Finally after many delays from the pressing plant the WARWOUND Demo’s LP “A Huge Black Cloud” is out and copies are moving fast!
Recorded in 1983, this record contains 15 songs from 3 sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND, they are a UK band formed in 82. WARWOUND recorded 3 demos in 83 before disbanding and members went on to join THE VARUKERS and form SACRILEGE. These demos never received an official release… until now! Highly influenced by DISCHARGE, WARWOUND is one of the first bands ever to take D-Beat Punk to a raw and intense level. Recently reformed in 2015, original guitarist Damian is now joined by Ian Glasper on bass and Rat Varuker on vocals. After a few gigs in the UK word is spreading fast of the relentless onslaught of a live show these veterans put on. WARWOUND have also recently hit the studio to record for the first time in over 30 years. Needless to say WARWOUND is back with a vengeance!
Yes! Finally, after what turned out to be a gigantic task of moving the PROFANE EXISTENCE distro from Minneapolis to Denver, transferring tons of data, and rebuilding the web store, we are finally set to open back up. To access the new store follow one of the many links from profaneexistence.com or access it directly at http://profaneexistence.storenvy.com
The first official PROFANE EXISTENCE title of 2015 is out and ready for order! We are proud to bring you the RIFLE DIET – “NO SOLACE”LP
Rifle Diet’s No Solace is a 12in 45 that combines the Classic Minneapolis crust sound with Swedish hardcore, D-beat and Epic crust (think somewhere between Servitude and Wolfbirgade, with hints of Tragedy and Fall of Efrafa). The beautiful cover art by Hannah Benoche sets a bleak mood for the dark music within, plus a cover of His Hero is a Gone – Chain of Command (ex-members of InDefence and Garmonbozia) This LP is a joint release between PROFANE EXISTENCE and BLOOD OF THE YOUNG RECORDS
To honor both the opening of the new store and our first release of 2015, we are giving a free copy of the RIFLE DIET – No Solace lp to everyone that spends more then $50 from Monday January 12th to Monday January 19th!!! This deal is for one week only. DO NOT MISS OUT!
*Note*Rifle Diet are playing a record release show 1/17/15 at the Dogplex in Minneapolis with Kontrasekt, Aziza, and Fucking. To coincide with that show all orders that contain the RIFLE DIET – No Solace lp will be shipped out on Monday January 12th.
The next release in the works is the new full length lp from APPALACHIAN TERROR UNIT – “We Don’t Need Them”.
We Don’t Need Them is the second full-length record from West Virginia punx Appalachian Terror Unit. ATU have become known throughout the years as being one of the most politically charged bands in the current punk scene. This new record is an all out attack on today’s society that takes ATU to a new level of intensity both lyrically and musically. The combination of the beautiful and thought provoking gatefold cover art designed by Stivart along with the brilliant recording and mastering job by Jay Matheson at the Jam Room take this record even further. Song subjects include the horrors of war, police brutality, destruction of the environment, rape culture, consumerism and much more. Expect a very heavy and much angrier approach from a band that has been around the block and matured their sound. Seven raging new tunes including the epic fourteen and a half minute track “We Don’t Need Them”, a song that will one day be ranked among similar greats as the SUBHUMANS “From the Cradle to the Grave” and AUS ROTTEN “And Now Back to Our Programming”.
APPALACHIAN TERROR UNIT – We Don’t Need Them will be pressed in the United States on PROFANE EXISTENCE & in Europe on SKULD /RUIN NATION
WARWOUND – “A Huge Black Cloud-The Demos 1983“
Another record we are very excited about is the upcoming WARWOUND – A Huge Black Cloud-The Demos 1983. Recorded in 1983, this record contains 15 songs from three sessions. With a few different takes you get a total of 25 blistering tracks. For those unfamiliar with WARWOUND they are a UK band formed in 82, and released 2 demos in 83. Members went on to join THE VARUKERS and form the almighty SACRILEGE. Warwound are one of the first bands to take the politics and d-beat influence from DISCHARGE and combine it with the blown out sound of CHAOS UK to achieve total destructive raw d-beat ear bleeding chaos!
WARWOUND – A Huge Black Cloud-The Demos 1983 will be a split release between PROFANE EXISTENCE and ORGANIZE AND ARISE.
It will be available in the spring of 2015.
Other records and projects we have in the works for 2015 …
VASTATION (pdx formally night nurse) vs WAR//PLAGUE Split EP
KRANG are a new band birthed from Chicago’s DIY punk underbelly. They play a brutally powerful brand of thrashy riff-laden crustcore and have an intense live presence. They have recently recorded for a few vinyl projects, including PE’s own 7″ singles series. Check ’em out!
Interviewed by Brian Poulin (NEGLIGENCE). All photos by Adam DeGross.
PE Who’s in the band and what does each of you do?
AUSTIN: guitars / backing vocals / song writing (synth & keyboard on 12″)
ADAM: bass / backing vocals / song writing
BRENDAN: lead vocals / lyrical content
DEVAN: drums & percussion / backing vocals
PE: What’s a brief history of the band and how did you guys form?
Austin: We started circa 2009. We had an additional guitarist: Louis C. He went on to start a blackened crust band called Welkin Dusk, based in Chicago that he plays drums & lead vocals for. We used to have an additional lead singer as well: Hannah B. Hannah was a part of our first two releases: the out of print “Onward Desolation” demo tape, and also the out of print “Bog of Eternal Stenchcore” 7″. Hannah is now the front-woman in a band called Despise, based out of Minneapolis. Our original drummer, Brett, is on the two recordings I mentioned before, as well as our “Sounds of Death” 12″. Brett now drums for a Chicago / northwest Indiana band called Asphixiate. Devan is now our permanent drummer and he will have his first appearance on the “Broken Waves” 7″, released by Profane Existence, which is coming out in June. Devan will also be on our next 12″: “Bad Moon”, which we are writing right now. I, as well as Krang, are totally stoked on Devan and really happy to have them. Devan is active outside of percussion as well with assisting in writing, assistance in lyrical content & structure, and the internet stuff. This line up has been solidified for over a year and is totally fucking Krang! It just works perfectly.
PE: You guys are based out of Chicago. What are your favorite parts of the scene there? What are your least favorite things about Chicago’s scene?
Devan: Chicago’s an interesting place. I feel like the pros and cons are often directly related to one-another. For example, the mere size of the city. There are so many people – new to here, young, old, whatever – that there is basically always something going on and a handful of solid DIY spaces at all times, regardless of whether people leave or places get busted or whatever. The downside is that the physical structure of the city makes it difficult and/or terribly time-consuming to navigate. Especially if you don’t have a car. And even if you do, parking sucks. Anyway, as a result of the city being as segregated as it is, people are often inclined to just stick to what’s going on in their neighborhood and it results in a lack of exposure or attention paid to some really cool things. It’s unfortunate. But then there are some events like the annual Black and Brown Punk Show (shout-out to Monika!) or other fest-type shows where the attendance is crazy and bullshit is minimal. It’s rad.
Austin: I used to live in CHI. I reside in northwest Indiana (NWI). It’s really close. You can compare it to how close Jersey is to NYC. The rest of the band does live in CHI. My favorite things about Chicago is the “don’t take shit” attitude that at least me and the scene we’re involved with has. We’ll kick you out if your a piece of shit human or kick your ass if we have to. I also like The Void Haus in NWI for gigs. My personal least favorite things are cliques, hype, division, etc… the things that you see in every rather large city, I suppose.
Adam: I love Chicago’s unspoken rule of everyone being down to get down when shit hits the fan and nobody lets bogus comments or derogatory gestures fly. My complaint for the longest time was how there is the same hierarchy that we all hate in daily life at a lot of the gigs. It seems like those “in crowd” wanks have come and gone though, or maybe I just don’t surround myself with such fools anymore. My main complaint, and I know I am sounding super negative, but for such a large city there is a lack of bands playing what I am into personally. There are a lot of great bands doing great things…but that doesn’t necessarily mean I am into them musically. Haha! I have a particular taste and its not being fulfilled. I usually go to shows to hang out and have a good time and just show support but its rare that I actually shit over a band that I see locally. I do really, really get down to Population though. White boy can’t dance but when I see this band I start doing shit I didn’t know I was capable of.
Brendan: Chicago is simultaneously the best & worst place to live; which I’d imagine is a critique most other big-city dwellers share. There is no shortage of great folks, bands, eats, cool nerd-haunts (comic & record collectors rejoice!), and beautiful neighborhoods/communities in which to live. The same is true for all of the awful yuppies, gold cost bourgeois, & assholes who get your friends hooked on hard drugs. A lot of the time I wish that I lived in a vast expanse of lush nature with no human presence save myself. When I’m not wishing for seclusion, I’m loving how hard of a time I have sorting out which of the 5 awesome punk shows I get to go see any given night. Chicago has everything I love & hate at once; most of the time its worth it.
PE: Musically what are you guys going for?
Devan: I’d say sincerity, first and foremost. In sound, words, and delivery. And the connections we can and have made with people based on that. My musician’s answer would be just to write the best songs we can and perform them at the highest level at all times.
Austin: I just want to stick out and be a little different sounding. I still want to have that essential formula for great punk. I personally believe we found the introduction to our sound with the “Sounds of Death” 12″. We have two formulas: triumphant, galloping crust metal and simplified, pissed off, to-the-point stuff.
Brendan: Initially we formed with the idea of writing over the top odes to crust circa late 80’s/early 90’s; stuff you could flail your overgrown dreadlocks around to. We all fell into a groove with each other over time, where we don’t really need to define what we’re gonna write before we do. We approach releases with general outlines (theme,length, format etc.), but when writing songs I’d say we aim for mean, earnest & impactful.
Adam: I think naturally all being into different types of musical backgrounds, our finished product ends up being a thing of its own, but we all have similar enough interests to where we end up with the result that we initially were trying to go for. I personally am really into trying to sound like the bands I am into. It doesn’t end up exactly that way which is good but I love when bands obsess over old school sounds/bands/records and try to make their contemporary music sound as authentic as possible whether it be tone or style or whatever. At the end of the day we are trying to sound pissed, like we worship the 80s and have our music sound anarchy as fuck!
PE: What bands inspire you the most?
Austin: I listen to EVERYTHING. I don’t know where to begin but musically, keeping personal interest aside, I think we’re inspired by 80’s UK crust and a lot of Japanese stuff as far as writing collectively. This is something me and you will have to nerd out on when we’re in Boston next. Haha!
Adam: For Krang, bands that influence the writing process for me are Masskontroll, Deathraid, Sacrilege, Hellshock, Deviated Instinct, Sodom, Axegrinder and Amebix as well as Instinct of Survival. Personally I am all over the water but my all time 2 favorite punk bands have always and will always be Discharge and the Dead Boys.
Devan: I could go on a long rant about every band I’ve ever loved and how they’ve all stuck with and influence me to this day and blah blah blah, but I’ll spare you the cost of ink and just say Sacrilege, Crude, Amebix and Discharge. That said, we are quite the eclectic bunch.
Brendan: Musically, anything running the gamut from Paintbox to Elliot Smith. I enjoy a lot of soaring Japanese hardcore with that Burning Spirits feel, 90’s screamo, early black metal & hip hop. Any band that has a way with words gets me going, but mostly I enjoy music that you can’t help but feel.
PE: What are most of your songs about? What inspires the lyrics?
Brendan: Lemme preface by saying that Discharge is rad & “The More I See…” could be the soundtrack to my daily tedium… but i think punk rock has much more potential than to rehash our dogmatic & oftentimes simplistic politics. Having been a few places where the punk scene eats itself inside out with depression, addiction, & apathy towards the struggles of those around us, I think its real important to allow ourselves to be more open in the way we express all of the things exploding in our minds. I am not blowing my own horn, or any horn for that matter, but I really enjoy taking the personal route when it comes to writing & am constantly attempting to better address the common threads that run through all of our lives. Our first wave of songs covered some of our political leanings in regards to vivisection, arms manufacturing, rape culture & the willful destruction of our Earth. The “Bog of Eternal Stenchcore” 7″ reflects on the weight of stagnation on the “politically motivated”. “Sounds of Death” is the result of an obsession with death and a years worth of hurt; friends making irreversible decisions in regards to their lives & some of us falling into those spirals ourselves. There is absolution in acceptance though & I think a glint of hope in such dark subject matter. Our upcoming 7″ deals with cycles of change in our lives, moments of mania & madness; a counterpoint to our last 7″. The songs we are writing & playing now are an extension of that, focusing on moments of change in our lives, wanderlust & really just form one big, loud, pissed love letter to the DIY community, punk rock & time spent on the road. Inspiration comes from any human I’ve met that has dared to be open, honest & shameless about it.
Devan: Passion in all its forms and extremities is what inspires us. Totally.
PE: You guys have done a few extensive tours. What’s your favorite city you guys haveplayed in? What’s your least favorite?
Austin: I love Boston. Detroit, New Orleans, and the Twin Cities (Minneapolis) are up there too. I don’t really have a least favorite. We have had some bad experiences, though. I will give them the benefit of the doubt and not mention them. Hopefully things will be better when we return.
Devan: New Orleans is my favorite city ever, and our most recent gig in Boston totally ruled. I’d have to say, though, that many of my favorite shows have been in non-major cities. Birmingham AL was awesome, Asheville NC, Cincinatti OH, Grand Rapids MI…basically anywhere with a really tight-knit but wide-ranging DIY scene in terms of age, music, spaces, projects, etc. It’s always super encouraging to see.
Brendan: I’ll echo the others in saying that NOLA, Asheville, Cincy, Birmingham, Boston & Baltimore all kick ass. I’m usually super appreciative of all the towns we’ve been lucky enough to play in, though of course we’ve played in towns that seemed to embrace the anti-PC attitude/sense of humor that I am so fucking sick of. Some cities are really 50/50 because you’ll either play an amazing show with bad-ass folks & have the time of your life, or you might end up wanting to eviscerate some fuckhead who only listens to GG Allin & doesn’t get why a confederate flag hanging at a show space might ruffle some feathers.
Austin: We as a band aren’t about making sure we are politically correct all the time, but we definitely are hellbent on showing one another respect and are willing to give respect back to those who are legit. No single city is bad. Like I said before, sometimes there are some bad experiences. Fuckheads are everywhere.
Adam: Yes, Cincinnati, Birmingham, Boston, but most of all NOLA and Minneapolis. New Orleans and Minneapolis…no other city can live up to the debauchery that is expected to happen when we arrive in these two places. We need a week of recovery after being in either place for just a day. Also I love playing Madison a lot. Fuck, I love touring. So many amazing friends are being missed right now as we speak.
PE: What are some of your favorite bands you guys have played with?
Lord Krang: Scum from Detroit, Appalachian Terror Unit, Antisect, In Defense, Nu-kle-ar Blast Suntan, Kontrasekt, Cognitive Dissonance, The Skuds, Coelacanth, WrathCobra, Wartorn, Negligence, In Ruins, and definitely D-Clone; but honestly, it’s great to play with anyone and everyone who aren’t assholes and give a shit about “punk rock”.
PE: What are some of your favorite local bands from Chicago?
Lord Krang: Asphyxiate, Decay After Death (Decay A.D.), Cemetery (RIP), Culo, Die Time, Slag, Escalofrio, Sex Bunker (RIP), Birth Deformities, Gas Rag, Welkin Dusk, Daylight Robbery, Dirty Surgeon Insurgency, The Breathing Light, La Armada, Black September, Kontaminat, Ooze, Tensions, The Busy Sugnals, Population, More that we’re forgetting to mention….
PE: What does the future hold for Krang?
Devan: As Austin mentioned earlier, we have our “Broken Waves” 7″ being released in June, at which point we’ll be doing a small tour with Coelacanth. Also, as previously stated, we are well along in the writing process for our next full-length LP. Look for us around the Mid-west this summer and keep up-to-date and get in touch via the following:
crustardpunx[AT]gmail.com – krangcrustards.bandcamp.com – krangcrustards.blogspot.com
Austin: More touring, more albums, more blood spit nights, more everything! We’ll do a more extensive tour when the new LP comes out.
Brendan: “Bad Moon” 12″ – Skull Fest – Split(s?) – Self-Destruction With A Gusto
Lord Krang: Record labels that are interested in helping us with our next 12″ (which is more than half way written) get in touch with us!!! It will be even more galloping, pist, and triumphant than our still available “Sounds of Death” 12″!
For those of you who don’t know DEADLY REIGN, Its time to get with the program! DEADLY REIGN is a 3 piece D-BEAT killing machine with a legendary line up comprised of members from GLYICNE MAX, DOGMA MUNDISTA, SCARRED FOR LIFE, WORLD BURNS TO DEATH, KEGCHARGE, CENTURY OF WAR AND TILL DEATH. These guys have been at it for a long time and don’t fuck around when it comes to bringing you punk rock authentic and true to its sound and with their new single released on PE entitled SLAVE! These guys don’t seem to be slowing down anytime soon. So let’s get to the brass tacks and see what these guys have been up to. (INTERVIEW BY DUTCH WELCH FROM KRIGBLAST)
PE: So what are your names, what do you play, and how did you guys come together?
(RAYGUNN) I MOVED TO AUSTIN AND RAN INTO GUERINOT AT HIS DAUGHTER’S BIRTHDAY PARTY. UNKNOWN TO ME, MY WIFE WAS AND STILL IS GOOD FRIENDS WITH HIS WIFE AT THE TIME AND HE AND I KNEW EACH OTHER FROM THE PAST WHEN OUR PREVIOUS BANDS HAD PLAYED TOGETHER. WE GOT TO TALKING AND DECIDED THAT WE SHOULD START A BAND. I SAID, WE JUST NEED A BASS PLAYER/SINGER, AND HE SAID HE HAD ONE. HE CALLED HIS FRIEND GUSHAMMER AND HE WAS INTO IT. THEY HAD BEEN WANTING TO START SOMETHING TOGETHER FOR A WHILE. AND EVENTUALLY WE GOT THE BALL ROLLING (OR SHOULD I SAY, THE BEERS FLOWING?).
PE: You guys have all been in some pretty kick ass bands in the past. who played in what?
RAYGUNN – GLYCINE MAX, DOGMA MUNDISTA, KONTRAKLASE, AND SCARRED FOR LIFE.
GUERINOT – WORLD BURNS TO DEATH, AND KEGCHARGE.
GUSHAMMER – CENTURY OF WAR, AND TILL DEATH.
PE: Who came up with the name Deadly Reign?
(RAYGUNN) I USED TO HANG OUT WITH A KICK ASS BAND IN THE EARLY 80’s CALLED BODY COUNT. THEY WERE AN EARLY D-BEAT STYLE OF BAND (BEFORE THE TERM D-BEAT WAS AROUND) AND THEY HAD A SONG CALLED DEADLY REIGN. SO I TOOK IT FROM THAT. (AND YES, I AM AWARE THAT THERE WAS A BAND CALLED DEADLY REIGN FROM NORTHERN CALIFORNIA BACK IN THE EARLY 80’s, BUT THAT IS NOT WHERE I GOT THE NAME FROM).
PE: The music of DR is furious, in your face politically and socially. Whats the motivation behind your song writing?
(RAYGUNN) MUSICALLY, WE JUST TRY TO WRITE MUSIC THAT WE LIKE. THE KIND OF STUFF WE WOULD LISTEN TO AT HOME. NOT SO MUCH TRYING TO BE ORIGINAL OR GROUND BREAKING. MORE OF JUST PLAYING THE HARD AGGRESIVE TYPE OF MUSIC THAT WE LIKE. WE GET IT ALL TOGETHER AND THEN GUSHAMMER WRITES SOME LYRICS.
(GUERINOT) I’VE ALWAYS SAID I CAN’T AND WON’T BE IN A BAND THAT I COULDN’T ALSO LISTEN TO. WHAT WOULD BE THE POINT OF PLAYING SHIT THAT YOU DON’T LIKE? WE AREN’T DOING THIS TO PLEASE OTHERS, JUST OURSELVES.
(GUS) SOME LYRICS HIT RIGHT TO THE POINT, RELIGION. IT’S FUCKING 2013 AND HERE WE ARE STILL DEALING WITH RELIGIOUS NONSENSE! PEOPLE THE WORLD OVER ARE BEING PERSECUTED, MISLEAD, AND OUT RIGHT SLAUGHTERED OVER RELIGION. RATHER IT’S CHRISTIANS, MUSLIMS, JEWS, OR WHATEVER FICTITIOUS BULLSHIT SECT THEY ARE IN. RELIGION IN ANY FORM IS UNCALLED FOR AND DANGEROUS! AND THIS COUNTRY USES IT TO PULL OFF SOME SERIOUSLY HEINOUS ACTS OF PURE AND UTTER VIOLENCE AND WAR. WE TOUCH ON THIS OF COURSE ON THIS RECORD, BUT MORE SPECIFICALLY IT’S DIRECTED TOWARD THE WORKING CLASS FOLKS AND THEIR DAILY STRUGGLE JUST TO PUT FOOD ON THE TABLE FOR THEIR FAMILIES. THE OLDER WE GET, THE SAME STRUGGLE REMAINS, EXCEPT NOW WE MUST NOT ONLY FIGHT TO FEED OURSELVES BUT FIRST FEED OUR CHILDREN AND LOVED ONES AND THEN WITH WHAT IS LEFT OVER, TAKE CARE OF OURSLEVES. SO WE CAN SLAVE ANOTHER DAY FOR A LESS THAN ACCEPTABLE WAGE. OVER THE YEARS I HAVE WATCHED OUR (PUNK) COMMUNITY OF FRIENDS WORK IN HORRIBLE CONDITIONS FOR SHIT WAGES WITH NO BENEFITS AND NO HOPE OF MOVING UPWARD IN THESE POSITIONS. AT THE END OF THE DAY THEY HAVE A SMALL CHECK THAT IS OVER TAXED AND A SORE ACHING BODY, THAT CONTINUES TO GET WORSE. “TELL ME IS THIS THE LIFE I’M FORCED TO LIVE TO PROVIDE FOR MY FAMILY?”…THE ANSWER IS NO! BUT NOT WITHOUT A FIGHT. WE HAVE TO CONTINUE TO POINT OUT THESE CONCERNS OVER AND OVER UNTIL THE POWERS THAT BE HAVE NO CHOICE BUT TO LISTEN.
PE: You guys did a split with HELLKRUSHER not to long ago entitled Continuous Warfare. How did this collaboration come about?
(RAYGUNN) I HAVE KNOWN SCOTTY (HELLKRUSHER) SINCE THE MID 80’s WHEN HE WAS IN HELLBASTARD, AND I WAS IN GLYCINE MAX. WE USED TO BE PEN PALS, AND WOULD SEND EACH OTHER TAPES OF OUR BANDS, AND OUR FRIENDS BANDS. WE EVENTUALLY LOST TOUCH WITH EACH OTHER AND THEN YEARS LATER FOUND EACHOTHER VIA THE INTERNET. I SENT HIM SOME DEADLY REIGN AND HE LIKED IT. AND WE DECIDED TO DO SOMETHING TOGETHER.
PE: You guys all have family’s now and continue to tour, play shows, practice, record and work. How has DIY punk changed in your lives and how do you make it work?
(GUERINOT) WELL, I HAVE TWO DAUGHTERS BUT HAVING AN UNDERSTANDING AND SUPPORTIVE PARTNER IS KEY. HAVING KIDS IS ONE OF THE BEST THINGS I CAN POSSIBLY IMAGINE SO IN MY OPINION, THEY COME FIRST. WORKING AROUND THEM AND WORK IS USALLY PRETTY EASY. LATELY IT HAS BEEN A BIT MORE DIFFICULT BUT TRYING TO WORK OUT THE KINKS IN A SITUATION AND PUT PIECES BACK TOGETHER IS PART OF THE PROCESS.
PE: The new single from Profane Existence entitled SLAVE, what can we expect and do you have any future releases coming out?
(RAYGUNN) IT’S A LITTLE DIFFERENT THAN OUR LAST TWO RECORDS, BUT STILL THE DEADLY REIGN STYLE. NEXT WE WILL BE WRITING FOR A SPLIT 12″ WITH OUR FRIENDS KONTRASEKT.
PE: Closing comments, any last words?
THANKS TO ALL OF OUR FRIENDS THE WORLD OVER. YOU KNOW WHO YOU ARE. ALSO, THANKS FOR THE INTERVIEW. AND BE SURE TO PICK UP THE NEW DEADLY REIGN ‘SLAVE’ EP ON PROFANE EXISTENCE! AS WELL AS OUR LP AND THE SPLIT WITH HELLKRUSHER. ALSO, WE WOULD LOVE TO GO TO EUROPE SOMEDAY, IF ANYONE OVER THERE WOULD LIKE TO HELP OUR BROKE ASSES OUT. HAHA! CHEERS – DEADLY REIGN
WARTORN are a whirlwind of thrash punk goodness hailing from Wisconsin. Since 2004, they’ve been hitting the touring and record release circuit with no looking back. Here’s a quick interview I did to let people know about their two latest releases, Domestic Terrorist 7″ (Profane Existence) & Iconic Nightmare 12″ (Southern Lord). – Andy Leffer
(This interview also appears in CVLT NATION)
PE: You know the drill, just give us the basics on who’s who and what’s changed in the past, in regards to any line up changes, etc. Also, give us some insight on where WARTORN is going. We want to know tours, records, riots, protests, arrests….the whole back story on WARTORN’s origins.
Bitty: (Vocals) The band started in 2004, with Ryan, Hart (on drums) and myself as a three-piece. Within half a year I got a call with an offer for our first tour, which was with Municipal Waste. We did a mini tour with them and ever since then we have been able to go on tours with amazing bands each year such as Los Dolares, ATU, CYP, Krang, In Defence, Pyroklast, Hellshock, and up next Raw Power . We have been to 13 countries and have done lots of releases on many different labels.
Ryan: guitar / low vocals / whiskey enthusiast. Well we started as a 3-piece and over a span of over 8 years, have ended up with 6 members. With 3 of us being guitar players we are able to diversify our songs in ways that we could only do in a studio setting. This obviously makes a difference live as well.
Ela: I’ve been the bass player for over the last 6 years. Recently, we came out with an LP/CD on Southern Lord Records called “Iconic Nightmare” and a 7-inch, “Domestic Terrorist”, released on Profane Existence (which is part of their limited edition singles series).
Toban: (Guitar) I think I might have the most arrests out of anyone in the band. Not like its anything to brag about. I did narrowly avoid another arrest a few weeks ago.
Derek: Guitar as well. I’ve been in the band for a few months and have been on two tours so far.
PE: The music is dynamic, to say the least. You’re not getting any half-assed riffs or mindlessly thrown together lyrics or production with your music. Elaborate on the process and what is the driving force for doing such a band. Punk is a political movement, it’s always been a political movement. Are you a part of this fray as a whole, or is this more of a personal, therapeutic outlet?
Ryan: I definitely believe in the power of the riff. Heavy and raging. Punk is a political movement, but I also see it as a community (full of musicians, artists, writers, photographers, open thinkers etc). A lot of us live/ have lived in punk houses and have been booking DIY shows for years. It’s something we do to contribute to it as a whole.
Toban: Ryan is the riff-master general of the band. He does a great job of coming up with some of the most incredible riffs of anyone I’ve been in a band with. Adding Bitty’s smartly composed lyrics and Hart’s hard hitting/tight drum style makes a great concoction.
Bitty: As far as what I write lyrically, I mainly write about personal experiences or historical events. I don’t tell people what they need to think, that is for them to figure out on their own. Also, I could not label myself as more than a realist and a situationalist.
Ela: Well in my opinion, I would say that we are a part of this as a whole, but it also is a personal outlet for me. We have all contributed to the movement in one way or another, but I think of punk as more than just a political movement. For me it is also about a unified community… where people come together, whether it is for political reasons, to share a passion for music, a hobby, art, etc. … and we definitely have that in Appleton, which is awesome.
Hart: I honestly wouldn’t say punk’s always been a political movement at all. The fact that DK, Meatmen, and the Germs, for example, all existed during one heyday suggests more of a harsh musical and broad social changeover than anything to me. For me personally, punk rock, metal and hardcore have always been a therapeutic and vindicating way of life that has consistently solved a lot of my life’s most harrowing, fucked-up times. It had a total bottleneck effect on how I raised myself mentally and emotionally. It was a really great thing to find out about when I was trying to figure out how to express myself when everything just infuriated or bored the shit out of me. Later, after I was free as an adult, I quickly found out it came replete with its own sense of community, and a totally viscous following I was never aware existed at all. This band is fucking great, cause we never throw a blind rhetorical blanket over our lyrical ideals, or even necessarily our instrumentation for that matter. We have a rough format that we’ve stuck to, but we all come from slightly different scenes and upbringings, and I’ve always thought it showed at least a little in our styles. I honestly don’t think the excitement of being in this band has worn off for any of us. Sure, growing pains have slowed our progress a couple of times, but whenever the next lightbulb goes on over our heads, it’s all go no slow!
Derek: For me, this is definitely a personal outlet. That’s what music has always been for me. Being the young’n metalhead in the group, I’ve kind of just been exposed to the world of punk houses and DIY shows recently. From what I’ve gathered so far I can at least say that the sense of community is beautiful.
PE: Your latest singles release on Profane Existence “Domestic Terrorist”. There’s no beating around the bush on this subject matter. Once again, can you elaborate on this specific release and the intention behind the subject?
Bitty: There have been a few times where I had local law enforcement “protect and serve” the shit out of me. As a kid in the 80’s from a small hometown, I’ve had guns in my face from the cops, hammers pulled back and screaming in my face. I have also had an off-duty cop put a gun in my face and ask me if I thought it was funny while he was wasted. You know of all the times I was ever robbed or assaulted, at least I knew if I fought back I stood a chance; I even survived an attempted homicide! But, it’s not so easy when you have to fight back against law enforcement. They just beat your ass and lock you up, even if they are totally in the wrong. I’ve witnessed so much personal corruption; to me it seems to be an extension of an abuse of absolute power. Now that, to me, strikes terror in any citizen.
PE: Bitty, you’re straight edge…maybe not self-proclaimed, but you don’t consume drugs or alcohol. Considering the genre of punk and it’s history of abuse with these elements, has this hindered your views on the movement?
Hart: Total interjection here! Dude, Bitty’s optimism actually astounds me. He’s seen more friends either die or completely lose their vitality as humans due to drug and alcohol use than I’d like to ponder. He’s remained pretty fucking pragmatic in his attitude toward his friends’ choices in that sense. I myself get pretty fed-up at times about my own friend’s use of drugs, especially certain ones. I’ve had plenty problems controlling my drinking in the past. I do believe I have a fairly good idea these days of when to dry out, but it can pull me into a real bad place. I start questioning what even matters anymore, and I start fighting everything that means the most to me. However, that’s where that community comes in again! I’m learning to seek out the right punks or no one at all when the time feels right, and I’ve been keeping up on it for a while now.
Bitty: Not at all. You don’t need to be like me in order for me to like you. The real moment that reinforced my decision was when I came home to a friend that lived with me and I found him in a pool of his own blood. He had tried to cut his hand off with a butcher knife while he was completely wasted and ended up with more stiches then an average shark attack. It really put a bad taste in my mouth about how substances can amplify bad decision-making skills. Although I am aware that most just use it to have a good time, truth be told, I just didn’t like it. It wasn’t my thing. But as long as you’re not hurting me or others in any way shape or form it’s your deal not mine. This is just a suggestion, have fun and do what you need to do to deal with things or get by, but try not to destroy yourself in the process. You might end up missing out on some good things in life.
PE: WARTORN is a great band, so with that….does WARTORN have anything they’d like to say to the world, it’s listeners or the masses in general?
Toban: In the words of country music legend Kris Kristofferson “Don’t let the bastards get you down”. Ryan: Thanks for the interview.
Ela: Thanks for all the support. We can’t wait to hit the road and tear it up again in a couple months!
Derek: May the force be with you. But seriously, I can’t wait to hit the road and I hope to see everyone reading this there.
Hart: As always, start 4 bands tomorrow and eat your fiber!
Bitty: Thanks for the interview Andy and everyone that helped us out and we’ll see you on the road. If you’d like to help us out with booking or have any questions, feel free to write us at email@example.com.
For the last few years I have been giving workshops to activists on prisoner support for movement prisoners. I believe strongly that we have an obligation to do support for people who have been imprisoned for their involvement and dedication to creating positive change in this fucked up world. Why should anyone risk their freedom if we are not going to support our prisoners who get punished by the state for taking actions that need to be taken?
People often tell me they would like to write to prisoners but that they don’t know what to say and are afraid of making mistakes. The reality is it is super simple, so in hopes of stopping any more excuses and persuading you to pick up the pen I figured I would outline the very few things you will want to avoid if writing to an inmate.
# 1 – Don’t Make Promises You Can’t Keep
Everyone hates waiting for a friend that doesn’t show up to meet you, or being stood up by that cute boy who promised he would call after last night. Well for people locked up behind bars, it is far worse because you may be the only contact they have to the outside world; so if you don’t follow through they become even more isolated. You may have great intentions when you write someone, so promising to write them every week or send them every book by Ursula K Le Guin seems like a sweet thing to do, but when you don’t come through you are not only failing a friend, you are also reinforcing those prison bars and the isolation they are designed to create. You would be far better off to just not promise them anything in the first place. That way when you send them a letter, it is like a lovely surprise that will brighten their day, rather than waiting for something that is never coming. Those Ursula Le Guin books then becomes Gifts, rather than making them feel Dispossessed. The short of it is, only make promises to prisoner IF you know for sure you can live up to them, and if you promise something you must follow through.
# 2 –Don’t Complain – Stay Posi
The point of writing someone inside is to help them feel connected, to help them escape; if not literally them metaphorically (If you try to hide a file in your letter it will get confiscated and the prisoner will get in shit for it). Remember why you are writing. We all have shitty days, and often want someone to wine about it to who will listen, but no matter how long you had to stand in line at the bank or be put on hold by your cell phone company – it will never compare to how much time a prisoner spends waiting in lines. Send your complaints to the editor, not the prisoner. A prisoner doesn’t want to hear about your shitty day and petty drama that they can’t effect; they would likely much rather hear about the awesome dog you played with, the rally you went to, the great book you just read, or the cute baby who beat your ass at chess yesterday. Hell, if you can’t think of anything to write, draw them a picture or cut out some photos of wildlife or cute kitties from a magazine. Some folks also love crosswords or sudokus.
# 3 – Don’t Say Stupid Shit
Maybe that sounds too obvious, but let me explain. Every letter you write to a prisoner is going to likely be read, and especially if you are using email through prisoner correspondence sites like Corrlinks which are recorded and copies are kept. So if you decide to tell Ted Kazcinski you think he is a hottie so your going to make bombs to send to people he doesn’t like, not only will you likely get raided by the FBI, but he will also end up in the hole. Yup, prisons read your letters for a reason, and if you say anything about illegal shit you are involved in or people you know are involved in, the prisoner will get punished for it and it could even be used against them in later court dates. I know this might sound like common sense and thus not need to be stated, but lets be honest here – common sense is anything but common.
# 4 Don’t Be a Creepy
I remember when my friend Kelly went to jail for G20 bullshit, she started getting these letters from some fucking creep hitting on her and telling her she was hot (from the photos the media was using of her from the riot). THIS IS NOT OK. It is not OK to be a creep, whether it is hitting on the cashier at the grocery store who is paid to smile and be pleasant, the waitress at the caffe who needs her paycheck and tips, or in this case, a prisoner. These folks are literally a captive audience unable to smack the fuck out of creeps who deserve it do to their situation. So even if you do think old Uncle Ted is the bomb, keep it to yourself. Sending a letter with uninvited sexual content is like sending them an emotional letter bomb.
If you are truly intent on having that type of correspondence with a prisoner to fulfill some sexual kink that turns you on, OK; there are actually websites for prisoners looking for a flirty pen pal or relationship. In the end it is about consent; if they want that type of contact, let them seek it out. Don’t harass prisoners who are not asking for you to objectify them while they are locked up.
# 5 – Have No Expectations
I started writing to prisoners a few years back now, and I have been lucky to get a few really good pen pals out of it, and to form real friendships that I believe will outlast their prison sentences. I have had prisoners send me artwork, poetry they wrote, books they wrote while inside and of course many letters. However I have also written many letters to which I have never seen a reply – and that is totally OK. The reality is that prisoners have far less access to resources than we do. Even if you are poor as fuck like me, and run out of money every month, or work some minimum wage shit job, you will have far more money than most prisoners. In the colonial nation state that calls itself “Canada”, an average prisoner makes around $2-$3 a day… Yes, you read that right, per day, not per hour. Unlike prisoners south of that imaginary colonial line, all stationary, toiletries, and personal care items must be purchased using what the prison labels “earned income.” What this means is that for a prisoner to write you a letter they must use their prison wages to buy the paper, pen, envelope, and stamp; at whatever price the prison canteen sets for these items since there is not competing businesses inside a prison. On top of that, time might seem like something a prisoner would seem to have an endless supply of, but really from people I have known who served ‘time’, it doesn’t seem to feel that way when you are on the inside. So what I am saying here is when you write a letter to a prisoner, have no expectations. Teat it like you are sending your words on the wings of angels, and if you do get a reply, remember how much that person had to give up in order to return your correspondence. Often many of us tend to take our relationships for granted, you simply can not do that with someone who is a captive of the state.
Beyond that remember the basics, your letter will need to have a return address (I often write my return address on each page in case the prison decides to fuck with them by “loosing” a page, It is also a good practice to number your pages for this reason), as well as the prisoners legal name (and number in the US) needs to be on the letter. Don’t put stickers, stamps, perfume, glue or glitter, on the pages or the prison may confiscate the letter or deny it. A less obvious one is that most prisons do not allow you to send blank paper, art supplies, or extra envelopes or stamps – demanding instead that the prisoner purchases those from the prison itself.
Prisoner support used to one of the main issues in the punk activist community, but over the last decade prisoner support seems to have been somewhat overlooked in punk. As I stroll through our feed on social media outlets, I see plenty of comments and photos showing support for those out on the streets marching against police brutality. That’s great! …But our support cannot end there. The United States has the largest prison population on the planet. People are being incarcerated everyday. Those on the inside need our support.
PROFANE EXISTENCE has always been on the forefront of letter writing campaigns and getting issues of PE to those locked up behind bars. Last week we received our first letter to the new address in WV from someone on the inside. Getting letters like this is a mixed feeling. On one hand you are happy to receive it, to write the person back and to hopefully give them something to look forward to. On the other hand, it’s a grim reminder of the disgusting prison system that locks people up like animals; separating them from the outside world, from friends and from loved ones… Always knowing that it could easily be you in their shoes.
Although the PE zine hasn’t been as active in recent years, we plan on resurrecting it in 2015 and it will remain free to prisoners. In the meantime we have plenty of copies of old issues lying around that are free to prisoners and we are always happy to write a letter. If you or someone you know is on the inside and want some issues of PE or just a punk to correspond with, please write us at either our WV or CO address. We have a long list of volunteers that are happy to contribute to writing campaigns and would love to hear from you
Love and Support.
The Profane Existence Collective 2014
PO Box 647
8793 West Colfax Ave
Crass has such an established legacy within punk, anarchist, artistic, and radical circles that it seems somewhat absurd for me to keep asking questions about them. Yet, whenever I think I have a firm grasp upon the thoughts, actions, and art of the people involved in Crass, my grip is weakened by their defiance of expectations, nuance of complexity in their continuing work, and their adamant refusal of labels. Perhaps this is their greatest gift to us, i.e. their constant shaping of straight lines into question marks and their insistence on holding up a non-forgiving mirror not only to themselves but also to all of us. In some ways, Crass therefore has a philosophical position not too dissimilar from Socrates, that is, they are somewhat like sand in that the firmer a grasp you think you have on them and their thoughts and art, the more they slip through your fingers. The very debate surrounding the re-mastering and re-issuing of the six Crass LPs is a case in point on the open discussion they continue to inspire. Whether you are a purist expecting these artists to live up to your idea of anarchy and not “sell out” or a sympathetic consumer hopeful the re-masters will somehow reach new audiences that other formats might not, they have at the very least evicted a reaction from the mainstream and punk rockers alike (inspiring love and adoration from anarcho/crust followers who will never again have as inspirational an example as Crass, as well as visceral dislike, criticism, or even hatred from the likes of the Exploited and Special Duties).
And so, we can continue to discuss and debate what Crass is and was. Central to this is the question, what did Crass write? Did they perform poetry? Punk rock? Noise/free jazz? Pop songs? Political manifestos? One thing seems certain, that Crass wrote, performed, and recorded what they wanted to, regardless of whether it would meet punks’ approval, or have the slightest measure of convention, accessibility, and least of all marketability. Yet, there is a relatable aura of authenticity surrounding Crass that punk audiences did (and continue to) relate to, even when they themselves were the target of Crass critique. At one point, they were outselling the top acts in Britain, all from their country home, utilizing only independent and D.I.Y. networks. And if you doubt it, you were (and still are) welcome to write or visit to discuss with the actual artists. They have nothing to hide, for they live according to their principles and pleasures.
If we take them at their word, and in this case I believe we should, Crass wrote love songs, though as aesthetically far from the doo-wop and bubblegum sounds that label is so often associated with. In their first experiment in long-form free-jazz/punk Yes Sir, I Will, Crass addresses the precise question of what they are and what they sing about. Outraged by the question of “why don’t you write love songs,” Libertine shouts, “Everything we write is a love song.” In other words, on a record focused on anti-war messages, love for the lives destroyed by war and love for those who might be saved by peace is the guiding inspiration. Ultimately the anger and passion contained within their art was done out of love for the people and goodness within the world, as well as the hopeful love of a future world and a pure freedom. This love, however, must be unconditional, and the aphorism from Penny’s print (from Exitstencil Press) of “Love is All or Love is Not at All” was clearly the guiding light for the 2014 version of Yes Sir.
On the centennial year of World War I, Penny Rimbaud and Eve Libertine assembled a group of diversely talented musicians to perform Penny’s revision of the “Yes Sir” poem. This was only to be performed once (as are all improvisations), at the annual Rebellion festival in Blackpool. Though Crass itself never performed in commercial venues, this ensemble performed at the largest punk festival in Britain (and one of the largest in the world). Of course such a large performance carries certain risks regarding sound as well as audience reception. To heighten expectations and excitement, this performance inaugurated this year’s Rebellion festival, as it had the opening slot in the Empress Ballroom on Thursday afternoon. The performers walked out onto a solemnly lit stage to the sound of your typical applause, heckling, and hoots-n-hollers. Penny grasped his microphone and said, “We’d like to dedicate this set to all those who have died, are dying, and will continue to die in the killing fields of political and corporate madness. And blessings to the people of Gaza.” Immediately following this dedication, much to my (and I suspect others’) surprise, the band launched into the opening chords of the Who’s “My Generation,” setting the stage for a recollection and rumination on the punk generation or so-called ‘punk movement.’ This would prove to not be the last of their musical departures from the three-chord, fast-paced accepted punk formula.
This version of Yes Sir, I Will was not a simple rehashing of the 1983 Crass record. No, this was both a re-writing and a re-imagining in word and sound. Some of the original “Yes Sir” shined through, such as Penny’s beautiful and Beatlesesque “what did you know, what did you care?” though sung in this live performance in a lower register than the original record, providing a melodic, almost lullaby-like reprieve from the sonic tidal wave that was occupying the ballroom. Eve Libertine also brought in the classic Crass “Fight war not wars,” “everything we write is a love song,” “if there were no butchers, what would people eat?” sections originating not only in the 1983 Yes Sir but also from Crass material spanning their entire recording career. Pen’s “Acts of Love” also shined in at times, most especially in the opening verses. Yet, despite these aspects of original, older work, the Rebellion performance definitely added components of 21st century culture and technology.
For instance, a particularly poignant moment in the performance was when Penny declared that while people are starving in the world, too many of us are “tapping tittle tattle texts” and “sending selfies to ever-absent friends” at which point the music ceased and the performers all took phones out of their pockets. “Hello? Where are you? Hello? No, I can’t talk now.” This was a brilliant display of the distracting, self-absorbed, and rude qualities that mobile technologies have disseminated. There were also moments of reflection upon Pen’s lifetime, ranging from references to the Beatles, to engagement with punk rock, to critiques of Hollywood, media, and war.
To those who were there, it should come as no surprise that Pen would describe the sound as inspired by a “Zappa meets Coltrane” space. There were no breaks here in the long-form improvisation. And in addition to the typical rock instrumentation of drums, bass, and guitar (though I don’t mean to belittle these musicians as typical, as they were far beyond that), there was also a wonderful jazz sensibility and complexity added by saxophone and cello. Sonic registers typically associated with punk spaces? No!…and therefore all the more shocking and powerful. Also incredibly important to the success of this performance was the visual aspect. The contrast between Penny moving, jumping, and marching around the stage and Eve solemn entrapment at the microphone provided a visual stimulus that nicely complemented the sonic aesthetic.
Behind the musicians flickered brilliant images by Gee Vaucher, fluctuating seamlessly between beauty and innocence, to death and violence. These images nicely complemented Penny’s and Eve’s cries for us to take responsibility, for us to look beyond mere negative blaming and start looking toward positive action. Pen later told me that when you point your finger to blame someone/anyone, you should really be looking into a mirror, “the responsibility is ours.” I therefore like to think of Yes Sir, I Will in its new incarnation as an invitation to self-reflect, both for punks and everyone else. We are invited into a discussion about what authority means, who is deserving of blame, and what we want to do. After roughly 45 minutes, the jam came to an end, and the performers left the stage to loud applause. We had all been on a journey of sound and ideas quite unlike anything else that would grace the stage at Rebellion for the rest of the weekend.
Is this punk rock? In that it defies expectations of a listening audience, yes. In that there is a radical political message prompting not complacent agreement but active engagement, yes. In that it was performed by three members of punk’s most important band, yes. However, the most encompassing answer I can offer (and one that I would like to think Pen, Bronwyn, and Gee would agree with) to the question of ‘is this punk rock’ is who cares. Why is it important that we classify art and thought? It simply is, and if that means that some punk rockers may not accept it, so be it for it shall be their lost opportunity at reflection, experience, and perhaps even love. They have challenged us to embrace the “fuck you” to institutions of power and murder, but also to eventually move beyond this visceral anger towards a state of universal, unconditional love. I know the new script will be widely disseminated eventually, and I hope we are all open enough to encounter it and truly grapple with the ideas and invitation therein.
For those of you who didn’t know, Doomed Society is a weekly(ish) punk podcast that appears every Sunday on Brutal Existence Radio. But before I got involved with Brutal Existence, Doomed Society was a part of the Profane Existence Radio podcast family. I had pitched the idea to Dan and Jeremy, and they graciously let me unleash my show on unsuspecting ears. I guess being a columnist and reviewer gave me an “in”.
Well, fast forward five years, and I’ve finally made it to episode 100. Given that a whole shitload of exciting changes have happened within PE in the last few weeks, I decided that it would be a great idea to dedicate this milestone episode to the folks who helped me start on this road to podcasting glory: Profane Existence Records.
That’s right – I have a two hour block of political punk from the label that meant so much to me growing up, and still means so much to me to this day. I’ve started with ancient releases from 25 years ago, and concluded with newer future classics. As usual, I haven’t been able to fit in everything I wanted to play… so you can expect a bonus episode in the future.
I’ve organized the show chronologically. And I’ve mixed legendary bands with less-known bands. It’s all punk, it’s all awesome.
In this latest of the posts spotlighting those in our community who are into actively pursuing healthy lifestyles I am happy to bring you a conversation with Comrade Black. Many know that Black is a prolific poster on PE, is actively devoted to animal rights and politically aware. I am happy to bring you Black’s story about fitness and health.
I’ve read that you were into martial arts as a young person, has fitness always been important to you? Or has dedication to physical activity been a more recent occurrence?
Physical fitness has been a big part of my life at some points and not at others. Kinda had an on again off again relationship with fitness for many years to be honest.
I started Judo at 11, in large because I was picked on growing up because I was so small in a town known for sports and jocks (the sign on the way into town actually reads “Western Canada’s Biggest Little Sports Center”). I wanted to be able to defend myself. Turned out Judo wasn’t that useful for that, but once I started I loved it. I competed in tournaments across Saskatewan, and won a few silver and bronze metals. I even went to Judo camp at 15 yrs old where I was lucky enough to train with people like Sensie Hiroshi Nakamura and Ralf Ibanez.
Also when I was really young I was a geeky kid and was super into professional wrestling, and super hero comic books; so I always wanted to be huge and built and strong. I convinced my mom to buy me weights from an auction sale when I was around 11 years old and for a few years I lifted as much as I could. I didn’t really know what I was doing as I had no training but I would read bodybuilding magazines and try to make sense of it. I did get pretty strong, I could almost do an iron cross on the rings when I was in gymnastics in about grade 8, and for a lot of years the only reason I passed gym class each year was gymnastics, weightlifting, and the ne or 2 years we did Olympic style wrestling. Years of Judo helped me with all of those.
I did judo and weight lifting until I was about 16 and started getting to much into traveling and drinking, and left town to live on the streets. When I was around 20 II spent about two taking Muay Thai kickboxing, and submission grappling and later took Jujitsu. After that I ended up back on the streets again. I have also taken a small amount of Ninjitsu here and there.
It has been an on again off again thing throughout those years; but what’s different now is that I really fucked my body up from all of it, so now paying attention to health isn’t an option – it’s fucking necessary just for me to be able to function day to day. If I don’t eat well, sleep well, and keep fit I deal with more pain.
There is a story we never hear. It is the story of the wealthy developer who procures a piece of land to build on, and then upon finding out the land is sacred to local Indigenous people and has heritage sites on it, chooses to not build go ahead with construction. Instead the developer chooses one of many other paths open to them, they try to find other ways to get money back out of their investment or perhaps they go after the previous land owner for not disclosing this information previous to sale. Or maybe they even try to find ways to return at least a portion of that land to the Indigenous.
Yesterday I sat in on the Grace Islet injunction hearing; where an injunction was being sought by a wealthy land owner named Barry Slawsky against protesters – specifically Indigenous people – from being allowed near the site where he is constructing his dream home on top of a native burial ground.
I find that nearly every time discussion comes up about this conflict; someone (generally a white person) will inevitably make a joke that the developer clearly has never read a Steven King novel or watched a horror movie. For the most part I find the joke seems rather tasteless and insulting given that it is easy to joke about for people with nothing at stake, but if it was their own families graves they wouldn’t likely be making bad jokes about it. Yet there is a reason why these classic stories have become such a genre cliché; and the reason is simply because there is such a long history of rich people metaphorically shitting on the sacred sites of Indigenous people. If developers didn’t so routinely say “fuck the Indians,” King and others wouldn’t have made a career out of stories involving people getting terrorized by ghosts for doing precisely that. Perhaps those books should be through of more as wishful thinking…? Or perhaps it’s time to write a new story?
Yet todays court proceedings had more parallels to fiction and TV dramas. The lawyer for Barry Slawsky lived up to every negative stereotype of a lawyer in court today. He came off as utterly despicable, slimy, and dishonest. He was such a caricature he seemed almost like a real life version of the blue haired lawyer often seen representing Mr Burns on The Simpson’s.
His tone was repeatedly condescending, his arguments were colonial and racist, and on a number of occasions he was accused of presenting his speculations as accepted facts. He began by trying to undermine any claims to Aboriginal Title or Treaty Rights and asserting it was simply a case of private property rights and trespass. He was also caught for misrepresenting his own evidence at least once, and on another occasion for trying to cite as evidence a media article quoting unnamed people who were claiming the Cheif’s said something, as proof. In the end he even tried to accuse the judge of bias because the judge lives on Salt Spring Island, where the protests have been taking place. At another point, he claimed that the entire defense was a red herring because if they were trying to stop damage to the burial site – and damage meant work being done – it was a mute point cause the work had already been started. but the one that really got me was when he tried to claim the injunction was necessary for the protection and safety of the protesters who might get hurt…. Yet he was also exceptionally dull to listen to, to the point that I saw two people sitting near me fall asleep. The defense council were far better orators and had a strong case that more time was needed as they presented numerous thick affidavits that had just been filed or were still coming in.
In the end, the judge ruled in favor of adjournment; that the defendants (which included 2 First Nation Cheif’s amongst others) would have 4 weeks to prepare arguments before the injunction hearing moves forward. Many people including myself will be watching to see what comes of this. I am by no means an expert of any sort in the matters of law, nor in the traditions and practices of any of the local indigenous peoples, I presume from my limited knowledge of other supreme court cases that this will be a long and drawn out process, and todays court hearing will be one of many. I also would presume this won’t be the last of the protests, which I hope will continue until work is permanently stopped. It is an interesting time though, with recent court rulings that acknowledge the land as being stolen and sovereignty never having been extinguished which may influence the outcome of this case. While I remain cynical that a court system of a state built on stolen native lands and a history of genocide and ongoing colonization will suddenly rule in favor of Indigenous lands rather than capitalist development; It is only my hope that we as a society can choose to write a different story than the cliché ones we have been enacting for so long.
These are just my observations as an interested and concerned outsider. If you want to learn more about this conflict, the court case, the lands it is taking place on or the history, I highly suggest checking out the Grace Islet facebook page where the people organizing to stop this shit have been posting updates. I am sure that they will be needing support, which can come in many ways
An in depth look at the events that unfolded in Ferguson, Missouri following the police murder of Michael Brown, a black teenager. Also features an exclusive interview with former Black Panther, Ashanti Alston, about the state of black “America”, abolishing penile power and taking care of your peeps in the muthafuckin resistance.
I could write a brilliant (or lame) essay on following your dreams and passions and all that shit but I am going to cut to the chase. We opened a fucking record store!!! Or as Toxic Bill put it “you’re the only one opening a record store in 2014”.
This has been in the works most of my adult life you could say. I have stock piled records and collectibles forever. I’ve done different distros, organized record swaps and run online stores. I even worked in a record store for a brief spell in the early 90’s. None of that compares to how cool a real brick and mortar store front is.
The earliest emails I had related to opening a store dated back to 2007. I started gathering info and getting somewhat serious way back then. But it was really after our trip to play at OC Cruststock this spring that the whole plan solidified and things took off. The timing was right.
We hit a few notable record stores on our trip including Radiation Records and TKO as well as others and that seems to be what really sparked the idea in my partner Val’s head. As soon as we got back he said we needed to open a record store I said okay for the hell-of-it and before I knew it he was sending me links to real estate sites to look at locations.
Denver is taking off due to legal marijuana and that has a positive impact on almost all businesses. People are moving here in droves and looking for new business ventures. That sucks though if you are trying to rent a spot and have a disdain for “hipsters”.
By total luck I found a spot closer to the end of town we both live on and far away from the hipster hangouts of South Broadway. Nestled in one of the oldest retail buildings in Lakewood Colorado was a little tiny hole in the wall spot. It neighbored a tattoo shop, a rehearsal studio for bands and an electronic cigarette store. It was perfect! Val reached out to the landlord and the next thing I knew I was standing in the storefront spinning a business plan off the top of my head to convince the landlord we knew what we were doing.
Shit! We had a storefront and no business plan or model. I got busy in excel and drafted up some quick models that almost brought a tear to my eye. The rent was so low at this location that the numbers just fell right into place! I couldn’t believe it! Two weeks later we were open.
This is for the punx by the punx. We kept our other jobs, the store doesn’t have to support us. With that we are able to keep our margins tight to deliver the best possible prices while being able to pay our bills and reinvest in the store. We try to skip distributors and go right to the labels and bands wherever possible. Why buy it from Relapse if I can get it right from the guy running the label? Everyone tells us our prices are incredible and seem genuinely happy with what we have created and offered to the scene. My brother Justin stepped in to give a few days of his week and with him, Val and me we cover most of the hours. When we need a break our good friend Wiley has stepped in to help us out too.
We have a huge selection of punk and metal everything. CDs, LPs, 7”s, cassettes, necklaces, pins, patches, shirts, hats, books, whatever. We have candles, incense, ash catchers, boxes, grinders, all kinds of shit! …We want the place to be a hang out and create some sense of community so we put in a sofa, a checkers/chess table and a pinball machine. Its themed after the Chicago fire and is a blast to play, its from 1987. It gets a lot of use but think most of the quarters in there are from my son which means they are from my wallet.
So far Sundays seem like they are the hangout day, maybe because it’s also the big hangover day. Its great to see groups of friends run into each other and spend some time swapping stories of bands, records and shows.
That’s about it. If you find yourself in the Denver area stop in and say “hi”. Again the selection is vast covering all spectrums of the metal and punk worlds; there is something for just about everyone. One dude came and said his son was into zombies and even more into military equipment and killing zombies. We just happened to have some zombie hunter stickers and some tactical pocket knives on hand. Bam! Problem solved! Zombies dead!
Every release Greece’s Hellstorm have done are complete blinders. I play their split with Last Legion Alive on a regular basis. This their forth release is equally as good. Greece certainly has produced spectacular dark hardcore/crust bands throughout the years, most namely Hibernation, Negative Stance, Forgotten Prophecy, Chaotic End, Ρήγμα and now more recent bands like Conspiracy Of Denial, Sarabante and Hellstorm.
This 7″ released by 7inch Distro in Greece consists of two tracks. The first track ‘Encaged in Darkness’ has that gravel growl, roaring over downtuned d-beat riffs and is just seething with hatred. The second track ‘Future Ruins’ after about a minute into it has a fantastic crusty type palm muting rhythm which bands like Hellshock do so well, all accompanied by death metal style pickings. If you have a love of dark apocalyptic crusty musick with death metal aesthetics this is a pure anthem.
Now this is a really decent split tape release by two South American bands, Ruinas from Buenos Aires and Avitacion 101 from Uruguay. First off Ruinas have come on in leaps and bounds since their five song demo in 2013. They have a new singer Rocio and now also have a much bigger but more refined sound. There is a big influence in their sound from bands such as Agrimonia, Morne, Stormcrow etc. They plod along at a nice bass heavy pace that keeps the tension raised. The guitarist Seba was good enough to translate the lyrics for me which I think are very clever and express the bleak advances of industrial society, but still remain very imaginative and poetic. Definitely a band to check out.
Avitacion 101 from Uruguay started in 2010. And in the same year released an eight song demo tape, helped by some labels from South America. Since then they have released a split tape with Wild Dogs from Spain, another split with Zat from Argentina, some songs for a prisoners benefit compilation. And in 2013, a split with Beatriz Carnicero from Uruguay. Avitacion 101 play stop start jolty type of riffs reminiscent to me of bands like Spitboy or maybe Fugazi. Not that the band sound like either of those bands really but apply those more adventurous song structures, along with that combination of passionate catchy melodies with angry guitar-led hardcore, very intense.