions.
It’s 2015. A new Yuppicide full length. How
does that feel?
Jesse: It feels
great. It took us a while to get the songs written and ready to record and
actually a few were still being tweaked in the recording studio. It is great to
finally have it out and in the hands of the people that want to hear it. When
we were working on the American Oblivion
EP back in 2012, we considered holding off and waiting until we had enough
material for an album. But, we weren't sure how long that would take. We're all
busy with family and work responsibilities outside of the band, so writing material
can be a slow process.
Steve: It
feels F*ING AMAZING. We defied the odds and created a masterpiece.
Was there a different or specific mindset
going into recording this?
Jesse: We
discussed different approaches, more for the recording style, but we decided to
try things and then decide if we wanted to work on it more. We do our best not
to let outside opinions influence what we do. Our producer, Glen Lorieo, had
some great ideas. We have a very democratic approach where everyone can voice
their opinion. But, the player has the final say on their instrument. We didn't
all agree. There were some edits that we weren't all happy with (poor Glen),
but over we are really happy with the results.
Steve: I
think we really wanted to learn from the process of recording American Oblivion and expand and improve
on that. We really wanted to create something we in the band are really stoked
on.
Can you tell me about how long it took to
write this? And then recording process with Glen?
Jesse:
Some of my lyrics precede us reforming as a band. I have always kept note books
with ideas and snippets. Whenever we are working on new material, I will
revisit those notebooks and see if anything sticks. The song that became “You're
Gonna Get It” was originally something Steve was playing around with for
another project. He had lyrics for it, but was cool with me rewriting them. I
wrote a whole set of lyrics that in the end still didn't work. So, I rewrote it
again, as it is now. We came up with some additions in the studio.
Steve: We
started kicking around new songs pretty much right after American Oblivion. I think we really got serious and productive in
the second half of 2014, especially once we committed to the idea of releasing
an LP. We started talking with Glen about recording a few months before actually
nailing down recording dates. He had ideas having just finished the incredible
Caught In A Trap LP (Good Night, New York;
also on Dead City). We had ideas having had time to digest American Oblivion and listen to CIAT’s Goodnight, New York. Once we actually started recording, it went
pretty well. I’m glad we took the time to bounce ideas off Glen ahead of time.
When it came time to do the guitars, I went back to 1990. I hauled my entire
live rig into the live studio and we recorded 99% of the guitars in a monster
eleven hour session. The actual entire recording process took a while, because
we were really nitpicky with the album. There was a lot of back-and-forth with
all the band members in regards to lyrics and arrangements and things like
that. Glen should really wear a tall, pointy hat because the kid is a wizard
when it comes to engineering and production.
Jesse: It
was great working with Glen again! We got to know each other recording the American Oblivion EP and now we're friends.
We recorded the drums and guitars at Frequency in White Plains NY. The rest, we
did in Glen's home studio in Harlem. I worked with him a lot, going in multiple
times to record a couple of songs at a time. We would play around and
experiment. He was really open to trying things and had great suggestions. He
also brought the 'science', which means he could fix my fuck ups, for which I'm
grateful.
You have kept your sound – solid writing,
catchy and hard!
Jesse: The
core band is the same: Steve, Joe, Myself. Jay brings a great drum sound to it.
He's always played fast and hard. I'm using all my usual techniques. I try to
come up with vocal hooks, if they make sense. Steve has never stopped writing
and it shows.
Steve:
Thanks! Truthfully, that’s the only way we know how to write. We write what we
know and what we like. We’re our own toughest critics. We seem to suffer from a
kind of “musical multiple personality disorder”. We have bits and pieces of so
many different kinds of music that fall under the bigger umbrella of
“punkrock”: Oi bits, d-beat bits, garage punk bits, US ’82 hardcore bits,
2-tone bits.
Have you been playing shows since American Oblivion?
Jesse: We
have been playing mostly local shows every few months. With our limited free
time, we had to decide to work on new material or practice for shows. We didn't
play a lot while writing the record. Now we excited to play the new songs out.
Steve: We
have. We even toured Europe quickly to promote American Oblivion in 2012. Since then, we played sporadically. We
made a conscious decision to try and not play out during the process leading up
to recording and during the recording process itself. We really wanted to stay
on track and get the LP done with as little distraction as possible. Well,
outside of the unavoidable “distractions” of work, family and all the other
“40-something” obligations that get in the way of being old ass punk rockers! I
think we noticed that the less we played live, and the more strategic we
were/are with gigging, the more we appreciate it and hopefully the less people
get tired of us playing.
What does 2016 hold for Yuppicide?
Jesse:
We're going to Europe for 10 days in March, and Dead City is trying to set up a
mini East Coast tour as well.
Steve:
Seeing if/how people respond to the LP, for starters. Then, we are getting out
and playing a bit. We have a European tour booked for March 2016; ten days in three
or so different countries. And, of course, the continuous process of trying to
balance the band with work/spouses/family.
I love the lyrics to “Insolence”, but I
actually might be one of the people you are trying to motivate. It’s rough out
there; to balance a proper wage and feeling fulfilled.
Jesse: The
lyrics on “Insolence” were a collaboration between Steve and me. It is about
being frustrated and unhappy in your work and personal life. Steve wrote the
original version. I think it was written from a very personal perspective.
Corporate cubicle life is a reality for a lot of us. So, the lyrics are aimed
at ourselves as much as anyone else. The second verse, which is more about
personal relationships, was suggested by Joe Keefe (our bassist). So, I wrote
about how we stay in toxic relationships because we're used to the misery. And,
yes, that's from some personal experiences as well!
Steve:
Tough? I think it’s impossible. But, someone knowing that fact is half the
battle. I’ve found that it’s necessary to separate oneself in a sense; to seek
‘fulfillment’ from one’s own interests and pursuits, and then to treat a job
like a job. Let’s face it, a lot of the people that one can work for, don’t give
a damn about their workers. We’re replaceable cogs in their eyes. We take that
frustration and channel it into our music and lyrics and artwork. That’s what
fulfills us. A paycheck is a paycheck. It pays the rent or mortgage. It puts
food on the table. Money really ruins everything, especially when it comes to
creative pursuits like art or music. Which is why we always pay for the
recording process ourselves, so, that we’re not beholden to anyone to how we
want to create our songs or do our graphics. We have complete artistic control
and freedom. We never worry about whether a song will sell, or an album will
sell, because we have day jobs. The music is our hobby. We get to create stuff
without compromising to/for anyone outside of the band. Luckily enough, we have
the good fortune to work with John (Franko) from Dead City and Bader with
Cupcake. They trust us and believe in who we are and what we do. They have the
same passion for the purity of the music as we do.
With the socio-political critique in full
swing (“Political Game”, “Spread the Infection”) how do you feel about our
county’s current climate?
Jesse: I
wrote “Political Game”. It is mostly about how lobbyists control legislation.
They donate huge sums of money and do back door deals so that the congressmen
end up with high paid jobs at the corporations. But, its also about the fact that
we now have two governments in this country: the one you vote for, and the
other one. That doesn't change and that controls security and foreign policy.
Steve:
Sometimes, I’m hopeful because there seems to be a groundswell of people fed up
with living under a corrupt government and tired of a system designed to enrich
the wealthy and keep us worker drones in a perpetual state of fear and anxiety.
People who seek answers and ask tough questions and aren’t afraid to buck the
status quo. And then, at other times, things seem hopeless because of the
apathy of the masses and how willingly people let fear allow themselves to fall
under the spell of kooks like the religious right. People who want to set our
country back hundreds of years and openly pursue policies of bigotry, misogyny,
racism…..
Jesse:
Steve and I collaborated on “Spread the Infection”. The song is about how
quickly people stop thinking for themselves and fall in line, especially when
motivated by fear. I think what's happening now with how people are reacting to
the refugee situation is a perfect example. What's really surprising is that
Presidential candidates aren't even fact checking themselves now. They're just
saying whatever crazy ideas they have and people are agreeing with them. It
would be hilarious if it wasn't terrifying.
Police Violence? Presidential candidates?
Minimum sentences? War on the poor? So much fodder to vent about.
Jesse:
Police Violence. I think there has been a core perspective shift in how the
police are being trained. At one time, they were seen as an asset to the
community (probably not by everyone, but in general). Now, it seems they are
there to control the community. Also, if you are being arrested and resist in
any way, even in a small way, they can assault you, maybe kill you, and most
likely, get away with it. The militarization of the police is terrifying. They
are being sold surplus military equipment by arms dealers and they are finding
any excuse to use it. They often lack the training to use it as well.
Steve: Too
true. We try and balance our lyrical content with political and personal
subject matter. I guess for some people, we’re too political, and for others,
not political enough. Then again, with a confrontational name like “Yuppicide”,
you kind of know you’re not getting an album of pop-punk teenage love songs.
We’ve made a career, so to speak, out of rubbing people the wrong way. That’s
not going to change anytime soon. The issues you mention are not new issues by
any stretch. Since this country’s inception, there has been a constant struggle
against centralized control and individual freedoms. There’s always been a
class war. There always will be a desire to keep the masses under control with
fears of internal and external threats.
Jesse: Regarding
Presidential Candidates, most of them seem like caricatures. Many have no
political experience. Ignorance and arrogance seem to be the most important
qualities. As a voter, if your apathy makes you opt out of the process, then
you may have just helped a nut job win. Also, the penal system in the country
is out of control. It is a huge business. 1 in 99 people in America are
incarcerated. Three strikes policy creates a slave labor situation used to
compete with countries without minimum wage.
So I have sampled that George Carlin bit; so
has hip hop artists. What is so universal about it? And why don’t we learn
anything from it?
Jesse:
George Carlin was able to communicate very intense and alternative ideas to a
huge audience. He was able to camouflage revolutionary ideas with his more
general criticism of modern life. Jay (our drummer) felt that the sample was
over used, but I felt people should still hear it. Can a comedian change your
mind? Can a song? I think they can chip away and hopefully eventually something
shifts.
Steve:
It’s universal, because it’s true. Every word of it is true. Carlin’s delivery
is spot-on because he doesn’t sugarcoat it. People hear it and agree. Then, do
nothing to change because it’s easier to complain then to actually do anything
about the status quo.
Did you see any Black Friday fights on the
youtube or social media? Comments about these disgusting plays of materialistic
consumers fiending for scraps in true BREAD AND CIRCUS form?
Jesse:
There are so many of these videos, and sadly what happens mostly is we just
judge the participants. But, it is a system of materialism the plays into greed
and gluttony. We all play our part in that. It is always depressing to
experience people behaving badly, people abandoning their humanity, trying to
fill the ever growing void with more shit and empty promises. But, unless we
are doing something very different, maybe we should focus on just improving
ourselves first, and have a bit more empathy.
Steve: As
Americans, it’s hammered into us since birth to consume, consume, consume. Very
few people stop and wonder if this mindset is wrong. Plus, anyone who questions
the “consume, consume, consume” mindset is immediately ostracized. It’s
shameful, but it plays right into the hands of those who want to keep us
helpless and docile and controlled. Rather than fix something yourself, just
throw it out and get something new! You HAVE to have the latest and greatest
whatever-the-hell-it-is!
Sniper 66 is an Austin four piece that play vengeful punk
rock. Their self titled release was impressive and caught much attention in
2013. I had already liked them. They also appeared on Oi the Boat’s VOA: IV with Hard Evidence, Concrete, and Die Trying.
They also provided my favorite track with a sad-as-fuck, “7 Years”, song on Cashing in on Christmas vol 5. I saw
these kids lay waste at Midwest Fest ’14 and they ripped it. I ended up talking
to their drummer, April. As a 37 year old, I tried not to be a creep and to not
be surprised like “hey, you are a girl and you can play an instrument!”. But in
a room of sweaty, old, bald men, I raised a glass and chatted to acknowledge
her skills. She tore it up and simply happened to hit the bar when I did.
For Caput Lupinum,
Sniper 66 have moved forward. This was available as digital or CD form last
April or June. Now, we finally get a vinyl version thanks to Rebel Sound. Here
they embrace less of a rock and roll sound and push a tougher, angrier and
heavier sound. These kids have learned to play tighter and faster. Like wicked
fast. Coming from Texas, no doubt Lower Class Brats is an influence. Oxymoron
is another obvious influence. APA should be cited as well. S66 play angry,
gritty riffs played automatic fire quick over sped up , battering drums. The
production has been improved as well. The style is clean but allows for the
instruments to play; especially that bass in there, rumbling along.
The songs do feature lyrics with the punk ethos of “be
yourself”, but focus in on non-traditional topics. “Society” addresses the
issue of gender roles in the singer’s household and in the punk scene and in
general society. The plea of the song is to “treat (girls) as equals”.
“Why must this happen? Right in our
scene/ Punk rock girls are sexualized…
I won’t stay silent. This time I’m
pissed/ Because I love this scene, I know we are better than this
Blow up your TV …don’t listen to the standards
set by society”
“Another War” definitely stands out to me. The song is
churning and speaks about the empty promises of (now) multiple administrations
to bring the troops home. The earlier mentioned, “7 Years” is back and
depressing; which I love! Subversive, honest songs on a Christmas comp satiate
me. “Long Road” steps back half a step
and calls back to the rock and roll feel of their debut. “Anxiety” is a dirty,
pounding track that pummels as you listen. “One Shot” also kicks.
Sniper 66 are talented kids tearing up fests across the
nation. They found enough time to sit and write fantastic punk rock songs, with
no sense of pop. Belligerent riffs at sonic speeds should please anyone in
leather or a bomber. Intelligent lyrics that will leave you thinking help
elevate this band above the average. Production is on point, handlingS66 as
they should be. No one is aiming to make more of this than it is; and that is what makes it worth
more than the sum of its parts and stand out.
NunSlaughter return with incredible design and splatter
vinyl and penetrating metal to match. “Impure Thoughts” open this seven inch,
as NunSlaughter remind you why they are the kings of Devil Metal. Sleazy and
sexual in a wretched manner, NunSlaughter unleash punishing raw death metal
with a crust-thrash-blackened twist. The vocal are growled but audible. You can
distinguish each smattering of delectable evil. Stellar production and a
sinister energy level show this band at their peak with two exclusive tracks.
Perversor come with the same vibe. Lower vocals make it
harder to understand than their split mates, but the demonic intent is what
matters in delivery and Perversor crushes it. The songs are fast are Hell. This
side adheres to more straight forward death metal from these South American
purveyors of Satanic smut. And if you missed it, it is fast as Hell. Dirty
riffs meander through an atomic cloud of malicious music. Both tracks are at
3:15 and feel elongated due to how fast they are. The drummer truly elevates
the effort of these killer tracks.
Witchtrap Split:
Same great effort put into the layout and grey and black
splatter wax here. The vibrant red of
the record sleeve is attention grabbing. NunSlaughter again return with ill
tracks. They kick the speed up until the break into a swinging death-thrash
riff that slays all suckers. As a tribute to their Colombian split mates,
Witchtrap, NunSlaughter have titled the respective tracks “La Ofrenda” and
“Altar De La Muerta”.
While Witchtrap raised the ante with “Sex Commander” and
“The Devil’s on the Loose”. These tracks are not as low tuned or dark as
NunSlaughter. They are still metal as fuck, though. A tougher version of NWOBHM
or Kreator, Destruction, Sodom would be appropriate. The chorus of “I’m a Sex
Commander” certainly has me naked in my apartment with a towel for a cape. This
is empowerment.
Afucking Plus for package and design. Support this and buy some vinyl
