Vitamin X
Age of Paranoia
Southern Lord
Interview for New Noise by hutch
Answered by Marc Emmerik (guitarist)
There is a distinguished, undeniable sound - a cavernous,
progressing rumble - which belongs to a skateboard. Your ears recognize it –
and excite you – far before you see the board. That sound triggers myriad
images; combining the thrill of physical exertion and challenge, but also,
innately, those emblematic of rebellion. In punk, Vitamin X create a sound as
unique and as riveting. Their guitar work can extract references to
surf-drenched, Cali-Punk or East Coast straight edge stalwarts or 80s skate
rock. Spanning two decades, Vitamin X’s career has continued to slap down
thrashy-hardcore repeatedly. Age of
Paranoia will be their sixth LP, dropping, today, May 18th, on
Southern Lord Records.
Propelled by sweaty live shows, Vitamin X’s reputation is
founded on speed and intensity. Emailing guitarist, Marc Emmerik, illuminated
some details on Age of Paranoia. “We
love playing live and as you probably know, we've toured all around the world.
Anyone who ever saw our performance knows that our shows are very energetic and
we give everything. To see people singing along and going crazy in the pit is
something that is very rewarding. So, we still play as much as our schedules
permit, something like a few shows each month.” They’ve toured with everyone
and headlined their own tours spanning the globe.
These gentlemen have spun van
wheels in USA, Mexico, Europe, Southeast Asia and South America. They have
played France’s Hellfest and Maryland Deathfest to bulk up their heavyweight
cred. They even did a recent jaunt with Baroness and Cro-Mags. You cannot pin
these dudes down. And damn you for trying.
Throughout their eclectic history, Vitamin X have done
splits with Blind Society – charged punks from NJ in the early 2000s - and We
Bust Burn (d-beat earth scorchers). Vitamin X have had a few homes as far as
labels: Havoc and Tankcrimes; Committed and Reflections. Their debut EP was
called Straight Edge Crew. But other
releases have had fans of Municipal Waste drooling. Their sound is painted by
influences such as Minor Threat, Gang Green, DYS, Suicidal Tendencies, DRI, COC
and yet, on Age of Paranoia, have guests
such as J Mascis (Deep Wound, Dinosaur Jr, Witch) and Bubba of DC hardcore
noise purveyors, VOID offering to shred.
Vitamin X’s gift is
melding different genres with a common core and stretching it while staying
within their formula. The band has been punching their same sound for 20 yrs. Vitamin
X’s two big pivots from About to Crack in
2012 to now are moving from Steve
Albini’s knob turning and from label, Tankcrimes, to Southern Lord. Emmerik is
stoked. They have never shied from low-end, thick production; clean and
punctual. But their sound is never glossy; continuously exerting palpable
frustration and conviction. Vitamin X have had two LPs (the previous two; Full Scale Assault, 20008 and About to Crack, 2012) produced by Steve
Albini. They were honored and the product was solid.
But they wanted to
return home, in geography and in spirit, with production. But Southern Lord
made sense. “We're really happy with it. We've been contacted by bigger
labels in the past, but it sorta never worked out. I've known Greg Anderson
from Southern Lord for a long time, since the 90's; when he played in
Goatsnake. Greg saw us perform a few years ago. And he told me, once we had new
recordings, we should
send it to him. That’s what I did and he really liked it! He said he loved the
unique fusion of old school HC and rock, metal-punk etc. He thought we push
boundaries within a genre that is typically limited,” notes Emmerik. Vitamin X
have been on small labels and certinlt have had a decade perched to explore the
next tier. “Southern Lord is perfect for us as the label is bigger. So,
we get a better distribution and promotion. But they're still rooted in the
underground and very easy to deal with and great people!”
And the bluesy doom
bands on the label have more in common with Vitamin X on Age of Paranoia than one would be inclined to think. One track –
and killer title – is “Reverse Midas Touch”. Definite rocking, thick riff,
stoner vibe but Vitamin X pushes the speed and bass work and adds “woah-oh-ohs”
in the chorus – linking them to Southern Lord release like Uniform Choice,
Poison Idea, and Brotherhood (Greg Anderson’s old SXE hardcore band).
Speaking on the
decision to have Age of Paranoia
produced by someone other than Albini – who while known as a supreme producer,
did play in many bands including Big Black, Pegboy, and Shellac – Emmerik and
boys chose Igor Wouters at ARC (Amsterdam). This was nothing against the
producer of monuments like albums by Nirvana, Pixies, TAD, The Jesus Lizard, Mogwai,
Neurosis, Weedeater and even mainstream mammoths like Bush, Cheap Trick, and
The Breeders. Sometimes, the comfort of home is an allure that cannot be
resisted. Emmerik notes on utilized Wouters (who also is a drummer for
Angel Crew and Backfire!), “We recorded our previous two albums in the USA with
Steve Albini. But, now, we wanted to stay closer to home, Amsterdam. Igor was
an obvious choice (cuz) I had recorded there myself with my band, Demon Eyes.
Igor has drummed in several hardcore punk bands (even Agnostic Front) and now
drums in GOLD. He works really fast, is very creative, knows a lot about all
kinds of music, and is really relaxed! So, it was great to work with him!”
Another record is
great to hold in hand and blast when the needle drops. When the invigorating
frenzy captivates, it is undeniable. The opening track, “Modern Man”,
has feedback ringing and teasing as Age
of Paranoia begins; you feel the band settling in for the ride. The chords
ring out and anticipation builds, ground trembling, the production approach captures
the live-on-stage exasperation. Age of
Paranoia surges with 16 tracks; only five of which cross the two minute
threshold.
“Roller Coaster Ride” is just that. The song is frenetic;
slow and fast bandy in a chaotic melee; fitting inviting VOID’s (yes, that
VOID) Bubba Dupree for a guitar guest slot (Speaking of bands defying
classification). “Human Plague” and “Bounce Back” scorch at under a minute;
while the exactly one minute “Speak No Evil” has a cool guitar line, piercing
and sharp with a SoCal surf hardcore feel. These shorter jams pound and vibrate
with commanding defiance. “Age of Paranoia”, with the burden of being a title
track, extends Vitamin X’s comfort zone at 2:45. But funny enough, 1:45 of that
is an instrumental jam with fuzzed out wah-bass. Guitars embody Iommi riffs and
laced flutters as the track moves forward; while a collapsing refrain compounds
paranoia and suspicion before exploding into a hardcore swarm.
Listening, it is no surprise that Age of Paranoia was recorded live. Emmerik concedes, “We recorded
the basic tracks live (drums, guitar, bass) in three days. Then we did overdubs
and vocals, and the mixing. I think in total we were there for 8-10 days.” That
quick turnaround was solidified and fused by relentless shows. Twenty years in
and Vitamin X play continuously. Emmerik states 208 will be the same. “Well,
this will be the year of the release of our new album on a '’bigger’' label,
Southern Lord records. We will be promoting the album, playing a lot of shows!
We hope to reach our fans but also new audiences who might hear us for the
first time. We're looking forward playing the songs from Age Of Paranoia live.”
The new tunes will engross audiences by blending Annihilation Time, even a
touch of Sabbath, the often avoided late-era Gang Green and SSD/DYS or the now
revered BLA’ST! or Aggression and Stalag 13 or contemporaries like Night Birds
or The Shrine; all these bands come to mind.
Commenting on the
odd but ‘yeah that actually makes total sense’ guest appearances, Emmerik syas,
“J.Mascis plays on the song ‘Flip The Switch’. The intro sounded a bit
like Dinosaur Jr; so, I thought it would be perfect to ask J.Mascis to do the
solo. J of course used to play in Deep Wound, one of our fave hardcore bands. I
had already met J a few times through Graham Clise (Annihilation Time/Lecherous
Gaze) and once gave him our Full Scale
Assault album. Graham and Dave (Teepee Records) helped me contact J, and
when he was on tour in Amsterdam he did the solo. But, he didn’t do just the
intro, he said '’I will solo throughout the whole song and you just edit what
you need’'. In the end we just kept the whole solo because it's so amazing!”
The result is mind-blowing. Killer idea, Brilliant execution. As for Dupree, “Bubba
Dupree used to play in the legendary DC hardcore band VOID (and afterwards in
Soundgarden, Dave Grohl’s Probot and Brant Bjork), a band we're huge fans of
(we used to cover one of their songs live). I was hanging out with Bubba after
a Brant Bjork show and asked him to do the solo on the song '’Rollercoaster
Ride’. He didn’t play hardcore punk for a long time but his guitar solo is
totally VOID style!”
Also, to expand on
the vibe of this record, after two sensational Pushead-esque covers, Vitamin X
incorporated ridiculous art for this joint from Dutch artist, Marald. Emmerik
admits, “Marald is, just like us, from The Netherlands. He's a friend of
mine long before he got famous. John Baizley of Baroness - who did the art for
our last two albums - is a good friend of Marald. Ten years ago, we all were
hanging outside a Baroness show in Amsterdam. Marald actually did the art of
the last Baroness album; (plus) bands like Wolfbrigade, Kylesa, High On Fire,
etc. John Baizley was supposed to do the art of this album, but he was too busy.
So we asked Marald, and he did an amazing job. He not only made a drawing on
the front, but also on the back and the insert!”
With titles like “Modern
Man”, Age of Paranoia”, “Short Circuit”, “Flip the Switch”, “Media Messiah”; it
seems clear that Vitamin X are concerned with society and its technology; and,
additionally, how the people in control of the media/technology use it. Emmerik
replies, “Yes. Most of the lyrics on this album deal with this subject. You
could even say it's a concept album - ha! Technology is hijacking our brain and
minds. That's what, for example, the songs ‘Short Circuit’ and 'Flip The Switch' are about. We live in a dangerous time and age,
and age of control, confusion and paranoia. More than ever, we're controlled
and affected by media, technology, mobile devices, internet, social networks,
governments, political earthquakes, extreme ideologies, climate change, pollution,
fake news, etc. The song 'Modern Man' is a sarcastic song in which we wonder if
our so-called 'progress' isn’t actually a 'regress'. It's about people who are
only interested in their phones instead of participating in the world around
them.”
Emmerick continues
that this cannot commit to an optimistic or cynical view about the masses and
their involvement with technology. “All this technology is still pretty
new, not even 10 years. So, I think people and societies are still adjusting
and coping with this new situation. Those new technologies we use have in many
cases turned into compulsions. Tech firms are hooking users with design tricks.
I hope we can manage to find ways to cope with this new situation.”
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