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Volume 6, Issue 5 

Brett with his back to us, Dan on drums, Grant on guitar, Brain on bass, and Nate on 
lead guitar. 

GUNNAR HANSEN are a relatively new band 
from Hamilton featuring members of BLACK 
TO SHIT. The band has just released their first 
official ep titled ''Village Idiot" and were in 
Toronto on February 19th to play a show with 
BS. Here is an interview we did with the band 
after playing Studio 3. 

Introduce yourselves and tell us what you 
play in the band ? 

Brian (B): I'm Brian and I play bass. 

Brett (Br): I'm Brett. I gut puke. 

Grant (G): I'm Grant. I play the cooler guitar 

than Nate. 

Nate (N): I'm Nate or Nathaniel and I play 

guitar number 1 . 

Dan (D): Dan, drums. 

Were any of you in any previous bands or is 

GUNNAR HANSEN your first band ? 

N: I used to be in RIPPED TO SHIT with both 

Dan and Brian. 

G: I used to be in BLACK EYES CLUB. 

How long has GUNNAR HANSEN been 

around for ? 

N: Three years almost. 

And did you sort of metamorphise out of 




N: I used to be in a band called SEND MORE 


B: It's the same band. 

How did you form ? 

D: RIPPED TO SHIT broke up and then . . . 

B: BLACK EYES CLUB broke up kind of. . . 

D: ...around the same time and then me and 

Brain wanted to get something going on and we 


G: Actually we met Brian through Phil Fader. 

B: I actually met both of them by accident at 

Minneapolis Thrash Fest. I walked into them 

at the doors and I said "Aren't you from 

Hamilton ?" 

G: He took the bus out there and it cost him 

way more and we flew out there and it cost us 

about a third of the price. 

Br: It cost him like 7 extra hours. 

B: But that's how we met. 

D: We formed a band with those guys in theory 

and Brett weaseled his way in. 

Okay. Who would you say you are 

influenced by musically ? 


N: My mom. 

D: Yeah, your mom, definitely. 

B:HUSKERDU for bass. 



Who do people say you sound like ? 

G: For some reason people keep telling us CRO 

MAGS but we don't like them at all. 

Br: "Age of Quarrel" is the shit. I couldn't care 

less what anyone else has to say. 


N: A couple of times we have heard that. 

D: They don't actually say you sound like 

somebody. I don't hear it that much. 

July 2006 

B: The demo was compared to 9 SHOCKS 


And I still hear that. Even tonight I heard 


B: It is harder when you are in the band. 

N: It is not a conscious thought. 

Who do you try and sound like or ... 

D: That's the thing it is not a conscious thought. 

We just try and work with each other. 

G: There is way too many records and it is too 


N: We all just write songs and ... 

It's all in there. 

D: BLACK FLAG is all that matters. 

Okay what's in there ? If you had to limit 

your record collection to five records what 

would they be ? 

D: You only want punk right ? 

Yes. I don't give a shit about anything else. 

D: "Zen Arcade". Is that punk ? 

Oh yeah. 

B: Yeah that would be for me too. And LOS 


D: Fuck Yeah, X are the shit. 

Br: NEGATIVEAPPROACH. We will go with 

"Total Recall". 

G: And some STOOGES "Raw Power". 

N: And some MC5 "High Time". 

B: WIPERS "Boxed set". 

G: C.O.C. "Animosity". 

D: And "Eye For An Eye". 

G: First SAINTS record. 


Br: LEFT FOR DEAD's demo. 

G: Ass kisser. DYSTOPIA "Aftermath". 

Br: MAYHEM "Death Crush". 

You guys are good. One of you will start 

and the others will feed off of that. Okay 

who writes the lyrics ? 

B: That's Brett. 

Okay, what are some of the things you sing 

about ? 

Br: Everything I sing about directly relates to 

something I am going through at the time. 

Specifically I am suffering from Bi-Polar 

Disorder and not being able to see your son 

because you're a fuckin' retard and not taking 

care of yourself and not giving a shit about 

yourself or anybody else. And self-destruction. 

That's about it. 

What are some of the song titles ? 

Br: "Rats" was inspired by identifying with 

Travis Bickle's character. He was the main 

character in "Taxi Driver". "To an End" is about 

a "what if ?" kind of thing which is if I had 

pussed out and not lived up to being a father 

and chosen to be an "uncle" instead of living up 

to the responsibilities of being a father and 

"Nothing" is about going through everything 


fijf 1 bV^M 

* ff 1 

Dan on drums. 

from one hundred million pills to electro 

convulsive therapy to magnets being glued to 

my fuckin' head to just lots of crap for 

depression that never worked. 

You do a song called "Hammered" ? 

Br: Oh "Hammered" is a song about living in 

Hamilton and there being no fuckin' scene and 

loving it that way because scene's suck. They 

are full of too many people ... I can go to 

Toronto to see shows and stay the hell away 

from Hamilton. 

Every great band that I know has a fuck you 

song to their home town. 

Br: Oh no. It's an I love you song. I love 

Hamilton because nobody is there. Stay the 

fuck out. 

What is your favourite song out of your own 

stuff from a lyrical standpoint and why ? 

Br: I would say "You're Alone" because it was 

a spontaneous song about being in your 20's. I 

just turned 27. And just feeling like your friends 

and your family will eventually give up on you 

because you'll eventually give up on yourself. 

It's pretty heavy dude. I almost cry when we 

sing it because I'm a pussy. 

What about the rest of you ? What song 

would you say stands out to you from a 

lyrical standpoint and why ? 

B: I use the same song, but mostly the line 

"Twenty something years in, you'll only go so 

far and then they'll let you go," which is pretty 

self explanatory. 

N: I am going to conform and say the exact 

same thing 

Is it the same reason ? 

N: Yes. I don't know much about the lyrics. 

D: Yeah I have never read the lyrics. 

Br: They are pretty personal so.... 

G: I am going to say "Phil's song" just because 

Phil Fader was a really good friend of mine and 

if Brett wouldn't have written the lyrics to 

that I would have written them myself. He is 

just sorely missed and that one hits me the 


There is a few people who don't know who 

Phil Fader is. Can you fill us in on who 




extension of the weekly radio show heard on 
CIUT 89.5 FM every Sunday nights from 
10:00pm 'til midnight (Participants: J onah Falco, 
Stew Ogilvie, Stephe Perry, and Mark 

The show dedicates itself to the 
underground hardcore punk scene. There is a 
particularemphasis on international releases in 
the developing thrash, straightedge, retro punk, 
garage, Killed By Death, the crustand d-beat 
scenes, which means we play material like 
Inferno, Betrayed, Peligro Social, Shemps, the 
Members, SDS, and Ruin. 

There is a weekly demo feature (paying 
homage to the cassette format), weekly event 
listings, and a monthly top 10 retrospective look 
at new releases. 


CIUT 89.5 FM 

Sundays 10:00 pm - midnight 

35 Raglan Avenue, Unit 204 

Toronto, ON 

M6C 2K7 


RequestLine: (416) 946-7000 

e-mail: equalizingXdistort@ ciutfm 


£]b\ CIUT 89.5 FM - "Equalizing Distort" 


Top 10 Hardcore Releases 
for May 2006 


Title Format 



"Judgment Night Soundtrack Part Two" LP 



"Bigger Houses, Broken Homes" ep 



"Watch Us Burn" CD 

Crimes Against Humanity 


"Foreign Objects" CD 



"The Pleasure is Thine" LP 


6. DOOM 

"Back & Gone" 2 x CD 

MCR Company 


"Panic Attack" ep 

Hate the 80' s 


"Live" LP 



split CD 

MCR Company 


demo CD 


Equalizing Distort can be heard every Sunday night on CIUT 89.5 FM 

at 10:00 pm. The top 10 

countdown can be heard in its entirety, complete with previews of the 

picks and analysis on the 

previous month in hardcore, 

on the last Sunday of the month. 

Phil Fader is ? 

Br: Phil Fader is the coolest guy who played in 

LEFT FOR DEAD for three months and loved 

every second of it. He was a guy who skated at 

Beasely which was a local skate park in 

Hamilton since it was built and he is a guy who 

was at every show that you weren't at and 

dropped out and was still at more shows than 

you were at. And he was better than everybody 

because he died young. 

G: Basically we all wound up meeting each 

other through Phil if you think about it or a lot 

of the bands that have come out of Hamilton 

had Phil at the nucleus of it whether he played 

in it or introduced people to each other. 

Br: The dude had energy. He loved punk rock 

he loved skateboarding he loved his friends. 

And that's it. He is the most sincere dude I ever 

met. And his son Liam Fader lived for him. 

What are some memorable moments for the 

band in terms of shows ? Has anything stood 

out in your live shows ? 

G: The last couple of Corktown shows. 

Br: Guelph. That show that Josh set up for us 


KNIGHTS was amazing. 

What happened then ? 

Br: Just a packed house full of cool people. No 

bad vibes. Free beer. 

D: The last couple of Corktown shows were 

really good. 

What happened ? 

Br: There was enough people to actually try 

and stage dive. 

D: It was really energetic. That's why last 

night's show was really bad because we had a 

couple of really really good ones. 

G: We have never really done too well at Sonic 

Unyun so far ? 

N: We always leave something behind there 


How many recordings have you done as a 


N: Two. 

Tell us about the recent one, 

the "Village Idiot" ep. How 

long ago was that and where 

was it done ? 

B: Last spring. And there is two 

more songs that aren't out from 

that yet. 

Are they going to be used for 

something ? 

B: They will we're just not sure 


And how come it took so long 

for us to hear them ? 

Br: Because we put it out ourselves and we had 

to pay for it. 

N: D.I.Y. 

What about the other recording ? When did 

that come out ? 

B: That was the demo. SEND MORE COPS. 

G: That was in 2004. 

Br: If you don't have it, good. It sucks. 

I wanted to ask you about the name 

GUNNAR HANSEN. First off who is 


* A'W- 

LEFT TO RIGHT: Grant on guitar, Brain on bass, and Nate with his eyes closed. 





pa -hf ■•: ir;pirxi i 


Br: GUNNAR HANSEN is the actor that 
played Leatherface in the original "Texas 
Chainsaw Massacre" and I pretty much think 
that is all he ever did. Still living off of it. Phil 
Fader, the good friend of ours who is now 
deceased always wanted to use that name for a 
band. I always bugged him to let me use it. And 
now he is dead so he can't so it is kind of like a 

G: Once we found out that SEND MORE 
COPS was taken we kind of had to change the 
name and so . . . 

Br: SEND MORE COPS wasn't taken, it was 

D: I heard they broke up. 
Br: Good. 

D: I think it's in this month's MRR. 
So essentially it is because Phil wanted to 
use the name and as a tribute 
to Phil ... 

Br: As a tribute to Phil and we 
really needed a new name at the 
time, and it is just cool because 
nobody knows how to spell it. 
G: We can't get pegged right away 
when people hear our name. 
Br: Nobody knows how to say 
it. Nobody knows how to spell 
it. It's pretty cool. 
N: You can buy Gunnar Hansen 
rocks on the internet. 
Br: Yeah, go to Gunnar Hansen's site. Trust 
me. It's pretty awesome. $100 for a piece of 
rock that is supposedly from the Texas 
Chainsaw Massacre. 

Oh it is not some corny rock record or 

Br: Oh no. It is a fuckin' rock. A piece of mineral. 
With bands that have usually chosen a name 
after a celebrity there is some sort of gest 

or some kind of ironic twist. Is that the case 

Br: No straight up homage and I think it is 

pretty self-explanatory here. It's a pretty 

weird name so... 

D: I like it because it takes out the ego of being 

in a band. You can use it as a tribute to somebody 

else. I don't actually really like the name. 

G: It took us so long to even agree on SEND 


Br: Look at the liner notes for the 

HAYMAKER "Lost Tribe" ep and if you look 

it says Brett and whatever the hell your band is 

called this week. 

N: What was that other name HURTIN' FOR 




Br: It was supposed to be a HUSKER DU 

reference but we are too stupid to even do that 


Do you have any plans for the summer ? 

Are you planning on touring ? 

N: Partying. 

B: Record again. 

Br: Yeah record again asap. Lots more songs to 


Yeah you played a lot today. Seems like 

you have a lot of stuff ready to go. 

D: We have to sell the 7" first. 

G: We have hundreds of them please buy them. 

How can people get in touch with the band? 


Any last comments ? 

B: Thanks Stephe. We are finally here. 

G: Thanks for letting us come after all those 


Murphy's law didn't affect us today. 

N: Love you mom. 

D: Space is the place. 

B: Don't steal from Paul's house. 

The VAPIDS are our version of the 
RAMONES. They have been at it for 11 years 
and were pretty amazing in their Studio 3 
session that took place on November 20th, 
2005. Here is the interview from that session. 

Introduce yourselves and tell us what you 
do in the band? 

Scott (S): I am Jim, I play the drums. 

Jimmy (Jim): I am Robo, I play the guitar and 

I sing 

Robo (R): I'm Jay, I play second guitar and 

lead vocals. 

Jay (Jay): I'm Scott and I do lead vocals and 

lead guitar. . . 

S: No you are JT.. 

Jay: Ya, your JT Rob, pay attention! 

Jay: I'm you, man! 

That was a good switcheroo except for at 

the end... 

Jim: Hey you are Jay and you play bass, and 

you ruined it. 

R: Ah the comedic relief. . . 

Jim: We just screwed that all up.. 

Oh well, What is your favourite RAMONES 


Jim: "I'm Against It" 

S: "I Don't Want to be Learned - 1 Don't Want 

to be Tamed" 

Jay: "53 rd & 3 rd " 

R: "Commando" 

Now that that's out of the way, how long 

have the VAPIDS been together? 

Jay: Too long! 

S: About 11 Years 

Jim: 1994, ya? 

R: Yep. 

Ok, and how did the band form? Lets go 

way back. 

Jim: Way back. We were out of high school, we 

were all about 19 and we had this band called 

the SWANSONS with Scotty on drums, I 

played the bass, Jay here was the singer, and 

we had this other guy called Mike who played 

guitar, and Mike went off to university, and so 

we still wanted to keep the band together so I 

said "Jay you can't sing so you learn how to 

play the bass", and then I switched from bass 


Jay: I agree, I agree 

Jim ..I switched from bass to guitar and Scotty 

stayed on drums and then that was it, ya pretty 


Okay, has there any line-up changes? 

Jim: Ya tons of line-up changes.. 

S: Too many.. 

Jim: This guy was kicked out in 1997. He was 

kicked out and then we got this guy named 

Doug that played bass for a year in 1998 and 

then he got kicked out, and then we got this 

guy Chuck who played bass for like six years, 

and he quit, one night and so then I just went 

back to bass oh ya. . . wait a minute.. 

S: We had a Johnny No Frills (?) 

Jim: Oh yeah, the line-up with Chuck on bass 

we got this our first time we had a second guitar 

player John... 

LEFT TO RIGHT: Jimmy on vocals and guitar, Scotty on drums, Jay on bass, and 
Robo on guitars, playing live in the Stone Studio of CIUT. 

to change when we got the second guitar player 
John, things started to get a little louder and 
heavier and everything started to morph and it 
just kind of progressed into our own thing from 

Okay, so tell us about what you sound like, 
who have people compared you to ? I mean 
I guess there is some obvious things but... 
Jim: It changed over the years, in the beginning 
it was like SCREECHING WEASEL and all 
that stuff which was fine but after a few years 
you sort of you know, you are listening to so 
much more and now-a-days I would like to 
think that we sound more, I would we have 
loved for people to tell us that we sound like 
the MISFITS. I would love it, it doesn't happen 
but I would think that from my perspective 
that we just I would hope that we're the 
MISFITS with our guitars in tune and no big 

R: No steroids, no makeup. 
Jim: ...but obviously the RAMONES are an 
influence, but I think we take a lot from the 
earlier RAMONES. Not quite the more suckier, 
poppier stuff but that first album I think in the 
last couple of years we have taken a lot of 
notes from that.. 
Scott: HEAD, from Seattle 
Jim: Ya that's like one of my favourite bands, 
HEAD,. I bow to all of their records.. I think 
that most people in this area that haven't seen 
us, think we have a certain sound, but when 
they do most are surprised on how much they 
were wrong. I mean, I' d like to think were pretty 
fuckin heavy. 

Ya, okay, along the lines of influences. I 
am going to ask you to limit a record 
collection, if you could, to five records, five 
punk releases, if you had to limit your 
collection to five releases what would they 

S: That was for "Charm School". 

Jim: ... he got in the band in 1999 and we then 

we were a four piece for about six years, the 

same line-up, and then Chuck quit and then we 

went to a three piece and I just switched to 

bass for about two years and then Johnny quit 

after a really crazy tour a couple of years ago 

and then we haven't seen him in two years and 

then we got Rob here, an old friend from high 

school and he filled in on guitar, Rob has been 

in the band for about a year.. 

S: About a year, year and a half. . . 

Jim: ...almost a year and a half and then this 

guy here rejoined on bass about two months 

ago. . . 

Jay: Second tour of duty. . . 

Jim: So ya lots of different line-ups.. . . 

They are going to give you danger pay, I 


Jim: I'm pretty sure every CD has a different. . . 

S: I think so. A different lineup. . . 

Jay: Except for the first two. . . 

Jim: The first three. . . 

And has the sound changed much? 

Jim: Ya, totally. 

How has that morphed ? 

Jim: Well we started to take less influences from 

outside and sort of formed into our own thing. 

Where when you are young and you just started 

playing you kind of take everything in and you 

are listening to all this stuff.. 

Jay: That's why they kicked me out in the first 


Jim: So then after the years, things really started 


Jim: Who wants to start? 
Jay: I'll say BAD RELIGION, "Suffer" 
You each get five. 

Jay: SUPERSUCKERS that's my opinion 
though Jim shakes his head at me. 
Jim: There is the reason why he hasn't been in 
the band for ten years... SUPERSUCKERS 
that is the perfect name, I think? Anyway go 
ahead. Their terrible, the worst 
Jay: I will say the self titled RAMONES, I 
would say ah, SCREECHING WEASEL 
"Wiggle" and to round it out BOSTON man, 
just for fun. 
Okay, who's next? 

Jim: I will go next, self titled DONNAS, self- 
titled RAMONES, HEAD "Street Level 
Assault", first MISFITS album, I would love 
to say BLACK FLAG, you know I got the 
whole tattoo and thing but I don't know there 
is probably one if I thought about it that beats 
it. What would it be? No there isn't. I would 
say "Damaged" by BLACK FLAG. And of 
course CAREER SUICIDE s/t. 
The bars! 

S: I'll say HEAD "The Monkees", the 
RAMONES "It's Alive 1977"... 
Jim: ..It depends on... it depends really right? 
S: Well it does you know.. 
Jim: No I mean it depends is it '77 or is it '78? 
S: It was New Years, that's correct.. 
Jim: It depends on when they started playing. 
S: Well it was over in England, so I know that 
for sure. Oh geez 

It's not an easy question, but I don't want 
you to think about it too much I just want 
you to just rhyme them off your head or 
things you are listening to right now and 
just digging or whatever? 
COUNT BISHOPS, I've got on my radio there. 
I have been listening to the SWINGING NECK 
BREAKERS is good. Actually a lot of the 
S: LAZY COW GIRLS is doing good. 
Jim: CANDY SNATCHERS "Human Zoo" and 
the first album., its tough. I want to hear Rob's 

R: It's going to be all MISFITS and 
SAMHAIN. "Legacy of Brutality", "Earth 
A.D.", "Walk Among Us". Its going to be 
SAMHAIN "Initium" and a "New Member 
Come A Fire"? 

Wow that's crazy! Okay, I want to ask you 
about your name the VAPIDS. Where did 
the name come from? It's a great name who 
came up with the idea? 
S: I came up with it just for the definition, 
meaning - slow, dull, monotonous. 
And did it have, any conjunction with your 
influences or what?... 
S: Not really I just thought it was cool. . . 
Jim: We would like to say no but it probably 
did, it probably had a little bit of the 

S: It might of . . .back in the day but its just a 
cool word and you know.. 

Thw dual firing power of Jason on bass and Robo on guitar, mid RAMONES stance. 

R: It fit over time.. 

Jimmy, do you write the lyrics mostly? 

Jim: I write them all. 
What do you sing about ? 

Jim: I sing about people. Dumb and smart, I 
just sing about all sorts of different people and 
what they do, what different ways they act, 
different peoples personalities and I try to 
portray them back to me and how I see them. 
Other things to. I sing about myself a lot, but 
mask it with other names or mix facts up. 
Yes, okay. 

Jim: Not always, but I sing about stuff that I 
read about. It changes, I write tons of lyrics 
and lots of words on paper so it changes up. 
But back in the day I didn't really have, when 
I first started, maybe I wasn't drawn in by 
other things other than writing songs that were 
easy, where I would say, "I met a girl last night 
and blah, blah, blah but after a while it really 
you know you don't need to write lyrics that 
easy. I can write stuff way beyond that just as 
easy but in the beginning I wasn't really sure if 
I could so over the years I think I have gotten a 
lot better. 

S : A lot more mature 

What would you say is your favourite 
VAPIDS song from a lyrical standpoint and 

Jim: The one, its called "in for" or in from"? 
S: It depends which album your talking about. . . 
Jay: It depends, I think its in from. . . 

S: "In from the Kill?" 

Jim: Its called "In from the Kill" its off our last 

album, we call it "Hey, Hey, Hey", because we 

have another song called "In for the Kill" and 

we get them mixed up. 

Ya I was looking at... 

Jay: We are played them both tonight. 

Jim: "In for the Kill" we call "Kill" and "IN 

from the Kill" we call "Hey, Hey" 

I have "In from the kill" as "Hey" 

Jim: Ya that's it. So "In from the Kill" and 

another one off of that album called "These 

Very Things" which is one of my best friends 

and what I think that that person is all about 

and how I don't think that its, that they let me 

to do that. I think those lyrics are good but its 

called "These Very Things". 

Okay, now we are going to pass the mike 

around and ask everybody else in the band 

what is your favourite VAPIDS song from a 

lyrical standpoint and why? 

S: "These kids are sick" because nobody reads 

the lyrics anyways. 

Jay: "I am a square" because I am. 

Because you can relate? 

R: "Product of your family" just basically 

because that song reminds me of a lot of friends 

back from the high school days and pretty much 

turned out a product of white trash suburbia 


Too Many friends like that, I can totally 

relate to that. Okay let me ask you about 

the Hamilton Scene - Tell us about the 
scene, it seems to, I mean.... 

R: It goes up and down. 

But it seems that there is always great bands 

coming out of Hamilton and ones that seem 

to stand the test of time. Tell us about the 

scene now because it seems like you guys 

are really involved with what is happening 

now, especially with Jimmy opening up the 

record store and stuff... 

S: Well ya, Jim's got the 

store, so he's... 

Jim: I don't think that I could 

count five punk rock bands 

in Hamilton right now, I 

swear. I bet you, you guys 

couldn't either. You could 

probably name five and 

that's about it, because I 

think about it all the 

time. . .you can name three? 

Ya you see that's what I mean. . . 


Jay: There is a huge music scene there like its 


S: They are having the awards tonight actually. 

Jim: There are like Clubs and bands, there are 

tons of them, but for what I am into there is not 

a lot of good stuff, I don't think and even the 

five that I can name of my fingers like only 

three of them are good. 

So tell us what some of them are? 

Jim: Well, I would think that our band, the 

VAPIDS are pretty punk rock and I like them, 

the LORRAINAS, are pretty punk rock and 

they are good and there is a band called the 

SPOILED ROTTEN that Jay here plays in, 

they are pretty good. And there is a band called 

Sam Lawrence 5 and there great, gunnar Hansen 


cause Brett is the shit! ! 



Jim: Ya, okay well I asked you before if you 

could count five, you can count five now. So 

we have HAYMAKER, but you know they 

only do so much now a days and I think that 

the only band that's actually working very hard 

these days is GUNNER HANSEN and the 
LORRAINAS are the only 
band that are actually 
regularly playing gigs, we 
don't play anymore, like 
maybe once a year in 
Hamilton, twice a year, quite 
a few outta town shows 
though, so we are not working 
very hard, so for punk rock 
that is actually going and 
driving, I think the 
LORRAINAS work really 

hard and the guys from GUNNER HANSON 

are like playing too much. Which is good, it' s 


They have got a record coming out. 

Jim: Ya I have it on my wall, one of the test 


I have heard that yes, someone was talking 

about that the other day. 

Jim: Yes, and there's SAM LAURENCE FIVE 

who just put out a CD and they are great. I am 

getting up there that's seven now. 



S: That is who I was trying to get, they're good 


Jay: They are young, they have a lot of 


Jim: Actually, the singer does, he does co-op at 

Jimmy whispering sweet nothins' into Scotty's ears. 

my store. 

Jim: The DIE HARD LOSERS aren't really 

together anymore. . . 

R: Oh, they are not? 

Jim: No, I don't think so. The ORPHANS who 

are like no other, they are a bunch of awesome 

guys, except for the assface bass player, those 

guys that rock super, super hard they are like 

my favourite Hamilton band. They played last 



Jay: The REBELS are playing November 25th. 

Jim: The HEAD, they still play every month, 

so now that I think of it, I was trying to say 

that there was only five but no I am wrong. 

No its crazy, its great. Tell us aboutReigning 

Sound, We have seen lots of in-store shows 

happening at your place, what has been the 

response been like to having a new punk 

rock store in Hamilton? 

Jim: It's been good, its been fun. I am hoping 

its going to get a little busier. I had my one year 

anniversary last week, I didn't have a party or 

anything but I opened up on Remembrance Day 

last year. So, last week I had the one year 

anniversary, I didn't have a show or anything. 

I have been having tons of shows there, those 

are going really, really well. People seem to like 

them and its awesome, awesome for business, 

really good for that. Ya, its really fun I am having 

a blast. 

R: If you ask me the place is becoming like a 


Jim: I still owe Scotty $10,000 (bucks) but.. 

The sacrifices though, they are worth a good 

record store in the city otherwise you have 

a scene without an anchor kind of. 

Jim: That is what I hope I am doing there, I 

hope I'm stamping some sort of legacy, even if 

it only lasts for another month or if it lasts for 

a couple more years, even if it shuts down, I 

want people to remember. . .that little punk rock 

store in the village for years down the road 

Oh, they will I am sure. 

Jim: Those few years that it was around it was 

cool and it was fun and that people liked it you 

know I can go and get a regular job again, its 

okay I don't mind it. 

Okay, well I hope that it sticks around 

because it sounds like its an amazing place. 

What has the band been up to lately you 

are saying you are not playing around 


Jim: Yes, just in the last little, well Jay rejoined 

the band a couple of months ago because we 

had this big show in Ottawa planned, we hadn't 

played for months and then we booked the 

show up in Ottawa which is always really, really 

good for us and Jay wanted to play it really, 

really bad and so we were like, okay, so we got 

together and we practiced like once and then 

we went and we played the show and it was 

great and then we came back and we didn't 

practice again for four months or something 

like that... 

... but Scott got married recently right? 

Didn't that have something to do with it? 

Jim: Well Scott got married in the summer, ya 

Scotty had that. 

It's a lot to go through. 

Jim: .. Ya these guys all play in some other 

band, so they have been busy with that and 

they practice all the time so. . . 

They are always playing 

Jim: ..its not like everyone's, its actually me 

that doesn't want to practice, these guys have 

another band and they practice every week but 

I just get bored of it. Not all the time, I don't 

know. But ya, so we played that show in 

Ottawa and we came back and we didn't practice 

in forever and then we hooked up this show 

here tonight so last week we practiced again. 

That's amazing for only like one practice. 

Jim: Two practices ! 

Sorry, let the record stand. What are the 

future plans for the band? 

Jim: Oh, I don't think we are going to stop 

playing but for a while we were just working, 

we were still going on tour even though we still 

went and played for like nobody. Like last year 

we did a crazy month tour in the states and we 

came back.. 

How did that go ? 

Jim: It was good. We had fun, and we had a 

blast but it was, you we came back and it was 

like man, how many more times can we do this 

and nobody really care? So, we just I don't 

know. We just started to think, you know we 

have already done, released like 12-13 things 

and nothing is really getting any better, so its 

not like we are going to be rock stars or anything 

like that but in the beginning we were like go, 

go, go and you know we are good, we are going 

to get a record label and we are do this and then 

after a few years we, I anyways, realized this 

ain't going to happen. We can get better and 

better and better but there is a million other 

bands that are better and one thing that 

happened to me is that I started seeing so many 

good bands that blew me away and I didn't 

want to play anymore because if my band can't 

be the best then I don't want to play and I kept 

seeing all these bands that kept blowing me 

away and I am like, man I couldn't even step 

on stage 

You guys are amazing, what are you talking 


Jim: Well, It just doesn't always work out like 

we don't always play a good show like not on 

our behalf. Maybe its just getting on the right 


I am so grateful you played tonight, I was 

just, we were just sitting here shaking our 

heads going how the hell can we get you 

guys on the radio show. It was great! I mean 

it was just incredible to watch you guys play 

tonight. I really appreciate you coming to 

Toronto and I can't take this, you guys 

talking down about yourself, I mean fuck 

man, you guys are amazing. 

S: We have settled into ourselves, like Jimmy 

was saying we had a dream when we were kids 

and the real reason why we are still doing this 

is because we love it. We gave up on the dream 







THE VAPIDS FROM LEFT TO RIGHT: Jimmy, Scotty, Jason, and Robo. 

that we are not going to be big rock stars and 

we really don't care. You know we just do it 

because we love to play and if someone wants 

to have us out we are going to play. 

Jim: And what I felt was that we were working 

really hard like everyone was taking all of this 

time off you know and we are doing it and 

everyone was loosing money at their jobs or 

like something... 

S: . . .disrupting their lives.. 

Jim: I think that if you do that for too long 

without a little bit of success that what 

happens in the end is that the band is just going 

to break up. So I think that if we just mellow 

out a bit and not work so hard and just sort of 

have fun and just play here and there, then the 

band could last forever. Like I totally think that 

if we just do this, like we could go into the 

studio and do a CD and put it out and that's 

awesome. That's our legacy, our product, I 

don't think our live shows are going to be our 

legacy down the road. 

It was great tonight. 

Jim: It was awesome tonight! 

S: Yes, it was great tonight, thank you very 


Jim: You were lucky I didn't spit on your foot 

man because that was huge. 

There has been much worse on that floor, 

you didn't have to feel any way about 

spitting on that floor, but thanks anyway 

for spitting on your shirt instead, but I 

didn't care, spit on my floor anytime! How 

can people get in touch with the band? 

You've got a couple of websites, like I know 

you have a my-space thing 

Jim: 549-8955 is Scott's home phone number! 

Jay: They'll be calling that phone number 


Jim: We've got a website: "thevapids" with the 

w's and the com thing, and Scotty does the 

My-space thing, and e-mail. . . . 

S: There are several links to the web site. . . 

Jim: The site is pretty big, it's a pretty plain 

site but it has lots of stuff on it. 

Yes, its got a lot of information on it. What 

if someone wants you to write you a real 

letter, is there an address for that. 

Jim: Yes, there is an address on the site, but I 

can say it over the air I guess? 

Yes, please. 

Jim: Okay go ahead its your address.. 

S: No put if for the store.. 

Jim: No! 

S: Sorry, you have got to do it for the store. 

Jim: Okay, the store address is: 2-272 King 

Street West / Hamilton, Ontario / L8P 1B1 

Any last comments? 

S: Thanks for having us again. 

Jim: Yes, it was awesome. 

Jay: Yes, it was great! 

R: It sounded really good down there. 

You guys don't need to thank me, it was 


Jim: Oh ya, we have to say hi to Darren in 



Jay: ... in Japan, Steve in England, my father 

out in Vancouver, my son who's asleep.. 

Jim: and the LORRAINAS for winning the big 

HMA award... 

S: TheHammie 

Jim: There's a big Hamilton music award thing, 

believe it or not they do that in Hamilton. 

Ya, and you were explaining last year that 

the awards actually fell apart, made by 


Jay: Yes, they actually fell apart! 

Hopefully theirs is together in one piece, if 

they're not drinking out of it or something. 

Jim: We just hope that the LORRAINAS got 

what they deserve, and keep on keep 'in on. 

PISSCHRIST are a bunch of ragers from 
Melbourne, Australia. I caught them on their 
Australian tour with ARTIMUS PYLE and 
MENTAL AS ANYTHING in March of 2006. I 
interviewed two members of the band, Yeap 
(vocals) and Dave (guitar), before the second 
of their two Adelaide shows. Thanks to them 
both for helping out. Interview and photos by 
Daragh Hayes. 

So first I want to ask you guys a little bit 

about the history of the band, how you got 

started, and also in particular motivation 

in relation to starting a band in Melbourne 

at that particular point in time. 

Dave (D): We were living together and we 

thought, "Well, we're living together so let's do 

a band." So the three of us, James, Tim, the 

drummer and the bass player, so we started 

writing a few songs and thought "Let's just 

fuck around and play a bit". Yeap was overseas 

at the time and we were like "We need to get a 

singer" but we wanted to get someone who 

was going to be into it and going to be fully, 

you know, "this is going to be an awesome 

band!" So he came back and we were like "Do 

you want to sing?" and he was like "Yeah, OK" 

"Cool". And we were all living together in the 

same time so it was really easy to jam. . . 

Yeap (Y): Yeah, we had a jam room. . . 

D: Jam twice a week and write songs. It just 

came together quite well, we'd all been in other 

bands so it worked really well and we just 

played a few shows. 

Y: Plus there was no one in town that did the 

Swedish hardcore sound. 

That's what I was wondering if there was 

something you felt was lacking in the 

Melbourne scene... 

Y: There was definitely some crust but there 

was no old school, fucking raw punk kind of 

stuff. So we thought we should do it and we are 

all big fans of that kind of stuff. 

D: True. 

The name PISSCHRIST is a little bit 

provocative and I think there's also a bit of 

an artistic slant to it as well. Could you tell 

us why you picked that name and where it 

came from? 

D: We didn't actually pick it, we just needed a 

name to put on the jam room board to know 

that we were jamming the next week. And our 

friend was like, "Why not Piss Christ?" and 

we were like, "OK, we'll write that down and 

if nothing else pops up we'll keep it". 

Y: It just stuck. And when I got back and we 

had a few jams I started doing art work for the 

band and aesthetically it also just fits. And I 

think the Piss Christ was a big controversy in 

Melbourne, too. 

Well, the artwork, right? Because I thought 

there was a connection there. 

Y: Yep. 

D: But it was kind of dead like three or four 

years ago. Like no one really talks about it now 

and it was like "Well, why not call the band 

Piss Christ? We'll stick with it". 

■ IJjJSIji 

Y: And plus people who have bought our t- 
shirts have come back to us and told us that a 
lot of people get offended by the name so I 
guess that's a good thing! (laughter) 
So you guys sort of fall into the crust/d- 
beat side of things and often with bands 
playing in that style it's not so easy to 
differentiate from one band to the next. So 
I'm wondering in what ways do you guys 
see PISSCHRIST as being original or 
distinctive or do you find that this is not 
necessarily that important for what you're 
trying to do and what you want to 
accomplish with the band? 
D: I think with us we all like playing the same 
type of music, like d-beat punk, but we all 
listen to all kinds of different music. Like I 
listen to a lot of hardcore so my guitar sound is 

very hardcore driven and James is into a lot of 

metal so... 

And he poses to a lot of metal too! 

D: So yeah, aesthetically it sort of does that as 

well, you know, like there's just four different 

looking people up on the stage and just how 

we play our instruments comes through our 

backgrounds, what we listen to and things like 

that. So it does have different elements coming 

into the music whereas overall the drums is like 

solid d-beat the whole way and everything (else) 

is different within that. 

Y: Well, I write some of the songs in 

PISSCHRIST and when I write I view it as 

paying an homage to like the fucking old crust 


D: Yeah, cheesy stuff. 

Y: Well, I wouldn't say cheesy stuff but. . . 

Classic fun... 

Y: Yeah, classic fun. Do it and do it well so we 

don't put the old fucking masters to shame. 

I've only seen a few bands from Australia, 

and you guys are the first band from 

Australia I've seen that could be classified 

as a political punk band. I noticed you guys 

didn't talk about any of the songs or any of 

the lyrics when you played last night and I 

know for some bands it's a conscious 

decision not to talk between songs and for 

some bands it's a conscious decision to talk 

between songs. I was wondering how and 

why you approach that the way you do. 

Y: Well, I do talk about the songs sometimes. It 

depends whether I feel like it's important to do 

it and when I feel it's important to do it I make 

sure I do it. 

OK, well, I was just wondering because 

sometimes it can vary depending upon the 

city or vary depending upon the audience. . . 

D: Yeah, it varies depending upon the show. 

Like last night was a Thursday night, it was a 

free show and lots of people and we didn't 

play very well so we thought, "Well, let's just 

try to keep the energy up and talking between 

the songs was just going to make it more of an 

average kind of set. 

Y: I was feeling very crooked, too. Crooked 

and drunk. 

OK, now you'll have to explain crooked. 

Y: Crooked as in "ughhhh", sick. 

Last year you guys did a bit of a tour in 

South Asia. Where did you guys go exactly? 

Y: Indonesia, Singapore, Malaysia and Thailand. 

It was awesome, like everywhere we went it 

was very well attended. . . 

D: Well organized. 

Y: Well organized, lots of bands, lots of good 

people, passionate people, motivated. What 

can I say? It was an awesome tour. Every show 

we played shit hit the fan, uh, maybe except 

that last show we played in Thailand. 

Would you characterize it as very different 

from touring here in Australia? 

Y: Oh definitely. I think it' s more of a tour of 

passion, you know? All I can say to other bands 

who are interested in going there is to go there 

because you want to and because you want to 

see another side of punk 

that you wouldn't get in the 

western world. Yeah, don't 

expect to get your money 

back. You know, you get 

some money but don't 

expect to get all of it back. 

Plus, anyway, seeing such 

diversity and seeing such 

passion makes it all seem 

OK in the end. 

I was even wondering 

about here in Australia. 

A few shows I've seen here have been at the 

Crown and Anchor (Adelaide venue) and 

there's no cover charge and how financially 

feasible is it even touring in Australia? 

D: Well, the Crown and Anchor is a venue where 

it's mainly a bar and they have a back room 

where they have bands. So the money they 

make comes off the bar so on a Thursday night 

they're not going to really have many people 

Dave counting to three. 


coming in to pay for a show. So if you just have 
like a guarantee of like three or four hundred 
dollars they're just going to make money off 
the bar because they have people coming to a 
free show. There's not many places that do 
that, normally there's like a cover charge so 
you can charge to get in and cover your costs 
and keep going to the next city or whatever. 
Y: As far as this tour is concerned we have 
covered our costs. 
Ah, fantastic. 

Y: Yeah, we have covered our costs so anything 
we make from here on will actually be profit so 
it was good, yeah. I mean, I think the Australian 
punk scene is getting a lot better in terms of the 
tour network because everyone who has done 
the shows around Australia are close friends of 
ours so we actually know what we are going to 
end up with. 

D: But the bands are decreasing in quality 
(laughter), which is a shame because it seems 
that Melbourne has got it's shit together and 
has got some bands that are really great but we 
were expecting a lot more 
from places like Sydney. 
But you know, Brisbane 
was good. It's kind of weird 
to do a tour and have only 
one great, awesome show 
when there's other big cities 
where you would expect to 
have some good shows. But 
you know... 

Y: Well they were all good 
shows but it's just the 
quality of bands were not 
so good. 

Well, scenes go in cycles. 
D: True, and five years ago Sydney was rocking 
and Melbourne was like falling behind. 
Well, I used to trade tapes with somebody 
out of Whyalla in the mid to late 80s and 
back then it seemed like Adelaide at that 
time was a good place to be, so you just 
don't know. So, Dave, earlier you'd said you 

spent some time in Mexico last year and 
you were talking about the punk scene 
there and what you'd found inspiring, would 
you like to say a bit about that? 

D: Well, as I was saying before about the bands 
that influence a lot of the bands in Latin 
America, they are old Spanish punk bands like 
LA POLLA andESCORBUTO and bands like 
that. So there's not so many people walking 
around with DEAD KENNEDY'S or SEX 
PISTOLS patches on. It's more old Mexican 
bands and old Spanish bands. So it's a 
completely different scene musically and 
politically because they can understand a lot 
more because it's in Spanish. That's why punk 
is big there because of the Spanish side of it 
because punk is mainly about lyrics and 
whatnot and they can understand the lyrics. 
And metal is huge over there because you don't 
need to understand the lyrics! You're just like 
rocking out and everyone is like wearing 
METALLIC At- shirts or something but as far 
as punk goes you got to understand what the 
lyrics are about. 

Yeah, I was traveling around a little bit at 
the time of HUASIPUNGO and LOS 
CRUDOS' first tour together and the guy 
from HUASIPUNGO was saying how the 
shows in Columbia where he was from at 
the time, like metal shows, were just chaos. 
Hundreds and hundreds of kids freaking 
out, running all over the place, and metal 
was the release but then getting into punk 
beyond that it was even more amazing. 
D: Well, I read that there punk is not as big as 
metal in part because the lyrics are just as 
important as the music. People can't just like 
"Yeah, metal fucking rocks! Who cares what 
they're saying? Like "devil", I know that 
word!" So it's pretty awesome that there's this 
whole new breed of bands and a whole new 
punk scene over there with all these totally 
different influences and stuff. 
Speaking of that, (to Dave) you grew up in 
Australia and (to YEAP) you grew up in 
Malaysia. What got you into punk in the 
first place? How did you guys find your way 
into it and what was it that resonated with 

Y: Me, one thing (it offered was) a change. 
Because where I grew up, it used to be a very 
rough area. Like every kid in school belonged 
to like a gang and there was a lot of racial 
segregation because of gangs. And I just didn't 
want to be a part of that shit. And when I 
discovered something outside of school, like 
hung out with some older kids that were into 
punk and it had a good message and it was just 
inspiring music full of energy. I immediately 
got into it and thought like, "Fuck school!" 
(laughter) But now I am heaps into school. 
Are you a student? 

Y: I'm actually doing my thesis right now and 
I'm lecturing at a university in Melbourne. 
With this haircut? 
Naw, I'm just teasing. With your thesis are 

you doing your masters or a Ph D? 

Y: A masters in animation. 
Oh really? My brother used to do 
animation. He did it for a bit and now he 
works for a video game company. 

Y: Well, I'm still doing animation, keeping it 


And so what's your area, classical animation 


Y: I concentrate on stop motion animation. I 

base a lot of my animations on political issues 

that I think are important to me. . . 

I thought you were going to say 'The 

Seventh Voyage of Sinbad', that (Ray) 

Harryhausen kind of stuff. 

Y: (laughter) Nah. But I teach motion graphics 

and compositing for film. 

Fantastic. So do you see yourself staying in 

Australia for the long term? 

Y: Well, I got awesome friends here, an awesome 

band, and I got a girlfriend who I love a lot so 

I'm staying. 

And just so everyone knows his face has 

turned awfully red, he's blushing quite a 

bit. (laughter) 

D : Well, I was just a suburban kid, hanging out 

with friends and skating quite a bit. My friend's 

older brother was into punk, MINOR 

THREAT, PROPAGANDHI, that kind of 

stuff. And so I got into that kind of stuff, a bit 

of pop-punk. Met another friend of his friend 

who was into more DIY kind of shit, like crust, 

grind, hardcore and that kind of stuff. And he 

was like "Come along to this show" and I was 

like "All right, cool" you know? It just went 

from there. So I did a couple of years of that 

and then moved into the city and from there 

just started bands, went to shows... 

So the classic dream of moving from the 

suburbs to the city and being a 'real' punk? 

D: Yeah, living it up in the city. 

And then X number of years later, finding 

yourself here in an alley in Adelaide. Cool. 

Now, YEAP, this a question I got from a friend 

in Singapore. I asked them if they had any 

questions for PISS CHRIST. One of the 

things they suggested was this: In some 

parts of South East Asia, Malaysia and 

Singapore, for example, there will be 

Muslim punks wearing anti-Christian 

imagery on their t-shirts, and I guess the 

name PISS CHRIST would go hand in hand 

with that to a certain extent. From your 

experience or perspective, how acceptable 

do you think it is to challenge Christianity 

as a religion versus how that would go over 

if directed against Islam? 

Y: Well, I've never been religious in my whole 

life. I don't subscribe to any religion but I know 

a lot of my friends back at home still who are 

close to their customs and religions. It's always 

a grey area which I never want to breach with 

them. A lot of people I grew up with in the DIY 

punk scene, they were born Muslim but they 

are not practicing Muslims. 

Speaking with some people in Singapore, 

for example, I got the impression it is 

r- J "^W 




rr- &% 






t H 



Yeap and Dave mid song at a show on May 30th in Australia. 

something people go back to after a certain 
age. They see it as if "Well, my punk rock 
years are over" and then when it's time to 
get married religion comes to take on a 
more important part in their life again. 
Y: Yeah, well I never ever really saw myself 
doing that. I think punk is for life. And especially 
coming from South East Asia, coming from 
Malaysia especially, punk is a very political 
thing, too. It's not just music and something 
that you can leave behind when you get married. 
Like every punk kid that I know, that I grew up 
with is still living the same life. Some of them 
might not be into punk anymore but they are 
still doing things that punk has inspired them 
to do and some of them have moved more into 
activism. But religion is never an issue in 
Malaysia anyway. Some of my closest mates 
like Kid and Isa from MASS SEPARATION, 
like they are married and they're still keeping it 
real. Real punk! 

Just to wrap it up here shortly, I've found 
out what Yeap does but Dave, what do you 

D: Well, at the moment, nothing. I'm qualified 
in carpentry and joinery kind of stuff. So I can 
do that but at the moment, before we go to 
Europe I'm just on the dole, getting a bit of 
money from that, doing a bit of cash in hand 
jobs building shelves for some friends and things 
like that. Getting some labor hire stuff, doing a 
bit of construction, or just something like, you 
know, stay from full time work just to save up 
some money before Europe and then, when I 
get back, who knows? I might try something 
different but I sort of just wanted to do a trade 
when I started it, doing it with my dad. 
Oh, cool. Like a family business kind of 

D : Yeah, kind of. He was like the manager of a 
company and he was like "Look, we've got 
this job going..." and I was like, "Yeah, OK, 

cool". You know, take it up because I'd dropped 

out of school so I was like "Well, I'd better get 

something behind me just in case", for the 

future, you know. 

Fantastic. So, last words and/or plans for 

the future? 

D: Yeah, we go to Europe in June for like a six 

week tour which will be heaps of fun. And 

after that. . . nothing much is really planned. 

Y: New Zeal and... 

D: Yeah, go to New Zealand. Do a heap of 

writing and recording and keep on going, you 

know, until next year and yeah, we'll just see 

what happens. 

Y: We got a few records in the plans. Our second 

seven inch, "Total Fucking Piss Lickers" ep is 

coming out soon, and our LP on Yellow Dog 

Records. And we got two splits, one with 

MURRET from Sweden/Denmark, and a split 

with KVOTERINGEN from Sweden. 


Aaron Brown on the left and Colin from GBH on the right. 

Birmingham's GBH have survived over two 
decades, never broken up and have remained 
three quarters of the original line up still in tact. 
GBH consist of Colin on vocals, Jock on guitar, 
Ross on bass with the newest edition being Scott 
on drums. This interview took place with Colin 
on March 8 th at the El Corazon in Seattle 
Washington. Interview by Aaron Brown from 
CITR 's " Generation Annihilation ". 

For those of you that don't know already, 
what does GBH stand for? 

Good Bong Hits. 
Is that the original? 

No, Grievous Bodily Harm is the original. 

Are there any others? 

Golden Bare Honey, Go Back Home. 

What does the Charged above the initials 


When we first started someone told us that 
there was another GBH so we had to distinguish 

- Dscography - 


No Survivors 
(Clay 1982) 

Sick Boy 
(Clay 1982) 

What inspired the concept of your first two 
albums "City Baby Attacked By Rats" and 
"City Baby's Revenge"? 

It's a true story. We came out of our rehearsal 

place to the go to the pub and where they sell 

the newspapers that was the headline of the 


Did the baby live? 

Yeah. We made the revenge bit up. 

On the first and second album you guys do 

some covers: "Boston Babies" by 


Alright" by THE STOOGES. I was 

wondering whose idea it was to cover those 


I don't know, they were just songs we were 

listening to at the time. 

Aside from those two acts what were some 

other influences? 




So GBH were on Clay records from 1980- 

1984. Correct? 


I was wondering if Clay was still going? 

No. It got taken over by Trojan, which 

Sanctuary has since bought. 

Have you kept in touch with Mike Stone 

the label owner? 

Yeah I spoke to him about three weeks ago. 

He's now managing a Heavy Metal band called 

DEMON that used to be on his label. 

What's your original drummer Wilf up to 

these days? 

He's a postman and not involved with music 


Are GBH on tour every year? 


Is this a major tour you're on right now? 

It's just another tour. 

How long have you been in North America? 

About a week. Before this we were in France, 

Italy and Spain. 

Give Me Fire 
(Clay 1982) 


Catch 23 
(Clay 1983) 

ftP* ' 

mi . n 

Do What You Do 
(Clay 1984) 

Over the years of touring would you say 
the crowds have changed at all? 

No they're pretty much the same. Some nights 

you can have a rowdy crowd and the next night 

it's quiet. There's no real consistency. 

Your last release came out in 2002. Have 

you got a new record planned? 

Yeah this year. 

Any idea what label might release it? 

Rancid Records. 

Does that have anything to do with the band 


Yeah, it's a new label run by Tim and Lars. 

The last few times I saw GBH you played 

mostly older numbers. Are you going to be 

playing any newer songs tonight? 

We're doing three songs from the "Ha Ha" 


What happened with GBH coming to 
Vancouver in 1999? 

We got stuck at the border and refused entry. 

Any particular reason? 

We didn't have work permits. We were told we 

could get them at the border. 

Can we expect to see GBH in Vancouver 

again anytime soon? 



Reviewers are: Craig Caron (CC), Stephe Perry 
(SP), and Mark Rodenhizer (MR) 

the literary and death metal fronts. (Alternative Tentacles / P.O. Box 
419092 / San Francisco, CA / 94141-9092 / USA / - SP 

Alternate Action / Marching Orders split ep 

ALTERNATE ACTION are a streetrock oi band 

from Vancouver that started out in 2005. They 

sound like a classic oi band. Kind of like what it 

might sound like if you took the musical nature 

of early BLITZ, combined it with the catchiness 

of the EJECTED and the pace of MAYHEM. 

Their side steals the show. Both songs are 

stormers. I thought "Keep Running" was a 

COCK SPARRER cover, but I was gladly 

mistaken. Can't wait to hear their 10". 

MARCHING ORDERS from Melbourne 

Australia are on the flipside. Their side is slightly 

slower and more plodding as per a traditional oi 

beat. MARCHING ORDERS play oi more in the vein of the BUSINESS 

meets LAST RESORT. A song like "Traitor" has an underlying nationalist 

undertone that is potentially scary. Unfortunately you can't really tell if 

the song is about disloyalty to a country or just your scene. I could 

support it if it was about the scene. And maybe it is. I don't want to 

write these cats off as they have another good ep that is just out. But 

"Nihilistic" is a song criticising the chaos punks. So who's side are you 

on ? (Longshot Music / PMB #72 / 302 Bedford Avenue / Brooklyn, NY 

/ 1 1211 / US A / - SP 

Bill Bondsmen second ep 
BILL BONDSMEN remind me a lot of CAREER 
SUICIDE in approach. This motor City foursome 
approach hardcore in a way that draws on a KBD 
style of roots punk and fuses it with an early 
American sounding style of hardcore. The result 
is a sound that borrows the musicality of punk 
with the fiery-ness of hardcore. On this ep I hear 
the BONDSMEN going for the energy of REAGAN YOUTH with the 
vocals and chops of POISON IDEA. The first time I heard BILL 
BONDSMEN was on the "Hibachi Omnibus, Volume 2" comp and they 
were the standout band on the comp. The band has already released an 
out of print ep called "The Swinging Sounds of the Bill Bondsmen" and 
they are working on a split label release with S chizophrenic . This second 
ep comes at you with a choppy slashing sound that would make their 
rust belt peers proud. The intros remind me a bit of the punk rock retro- 
fitting that FUCKED UP have been doing with ringing guitar pieces, but 
BILL BONDSMEN dispense with the formalities and rip into high 
velocity hardcore that would suit OUT COLD just fine. A testament to 
the rough and barren scene of Detroit. (Acme Records / P.O. Box 441 / 
Dracut, MI / 01826 / USA/ - SP 

Bloodhag "Hell Bent for Letters" CD 

SCHOLASTIC DETH were this awesome 

fastcore band around a couple of years ago that 

took some guys involved in hardcore and post 

secondary education and they wrote education 

anthems to skate thrash. BLOODHAG takes 

SCHOLASTIC DETH's idea one step further 

by writing songs about writers and setting it to 

death metal inspired crust. While the band borrows influences from 

NAPALM DEATH, BRUJERIA, and PANTERA, they have songs 

about Edgar Allen Poe, Franz Kafka, and Douglas Adams. Their liner 

notes have explanations for why they wrote about each author. The 

band initially got their start playing a library in Downtown Seattle and 

have been known for staging mini lectures between songs and pelting the 

audience with books. There are neat samples throughout like the bell 

tower and rain at the end of "Edgar Allen Poe" or the movie out-take 

about reading at the beginning of "Robert Silverberg". Very gimmicky 

and done very well, "Hell Bent for Letters" offers food for thought on 

I'Pj jm 

Born/Dead / Peligro Social split ep 
PELIGRO SOCIAL have a neat sound going for 
them. It is a sound that is totally retro. 
Immediately it reminded me of something off the 
"P.E.A.C.E." comp. So I went through it and 
initially I thought it might be G.I.S.M., but 
GI.S.M. are too over the top. Then I came across 
the KANGRENA song. KANGRENA have this raw tin sound to the 
guitar distortion and the recording sounds a bit distant, like the mics 
were a few feet back from the amps. PELIGRO SOCIAL have this 
sound. But the singer reminds me of early R.K.L. Go figure. It's a neat 
blend of influences. On the flipside you get Oakland's BORN/DEAD. 
The band gives special attention to the subject of assault, but the song 
ends with a breakthrough of the character and what sounds like an endless 
stream of pain that has lead to victimization. The band has put together 
a great little booklet to go with the song that has thoughts, stats, lyrics 
and resource references. It is a solid package. And while I am on the topic 
of packaging, I would be remiss if I didn't mention that this ep comes in 
a gatefold sleeve that looks amazing. And the vinyl is a splatter colour of 
red, white and black to match the gatefold cover. Anyway most people 
have an idea of BORN/DEAD 's sound. I know the band intended to 
sound like REAGAN YOUTH and the SUBHUMANS and 
DISCHARGE and NAUSEA or at least that is what I read in an interview, 
but when it comes down to the needle hitting the wax they have a sound 
inspired by TRAGEDY. It works well with the feeling for the subject 
matter. The song starts slow and builds into a torrent of anger and rage. 
It feels like someone is venting spleen. You get wrapped up in it. You feel 
the frustration of the subject matter. Both sides of this record are incredible 
and diverse. It is like getting two records for the price of one. I think this 
is the best release Tank Crimes has done. Everything about this split is 
golden. (Tank Crimes / P.O. Box 3495 / Oakland, CA /94609 / - SP 

— M 

Brain Handle ep 

I believe this is the follow up to their demo. 

BRAIN HANDLE sound like the offspring of 

an unholy union between BLACK FLAG and 

JERRY'S KIDS. There is the all out hardcore 

parts that have you thinking they are about to 

break into "Build Me a Bomb" and then it is 

laced with chunky dischordant Ginn-like guitar mashing. I think the 

sound is pretty unique and strips to the essence of good raw sounding 

hardcore. They remind me of RUNNAMUCKS but with more of a 

CIRCLE JERKS feel. Part AOF, part REGULATIONS. They remind 

me of so much I would just be a fool rhyming off bands. What BRAIN 

HANDLE really are is good back to basics hardcore, written by some 

rad folks out of Pittsburgh. (Fashionable Idiots / P.O. Box 580131 / 

Minneapolis, MN / 55458 / USA / - SP 

Bury the Living "All the News That's Fit to 

Scream" LP /CD 

BURY THE LIVING remind me of SB V but with 

more of an SSD influence. It' s the vocals. Instead 

of sounding like Pat Dubar, as is the case with 

SBV, the singer from BURY THE LIVING 

sounds like Springa. They also kind of remind 

me of DIRTY BS, in the way they marry emo crust with tough sounding 

hardcore. But instead of singing about crews and poseurs BURY THE 

LIVING sing about some pretty serious things as evidenced by songs 

like "Outsourcing Torture" or "Mr. Bush". This release is chocked full 

of great subject matter in the spirit of COP OUT or HIS HERO IS 

GONE. 21 songs in total. Think SSD with a brain and a critical 

consciousness and BURY THE LIVING is what you'll get. Also of note 

there is a limited coloured vinyl edition of this release. (Prank Records / 

P.O. Box 410892 / San Francisco, CA / 94141-0892 / USA / - SP 

Buzzcocks "Flat-Pack Philosophy" CD 

The only thing weirder than listening to a new 

BUZZCOCKS release in 2006 is that it is 

licensed by a Canadian label that released BRUCE 

COCKBURN records. And my initial reaction 

to it is like my initial reaction to SLF's "Guitar 

and Drums". At first it sounds like your typical 

aging punk band that has matured their sound. But fuck me if it doesn't 

grow on you. "Wish I Never Loved You" sounds like a missing single 

from the ". . .Going Steady" collection. It's not all like that. In fact, don't 

expect the second coming of "A Different Kind of Tension". But it's not 

an embarrassment either. This is the BUZZCOCKS with a bigger sound 

and with a few new tricks up their sleeve. And there are moments where 

songs like "Credit" sounds like "I Believe" or "Dreamin"' starts to 

sound like "Ever Fallen in Love?". The connection is there and we are 

talking more like 2 degrees of separation as opposed to six. "Sound of a 

Gun" can be traced back to the same band that wrote "Autonomy" and 

"I've Had Enough" descends from the same rhythm structure of 

"Everybody's Happy Nowadays". This is going to get repeated plays 

on my sound system and that's not just because they are the 

BUZZCOCKS. (True North Records / 268 Richmond Street West, Suite 

581 / Toronto, ON / M5V 1W5 / Canada / 


Chronic Seizure"Brainsick"ep 

CHRONIC SEIZURE have this manic air about them. Their song 
structure and their pace remind me of CAREER SUICIDE. The songs 
flow one into the other. There is a chugging charging structure to the 
songs. But the sounds like they are going to break into an ARTICLES OF 
FAITH song. I keep waiting for them to break into a rendition of "What 
we Want is Free" or "My Father's Dreams". I think it has something to 
do with the guitar sound. The guitar really reminds me of A.O.F. Well 
both bands are from Chicago. Maybe it's something in Lake Michigan. 
There is also hints of an early New York sound kind of like URBAN 
WASTE or MAJOR CONFLICT. But the band has the verve of the 
FORMALDEHYDE JUNKIES. The sound is raw and places the energy 
of a hardcore sound at the top of building their sound. It makes sense 
that the band is made of some folks from the REPOS and FOURTEEN 
OR FIGHT. (Fashionable Idiots / P.O. Box 580131 / Minneapolis, MN 
/ 55458 / USA/ - SP 

Conflict "It's Time To See Who's Who" / "The 
Ungovernable Force" / "Increase the Pressure" 

Mortarhate, CONFLICT'S label, has gone and 
re-issued the essential CONFLICT releases. Go- 
Kart was intially doing this and had done some 
of CONFLICT'S back catalogue, but they 
weren't up to CONFLICT'S standards and so the band got pissed at the 
label and went and re-issued the lot. So now there is a glut of these CDs 
around. But it looks like there are some essential differences. First off 
the Mortarhate releases have gone the digipack route, which involves 
less plastic and would be in keeping with the band's environmental 
politics. Secondly, the original releases appear to be ganged up with ep 
tracks as bonus material. They remind me of the Captain Oi re-issues. 
And thirdly, the Mortarhate re-issues come with a booklet that is much 
more substantial and has lots of the original artwork and lyrics contained 
in the booklet. "It's Time To See Who's Who" was CONFLICT'S first 
release and was originally recorded back in the early 80' s with some 
folks from CRASS. This re-issue also includes the songs from "The 
House That Man Built" ep and "To A Nation of Animal Lovers" ep. 
These were recorded around the same time as the full length and were 
released on Crass Records at the time. This first recording represents 
the band that most punks hoped CRASS would be. CONFLICT delivered 
on that raw anger set to punk songs. CONFLICT expressed all our fears 

about the bomb, called for a world free of vivisection and war and they 
did this better than anybody. It is rapid fire anarchist calls to action set 
to a primal punk beat that borders on a hardcore sound. 

"The Ungovernable Force" was the first 
CONFLICT record I ever owned. It was difficult 
getting CONFLICT'S material on this side of the 
pond. But "The Ungovernable Force" blew me 
away. I believe it to be CONFLICT'S best release. 
And although the opening track takes some 
patience to listen through it is worth it especially 
how the real opening track "The Ungovernable Farce" comes belting out 
at you. It is followed by a pisstake of the Pistols where the band does of 
mockery of "Anarchy in the UK". It was brilliant. And this song leads 
into a tribute to CRASS. In fact, part of the charm of this release is that 
one song leads straight into the next without a break. There is such a 
momentum to this release with one attack after the next. I always 
remember this record being the release that totally got me riled up about 
the system. It was uncompromising both musically and lyrically. One 
barrage after the next. It blew me away then and it blows me away today. 
One hyperventilating piece of anger. This re-issue comes with the songs 
from the "Battle Continues" single and alternate takes of "This is the 
A.L.F., "Custom Rock", and "Statement". 

"Increase the Pressure" came out in 1984, a 
metaphorical year for punk, especially given all 
the predictions of George Orwell and the famous 
book by the same name. Of course, in many ways 
life resembled more that of "Brave New World" 
than "1984". However the year of "Big Brother" 
gave a rallying cry for many punks and 
CONFLICT was no exception. I wasn't as much a fan of this release 
because one side was live. The studio side was decent with exception of 
"Cruise" which was about 7 minutes too long. Anyway, I am sure the 
band was well meaning with the live side. It represented a lot of songs 
that had not been released yet. But the live sound did not translate as 
well. Unless you were there, the live side was difficult to listen to from 
a sound quality perspective and had little merit other than nostalgia. But 
this CD re-issue makes up for it. Like the other re-issues some eps have 
been added as bonus tracks. "Increase the Pressure" includes "The 
Serenade is Dead" ep with the "This is not Enough" ep, and alternate 
takes of the songs "Increase the Pressure", "From Protest to Resistance", 
"Tough Shit Mickey", and "Punk Inn 'it". (Mortarhate Records /P.O. 
Box 448 / Eltham / London SE9 2QS / England / 

Crow "Bloody Tear" LP 

The test tone pitch that starts this record, I could do without. The same 

is true for the rock ballad intro on Side B. But once you get past these 





rAny oW way you choose \t" 


minor distractions "Bloody Tear" is a stormer. CROW belt out some of 
the best burning spirits to reach this continent since FORWARD or 
ASSAULT. There is narry a dull moment as barrage after barrage of 
heavy motor charged hardcore continually pummels away at your neck 
until eventually the head banging nod that has been adopted by hardcore 
kids takes over your brain. It is a kind of crust metal that has come out 
of Tokyo, as opposed to Osaka, that defines this record. This is CROW's 
first full length in some time and involves re-makes of classics like "Give 
Up All Hope", as well as new recordings from their recent ultra-limited 
Japanese release. "Bloody Tear" is the vinyl release of the CD on 
Mangrove. It' s not an exact replica or straight re-issue. The band makes 
a call for anarchy, decries the use of nukes and nationalism in some of 
their lyrical matter. It is great to hear some new CROW and this release 
comes with a lyric sheet and huge poster insert. All the bells and whistles. 
(Prank Records / P.O. Box 410892 / San Francisco, CA/ 94141-0892 / 
USA/ - SP 

Desolation CD 

DESOLATION are in the same scene as bands like ARTIMUS PYLE 
and BORN/DEAD. The band plays a mix of the japacore meets tragic- 
core. The charging slightly metallic breakneck thrash laced with a moody 
crust-ish kang sound, makes for a perfect blend of Japanese and Swedish 
hardcore. DESOLATION have cracked this juggernaut of a sound. 
DESOLATION would have no problems playing a bill with either CROW 
or WOLF BRIGADE. The only previous time I have heard this band 
was on the "Disturbing the Peace" comp and their song peaked my 
interest back then. So it's good to see that the band has stayed at it. 
DESOLATION are made up from the lead guitarist of STRUNG UP, the 
second guitarist of BORN/DEAD, and the drummer of SCURVY DOGS 
moonlighting on drums. The band has just undergone a line up change 
with a new vocalist and have two other EPs released. The cover artwork 
is done by Pushead with inner sleeve art done by a Japanese artist 
known as Sugi, and the Slug and Lettuce artists Jeremy Clark. It looks 
incredible. The cover is foil stamped with the band's logo which reflects 
light when you hold it the right way against the light. No expenses were 
spared on this release. And if all these bells and whistles aren't enough, 
DESOLATION also bust out a cover of NAUSEA' s "Inherit the 
Wasteland". Everything about this release is over the top. It'll make 
your head spin. I think I've got to sit down. (Prank Records / P.O. Box 
410892 / San Francisco, CA / 94141-0892 / USA / - SP 


Heimatlos "La Seconde Necessaire 1983 — 
1988" Double CD 

HEIMATLOS were a band from Paris that 
started out in 1983 and existed for five years. 
The band was part of the international thrash 
conspiracy of bands that networked and played 
songs as fast as they could. It was unheard of in 
France and the French scene never really caught onto this until after 
HEIMATLOS broke up. So they were scene pioneers of sorts. The first 
four tracks is the "Negative Mental Obsession" ep. This is the one 
record of theirs that I own and reportedly is the shittiest stuff the band 
did. But it puzzles me why they start their discography with it. It's 
because the band worked backwards with this collection. So their earliest 
stuff is at the end of this and their newest stuff starts the collection. 
When the band broke up three members continued as another band. The 
name HEIMAT-LOS is German for "Stateless Person". The band sang 
in French, English, Spanish, German, Russian, Finnish, and Swedish. 
HEIMATLOS borrow so many influences. At times they sound like 
HERESY, at times like "Fascios Fora!" they remind me of DIRECT 
ACTION, on songs like "Assiste" they sound like the RHYTHM PIGS 
on speed, at times they remind me of BERURIER NOIR. Songs like 
"English Settlement" capture the complexity of HEIMATLOS' sound 
where they sound like a cross between ANGELIC UPSTARTS and 
early MDC. But a more accurate assessment of the band's sound can be 
reflected in band's of the time like RATTUS out of Finland, COSMIC 

. ._ 

and the SKEEZICKS who had a big effect on their sound. I think the 
early German scene had a big impact on the band's sound. The band had 
a boatload of releases, all of which is collected on Disc 1. Disc 2 is a 
collection of live, demo and rehearsal recordings. This release looks like 
a real labour of love. The liner notes telling the band's story are written 
in many languages and wind up being a 24 page booklet. The release 
reminds me of the GRB discography that was released by Tralla Records 
a few years back and involved a huge booklet detailing all kinds of things 
about the band and the scene at the time. It is a great collection and a 
must have for folks inspired by the modern day fastcore scene that is 
inspired by these bands. HEIMATLOS represent the French contingent. 
(Ratbone Discos c/o Luc Ardilouze / B.P. 4001 1 / 33023 Bordeaux Cedex 
/ France / - SP 

Jury, the "I Hate the Future" ep 

The JURY never forgot how fuckin' good 9 

SHOCKS TERROR are. This is rust belt rager 

core all the way. Unlike 9 SHOCKS the lyrics 

are not absurd or scene insular. Instead the JURY 

write about reality and how shit life is. It reminds 

me of GUNNAR HANSEN and our conversation 

about their lyrics. Or I think of how painfully familiar HAYMAKER'S 

lyrics can be. No trivializing shit which is great because the world needs 

a fuckin' mirror held up to itself. This new school of Albany hardcore 

brings it back to the basics with high energy hardcore and a dose of 

reality spat out at ya. This is limited to 600 copies so you really want to 

start writing your letters. Think of missing out on the first h- 100s record, 

if you don't get the urgency. My copy is listed at 492. Get writing. 

(Gloom Records / P.O. Box 14253 / Albany, NY / 12212 / USA / - SP 

Kvoteringen "Vidrig Maskinell Framfart" ep 
KVOTERINGEN have a raw as fuck production 
sound and bring brevity to a d-beat that is 
refreshing for this genre. This is credited to the 
band's approach of keeping things simple and 
rough with no expensive studios in order to 
dispense with the bullshit. This approach has 
really worked and I think in part a result of Jallo's other bands and how 
long things take. Jallo plays in KRIGSHOT, TOTALITAR, AARITILA, 
MEANWHILE, and was in a bunch of bands that are as impressive as 
this list. The same could be said of the drummer Larre who is in 
MILLENCOLIN and played in I.R.D. and a few other bands. This 
sound and this approach has caught on in Europe which in part has 
inspired bands like RUIN and BOXED IN. Maybe it's just a bunch of 
older cats who know that it' s the energy behind a song and not the studio 
that makes for a good punk song. I wish more bands would catch onto 
this and I wish more folks would listen to KVOTERINGEN because 
everything I have heard by this band is amazing. Think of listening to a 
demo by MOB 47 and ANTI-CIMEX rolled into one band. No bullshit, 
raw sounding d-beat that doesn't get mixed up in metal. (Terrotten 
Records / Caixa Postal 8080 / Porto Alegre / RS 90201-970 / Brasil / - SP 

. But Not 

LP f» 


Lost Cherrees, the "Free to Speak 

to Question" CD 

The LOST CHERREES were an anarchist band 

from the UK that started out in 1981. They 

initially opened for RIOT CLONE and then 

became good friends with CONFLICT and started 

releasing material on Mortarhate. In fact, a 

retrospective collection of this early material has just come out as a 

double CD on Mortarhate. In 1985 the band called it quits and reformed 

in 2003. "Free to Speak. . ." is the LOST CHERREES first full length as 

a reformed band. They take the politics of the POISON GIRLS, the 

sound of VICE SQUAD and pepper it with the occasional ska bits of 

SUB HUMANS UK. It's pretty decent sounding and reminds me of 

early VICE SQUAD or the VIOLATORS but with more credibility. 


(Mortarhate Records / P.O. Box 448 / Eltham / London SE9 2QS / 
England / - SP 

Major Accident "Massacred melodies" CD 
It always amazes me that there was a group of 
bands in the UK inspired by "Clockwork 
Orange". My understanding is that the film was 
banned in the UK three days after being released. 
So how would punk kids even know about the 
film or emulate Alex and the Drooges. Well 
MAJOR ACCIDENT demonstrate that it was more than just the 
ADICTS involved in this scene. Like their counterparts, MAJOR 
ACCIDENT were part of the development of the hardcore scene. Playing 
a faster version of punk MAJOR ACCIDENT blend the oi sound of 
bands like the BUSINESS or INFA RIOT with the thematic ideas of the 
ADICTS. "Massacred Melodies" is the first full length release by the 
band. It was initially recorded and through some disagreement between 
the band's manager and the studio's sound engineer the session was 
unusable. The band entered a Battle of the Bands contest and one of the 
judges put them onto Step Forward Records who had them re-record the 
session which eventually was released in 1982. This re-issue also sees 
material that was to be the band's first ep "Terrorist Gang /War boots". 
A full length version as well as a single version of these songs are on this 
CD re-issue. The same is true of the songs "Mr. Nobody" and "That's 
You". Songs like "Classified information" and "Middle Class 
Entertainment" are the unspoken gems in the band's musical output. 
And I'm sure "Clockwork Toys" was a live crowd favourite. A great 
collection by a band that I never got to hear the first time around. (Captain 
Oi! / P.O. Box 501, High Wycombe, Bucks / HP10 8QA / UK / - SP 

Radical Attack "Priority" LP 

RADICAL ATTACK are a great straight edge band from Sherbrooke 

that combines the old school sound of URBAN 

BLIGHT with the extreme versions of hardcore 

brought out in the ENDLESS BLOCKADE'S 

polarity of sound. Using INFEST as the 

blueprint, RADICAL ATTACK play up their 

speed by lacing their songs with slow dragging 

parts. They work great together to emphasize 

just how fast they can play. Think XFILESX or CUT TO SHIT in a tug 
of war with CORRUPTED. The band has a previous split ep out with 
CRUCIAL ATTACK , which is a good pairing. They have also released 
a split with a band called TALK HARD. Lyrics tackle a variety of issues 
about a serial rapist / pedophile named Marc Dutroux in the song "Worms" 
to the societal critique of "Check your Aim". The cover artwork is done 
by Mike Bukowski and is full colour version of "Shaun of the Dead" 
meets "Suburbia" scenario. A CD version of this LP has been released on 
a label called "Ghost Town". The pressing is limited to 500 copies of the 
vinyl is clear, which makes cueing songs hard, but RADICAL ATTACK 
runs one song into the next so it would be difficult to cue on a record that 
you can see tracks on as well. Great first release by this new label out of 
Sherbrooke. Loads of harsh attacks by RADICAL ATTACK. Hope you 
got to check them out on their "Sketchy Poutine" tour. (Vinyl Addict 
Records / c/o Andrew Haddad / 1 835, de Bourgogne / Sherbrooke, QC / 
J1J1B1/ Canada) - SP 

Ruin "Distort / Confuse" ep 

This is the latest release by RUIN. After having 

read their interview in the latest issue of Profane 

Existence I have to say that I am totally inspired 

by them. The band is located with two members 

in Bradford, England and two members in 

Glasgow, Scotland. The band is made up of a 

bunch of scene veterans. Some of them have the real life commitments to 

jobs and families and whatnot, but they still have this need to express 

their anarchist convictions to a ferocious d-beat. The band features former 

members of DOOM, DIS AFFECT, SCATHA, and DEBRIS. The singer 

used to run a label and distro called Panoptic Vision. And they get into 




some pretty easy to understand explanations of anarchist and Marxist 
thought. The band is pretty committed to the scene that they grew up 
with and that is pretty rare these days. They are an inspiration. But they 
also play a mean d-beat. One that is amped up in a KVORTERINGEN 
sort of way. They also remind me of the same league as BOXED IN. Just 
manic paced with loads to say and lots of distortion and speed to back it 
up with. I get the sense that RUIN are through with the bullshit of first 
bands and are just making music that matters. They know what's 
important from an activist point of view and they know how to play a 
good hardcore beat. No bullshit. No mincing words. No compromising 
sound. This is the kind of stuff that hardcore should be modelled after. 
(Putrid Filth Conspiracy / Box 7092 / 200 42 Malmo / Sweden / - SP 

Secret 7 "Play Fast Like There is No Tomorrow" 


An 1 1 song one sided ep. What does that tell you 

? You're in for one hell of a ride. This new 

SECRET 7 record harkens back to a fastcore era 

only a few years back when speed reigned 

supreme and fun was part of the message. This 

reminds me the JELLYROLL ROCKHEADS with regards to the insanity 

it unleashes. But the music is even more hyperactive like an OATH 

record. The titles to some of the songs read like CHARLES BRONSON 

songs, but the underlying messages remind me DOMESTIC DOKTRIN. 

It is balanced in terms of delivering serious messages with a biting sense 

of irony. And the music will tear you a new asshole with it's ripping 

insanity. Think "Cleanse the Bacteria" meets "Possessed to Skate" meets 

"A Reason for Living". (625 Productions / - SP 

Victims "Divide and Conquer" CD 

This is VICTIMS latest release and it is another 

barn burner. Although this may not be laced with 

all the anthems that "... .in Blood" was, you'd be 

hard pressed to find a dull moment. It isn't until 

"Your Division" that you get the rockin' fist 

waving songs. So if you like your hardcore faster 

than you will really love this new one. "Divide and Conquer" is the 

culmination of SKIT SYSTEM'S anger meets MASSGRAV's brevity. 

That's not to say that this release doesn't have their WOLFBRIGADE 

rock out moments. "Running for Escape" is a fine example of that. And 

I was scratching my head when I heard the opening riffs to "Your Life is 

Red" play "Philosophy" by YOUTH YOUTH YOUTH. I have a source 

that says the band is YYY fans. One last note, a special dedication to 

Miezko Talarczyk of NASUM was made on this release as he produced 

their last album and would have probably done this one had he not died 

from last year's tsunami. (Havoc Records / P.O. Box 8585 /Minneapolis, 

MN / 55408 / USA/ - SP 

Wartorn "In the Name of the Father, the Son, 
and the Holy War" CD 

WARTORN are from Wisconsin and play an 
uncompromising style of crusty sounding 
hardcore. They remind me SEVERED HEAD 
OF STATE, but with the brevity of STATE OF 
FEAR. The air warning sirens that start this 
remind me of how TRAGEDY'S "Nerve Damage" starts. The band is 
made up of members of WORDS THAT BURN and fit in with that 
scene of hardcore bands from the U.S. that have some serious kang 
worship. If you dig deeper you will find that WARTORN also have 
some classic American hardcore influences like POISON IDEA, BLACK 
FLAG and even break into a cover of the CRO MAGS' "Survival of the 
Street", but the cover sounds nothing like the original. Think more along 
the lines of a crusty punk band from the States that wishes they lived in 
Sweden and got to play on a regular basis with the likes WOLFBRIGADE 
and SKITSYSTEM. This is WARTORN's second release. Their first 
was an ep titled "Adolf Bushier" that has long since sold out. (Crimes 
Against Humanity / P.O. Box 1421 / Eau Claire, WI / 54702 / USA / - SP 

book Revie 

"Steve Diggle's Rock & Roll Odyssey: 
Harmony in my Head" by Terry Rawlings 

I love the BUZZCOCKS like every good punk 
should. I grew up on a healthy diet of "Orgasm 
Addict" and "Ever Fallen in Love ?" And when 
my friend loaned me this book I didn't know 
who Steve Diggles was. I feel like such a dolt. 
Steve Diggles was the original bass player, who 
became the other guitarist and key writing partner 
for Pete Shelly in the band. When you think of 
the BUZZCOCKS you think of Pete Shelley 
and Howard Devoto. And to be fair those two were the founding members 
of the band. But Devoto fucked off early in the band's evolution and 
Steve Diggles was the workhorse behind the band. In this tell-all tale of 
the band Steve Diggles pulls very few punches. All the piss ups. And the 
fights. The ups and downs. The creative motivations behind the different 
BUZZCOCKS songs. The little nuances to the various recordings. 
Philosophies behind cover art. I found myself going through my 
BUZZCOCKS collections checking out what Diggles was talking about. 
It's all here. And it is situated in historical re-telling of the punk scene in 
the UK to the personal stories of a near death experience that lead to the 
writing of "Fast Cars". This is the band that put Manchester on the 
punk map. That forged the way for bands like JOY DIVISION and the 
SMITHS to steal the show. This is the band that put on the first SEX 
PISTOLS show up north as is told in the film "24 Hour Party People". 
Except Shelley and Devoto actually put on the show for PISTOLS. 
These were the kids that spread the messages in the provinces of the 
punk fortress that was London. These were the working class kids who 
could see through the bullshit of the rock star attitudes of the PISTOLS 
and the CLASH. Diggles tells of his recollections of the PISTSOLS and 
the CLASH upon their first meetings. It is amazing to learn how grounded 
in punk ethos the BUZZCOCKS were and yet you wouldn't think it 
based on their poppy sound or their love song fixation. But Diggles gets 
to the philosophies behind a lot of their song writing and you realize 
how grounded the band was in populist revolutionary punk thought. 
Sure Diggles talks of his love for the Beatles, but he really wanted to be 
in the CLASH. And while Shelley is deluding himself about being a solo 
artist Diggles was the only band member struggling to keep the 
BUZZCOCKS together. The endless touring, the TV and radio 
appearances, the endless partying that became way of life and the struggles 
against burn out. This book starts with the trials of trying to start a band. 
The chapter "Grim Up North" tells how shitty it was to be a kid up 
north in a working class city like Manchester. Steve Diggles talks about 

Joe Strummer, Steve Diggles, Mick Jones 

his first 'sexual experience his first exposure to rock n roll which is one 
in the same when he plucks a string on a friend's older sister's guitar. He 
was 7 and too young for sex, but old enough to get the euphoria of 
playing a guitar. He quickly moves through his teen years and all the 
trappings of a family hit hard be recession. Diggles talks of the family 
uprooting to a tough council estate in Rusholme. This informs Diggles 
of functionalality over fashion as he wears Doc Martin knock offs and 
uses a scooter to get around. His scooter gats stolen and Diggles winds 
up in jail trying to steal someone else's scooter. Keep in mind this is all 
pre- JAM, pre Quadrophenia era England. Anyway you get the point 
that Diggles was a mod before it was cool to be mod. You also learn of 
Steve Diggles blowing off the work force at an early age and like every 
good teen hungry for the quest to party. This is formative to a young 
Diggles. Chapter 3 "Countdown to Year Zero is the most fascinating of 
chapters. Diggles paints a picture of the cultural bleakness of England 
back in 1976. You get the history lesson about punk from the second 
PISTOLS show which reads "Their small but frantic following called 
themselves the Blank Generation" and looked like a wild mutation, with 
traces of glam rock decadence mixed in with S+M drag. They were the 
angry little brothers and sisters of Bowie and Roxy fans, too young to 
have witnessed either while they still processed an ounce of cool." You 
get this take from a third party on punk as it was happening. Diggles also 
tells the origins of the 
BUZZCOCKS with a band 
called JETS OF AIR which 
was a College band by a 
young Peter McNeish and a 
Howard Trafford, soon to 
become Pete Shelley and 
Howard Devoto. The name 
of the band came from a road 
trip tv party involving a bad 
rock show and a description 
of an all girl band in the TV 
listings. You'll have to read the book to get the gist of that, but the name 
BUZZCOCKS, which brings up connotations of a vibrator, is just as 
punk a name as the double entendre of the SEX PISTOLS. We also learn 
of the chance introduction of Steve Diggles to Pete Shelley through none 
other than Malcolm McLaren. And the way Diggles describes his first 
punk show, which happened to be a SEX PISTOLS, show is as 
transformative of a story as I have heard from every other kid I have ever 
interviewed about how they got into punk. The anger and the fury 
shocks one into an awareness and holds your attention for the next ten 
years at least. In Diggles case it has been the last thirty years. Anyway 
the telling of the first gig to the first recording to the first tour all inspire 
the reader to get out there and do this themselves. It's easy to become a 
band like the BUZZCOCKS. But the BUZZCOCKS were forging new 
territory. They became peas in a pod with the CLASH and the SEX 
PISTOLS. They went on to inspire bands like the UNDERTONES. 
They soldiered on through the watering down of punk in what became 
known as new wave, the mod revival, the two tone revival and the new 
romantic era, which were all successive reinventions of punk. This book 
is fuckin' great from a historical perspective. You learn of zines like 
Sniffin' Glue. And while bands like the PISTOLS and the CLASH were 
getting signed up to major labels Howard Devoto decided to start his 
own label New Hormones, which would release the first BUZZCOCKS 
ep. Doesn't sound like a big deal now but back then it was groundbreaking 
as most punk bands thought you needed to get signed to a label in order 
to put something out. This was pre-hardcore era before bands started 
doing their own releases. This first ep was released on January 29 th , 
1977 and Rough Trade picked up the distribution and the first press was 
sold in a week. Rough Trade said it was the first independent record that 
people wanted. And just as the band sells 20,000 copies Howard Devoto 
decides he wants to finish school and quits the band. This leads to 
Diggles moving to guitar and the band finding a new bass player. Anyway 
somehow the band get touring by May of 1977 in support of the White 
Riot tour and play with the CLASH and the JAM for a few dates. This 

is where they find out about the JAM who were 
kids at the time and left the tour. The "new groups" 
who are not concerned with what there is to be 
learned written about in "White Man in 
Hammersmith Palais" is written about the JAM. 
Anyway this tour bumped the BUZZCOCKS up 
a notch in the tour line up and lead to the 
BUZZCOCKS getting signed to United Artists. 
After this the BUZZCOCKS released their first 
full length and toured on their own but instead of having names like 
"Anarchy in the UK" for their tour they just called it "Tour One". 
Instead of moving to London, like all the other punk bands of the time 
did, the BUZZCOCKS remained in Manchester. The band used different 
expressions of artists movements for their art design and as is the case of 
the "Orgasm Addist" ep was a statement on the objectification of women. 
The BUZZCOCKS started playing benefit shows and one such anti- 
racist show saw Diggles doing a surprise appearance on stage with STEEL 
PULSE for the song "Ku Klux Klan". There was so much happening for 
the band and finally they tour America. This becomes an eye opening 
experience for the band but not in all the negative ways that most punk 
bands from that era speak of it. Miles Copeland brings them over and 
they manage to piss him off but they do well which becomes a rejuvenating 
moment in the band's career. As the band gets bigger the pressures of the 
band take their toll and eventually the band members grow apart with 
solo projects and whatnot. Diggles all the while tries to keep the 
BUZZCOCKS together. In the end, they break up, the band has to deal 
with their financial problems. They all take their turns at doing solo stuff 
and Diggles started doing a band called FLAG OF CONVENIENCE. As 
F.O.C. started to play in Europe they were being dubbed as the 
BUZZCOCKS. This sparked talk of a reunion. And in the early 90's the 
band got back together. You get the details of the line up changes. The 
band at one point played with the drummer of the SMITHS and they 

talk about the Manchester 
connection. The band tour 
with NIRVANA just before 
Kurt Cobain kills himself and 
this effects Diggles as the two 
were coke buddies on the road. 
Eventually in the mid 90s 
Diggles moves to London. 
This is when the Brit Pop 
scene gets going. The 
BUZZCOCKS start to fizzle 
out and solo projects start up 
and then a comedy show called 
"Never mind the Buzzcocks" 
starts up catapulting the band 
back into the spotlight. And 
just as things get going, Diggles 
goes on holiday and breaks his 
wrist in a way that he cannot 
ever play again. But Diggles has a successful operation and the 
BUZZCOCKS do get back together and just played a show in Toronto 
only a few months ago and they have released a new full length. The 
odyssey continues. (Helter Skelter Publishing / 4 Denmark Street/ London 

show Revie 


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Sudden Impact re-union 

On Saturday June 17 th , my wife rented a car for me and I made the trek 
up to Newmarket. I have been hearing of the scene up north and about 
how supportive it is, but now I was finally going to get to see it for 
myself. However the purpose of the show was to catch a one off reunion 
with SUDDEN IMPACT, a band that I had skanked around to many 
pits of their sets back in the 80 's. 

SUDDEN IMPACT were an incredible local crossover band from 
the mid-late 80's. They released a demo called "Freaked Out", a full 
length called "No Rest for the Wicked' and a second LP titled "Split 
Personality". Reid English, the band's guitarist did all the band's cover 
artwork. He developed gargoyle like creatures for each cover. But we all 
kind of new Milo as he was the scene record hound. 

Anyway, I got to see the METAL EDDIES live in action and they 
were ripping through a set of QUEERS inspired pop punk when someone 
let off a stinkbomb. That was my exit to the back of the room. 

Then came SUDDEN IMPACT. I had been talking to their bass 
player Steve Milo on and off for the past couple of years and had learned 
that the band had gotten together and jammed at someone's cottage a few 
summers back. They liked it and got together a few more times. My 
friend Chris of Fans of Bad 
Productions, had talked to the band 
about doing a discography collection 
and I think some of this talk got the 
band getting back in touch with each 
other. Since then the band has agreed 
to get a label from Brazil re-release 
their stuff. The label is Marquee 
Records and is the same label that re- 
released the SACRIFICE material. 

Anyway, I recently had a copy 
of the demo burned onto CD and have 
been listening to it quite a bit. I pulled 
this out as I was super excited to see 
SUDDEN IMPACT again. I had seen 
them so much when I first got into the scene. I don't think I missed a 
show. I ran circles in the mosh pit to "Keep onTruckin'" and "Terrorist 
Attack". I loved hearing their version of "I've Got a Right". And this was 
the Mitch era of SUDDEN IMPACT. This was just after the release of 
"No Rest for the Wicked". 

More recently, Steve Milo came up to the radio show and played 
some music. Back in the day, Steve used to scoop us at all the used 
record stores. Christ he should be doing his own radio show. Anyway, 
the night he came in I learned something about Steve that I would never 
have figured out. He was a huge DOA fan. He had this bootleg of DOA 
opening up for the CLASH at the Pacific National Exhibition. It was the 
first time the CLASH came to North America. DOA opened up for 
them. By all reports, DOA blew the CLASH off the stage. Steve had a 
pressing of the audio from that show of DOA s set. It was an anniversary 
for the show. Maybe 25 years since the show. Anyway, Steve gushed on 
about how much he loved DOA. If any band would draw SUDDEN 
IMPACT out of 'retirement', it would be DOA. And this is the DOA 
with Randy Rampage in the band. 

This all started to make sense to me. SUDDEN IMPACT were 
doing this show because they enjoyed playing with each other again, 
because kids from Newmarket wanted to see them and because they 
wanted to play with DOA because they loved them. They weren't doing 
this to cash in, like so many others. 

The band starts setting up and I move up front dragging all the folks 
I brought with me. And Johnny introduces the set as "a bunch of fat 
balding men". They start off with "Keep on Trucking" which is an ode 
to circle pit dancing. 

Four songs in the band does a slightly lounge-ized version of "Sudden 
Impact". The play up some stops and starts for the chorus, which is 
what they used to do. Those false stops used to fuck with all us thrashers. 

The band played songs off the demo like "Paint Fumes" and 
"Freaked Out". They did "Drunk Driving" off the "It came from the Pit" 
comp. The band did "Terrorist attack" off the first LP and I've already 
mentioned that "Keep on Trucking started off their set. Out of the 
second album of material the band picked "Crossed Wire" and 
"Tightrope". The piece de resistance was doing "Gonzo" for an encore. 
I had never heard that song done live, but it was my favourite song off 
the demo. Who cares if it's a Nugent cover. The wild spirit behind that 
song is given new life with SUDDEN IMPACT'S version. 

The band made some limited edition t-shirts that I missed out on. 
But who cares I got to see Johnny Bordenko with short hair, Steve Milo 
pogoing around the stage, Reid English with his cap, and Mike Brunt 
with his stance. 

For those who didn't go to Newmarket the band has agreed to do a 
Toronto gig on Septrember 22 nd at Sneaky Dee's. See you in the pit. 

member left the band. They have changed the name of the band to WAR 
ALL THE TIME and have just recorded 1 1 songs that are to be released 
as three split eps. Some of the MP3 files are up at the Flat Earth site, 

demo reviews 

Dangerloves Demo 2006 - featured on 

the July 2 nd program 

DANGERLOVES are a 4-piece pop band 

from Toronto that features Mary Ann and 

Mark from the B AYONETTES, Dave from 

CAREER SUICIDE, and Michael (a.k.a. 

the Beav) from URBAN BLIGHT. This 

demo was recorded over 3 days in June by John from TERMINAL 

STATE. Their sound combines elements of classic American power pop 

like NIKKI & the CORVETTES and the REAL KIDS with a 60's pop 

sensibility, but played by a band that clearly listens to a lot of hardcore 

and punk. (102-1609 Queen St. W. /Toronto, ON / M6R 1A9 / Canada) 


Trystero Demo 2006 - featured on the July 16th program 
TRYSTERO are a 4-piece band from Buffalo and features members of 
interesting thing about this band is that they involve a cello in their 
sound. That and they play nothing but instrumentals. The demo is a 
home made 3" disk with painted artwork on the CD and a full colour 
cover. They remind me of SUBMISSION HOLD writing a silent movie 
soundtracks for a film co-written by DRIVE LIKE JEHU and KYLES A. 
Think a more punk, less dark sounding GODSPEED YOU BLACK 
EMPORER! (29 Custer Street / Buffalo, NY / 14214 / USA) - MR 


JDM of Rubber Factory Records has put together a video zine of some 
Toronto bands. The video zine is called "Antidote" and is accessible free 
on-line at Video clips of ANGELS, SAINTS & 
STUBBS can be found on the recent issue. * 97a are practicing again * 
COBRA NOIR has just finished recording 8 new songs for a full length 
to be released in the fall. Radwan of the BLACK HAND, did the 
engineering. COBRA NOIR is also working on a split with HOLY 
MOUNTAIN. * Deranged will be releasing a new CAREER SUICIDE 
full length to be called "Attempted Suicide" in the fall. A double LP by 
FUCKED UP called "Hidden World" will be released around the same 
time. * The OBSERVERS have reformed with a different line-up and 
Gord is working on releasing a CD discography. Gord is also releasing a 
band called VIOLENT ARREST, which features members of RIPCORD. 
But most importantly Deranged will be releasing the S.I.E.GE. material 
* The Canadian SUBHUMANS have recorded 14 songs for a new full 
length to be called "New Dark Age Parade" and will be released on G7 
Welcoming Committee * Joe Keithley from DO Al Sudden Death Records 
fame has started up a new label called Taboo Records. The label will be 
focusing on other genres other than punk. The first release is scheduled 
to be a rock/pop act out of Calgary called ONCE JUST. A new Joe 
Keithley solo record is set to follow. * The second annual Distort 
Vancouver is set to take place on August 25 th and 26 th at The Wise Hall. 
The festival will be featuring punk, hardcore and crust bands from up 
and down the West Coast. * MASSGRAV have a new split release 
coming out with DISKONTO. And speaking of Swedish hardcore there 
are new recordings for full lengths by KRIGSHOT and TOTALITAR. * 
BOXED IN just released a discography and as reported last issue one 

show listings 

MONDAY JULY 24th @ Rancho Relaxo - MARKED MEN, THE 




Buffalo), IF MAN IS FIVE, KNIFEHAMMER (from Peterborough) 

THURSDAY JULY 28th @ Planet Kensington - LEPER (BC), IRON 

FIST (NB), KNIFEHAMMER (Peterborough) 

FRIDAY JULY 28th @ Kathedral - CLASS ASSASSINS (last show), SINKIN' 


FRIDAY JULY 28th @ North Cultural Portuguese Hall (Oshawa) - 

RAMMER, CRIPPLE CREW (from Sherbrooke), 


FRIDAY JULY 28th @ Corktown (Hamilton) - ORPHANS, THE VAPIDS, 





SATURDAY JULY 29th @ Reigning Sound (Hamilton), afternoon - ANS 

(from Texas), GUNNAR HANSEN 

SATURDAY JULY 29th @ 15 Lower Sherbourne - ANS (from Texas), 


SATURDAY JULY 29th @ White Orchid - LION OF JUDAH (from DC), 


SATURDAY JULY 29th @ Smiling Buddha - CRUCIFIST (from Rochester), 


SATURDAY JULY 29th @ Corktown (Hamilton) - MURRAY AND THE 


SUNDAY JULY 30th @ Planet Kensington - SELF RULE 

SUNDAY JULY 30th @ Studio 3, 4:00pm - BROWNBELT 

SUNDAY JULY 30th @ Studio 3, 10:30pm - THE METAL EDDIES 

SUNDAY JULY 30th @ Corktown (Hamilton) - EVELYN DICKS, 




TUESDAY AUGUST 1st @ Underground (Hamilton) - FUCK THE FACTS 

SUNDAY AUGUST 6th @ Studio 3, 10:30pm - HOSTAGE LIFE 



THURSDAY AUGUST 10th @ Reigning Sound (Hamilton), afternoon - 

COBRA NOIR (from Montreal), A WARM GUN (from Baltimore) 

SATURDAY AUGUST 12th @ White Orchid - CCSS (from Montreal), 


SUNDAY AUGUST 13th @ Studio 3, noon - C.C.S.S. (from Montreal) 

SATURDAY AUGUST 19th @ Underground (Hamilton) - PANTYCHRIST, 


SATURDAY AUGUST 19th @ Absinthe (Hamilton) - RESPONSIBLES 

SUNDAY AUGUST 20th @ Studio 3, 10:30pm - ACTION 

THURSDAY AUGUST 24th @ White Orchid - GO IT ALONE, 


FRIDAY AUGUST 25th @ Casbah (Hamilton) - RIDE THEORY 

FRIDAY AUGUST 25th @ Underground (Hamilton) - TEENAGE HEAD 

SUNDAY AUGUST 27th @ TBA - THE AVERSIONS (from Quebec City), 


SUNDAY SEPTEMBER 9th @ El Mocambo - INEPSY (from Montreal) 

SUNDAY SEPTEMBER 9th @ Underground (Hamilton) - STRIKE 




FRIDAY SEPTEMBER 22nd @ Underground (Hamilton) - NO MEANS 


SATURDAY SEPTEMBER 23rd @ Horseshoe - NOMEANSNO (from 


THURSDAY OCTOBER 5th @ Casbah (Hamilton) - MECCA NORMAL 

If there is a show that you know about that isn't on this list, please forward 
it onto us at 

mmm hbbi