The term “cult band” is usually relegated for lesser known
or underappreciated bands. With Iron Monkey, the term more likely is to denote
their likelihood of spawning an actual cult. I’m not sure of their record sales
but their reputation is revered. And their two albums are in regular rotation
in on my turntable. Ain’t one aspect under appreciated. Iron Monkey cultivated
disgusting and abhorrent sounds and attitude while still manifesting a groove.
On par with Eyehategod, this UK trio repelled listener’s from 1994 until 1999.
A band that channeled repulsion, seclusion, and nihilism could never be
expected to function for too long. And then their singer passed in 2002.
Now it is 2017. Somehow, Satan’s ugliest children have found
themselves spewing further music. Relapse Records released their third full
length, 9-13. It stands with the
classic two, self-titled, 1996, on
Union Mill and Our Problem, 1998, on
Earache. Staggeringly savage, riffs and growls perpetuate every insecurity in
the listener. The members are listed simply and unimpressively as J -
Vocals/Guitar, B – Drums, and S – Bass; recalling John Paul Morrow as “JPM -
Rest In Noise”. 9-13 is a stellar tribute to JPM’s legacy. Jim Rushby and Steve
Watson both were in prior iterations with others, Rushby in all, while drummer,
Brigga (ex-Chaos UK), is new. But the sound is as killer here. There is no gap
in synchronicity.
Rushby’s vocals are beyond growls, not low in tone like a
guttural Death Metal band, but beyond growl in terms of delivery and audibility.
Take “Toadcrucifier”. Rushby snarls like a spastic pitbull, reacting to a
violation with a fevered unraveling. His vocal approach comes from a genuine disassociation
with human kind. The feral evocation is the thread throughout 9-13. The songwriting is tops,
production balancing the ugly with the execution. “Destroyer” driving riffs of
the first section coupled with the fast charge of the middle relishes in deep
focus and nasty tones. But we hear all instruments pushing and pushing.
There is a palpable rejuvenation between Rushby and Watson
in these despondent harvests. While certainly skilled musicians, they keep it
simple. And that’s where the honesty is allowed to shine. It is why I think
hardcore fans can latch onto Iron Monkey’s qualities. They repugnant emotions
of isolationism and self-destruction, the disgust with the world, the visceral
trigger is worth more than any guitar solo or ethereal orchestration. Give me
the sweaty clamor of basking in plodding snare hits and feedback of “The Rope”
any day. Not saying it is all feeling, they sit and write songs. But they know
when to ride a riff, a groove, an emotion – and simply let vocals spatter
wretched noise. “Doomsday Impulse Multiplier” swoons and smashes as its twisted
riffs deliver on its catastrophic tile promises.
9-13 is constructed of eight 4-5 minute romps with a 10
minute closer. The beginning of the album,
“Crown of Electrodes”,
“Omegamangler”, and the title track, “9-13” are all bruisers. So, let’s address
the obvious. Detractors will say – shit, have said, on a youtube comment – “no
Greaves, no Morrow, no Iron Monkey”. And I am a purist with some bands – believing
certain bands should have just taken a new name (Sepultura, Misfits, and a
thousand hardcore bands). Missing Greaves is a loss, in a nostalgic way. But
Brigga kills it on 9-13. Justin
Greaves, whose talents saw him in many bands; including, Borknagar live,
Crippled Black Phoenix (still does), The Varukers (which is a precise parallel
to Chaos UK) and most notably, Electric Wizard for three years. This perched
Greaves to record on EW’s gnarliest (not best or most classic, but
noisiest/ugliest), We Live. Steve
Watson is back here, and played on IM’s first self-titled LP. The detraction
may be in comparison that Iron Monkey recorded as a five piece for their two
albums and the EP. Here they perform as a trio. I don’t hear an outcry for
missing Doug Dalziel. He was on all three records. And hell, if you’re
lamenting an absent drummer – you should really being lamenting his partner,
the bassist. Watson moving over certainly delivers the essence of Iron Monkey.
Rushby, however, has always been in the band, every iteration. As far as
vocals, while missing Morrow is a punch to the gut, Rushby does his job. It
doesn’t have that same black metal, goblin raspy slither; but Rushby has the
same spirit, and certainly the toxic tenacity in his exasperated excoriating of
mankind. And with all the years slinging axe for the band, he knows the
approach that works and exceeds his duties. Shoes filled. Would Morrow have
given the thumbs up? Only the band members know, not some sentimental fan.
Mohicans fuse together obvious influences into an alchemy of
unique music. Heavy, down-tuned metallic hardcore is what Mohicans play.
Blatant doom and sludge adoration, but the prominent pounding drums propel a
two-step hardcore punk pace. The urgency is immediate, eschewing the typical
long duration of indulgent slow doom. Five tracks are below two and a half
minutes. The vinyl 12 inch (available in 180 gram) fits all six tracks on one
side. *(with the b-side silkscreened!).
The music is angry and raw, being spat and sweat out by this
San Francisco trio. The groups is never afraid to delve into a rock sound or a
searing solo. The Kyuss/Mastodon feel can take center stage, as in the album’s
opener, “Eagle”, or the track, “Road”. But just as you adjust, the stool is
kicked out from under you and the pummeling of frantic drums rushes forward.
The production drenches the riffs in fuzz and feedback, possessing a stellar
live feel. The drums are pushed up in the mix, clear and dominant. The vocals,
which shred the larynx of vocalist Chris Palomarez, are pulled back which adds
an omniscient, foreboding quality. His clenched fury is admirably delivered.
The penultimate track, “Bixbi”, breaks down on a bouncing bass line and
continues in the trios catchy waves of bobbing tones. The song then returns to
thrashing.
Palmarez also recorded the drums I keep applauding. Live,
the band is comprised of Justin Shearer on bass and David Sahlem on drums.
Heavy thunder and destructive intensity are Mohicans’ core strengths. This music is ugly. This music is
adversarial. Melody sneaks in sporadically (but calculated). It is used
sparingly to balance the down tuned dirge. Mohicans execute a sinister beauty
here as precision noise and rash rants spewed over thick ass riffs.
RIYL: Wolvhammer,
Spinebreaker, Baptists, Eyehategod, Black Flag, Generation Of Vipers, Black
Cobra, Bison BC, Doomriders, Conan
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!
Rowdy rock and roll from one of my favorite band names. Bad
Engrish finally put out an album of older (but unreleased) material. No Passing Trend contains thirteen tracks of
fast-ass punk blaze through this piece of wax in less than thirty minutes;
including a four minute track, a bonus track and a cover of “Harry May”.
Production is solid. The guitars have that UK82 crunch without
getting mired in dark feedback. The instruments are recorded in a crisp
fashion. The elements can be distinctly heard, just not kept up with. The drums
are backbone here. And they are played in a fury. Jangly bass lines and
exciting guitars will push circle pits and colored spikes top bounce and rush
the stage. “True Breed” is a fierce track. This shows a more focused song in
the bunch.
Not here to contemplate too many deep inquiries, Bad Engrish
profess titles like “Pogo Power” and “Fish & Chips” and “Oi!’s not Dead”. Songs
of drunken mayhem, friendship and their underground subculture are all
subjects. Bad Engrish does slip in lines disavowing politics, but has a line
about a woman’s right to abortion. There are fun rebellion songs; more a “fuck
you” than a debate – more Blanks 77 than The Virus. “You Hate Me” is straight
forward, but will always be a sentiment of each punk and skin at heart.
Rebel Sound, via Pirates Press, put out some sweet vinyl
here. The choice of a white twelve inch with black and red splatter or Red with
black waves gives a vinyl lover some hesitation. The LP received an honorable
mention in Pirates Press Record of the week blog for May 8th, 201. The band
played MidWest in May and is touring now with Sniper 66. I am sure they are fun
band live. The album could use a touch more serious lyrics, and maybe a few
time changes in the tracks – but that is my opinion coming from Oi! and
hardcore. For the spikes and bristles crowd, this is a great record.
The term “cult band” is usually relegated for lesser known
or underappreciated bands. With Iron Monkey, the term more likely is to denote
their likelihood of spawning an actual cult. I’m not sure of their record sales
but their reputation is revered. And their two albums are in regular rotation
in on my turntable. Ain’t one aspect under appreciated. Iron Monkey cultivated
disgusting and abhorrent sounds and attitude while still manifesting a groove.
On par with Eyehategod, this UK trio repelled listener’s from 1994 until 1999.
A band that channeled repulsion, seclusion, and nihilism could never be
expected to function for too long. And then their singer passed in 2002.
There is a palpable rejuvenation between Rushby and Watson
in these despondent harvests. While certainly skilled musicians, they keep it
simple. And that’s where the honesty is allowed to shine. It is why I think
hardcore fans can latch onto Iron Monkey’s qualities. They repugnant emotions
of isolationism and self-destruction, the disgust with the world, the visceral
trigger is worth more than any guitar solo or ethereal orchestration. Give me
the sweaty clamor of basking in plodding snare hits and feedback of “The Rope”
any day. Not saying it is all feeling, they sit and write songs. But they know
when to ride a riff, a groove, an emotion – and simply let vocals spatter
wretched noise. “Doomsday Impulse Multiplier” swoons and smashes as its twisted
riffs deliver on its catastrophic tile promises.
