Subject To Change...
Remember the past without any regret - You're subject to change but never forget
My Own Mind
I’ve had so many random things racing through my brain lately - there are days when I have to actively fight the urge to use this here shitstack as a running list of random thoughts which I just blast into your email inbox rapid fire, so be thankful for my own sense of discipline. Today is not a disciplined day so here’s some nonsense before we get to the record reviews:
Saw Invertebrates, Yambag, The Hell, Arrogants at a not-so-secret-but-secret warehouse spot over the weekend - every band was amazing. Every-fucking-band. The singer of Invertebrates (Max) commented before they started about how just unreal and special the current scene in Richmond is and how people shouldn’t take it for granted and I really couldn’t agree more - the wealth of talent, support, and just size of the scene across all weirdo, outsider, subgenres of punk/hardcore/metal/etc is just unreal. It is really a beautiful thing, it is the stuff of future punk rock legends, and the only thing I hate about it is the jealousy I have of people in their 20s being able to fully immerse themselves in it in a manner my nearly 50 years can’t.
Fashion thoughts: I wish punks wore more color and dressed more like clowns, or disheveled members of the Manson family or just like nerds - don’t get me totally wrong, I’m into how you go to shows and people look really consciously cool, dressed in black, studded and spiked out but some days I miss the pre-internet days where people basically looked like schlubs. Or maniacs. Or maniac schlubs.
One day I’m gonna write a long thing about the guitar tones I find to be the best and/or perfect - this will be the correct list and all other opinions will be null and void from that time onward. In the interim, while I’m finalizing this list, the leading contender is Neil Young’s distorted to the nth degree, fart through a RAT pedal sound to be found on the version of “Hey, Hey, My, My (Into the Black)” on Live Rust. Here’s my other favorite version of that song where Neil is accompanied by Devo:
I’m a fairly shy and introverted individual - I mean I can be an obnoxious maniac (like the time I started a beer can fight at a Riistetyt show in Oakland and was yelling “Show me your Riistetitties” at the band and found out later that my newly sober partner was told they shouldn’t date me because I was a raging alcoholic, and referenced that instance, despite me being proudly straight-edge-as-fuck at the time - an idiot but not a drunk) but overall I’m typically so soaked in anxiety in public settings that I tend to withdraw to the corners of the room. At one point, I used to bring a book to shows because I figured no one would want to talk to me and got yelled at by a friend for doing so because it made me come off like an antisocial asshole. I just assumed people wouldn’t be interested in anything I had to say. Doing zines, making photographs at shows is how I have overcome a lot of this anxiety but my default is still to sit by myself and not actively engage people. Sometimes, this makes others think I’m an antisocial asshole but I swear, I’m just really bad at social interactions - that said, if you get me talking, especially about things I’m into, you’ll probably regret it because I also tend to be an obsessive and will just ramble
Yambag Speaking of taking photos - I get a lot of people asking me about my gear, techniques, settings, etc. While I am a believer in the adage that the best camera to use is the one you have on you at the time, here’s what I use for shooting shows:
I use a Canon 5D MarkIII - I bought it used off Adorama for like $700. I’ve had it for like eight years, prior to that I used a Canon Rebel T5i. I’ve adored both of them. Before that I had a Canon G2 - why Canon? I dunno, probably because I got the G2 on sale and I just stuck with it. I’ve sold the Rebel and the G2 (to finance the 5D) but I’ll probably never part with the 5D - its a serious workhorse, it is worn and battle scarred from being dropped, moshed into, stagedoved on and just generally roughly handled. It’s missing a few pieces here and there, probably needs to be serviced really badly as well as have the firmware updated (which I’ve never done) but I love it.
Rikk Agnew - Shot w/ Canon Rebel T5i using 20mm lens My primary lens for shooting most shows is a 20mm f/2.8 prime. I love prime lenses in general b/c they force me to think and move more - also they are lighter, enabling me to get the camera, if not my body, out of the way as quickly possible when a foreign object comes barreling towards me. The 20mm is sorta the perfect focal length for me, really fucking wide angle without being fisheyed. I like that it forces me to pull a Capra and get really close to the action and that it allows me to shoot in really tight spaces. Sometimes, I’ll switch to a 50mm f/1.8 lens - this is the sort of lens legends like Ed “the greatest punk photographer ever” Colver would typically shoot shows with as it is a really fast lens - or at least people like to say that, I’m still not sure what that means. I have 24-70mm f/2.8 lens that I use for shooting bigger shows - like anything over a 800 capacity room. Sadly this thing crapped out on me when I was shooting Hot Water Music recently - I tend to think it got scarred of Chuck’s veins a-popping when he’s a-screaming. Its a bummer but I bought it used (like I do everything) so it probably came with some wear and since its has movable parts (as it is a variable focal range lens) these tend to break easily. Another reason I like prime lenses.
In general, I shoot at fairly slow shutter speeds - 1/20 of second, 1/13 of second with the f-stop set at around f/4 or f/5.6. The joy of digital is that I can adjust my ISO on the fly but I always aim to shoot at the lowest ISO possible - 400 is typical but sometimes I’ll bump up to 500 and sometimes down to 200. Just depends on the available light in the room and if I’m using a flash or not. Using a flash is always better, makes my ‘job’ easier and makes what I’m shooting look hella cooler. Shooting in big rooms where they don’t allow flash typically makes for boring images of people just standing still, not always but, well you know. Oh yeah I shoot fully manual because I’m a masochist.
I buy the cheapest flashes I can find - I don’t think I’ve ever spent more than $50 on a flash because I go through them so often. I think I currently have five of them sitting my room in various states of functionality. I once had a conversation with Murray Bowles about how he would break flashes so often thanks to stage divers and slamdancers colliding into him that the Nikon repair guys would comment about how they missed him if they didn’t see him pop in for an extended period of time - like two weeks. Because I’m lazy, I always use the TTL (Through The Lens) metering on the flash. I don’t have time to get fancy.
Be Well Other things: I always have extra, fully charged batteries in case I need to swap them out of the camera/flash (except when I’m an idiot and don’t), and I always have lens wipes b/c random shit flys onto the camera (and my glasses, and myself) all the time. I used to never wear earplugs because I am an idiot but I recently got sponsored by Earos so I wear them now and they are the best (because I got a bunch of pairs for free - jokes, they’re really nice plugs). I also carry extra plugs in case they get knocked out of my head or other people need them.
Philosophy time aka artist statement: I shoot shows because I love capturing moments of serenity and joy amidst the swirling chaos that is a hardcore punk show. I stole that notion from Nice Guy Stu from the stellar Aussie band Enzyme’s comments about my work, and I like it. So, he said it, and I’m running with it. I want to make the viewer of the image feel like they are in that moment with me and I want to freeze those moments forever. The way I shoot can be very physically taxing on my currently out of shape, nearly 50 year old body but I’ll keep at it as long and as often as I can.
I think that sums it up - in contrast to some people’s perspective, I want more people shooting shows, well I want more people to be actively involved in creating and perpetuating DIY, hardcore punk. Sure, it’d be better if more of you played the drums, there needs to be more drummers. But my fundamental belief about punk is that, more anything, it is about creating space for creativity and expression to happen. I recognize that, this at times an outdated notion but, that’s how I feel and I’m sticking with it. Ask me questions, I’m not the world’s greatest photographer but, if I can help, I will.
The Inmates Do I know anyone in Rome? I’m going there in like two weeks - who can point me in the direction of shows, cheap Wretched or Cani or Negazione records, and other general good times in the eternal city?
I get asked a lot about when I’m going to do another print zine, its been almost two years since the last full on print edition of Razorblades & Aspirin, the answer remains ‘I dunno’ though I’m hoping to do something by the end of the year. I am participating in a photoshow in late July in conjunction with the annual Avail, Over The James hootenanny. I’ll probably do a small run photozine for that - maybe another edition of the newsprint zine, Icepicks At Dawn, I did last fall as well? Maybe a second edition of the photocopied, cut-and-paste zine I did, Murder The Sons of Bitches - it all remains to be seen.
Ok thats enough random bits, onto the reason you are here…
Still Screaming…
Just a quick reminder - I only write about things I like, if I don’t write about it, I either didn’t like it or haven’t heard it yet. If you send me something to review, I’ll probably write about it though keep in mind, I’m just one person doing all this so it might take a minute. Want me to write about your release - get in touch! Am happy to cover both physical and digital stuff, as long as I like it, I’ll write about it. Also, like the print zine, this is a one person operation - I always feel like I’m really behind and not doing enough and am trying to reconcile that with having a life beyond trying to wreck my hearing.
American Culture - Hey Brother, It's Been a While LP
What’s a bit magical about Convulse Records is that you never really seem to know what you are going to get - sure most of it is some variant on ripping, stomping, shredding hardcore and then you get these twists. Like Dazy before them, what we have is beautifully crafted pop music which drinks deep from 60s psych and late 80s/90s Hacienda Club sounds fueled by copious amounts of mind altering drugs, modernized for the current day and glistening with ethereal vibes and conscious commitment to infectious pop hooks. As someone who was obsessed with the Happy Mondays and Stone Roses thirty odd years ago, I find this a delightful trip.
Thudding, barebones d-beat from Spain - a two piece, they take advantage of the sparseness in sound creating a loose, primitive soundscape which disavows mountains of distortion for minimally fuzzed guitars allowing the songs to breathe. Killer release.
Droning melodious punk that rides that line between indie pop while retaining enough garage klang and clatter to stay interesting. The vocals have this desperate, sad paean to them that just sorta sucks you in, compelling to share in their morosity, despite the overarching joyful pop vibe.
I’m a sucker for this sort of gruff, despondent melodic punk from the Midlands of England. There was an era in the 90s where these sort of bands seem to spawn from the head of No Idea Records, fully formed and would creepy crawl across the country playing sweat and beer soaked house shows, whipping the crowd up into big anthemic singalongs and just a sense of weirdo punk joy. You know the vibes, early Hot Water Music, Leatherface, Dillinger Four, etc. I’m fully down for this party.
Dour and moody post punk from Hamburg - at times it come across sorta mechanical in how sparsely plodding it is - though there are occasionally forays into speed, it never loses that that mechanical feeling. This works well with the anarcho lyrical content. You know those Crass records Bullshit Detector comps? This would fit in well there and I can totally see them on a bill wedged between The Mob & Alternative.
Fairly straightforward pogo punk from the Basque Country - its catchy with tuneful fem vocals and lots of catchy guitar work. It feels like one of those random, previously unknown to you gems you dig out of seven inch box while cavorting about the Iberian coast.
Dreamy indie-pop from Richmond with current/former members of Haircut, Private Hell, Ultimate Disaster, etc. Unlike those bands’ penchant for noisy aggro, this takes a more ethereal and melodic approach - like The Sundays having pizza with The Ocean Blue.
Hooky Spanish punk with big choruses, sparsely distorted guitars and a push towards the anthemic and infectious. There’s a slight Enough Rope-era Clash in some of the arrangements.
A little bit post-punk, a little bit anarcho - its dark, moody, yet ferocious punk from Portland. The vocals cut through in this this staccato manner which just cuts through the instrumentation, driving the trajectory and when paired with the almost Dead Kennedys style guitar work it creates feeling of urgency and angst which is really compelling. Fucking great.
Dominant Hand - A Demonstration of Dominance CS
Total jackhammer-to-the-head style power violence from Australia. Do you sit around blasting Plutocracy and Lack of Interest? This is for you, my friend.
Gruff vocals, stomping hardcore in from a crew of Finnish punks (Foreseen, Dead At Birth, etc) in the style of early NYHC (Urban Waste, Psychos, The Abused, etc). Quick paced and sure to incite a bit of friendly violence.
Fuera De Sektor - Juegos Prohibidos LP
Dark, poetic punk from Barcelona taking cues from gothic edginess of Parálisis Permanente and melding with the pop sensibilities of More Fun In The New World-era of X. What really does it for me on this release is how the guitars weave and interplay with the vocal melodies while the rhythm section keeps it all locked down and progressing forward.
Punchy, fuzzed out synthpunk with a huge garage rock vibe that rips and roars along at a quick pace. Just go-go-go!
Hammer and the Tools - Hamma CS
Fuzzy, snappy, sassy, trashy punk from Mississippi - eight tracks of weirdo rock that gives off a heavy outsider, nerd, freakrock Killed By Death vibe. It doesn’t sound exactly like Sockeye but I feel like its Sockeye adjacent. I love, love, love, love this.
Metallic and absolutely ripping punk that leans heavy in the Death Side/Assault way of thinking but it’s apparently from Portugal. Big riffs, anthemic choruses, melodic guitar leads all doled out at quick and powerful pace.
KIRKBY KISS / MEDICINAL split EP
This give me all the nostalgia feels in a good way - for their part Medicinal rip through three tracks of metallic, Rorschach inspired, crunching ferocity. Two stompers, one high speed ripper. On the flip, Kirkby Kiss take a bit straight forward approach albeit with dissonant guitar work that leans into the same feeling of old French bands like Anomie and Fingerprint. Fucking great!
Lima Dog - Dog Daze / 333 March 45
This is such a fun record to stumble upon - think Masshysteri but less Swedish jangle pop and more US in its garage punk vibes. Just two sassy, aggro tracks of primitivo punk but a great introduction to this duo from Stockholm leaving me wanting more!
Primal Polish punk shit - it sorta makes me think of a modern version of Fala-era Siekiera in how simplistic and ugly it is, though there are bits of of weird guitar noise which a bit of levity to the overall feeling. Thudding, mid-tempo, and ferocious.
Lion’s Law - Si Le Ciel Vient à Tomber LP
Big riff, bigger boot, Parisian street punk - eleven blasts of powerful, singalong inducing skinhead rocknroll. The production on this makes them sound like this massive wall of guitars, drums and anthemic choruses. Really fucking great!
Fizzy from NY Hounds and a bunch of the lads doing a 70s, pub rock, power-pop thing - if there is anything that sums up sensitive thug vibes its this. Total Dr Feelgood meets early Jam meets Raspberries meets Slade - fucking great!
Man With Rope - Multiply, Expand, Consume
Monstrously heavy and absolutely crushing heavy hardcore from St Louis. Thick slabs of guitar which pummel and batter you, while the drums pound along at this hammering pace backing up snarling, shredded-by-glass vocals. One of those bands where the lyrics matter, so pay attention kids. More please!
Mokosos - El Kaos No Termina EP
Punk for the punx, by the punx - you know what I mean? Driving, pogo pit inducing punk that sizzle along at a quick pace and really dream of having hair again so I could charge it and get stuck in the mix. Fucking great!
Dancy, angular punk in same manner as Gang of Four - it still retains enough melody and hooks to keep it from going full on down the post-punk path while leaning hard into the rhythmic and staccato bass/guitar interplay which keeps it interesting. At times, they drift into an expansive drifting feeling before pulling it back enough to keep the songs moving forward. Really cool release.
Catchy, pulsing primitivo punk taking cues from early Ex or Crisis. There is an overarching ominous feeling that is occasionally punctured by lilting moments of melody.
Crunchy, ugly, metallic stomp from Chicago - at times its sludgey and scraping but then lunges with brief moments of of violent speed that hits like a hammer. I can see Candy aficionados being really into this release.
Metallic in that way of later English Dogs or even Absolut Country of Sweden-era Anti Cimex. It’s like one day all these raw-as-fuck punx were like “Hey, Venom is sweet, let’s do a punk version of that!” If you’ve ever own a bullet belt or a crimping iron, this will certainly be up your alley.
This is really cool and hits in the same manner as fellow Canadians Home Front in how it marries the aggro of UK82 punk with the tunefulness of mid80s new wave/new romantic stuff. It’s a incredibly catchy brew and gives off all the feels of being a powerful live band.
These Montreal punx are like a mixture of Brother Inferior and Filth. Both those bands ruled and were punk as shit - this is like that. Fast, simple punk, played with efficiency and a penchant towards living the chaos.
States Of Nature - Brighter than Before LP
Mid-tempo rock with an early 90s Dischord Records feeling - big choruses, slight angularity to the rhythmic interplay, minimally distorted guitars, etc. I sorta wish the production wasn’t so clean and pronounced as a little dirt might make these songs more potent.
Filthy and raw, trashy hardcore punk - everything is distorted but more in that pushing all the levels than run through 4000 distortion boxes sort of way. Even when it slows down a bit it still punches and pummels like a drunken maniac taking on the whole bar. Fucking ruling!
One more thing - here’s my current favorite Leatherface song:
Until next time - Free Palestine.