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Full text of "Inside Front #9"


















. 




Hf-iT *ifci n a i * . -v 




if you like school, you 11 love work- if you like work, youH love 






the inside 



men 






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issue nine 
december 96 






fcfe'-**^ W 



* 



to 




ainly r 












coui 
























T 








. 



Journal of 
revolution , . . 
and hardcore punk, 














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L. 
















lounders as a resi 





















/ 



introduction . . • 




1. 1 HJl!/ P KOdLE/IVI! Weall seek to have lives that are rewarding and 

fulfilling to us, lives thai we find meaningful. Yet, this seems to be extremely difficult for 
everyone at the end of the twentieth century. Many people complain about feeling alienated, 
meaningless, and unfulfilled . . . and those who do not complain — the working poor, the 
bored middle class, the rich ruling class — certainly don't seem very happy if you look closely 
at their lives. We're all mortal, we all only have so long to figure out how to enjoy our lives 
in this world. So we had better work quickly to figure out what it is that we need to do to 
make our lives more worthwhile. 



11 . /\ LM/VvjIN vJo lo ! Each of us is an individual, and as such we each have 

different desires that must be fulfilled for us to find our lives rewarding. But we all are 
restrained from fulfilling our desires by many different factors: 'Moral laws' of one kind or 
another restrain some of us, even though these rules are not in our best interest and do not 
make us happy. Many of us are frustrated by the ridiculous social and legal systems that 
restrict our lives. Some of us have never taken the time to wonder what it is we really want in 
the first place, and thus are held back by our own ignorance of ourselves. Plenty of us feel 
like the dirty cities and overcrowded concrete wastelands we are forced to inhabit prevent us 
from being satisfied with life. And all of us have probably been led into unhappiness to some 
degree by the way the prevailing economic and cultural systems manipulate our lives and 
minds. If we could, as individuals, break these bonds, we would then be free to build 
meaningful lives for ourselves. 






111. 1 lit, bULU 1 lOIN ! The word 'revolution', as it is used in the pages of 

this magazine, is not a word for an armed uprising that is supposed to take place in some far- 

■ 

off future. We use the word to describe the crucial moment when an individual succeeds in 
taking a life that was boring, painful, and meaningless to him or her and making it fulfilling 
and worthwhile. It is a moment that could happen for any of us, at any time. Because we are 
mortal and will not live forever, rather than wailing for some promised 'day of liberation', 
we must strive to be able to make life worthwhile for ourselves and each other in the present 
tense. 









Inside Front is a magazine (hat covers music and related topics in the hardcore 
community; but more than that, it is a magazine dedicated to encouraging revolution in the 
lives of individuals by providing them with information about music and other material that 
might help them to break bonds in their lives and achieve their desires. We're not trying to 
make revolution into a business — rather, our business is revolution. 






• 









■ 















. 




Up until now. Inside Front has been hampered a little by my 
college education. I'm now finishing my last semester, so that I can 
graduate with a degree in philosophy (the title of my honors disserta- 
tion is "Nietzsche: Destroyer or Preserver of Truth?"); I've been de- 
layed a bit by some time I spent out of school a couple of years ago. 
When I graduate, I will hopefully be able to put a little more time into 
Inside Front, so that it can come out every two or three months... it's 
terrible how long it has been between issues lately, but I've been so 
busy that it was impossible to move any more quickly. Look forward 
to issue ten in January of 1997, and after that an issue every couple 
months. 

Expect some other projects from us as well around that ti me. 
Something I'm particularly interested in is offering and encouraging 
intelligent discussion within the hardcore community, rather than the 
usual rhetoric and sermonizing that we usually see (when we see any 
kind of ideas at all, that is!). If we're all as angry as we act, shouldn't 
we really make a point of clarifying what it is we're angry about, rathet 
than just posturing and throwing around meaningless slogans about 
"being true" or how "hardcore rules, dude"? And not only should we 
make sure that we know why we're angry, but we should also make 
sure that our reasons and arguments make sense. It is ridiculous to 
demand that people take your ideas seriously when you have not prop- 
erly educated yourself about the topic or have not thought them out in 
much depth. I can't tell you how many times I've had to listen to some 
kid who doesn't know any more about biology than he learned in high 
school preach about how scientific testing on animals is medicall> 
unsound; from an educated doctor 1 would take it seriously, but a tele- 



vision-generation 19-year-old who only knows what he read 

n a pamphlet is only hurting the cause by representing it in 

in uninformed manner. If you want to be taken seriously, 

educate yourself and strive to be skilled in using logic. This 

sn't something that any of us can get out of easily — every 

tlccision you make in your life will turn out better if you 

nakc it intelligently, so if you want to have a decent life at 

ill you'd better head to the library and start to use your head. 

As a community (rather than just a 'scene', which 

kvould suggest that it is just another social clique), hardcore 

;an perhaps serve to not only encourage the individuals 

within it to improve themselves mentally and physically. 

mt also to support each other practically in our unified 

truggle to genuinely live our lives at odds with the status 

buo. It is easy to go to see a band play and hang out one 

light a week, but if you really want to extract yourself from 

he society around you, you have to change your everyday 

ife — and that is difficult without the support of your peers. 

(Seek out those with similar goals and see how you can ar- 

angc to help each other. Perhaps that homeless punk kid in 

your neighborhood can sleep on your floor or use your 

ihowcr every once in a while; perhaps he can help you put 

p propaganda posters. Maybe the skinhead at your local 

bopyshopcan copy the posters for you, if you lend him some 

xu)ks or records. Maybe one of the people you know but 

Jon't take the time to talk to much could recommend some 

£ood books or records to you if you would go out of your 

A-ay to see if you could do anything for her. 




Next time someone refers to Inside Front as 
a 'fanzine'— bring me his head on a stick 






■ 



We at Inside Front are nobody's "fans'. And neither arc you. 

right? The media is notorious for taking normal human beings like you or 

mc and turning them into godlike entities: "stars", "politicians", etc. So 

much useless information about them is spewed at us daily that one can't 

help but eventually pay attention... soon you know more about Madonna's 

new boyfriend or what kind or hair-gel that Snapcase guy uses than you 

know about your own fucking neighbors. Even worse, we soon know 
even more about fictional characters than wc do about real people. Listen 
to people talking, and you'll hear how much time they waste talking about 
television shows, old movies, and comic book characters. When wc could 
be making better plans for our own lives or getting to know each other 
hctier, we instead spend our lime exchanging useless information the 
media has pumped into our heads. And of course the more time we spend 
wondering who will be Rolling Stone's "band of the year" next, the less 
time we have to make more of our own lives. 
There's a reason that things are this way. When television 
companies, movie producers, and their ilk convince us that entertaining. 
exciting life is not something that exists all around us every day but 
instead can only be found in movies, they get to sell life itself back to us. 
That is. when you spend your spare time watching television rather than 
traveling or falling in love or playing soccer, you think that the most 
excitement you can have is in watching a travel show, a soap opera, or a 
sports game on television. And the more you watch these things on 
television, the more you forget that you could actually be out doing these 
things yourself rather than just watching them. You'd be surprised how 
much more exciting it is to actually make music yourself than to watch 
MTV — how much more fulfilling it is to have sex yourself than to watch 
some strangers in a pornographic movie — how much more exhilarating it 
is to actually struggle against an obstacle yourself than to just watch an 
adventure movie. But the less you leave the television set to actually do 
these things, the more empty your life is. and the more you need the 
television shows to make up for the lack of any real excitement in your 
life. 

And that's where the media moguls come in. They're happy to 
provide you with a substitute life — at u price. Sure they'll sell you 
second-rate sex and violence, vicarious excitement and affection... but 
you have to pay for it on pay-per-view or cable telvision. you have to pay 
to buy the televison sets and the movie tickets and the computer modems, 
you have to buy the latest fashion or music magazine. Above all you have 
to listen to their commercials on the radio, read them in the magazines, or 
watch them in between television shows. These commercials arc carefully 
engineered to gel you to spend your money on theproducts being 
advertised... and when you do spend your money on them, you'll need to 
work harder and longer at your job to make more money. In fact chances 
arc that your job isn't too rewarding to you cither, and rather than making 
you feci so alive that you don't need television anymore your job 
probably makes watching television seem thrilling by comparison. 

Here's the part thai would be hilarious if it wasn't so tragic: as 
likely than not. the job you put all your effort into has something to do 
with the media or marketing industry. Maybe you work at an advertising 
agency, or a television station, or for some business that makes and 
markets a product that is completely useless to humanity — but that 
everyone buys because it is so heavily advertised (Coca Cola is a good 
example). So while you're getting burned out and missing out on real 
life just so you can buy a cheap substitute for it, you're supporting the 
same system that is wasting your time until you die. And make no 
mistake about it. you arc going to die — do you want to look back on a 
life of watching and talking about the Cosby Show, or a life of pain and 
pleasure, romance and struggle, love and hate? Are you satisfied to 
watch other people do what you could be doing yourself, if you didn't 
waste so much time watching, didn't spend so much lime working at a 
job you hate to buy things you don't need? 

The solution is simple, if you want it: it's easy to turn off 
your television set and go outside. Stop caring what Elvis' daughter is 
doing, and start caring what your friends or enemies are doing, what 
your lover or stepmother is doing. Walk out of your office cell-block 
into the sunshine and learn to do without those fancy clothes or brand 
new stereo so that you will be free to live a life of challenge and 






. 






* 

Caution: Television is H 



. . : 

■ 





.... 



Some people will say that you can use television and the 
mass media to spread useful information and maybe solve problems. 
I would object to this claim, because whatever small problems you 
can use the television to solve; you are only increasing one of our 

sion. As long as people are used to watching, nothing fundamental is 
going to change, because watching only leads to more watching. The 

major record labels and media conglomerates know this—that's why 

i they ? re not afraid to put a so-called revolutionary band like Rage 
Against the Machine (or, now. Earth Crisis) on television or radio, 
because no matter what these bands say the viewer will still just 
stare at them, glassy-eyed, and then change the channel to watch 
something else when they finish calling for revolution. Television 
"companies will even try to suck in their enemies by broadcasting 
shows called "Destroy Television" and promoting bands or individu- 
als with anti-media messages— -in this way even the anti-television 
people will end up... watching television! 

There are no shortcuts. We must set up our own systems 
to distribute information, free from the problems of the mass media. 
Independent publications which involve the readers actively in the 
actual writing of the material (such as Inside Front and other punk/ 
hardcore magazines) are a step away from the many dangers the mass 
media poses to human happiness. So when hardcore bands or other 
countercultural groups appear on television, they are selling them- 
selves out, and selling out our larger cause of seeking to make life 
something that belongs to individuals again rather than something 
we must buy from corporations. Above all it's particularly 
embarassing to see supposedly 'hardcore' record labels advertising 
upcoming band appearances on television... that makes it seem as if 
hardcore bands haven't spent the last fifteen years avoiding televi- 
sion because they despised it, but only because they weren't good 
enough to be on it! And now we're "proud** to be accepted as part of 
mainstream culture, we're finally "just as good" as Madonna and 
Pink Floyd! Whatever! 

So don't fight television with television, or there will only 
be more television (and if that doesn't sound like a bad thing, go 
back and read this article again... or just turn on a television and 
think about what you see; then, think about what it's like to be watch- 
ing rather than doing anything!). Instead fight it by helping others to 
create independent mediums of human exchange: independent news/ 
music/political magazines, underground record labels, etc. In the long 
run the most important war we have to wage is the war for freedom 
to live our own lives without being manipulated, and permanently 
turning off our televisions would be a major victory in this struggle. 






. . " ■ 



" 



i 






excitement, a life of new experiences — a life where you are, the master of 
your own fate rather than just a victim of a dull job and a few sharp 
advertising campaigns. Surely if you used all that energy that you throw 
away washing dishes or programming computers for 'the system", you could 
find a rewarding way to earn enough money yourself to more than survive. 
Act now or forever hold your peace; don"t talk about how bored you are, or 
how much you hate your job. or how amazingly meaningless your life seems 
(when and if you ever actually stop to think clearly about it) if you're not 
willing to try to set yourself free. 

So Inside Front is NOT a fanzine; we're not trying to glorify any 
Henry Rollins-style heroes or spread any household names. We're just trying 
to spread information about the music and ideas that other people just like 
you and me are creating. 



In a purely 
capitalist 
economy, the 
jobs that are 
available will 
be determined 
by which prod" 
ucts are in the 
most demand; 
and often the 
products that 
are in demand 
(military tech- 
nology, fast 
food, Pepsi, 
fashionable 

clothes) ARE 

NOT PRODUCTS 

THAT REALLY 

MAKE PEOPLE 

HAPPY. 



Did you ever wonder why your parents act so 
disoriented when it comes to 'leisure' activities? 
Why they start one little hobby, and either fail to 
follow through with it or become pathologically 
obsessed with it... even though it doesn't seem to 
have anything to do with their lives? Maybe they seek 
to lose themselves in gardening or following the 
exploits of some basketball team. Maybe your father 
buys all sorts of fancy tools (the kind of tools many 
men his age have), but only uses them for a few days 
before setting them aside— and then buys a lot of 
skiing equipment the next month. Or perhaps they 
just spend their time trying figure out how to pay off 
the debt they owe for that wide screen television they 
spend the rest of their time watching. 

And— have they ever been honest 
with you about their jobs? Do they 
enjoy them? Is their work the most 
fulfilling thing they could be doing, are 
they able to achieve every goal they 
always wanted to? Do they feel heroic 
or proud every day as they return 
home — or are they exhausted? Do they 
turn that wide screen television on as 
soon as they come in the door? Do they 
have the energy to do anything else? 

Did you ever wonder if there 
might be a better way for them, for 
you? 

What is 'work* like? 

Because of 'division of labor', most jobs today 
consist of doing very specific tasks, over and 
over, with very little variety. If you are a dishwasher, 
you wash dishes: you don't get to interact with people 
or solve complicated problems very often, and you 
never get to leave the dishroom to run around in the 
sunlight. If you are a real estate agent, you never use 
your hands to make anything, and you spend most of 
your time thinking about market value and selling 
points. Even jobs that include a certain amount of 
variety can only remain interesting and challenging 
up to a point: for we work forty hours a week on 
average, and at least five out of the seven days. That's 
a lot of our lives to spend working. Work is the first 
thing we do on most of the days of our lives, and we 
don't get to do anything else until we've been at work 
for quite a while. When we spend most of our time 
and energy working on one task, or even ten different 



tasks, eventually we will feel bored and 
desperate for variety... even if we are condi- 
tioned not to realize this. 

On top of this, because of the spread of 
large businesses and the consequent decrease in 
self-employment and small businesses, most of 
us do not have much voice in what our responsi- 
bilities at work will be. It is hard to start your 
own business or even find a friend or neighbor 
to work for. We often must get a job to survive 
in which we follow the instructions of a manager 
who probably doesn't have much more control 
over his job than we have over ours. Since we 
don't get to decide what we are doing, chances 




, ■ v ■ 



dismantle 

the , 
work 

beast. 



■SH 



are that we will feel alienated from our work, 
disinterested in the quality of our labor; we may 
even feel that the projects we are working upon 
are unimportant. 

Indeed it is easy to feel that most of the 
jobs available today are unimportant — for in a 
certain sense, many of them are. In a purely 
capitalist economy, the jobs that are available 
will be determined by which products are in the 
most demand; and often the products that are in 
demand (military technology, fast food, Pepsi, 
fashionable clothes) are not products that really 
make people happy. It's easy to feel like all your 
labor is wasted when the products you work so 
hard to sell just to survive seem to do nothing 
for the people you sell them to. How many 
people really are cheered up by the soggy french 
fries at McDonalds? Would they perhaps be 
happier eating a meal prepared by a friend of 
theirs or a chef they knew who owned his own 
cafe? 

In short, "work" as we know it tends to 
make us unhappy because we do so much of it, 
because it is so repetitive, because we don"t get 
to choose what we do. and because what we are 
doing is often not in the best interest of our 
fellow human beings. 

What is 'leisure time like? 

We come home from these jobs exhausted 
from having invested ail our time and 
energy in a project we may not have even been 
free to choose, and what we need most is to 
recover. We are emotionally and physically worn 
out, and nothing seems more natural than to sit 
down quietly for a while and watch television or 
read the daily paper, while we try to gatheiour 



strength for the next day's labor. Perhaps we try 
to leave behind our exhaustion and frustration 
by concentrating on some hobby or another; but 
as we are not very used to directing ourselves in 
the workplace during the day, we often don't 
know what we really want to do when we are 
free at home. Certainly some company or 
another will have some suggestions for us, 
whether we receive them from advertising or 
watching our neighbors; but chances arc that 
this company has their profits in mind at least as| 
much as our satisfaction, and we may discover 
that playing miniature golf is strangely 
unfulfilling. 

Similarly, of course, we don't have much 
time or energy left over from work to consider 
our situation or participate in any rewarding 
activity which requires much time and energy. 
We don't like to think too much about whether 
we enjoy our jobs or our lives — besides, that 
might be depressing, and what can we do if we 
don't enjoy them, anyway? We don't have the 
energy left to enjoy art or music or books that 
are really challenging; we need our music to be 
soothing, our an nonthreatening. our books 
merely entertaining. 

In fact, we come to associate having to 
expend effort and do things with our work, and 
associate relaxing and not doing anything with 
leisure time. So, because many of us don't like 
our jobs", we tend to associate having to do 
things with being unhappy, while happiness, as 
far as we ever know it, means... 
not doing anything. We never act 
for ourselves, because we spend 
our whole days acting for other 
people, and we think that acting 
and working hard always leads to 
unhappiness; our idea of happiness 
is not having to act, being on 
permanent vacation. 

And this is ultimately why so 
many of us are so unhappy: 
because happiness is not doing 
nothing, happiness is acting 
creatively, doing things, working 
hard on things you care about. 
Happiness is becoming an 
excellent long-distance runner, 
falling in love, cooking an original 
recipe for people you care about, 
building a bookshelf, writing a 
song. There is no happiness to be 
found in merely lying on a couch- 
happiness is something that we 
must pursue. We are not unhappy 
because we have to do things, we are unhappy 
because all the things we do are things we don't 
care about. And because our jobs exhaust us and 
mislead us about what we want, they are the 
source of much of our unhappiness. 

What is the solution ? 

You don't have to work at those jobs, you 
know. It is possible to get by without all 
the Pepsi, all the expensive clothes, the wide 







screen television and the expensive interior 
decorating that all those paychecks go to pay for. 
You can try to start your own business doing 
something you care about (although this still 
involves the danger of having too little variety in 
your work), or you can try to find a job in today's 
marketplace (good luck!) that you actually enjoy... 
and that leaves you enough time and energy'to do 
other things in your life that you also enjoy. The 
most important thing is to arrange your life so that 
you are doing things because you want to do them, 
not because they arc profitable -otherwise, no 
matter how much money you make, you will be 
selling your happiness for money. Remember that 
the less money you spend, the less you will have to 

worry about getting money in 
the first place... and the less 
you will have to work at those 
dehumanizing jobs. Learn to 
use all your 'free' time, not to 
vegetate or spend money on 
entertainment, but to create 
things and accomplish 
things— things that no one 
would pay you to make or do, 
but that make your life (and 
perhaps the lives of others) 
belter anyway. 

Some will argue that 
the system we live within 
would break down if we all 
were to walk away from our 
jobs — so much the better. 
Haven't we built enough 
automobiles, enough shopping 
malls, enough televisions and 
golf clubs, enough fucking 
nuclear weapons already? 
Wouldn't we all be better off 
if there was a shortage of fast food and a surplus of 
unique home-cooked meals? If playing music is 
more rewarding than working in an assembly line, 
why do we have so few good bands and so many 
transistor radios? Of course a "work-free' world is a 
dream we will probably never see come true; but as 
always, the challenge is to make this dream a part 
of your world, as much as you can — to liberate 
yourself from the chains of mindless consumerism 
and mind-melting employment and live a more 
meaningful life. 








RECONSIDERING 
WORK AND 

'leisure time' 






v'. 



... 



We arc not 

UNHAPPY 

BECAUSE WE 

HAVE TO DO 

THINGS, WE 

ARE UNHAPPY 

BECAUSE ALL 

THE THINGS 

WE DO ARE 

: 

THINGS WE 

don't CARE 



ABOUT. 

v..',';':.": 



riPar Mr 

Inside Front 



Binffl^icV; 



Letter 



Section 



Dear Inside Front- 
First, is the O.LC. song "Too Much Authority" 
on your compilation CD not representing the exact 
same mentality you are always criticizing Earth Crisis 
for? 

Also, I've noticed you often equate spelling 
ability with intelligence. This is a shallow and stupid 
way to judge people. Anyone who has ever read 
"Anxiety Closet" knows I'm lucky to spell my name 
right. I don't think that means I'm a moron. Why myself 
and others aren't spelling bee champs I don't know, 
natural ability, schooling, not caring...? But I can tell 
you it's not a lack of intelligence. I consider myself a 
fairly intelligent person, even though I did just have to 
look up "intelligent" to see if it had one or two L's. 
(EDITOR'S NOTE: AND DESPITE LOOKING IT UP, DARI 
ACTUALLY SPELLING IT "INTELLEGENT" THROUGH HIS 
ENTIRE FUCKING LETTER. We've corrected his errors 
where we could.) I don't mean to brag, but it does kind 
of make my point— last time I was tested, my I.Q. was 
142. That's considered "genious" whether I can spell it 
or not. I also manage to maintain a 3.5 G.P.A. at one of 
the top schools in the country, despite a general lack 
of effort and having 1 000 other things going on in my 
life. Maybe you should consider judging people on what 
they say and not how well they spell it. 

In regard to your review of the "Final Count" 
video compilation— how can you possibly judge a band 
and their "revolutionary-ness" on their physica appear- 
ance and/or style of music? Aside from Struggle and 
Chokehold, Frail is the most revolutionary-minded band 
I know. Yet, you call them harmless kids. What kind of 
revolution is a bunch of high school jocks knocking 
each other's teeth out? Why does hardcore have to 
look like football to be revolutionary? How fucking 
shallow. 

Finally, Ground Zero distribution, will not be 
carrying Inside Front #8 due to One Life Crew being on 
the CD. We refuse to, in any way, support this or any 
racist, classist, homophobic, nationalist, and violent 
band. Our apologies on this unfortunate situation. 
Peace, Dari Fullmer/Anxiety Closet FANzine/Ground 
Zero Records— 4 Leona Terr., Mahwah, NJ 07430- 
3025 

Dearest Dari — 

/. I'm not going to try to defend O.LC. against your 
criticism of 'Too Much Authority', especially not after all the shit that 
has happened between me and them. 

2. Correct spelling does not indicate intelligence so much as 
common sense. We in the hardcore community want to present 
ourselves and our ideas in the most coherent manner possible so that 
we will be taken seriously by others from all walks of life. Frequent 
spelling errors indicate that you are either stupid OR do not care 
enough about your writing to make it look polished and serious. When 
you publish a 'due filled with spelling errors, or Karl from Earth 
Crisis fails to spell twenty two words correctly (words such as 
'awesome' and 'finally.' no less!) in an interview, the members of the 
hardcore community in general look stupid or lazy to the rest of the 



world... because 'zincs and interviews are permanent high-visibility 
records of what goes on in hardcore. All you need is to consult a 
dictionary or computer spell-check to stop fucking the rest of us over,- 
Dari. Pass the message on to KarUErth Krisice. 

3. So, you. Ebullition, and a couple other distributors will not 
carry Inside Front #8 because O.LC. appeared on the included CD 
compilation. I will explain why you are betraying the hardcore 
community by doing this... but first, I'd like to mention that the CD's 
that came with I. F. #8 were already pressed before I had read the 
vaguely racist anti-immigrant lyrics on the O.LC. full-length, and 
long before the violent incident at the Cleveland festival. The songs 
they had sent me for the I.E. CD were neither racist nor exceptionally 
violent. So by tlw time it became clear what was going on with O.L.C., 
I already had 1 1 00 CD's on my hands with O.LC. songs on them. 
Should I have destroyed all those CD's, considering that there were 
SEVENTEEN other bands on the CD 's who all needed and deserved 
exposure? 

And that is why your decision not to distribute IE #8 simply 
because of the O.LC. tracks is ridiculous and short-sighted. In that 
issue other Inside Front, there were songs by seventeen other bands, 
almost all of whom had really intelligent, important things to say, and 
all of whom really deserved a chance to have their music heard, on 
top of those bands, there were scene reports describing all the projects 
and hard work of plenty of labels, bands, 'zines, etc. across the world. 
There were in-depth reviews of hundreds of records by hard-working, 
sincere bands who at least deserved to let the public hear about their 
music through a widely-read hardcore magazine. There were columns 
by a variety of people, all of whom had worked hard to offer well- 
thought-out ideas that could improve the lives of readers... for 
instance, I believe Loara's column about the fashion industry's war on 
women could really have helped girls who grew up bulimic as she did. 

By refusing to distribute LF. #8, you are not just fucking over 
every band on the CD, every band who sent a record for review, every 
columnist, and every kid in every country who sent in a scene report. 
You are fucking over every kid who might have had a better life if he 
had gotten the 'zinefrom you and read Loara 's article or heard Trial's 
song. You are fucking over every kid who might have read the review 
of the Nations on Fire CD. sought it out, and had his or her life 
changed for the better because of it. You 're fucking over every kid in 
the hardcore communities of Belgium or Massachusetts who would 
have liked others to read about their scene in the scene reports. In 
short, you're not boycotting an O.LC. CD: you are, rather, boycotting 
two of the least harmful songs O.LC. ever released, at the expense of 
the efforts and possible happiness of literally hundreds of kids. 
Hardcore is not just some silly hobby to most of us—it is a community 
from which we draw our fife's blood, and I'm sure some people 
(whether readers or contributors) depend partially upon Inside Front 
to be connected to that community. I'm not trying to sing the praises 
of Inside Front here— I'm saying that whether it was Inside Front or 
Profane Existence or Hardware you were boycotting for a reason like 
this, you would be betraying the whole hardcore community. Please, 
consider the pro's versus the con's of issue #8 of Inside Front, and 
think about it. 

4. Finally, about my review of that video, in which I comment 
that the kids at the shows look so passive and harmless that I find it 
really hard to believe any of them truly want revolutionary change: 
Let me give you some background on my perspective. When I started 
really getting into punk/lutrdcore. I was a furiously angry, frustrated 
teenager. Everything in my world looked unjust and unfair to me: my 
girlfriend was getting into drugs heavily as the result of the pressures 



I)p«r Mr 



c 

Inside 



Front 



ft 

s 



Di riffled i'cV; 



Letter 



Section 



of having to live on welfare in a two-room apartment with her 
terminally ill, bedridden mother and grandmother; my friends (and 
sometimes /. as welt) were constantly attacked and beaten for looking 
"punk rock" {which was a lot more dangerous then); authority figures 
such as cops and teachers would assume this was our fault, and 
discriminate against us similarly (to the point that it was hard to stay 
in school or get a job); it drove me crazy to always see this same 
bullshit happening to a much worse degree to members of ethnic 
minorities and people of non-heterosexual orientation; and above all, 
I lived every day in a society I could not fucking relate to or fee! 
comfortable in, 

I would go to punk shows and the other kids there felt like / did. 
We were all fucking angry as hell, so angry we could barely even 
begin to articulate it; as we waited for the bands play you could feel 
the tension and rage we had built up in the air. When a band we loved 
broke into a song, screaming about their frustration, we too would 
express our pent up frustration by screaming and rioting. We were so 
angry, so outraged at the world around us. so impatient to see things 
change, that we couldn V hold still, we couldn 't keep ourselves calm. If 
you have a shred of life left in you. you can 7 slay calm when your 
mother is dying, when your friends are becoming addicted to drugs, 
when you watch your world destroyed by industry and dirty politics. It 
eats you up inside when you can 't so much as blink without some 
bullshit commercial trying to sell you something you don 't need or 
some brainwashed moron trying to make you sell your soul to some 
irrational doctrine. 



Classifieds 



I SXE vege kid looking for SXK kids in the Detroit scene. 1 6 
years old. Plays guitar. Recently moved from Scotland. Listens 
to Release, Unbroken, Ignite, G.B., Strife, etc. Starting 'zine. 
Alex Awn, 29200 Lori Kay, West Brook Manor, Farmington Hills, 
Ml 48334 

2. Wanted: 

Alone in a Crowd 7" 
Clevo HC 'Final Word" -cass. 
Integrity 'Grace Of Unholy*- cass. 
Together 7" comp. 
t other ltd. stuff. Offers, letters etc. 
* to: O.P. Vaissi, Tuohilammentic 68, 
Finland. Al B. and Becky R. you owe me . . . 

3. Wanted! Will buy or trade for Axegrindcr "Rise of the Serpent 
Men" LP. copies of the Irial 12" on Hipster ["rip off] records, 
live recordings/video footage/photos/intervtews of the Amcbix . 
rare/live recordings of of Diamonda Galas, artwork by Ernst 
Fuchs. Situationist propaganda, a copy of Werner Her/ig's 
Nosfcralu (1979), or rare/obscure varieties of root beer or cream 
soda (for instance. Iron Horse root beer). Contact us at the Inside 
Front/Crimcthinc. address. 



Attention: In future issues of Inside 
Front, starting with #10, classified ads 
will be free. Only one per person. 



I am as angry now as I was then, but I have worked hard to think 
about things and educate myself so I now have some idea of why 
things are so fucked up and what I can do with my energy to try to 
change things. That, I think, is the essence of 'hardcore' — to take your 
frustration and do something constructive with it. But if I wasn 't so 
worked up about things, 1 wouldn 7 care enough to be trying to do 
something about them. When I watched that video, the kids I saw in 
the bands and the audience looked so bored, so passive and disinter- 
ested, that it was really hard for me to believe that they really are 
angry about anything or impatient for any kind of change at all. The 
motions they all were going through looked so ritualized and 
meaningless to them that it was clear that there was nothing revolu- 
tionary going on — you can buy boredom and ritual at your local 
fucking mall. I might be wrong, but as a reviewer I have to call it as I 
see it, and what I saw didn 7 make me think that these kids has their 
hearts in what they were doing. Not to say that they never could or 
never will work towards a better world, but what I saw didn 7 look like 
a group of kids who felt like they had anything at stake in the struggle 
for the improvement of our world and our lives. This doesn 't have 
anything to do with "jocks knocking each others ' teeth out " or any 
other stupid bullshit displays of macho insecurity; this has to do with 
whether or not people have their hearts in what they're doing. 
Anyway, Dart, thanks for writing, and take care of yourself. 

Sincerely. Editor "D. " 

Anyone else who wants to get crucified in our letters section is 
welcome to write us. 




If you build it, they will come . . . maybe 
Hello, my name is Chris and I opened a store 
with a friend of mine named David in southern Califor- 
nia called On the Edge Records, while we carry a little 
bit of everything (obviously, no racist shit), we special- 
ize in SXE because that's what we're into and no store 
out here takes SXE seriously. We wanted to open a store 
where kids could go to shop without fear of persecution. 
SXE has taken some serious blows to its credibility over 
the years after too many "role models" and "icons" of 
the scene have fallen and proven to everyone that often 
times it isn't true 'til death but rather true 4 til 21. We are 
here for the kids who are SXE now and who will be SXE 
10 years from now. I'm going to give all of you free 
thinking kids out there who don't want to have bosses 
for the rest of your life a lesson and show you how we 
did it and what we went through so maybe you can do it 

in your community too. 

First : Don't give up your day job. You will 
make no money at first so if you are going to do it to 
cash in and rip everybody off for your own profit, go 
work for a major label or better yet, join an organized 
religion. 

Second : If you or your family aren't rich and 
you can't borrow money to get started you'll have to do 
what we did . . . credit cards. Get as many credit card 
applications as you can find and when you fill them out 
put student in the area where it asks for your occupa- 
tion. The plastic will roll in and you should be able to 
amass a lot of credit. Be careful though because you still 
will have to make the monthly payments and if you don't 
you should start checking the train schedules to see 
which one will get you out of town fastest. Credit cards 
are the hardest way to get cash because of the interest 
rates which rape you, but if you have no other means of 
getting money, it will be the only way to get your 
business started. 

Third : After you've secured your financial 
backing, it's time to look for a place to put your store. In 
this case, the old cliche of "location, location, location" 
really is true. We opened across the street from a high 
school so even on the days when the SXE kids can't 
borrow the keys to their parents' cars we still get 
business from the mindless fucks across the street who 
can't live without the latest buzz clip on MTV, like Civ. 

Try to find a place thai has cheap rent and 
make sure the landlord is trustworthy by having 
somebody professional look over the lease before you 
sign your life away. 

Fourth : Surround yourself with people you 

can trust who will look out for the store when you can't 
be there, we have a great group of friends here who 
volunteer their time and it makes it easier on everybody 
by keeping the stress to a minimum. 

Five : Most importantly, make sure your scene 




We opened across the street 

from a high school so even on 

the days when the SXE kids 

can't bnrrnw the keys to their 

parents' cars we still get 

business from the mindless 

tucks across the street who 

can't live without the latest 

buzz clip oo MTV, like Civ. 



will support what you're doing. If your scene sucks shit, 
your store will fail because apathy will drive you out of 
business. Go to shows and sell records so you can hook up 
with people, pass out flyers and business cards, run specials 
and sales to get people interested. Do whatever you have to 
do to get your store's name out. People have to know that 
you exist before they can shop there. Above all, be patient. 
One day, maybe, you'll be able to support yourself by only 
working at the store, but until that day comes, get a job and 
work for the man so that one day the man will have to work 
for you? 

If you want to visit us. get in touch with us, or 
mail order merchandise (sorry, we don't have a catalog.) 
Contact the store at:: 

On the Edge Records 

c/o Chris 

10533 LosAlamitos Bl. 

Los Alamitos, CA 90720 

Or call/fax: 

(310)430-6975 

(310) 430-7846 (fax) 




















Sooner or later, if you're in a punk/hardcore band, you 
will have 10 lour. Touring is the best way to spread your 
music and message; because out of all the people who go to 
shows, only some of them buy records... out of all the people 
who buy records, only some of them read 'zines... and out of 
all the people who read 'zincs, only some of them mail order 
music. So before you worry too hard about getting interviews 
and records out, you should concentrate most of all on 
playing shows far and wide. I'm assuming, of course, that 
your band is artistically ready to present itself at its best— and 
psychologically ready to suffer through the grisly ordeal of 
touring. If you think you're ready for it, you're probably 
not... but you might be after reading this advice column on 
the subject. 

JDv/IJJVJLL 1 VJ You should be able to 
get the phone numbers of people who book hardcore shows 
from the informal network that exists within our community. 
Ask other bands for their booking numbers, call those 
numbers and ask them for more numbers, 
and go from there. There really aren't any 
shortcuts to this method — lists of 
booking numbers lend to go out 
of date fast (since hardcore kids 
seem to come and go so 
embarassingly fast) and 
books like "Book Your 
Own Fucking Life" not 
only suffer from this 
problem but also tend 
to list such a broad 
variety of individuals 
without differentiating 
them that you don't know 
if you're going to play a 
hippy commune or a 
redneck wedding. If anyone finds getting numbers to be that 
tough, just call the Inside Front hotline, and wc can give you 
advice and help. 

Once you have the numbers, start out at 
least a month in advance, and in the beginning try to book 
two or more shows for each night. Believe me, you'll have 
two or three shows cancelled for each night before you get 
one that is solid (if you ever get a good show...). You'll 
probably have so much trouble keeping shows booked that 
you'll end up booking many of the nights from the road. For 
this reason, you should have a friend at home to try to keep 
on top of your show dates while you're on the road, to help 
out by keeping in touch with promoters and rebooking 
cancelled shows. When you do get a show booked, make sure 
far in advance that you have an information number on the 
show, directions to the show, and know exactly when you 
must be there. It will be too late to get this information 
later — and. you'll find, booking agents arc hard to reach 
when you need them. 




Jrx^V^JXJLL^l vJT Don't bring anything 
you can do without! It'll just get in the way, and you'll 
probably lose it or something. That is to say, leave behind 
that extra nice shin, or ironing board, or collection of 
letters from your girlfriend. But do bring everything you 
could possibly need: general repair tools, duct tape, toilet 
paper, weapons (that will not be recognized as such by 
cops when they search your vehicle!), credit cards, 
postage, a cellular phone for emergencies (if you can steal 
or borrow one!), rope, bungee cords, etc. Bring one or 
maybe two roadies (but no more, as they will get in the 
way, slow the band down, and perhaps distract you from 
your focus: making music) in charge of packing and 
unpacking the vehicle, watching over equipment, selling 
merchandise, and keeping track of everything in general. 
Make sure you pick your roadies above all on the basis of 
how responsible, dependable, and skilled they are; there is 
nothing worse than dead weight on a tour, and nothing 
better than an individual who can contribute to the group 
in a variety of ways. 

TRANSPORTATION 

Renting a vehicle is pretty damn expensive, but you may 
have to, so make sure you know exactly how much it will 
cost in the worst case scenario. Whether you rent, borrow, 
or use your own vehicle, it is crucial that the vehicle be in 
good enough condition to be expected to make it safely 
through the tour. Van explosions, fires, crashes, and 
disasters have destroyed more tours (and occasionally 
bands) than any other problem. Someone on the tour 
should be skilled with automobile maintenance and repair, 
and should check on the condition of the vehicle every 
day, even when it seems to be doing fine. 
Make sure your vehicle (and your drivers) 
are well prepared for whatever weather you 
may be travelling in — bad snow or even rain 
can lead to accidents. Whenever at all possible, 
someone should sleep in the vehicle each night, to 
protect the band from theft. 

You'll want to split up driving as 
fairly as possible, unless you're lucky enough to have a 
really good long distance driver in the group. Even then 
someone should stay up with him and her on late night 
drives. Plan a route ahead of time, and bring a couple 
different road Atlases with you — plus 
closeup maps of cities you're playing in. 
While you're driving, make sure to always watch for 
landmarks; otherwise a small mistake can go undiscovered 
until hours later, when you realize you are three hundred 
miles from the show. Figure not only gas costs but also 
tolls (which can be very expensive in the northeast U.S.) 
into your budget. Some days you may have to pay up to 
$15 in tolls. 

Jrtv/IJollN VI Have a few friends' 
houses (relatives should suffice, if you have no friends) 
lined up along the way as places where the band can 
recuperate and gather new supplies. Of course you should 
arrange this far in advance so you can depend on them. In 
towns in which you know nobody, you can expect decent 
help from strangers (often the person who books the show 
can put you up or offer advice), but you should expect the 
worst — especially if you have more than five people in 
your band. If you absolutely have to rent a room, make 
sure you do it early enough at night that you have a decent 



selection of motels from which to choose. Bring your 
own sleeping bags (and. if you're sissies, pillows), but no 
extra bedding, as it will just get in the way. Camping out 
often works for bands, but bad weather can make it a 
nightmere and it's not a good idea in winter anyway. 



FOOD 



Bring as much nonperishable 
food as you can without overpacking. DO NOT eat at gas 
stations, even though that is the only easy way to eat on 
lour: the food there is all far overpriced and extremely 
unhealthy. Whenever you stay with someone, ask them to 
direct you to a grocery store so that you can buy lots of 
healthy food cheap. Eating healthy on lour is crucial; you 
probably won't be eating much, so make sure you eat 
right or else you will get sick or be too exhausted to play 
well. 

COMMUNICATIONS 

You'll be at kids' houses, useless payphones. clubs 
without phones, in the van. etc. and it will be very hard to 
stay in touch with anyone, either at home or about the 
tour. Bring a calling card of some kind so you can at least 
make long distance calls from payphones and kids' 
houses. You should have a voice mail/answering machine 
at home, as well, for people who need to contact you (a 
pager might be a good idea). As I said earlier, it really 
helps to have someone dependable at a steady number 
who can take care of business for you while you're on the 
road. 







MERCHANDISE 

It sucks, but if you ever make any money at all, it 
will be from band merchandise (those of you 

who, like me. find the 
selling things to be in- 
ently counter- 
revolutionary will 
find this really 
distasteful... but I'm 
just telling it how it 
is). Have a table up 
as early as possible 
at each show, 
before the kids 
spend their money 
at other tables, and 
try to get a 

location where kids will at least notice you. Try to have a 
variety of stuff available, but don't have too much other 
material distracting from your records or clothing or 
whatever; or else people may pass over your stuff 
entirely. Have a roady in charge of organizing and 
presenting everything, and make sure careful records are 
kept of everything as it sells (or is given away for 
promotion) so there is no doubt in anyone's mind as to 
what is going on at the merchandise table. 

IVllJllJcLY Keep careful records of 

everything (merchandise expenses and profits, band debts 
and loans, band income and expenses, etc.) so no one will 
be treated unfairly and so the band will not suddenly find 
itself completely broke. Try to be prepared for hidden 
costs: vehicle maintenance and repair (changing the oil 
and tires, etc.). buying food, buying or repairing equip- 
ment, paying tolls, medical expenses (cold medicine, 
broken bones, etc.), etc. etc. etc. Try to arrange how much 




you can expect to be paid at shows far beforehand; and when 
you are being paid, keep in mind that almost no one will treat 
you fairly unless you insist on it. Given the option most club 
owners or promoters would rather have a little extra money to 
buy a hamburger and Coke rather than make sure that you can 
afford gas to your next show. Be fair but very firm. 





Guitarists should 
take two guitars, both of which they should keep in tune so 
they can change in the middle of a set if necessary. Of course 
they should have enough extra cords, batteries, strings, and 
picks to supply an army. A tuner might help, for loud, 
crowded, and crazy situations. Drummers should have extra 
sticks, extra drum heads, extra snares for the snare drum, extra 
drum keys, extra screws and other parts, extra pedal springs, 
and a wrench and screwdriver. Road cases are a real asset to a 
serious touring band, because they protect your equipment 
from otherwise inevitable transport and unloading damage... 
however, they do take up a lot more space, as well as being 
expensive. The band should have a checklist of equipment 
which they consult frequently, especially during loading and 
unloading, to prevent theft or loss of costly and crucial 
equipment. 









First consult 
the article "Singing with Dwid" in Inside Front 
#7. It is of utmost importance that you take care 
of your throat, or else you won't be able to 
adequately play your part in the band. Take 
throat lozenges and plenty of anything else that 
helps your throat. I've found that something that 
helps far more than anything else is to simply 
not speak at all for the rest of the night after 
each show. This way your voice can heal for the 
next night. Of course this is the time when you're meeting 
people and discussing things, so it's hard to remain mute, but 
let the other band members do the talking. Warm up before 
shows by loosening up your thoat and making a little noise. 
I've been told that drinking hot tea in the morning (and not 
speaking for an hour afterwards) also helps your throat to heal. 
More than any other band member, you must avoid illness at 



anv cost . 



H 




AL 



.J Ml XX Second to automobile trouble, 
illness ruins more tours than any other problem. As members 
of a touring group, your health will be completely interdepen- 
dent: because you all eat, sleep, and breathe together every 
moment of the day, any illness that one of you gets will spread 
to the others instantly. Touring is difficult enough; with strep 
throat or fevers, it becomes near impossible. And remember, 
you're on the road to give your very best performances for 
people who haven't seen you before. So the members of the 





























band and the roadies owe it to each other to get as much sleep 

and healthy food as they possibly can. Be in great physical 

condition before tour, because on it you won't get any food, 

sleep, or exercise. You will be stuck in a little box breathing 

freeway smog half of the time, and the other half of the time 

you will be breathing dirt and cigarette smoke in the worst 

clubs and houses you can imagine in every ghetto in 

the nation. Bring as many vitamin supplements (vit. 

C expccially), protein supplements, and varieties 

of medicine if you can. It's tempting to stay up all 

night every night when you meet new people and 

see new places, and to some of you it might be 

tempting to use all the drugs that may be around 

you, but I would recommend against both, 

because they really wear you out and set you up 

for sickness. Also — expect to get very dirty, as 

public bathrooms in the U.S. are pretty fucking 

horrible (as will be most of the houses you stay 

at) and showers will be pretty hard to come by. I 

recommend listening to bands with the letters 

"dis-" and "ami-" in their names... somehow that 

makes me feel more comfortable when I'm covered in dirt and 

grime. 

MENTAL HEALTH 

If you love your bandmates and roadies when you leave 
for tour, you will hate them when you return. If you already 
have trouble getting along with them before you leave, expect 
the band to break up (and possibly kill each other) during the 
tour. If you have an easy life at home, touring will be the 
hardest thing you ever experience... if you don't really have a 
home and your everyday life consists of stealing food and 
slouching on lonely streetcorners, touring won't be so bad — in 
fact the occasional free food and housing will be exciting. Try 
to keep a positive attitude so you can get along with your 
tourmates; the less complaining and the more bighearted 
everyone is, the better it will be for everybody (it's just like 
real life or more so). Don't let bad shows get you down on 
tour: you'll have a million of them, and the best things a new 
band can do are to learn how to play a great show to three 
kids, and to get over playing badly fast enough to play well at 
the next show. On your first couple tours you'll be learning, 
above all; learning to do those things, and making new friends 
and contacts that will help youin the future. After a few really 
tough and unrewarding tours, you'll have enough knowledge 
and experience to start putting together decent ones. 

ONE MORE NOTE 

This amazed me. but there are still some teenaged girls out 
there who think there is something intrinsically exciting about 
guys in bands. These young women are probably not actually 
attracted to you. but only to what they think you represent: a 
little rebellion, a little MTV-style rock and roll glamour, 
maybe a little attention from a new guy from out of town. 
Going to great lengths to sleep with these girls (so they can 



tell everybody how they slept with the bassist of so-and-so 
band) is probably a bad idea, because it is likely to get in 
the way of general band needs and will thus cause tension 
and possibly hurt your tour in general. Not to mention that 
you're probably just helping them to make more of a mess 
of their lives (and perhaps your own), as the usual 
concerns relevent to sex with strangers also come up here. 
Please don't mistake me for a puritan, but my advice is to 
ignore how lonely you are on the road and treat these girls 
as the young, misguided human beings that they are, not 
as party favors. I'm sure this situation will happen to you 
at least as often if you are a woman in a band, so my 
advice is relevant to both sexes. 



THE 





This is very difficult. 
Don't let anyone book 
you a show in Canada 
telling you it will be 
easy to get there. 
Occasionally they don't 
check a vehicle, but 
usually the border 
cops will go through 
your stuff. If they 
think you're crossing 
to their country 
without a work 
permit, to make a 
million bucks playing shows (even if you're more likely to 
lose money), they won't let you in. If they see equipment, 
let alone shirts and records, they'll be really suspicious. 
The best thing to try is to have a fake contract to record at 
a studio in Canada (hide the shirts and records well!) so 
they think you're going to bring money into their country. 
You could also try to say that you're taking a shortcut 
from one part of the U.S. to another, if that is geographi- 
cally feasible. These cops will confiscate mace, weapons, 
fireworks, etc. (basically anything you're not allowed to 
have in junior high school), so be warned. You may think 
I'm joking about how difficult crossing the border is... but 
when Dan and I tried to cross on our tour last June, the 
cops tried to plant marijuana on us and bully us into 
admitting it was ours so they could incarcerate us. It took 
a few hours before they finally had to give up and let us 
go — and by then our show was over. 



TO SUM UP 



Touring is very 



difficult when you organize and execute it on your own 
without the help of some big fucking company. I've seen 
many hands set out with real dreams and meaningful 
goals, who after many months of gruelling and unreward- 
ing work couldn 7 remember what they wanted except 
maybe to get paid their guarantee and get a nice hotel 
room to sleep in. Touring is so exhausting that it can force 

you to forget and for- a£553?^ sa ^ e ^ our 

mission. But it's ffo^Q>?>£0 something you 
must do as a VAv^^^^ band, so do not 

allow to %et <7^^r!^» the better of 

you. Do not ^Jf ~^** ^^3^ lose sight of 
your idealism y^ ^ / /^^\\- an d your long 



Change is possible, 
it has to be won 

by Bryan Alft 






'You can not affect real change in the world! Look at ihe '60s... 
all thai remains of the age of free love and peace is rich yuppies and 
tie-dyed wannabees. For all their protests and sit -ins all hippies 
created was an increased interest in pot and LSD and all they left us 
with is endless Grateful Dead concerts../ This is what they want you 
to believe. But. as much as I dislike the tie-dyed surface of the "60s, it 
would be foolish to deny that it did a lot for us. 

The majority of punks- including myself- never saw the world 
before the 1960s, but it's influence is prevalent in our world today. 
Many movements, including those for racial and sexual equality, 
nuclear disarmament, and the protection of the environment resulted 
or were expanded because of discourse and attitudes during Ihe hippie 
era. 

Those in power want you to believe that this period in our 
history produced nothing. They want you to believe that for all the 
screaming and rebellion of '60s youth culture nothing was really 
changed. We are easier to control if we believe this. If we are jaded, 
overly cynical, and don't truly believe in the possibility of our success 
in trying to improve our world then we won't gel in the way. We 
make it that much easier for the power-hungry politicians and the 
money-hungry corporations to create the world they envision. And, 
chances are. it won't be one that the average citizen would wish for. 

To study the effects of the '60s would be to fink out that, while 
the powers that be were not brought to their knees, these powers were 
forced to listen. And. in some cases, were forced to act on behalf of 
the peoples' demands. There is evidence of this in the existence of 
various environmental protection laws produced in the early '70s. As 
a result of these laws pollution levels have been brought down 
(Although recent legislation may erase such efforts). There is also 
evidence of this in an increased dialogue about equal rights for 
women and other minorities. Affirmative Action laws, and an 
increased status of these individuals in the work place. (I am hesitant 
to get too excited about this, for while it is improved from the pre- 
'60s era. it certainly has a long way to go. But. then again, so does the 
environment.) And, most obviously, there is evidence that change was 
affected with the government eventually forced to pull out of 
Vietnam. 

Sure, these laws may not have ever occurred without the action 
of the youth of Ihe '60s. but their dialogue produced something 
greater. It changed our conscientiousness as a whole about the world 
around us. It enabled us to further realize the problems of inequality 
in our society and. to further realize that we need to protect our 
environment. It may be hard to imagine for the post-* 60s generations, 
but do you really think people thought about the environment at all in 
the 1950s or before? I don'l believe they ever did in any significant 
number. Of course, that is not to say that enough people really think 
about the environment, let alone act to improve it in 1996. 

So. how the hell does this effect punk and hard core culture? 
Well... I would go out on a limb to say that few youth movements in 
the U.S. today effects the lifestyles, habits, and personal beliefs of it's 
participants as much as punk and h.c. (except, unfortunately, maybe 
Christian groups) Those individuals who become involved in punk/ 
h.c. very often question and change the foundations of their educa- 
tion, religious up-bringing, perceptions of societal value, etc. They 
often change their diets (vegetarianism/veganism) and many refuse to 
consume alcohol or other drugs. These individuals also become part 
of their own system of consumption and communication (D.I.Y.. non- 
profit or low-profit, trading, networking for our own shows, produc- 
tion of our own products, distribution, etc.). 

But how the hell does this effect punk and h.c. culture?! Well, 
what I was trying to illustrate is that we are a youth culture. We do 
make a difference in peoples' lives every day. But, the fact is that the 
influence of our culture is very limited to those few people who care 



enough to explore it and change themselves (and many of 
these people give up on it before long anyway.) I don't 
know exactly how to expand our influence and make a 
more significant change in our world. Maybe we can't. But 
it seems we allow ourselves the luxury of being so overly 
jaded about the possibility of affecting change that we 
hardly really try. 1 am just as guilty of this as anyone else 
in the scene. And. I must admit. I don't have any brilliant 
answers. 

li seems the solution is nol to be so insular, not to 
isolate ourselves so much. There is no reason a group of 
punks can't be organized enough to go out and protest 
somewhere. There is no reason we can't make a posit*e 
difference in our communities. And. there is no reason we 
can't grow and influence the people within our world just 
as a movement in the '60s elevated the environment to a 
level where il is simply an expected part of the govern- 
ments agenda. 

Of course. I may be too idealistic and want to 
believe in the culture I am part of too much. I would just 
hope we would all al least think about the possibility thai a 
culture that can do so much to create its own. relatively 
safe, environment could focus energy toward bigger issues 
as well. Issues other than any of the trivial ones we seem 
so intent on driving into the ground. 

Presently, punk rock has become a fad. just as ihe 
hippie culture became. As a result an entire culture is 
mimicked to the point that it becomes completely devoid 
of any meaning and. once its commercial viability is gone, 
it is dumped. Hopefully some of the people attracted to the 
fad will learn of the true punk/h.C. culture and join us. And. 
hopefully we will learn to make ourselves something more 
of a movement than a tad so easily mimicked every ten or 
twenty years. 

"The official view of the sixties is it's a bunch of 
crazies running around burning down universities and 
making noise because they were hysterics or afraid to go lo 
Vietnam or something.. ..That's whai people hear. They 
may know in their lives and experience that that's not what 
happened, hut they don't hear anybody say it, unless 
they're in activist groups. That change is possible, that it 
has been won. is not the message that the system is pouring 
into you through television and radio and newspapers and 
books and histories. It's sort of beating into your head 
another story. The other story is you failed, because you 
were a bunch of crazier The mainslream media conveys 
that if there have been changes, it's because we. the elites, 
are so great that we carried through the changes." -Noam 
Chomsky 

Conirascience Zine/p.o. box S*44/ Minneapolis.MN 55408- 
0*44. #5for$2pptL N America. 

Happy birthday, 
you sadist! 

* by AM 156 

Happy Birthday You Sadist! 

The birthday of one of the world's greatest philoso- 
phers just passed recently, so I thought I'd celebrate it by 
writing an article in his honor. The wonderful Marquis 
Donatien-Alphonse-Francois de Sade. better known as The 
Marquis de Sade. would be 256 years of age today. 

The Marquis remains to this day one of the most 
notoriously known, yet rarely understood philosophers. As 
James Brown is the godfather o\' soul, de Sade is the 
godfather of S&M (the name Sade is where we get the 
word "sadist"), and this usually provides the reason why 
most people know him. but haven't read an inkling of his 



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works. The real de Sadc is a philosopher of the highest 
kind, one with a passion for life and a passion lo 
destroy. Many could find this out easily, but are either 
put off or become too involved in the melodrama of his 
sado-masochistic storyline. 

The Marquis wrote stories, dialogues, letters and 
plays were he discusses the stupidity of religion, the 
lows of capitalism, where women fit into this world 
and practically invents Fascism before the word even 
existed. Everything de Sade wrote is not necessarily 
known. There are some lost texts due to the French 
Revolution, a dozen or so stories, his thirteen year 
prison diary, a few novels. ..lost forever, seized by the 
police, destroyed by his unsympathetic family 
members and only half of his writings have been 
translated into English. Yet, he is lucky to even escape 
the Revolution, let alone his writings. 

Sadc's books and stories each contain a devilish 
mixture of satire with straight-forward social commen- 
tary. Most who do wind up reading anything by him, 
wind up asking. "Is this guy serious?" For instance, is 
he really recommending torture as an aphrodisiac and 
anal theft as a way of promoting economic equality? If 
they are past this, then they usually wonder, "If he is 
serious, where is he serious?" Is de Sade truthful in his 
moral stories and dialogues or in his anonymous 
novels of torturous eroticism? One must keep in mind 
that de Sade is always a serious writer at play. He 
writes to enlighten. He writes to entertain. He writes to 
horrify. He writes to show you that a pessimistic insight 
into human relationships and the conflicts between 
unconstrained desires and constrained social order. 

The very heart of de Sade's philosophy is 
natural egoism. Since nature is a name for existence 
and everything therein, anything that can exist is 
natural.. .including any human desire, despite what a 
"moralist" might say otherwise. According to de Sade, 
humans are like any other animal, each one born with a 
particular taste, impulse, craving, need and so forth. 
Our actions and our thoughts follow nature's prompt- 
ing and any internalized restraint such as morality, 
virtue, remorse and religion is an anti-natural 
interference. Morality is a quite cunning ploy made 
entirely up by priests for their own benefits and to line 
their pockets, which is proper for them, due to the fact 
that they are egoists in their own right. Since morality 
is nothing more that an old wives' tale, any and all 
judgments of right and wrong are illusory. Life is truly 
neither unjust nor fair. He is being quite Nietzscheian 
about the whole thing, going beyond good and evil. 
Not necessarily saying all you do is fine and dandy. He 
is just saying that wha*t you do, is. ..what you do! No 
act, whether it is saving a life or taking a life is moral 
or immoral. itTs just human nature. Now de Sade is no 
nihilist, he doesn't want to destroy all values. He is 
merely stating that there is no altruism. If you go out 
of your way to do something good, it is simply a way 
to make YOURSELF feel better. Example: when one 
gives money to a panhandler, they gain a feeling of 
generosity and feel good about themselves or avoiding 
a feeling of guilt by shooing them away. The Marquis 
says each person is an egoist, and he or she thinks and 
acts in there own best interest and looks out for 
themselves. Now, one might say. but I love my wife/ 
husband/ lover and would protect them even if I were 
in any danger. The truth is that this is no different, you 
are still looking out for # I. ..yourself! If your wife/ 
husband were to say die because you didn't save them, 
that would cause you great pain and you would be 
miserable, in turn, you are doing it in your own best 
interest so as not to be miserable. And if you let them 



die, then you really didn't love them, so it wouldn't hurt you either, now 
would it? It's all quite simple really. If any of this sounds objectionable, 
that objection is simply out of self-interest. You don't want to face reality, 
so you transpose your personal concerns into universal principles and you 
try to get everyone else to respond in the same manner as yourself so you 
may feel just a bit more secure in your relationships to other people. 
Likewise, if you told yourself that it is immoral to abuse your spouse or 
lover, that is your self-interest underneath those grand ethics. If you were 
to hurt your partner they might leave you or hurl you back and you will 
either feel pain or guilt. To avoid this outcome you stand guard over 
yourself and call it maturity and/or sensitivity. Covering up the fact that 
your actually looking out for yourself by labeling things as ethical or 
unethical, moral or immoral, trying to make it a worldly view other than 
what it really is. ..your own view! After all, don't we make everything up 
as we go along? As a product of your culture, you draw these lines of 
conception between right and wrong. What's the difference between a 
love bite and a brutal hurting? The difference between abortion and 
infanticide? Pornography and eroticism? There are differences, but ask a 
thousand people and you'll gel a thousand answers. We make up what is 
right and what is wrong and each person sees it differently. All assump- 
tions, beliefs, ethics and philosophies are, by there very nature, made-up 
explanations. 

The Marquis never engages in any fundamental investigations like 
other philosophers do. Never asking. "What is reality? What is, Nature? 
Man? Individual?" The Marquis knows and he believes! He extols the 
goal of philosophy as, "...to teach truth and destroy prejudices," and does 
so by staying in a strict ideology of mechanical materialism and natural 
determinism. To him. only matter and physical force exist, governed by 
natural principles. ..and he's pretty much on the money! What did 

the Marquis de Sade want? Was he trying to convince us of unsettling 
implications into libido, nature and reality? Was he trying to pass along 
certain ideas? What he wasn't out to do. for sure, for his readers or even 
humanity, were favors. His misanthropic creations were his one weapon 
of revenge against a world that frustrated him so, forcing him to marry a 
woman he did not care for, locking him up for 13 years for his violent 
sexuality, and then almost executing him for not being a cruel enough 
judge during revolutionary limes. Sade went beyond merely writing lewd 
and nightmarish scenes, he set out to subvert people's usual way of 
evaluating moral judgments. He maintains that only our nature, through 
physical sensations and basic drives, is authentic; all abstractions such as 
ideals, ethics and religions are "prejudices" humanity has invented to 
shield itself from the truth of existence. His pen was his sword and he 
shoved it straight up mankind's asshole into his heart! PO Box 820407 . 
Miami FL . 33082 



How I learned to 

stop worrying 

and love The 

Computer 

How I Fought the Cold War by Gregory Jansen 



These days people are finding themselves more a part of the online 
community each year and subjected to its customary practices. Once 
belonging to only a highly exclusive group, the online world is now 
within the reach of anyone in the middle class. Everyone on a college 
campus has felt the constant push to join in this computer revolution. 
However, before becoming a respected member of the information class 
the initiate should understand that our flashy new Internet initiation ritual 
customarily involves more than technological protocols. In order to know 
just what to expect from cyberspace we must explore the roots of the 
computer culture. I refer to the American computer users of the early 
eighties. Specifically, however, I mean those people who communicated 
through the first computer networks. This connection enabled the 
computer users to organize as a segregated community, they had an ability 



to commune through superhuman digital telepathy, thus they ignored 
the voices of all non-computer users. Their communication created a 
barrier between themselves and the mainstream of culture, a new den 
of cabal discourse. 

In the early eighties, computer users were aliens among us. 
The Internet was budding in the nations universities. For most of the 
United States, this was the time when the first computer bulletin 
board systems (BBS's) were set up. As soon as the bit began to 
stream, a new forum had been opened up for conversations. Although 
the topic of conversation was anyone's to decide, there were clearly 
constraints on the subject matter imposed by the users themselves. 
For the most part, these computer communicators were white middle 
class men and boys. Many of them were involved with the high-tech 
industry in some capacity and held a modern technical view of the 
world. Women and blacks were almost completely absent from the 
scene. These demographics rather obviously pointed the computer 
discussions along certain prescribed topics. In the early online world 
there was a climate with higher concentrations of particular cultural 
biases. 

For starters let's examine what kind of information was 
transmitted through these channels from the very beginnings. Aside 
from passing on technical knowledge, the majority of online traffic 
was in pornography and games. 

Cybersmut is not new to anyone who has been online for very 
long. Even on the BBS's of the mid-eighties there were always file 
sections devoted exclusively to porn. Often this was the very element 
of the bulletin board in which the system operator (sysop) took the 
most pride. For myself, having come of age with access to these 
BBSs, the files there were always available. I knew that whatever 
kind of pictures I could desire were readily available to me. In such a 
case there is usually some tension between shame and desire or the id 
and the superego, if you prefer. Due to the nature of the online 
crowd, nobody attempted to dissuade others from vice. In the online 
universe such morally questionable material cannot stigmatize the 
anonymous subscriber. In this sacred space the rules of the outside 
world did not apply. Bear in mind that this was taking place at the 
same lime as (he politically correct movement had the rest of the 
nation biting their tongues. This contrast alone seems to best clarify 
just how sub-cultural the online world was. 

The video games of the eighties can be divided into two broad 
categories. One is the type driven by carnage and the "kill or be 
killed" rule. The other is of greed. The goal is to maximize and 
overcome, to dominate totally one's competitors in a game of 
strategy. 

The graphically violent and militaristic games of the eighties 
set a pattern which today's game programmers have taken to 
extremes. However, the frequency of military dress in games has . 
declined substantially. Back in the eighties, along with Rambo genre 
films, our video game self was a one man army. He was capable of 
killing dozens of enemy soldiers and destroying innumerable hidden 
fortresses. Along the way to the fortress the player could receive 
extra points for liberating oppressed shopping-mall characters from 
bamboo prisons. Thus the player destroys the evil legions once again 
"making the world safe for democracy." I wonder how many games it 
takes before this scenario begins to affect the player on a deeper level. 
How easy is it be to confuse the rules of games with reality. Why are 
the evil legions always little brown men? Why do they keep on 
charging at you despite certain death? The assumptions of these 
games are pathological in any other context. 

The empire building games are all about mastering the forces 
of nature and the will of people. You become the organizer of the 
world. If you lose control, the game is over. One becomes part of a 
race similar to the arms race in which slowing down eventually means 
death. The struggle is for military power, for land, for wealth and for 
technology. Only by securing more and more control can you 
succeed. In these games youngsters become tacticians, both the 
generals and the economists. Taking the seal of power on a test run. 
the techno brat learns how to handle the reins. I have enthusiastically 
played out many games of conquest. In every one of them the skill 
most desirable is effective administration of the empire. Exploitation 
is the key to the game. This is the logic behind the scenes and the 



game is played successfully only within this frame of 
reason. 

Let's further examine the prototypical computer- 
connected person of the early eighties. We are stepping 
here into some very broad generalizations, but analysis is 
about reduction. Please take a minute and think back to 
those cold war years. Do you remember that huge defense 
industry that protected us from the Russians? That 
industry was the birthplace of this new fetish object, the 
computer. 

The first computer devices were designed to target 
enemy aircraft from the decks of battleships. Fighter pilots 
and tanks' crews have been training in computer simula- 
tions for decades. The Stealth fighter cannot fly without 
sophisticated computer systems. All of the first research in 
virtual reality was done with backing from the department 
of defense. Military spending has driven the high-tech 
industry for many years, and especially in the early days of 
computers. 

Given this, it should come as no surprise that 
computer games are traditionally so graphically violent and 
military. Computers themselves emerged from a military 
culture. The very first computer games were computer 
simulations of warfare situations. 

The military-industrial complex was where many of 
the technical elites found themselves working. The people 
who initially started tinkering with home computers had 
been building little models of fighter aircraft ten years 
before. Our rocket scientist fathers had an undying faith in 
the wisdom of technological. dominance. Lurking behind 
all of it is the absolute and fundamental symbol of the 
atomic bomb. If anything, this bomb has been the 
organizing force in the American psyche for the last fifty 
years. A testament to technology itself, it showed 
Americans how to maintain order in a world of chaos. 
Growing up in a cold war computer home was the 
equivalent of having gone through military flight school. 
1 have previously said that this computer subculture carries 
customary practices of its own. I would like to push this 
hypothesis even further by stating that this computer world 
had a ritual function in American society. That function 
would be a male initiation. 

The father buys a computer for the son and justifies 
the purchase as an investment in the child's education. In 
doing so the father has also brought the son into a larger 
rite of passage. The son is now subjected to new influ- 
ences through the online culture. Grandfather Society also 
has big plans for the young man. The computer is an 
exquisite training device. It punishes and rewards the ego 
through winning and losing. The father cannot know 
exactly what he has done to his son. He has nothing more 
than a dogmatic faith in technology. This is the part of the 
modern outlook that is Big Science. However, the 
computer brings with it much more than a scientific 
understanding. 

Human ideological programming is implicit in the 
computer program. When the programmers write software, 
they program more than just the machines. They program 
ourselves. As we have found, the culture of computers is 
sexist, militarist, capitalist and imperialist. It is a total 
package that inducts the young user into the patriarchy of 
the modern world. 

It resurrects the specter of the A-bomb in the psyche 
of yet another generation. Boys learn that life is conflict, 
that dominance is survival. They learn to lust for women's 
bodies and the blood of enemies. From such an early age 
they begin to see people as objects and numbers on balance 
sheets. They are taught greed and at the same time 
paranoia. Maybe a decade later we can try to be more 
skeptical of the computer nursery. 



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The discrepancies between punk rock's stated 
code of ethics and the actual practices of its adherents 
are legion. Even in this time of commercial overkill, 
however, it must be said that punk rock does an 
admirable job of bucking the tide of the mainstream. 
Rather than Hinging wide the doors of its culture in 
hopes of broader popularity and a greater influx of 
other peoples' disposable income, as most subcultures 
do eventually, punk has done a relatively successful 
job of closing ranks against the Rollinscs and the 
Rancids of this world, kicking them out of the punk 
scene and into the mainstream, rather than standing by 
as they usher the mainstream in. The ruthlessness and 
bitterness with which this "scene eviction" is 
accomplished is an additional deterrent, as the 
obsessive cliquishness it implies does well in keeping 
the squares at home. 

However, wholesale negation of anything that 
catches the eye of the mainstream, be it bands, 
fashions, customs, or what have you. has an inevitable 
downside — the scene is prone to outdoing itself and 
letting the mainstream run roughshod over things it 
itself invented. The proximity of pop culture makes us. 
the supporters of the scene, shy away from our own 
culture rather than moving us to lake steps to protect it. 
One notorious instance of this is the reactionary 
attitude towards slamdancing (or simply "dancing" as 
it was more often called before anybody needed it 
explained to them how people were going to dance at a 
punk or hardcore show) that is so commonplace today. 

These days, unless you're at a show where the 
word is out that the band is somehow "acceptable" to 
dance to. you will get glared at and comments will 
circulate if you undertake any dance step more 
physical than tapping your toe. You will be called a 
"macho asshole" or a "frustrated jock." The people 
who say as much don't understand the history or 
significance of dancing at shows. What they do 
understand, however, is that you can see slamdancing 's 
dimbulb cousin, moshing, on television all the time, 
and you almost can't blame them for putting two and 
two together and concluding that this is where you 
learned it from. 

The truth is that many of these people haven't 
been a part of the scene all that long (most punk/ 
hardcore fans, being teenagers, arrived on the scene 
long after the explosion of "alternative" music made 
moshing as much a part of stadium-rock ritual as $25 
l-shirts or seas of flickering lighters), so they don't 
know the former significance of the pit at shows, let 
alone the difference between moshing and 
slamdancing. which is significant. For the record, 
moshing is running around in a circle shoving people. 
There's no rhythm to it. since the mosh participant 
obviously doesn't consciously connect the movement 
to the music: moshing ensues no matter who's playing 
or what form of music is being played. To wit, I, 
attended a show last spring where a raging pit of 
fifteen-year-old wannabes moshed to the sounds of the 
Make* Up. who. despite their former incarnation as the 
Nation of Ulysses, are essentially a lounge-funk band, 
and whose music, separated from the punk milieu, 
would never inspire one human being to collide with 



another. 

These, however, are not the conditions from which slamdancing. 
pogoing, or any of the related punk dance styles emerged, or at least not 
in my experience. When I first started going to shows several years ago, 
the dancing that took place seemed like a natural response to the music. It 
was fast and crazy, so people danced in a fast and crazy way. It looked 
scary from the outside, but if you watched closely you could tell there was 
some sort of order at work beneath all the chaos. This was made even 
clearer to me when I gathered up the courage to enter the pit for the first 
time. Unwittingly charging in against the tide (what I learned then still 
holds true now - the pit ALWAYS goes counterclockwise), I caught a stray 
fist to the face and went over like a load of bricks. Just before my skinny 
thirteen-year-old body could make contact with the hardwood floor, 
however, several pairs of hands seized me under the arms, stood me back 
on my feet, and shoved me back into the pit. going the right direction. 
Once I was moving with the crowd. I realized that there was lots of 
physical contact, but the dancers weren't evil thugs. There were tall 
skinny guys and short pudgy guys, maybe a couple of lough guys, quite a 
few not-so-tough guys like my undersized self- for the most part, just 
goofy kids having fun in an aggressive, but not malicious, way. And the 
dancing was, in fact, dancing — everyone had their own particular style of 
skank. but there were no particular rules, except the counter-dockwise one 
and others that proceeded from common sense (keep your arms down and 
out of other people's faces, pick people up so they don't get trampled, 
hold up stray hats and watches so their owners can reclaim them, et 
cetera). 

This doesn't really square with the contemporary understanding of 
slam pit as vortex of senseless brutality, does it? Well, that may be a result 
of self-selection. Once all the non-tough guys leave, only the tough guys 
remain, and since nobody's around to show them how to behave properly 
(as the thing to do has been not to stand up front and request restraint, but 
to move to the back and whine about how the people up front are ruining 
everything), the tough guys are in charge. The difficulty of correcting that 
sort of situation is obvious. That's not to mention the emergence of some 
oilier constraints that didn't exist in the past. For instance, the changing 
face of punk/hardcore venues (from big halls to people's living rooms and 
basements) means there often is no space in a packed room for vigorous 
movement. Also, on a realistic note, dancing at shows has long been a 
male-dominated activity (although the idea that aggressive dancing is a 
manifestation of oppressive gender characteristics is belied at least in part 
by the fact that a lot of the moshers at "alternative" shows are female), but 
the boys' club mentality in punk and hardcore from which slamdancing 
indirectly profited in years past is far less in evidence than it was even 
five years ago. Nostalgia aside, we all, myself included, need to remem- 
ber that there are many women (and hey. men too) who arc physically not 
able to withstand being run into by people twice their size and who have 
as much of a right to be up front as anyone else. 

If dancing now involves these problems and complications, you 
may ask, then why bother? Because the music demands it. I can't believe 
that people, even today, can hear music as powerful as punk or hardcore 
and not feel like going insane to it (although bad punk or hardcore doesn't 
necessarily create (hat kind of reaction: that's one sign that it's no good). 
And dancing makes shows more fun — I think I speak for a lot of people 
when I say that whatever method I choose to release energy at a show, 
whether slamming or just jumping up and down or punching the air, 
makes the show more rewarding for me. It also reminds me that I'm not 
totally at the mercy of the band onstage. I choose to enjoy myself and to 
do my own part in making the show more than passively consumed 
entertainment. Like many other things at shows that people complain 
about (excessive singing along, people jumping onstage, et cetera), 
dancing can be seen as an attempt to make the music more of a communal 
means of expression than a proclamation from on high. And lastly, 
dancing is a good way to overcome self-consciousness. After a period of 
not dancing at shows out of fear of collective disapproval, I realized that 
the fault lay not in my dancing, but in the attitude of anyone so mired in 
the depths of his or her own insecurity that they would project their own 
fear of embarrassment onto a stranger and thereby condemn him or her 
for having somehow "lost control." 

Anyway, given these constraints. I can't recommend that we try to 
recreate Los Angeles circa 1982 or New York circa 1987, but I can offer 



two scenarios that show how dancing — physically involved dancing, 
not overly self-aware head-bobbing, which is an easy rut to fall into — 
can emerge even in today's timid climate. Straightcdgers, for one. 
have a whole slew of more stationary dance moves that are obviously 
an outlet for aggressive energy, but don't involve quite as much of an 
accident risk or bystander annoyance factor as charging around in a 
circle. And occasionally the audience is mature enough to police itself 
in a way suits the interests of everybody. For example, a few months 
ago I went to see Avail, one of the few bands that the public still 
seems to feel is okay to dance to. I'd never seen them in North 
Carolina before, so I was afraid thai the show would either be a stand- 
and-slare kind of event or an unregulated shoving match. As it turned 
out. the audience divided itself neatly into three different sections: the 
pit. then a wholly separate section of people who were simply 
jumping up and down, and behind them the non-dancers. The pit itself 
was fairly friendly, there were lots of people, male and female, 
involved, and the hall was big enough that anybody who had a 
problem with the dancing could withdraw and still see the stage. 
People were free to enjoy themselves any way they felt was appropri- 
ate. And really, thai is what I ask of you. the audience member — 
don't shy away from expressing yourself physically, whether it's by 
pogoing or kickboxing or however you feel like moving. By taking 
responsibility for yourself, you relieve other people of the need to 
dictate your actions and pull yourself free of the fear and the weight 
of supposedly "enlightened" social conventions that plague so many 
others. 

If anyone's interested in more rambling of this sort, issue #5 of 
my zine. Things Fall Apart, is available for $2.50 postpaid from 
Richard Allen. 2609 John Milton Dr.. Herndon, VA 22071. It's 48 
pages and features interviews with Action Patrol and (you guessed it) 
Catharsis, plus other fun stuff. Please write with any comments or 



criticisms. 



Axel Orange. 



by a guy in Gennoney 



Earlier this year, I've been talking to Marc of M.A.D. (Musical 
Defence Service). They are one of the bigger lour promoters in HC 
here in Germany and because of the proverbial integrity of da scene 
they have to deal with a lot of knifes in their backs . Envy, disap- 
pointed bands and gossip arc some of the reasons. Of course. I'm not 
innocent. I like gossip. It makes it all worthwhile and helps you 
develop all the prejudices-or to give il a better sounding name- 
thinking patterns.which guide your actions. The problem about gossip 
is just that people are too obsessed with negative gossip. Therefore, 
one shouldn't rely that much on gossip. because it's mainly bad news 
that spread around. And loo much of that taken too seriously might 
leave you ignorant. Granted, there are more ways of developing a 
decisive process, but who believes everything that's written down in a 
book or newspaper or is spoken by the persons themselves? Anyway, 
to cut it short. Marc called me on my prejudices about him and 
refuted my criticism. More than once during the conversation he had 
me comered-my jaw dropping to the floor, giving no reply. I'm not 
used to talking to people who prove to be superior in the handling of 
words and who challenge my theories o\' how things work (e.g. 
"gossip"-see paragraph above) in such a defeating fashion. 

One more example? Before the call, I was almost sure that 
most of the political views expressed by the hardcore movement- 
ihrough lyrics and fan/.incs-are of little practical value and are first 
and foremost self- serving. You know, "change yourself before you 
change the world." (I'm not taking fiction into account here, the 
vegan reich, once more, isn't recognized). While all the grassroot 
social work just seemed to serve as a valve for the malcontent that 
would otherwise turn against the roots of injustice, the system itself. 
It just soothes the effects my money-making has on those off whom 
the money is being made. (No. I don't want to close the soup kitchens 
or put down volunteers' work I just keep wondering how bad it has 
still got to get, before people really want change and what makes 
them accept the misery). Marc provided indifferent opinion by 



voicing a strong political stance and he seemed pretty 
competent about how he hacked it up, unlike me. 

I'd still say I don't look at things the same way Marc- 
does. A hardcore crowd won't ever change anything 
worthwhile concerning politics, Hell. I'd love to tell you 
that I believe in anarchism, communism, vegan ism, liberty 
or justice, but that would be .i lie. Just like you. I'm only in 
it for the music. But I really respect Marc for what he 
believes in. Did anyone so far think about me having to 
shut up if I lack the mam point in HC anyway? You're 
probably right, but I'm beyond right or wrong, so I'll just 
continue. I don't believe in society systems. I'm too sell 
centered and never content with what others decide for me. 
Just take capitalism: there are far loo many doomsday 
scenarios as a direct by product ol capitalism than one 
could probably claim its working. It almost seems like their 
number grows daily. Be it ecological.economicahfcar of 
war or major label infiltration. seems like we're doomed. 
Hell, we all die in the end (jusl read a Jello Biafra lyric); at 
least we earned il. 

So capitalism and thus our current way of living is 
wrong, what am I going to do about it? Going on demon- 
strations, protesting, maybe a little vandalism feels like a 
touristic approach. "I watch as the world slowly becomes a 
revolt. .."-this is not standard english. but it sounded like 
this to me. (HERESY wrote it originally as " ..becomes 
unravelled.." a little disappointing for my purposes. A 
comprehension error of freudian dimension). Well, tuck the 
apolitical, apathetic losers We definitely need change. 
What about a revolution right now? It can only improve 
things, right? I'll complain about the new order in due 
time. About what's goin^ on here: I'm looking forward to 
seeing Avail. Los Crudos. Toe lo Toe and Catharsis soon. 
Lets see if they are a match for the fantastic NWoSI 1M 
(New Wave of British Hardcore Metal) that sweeps Europe 
these days. Prime examples for me are Stalingrad and Rito. 
You should have metal tolerance. b ut readers of the 'front 
should have plenty thereof, so check them out if you think 
HC '% lacks originality and the good old days are more 
than romanticized past. Underclass is a swell band as well 
in the Rorschach meets Drop Dead vein, they have a split 
7" out with Hard to Swallow, the Power Violence-tag 
comes to mind here. Voorhees-if you haven't heard their 
"Infesl-meetsBoston HC-with-harsh-lyrics" sound yet you 
miss out big lime — a band I still need to see live someday. 
They're a little more popular, but expect no metal 
influences here, which also holds true for Underclass and 
Hard lo Swallow. Check Armed with Anger or Days of 
Fury concerning inquiries about their releases. 

Gennoney: recommendations go out to ULLC who 
formed out of ihe ashes of Ego Trip. Their new 7" has a 
distinct emo touch, but still enough anger to provide a 
healthy balance. Oops. Sorry for mentioning the 'e'- word. 
I guess. I just rang your repell-reflex. Emo vs Metal core is 
childish. I don'l know if I mentioned this already.. .Amen 
8 1, which is dis-core with attitude recently played a 
set.covering the wholenthe Crewnand they think about 
covering Slayer's '"Reign in Blood," one of the best 
records- musically of all time! Their singer/drummer (we 
call him Disrupior) docs cool tasmanian devil imperson- 
ations and pulled a stunt extraordinaire a few weeks back: 
he applied for a Job as police officer to get the application 
talks taped. Afterwards he stole several hundred propa- 
ganda flyers of how cool policemen are. They told him to 
cut off his mohawK and dreadlocks. Amen 81 has a 7" out 
that comes with a stupid prospectus which advertises the 
police. 

Burned Out created the slogan"! lardcore heisst 
wieder kampfen" (Hardcore means to fight again). Crude 
mid-80's stuff with german lyrics-if you liked Inferno, you 



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can't fail here. Didn't see them live yet, but chances 
are low they don't live up to their slogan live. And 
now for something completely different, loony 
department: have you heard of that bizarre legal 
quarrel between the owners of the moon? A german 
claims being the rightful owner o\' the moon because 
Fried rich the Great (some german monarch) gave it to 
his family in 1756 for a present. He wants his "rights" 
getting settled because ameriean Dennis Hope(?) 
claimed ownership of the moon 1 6 years ago at the 
San Francisco district authority and since sold 2000 
properties of the moon. (After an article in the local 
newspaper last week). Sounds like a story for that 
Kohut guy. Maybe they should sue Armstrong for 
trespass back in'69? See you next time. Greetings go 
out to Fidel Castro, best wishes for your 70th birthday 
yesterday. You're punk! Axel Orange 8/14/1996 



Everything you 
always wanted 
to know about 

prison, but were 
afraid to ask pt.3 

by Martin Maassen 



Greetings from behind the walls with another 
look at the Inside Front. This month I want to discuss 
the mental and emotional hardship of prison, and how 
it affects the day-to-day survival for an incarcerated 
person. 

As it goes without saying that prison is a 
physically demanding ordeal, it should also be obvious 
how difficult prison is to endure mentally, emotionally. 
Since a sentence to prison usually implies that a 
number of years must be given up by the inmate to the 
state (often unwillingly), a tremendous toll is taken 
from the spirit of the person behind bars. The prison 
experience has often been compared to combat duty 
during war. The 24 hours a day. 7 days a week 
vigilance that a convict must exercise for his own 
welfare is extremely demanding and taxing. When 
you consider that a lack of vigilance is often the reason 
most people are caught and go to prison, it is for some 
a totally new experience having to watch their back; 
guard their possessions: watch their words; and 
monitor their physical appearance. For even the prison 
vet it is an emotional drain. It should not be surprising 
that a good deal of the most secure and successful 
survivors of prison arc in fact' military veterans! The 
constant pressure and stress that permeates the prison 
population makes for a hostile, edgy living environ- 
ment. Of course this stress isn't forever, and after 
you've adapted to the reality of your new home you 
can begin to settle down and establish your routine. 
But what about those people who can't, or don't adapt? 
Because, in most prisons, there exists the constant 
threat of violence, fear is something that must be 
overcome . Now don't get me wrong, fear is good— to 
the extent that you remain aware of possible dangers 
and learn to avoid them. But. fear as a driving 
emotion or force is deadly. If vou do not learn to 



harness your fear of your surroundings, then you can hang it up. Because 
everyone who specializes in victimization will be at your cell door 
waiting to take a crack at you. It is nothing to see young men turned into 
punks, prostituting their mouth and ass to the person who offers the best 
protection for the boy from the rest of the population. Scarier still, is 
when you see the same prostitution take place, noj because of fear— but 
due to loneliness! 

Prison is an emotional vacuum. Desolation, loneliness — these are 
all real feelings that are felt daily. Without the strength or tools to endure 
the sheer separation of yourself from family and loneliness — prison can 
be a cruel mistress for those too weak to go it alone. It is said: "I came 
here alone and I'm leaving here alone." How true. But some unfortu- 
nates here seem to forget that proverb and turn to homosexuality; or lash 
out against everyone and everything in an attempt to destroy the 
bleakness of their lonely spirit. But all that does is hinder your release 
from prison. Getting into trouble prolongs your sentence! AIDS is 
rampant inside — homosexuality as an answer to the loneliness is almost 
certain infection! Do your time with someone else or you might discover 
that ihey don't want you to go home — should you make parole!! Since 
there are no promises you'll even make parole, you should take extra care 
that no one sabotages your release by "setting you up." Believe me, it 
happens. Do your time alone . 

How do you cultivate the strength to outlive your sentence? 
Maintain contact with the street. If you are lucky, you have family and 
friends to write, call and visit. Without this it is extremely difficult to 
keep your perspective. You must make the conscious decision that you 
want to go home A.S.A.P. This keeps you sober and aware of your 
purpose: to survive the prison experience intact mentally and physically, 
and lo get the fuck home soon ! Avoid too many friendships on the inside. 
Limit yourself and your personal life a very few choice people. Make 
sure their goals are paralfel to yours. Find out what the prison offers as 
recreation or activities and get involved. College, school, sports, church, 
even band — all of these things arc there as a string of positive distractions 
from the day-to-day reality of serving time. Their purpose is twofold: 
occupy the attention of the inmate, stimulate the inmate's desire for 
freedom through rehabilitation. My time flies. I work in the band 
program here fixing and maintaining the equipment, and seeing to the 
day-to-day operation of the program itself. Plus. I participate in a band. I 
play sports and exercise often. I am always engaged in letter writing or 
visiting my family and talking with my girl. My time is my time. I have 
learned to exploit the situation and have it benefit me. 

Don't "keep your head in the street." While I know I said to keep 
the street in mind. I don't mean for it to consume your every thought. I is 
too depressing and can wear you down. You must learn to keep a 
comfortable medium between your life in prison and qui. 

You're in prison until release — deal with it. Accept It Don't 
wander to the street in your mind because there's too much going on 
around you that you need to be aware of. I don't recommend keeping 
boyfriends or girlfriends either. It will drive you crazy wondering ... I 
myself have discovered a fairly healthy and realistic way of maintaining a 
relationship with someone on the street— so even I don't follow that 
advice. It's up to you. Keep in contact with the scene! It will give you a 
sense of belonging while isolated from your scene physically. Zines. 
tapes, letters to and from guys like Brian D. are what helps me! Pray/ 
meditate for the strength — it is there inside you. 

Survive the prison experience and you take with you wisdom few 
people understand, much less have. The weak succumb (or. "suck cum"), 
and the strong minded survive! Remember that, and until next month — 
be careful out there! 

1 welcome your lip: 
Martin Maassen #17941 1 
P.O. Box 3500 
Staunton Corr. Center 
Staunton, VA 24402-3500 



take a deep breath and find a comfortable seat. 
this next column is a long one . . . 



India 

by Greg Berwick 

Tonighi is September 16th 19% and I am finally sitting down 
towrile a column which I promised Brian (hat I'd have to him in 
early Matc^h. Hed asked me in November of 1995 if Id send him a 
column afterhwtyjt 10 India in January and February of this year 
describing my reactions to India and what Id thought about while I 
was over there. I figured that-ii was the leasl I could do, being as that 
he did put out the Trial record and all- Well. India blew my fucking 
mind, and when I got back, I wasnt at all ready to start writing about 
what Id seen or felt or thought while I was over there. It had been too 
overwhelming. I put off writing this column for as long as I possibly 
could, avoiding Brians repeated calls to Seattle asking me how the 
column was coming along by responding its almost done again and 
again for months on end. I was relieved when he called me three 
nights before I left on lour last month lo tell me (hat Id missed the 
deadline and that it was too late to get the article in. I responded with 
my most heartfelt sounding Aw.. .fuck, man...Im sorry and breathed a 
sigh of relief at my temporary reprieve until the next issue. Well the 
joke was on me. I arrived with Trial in Brians college hometown of 
Chapel Hill NC today, and asked him immediately if Ihe new issue 
was done, expecting to see a stack of them in his closet. He surprised 
me by saying that it actually wasnt yet finished. We looked at each 
other. We looked at this computer sitting on his desk. We both knew 
that Trial had two days off here. I was trapped. So, here I am. 
throwing together a last minute article for the zine about my 
experiences in India over six and a half weeks this past winter. By no 
means will this column be a complete description of my experiences 
there. Too much happened, and I could probably write a book based 
on my experiences on any one single day alone. What I'll try to do 
here is touch on some of what I experienced, and hope that as I type 
last minute, that there is some coherency to my thoughts. This 
column will be split up over two issues, so be sure to check out the 
second half which Brian says will be released in Inside Front issue 
#10 this January or February. India is beautiful, ugly, incredible, 
terrible, safe, uncomfortable, horrifying and wonderful. ..all at the 
same time.. .all in every single moment. I heard India described as a 
total assault on the senses and I couldnl agree more. There is no way 
to appreciate or understand it from words on a printed page alone. If 
you really want to have your world rocked, just save up. buy a plane 
ticket and go there. Its something you really have to experience 
firsthand. I went to India without a clue. A friend of mine was 
spending a year there just living in an ashram, and one day before she 
left for India. I told her that Id go over to visit her at some point 
during her stay. She asked why. and I had no answer for her. I just 
promised that I would come, and I did. I think my motivation behind 
my trip was personal. 1995 had been a very bad year for me. Lots of 
personal shit. I was very upset and I needed something to fuck me up 
so hard that I o stories which described a vast richness in terms of 
culture, scenery, and an incredible sense of history. I made a pact 
with myself, that not only was I going to follow through on my 
promise to go to India, but that in addition, for maximum effect, that I 
would do no research or preparation for the experience whatsoever. I 
needed to be hit and hit hard. I had read one book on India - a book 
about the lives of rickshaw pullers in Calcutta, called City of Joy by 
Dominique La Pierre, but that was it. No more reading, no more 
talking, just going. I bought my plane ticket, got a hundred different 
shots and immunizations, and left, hoping that India would put me 
through the ringer without mercy. It did. " ...an anvil the soul is 
pounded finer on. India. ..skinny, with Hashing eyes... "- Gary Snyder 

My plane touched down in Calcutta after a long trip which had 
routed me from Seattle to San Francisco lo Seoul. South Korea, to 
Bangkok, Thailand before finally arriving in India. As we were Hying 
in to Calcutta. I saw families living on the airport tarmac under 
makeshift shelters constructed up against the blinking lightposts of 
the runway. There were kids running around the runways in the sun, 
and seeing just that in itself. I knew that I was in for a culture shock. 
My friend Hannah was wailing for me at the airport, and we made our 
way out into the sunshine. We found a taxi, and haggled with the 



driver over the price. There is always arguing over prices to 
be done in India, and people are coming up to you at every 
possible turn, either with something which they are trying 
to sell you (rides, tours, hashish, prostitutes) or to beg for 
money for their starving child or as alms for their handicap 
(leprosy is rampant in India). Given that the average 
Indian makes about 9000 Indian rupees per year (when I 
was there, there were about M rupees to one US dollar) 
westerners arent just perceived as wealthy, we ARE 
wealthy by their standards. Accordingly, the Indians will 
try as hard as they can to squeeze extra rupees out of you. 
It isnt dishonesty as much as it often is desperation, and 
over time, you start to condition yourself to the fact that if 
something doesnt have a price already on it. that the price 
youre told is over what it should be. Oftentimes, the 
difference amounts to pennies, but there are a lot of people 
who get hung up on the principle of paying more than they 
should for goods and services. To sec travelers arguing for 
ten minutes that their bag of oranges should be ten rupees 
instead of twenty (a different of about 25 cents) is enough 
to drive one to madness. I often chose to fork over the 
extra cash in order to not have to deal with arguments. 
Anyway, the thirty minute cab ride from the airport in 
Calcutta to the guest house where we were staying was 
enough experience in itself to be worth (he trips cost in 
itself. I honestly could have turned around, gone straight 
back to the airport, flown home, and it all would have been 
worth it. Nothing in the States compares. ..imagine cars, 
trucks, cows, pedestrians all fighting at once for space on 
the road, with no rules whatsoever except for one: 
whichever vehicle is largest gets the right of way.. .imagine 
buildings lying in heaps of rubble, the mortar which held 
their bricks together having been made of cheap 
sand. ..imagine hundreds of mats laid out alongside the road 
with colorful fruits and vegetables for sale all over the 
place. ..imagine pollution like you have never seen before 
as all of the cars and auto-rickshaws (essentially a 
motorcycle with a covered bench seat attached in back with 
room for two or three passengers) run on either diesel fuel 
or a combination of oil and gas and (he exhaust is thick and 
black. The most frequently asked question about my trip is 
Where did you stay while you were over there? The 
answer is guest houses. There are youth hostel like guest 
houses all over India where you can rent rooms for around 
30-80 rupees a day. Rooms are basic, but it isnt hard to 
find places that are generally clean, or at least clean 
enough. The Red Shield Guest House on Sutter Street is a 
good place if you ever get over there, and it is staffed with 
people who work under Mother Theresa herself, so they are 
very friendly. The second most popular question people 
ask me, just to cover it in case anyone is wondering, is. Did 
you have a hard time eating while you were over there? 
The answer is no, but I did have some concerns. I am a 
very strict vegan, and I made the decision before I left on 
my trip that there would be no compromise of my beliefs 
while I was there. What that meant to me was that I had to 
do the same thing as when I am home in the States: ask 
about the ingredients in everything. Whether or not people 
were honest with me I will never know, but I can say that 
to the best of my knowledge, with only one exception when 
I fucked up and ate a little piece of cheese in something by 
accident, having thought that it was tofu (this was when I 
first got there) that I was vegan 99.9% of the time. Many 
places will cook without butter there, using oil instead if 
you ask for it. and most of the country is too poor to afford 
meat anyway, so all restaurants offer vegetable dishes. 
Food is cheap loo. A good meal of Indian cuisine in a 
good, clean restaurant will cost around a dollar, and that 
includes rice, and an entree or two, some bread, and a 
bottle of water. I chose to spend a little more on food and 



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be comfortable mat I was gelling clean food that 
wouldni kill me. The different in price is negligible by 
American standards, and its totally worth it. Vegans, 
do not fear.. .you will survive in India without a 
problem. 

Back to the Calcutta story. Calcutta was 
supposed to just be a landing spot for me. but my 
backpack had been mislabeled by the airlines and we 
had to wait for two days while they tracked it and 
recovered il for me. Those few days in Calcutta were 
insane. We saw poverty like I never before imagined 
could exist. Any innocence I had to the limits of 
human suffering were wiped out within my first 48 
hours in Calcutta. City of Joy had discussed the lives 
of rickshaw pullers who slaved throughout the day in 
Calcutta, the last stand for human 
powered rickshaws in the world. To see 
these men though, thousands of them, 
thin like cornstalks, with sunken eyes, 
bare feet and tight bands of wiry 
muscle. ..and to know that they pulled 
other people around for 16-20 hours a 
day only to have their profits comman- 
deered by the owners of the rickshaws 
(the pullers have to rent their machines 
from the owners each day for a huge 
percentage of their income) was 
overwhelming. Most rickshaw wallahs 
live only to be about 25 or 30 before 
dying of complete physical exhaustion, 
or the host of communicable diseases 
in the city which plague them easily 
because of their defeated immune 
systems. Hannah and I were walking 
along the banks of the Hooghly River 
one day. looking at mile after mile of 
homes built three feet high consisting 
of plastic bags stretched between sticks 
for roofs and walls...l thought of City of Joy mention- 
ing the rickshaw wallahs living in slums near the 
Hooghly River, and couldnt believe that I was really 
there. Even more shocking was when I got back to the 
guest house where we were staying later and men- 
tioned to the proprietor that we had been on the east 
bank of the Hooghly near the slums. He shook his 
head sadly, and told is that we had been on the good 
side of the river, and that the slums were far worse, 
and were across the Howrah Bridge on the west side of 
the river. I found myself trying to imagine what could 
be worse than living under plastic bags in a gutter 
filled with human waste. India has 900 million people. 
We were trying to keep our grip on reality intact and 
were having a difficult time doing so in the madness of 
Calcutta, so we decided to take a break one day and go 
to the National Museum to check out some statues and 
some art. It cost the equivalent of two cents to gel into 
the museum, which we thought was a pretty good deal, 
and we spent an hour strolling around, checking out 
statues of different gods and deities and just being 
generally stoked that there were thick walls separating 
us from the harsh realities of the city. We were 
unprepared for what we saw next. We had made our 
way through a number of different rooms housing 
older exhibits - you need to know that this was not like 
a typical museum which you'd see in the States, in 
which every exhibit is clean, dusted, polished and 
labeled. In this museum, one of the most prestigious 
in eastern India, many of the exhibits were without 
labels, some broken, and all were dusty and dirty, 
increasingly so as we got into more of the depths of 



the museum, to some of the older rooms housing things like dinosaur 
bones and various types of skeletons. It was in one of these very rooms, 
that we saw something which I know will haunt me for the rest of my life. 
We were looking at a large dinosaur skeleton when I saw a big glass case 
in to corner of the room. It was dark in the corner (the museum was not 
very well lit) so I had to walk over there to see what was inside. Hannah 
walked with me. Inside the case, there were three shelves. The top shelf 
had preserved specimens of various animals floating in jars. This I could 
handle. The second shelf has preserved specimens of various deformed 
animals floating in jars. ..an unborn calf with six legs.. .and more like that. 
This I had a hard time handling. But it was the third shelf which killed 
me. There, in three consecutive jars, labeled clearly, were the following 
specimens: Human Fetus/Three Months. Human Fetus/Six Months, Full 
Term Human Fetus. We just stared. We couldnt fucking believe it. There 
they were. Babies. Floating in jars of preservative along with the other 

exhibits. Neither Hannah or I moved for what 
seemed to be hours. I dont know who spoke 

first, but one of us finally said. Is that ? and 

the other replied. Yes. ..dead babies. We left 
the museum and went straight back to the 
guest house where I really don't remember us 
saying or doing much of anything for the rest 
of the afternoon. Every once in a while, one or 
the other of us would say dead babies and the 
other would reply uh huh as if to affirm that 
we really had seen that on the museum 
shelves. Insane. 

The next day. wc were able to retrieve my 
backpack, and after buying some bottled water 



Hannah and I were 

walking along the 

banks of the Hooghly 

River one day, looking 

at mile after mile of 



homes built three feet 

hlOh COnSiStiflQ Of (youshouldltt EVER drink the tap water over 

v ^ * (here - * kn*»w nno onv who r*am»» Hnwn u/ith 

plastic bags stretched 



between sticks for 
roofs and walls 



I knew one guy who came down with 
an intestinal virus just from swallowing a 
mouthful of water after opening his mouth in 
the shower...) we looked into getting out of 
Calcutta, because after the dead babies, we had 
seen enough. We wanted to head towards a 
village in northeastern India called Bodhgaya 
(bode-GUY-ah) which is where Sakyamuni, 
the Buddha, attained enlightenment 2500 years ago while sitting under the 
fabled Bodhi tree. Not being a Buddhist myself, I still thought it would 
be rad to sec Bodhgaya because a sapling from the original Bodhi tree 
was transplanted there and still grows to this day. Our train ride from 
Calcutta was about 12+ hours long and was on a typical Indian train. 
Forget the comfort and cleanliness of Amtrak...this was more like a 
converted boxcar, with iron bar windows(!) and a definitive piss smell. 
We just laughed as we sat down, because this was luxury after Calcutta. 
As the train was just about to leave, about twelve Indian soldiers got on, 
carrying fully loaded assault rifles, grenades, etc. They were on their way 
to some sort of military exercises is central India, and had a blast over the 
next few hours playing cards, spinning their guns around, loading and 
unloading their weapons and laughing at Hannah and I, as Im sure we 
looked very out of place there. Still, it was very bizarre. All of this was 
confounded by the nature of the rest of the people on the train as well. 
The Indian people have a habit of staring, endlessly, with unwavering 
gazes. This isnt an attempt to be rude, but rather is done out of sheer, 
unabashed curiosity. They will stare at you, into or at your eyes (if youre 
not looking at them) for hours. Wc sat on this train all day while people 
stared. At one point, an old man was sitting next to me on one leg of the 
journey. He was right next to me and stared wordlessly for about an hour. 
Finally, I couldnt take it, I turned and started staring right back at him, 
just to see what he would do. There was no effect. ..he just kept on 
staring, now right into my eyes! I turned away, defeated by his gaze and 
started laughing. To be stared at like this is very unusual for us Western- 
ers, as we are so used to diverting our gaze elsewhere when someone 
looks us in the eyes. The old man was still staring, so I decided to try 
another tactic. I turned again to him and made a scries of crazy faces with 
my eyes wide and my tongue out. He didnt even flinch. I turned away 
again, feeling now like a complete idiot. A long minute went by before I 
tried one last option. I turned again to him, looked him in the eyes, and 
said, Namastc (pronounced: nam-ah-STAY) which literally translated 



from the Hindi (the common language of India) means something 
close to I bow at your feet but which is used commonly as a greeting 
and expression of general goodwill. The instant he heard Namaste he 
lit up like a Christmas tree. Suddenly with a big smile, it was as if he 
was a jukebox which someone had just dropped a quarter in. ..he 
started talking directly at me, in Hindi, at like 200 miles per hour! He 
talked nonstop for like three minutes while I just stared at him open- 
mouthed in amazement. Suddenly he stopped, waiting for a response. 
I hadnt understood a word of it, but I dont think he knew that, because 
I had spoken to him in his language first. I smiled, took a breath, and 
for lack of anything else said. Really? Hey thats pretty cool. You 
know, my brothers name is DarryL.theres no air conditioner in my 
1988 Dodge Aries K...um, Youth of Today.. .Seattle Washington ... uh 
... straight edge.. .the NCAA basketball championship.. .how are you 
doing? The man started laughing out loud, as if he had understood 
every word of my nonsense, though I'm sure he had had no clue 
whatsoever. The train began to slow down and he stood, still 
laughing and saying to me over and over again, Namaste. ..namaste. 
He walked off the train when it stopped, obviously very satisfied with 
our conversation. I was completely dismayed. 

At Gaya (GUY-ah), we got off the train and took a bicycle 
rickshaw (essentially a huge tricycle with a bench seat for two over 
the rear wheels. ..the driver pedals from a seat in front) to Bodhgaya. 
The trip was about six miles, and our driver was a sixty year old man, 
who struggled to keep up a decent pace. We weren't demanding, but 
it seemed as if he was trying to let us know that he would be getting 
us to Bodhgaya quickly, regardless of his age. We were impressed by 
his efforts and paid him like three times what he was supposed to get. 
By this time in the trip, I was recognizing the deep spiritual history 
attached to India: it was the birthplace of Buddhism, the birthplace of 
Krishna, the center of Hinduism, etc. I thought that I might try to 
explore as many of the holy sites as I could over the next few weeks. 
Wc started with the Bodhi tree at Bodhgaya. It was pretty incredible 
to see: an old tree with a hundred and fifty foot high monument called 
a stupa (STOO-puh) built next to it to commemorate the life of the 
Buddha, and all around that, hundreds of Buddhists from all over the 
world, and of all ages from young to old, praying devoutly toward the 
tree. It was very powerful, as I knew that I was standing in a location 
which many Buddhists hope their whole lives to be able to see. The 
story of the foundation of Buddhism goes like this: Sakyamuni. the 
Buddha, was an Indian prince who grew weary of his life of riches 
and longed to search for something more tangible, something more 
real, beyond the walls of his luxurious palace. He left his palace, and 
along with a few disciples, began to travel the countryside, having 
shunned all his worldly possessions, and fasting on one grain of rice 
per day until one was able to see his spine through his stomach. One 
day, after a long period in fasting, the Prince was sitting at a riverside 
very close to the site of the Bodhi tree, when he was approached by a 
young girl who had some sweets with her. Having fasted himself 
away to nothingness without achieving the spiritual awakening he had 
been hoping for. the prince decided to indulge in a few sweets. His 
disciples, upon seeing this, abandoned him, thinking him to be 
without a strong will. They walked on, away from Bodhgaya to a 
place called Sarnaih about twenty miles away to recollect their 
thoughts. The prince sal down to think under the Bodhi tree about 
what had happened. ..it is said that he had a revelation there which 
were so complete in its scope, so enlightening, that he had evelopcd 
the basic tenets of Buddhism from that moment. There is a small hill 
near the Bodhi tree called The Place of Unblinking Gazing because it 
is said that the new Buddha, upon being so overwhelmed by his 
revelations under the Bodhi tree, climbed this hill, and sat for two 
weeks, staring at the Bodhi tree for two weeks without even once 
blinking because of his total amazement. From here, the Buddha 
walked to Sarnath, to catch up with his crew, and to let them know 
that they had missed out on some important stuff, that he was now 
enlightened, and that he was now the Buddha. I dont know about 
you, but I would have been bummed out to have been one of those 
disciples and to have missed all that. Anyway, Hannah and I were 
able to sit under the tree too, and while I cant say that anything 
happened which will change the course of the religions of humankind. 



something crazy did happen which I'll tell you about. I 
was standing under the Bodhi tree, looking up at it, and 
thinking about all the times in my life when I have 
wondered more about Buddhism and what it truly stood 
for. All around me there was an underlying buzz, a hum. of 
the pilgrims and monks nearby praying quietly. Suddenly 
the back of my neck was burning and itchy.. I mean really 
burning and itchy. Hannah ran over and told me that some 
teenage boys had run by and had thrown something on the 
back of my neck. I stripped my shirt off, and found that 
what they had thrown was a hundfull of what looked like 
either nettles or fiberglass shards! It hurt so much, and 1 
think that part of the pain was the fear that there was 
nowhere for a few thousand miles where I could receive 
adequate medical attention if my neck were to swell up like 
a balloon or something. Hannah washed my neck off with 
our bottled water, and in a few minutes all was good again. 
I stood up, and looked around, trying to find the one or two 
guilty faces in the crowd. I was thinking blissfully of a 
thousand different ways to torture the little fuckers if I 
caught them, but after twenty minutes of searching, I 
couldnt find anyone. Afterwards, I realized that this was 
probably the first time in 2500 years that anyone had had 
thoughts of violence and murder under the holy Bodhi tree: 
the symbol of peace for Buddhists everywhere. It struck 
me funny to try and think of the international uproar which 
would have ensued if 1 had torn some teenage Indian kids 
arm off under that tree. Maybe its best for us all that I 
didnt find them. Anyway, after checking out all of the 
Buddhist sites at Bodhgaya. we ventured on to Sarnath 
where the Buddha had reunited with all of his disciples 
after his enlightenment. We actually stood on the very spot 
of the Buddhas first sermon to his followers. Like I said, 
even though I'm not a Buddhist, it was still pretty cool to 
be there and to know that a world religion started on the 
spot underneath our feet. Wc wulked around Sarnath for a 
few hours and then went back to Gaya to begin to make 
plans for our next long train ride and next destination: the 
city of Varanasi, the center of the Hindu faith. 

This leg of the journey on the train was about fifteen 
or so hours, and the ride isn't what kills you as much as the 
waiting for and transferring between trains. You see, 
nothing runs on time in India, nothing is clearly marked 
(either in English or in Hindi), and everyone seems to have 
a different idea as to which direction you should be going, 
where the ticket office is located, or even what city you are 
in. Rest assured, if you ask ten different people for advice 
or directions, you will get ten completely different answers. 
It took us a long time to find the right trains, but when we 
finally did, it felt really good to sit back in the piss 
smelling boxcar, packed with people carrying with them 
every worldly possession they owned, and just watch the 
countryside roll by for hours while listening to Iron 
Maidens Seventh Son of a Seventh Son LP on my 
Walkman. Hannah gave me some shit for that, because she 
was trying to distance herself from Western culture too, but 
eventually she too broke down over the long stressful train 
ride, and borrowed it to listen to a Rush album or two 
which I had with me (write me all the hate mail you want, 
but its true that Rush is my favorite band of all time). 

Once there, we found an area with afoot wide 
pathways. ..an entire network of them. Each side of one of 
these gullies has little shops carved out of the walls which 
dont amount to much more than cubbyholes, but which 
provide all of the basic necessities you might require, such 
as AA batteries for twelve cents each, various medicines - 
all of which cost no more than one twentieth what they do 
in the stales and are all the same brands, and toilet paper - 
the only thing in India to compare price wise to the States. 
In India, the right hand is used for eating and the left is 



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used for cleaning yourself after taking a shit. No lie. 
Well, there are some Western travelers who arent down 
at all with the idea of shil covered hands (I'm one of 
those) and we choose to buy our toilet paper regardless 
of how strangely it is perceived. The idea in India 
being: why use paper if you dont need too? For the 
same reason, Kleenex are nowhere to be found there as 
most people just hold one nostril and blow the other 
onto the ground. Natives of India find cloth handker- 
chiefs especially bizarre, especially in rural areas, 
because they cant at all comprehend why you would 
blow you nose into a piece of clean cloth, and then 
save it in your pocket. Well, back to toilet paper.. .the 
price is jacked up, because the mer- 
chants know that people will go to any 
extent to get it. so it costs about a dollar 
a roll! Crazy. Anyway, wc spent hours 
strolling through the gullies, and also 
walking up and down the banks of the 
Ganges River, which runs alongside the 
city. On the Western bank of the 
Ganges, for the entire length of the city. 
there are hundred of staircases leading 
from the gullies down to the water. 
These are called ghats (gots) and arc 
used by Hindus lo descend into the 
waters of the river each morning in 
order to bathe in its holy waters. There 
are two ghats which are called burning 
ghats at either end of the river bank. 
These ghats are used for the ritual 
cremation of Hindu dead. This is done 
24 hours a day. seven days a week, and 
is totally out in public. It hammered 
home the fact that in India, unlike 
America, death is very much a part of 
everyday life. The rituals surrounding it 
are often centered around processional 
and ceremony, rather than as secret 
preparations behind the while pillared walls of 
mysterious funeral homes. We were able to watch a 
number of these cremations, and nothing I have ever 
seen has connected me with the realities of death. 
Bodies arc brought from all over the world to Varanasi 
in order to be cremated at the Ghats. The cost for this 
process is extraordinary, and the caste responsible for 
the burning has a monopoly on it. They are highly 
respected, but at the same time remain somewhat 
untouchable because of the nature of their work. Once 
the bodies arrive in Varanasi. they arc wrapped in cloth 
and carried down to the River, where they are 
submerged momentarily in the waters before burning. 
This is a high honor for the deceased and the Hindus 
regard this event very solemnly, yet as a celebration. 
Piles of timber are built for each body (about six burn 
at a time on individual piles) and the bodies are placed 
on top. We watched the bodies burning in various 
stages and it was both incredibly terrifying and 
fascinating at the same time. Every so often, youd find 
yourself getting used to what you were seeing and your 
mind would start to wander. Then suddenly a (Ire 
would shift and youd get a glimpse of a bare burning 
leg or a skeleton with a face frozen in a death scream 
among the flames, and the shock back to reality would 
be immediate. Until the time of Gandhi, there was a 
custom called suttee (SUH-tce) in India in which the 
widow of an Indian man would "cast herself* into the 
funeral pyre of her husband out of devotion. I put this 
in quotes because this is the tradition as it appears on 
paper. In practice, and the reason that Gandhi fought 



scented wood and 

herbs, but you 

couldnt get away 

from the occasional 



to have it outlawed is that this was not always a voluntary tradition: many 
women were forced into the flames to join their husbands. The practice 
has been outlawed. While taking a few moments away from the ghats. I 
was approached by a member of the caste responsible for the burnings. 
He spoke reasonably good English, and asked if I would be interested in 
standing closer to the ceremony as I was a Westerner, in order to get a 
belter feel for what was going on. I agreed, knowing that this was a once 
in a lifetime chance, and followed him to the top of a small staircase 
which stood directly over where the cremations were taking place. The 
smoke was thick and smelled of scented wood and herbs, but you couldnt 
get away from the occasional sickly sweet smell of burning flesh. The 
man explained that it was very good karma to smell the smoke (Hannah 
was there too and she was covering her nose and mouth with a handker- 
chief because she was not feeling very well as it 
was. and didnt think the smoke of burning 

fh6 SITIOkG WciS thiCk bodies would help that much). Heioldusall 

about the burnings, explaining that for various 

3nd SmGllSCl Of reasons, that some people are not cremated 

(young children, pregnant women, holy men. 
snake bile and small pox victims, leprosy 
victims). The children are not cremated because 
their souls are not yet developed. The same 
holds true for pregnant women because of the 
children they are carrying. There were religious 
reasons based in Hindu tradition behind many of 
the others. 

There were men who asked you if you 
. || , II X would like to go out for an hour in a rented boat 

SICKly SWGet Smell Of foratour. There are hundreds of boats 

, II U TL providing this service, each paddled by locals 

DUrninQ fleSh. I he whoeamaboutadollaranhcHirforthewufi 

Well, after seeing the burning ghats, and 

[DSD explained it W9S thinking about all those bodies beneath the 

surface, there was no way that I was going into 

VeiV GOOQ kclffTlcl tO ^ a * water, boat or no boat (well, especially not 
' ** " with no boat!). A friend of mine whom I met 

^mPlI thP ^mOkP mucn ,aler m mc trip told me thai he had been 

" on one of these boats along with a half a dozen 

other travelers when a bloated male body had 
floated by along the Ganges. The boat owner looked down and smiled at 
the corpse and the turned to the tourists (who were all horrified) and 
laughed, saying "Not a very good swimmer I guess!" Fucking India. 
Totally insane. You hate it and you love it all at the same time. So. on a 
lighter note than the burning ghats. ..there was a daily tradition of the 
schoolchildren from all over Varanasi to fly kites at the end of the school 
day from their rooftops. You can see them all over the city in the 
afiernoon... literally thousands of them. ..and not like kites like you might 
have in mind. These are simple foot wide squares of tissue paper held 
together on a cross of twig like pieces of straw with little strings. They 
cost about two cents for the basic model, and about five cents for the 
deluxe ones. You can buy them everywhere on the street. Anyway, it was 
really comforting to sit in the sun on the rooftop and listen to all the kids 
playing. One day. I decided to get into it too. 1 walked down to the main 
street and purchased a deluxe kite. All these kids immediately gathered 
around me. pushing each other out of the way and yelling at both me and 
each other. I guess they figured that I'd purchased the kite to give away. 
as there couldnt be any chance that I actually intended to fly il. It was 
really funny. I had to walk home with the kite held high above my head, 
because all these litllc kids kept jumping up for it. yelling Kite for 
me... kite for mc and fighting each other to gel closer to me. I think lhat 
was the only Hnglish a lot of them knew, and I'm sure they got lots of 
kites that way. but I held out and kept mine for myself. When I got back 
to the guest house, the owners son (about eight or nine years old) was on 
the roof when I got up there. His eyes lit up when I got there with the 
kite, and he asked mc. You have kite? 1 knew he spoke almost no 
Hnglish, and 1 laughed and said. Yes.. .kite. He said. You fly kite? I jusl 
shrugged my shoulders, because the little kids had been right...I mean 
what the fuck do I know about flying kites? He motioned for me to 
follow him up even higher onto the roof. Then he pushed me off the roof 
and took my kite. No. just kidding. I just wanted to see if you were still 



paying attention. He was very patient and took the time to show me 
how to get the thing in the air. It was really cool, because neither of 
us spoke the others language, and we had to communicate largely 
with gestures and facial expressions. All of the kids on the neighbor- 
ing rooftops had a blast watching me try my best to get the Hang of 
flying lhat thing and instead crashing it repeatedly into the sides of 
buildings; dogs, old women, and whatever else happened to be in the 
way. It was a great day. I ended up giving the kid who helped me the 
kite when we left the guest house the next day on our way to New 
Delhi, after staying there in Varanasi for about a week. 

New Delhi. Bizarre. Its a big city, but seemed to be striving 
desperately for its own identity. It was like being put into a time warp 
back to the early eighties in the United Stales. I mean, all the guys 
either had hair parted down the middle and feathered on the sides, or 
they had the most evil of haircuts: the mullet/Short Front Long Back 
(SFLB)/hockey cut - you know the one. But these versions were 
much worse than the norm, because unlike the typical SFLB which 
has a short crew cut top, these were feathered back on the lop and 
sides and long and wavy down the back. 
Fuck. I wanted to shave all of iheir heads. 
I honeslly expected to see someone in a 
pair of parachute pants walk by at any 
point, bul I never did see them, or any 
Michael Jackson zipper jackets either. 1 
did see an Izod shirt store in the center of 
the city selling alligator pocket shirts. The 
place was packed, lm sure that in fifteen 
years, right on schedule, that theyll all be 
doing the Macarena. and with Doc 
Martens on. The strange thing about New 
Delhi was the mix of old school and new 
school traditions, and I dont mean circle 
pits -vs- kickboxing. While the center of 
the city was cosmopolitan circa 1982, in 
the back alleys there were still the same 
run down slums, similar to those in 
Calcutta. 

While Hannah was resting from the 
high fever she was having, I passed the 
time by going out and buying three 
different translations of the Bhagavad Gita 

and reading them all throughout the day, comparing one to the other 
and analyzing the word choices in each to see how these choices 
affected the context of certain passages. It was good to finally do, 
because after the rise of Krishna consciousness in the hardcore scene 
in the late eighties and early nineties, I know that I, like many others I 
would presume, was quick to judge Krishna consciousness without an 
educated basis for my arguments. 1 think that this situation is often 
true in hardcore these days: that people decide one thing or another 
about outspoken people without knowing them, the whole story 
behind why they do, or what they do at all for that matter. Sometimes 
its hard though. Ray Cappo and the Shelter crew must gel judged in 
different groundless ways a-thousand times a day based on the 
spiritual nature of what they sing about. And I know that Karl and 
Earth Crisis get judged in similar ways, as a result of the undercover 
nature of what they do. I remember reading an article like this about 
Earth Crisis in an earlier issue of Inside Front. I guess its kind of 
dumb to disagree with the guy who put out your band's record while 
writing a column in the pages of his magazine in his apartment and on 
his computer, but Brian always says that he likes a good argument. 
Anyway. I think that it is both too easy and unfair to slam Shelter for 
mixing religion with hardcore (a sentiment I've heard in the past) 
without knowing anything about Krishna consciousness, like I had 
done. Likewise, I think that it is too easy and unfair to slam Earth 
Crisis for singing about things which they'll never really do (not a 
direct quote, but this was one of the points from the Inside Front 
article as I remember it) without knowing what they really do. 1 
doubt that Karl or any of the Earth Crisis kids would publicly 
advertise their vegan actions, that is (for any FBI agents reading this) 
if such illegal actions actually were to take place. Its critical to do 



When Hannah 

went in for testing, 

the two on-duty 

nurses were in the 

lab, toasting a 

slice of bread 

between a pair of 

forceps over a 

bunsen burner! 



extensive research before reaching conclusions, because I 
know that I learned a great deal about the nature of Krishna 
while in New Delhi over those three days, and while I have 
to say that I dont agree with it 100%. I do have a new 
understanding and appreciation as to what it is all about. 

At this point in the trip, I had actually still hoped to 
travel with Hannah down to visit Vrindaban (vrin-DAH- 
bin) which was the birthplace of Lord Krishna, but over the 
next 24 hours. Hannah got very sick, and my plans had to 
change. We went to a very good hospital in the diplomatic/ 
wealthy area of New Delhi, and the conditions there were 
still really bad. When Hannah went in for testing, the two 
on-duty nurses were in the lab, toasting a slice of bread 
between a pair of forceps over a bunsen burner! Hannah 
was diagnosed with amoebic dysentary (a bad thing) and 
they wanted to hospitalize her immediately. This would 
have meant intravenous work, and being as that Hannah is 
HIV negative and wanted to slay thai way. she decided that 
the dirty hospital conditions and potential for dirty 
needles in India was a bil too much to handle and 
she decided to fly back lo the United States 
instead to get treatment there. 

At this point I had to make a 
choice... either go home to the Stales as well, or 
continue the trip without Hannah, who up until 
now had been my lifeline through India. She was 
the one who had a grasp on the language, she was 
the one who could tell the difference between a 
safe and healthy place to eat and a place which 
was potentially dangerous, she was the one who 
had been acting as my guide. Fuck, she was 
someone to talk to. I had no idea what to do. It 
would have been easy lo just fly home. Even after 
only two and a half weeks, I was tired, and I had 
seen a lot more than I had ever dreamed I would 
have. Still. 1 fell that there was something more in 
India which I needed to see and experience. After 
Hannah left the next afternoon. I sal on my bed in 
Ihe guest house, listening to the sounds of New 
Delhi all around me. I was 14000 miles from 
home and completely alone. Il is hard to describe 
that feeling. Sure, you can be alone in your apartment, in 
your room, out in your yard. ..you can be the last one at a 
venue cleaning up after a show.. .you can be in your car late 
at night on the highway with no other cars around. ..but to 
be in another country, with liule idea on where to go and 
without a good grasp on the language, now thai fell alone. 

I realized that maybe ihis particular set of circum- 
stances might just be the besl thing for me. I was locked 
into painful memories of others, I had been placing my 
healing in the hands of others, I had been guided through 
India by others. I started to think thai maybe I had become 
more reliant on those around me than Id realized, lhat 
maybe, to break free from that destructive cycle of 
dependence, that what I needed most was to go on by 
myself. As it turns out, this was the most important 
decision I ever made. Having heard that the Dalai Lama 
lived in a small hilltop village called Dharmasala (darm- 
SAH-lah) in northern India, and having been told that (he 
scenery there was beautiful, and having few other opiions 
before me. I decided that this would be my next destina- 
tion. I went to the bus station and bought a ticket for the 
next bus north. 

II was at this point that my India trip began. Next 
time: Meeting the Dalai Lama, hiking the Himalayas, and a 
discussion of a new morality for the 90s. ..stay tuned. 

Write me anytime with questions or comments at 
this address: Greg Bennick 427 Eleventh Avenue East 
Seattle, WA 98102 (206) 860-1510 



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A number of great bands with 
an extremely metallic 
take on the traditional 
hardcore sound have 
been coming out of the 
Belgian area recently, with 
Congress leading the charge. Press- 
packet rhetoric aside, here's what they have 
to say for themselves... 

INSIDE FRONT: What does Congress con- 
sider its mission as a band to be? 
JOSH: When we started in '93. the current 
scene was concentrating on political and 
personal issues; musically everything was 
very emotional, soft and melodic. With 
my band, I wanted to focus on anger, 
rage, and aggression. To most people 
we were metal; I jus! call it powerful 
HC. Our mission: unity between all 
scenes. Metal, HC, SXE, and punk 
rock should all join forces to fight 
the further commercialization of 
these genres. 

IF: What do the members of 
your band do for a living ? 
J: Pitbull (voice): works half- 
time as a city worker 

U.J. (bass): docs the night 
shift in an electronics factory 

Michael (rhythms): ... 

Ilja (drums): studies art 

Josh (leads): baker 
IF: What do you have to say 
about Good Life record- 
ings? h seems to have sud- 
denly become one of the biggest labels in Europe. 
J: Ed does the best job the scene has ever had: he reports the upcoming 
local bands by printing shirts, releasing 7"s, CDs, whatever. It's about 
time the whole world knows that there are lots of talented bands over 
here. It doesn't surprise me that Good Life is becoming one of the biggest 
European labels because he works day and night to do his orders, records, 
ads. ..He's one of the most motivated, true HC kids I know. 
UJ.: Good Life is a label that gave us a chance when we started. It's 
slowly becoming one of Europe's biggest labels. He's doing a good job 
(maybe a bit more promoting wouldn't hurt); it's also important to him if 
the bands sell well on his label. He's helping out a lot of new (good) 
bands. 

IF: Speaking of labels in Europe, we at Inside Front were very surprised 
to discover that Lost & Found records was selling our magazine, since we 
find their label unpleasant and we never sent them any copies. What do 
you think of Lost & Found? Why do you think that? 
J: L&F think they are the rulers of euro-HC; they think they're able to do 
anything they want, as long as their pockets get stuffed with cash. Inside 
Front is a very well-selling zine, so they carry it, of course. Our records 
are also on their sell-list; funny, our first press of the 7" had stickers with 
"H.C. R.I.P. 1994: killed by L&F." They'll probably never know: as long 
as their customers buy their products, they're happy. Most L&F kids are 
MTV-watchers who just jumped on the HC bandwagon and L&F is the 
perfect label to fulfill their needs: full-color catalogue, CD-only releases, 
full-page ads in every metal/punk/HC magazine, even TV commercials. 
The true spirit of the D.I.Y. underground scene gets destroyed by those 
losers. 

UJ: Lost and Found is simply destroying everything that "underground 
HC" stands for. He's only in it for the bucks. He brings out crap record- 
ings (mostly live, such as Ringworm, Confront, Youth of Today). Some 
bands agree to bring out an album or CD, but then L&F brings out a 7" 



(split 7" with some of his bands) so people will buy it, Maybe he sells 
them cheaper than major labels, but if you know that it cost him about S3 
(at maximum price) to bring out a CD and sells them at $16.. .count the 
profit. 

IF: There is a lot of talk these days about hardcore becoming, commer- 
cialized. Why do you think this is a bad thing? Name a couple examples 
of bands or labels who are at fault. 

J: If HC gets commercial, the true essence is lost. The media needed a 
new hype to get cash from; it already was grunge, then HC, now it's punk 
rock. Major labels, MTV, Lost & Found are guilty; bands like S.O.I. A., 
Biohazard. Dog Eat Shit, CIV, Shelter lately, and the whole bunch of NY 



In This Rotten World 




wannabe's are definitely the reasons for the rise of commercial HC 
and the downfall of our underground scene. 
UJ: Music is always in trends. It happens to be HC that is "in" 
nowadays. Major labels want to have a piece of the action, so they 
sign HC bands. In a couple of years HC will fade out of the main- 
stream, because it won't be cool anymore. The next trend I predict 
will be "thrash metal." 

IF: / received an anonymous tip that although your scene, the 

"H8000 crew, " claims to "rule the pit, " you guys were supposedly 

off "looking for records " at a certain Integrity show. Do you want to 

make this matter any more trivial by answering this allegation? 

J: Dwid (the "anonymous" tip) obviously referred to the show here 

in Belgium with Integ, Ringworm, Rancor, Liar, and Congress. For 

me personally, the Integ gig was too exhausting: I had to give 100% 

with both my bands, and then my fave band of all time. Ringworm, 

hit the stage, so I was kinda empty after that. Unfortunately Dwid didn't 

tell you how I freaked out at two other shows of theirs in Germany, where 

got hassled for being too violent... 
(editor's note: Dwid was not my anonymous tip, actually — / have sources 
far more obscure than him... ) 

IF: Speaking of your scene, I hear violence at shows is making a come- 
back in your part of Europe (as it recently did at the Cleveland fest here in 
the US!). Is this true? What do you think of that? Is violence always bad, 
or only when it 's used to the wrong ends? 

J: It depends on what your definition of violence is. If violence means 
slamdancing, feetfirsts. and other craziness. I'm behind it 100%! But 
when violence means gang fights, no matter if a band is playing or not, 
you know, just beating up because of pure hatred toward each other, then 
it's stupid. Over here, violence means a huge slampit, lots of consider- 
ation and respect for each other; that's what it's all about! 
UJ: Violence is in a way good, a sort of outlet for aggression, because we 
live in a fucked up society (too many people in too little space is one of 
the biggest factors). As for shows. I find it sometimes too violent, be- 
cause certain people have to prove that they're the hardest or toughest. If 
it's loo violent for me, I stand aside to watch the show. 
//''; You band plays a very metallic style of hardcore. Some people say 
that if you use too much metal in your music, it 's no longer hardcore. 
What do you think? 

J: Metal is a way for improvement and progress for someone who plays 
music. If HC music would just slick to fast, old, and tedious riffs, I wouldn't 
be a part of it anymore. It's about time all the old-school bands start to 
realize that metal has saved the HC scene as it is today. HC is about ideas, 
lifestyle, and respect, no matter the musical influences you put into it. 
Still. I get blamed for "destroying the HC spirit" because I often wear 
metal shirts (ask Mainslrike). I just can't understand why these bands 
preach unity and respect and then leave when the "metal bands" arc on 
stage. 

UJ: I always thought that HC has something to do with ideals and a way 
of life, not the kind of music you play. It's more challenging to play metal 



than your average HC. 

IF: Speaking of the metallic style of hardcore 
bands like Congress play. I think it is amusing to 
note that these bands are often referred to as "evil " 
<e especially considering that most of these bands 
are singing about being good and wholesome in 
every way! What do you think about calling bands 
like Congress "evil"? 

J: Life is a struggle between good and evil. Ev- 
ery human being is good and evil at the same time. 
So is Congress. Hard, evil, and heavy musically, 
and a positive message lyrically, make a perfect 
combination. I have no problem with the term 
••evil" whatsoever. The sheer anger I release when 
performing on stage is the best feeling I can ever 

experience in this rotten world 

UJ: Evil exists in every person. It's just a matter 
of not letting "evil" control you. Maybe (people 
who describe Congress as evil are speaking! of 
the kind of dark and sometimes evil music we play. 
Some-sort of image, influences from "evil" metal 
bands. 

IF: While we 're on the subject of evil, your bassist U.J. is obviously really 
into black metal Most of what I've seen of black metal hands seems 
pretty silly Sure, they dress up in funny clothes and kill each other, but I 
find it hard to believe they could actually pose a threat to anyone else. 
I'm particularly bothered by the misinterpretation of Nietzsche's thinking 
that many of these bands are guilty of Where does UJ. disagree with me. 
and why? 

UJ: To me. that kind of music has the same power and aggression that HC 
used to have. It also has some weird images, and yes, some of them are 
plain stupid. I was once told by a friend that it doesn't matter what people 
say about a band. -if there are a lot of rumors spread about them, then 
people will check them out if it's true or not. Most of the black metal 
bands just want to shock people. 

IF: From where did the inspiration for the intra on your full length ( "AK 
Modan") come? 

J: It comes from the computer game Castlevania IV on SNES. Congress 
were always interested in vampires and video games, so these tunes were 
the perfect representation of what we're into. We didn't rip off the entire 
song as it is: we played it with our own instruments, so we've put our own 
character into it. 

IF: Your song on the "We Shall Fight in the Streets" 7" compilation was 
highly critical of religion. What has the response to your stance on this 
issue been? I know that every time I get off stage after speaking out 
against organized religion. I get surrounded by a crowd of angry 'Krishnas 
or Mormons. 

J: The response was more than good. Some of the few local 'Krishnas 
gave up their beliefs in fairy tales and started believing in themselves. 
Over here, the whole religion thing is highly reduced to a small number of 
sincere people who don"l bother anyone with it. 
IF: Tell a story from your life that relates to some of your lyrics. 
J: "Grief deals with unpleasant situations I was confronted with: the 
death of some close relatives, and the end of promising relationships. 
"Stompbox" is about the inner conflict I had after doing stupid things I 
still regret. "Lifting the Ban" (one of my favorite lyrics) tells about the 
resurrection of a dead HC scene and the victory' we accomplished with 
Congress. 

IF: As a citizen of the US. I often find myself listening to European 
hardcore, reading European hooks, and watching European movies, and 
thinking to myself that Europe must be a much more artistic and intelli- 
gent social environment. Am I right or wrong? How does Europe com- 
pare to the USA ? 

J: Europe is heavily influenced by American culture. It's cool to be as 
American as can be, when it comes to clothes, music, and food. Maybe in 
the States people see Europe as more interesting, but over here it's vice 
versa. 

(editor's note: sorry Josh, but if you think there's too much "USA" in 
Europe try actually fucking living here...) 
UJ: America was "made" mostly by Europeans. 




IF: Do you think bands from the USA abuse the 
European hardcore scene hy touring there too 
much with too little quality? What can be done 
about this, if you think it is a problem? 
J: US bands should see touring Europe as a chal- 
lenge once in a lifetime, not as some journey to 
make big bucks with. Fewer tours and more mo- 
tivation would be a good attitude. 
UJ: Yes, for any American band it's possible to 
tour Europe, but it's very hard for a European band 
to tour America, unless they're on an American 
label. Some bands are here two times a year, be- 
cause over here they can cash in; when the same 
band would tour the States, it would be something 
different. A couple of years ago, people only went 
to a show if an American played. Nowadays Eu- 
ropean bands can have the same (and sometimes 
larger) crowd that an American band gets. For 
example, we had to play a show with Sense Field 
and Four Walls Falling and some local bands. As 
usual, the American bands were headlining (which 
is in a way natural), but when we were done play- 
ing, most of the crowd went home (not to catch 
the last train or anything). I'm glad to see that European bands are getting 
the support they should get, because there are a lot of great European 
bands. 

IF: Is Congress interested in becoming well-known in the US? How do 
you plan on achieving this, if you are interested in it? 
UJ: Yes, if we can keep it under control (this means by not having to go 
on a major label that tells you what you can and can't do). First is finding 
a label that wants to put out our records in America, because from what 
I've heard they're too expensive. So that would be a great help. Other- 
wise I wouldn't know how; we'll see it when it happens. 
J: If we ever want to tour the States, we have to get some fame over there. 
Dwid (Holy Terror) promised to put out our 7" ("Euridium"), and people 
like you who push us are the best help we can get, and we appreciate that 
a lot. Of course, it would be easy to get well-known if we got on a US 
label for all our releases, but I prefer to stick to good friends next door 
who I can talk with and see every day, rather than let someone on the 
other side of the globe do the job. 

IF: What are some of your favorite bands from outside of Belgium in 
Europe? 

J: Germany: Shaft, Veil, Spawn, Upright 
UK: Unborn, Lifer 
France: Stormcore, Kickback 
Sweden: End in Sight, Abhinanda 
Norway: Lash Out, Contention 
UJ: HC bands: Rancor, Mainstrike (HOL); Shaft (GER); Comrades 
(ITA); Final Exit, Abhinanda (SWE); 

Contention (NOR); Unborn, Statement (UK) 
Metal bands: Dimmi Borgir, Satyricon, Isengard, Storm (NOR); 
Necrophobic, Katatonia (R.I.P.), Opthalamia, Unanimated, 
Crown of Thorns, Amon Amarth (SWE); Nightfall, Necromantia, Rot- 
ting Christ (GRE); Occult, Deadhead, Altar (HOL); Blood, Desaster, 
Night in Gales (GER) 

IF: Please, say something about the cover of "Blackened Persistance" 
and where you got it/why you used it. 

J: When looking for a cover, you're trying to find something that repre- 
sents and fits with the music. Our sleeve is dark and evil, and so is the 
music; there's also a mystic touch in it. 
IF: Future plans? 

UJ: Bringing out a new CD, a lour in Europe with Liar and Blindfold. 
Play a lot of great shows. Just having a great time. 
J: Tour the States someday, spreading the H8000 fury. 
Discography: 

Dec. '93: demo 

July '94: CD EP "Euridium" 

Dec. '94: 7" "Euridium" 

Nov. *95: LP/CD "Blackened Persistance" 

Josh, Poelkapellestraat 20, 8920 Langemark, Belgium 









"This song is about 
a man, a partisan, 
who, when he was 
young, made the 
difficult choice of 
armed resista 
against the n< 
fascist oppression. 
Today he is old an " 
he sees the sarrt^ 
ideologies and the 
same mentalities 
that he believed 
dead and gone 
coming back again, 
so he waits for the 
new generation to 
revolt like he did, 
but they don't. The 
youth, 
by tele 



corrup 
consu 
watcm 
others i. 
built... Without 
taking a stand." — 
from the introduc- 
tion to When the 
Blood Calls 



gam, 
what 
ravely 



Inside Front: What is Timebomb 's 

mission as a band? 

Daniele: I really can't say: we don't 

have a particular mission, or a target 

we're aiming for. Since '91 , when 

we got together, Timebomb has 

always been our way of expressing 

ourselves, and our ideas and 

convictions. So our only desire as a 

band is to communicate our ideas to 

other people. 

IF: How would you describe 

Timebomb 's politics? How did 

Timebomb come to be such a 

socially/politically concerned band? 

What projects besides the band are 

members involved in? 

D: It's all been spontaneous; we 

didn't decide to be a political band. 

We happen to be a political band 

because all of us were (and still are) 

into political/social issues and we 

wanted Timebomb to be our tool for 

expressing what we thought about 

them. When we first started the band 

we were labeled as pan of the red 

edge movement; this was a 

movement that tried to combine the 

SxE philosophy with socialist 

ideology: it may sound strange to 

American ears, but this movement 

was very big inside the European 

scene during the early 90s with 

bands such as Man Lifting Banner. 

Feeding the Fire. Seein' Red. etc. 

Then some of these bands broke up. 

Many people did regret their past 

beliefs but we don't. Even if I don't 

consider Timebomb a red edge band. 

the same ideals are still a part of us. 

although we have progressed and 

have a broader perspective. I think 

Timebomb is definitely an anti-capitalist band. 

IF: What inspired your song "When the Blood Calls"? 

I): I was looking at an old photograph album about the resistance 

movement in Italy when I saw a photo of some partisans relaxing before 

attacking a Nazi/fascist position. Some of them .were very young, and 

maybe they're still alive today. So I tried to imagine a young man who 

has been strong enough to risk his life fighting for the freedom of his 

country, and what his feelings might be upon seeing the same ideologies 

that he once fought coming back again, and nobody taking a stand 

against it! In reality, our generation is corrupted by the capitalist dream, 

and so ideologies fade as- the desire for money, power, and acceptance 

take their place. No one is strong enough to risk his own life for an 

ideal anymore and [his is sad. 

IF: London was ravaged by a horrible plague in the year 1665. and 

nothing could put an end to this plague until in 1666 a catastrophic fire 

burned 80% of the city to ashes. After the fire, the plague was gone and 

the survivors at least were able to live free from fear and sickness. 

Some of us consider today's mass-media-homogenized, consumer 

culture to be a more insidious kind of social/mental plague that is 

reducing humanity to enslaved mediocrity.. ..So what do think is a more 

appropriate way to solve this problem, by carrying signs and 

protesting?.. .or by blowing up buildings? 

D: First of all I want to say that I'm not a pacifist and Timebomb is not 

a pacifist band. We believe that violence is necessary and useful 

sometimes; denying that means living in a Utopian world that doesn't 

exist! The capitalist system is the main cause of our problems a? 

human/animal exploitation. Third World hunger, starvation, etc. a? and 

we must try in every way to destroy it. History teaches us. however. 









Timebomb is a politically vocal 
Italian band that has been 
around for a few years, but I 
hadn't actually heard them un- 
til their guitarist Daniele sent 
me their CD for review a few 
months ago. I was so excited by 
the music I heard — intense 
deathmetal with a hardcore 
edge of conviction and serious- 
ness — and words I read — a 
many page insert describing 
their impressively intricate diag- 
nosis of the ills of today's world 
that stem from the capitalist 
mindset — that I had to interview 
them to see what else they had 
' yourself. 



i 



i 



that violent actions without the approval of a large part of the popula- 
tion come to nothing, but only justify the state's repression of the 
individual's political freedom (as happened to the B.R. here in Italy). 
So blowing up buildings could be a solution, but it's not the first step; 
before we go that far we have to talk to people, to communicate x and 
when a great number of them will stand by our side we'll be able to 
make a change. 

IF: Honestly, do you think any of us will live to see today's major 
problems solved? Do you think any of us will live to see a better, more 
liberated, more peaceful world? If not. do we still have a responsibility 
to fight for this goal? Is it intelligent to spend your whole life pursuing 
a goal you will never reach ? * 

D: Honestly, I don't. I don't think either you or I or any of the Inside 
Front readers will live long enough to see a better world, but honestly, I 
don't care. I don't fight for me. for my personal gain: I do it for 
humanity, for the earth, for the animals, and these things will always 
exist even after our death. We must talk to the new generations, we 
must give them the example, and they will do the same and so on until 
freedom. It's a long way that humanity has to walk, step by step, 
generation after generation, walking a path of little conquests that leads 
to liberation. You ask if we have a responsibility to fight; I say yes, we 
have one, it's up to us today to build the first mile of a thousand mile 
road that humanity will walk. 

IF: In your CD liner notes, you mention the often cited fact that the 
land now used for raising cattle could be used to raise enough crops to 
more than end world hunger. However, here in America, our govern- 
ment already pays farmers lots of money to not grow crops a; it has 
been doing this since the Great Depression, to keep food prices up and 
stabilize the economy. So it seems to me that world hunger today is not 



the result of cattle farming, but of a lack of distribution systems and 
concern with getting food to those who need it. Respond to this 
argument, if you will. 

D: Yeah, you're right. This is exactly what it's all about. The cause is 
again our First World-centered capitalist system, in which everything is 
a product, whether animals or working class, everything must be 
exploited in order to attain a higher standard of living for an elite group 
of people. But now capitalism begins to show its ugly face; what our 
society has done in the Third World cannot be hidden; we are respon- 
sible for their starvation because we never thought of Third World 
populations as humans who needed our help to leam how to strengthen 
their own economy and society. We always thought of them as slaves to 
exploit in order to gain more: no respect for their lands, no respect for 
their children, they're not humans! So you're right when you say that 
world hunger is due to a lack of concern from our governments; how 
could it be anything else? Current governments (American. Italian, or 
Swedish) are all manifestations of the only ideology shared worldwide: 
capitalism! 

IF: So many smaller companies these days are owned by larger 
companies (Pepsi Co.. etc.) that are involved in various forms of 
exploitation, oppression, and environmental destruction, that it is hard 
to find places to work or buy food without supporting these companies. 
It seems almost that if you want to avoid contributing to the destruction 
of the human race and the earth, you must be an unemployed thief (like 
most of the staff of Inside Front). How do the members ofTimebomb 
solve this problem ? Where do you work, and where do you buy food 
and other supplies? 

D: All the members ofTimebomb are vegan (except our drummer, who 
is vegetarian), and following a vegan way of life for us doesn't mean 
only not consuming animal products, but also boycotting these 
companies and trying to avoid their products. I know it's not easy at 
all; in Italy, fortunately, we still have little stores where you can buy 
food without supporting any big company. As for the work, we a/e all 
students except our singer, who now works for an association helping 
handicapped kids. For the rest, I try to consume as little as I can: I 
don't buy a new pair of shoes until the old ones explode and so on. I'm 
not into fashion so I don't care. We all live inside a consumer society, 
and as a part of it it is inevitable that we support it; the solution is to 
support it as little as you can! 

IF: It is very difficult to be an anti-consumerist/capitalist band in 
hardcore these days, for every band must still sell products to consum- 
ers: records, shirts, etc.. in order to make any progress at all in the 
scene. How does Timebomb deal with this conflict? How do you think 
hardcore could change to be less consumer oriented? Can you sleep 
well at night, knowing you must advertise your products like any 
"corporation" would? 

D: I'd like to think of the H.C. community as something really 
alternative to the outside society. I know that when 
1 buy a shirt or a record by that band the money 
will somehow return to "the scene." and that's the 
answer to your question. This is also why I don't 
like major labels to be in the H.C. community: they 
take your money, but they don't use it in the scene, 
they just care about selling a product that I don't 
like. So the solution is keeping it all independent 
£ distros, labels, bands a? that's the only way to 
sleep at night! 

IF: What is the worst thing in the Italian scene 
today? 

D: For me the worst thing in the Italian H.C. scene 
is the lack of fun. Many people see a contradiction 
between our being a political band and our live 
attitude in which we try to involve people with a 
lot of stage dives, mosh dancing, etc. I don't find it 
contradictory because, after all. a hardcore show is 
definitely a cathartic moment in which you enjoy 
the spirit of the show with your friends. This is 
why 1 don't like this new call-it-cmo trend, where 
people, instead of getting together and singing 
along, are almost crying in a self-pitying way. 
Fuck that, that shit is for goth. not hardcore! 



IF: What is the political climate like in Italy today? 
D: Italy is slowly going toward an American political system with only 
two great parties that are almost the same. The left-wing party won the 
last election, so things seem to be working a little better, but it's little 
more than an illusion. 

IF: What is the Italian hardcore scene like right now? 
D: After a period of coma, it seems that that the Italian H.C. scene is 
coming back stronger than ever: lots of new bands, new labels, new 
kids, and this is great to me. I hope the Italian scene will progress to 
become a wider one like in Belgium or Sweden. 

IF: What is the sample from the beginning of your record from? How 
about the recording at the end? 

D: O.K.. they're kind of jokes. The sample of the exorcism at the 
beginning is from X-Files (our drummer is a fan!), and the recording at 
the end- is from a TV showin which our friends Opposite Force were 
called to talk about modern music vs. classical music ;e it's all very 
funny but unfortunately is in Italian, so nobody will understand it! 
IF: Suggest some reading material, books or magazines, that has 
inspired Timebomb. 

D: I personally don't believe in elite culture and for this reason I like 
popular reading. I found inspiration in books like Fontamara, by 
Ignazio Silone. and Metello. by Vasco Pratolini. I really like classics 
like Fromm. Sartre, and my favorite writer, Stcfano Benni. But this is 
what I like, not what Timebomb like. We are all different people with 
different tastes. 

IF: Recommend some good Italian and European bands. 
D: There are many really good bands in Italy right now. so I'll limit my 
list, according to my personal tastes, to the best bands around. Starting 
first with the bands in which some members ofTimebomb also play: 
Colonna Infame, a very rude Oi band sung in Italian (I'm really into Oi 
music!); Reinforced, an old school SxE band playing old school SxE 
music with old school SxE lyrics; Opposite Force are a really good 
band playing macho-core very much in the vein of NY's hardest bands. 
Other bands to check out are Dehumanize, Redemption. Obtrude. By 
All Means. Erode. Society of Jesus. Burning Defeat. Concrete, and I 
could go on for hours! Looking at Europe, I really like European metal- 
core bands like Congress and Liar; also. Final Exit, Oi Polloi, Voorhecs. 
Nations on Fire (back together!), and all the Norwegian black metal 
bands! 

IF: Anything to add? 

D: Timebomb releases up to now arc: the Fury 7" released in '93 and 
now sold out. and the Hymns for a Decaying Empire LP/CD. Both 
records are on S.O.A. Rec. Then we also have some songs on various 
comps. Thank you Brian for this space in your zine. Lay down your 
soul to the gods of rock n' roll! For contacts, records, or information, 
our address is: Danicle Marini Via R. Battistini 32 00151 a.' ROMA 
;e ITALY 







INSIDE 
FRONT 

#NINE 

Seven Inch 
ampler 

side 1: Regression — "Beacon" 
Liar— "Shatter" 

side 2: Shortsight— "Freeze" 
Congress — "Prayers " 



■■-;. 



■ • u 






CONGRESS— Congress has 
a7"/CDandanLP/CDon 
Good Life; for more informa- 
tion on their hand, have a 
look at their interview 
elsewhere in this issue. They 
have a new CD due out in 
late 1 996. "Prayers" 
Congress — Josh, Poclkapellestraat 
20, 8920 Langcmark, Belgium 



X 









»./■- 



SHORTSIGHT— Shortsight 

has a brand new CD out on 

Good Life. I wish I could tell you 
more about them, but... 



. . . ,?*?++* 



■ 



■ 






Good Life Records 

Edward Verhaeqehe 

PO Box 114 

8500 Korprijk 

Belgium 

tel: 32 (0)56255377 












■ 



LIAR — Liar has an 8-song LP/CD on Goodlife. 

'Shatter" 

Baptized in a new bom fire 

Release my hidden power, unleash my burning conviction 

Spit out the bitter taste of depression 

Warfare against your drug paradise 

Purify the shadows of illusions 

Warrior of justice ready to fight by all means your drug 

generation 

A clear message: control of my destiny 

Shatter your kingdom of oppression and greed. 

• Liar— P.O. Box 122, 8800 Rocselare, Belgium 



REGRESSION— Regression has a six song CD out on Goodlife. 

"Beacon" 

Pressure put down on me. but my morals keep me alive. Straight edge is my beacon 

on this path away from self-destruction. 

Never will I surrender, never will I give in. 

Destroying your body and dragging down your mind, with no sign of remorse. 

Temptation and weakness have always tried to drag me down, but... 

With straight edge as my beacon. I will never fall. 

I don't want intoxication to ruin my life. My ethics and my friends arc what is truly 

important. Addiction, disease and death result from your substances, that take away 

every action or thought. 

The 'X', a symbol for my lifetime abstinence from their poisens. Now on my hands, 

but forever in my heart. In this age of self-destruction, I took the oath. A promise, 

that will remain. 



All of these bands, and others such as Mainstrike and Blindfold, also appear on 
"The Good Life", a full length compilation of a variety of European straight edge 
bands. A second volume of this compilation will be out soon, with such bands as 
Abhinanda, Refused, Timebomb, and Spawn on it. 




INSIDE FRONT DATING SERVICE 

Well, not really — but this is the section where I try to keep 
everyone informed about the various distributors, record 
stores, etc. that exist to serve the hardcore scene. This 
section appeared in issues #7 and #8 as well, so the listings 
here are just updates and new additions... but using all 
three issues, you should have all the information you need 
to distribute or hunt down any music you need. 

U.SA 

Checkmate Mailorder: (c/o Derek, P.O. Box 2293, Seattle, WA 

98 1 1 1 ) Trial guitarist and distributor guy Tim has moved 
recently, but if anyone can get you in touch with him it's his 
bandmatc Derek OR' jf editor). 

Earth House: (P.O. Box 1 332, Redding, CT 06875) This isn't a 
distribution; Earth H. is a politically/socially active organiza- 
tion. They have a newsletter, etc. available — get in touch with 
them if you feel you might be like-minded (anti-capitalist, 
outraged about oppression, etc.) 

Edge: (2052 North 940 West, Provo, UT 84604-1255) I'd never 
heard of this distribution before, but there are already a few 
different new school hardcore records and 'zines in the 
catalogue. 

Homeless Records: (39 1 7A Castleman, St. Louis, MO 63 1 1 0) 
This catalogue has a variety of intelligent punk/hardcore 
records, and more importantly, also includes a broad selection 
of social/political reading material, etc. [They have owed me 
SI 5 for two years, though... mention that when you write them!] 
Moo Cow: (P.O. Box 616, Madison, WI 53701) Moo Cow is 
notorious for trading 7"s with labels, and thus they distribute. 
North Star: ( 1 03 North Grove Avenue #2, National Park, NJ 
08063) Sec their ad in this issue. 

On the Edg e: (10533 Los Alamitos Bl., Los Alamitos, CA 
90720, phone 310.430.6975) This is, of course, the legendary 
hardcore record store owned by Chris Malinowski. 
Rhetoric: (P.O. Box 82, Madison, WI 53701, 608-259-0403) 
Lots and lots of silly punk, plus some dirty punk and hardcore 
in this thick catalogue. 

Slutf and Lettuce: (Christine Boarts, P.O. Box 492, West 
Chester, PA 19381) This is not a distribution. This is one of the 
best resources available to you as a hardcore/punk kid! It's free, 
packed with information, and... if you want classifieds in it, 
they're free too! Use this to communicate with thousands of 
people involved in the same struggle or lifestyle as yourself. 
Shoehorn: (2522 Salmon St., Philadelphia, PA 19125-401 1... 
after November 10, supposedly it's 802 South 8th Street, 
Alicntown, PA 18103) Lots of hardcore here; note the address 
change. 

Sound Pollution: (P.O. Box 1 7742, Covington, KY 4 1 1 7) You 
can't beat a dirty punk/grind distributor that has an Amebix 
bootleg CD and video in the catalogue. 
Steadfast: (1 129 Middle Avenue, Elyria, OH 44035) Steadfast 
carries a few hardcore records and a couple other records, with 
the common theme of many of them being Christianity. 






Three Gun Video: (1819 Pleasantdale Road #11, Cleveland, OH 
44109) All the videos you could want. 

EUROPE 

Bored Teenag ers: (Dario Adamic. C.P. 15319.00142 Roma 

Laurentino, Italy) The editor of the great "Zips & Chains" punk 

*zinc is involved in doing this large punk distribution. 

Hardside: (Le Patis Dcs Friches, 353 1 Chavagnc, France) An 

equal mix of European and USA 'tough guy'-esquc hardcore 

records. 

Good Life Recording s: (Edward Verhacghe, Burg 12, 8820 

Torhout, Belgium) Good Life distributes a variety of hardcore 

from Europe and the USA. 

Green: (Giulio Repetto, Via Falloppio, 38 padova, Italy) This 

record store/distribution docs good work in my experience. 

Kiki: (Chrisitan Unsinn, Mozartstr. 10, D-78464 Konslanz, 

Germany) This is another mid-size hardcore distribution. 

Mostly records. 

No Barcodes Necessary: (Mel Hughes, 83 Glebe Park, 

Chanterhill, Enniskillcn, BT74 4DB Northern Ireland) Lots of 

'zines, lots of videos, a few records, and two CD's in this 

catalogue. The guy who does this comes across as being very 

intelligent and dedicated to supporting our community. 

Offer Resistance: (Karl-Friedricbstr. 9, 77728 Oppcnau. 

Germany) Offer R* is a great 'zine distribution, probably a good 

place for people in Europe to get American "zincs like Inside 

Front at reasonable prices. 

Our World: (Mathias Ruoff, Muhlwcg 9, 73269 Hochdorf, 

Germany) Note the address change for this sincere hardcore 

distribution. 

Persistent Vision: (Jim Hart, Box 30, 82 Colston St., Bristol, 

BS I 5BB, U.K.) This distribution seems to specialize in mix 

tapes and some stuff that I don't recognize (must be less-known 

British punk/hardcore). 

The Smith and Nephew Company: (Bahnhofstr. 17, 39345 

Uthmodcn, Germany) This is a small distribution with an 

unusual catalogue of 7"s in the hardcore vein. 

Stormstrike: (Kollmarsreuterstr. 12, 79312 Emmcndingen, 

Germany) A fair selection of metal/hardcore here, at least half 

of it from the USA. 

Undertone: Thorstcn, Am Muchlcnbach 14, 48308 Senden. 

Germany) This fellow is apparentlystarting a small distribution. 

World Eaters: (Andre Hoppe, Donncrsbergstege 69, 46569 

Hunxe, Germany) Although this smallish, mostly European 

hardcore distribution is supposed to change hands soon, it's 

presently done by a great guy. I'm sure it will continue to be a 

reliable resource. 

WORLD 

Crossblood: (Reypeace Bravo, No. 123 Sibulo Subdivision, San 

Pedro, Laguna, 4023 Philippines) This distribution carries lots 

of hardcorc/punk/etc. from the Philippines — a great resource, as 

far as that goes. 

Good: (Yean, Tampines Central P.O. Box 40 1 , s(9 1 52 14) 

Singapore) This is a similar distribution in Singapore. 
















;d to put one. of th«se together last year or even this past 
have alot less to say. Up until now, Boston-area hardcore 
was going through a major depression. Shows and people that cared 
about them were few and far between and there just wasn't much to 
talk about. As recent as the turn of the year, good hardcore shows 
began to become more commonplace. Much of this has been due to 
the recent influx of new bands, motivated promoters, labels, and 
Brian McTernin's Salad Days recording studio (Brian#61 7-562-1 456). 
I don't know exactly how much of this will prove to be successful in 
the long run but, for now, this summer looks pretty good as far as 
good shows and new records goes. Keep your eyes and ears open 
for everyone and everything on this list: 

Bands: Arise (Matt#508-528-1517), who play a unique style of 
hectic and seemingly drug-induced hardcore are still around 
after about five years playing shows when asked but 
basically remaining low-key. Long-time guitarist 
Jerry has been replaced by Pete from Over- 
cast and they continue to rock on. Cast Iron 
Hike (Pete#508-842-1 906) play their own 
interpretation of the style of hardcore 
that's been popularized by such bands 
as Orange 9MM and Quicksand. They 
have a CD available from Big Wheel 
Records and play as many shows as 
possible in Boston and beyond (Big 
Wheel Recreation 325 Huntington Ave. 
#24 Boston, Ma. 02115). Converge 
(Jake#61 7-783 8122) seems to be one 
of the biggest drawing bands in the area, 
playing their own concoction of metal and 
mosh-oriented hardcore with touches of 
emo. They have a new 7" available on Ferret 
Records (72 Windsor Drive Eatontown, N.J. 
07724) that will be followed up with a CD version that 
includes a few more songs (Converge 20 Gerald Road #2 
Brighton, Ma.). 454 Big Block (Kevin#508-553-3287) are an "all-star" 
band of sorts featuring members of Wrecking Crew, Kingpin, and 
Eye For An Eye; sounding mostly like Wrecking Crew and Eye For 
An Eye. They have a new 7" available from Big Wheel Records. 
Possibly one of Boston's most talented bands that had the most 
potential is Only Living Witness. They have since broken up and 
released a 2nd full length entitled Innocents that was recorded while 
they were still together. For the new release or any older material, 
contact Century Media Records (1453-A 14th St., #324, Santa 
Monica, Ca. 90404). Opposition (Greg#61 7-666-3593) are a band 
that, quite possibly, deserves the most improved award for Boston 
bands that came out in the last five years. Their music combines 
influences of Burn and Born Against and adds an occasional Police 
reference. Look for them soon as they will be touring much of the 
eastern half of the U.S. in support of their new 12" e.p. on Push-Pull 
Records (Dave#61 7-625-8003) (Opposition 16 -basement- Winter 
Street Somerville, Ma. 02144). Overcast (Mike#508-881-4804) come 
from a hardcore background but pretty much stick to a combination 
of straight forward thrash and death metal to be filed next to 
Starkweather, etc. They have a full length out on Endless Fight 
Records (P.O. Box 1083 Old Saybrook, CT 06475-5083) and play 
out as often as possible. Six Going On Seven (Josh#61 7-666-3593) 
lie somewhere between Fugazi and Jawbreaker and pull it off quite 
nicely. I've seen them several times in the past few months and each 
time have left thinking of the big things that seem to be in store for 
these three gentleman. They will have a self-released 7" available 
very soon and will be on tour with Opposition in early June (Will 57 
Magazine Street #1 Cambridge, a/ Ma. 02139). The '88 straight 
edge sound has resurfaced in Boston under the name of Ten Yard 
Fight (Anthony#61 7-734-51 51). If you are familiar with any of the 




bands from that genre, you know what they sound like; not generic 
or cheesy either, just pure H-core. They have a demo out now and 
will have a 7" on Big Wheel in early June (Ten Yard Fight 38 Calumet 
Street #3 Boston, Ma. 02120). 

Some other Boston-area hardcore bands to keep your eyes open for are: 
Bane [Burn meets Backbone] (Aaron#508-842-1648). • Cave In [like 
Threadbare with some Sunny Day Real Estate] (4 Wilson Street 
Methuen, Ma. 01844). • Entropy [thrash, grind, screamed vocals] 
(Figure Four Records 35 Eliab Latham Way East Bridgewater, Ma. 
02333).* Fedaykin [crust punk] (John#61 7-731 -5202). • Gambit [death 
mosh. Growled vocals] (#508-777-0517) • Hatchetface [fast, scream- 
ing] (Figure Four Records) (Matt#508-534-4541). Holdstrong [mid- 
tempo, shouting] (Pin Drop Records P.O. Box 238 Holden, Ma. 
01520). • Piebald [noisy emo-core] (#13 Pasho Street 
Andover, Ma. 01810) (#508-475-2170). • Rise Again 
[death, nosh, scratchy 02345) (508-224-6587). 
Roswell [Kingpin meets older Earth Crisis] 
(77 Pleasant Street Raynham, Ma. 02767) 
(#508-828-6766). • Unionsuit [chaotic, 
noisy] (133 Peterborough Street #8 
Boston, Ma. 02115). 
Contacts For Shows etc: Greg 
Letarte (617-666-3593), Brian Logan 
r (508224-6587), Matt Firestone/Aaron 
' Turner (617-267-6804), Sky High En- 
tertainment/Jon Regan (617-787- 
5733), John Woodbox (617-731- 
5202), Justin Kollar (617-782-8056). 
Zines: This is a listing of those pub- 
lications that have put issues out recently, 
they cover a wide range of material and 
are all interesting in their own way; please 
get in touch with these individuals for copies, ad 
rates, etc.: Crestfallen (Mike Poorman 133 
Peterborough Street #8a Boston, Ma. 02115). • Extent 
(John Lacroix 38 Calumet Street #3 Boston, Ma. 02120) (617- 
5660385). • Openly Hostile (Ray Lemoine 706 Foster Street North 
Andover, Ma. 01844) (508-975-3346). • Playdoh (Brian Logan P.O. 
Box 3 Manomet, Ma. 02345) (508-224-6587). • Market (Nick 
Branigan 95 Standish Avenue Plymouth, Ma. 02360) (508-7471098). 
• Retrogression/Warning: May Provoke Thought split fanzine (Brian 
Hull 104 Newport Avenue Attleboro, Ma. 02703) (508-761-9799). • 
•Suburban Voice* (Al Quint P.O. Box 2746 Lynn, Ma. 01903). 

Labels: There aren't many good all-hardcore labels in the Bos- 
ton area but, of those that do exist, they are each very productive 
(most addresses and numbers are listed above): Big Wheel Recre- 
ation, Figure Four Records, Heliotrope Records (20 Gerald Road #2 
Brighton, Ma. 02135), Hydra Headflecords/Distribution (907 Boylston 
Street Apartment 42 Boston, Ma. 02115), Pin Drop Records, IX Push- 
Pull Records. 

Most of the all ages hardcore shows in Boston are held at The 
Rat, The Middle East, The Mama Kin Music Hall, The Axis, The Har- 
vest Co-op, and are sometimes snuck into some of the other clubs. 
There are many churches, garages, halls, and basements in and 
around Boston that also hold shows, just call one of the individuals 
listed above and they'll give you the whole nine yards. Gone are the 
days of Slapshot, Wrecking Crew, Kingpin, Eye For An Eye, and the 
shows at the Channel, but the spirit that was pushed aside just after 
that period is beginning to resurface. Who knows if Boston will have 
another SSD or DYS; only time will tell. 
Update 

A lot has been happening through the summer, things are just 
looking better and better around here— so here's a list: Up and com- 
ing Boston label/distro, Hydra Head Recs., are putting out the New 
Age of Reason 7" (who are actually from Boston and Connecticut), 



the Union Suit demo, and the Corrin 7" (death core from R.I.). Bane 
have a new 7" out on Life Records. Hydra Head have also put out a 
new Piebald 7". The new Ten Yard Fight 7" is out on Big Wheel 
Recreation. Edison has put out "Begging For Indifference," 
Overcast's new CD/77cass. Overcast also has a split with Boston's 
Arise on Moo Cow Records. The New Opposition 1 2" is out on Push- 
Pull Records. Be on the lookout for Miltown, which is a new band 
that features Only Living Witness vocalist Jonah Jenkins on vocals 
and Brian from Battery, etc. on guitar. Also look out for Get High 
which has members of Dive and Opposition— sounds like Statue, 
Inside Out and Minor Threat all mixed up — good stuff. -BrianPlaydough 

Although a part of NYC collectively, Brooklyn has a scene of its 
own, which includ@S;bancls that don't get to play in "the city" as 
often as they would like to for reasons unknown. I hope 
those reading this will check those bands out: 

INDECISION: Have just completed an east 
coast two week plus tour with SxE pals Shut- 
down. Some of the finer shows were with 
Earth Crisis, Lifetime, Dystopia, Grief, 
and Florida's Brethren. Indecision cur- 
rently have out two 7"s (one on Too 
Damn Hype, the other on Belgium's 
Released Power) as well as a 7" that 
should be out by the time you read 
this on Pennsylvania's Positive Face 
records. Look for them on East Coast 
Assault 2 as well. What do they sound 
like? Inside Out meets Snapcase? Trust 
me they kill. Contact them at 9747 Shore 
Road, Brooklyn, NY 11209. 

SHUTDOWN: The other half of 
Brooklyn's SxE duo have a CD coming out on 
NYC's Striving For Togetherness records in late "' 

September. Their split 7" with Indecision has gone into 
its second or third pressing, and look for a new 7" on positive 
face records as well. Also, they have a 7" on Lost & Found called 
"Signs of Change," with older material. Shutdown play fast, old- 
school-styled hardcore with lots of late-80's CT sounds going on as 
well. Up Front meets Bold perhaps. Write them at 2668 East 21 Street, 
Brooklyn. NY 11235. 

INHUMAN are a fairly new (June '95) outfit that some say mix 
old Leeway and Cro Mags with DYS, Negative Approach, and SOIA. 
They have a demo out for $4 ppd. which is out on vinyl (Back Ta 
Basics records) as well. Look for Inhuman on East Coast Assault 2 
and a 7" on NJ's Nevermore records as well. A band to keep an eye 
on for 96/97. Contact at Shutdown address above. 

STEP ASIDE are a raw, heavy as fuck hardcore band that brings 
to mind early Sheer Terror and Breakdown if they tuned down to C. 
Step A. have finished up on their second demo which includes cuts 
for East Coast Assault 2. Fast and intense shit here kiddies. Contact 
218 82 Street, Brooklyn, NY 11209. 

MUDDLEHEAD are another new band with a demo available. 
Their sound reminds me of Outburst and Uppercut a la late 80's NY 
style. 1240 81 Street, Brooklyn, NY 11228. 

More upstarts on the scene include Enemy Within— new Na- 
palm Death meets old Helmet, demo in the works; and Disgrace, a 
female-fronted death/grind who are also. Both bands are heavy as 
fuck and worth attention. 

Shows: there are not as many as we would like in Brooklyn, but 
there are at least two per month at two clubs/bars that totally hate 
the music and the scene... but they book us anyway to make money. 
These clubs aren't that crazy about dancing, moshing or whatever 
you want to call it either, but we do what we have to do. Next time I'll 
have more information about "zines, distribution, and whatnot. Later 
& stay true — by Mike Scondotto/lnhuman 



. 




Most of you have probably never been to or heard of Troy; all 
the moreireason to do this report. Troy is about ten minutes away 
from Albany, and about three hours from NYC. Troy has a 
longstanding , violent hardcore scene that started with the onset of 
'crossover' in the mid-eighties, bands like Final Terror and Cranial 
Abuse planted the seed of metallish, hateful hardcore. This legacy 
of violence still haunts Troy today. There's no place for Troy bands 
to play, due to crazy fuckers showing up and beating the fuck out of 
kids. Troy bands have to play clubs in Albany or Cohoes, except 
Stigmata. Stigmata manages to play out of town regularly. 

The longest standing and probably best known band in Troy 
would be Stigmata. They've got three cd's out so far, and have three 
more coming out in the next six months; Too Damn Hype is re-re- 
leasing the 'Hymns For An Unknown God' cd, that should 
be out by the time you read this. It was produced by 
the naughty Harley Flanigan, and recorded in 
'94 at Normandy. If you've never heard Stig- 
mata, I'd describe their sound as very 
heavy technical metalcore with vocals 
something like a cross between John 
Brannon and James Hetfield. Most of 
their lyrics deal with personal struggles 
and religious topics. The other re- 
leases they have coming out are a 
Cranial Abuse discography on Grand 
Theft Audio, as Members of Stigmata 
were in Cranial. In the winter, The 
Heart Grows Harder' cd will be re-re- 
leased on Thank The Knife Recs. Stig- 
mata appeared on the Psycho Civilized 
comp. cd recently, and they also have a split 
7" out with Merauder. They're going to be on 
the East Coast Assault Two comp. cd, and are 
due to appear on a couple other comps. I can't re- 
member the name of. A lot of bands that play metallic NYHC 
are dicks as people, but I can honestly say that the guys in Stigmata 
are cool as hell and down to earth. They can be reached at P.O. Box 
16. Troy NY 12182. 

War-Time Manner are a decent South Troy band that play 
thrashy NYHC with humorous lyrics. They've got an 8 song demo 
out. that kicks ass. Members of WTM are also in Politics of Contra- 
band and Warcrime, which is another Stig- mata side project. (518) 
274-4545 or (518)270-9487. P.O. Box 11. Troy NY 12181. 

Dying Breed are from Troy and formed out of the ashes of Flat 
Broke, Dead End. and Harbinger. They've got some pretty impres- 
sive riffs and drumming, and blow away most other bands in the 
tough guy metalcore style. See the demo review in this issue for 
more info. 

Burning Human is a death metal side project of Stigmata, and 
they are pretty brutal. See their review in this issue for more info. 
Execution Style are a Troy band I don't know much about except 
that they're named after a Stigmata song and they have a demo out. 
Oh, and they've got a singer named Tufts. 

Politics of Contraband have the singer from Flat Broke and Mike 
Stack from Dying Breed. They have an ass-beating sound that com- 
bines No Mercy and Madball, and just cannot be stopped. Mike Stack, 
232 3"* St. Troy NY 12180 (518)273-9261 They've got two demos 
out I think. 

There's more to Troy than just tough guy music, but not much 
more. Troy is a dirty, miserable town that emo, pop-punk, anarcho- 
punk, vegan straight edge, etc. have no chance to take root in. And 
that's fine with me. I've hung out in Troy many times, and the bands 
there are cool people and down to earth, and don't give a fuck about 
silly shit like scene politics, hardcore fashion, etc. Most of the hardcore 
kids in Troy are actually working-class, or poor motherfuckers, and 






this comes through in their music. 

Albany promoter Ted Etoll is releasing a cd comp. with all the 
demos for War-Time Manner, Dying Breed, Burning Human, Politics 
of Contraband, and maybe one other band, all on one cd for a de- 
cent price. It should be out by the time you read this. If you'd like to 
order one send 10$ to Mike Stack at the address above. Stigmata 
also has a new 3 song demo out for 4$ ppd to Bob's p.o. box ad- 
dress, also listed above. Stigmata/Merauder split 7"s are also avail- 
able from Bob, send him 4 or 5 bucks, so he can spend the money 
on new ink and Italian food. 

Other bands not from Troy but from the same general area in- 
clude Withstand, One King Down, Throwback, Threshhold, and Cut- 
throat. -ESD 



. ,. < «» * 



This scene report should have been done a long 
time ago. Buf^ \% giad'|^w^|elj.;When I first 
started writing this in early winter there wasn't 
much to say, I stand corrected. The midwest 
is not notorious for having a great hardcore 
scene, and what started with a few 
bands, ends with an actual report. O.K. 
Madison and Milwaukee are almost the 
same scene. We're only an hour away 
from each other, so bands from either 
city are almost considered local. Here 
in Madison, there is Portion of Truth, 
who are like progressive hardcore, in ' 
the vein of Nomeansno. They usually 
play metal bars, so I haven't seen 'em in 
a year. The P is for Punk kids are still do- 
ing shows for the PC inclined and have their 
band going, who's name I forgot, but used to 
he called Ezra Pound. I would go to more of their 
shows, but they book bad alt rock/emo. They do have 
the independant ethic and do stuff for the scene, so I have 
to credit them for that. Call Kyle at (608)2598985, if interested. There 
are a few garage attempts at hardcore, but until something more 
develops I can't really say. Otherwise, Madison is home to noise 
rock bands like Pachinko, Killdozer, Power Wagon, and others. 
Labeiwise: The Despair/New Day Rising is out on MooCow and is 
carried by many distributors, also check out the Atlas Shrugged/ New 
Day Rising split 7" and Scout "Tomato" 7", also on Moo Cow. Jim's 
label has been very active and he expects more in the very near 
future. Rhetoric has out the Spazz/Brutal Truth split 7", which smokes 
ass. The new Ice 9 7", entitled "Psycology and Extreme Violence" 
which the music lives up to it's title. Also the Noneleftstanding "Stin- 
gray Candy 100" Lp/cd has been out as well. My first 7", Withstand 
"Into My Own" is still available from me at 3/4/5/ us/can/mex, as well 
as swell distros like Very, Victory, Stormstrike and others. My label, 
Fistheldhigh Records, will be releasing the Beta Minus Mechanic/ 
Holden split in May along side the Disbeleif/Outcome split 7" split 
release with MooCow. The summer sees Disembodied recording a 
12" forme. 

Milwaukee, there are basically three bands here worth men- 
tioning. Method, who've been around for awhile, have sort of new 
school sound, but don't do very much, in terms of playing shows, 
etc. For all I know they might have broken up. There is Evel, who are 
recording for a 7" on Foresight in the summer. They have a very 
groove heavy post-harcore feel, not unlike Orange 9mm. Finally, there 
is Promise Ring. If you haven't gotten their Jade Tree single yet, 
watch out. If you figured that it's ex Noneleftstanding and ex 
Celishrine. you can also figure that it's more of that progressive emo. 
They have a split with Texas is The Reason coming soon. Excellent 
live band. Otherwise, Endure from Oshkosh, whoTeally needed some 
practice the only time I saw them have been M.I. A., as have been 




M.I.J, and Chaste. In a nutshell, that's Wisconsin. 

Down in Chicago there is MK Ultra, who 7" has been the hot 
emo record lately. There is Hinkley (exEverlast) who reminded me 
of Crossed Out style crustcore if anything, when I saw them, have a 
7" out which I haven't heard yet. There is Stifle, who are like a rapcore 
band. I saw 'em and can say they are a lot better than the Onyx/ 
Biohazard/Anthrax /P.E. spin you might be imagining. Their demo, 
somewhat primitive sounding, is very good and deserves a listen. 
First Borri, Vegan/ SXE like Ressurection with Syracuse influences. 
They have a demo out as well, which is a tad sloppy, but they are 
very new and very young (I don't think one band member is out of 
high school), so give 'em a chance 'cause their live show isn't bad. 
There is also Extinction, who is Jim of Stormtrooper fanzine fame, 
band. I haven't heard them yet. There is also another new 
hardcore band who didn't have a name when I saw 
them. There is also a new emo band called Cloy. 
Down in the Quad Cities, there is 
Crosscheck, 7" out on Ignition. Newer 
songs are more complex, so I can't wait 
to see how this young band matures. 
They also have a side project called 
Hated Youth, i'm told it's influence by 
early 80's stuff like Minor Threat or 
Negative Approach. 

Minneapolis, Minnesota. Get your 
tissues ready, Threadbare are dead 
and gone if you haven't heard already 
(god, I really loved that band). Disem- 
bodied are back! They have been play- 
ing shows and MooCow will be releas- 
ing a 7" real soon. They will also be re- 
cording for a 12" on my label, this summer. 
Until then, if you haven't experienced their brand 
of sxe death metal, their cd "Existance In Suicide" 
is available through most big distros. Impetus Inter recorded 
for an Ip recently. Man Afraid, a sort of Born Againstish band, have a 
7" out on Half Mast records. Lackluster, a newer emo band play out 
and, I think, are recording for a new demo. I haven't heard from in a 
while. 

Indiana, a state I don't know a hell of a lot about, has bands like 
Endive, Birthright, and Ice 9. I know their scene is getting more ac- 
tive, but I lack enough info to give an accurate account as to what 
goes on there. I don't really hear much about St. Louis at all. There 
are kids in Iowa, no bands. Nebraska is pretty much the same, but 
Colorado has Painstake and a few other bands. But that's the cen- 
tral U.S., almost another scene report. Again, without accurate infor- 
mation, I can't really say much. I ask anyone, please, please write to 
me. What i'm trying to do is start up somekind of a network and get 
some kind of organization to the scenes here in the midwest. I moved 
out here from Albany, NY and the one thing I notice is that scenes 
here are more disorganized. As a result, I hear people bitching about 
how nothing ever happens here. But in the last few months there are 
more new bands, more shows and more people. Let's keep the 
momentum going. I'm trying to do shows here in Madison, or if you're 
interested in Fistheldhigh Records call me (Ian) at (608)2498919 or 
write me at P.O. Box 2652 Madison, Wi. 53701 

Rhetoric Rhecords PO Box 82 Madison, WI 53701 MooCow 
Records PO Box 616 Madison. WI 53701 Stifle 6151 N. Windrop 
#501, Chicago, II. 60660-2617 Firstborn 900 Forest Wilmette. II. 
60091. Blue Harvest Distro./Extinction 947 N. York Rd. Elmhurst, II. 
60126 Evel 4850 s. 69th st. #2 Milwaukee, Wi. 53220 Foresight 
Records PO Box 27152, Milwaukee, Wi. 53227 Disembodied c/o 
Joel Johnson 5512 Irving N. Minneapolis, Mn. 55430 



/ 



£ Located in the eastern par! of Germany. 2 younger 
»Is, specialized an sxe he, were brought to life. One of them is life 
records, which released cds frdrn germany's pole" and ballroom, the 
other one is march through which released various bands from other 
countries.just as germany's new school band surface. switching over 
to beriin,one of germany's cheapest and most reliable mailorders 
called waldorf & statler has to be mentioned. more than music fanzine 
has 4 issues out till now.covering mostly sxe stuff.just as some per- 
sonal thoughts mixed with emowritings (which is not too cheesy in 
this casej.mtm is written in german.so beware you english speaking 
folks.another fanzine, which is much larger and already well known 
is over the edge.it features a fat news section.just as many band 
interviews, reviews and political writings which are a bit pointless from 
times to times. germany's biggest and most controversal book- 
ing agency m.a.d. is also located in berlin.they mostly 
do tours with american bands, some bands com- 
plained about the places being to big for a he 
show and too high door prices. they also do 
a record label called mad mob which re- 
leased bands as murdered art.feedtng 
the fire.deadstoolpigeon and germany's 
political old school band mioz%on. other 
bands from this area which i haven't 
listened to yet are:breaking 
free, disrespect and proof. another 
berlin record label is heart first which 
released records from strain, brand new 
unit and lots more. this label offers you 
cheap prices and seems to be 
reliable. per koro is a label which is located 
in the northern part of germany.they already 
released a lot of records containing bands like 
queerfish who already toured the us as far as i 
know, and carol, the follow up band to acme (rip). per 
koro also does a megahuge second hand 
mailorder'horizons fanzine is coming from that area, too. till now 3 
issues are out, but just as more than music.this one is written in 
german mostly.the editor.whose nickname is gonzo (sven chojnicki) 
also does a distro which is cheap and reliable. people from germany 
who didn't know him yet, should get in touch with him, he carries a lot 
of interisting stuff.one of germany's better sxe bands called veil re- 
leased two 7is on a dutch label and is going to put out a full-length 
release on frontline records very soon.they already supported 108 
on their last european tour and t think that they are supposed to put 
out a split 7i with a us band on moo cow records soon.tatooine fanzine 
put out 1 issue till now.concentrating on sxe writings and bands this 
fanzine did a good job with ist first issue. i am sure you all know the 
infamous lost and found, so i do not want to give you any information 
on that. off records is a diy'distro featuring various kinds of he 
bands, get in touch for a list of cheap stuff. this mailorder seems to be 
reliable,too since i never had any problems with them.trustkill europe- 
no further explainations necessary.refuge mailorder focuses on dis- 
tributing bands from ebullition, gravity and stuff, you know the 
game. again a reliable and cheap mailorder.so if you are interested 
in that kind of music.get in touch with refuge. summersault is a fanzine 
and book distro, mostly political and vegan stuff is distributed b 
them. crucial response records is long established and popular all 
over the world, so there's no need to ckstr. 65,64293 
darmstadtnavigator booking agency:heinrich geissler str.1 2,97877 
wertheim,fax:+49 9342 5440new direction; see revolution inside 
recordslnyari/alveran records.nordring 50,44787 bochum,fax:+49 
234 91 60682, e-mail :alveranrec@aol.comoff-platten:florian 
r"ther,b"dcherstr. 1,38820 halberstedtour world distro + zine:matze 
ruoff.m.hlweg 9,73269 hochdorfover the edge zine: 
marc.hagelbergerstr. 48.10965 berlin,fax:+49 30 789 1 3419per koro 




records + 2nd hand distro:markus haas,bismarckstr.55. 28203 
bremen,fax:+49 421 73854plot/x-mist:postfach 1545,72195 
nagold,fax:+49 7452/41 24queerfish:axel boell.fehrfeld 24,28203 
bremenrepel productions:patrick kitzel,brandh"vel 47,45139 
essenrevolution inside records:le sabot, breite strasse 76,53111 
bonnspawn:daniel frankowski.hochemmericherstr. 17,47226 
duisburgstormstrike:kollmarsreuterstr. 12.79312 emmendingen, 
fax:+49 7641 570832strivingfortogetherness:luitpoldplatz 15a.95444 
bayreuthstroke/words of desperation zine:eric hillenbrand.riegelstr. 
57,73760 ostfildernsummersault maitorder/refuge:wulwesstrasse 
11 ,28203 bremensurface:???tatooine zine:ernst-schultze-str.3, 37081 
g'trustkill europe:po box 1265,31537 bad nenndorfunited kids 
zine:see firehouse records!upright:ingo engelhardt.appelh.lsenerstr. 
49,48308 senden,fax:+49 2597 98396useless toys 2nd 
hand mailorderheiko ihrig.grosse harras 7,64756 g, 
ttersbachveihraoul festante. wunstdorferstr. 
88,30453 hannoverwaldorf + statler:paul 
fredrich.waldmannstr. 6.12247 berlin, 
fax:+49 30 7716668. e-mail: 
chorus@chemie.fu-berlin.deok, that's 
it.i am sure i have forgotten a lot of 
people, a big sorry goes out to the ne- 
glected ... ANDRE, 10965 berlin, 
fax:+49 30 78913419,fone:+49 30 
78913417 

Hi! I'm Maurizio and Til take oare 
of this little scene report. The HC 
scene here in Italy has really developed 
a lot in the last couple of years. So many 
new faces, bands and zines all around. 
During the Easter festivities, the oldest and 
biggest of the Italian HC festivals took place in 
Padova, and this year's edition was crowded as never 
before. I'll start this report from the top of the Italian boot. From 
the city of Como, on the border with Switzerland, comes a five piece 
band called OUTRIGHT (Marco Deplano, C.P. CRICCIA, 22100 
COMO), they play modern HC with a hint of emo softness thrown 
here and there, members play also in Burning defeat and Mudhead, 
and they have tracks on various compilations. BURNING DEFEAT 
(Andrea Ferraris, Via Galimberti 1/a, 15100 ALESSANDRIA) from 
Alessandria have a 7" and a new 12" out now on Green res, the 
music is really slowed down emotional post-HC, you would not ex- 
pect the singer of such a band to wear a Wretched t-shirt, but so it is! 
Give them a try and you'll be surprised at how good they are. From 
Torino comes a new band called ABSENCE (Gabriele Biligiati, Via 
Saint Bon 68, 101 52 TORINO), they have a demo out, intense USA- 
core style HC in the vein of Earth Crisis and Soulstice, they're strong 
on the animal rights side and that's good! 

PERMANENT SCAR are no more but they released a farewell 12" 
on Green res, a real progress from their early stuff, they now have a 
more mature and modern sound. 

Since their 1 2" on SOA res came out around 3 years ago MUDHEAD 
(Alex Azzali, Via Lecco 12, 22030 Eupilio [CO]) have only contrib- 
uted to compilations, and they haven't changed a bit, fast and angry 
HC, the Cro-mags is the best comparison. From the city of Milano 
we have SOTTOPRESSLONE (Federico Oddone, Via Martinengo 
26, 20139 MILANO), who have a 7" out on Mele marce res and a 
new 12" out now. They play the old style Italian HC, with speed and 
melody, lyrics are sung in Italian, so this time you can't complain 
about the mispelling of English words, they're good and highly rec- 
ommended. Milano is also the only city in Italy to host 2 Krsna HC 
bands, this time I'll pass the Hare-losers shit-talking and I'll go on 
talking about the bands. 



GOVINDAHC PROJECT (Alex Olso, GHCP C.SO LODI 59/F, 201 39 
MILANO) is the old one, a CD entitled "It meglio dei due mondi" Is 
out on Vacation house res. Their sound is similar to Shelter and the 
singing is really melodic and neat. The other Crsna band is SHAA 
(Silvano Sbarra, V. Carrobbio 21, 22059 ROBBIATE [CO]), they're 
more melodic and poppish, their 7" is out on Blu bus res. Other 
bands active in Milano are; REALITY (Corrado Schiavoni, V. Moro 
1/a, 20097 S. Donato [Ml]), their 7" "Loser?" is pretty basic old style 
HC ala No For An Answer, DE CREW (SVR c/o C.P. 167, 20036 
MEDA [Ml]) a self-produced skate-core 7" and a split with KINA on 
Blu bus res, IMPLOSION (Massimo Bignardi, via Madonna Pell. 64/ 
A3, 20010 Bareggio [Ml]), noisy metallic HC, a mini CD out soon tor 
You're not Alone res, POINT BREAK . LESS THAN ZERO. IN-SIDE. 
On the west coast, in the city of Genova there is a band 
called HEARTSIDE (Diego Allegretti, Via S. 
Bartolomeo del fossato 95/12, 16149 Genova), 
ebullition-style with screaming vocals, they 
have a split 7" with the now defunct band 
Right in Sight on Shove res. POINT OF 
VIEW play poppish HC, 3 7"s out for 
them. EVERSOR (Marco Morosini, Via 
F. Cervi 19, 61011 Gabicce [PS]) are 
the best melodic band active here in 
Italy, they come from Pesano and 
have a lot of records out, so check 
out some of their latest stuff and en- 
joy. 

AGEING (Gianluca Tricarico, Viale 
Giorgione 46, 36100 Vicenza) is a band 
formed by people living all over the north 
of Italy. They have just released a 10" on 
Twilight res. and I think there are still copies 
available of the split tape they did with Mindless 
collision. The sound is adult-oriented HC with the 
shrill and melodic, similar to the one of the New Age upfront 7". 
About Mindless collision, there are rumors they have broken up. when 
I saw them live circa 2 yers ago they were a SXE band, but their 
commitment didn't last too long since I know they're all into booze 
and stuff now. Same goes for Headsman, but who cares? As long 
as HC has existed threnders have come and gone, it's a matter of fact. 
IVORY CAGE (Andrea Bassi. Via Stendhal 5, 40128 Bologna) from 
Bologna, by the time you're reading this, should have their 10" out 
on Green res, same label of the previous 7". Tight metallic HC, big 
guitars and slow parts. A good example of modern SXE HC. 
Around that area we find BY ALL MEANS (Massimo Meloni. Via 
Vittoria 2, 46026 Quistello [MN]), one of the best known Italian bands, 
they have a 12" and two 7"s out, one of which is a split. With time 
they have evolved their music to a more heavy sound, lyrics in Ital- 
ian dealing with the right issues. A new T is planned for this summer. 
M OURN (Andrea Ghiacci, Via Roncaglio Inferiore 1 , 4201 6 Guastalla 
[RE]), the name says it all, have been around for a couple of years 
and now have a 7" out on Insociale res. which is a concept about a 
concentration camp, I find it to be quite firghtening at times and a bit 
depressing, but I'm sure it will fit very well in the play-lists of the 
thrift-shop, beard and glasses crowd. 

STATEMENT (Massa Alesandro. Via Acquaviva 2/b, 47100 FORLI) 
is another new band, they come from the Romagna region, ith a 
slow new school metallic HC. They have a demo out and a piece on 
a comp. 7" to be released by Buckett of Blood res. 
CHEMICAL POSSE (Pinto Maurizio, Via Jesi 274. 60027 Osimo [AN]) 
from Ancona have now switched their style to a very metallish 
Sepultural/Neglect one. really brutal. They have a 7" and a 12" out 
on Mele marce res. 

From Novara we have CONSCIOUSN ESS (Luca Fontanello. Via 
Muratori 95/b, 28060 Lumellogno [NO]), a new band who plays new 




school HC, a demo out for them. 

PRODUCT (Stefano Bertelli, Via Togliatti 31, 46029 Suzzara [MN]) 
is another new band whose debut 7" is planned on Green res some- 
day in the future. Some names to drop are: CRAVE , probably a 7" 
in autumn out on Twilight res, EVENFORT from Torino, FLA T MIN D, 
a CD out soon on You're no alone res, ENDLESS HAT E a 10" that 
should have been released a while ago, CLONM ACNO I SE from the 
Sardegna island, who have a very NYHC oriented demo out. 
(Giampietro Guttuso. Via Pitzolo3, CAGLIARI 09100). From Napoli. 
south-Italy, there are two active SXE bands, ONFALL and UPRIS- 
ING. 

ONFAL L play post-HC and have a demo out. About the other band, 
UPRISING . I know only the name, so I can only guess about them. 
I'll now go on to talk about the scene of my city, ROMA. 
Due to our geographical location we Romans are 
somewhat cut out of the European HC scene, 
so not many bands have the opportunity to 
go out of town to play and it is even harder 
to have the "big" bands playing here, but 
that has not been a problem for the de- 
velopment of the local HC scene. 
After a period of ups and downs finally 
we have shows set up on a regular 
basis, this thanks to the proud few 
who still give a fuck and move their 
butts instead of complaining and do- 
ing nothing. 

The scene is a mixof different attitudes, 
no "Little HC Kid club" here, and that's 
good. The straight edge remains a soled 
creed in the scene, just as respect for ani- 
mals, vegans and vegetarians are present in 
a very high percentage here. 
New energies and motivations have kept things 
moving, actually there are a lot of bands active in the city. 
GROWING CONC ERN (Gianni Pantaloni, Via C. Ferrata 23. 00165 
ROMA) are still alive and active after the next line-up change. After 
their last work "Season of war" which brought their sound in the realms 
of Heavy metal (Pontera, Biohazard) it seems that they're now re- 
turning to the old style. A probable new 12" is in the works. 
OPPOSITE FORCE (Simone Tripodi, Via Salaria 1388. 00138 
ROMA) still haven't received the attention they deserve. Their CD 
"Near" on Vacation house res. in sone of the best examples of NY 
influenced metallic HC to ever come out of Europe, tight and power- 
ful. And the quest to be hooked up by a "big" HC label continues, 
Keep you eyes open. We're all waiting for X GODFATHERX to do 
their one-shot show! This is a mysterious project which will last for 
only a show, the lucky ones who will be present should expect many 

kicks! 

The DEHUMANIZE (XSURROUNDEDX res address) debut 7" is in 
the works, so don't get annoying asking when it will be finally out, 
really thick and heavy as hell doom metal HC at it's finest, the venom 
of the 90's, scheduled on XSurroundedX res for October '96, so stay 
tuned. 

TIMEBOMB (Giorgio Fois, Via L. Rolando 20, 00168 ROMA) full 
length 12" has totally blown away their debut 7", the style is now 
definitely metal, more than that of many metal bands. The recording 
is swell and clean, the music a voyage to the realms of hell, and they 
didn't give up the serious lyrics for the now "ohf so hip!" religious 
and demonic ones. The 1 2" is a joint venture SOA rcs/M ANZO pro- 
ductions. Buy it or you'll regret it for the rest of your life! 
COLO NNA INFAME SKINHEAD (Paolo Petralia, C.P. 15338, 00143 
ROMA LAURENTINO) is the Roma pride. The demo is out now. 
Probably the best Ol! outfit to ever come out of the city, bringing 
back the good 01' shouted and gruffy punky-OI! ( the Nabat style we 



all love so much. The lyrics are pretty streetwise and good to listen 
to and to sing-along to. They're the only Ol! band in the whole world 
to have 3 out of 4 members that happen to be vegan and SXE (!!!!). 
STRENGTH APPROACH is a new fresh band coming out of the 
darkness to play old fashioned Gorilla biscuits-influenced HC, fast 
music with a cool attitude. This autumn they'll record for a split tape 
with the other Roma old-school band XReinforcedX, all programmed 
asXSurroundedX#1.5. 

On the tattooed front we have XR EDEMPTIONX (XSURROUNDEDX 
res address) who. after winning the prize for the most trouble-mak- 
ing band around are also planning to record for their debut 7" to be 
out on XSurroundedX res. Tattooed furious Integrity-ish HC for the 
masses, don't miss it! They're sponsored by the infamous xRKBCx 
(ROMA KICK BOXING CREW for those of you who don't 
know). 

EUBJEICATIQN (Maurizio Ricci, Via Amico 
Bignami 12, 00152 ROMA) will probably 
record, around the end of the year, for their 
debut 7", on which label is still unkown, 
since none of the labels they offered to 
be with accepted them because of their 
lyrics. Musicwise they're halfway be- 
tween RAID and Sepultura. The lyrics 
deal with veganism, deep ecology, 
animal liberation. Luddism and SXE. 
VER SACRUM look like your average 
Merel-bogus band, but don't be mis- 
taken, they're an outspoken SXE band. 
Struggle is the key word here. Another 
band to keep an eye on are UNHEEDED . 
which moves on the same wave-length of 
Ver Sacrum. 

XR EINF ORCEDX (Maurizio Ricci. Via Amico 
Bignami 12. 00152 ROMA) is the "Core de Roma" 
band, they play the over played and over generalized 80's 
SXE HC. The music is a wild blend of Uniform choice, seven sec- 
onds, Youth of today, Bold and Chain of strength. You know what to 
expect from their live shows, a lot of dives, sing alongs and 
ftngerpoints. which are the basis for every successful HC show. It's 
good to see older people who didn't give up their hooded sweatshirts 
for the now so trendy Stussy-Major forces sassy MTV-alternative 
wanna be's wear! A split tape with strength approach is on its way. 
THIS SIDE UP (Dario Adamic, C.P. 15319, 00142 ROMA 
LAURENTINO) play melodic and poppish cali-HC ala Bad religion, 
they have various things out. 

TEAR ME D OWN (Applequince res. Via di mezzo 15, 01100 
VITERBO) is Italian wild old school HC. the "More dead nerks" 7" 
out now. 

MUDDLE (Luca Lombardi, Via puccini 9, 01100 VIII RBO) is an- 
other band plaing punky-HC stuff, a demo out. Most acclaimed Roma 
band CON CRETE (Cristiano D'Innocenti, Via Marostica 25, 00191 
ROMA) have released a 10" on SOA res and going around a lot 
playing shows, this one is highly suitable for fans of Ebullition-Old 
glory artsy stuff. A new 7" is in the works. For fans of non-HC calmer 
stuff there are STUDE NT ZOM BIE (Conti Dragotta, Via F. Cherubini. 
12 d. 00135 ROMA) who have a 7" out (Ashes + Blur) and BRUMA 
(Andrea Marra, Via Aterno 12. 00198 ROMA), whose 7" will be out 
very soon on Green Records. 

On the projects side there's a band called HARDCORE POLICE 
DEPX which claims to bring to justice all those who betrayed the HC 
scene, so Pat Dubars and Brian Bakers better start to watch their 
backs! Early Boston brutal Negative FX music without mercy for the 
sell-outs, it's payback time! 

Another project I heard of is a band called PREDATOR but I don't 
know if they will ever be for real or will remain in the plethora of 




!»** 



uncompleted stuff. 

The grind-core band COMRADES (Paola Petralia. C.P. 15338, 00143 
ROMA LAURENTINO) from Roma decided to break up, their first 
and last 7" is out soon on SOA res. OBTRUDE (comrades address) 
take where they left off and have a split 7" with the other Roma grind 
band NAGANT to be out on SOA res. 

SOCIETY OF JES US consists of all the By all means members play- 
ing grind core, they have a really good split 7" with Substance out on 
Insociale res. 

Labels - BREAK EVEN POINT (Via Vallebona 28, 00168 ROMA) 
Lifetime 12". Slap of reality 7", Down by law 7", Two line filler CD, 
Grin 7", etc. - BUCKETT OF BLOOD (Cossettini Alain, Via A. de 
Gasperi, 13,33081 AVIANO[PN]) A comp. 7" with Statement. Onfall, 
Mistrust and Springdown. - GREEN (Giulio Repetto, Via 
Falloppio 38. 35100 PADOVA) By all means 12", 
Ivory cage 7", Burning defeat 7", Eversor 7", 
Bruma 7", etc. - INSOCIALE (Mario Luppi, Via 
D;Avia Nord 54, 41100 MODENA) Soci- 
ety of Jesus/Subsance 7", Mourn 7V - 
MELE MARCE (Giorgio Senesi, Via A. 
Carrante 7. 70124 BARI) Chemical 
posse 7" + 12", Sotto pressione 7", 
Point of view 7", etc. - SHOVE 
(Manuel Piacenza, Via Don Minzoni 
3, 15100 ALESSANDRIA) Right in 
sight/Hearts de 7". -SOA (Paolo 
Petralia, C.P. 15338, 00143 ROMA 
LAURENTINO) Timebomb 12', Ten 
Yards fight 7", Concrete 10", Comrades 
7", Obtrude/Nagant 7", Mudhead 12", 
Open Season 7", Growing concern 7* + 
12", he runs also a big distro, cheap prices, 
try it! -XSURROUNDEDX (Maurizio Ricci, Via 
Amico Bignami 1 2, 001 52 ROMA) Dehumanize 7", 
Redemption 7", XReinforcedX/Strength approach, tape, 
ALF benefit 7", "Roma straight edge- The new season" comp 7" w/Dehu- 
manize. Reinforced, Redemption and Strength approach. TWILIGHT (Marco 
Voltani, Via Calzolari. 3, 40128 BOLOGNA) Ageing 10" -VACATION 
House (Rudy Medea, Via S Michele 56, '3069 vlgiliano Bioilese 
|VCj) Opposite force MCD, Indigesti CD. GHCP MC, Sottopressione 
12", etc. -YOU'RE NOT ALO NE (Massimo Bignardi, Via Madonna 
Pell. 64/A3, 20010 Bareggio [Ml]) "Not enought" comp. 7" w/ GHCP. 
Sottopresione, Less that zero, Mudhead. In-side. 

Zines: Zines written in Italian: Screams of anger, Unbusinesslike, 
Blumergaster, I think so I am. Sona!, Standpoint. Zips & chains, In- 
tegrity, Solo odio, Aiuta la tua scena. 

Zines written in English: WAR HYMN newsletter (XSURROUNDEDX 
res address). XA PROPHECY OF RAGEX (XSURROUNDEDX res 
address), TOUGH GUYS DON'T DANCE (Massimo Moscarelli, Via 
Licino Stolone 62, 00175 ROMA). GENOCIDE (Andrea Delbello, Via 
Forlanini 55, 35139 TRIESTE), OUTLET (Luca Fontaneto, Via 
Muratori 95/b, 28060 LUMELLOGNO [NO]). 

Well, finally I've finished. I hope to have been able to give an 
almost complete look at the Italian HC situation, sorry if someone 
has been left out. Anyone out there who needs info or whatever 
about the Roma straight edge HC scene just drop me a line, my 
address is at the bottom of this scene report. 

So remember to always keep da faith (and lookout for the 
warzone women!), and watch your back, the storm is coming! As 
usual, mortacci vostra cornutoni, go vegan, ciao. 
MAURIZIO RICCI 
VIAAMICO BIGNAMI, 12 
00152 ROMA 
ITALIA 
P.S. I'm looking for a RELEASE t-shirt, can anyone help me? 



We have good Hard Core scene here in Japan. At first my band 
'ITCH STYLE (2-10-28 Kamagaya, kamagaya-city, Chiba 273- 
6T) have% 4songs 1st 7 H ep out. And We'll record 4songs 7"ep for 
Life Sentence Recs (P.O.Box 52462 Irvine, CA 926192562) in 
U.S.A., it'll be available in April or Nay '96. Some People has been 
calling us Japanese Strife or Refused. HALF LIFE (3-5-B-44 
Sakuragi, Tagajyo-city. Miyagi) is a old band that has a Unbroken- 
ish metallic guitars. They've just released two 7"eps & two split Peps. 
They have very original sound. Another good band is DIVIDED WE 
FALL(3- 12-20- 102 Kamitakaido ,Suginami-ku, Tokyo). They have a 
1st 7"ep out, and they'll also have split jeep with 25ta Life in spring 
'96. They also appeared on Endless Fight Recs comp."Over The 
Edge 2— If you dig metallic stuff, you II probably like them. BLIND 
JUSTICE (4-40-5 Higashiyamada, Tsuzukiku. Yokohama-city, 
Kanagawa) broke up, and they change their name to 
ENVY. They'll record mini-CD in the near feuture. 
They've just released a 7"ep & a split rep as 
Blind Justice. T.J. Maxx (7-1010 Habikigaoka 
Habikino-city, Osaka) is new band, they . 
have really old NYHC style sound ala 
Breakdown. They have a 1st rep out. 
Well, I want to mention some bands 
who has demo out. BENCH MARKER 
(2-1-12-201 Ochiai, Tama-city, Tokyo) 
has really heavy stomp wing sound. 
UP HOLD (2528-30 

Shimoshizushinden, Yotsukaido. Chiba 
284) plays mixed sound of New school 
and Old school. TAKE THE LEAD (2-7- 
23-303 Imaike, Chikusa-ku, Nagoya-city, 
Aichi) has old school sound with 90's feel. 
STATE CRAFT (2AR_91 T7l1mi RI1ainsrni-> 
Takva) hxR New school sound with 2 vocalists. 
Thats all for now about the bands. 

I'm also doing START TODAY MAILORDER AND 
FANZINE (2-10-28 Kamagaya. Kamagaya-city. Chiba 273-01 / 
Fax:+81-0747-44-9918). So. labels and bands and others, get in 
touch. By youXsuck 





c 



Ilin-wM &q§rm)c start . . . Hello everyone! I'm Miljan 
o give you an idea of what is going on in Slovenia, a tiny 
state with only 2 million inhabitants. Well, hardcore isn't really popular 
here. All those bands from early 80's are gone and with the separa- 
tion from Yugoslavia we just got more tiny. At least when we were in 
a federal state the scene was bigger. Now, as you can see by the 
number of the people living here, you can't expect big scene or many 
active people. In fact, we can't speak about straight edge scene, as 
my friend said "people in SLO like to eat sausages and drink beer." 
Youth of today played here (who knows how many scene reporters 
said that?. . .). So, in SLO is mainly punk scene and maybe we can 
say hardcore (if they let us.), yet, I guess we can say also that. I 
really don't know everything about it, although I should if you notice 
the number of creatures living here, so I apologize to all bands and 
other people that I won't mention. Then let's start with the list of 
people you'll probably never meet and bands you will never hear . . 
. I guess the most known are WASSERDICHT, they play raw he with 
ska and reggae elements. At the moment they're considered best 
band and they have a split LP with SCUFFY DOGS by whose name 
you can dig they play melodic punk rock. They're getting more popu- 
lar as big grass consumers, which is shit if you ask me. IN4S (it's 
not for sale) are around for a while. Music is kinda melodic post 
hardcore and they're a standout in a way. They have 7" & LP out. V 
OKOVIH (in chains) are in the vein of nofx and that kind of punk. 
Their cd is out. PRIDIGARJI (preachers) is the fusion between jazz, 



rock and punk. Can't say much about them, because I really don't 
like their style, they have two cd's out. FIRST CAUSE is the only 
straight edge band and that is a big standout here and I don't say 
that because I play there. Anyway. I won't talk much or I'll be ac- 
cused for self-promotion. We don't have a precise music style, I 
could say it's hardcore, rock . . . BLOODSUCKERS is that kind of 
band that people like, because they like to get drunk and to play 
punk/hc. I guess I said everything with that. EAST 16 are the twin 
brothers of east 17 with a small difference, they play noisy punk with 
talented lyrics like "fuck you," "shit." 'luck off'. . . and all other possi- 
bilities. DTW and STROBODEATH are much similar, only for grind 
and noise fans. I don't know if I should mention SKYTOWER who 
are the most promising funk/hc/metal band as I heard, but can't say 
much about it, because I never heard them. MISTRESH 
are their own world. They're not known in the coun- 
try, just in my area they do nice music to get 
bald with or to cut your ears off. NABISKA 
are death kids and if you like that style 
maybe you'll like them. DOUBLE PEN- 
ETRATION is a project of frustrated guys 
who play pornocore (by their own 
words). I guess that's all about the 
bands. 13. BRAT is my favorite zine. 
It's done by the people I love and be- 
sides music it has nice things to read. 
Three issues are already out, the lat- 
est has Strife and Four Walls Falling 
In, but it's in Slovene, so you'll prob- 
ably never be able to share my opinion. 
JAY-WALK is another great zine. some- 
times written in Slovene, sometimes in En- 
glish, issue two has anarcrust, durort, kent 
mcClard . . . they're also a label (wasserdicht 
and scuffy dogs LP) and a distribution. ROCK VIBE 
is a famous magazine which is selling also in stores, so 
maybe I shouldn't mention it (I hope diehard hardcorers will forgive 
me). Anyway, it's done pretty well and it varies from metal to hardcore. 
They also brought sick of it all, snapcase and shelter over here. 
PUNKTUR is a "book" that can be judged by its covers! about punk 
and about saying fuck off to straight edge. ACTIVE PHASE is he/ 
crust zine and has anarcrust, violent, headache, tromatism init. They 
run also small distribution and do a compilation tapes. INFERNAL 
is a bit tiny zine which needs some more work. The guy Who is 
making it has also a band NOT WHY YES which I forgot to mention. 
DICKHEAD is a zine that I can't discuss on, because I've never seen 
it. Ignite, slapshot, new bomb turks . . . and some more stuff. FRONT 
ROCK is a label and has put out several compilations No Border 
Jam with SLO and austrian bands, also pridigarji are on it. IMPALED 
PROD, is more death/black/doom/grind oriented, it has also some 
hardcore stuff. It's a label and a distribution. SUNRISE TAPES is a 
kid who's making live tapes or compilations, he's also co-maker in 
13.brat. SLOWGREEN is a very good distro, they have lots of stuff, 
the only bad aspect is that they're a bit slow. PREPOROD (rebirth) 
is an anarchist newsletter done by the guy from slowgreen and 
K.N.D., which is anti-authoritarian organisation. V.E.T.O. is a non- 
music oriented distribution. It tends to promote and spread ideas of 
veganism. animal liberation, drug-free lifestyle, ecology — There's 
also an anonymous hardline rap project called Codex. 

I guess that's all that I know, but for sure I'll remember some- 
thing when it will be already late. Well, maybe it's interesting to say 
that in our area we organised non-smoking show, so what's the deal? 
It was the first in SLO ever and that makes us proud . . .uh. Maybe 
this report isn't really fantastic, but I guess it will do for the general 
information. If you like to write letters then contact me! This is just 
the beginning of our communication, let's not stop here. Anyway, I 






have strange feelings that somebody will reply . . . anyway, thanx (or 
your time, true love . . .miljan 

Addresses: 
WASSERDICHT- dejan pozegar, smetanova 82, 62000 maribor • 
SCUFFY DOGS- write at jay walk • IN4S- write at front rock • V 
OKOV1H- vorohova 36. 62341 limbus • PRIDIGARJI- write at front 
rock • FIRST CAUSE- pluzarev miljan, trubarjeva 33, 66330 piran • 
BLOODSUCKERS- luka basic, stara ul. I. 66000 koper • EAST 16- 
write at bloodsuckers • SKYTOWER- write to impaled prod. • 
MISTRESH- srite to first cause • NABISKA- write to first cause • 
DTW- borut jakin. cankarjeva 48, 65000 nova gorica • JAY-WALK- 
write to wassedricht • ROCK VIBE- p.p.lo. 65000 nova gorica • 
PUNKTUR- luka stravs, lubejeva I. 61117 I jubljana • INFERNAL- 
sasa dolgov, razagova 1 2, 69000 m. sobota • NOT WHY YES- 
write to ingernal • DICKHEAD- sebastjan iskra, ..^ 

rozmanova 4a. 66250 ilirska bistrica • ACTIVE ^fl 

PHASE- tomaz horvat, jurciceva 14. 69420 
ljutomer • FRONT ROCK- p.p. 48, 62000 
maribor • IMPALED PROD.- dejan, 
ormoska 67. 62250 ptuj • SUNRISE 
TAPES- vafter cijan, gradnikove b. 49. 
65000 nova gorica • SLOWGREEN- 
marko rusjan, pot na breg 8, 65250 
solkan • K.N.D.- pavlin brane, oresje 
20/b, 68259 bizeljsko • V.E.T.O.- jan 
urbane, knedrova 10, 66000 koper • 
DOUBLE PENETRATION- write to sun- 
rise tapes • PREPOROD- write to 
slowgreen • Don 7 forget to add Slovenia/ 
Europe 

guess thaV most people who are into 
hardcore and straightedge and stuff, have some- 
times heard about Sweden, and then probably Umea, 
and some of the bands from there. 

I've been asked to write a Swedish scenereport and as you can 
see - I've done it. The only problem is that the biggest scene is in 
Umea, in north of Sweden, and I live in the south, about 5000 km 
from Umea, and here were I live I'm the only one into SXE and HC. 
But anyway...! know most of the bands so I'll just do my best, ok.. 

Umea also have Swedens biggest hardcore, straightedge record 
label: Desperate Fight Records, founded and driven mostly by Jose 
from "Abhinanda" and Dennis from "Refused", Swedens two biggest 
sxe bands. The labels first release was a eds by the great Abbinanda; 
"Darkness of Ignorance". That release is now out of press and also 
out of stock so it's quite hard to get that one, but they have also 
made a full length "Senseless" and another eds "Neverending well 
of bliss". The play a fast and very emotional type of hardcore and 
they do it great! ! ! They have also toured with bands like "108" and 
"Strife". 

Then over to the other already mentioned band Refused. They're 
not on DFR since their first eds "This is the new deal" was released 
on "Burning Heart Records" and then they got signed by "Start 
Records" each have released all of their following material: "Pump 
the brakes" eds. full length "This just might be the truth" and another 
eds "Everlasting". Their full length have also been released on vinyl 
wich is very rare in Sweden becuase here's almost noone making 
vinyls. Their hardcore is heavy with lots of sing- along' s. I guess 
they were Swedens first straightedge-band and they have done very 
much for the Swedish scene. They toured Europe with "Snapoase" 
this summer and they have also toured with "108". It shall also be 
mentioned that there will be a new full length out soon (feb - march 
I think) and you don't wanna miss that one. ..trust me. 

Another big Swedish band is Doughnuts. They're all females 
wich is (as you know) also very rare. But these girls proves that it 




doesnt matter what you've got between your legs when it comes to 
hardcore music. After releasing their first eds "Equalize Nature", just 
for fun, for DFR, they got signed by American Victory Records were 
their latest record "The age of the circle" is released. And for those 
who have missed these girls, I can say that they have a really heavy 
sound with lots of metal guitars. They toured all over America a few 
month ago together with "Snapoase", and they did very good. So, if 
you have missed them before, make chore you know about them in 
the future... 

Sweden and DFR also have bands who play a lithe softer mu- 
sic. One of these band are Shield. Their first release was the song 
"Outside", for the DFR compilation "SXE as Fuck", but at that mo- 
ment they called themselves "Solitude". But after noticing that there 
already were a Solitude-band they decided to change name 
to "Shield". Their new stuff is alot different than the 
first song, wich is a liffle bit harder than their 
new more melidic, singing type. Now they 
have made a eds: "Build me up.. .melt me 
down", and a full length called 
"Vampiresongs". Very recently they 
were on a little tour in Europe with the 
great "Norwegans" in "Lash Out". 

Another little bit softer band is 
Purusam. I find it hard to express this 
band's music but they really sound 
different than every other band I've 
heard. Thier vocals are really differ- 
ent since it's not screaming and not 
singing and not... It IS just very good 
and very emotional. They also have 
some beautiful female vocals made by their 
bassplayer. I used to be alot into aggressive 
hardcore but after bying this record I played it 
over and over and over again. So warning! ! ! This 
is good music and it doesnt matter what you listened to 
before. It's just a great band. (13y the way their eds release on DFR 
are called "Outbound"). 

BUT! ! ! If you're not into soft music at all... Then you don't 
wanna miss Final Exit. This is Swedens only old school, pissed, ag- 
gressive and very angry SXE-hardcore band. Their message are 
like straightedge, SXE, SE and XX (and something more 
maybee???). At this moment they have only made one release, a 
15-song cd called "Teg", at DFR, but I guess there will be another 
one out soon. This band is so very pissed offthat you don't dare to 
miss them... 

DFR have released two compilations. "SXE as Fuck" and "SXE 
as fuck". The first one is a eds and the second one are a full length 
cd. Except the bands I've already mentioned there are also some 
s)ther b?alds on these ones, but because there are only one song 
by each band and bacause these other bands hasent released any- 
thing else, I don't have much to say about them So I'll just mention 
them so you'll know about them in the future: Drift Apart. Beyond 
Hate. Situation 187, Seperations, Aim. Said I was and Reason for 
anger. These bands also sound really good so you'll better watch 
out so you don't miss anything... 

Sweden's second biggest straightedge-scene is in Vanersborg 
in the mid/south (sort of). This city also have swedens second big- 
gest record-label: No Looking Back Records. NLB is (just like DFR 
in Umea) founded and driven by members from the first and biggest 
bands in the scene, in this case "Ultimate Concern". 

Ultimate Concern plays very fast, emotional and quite heavy 
HC. It's still a young but already great band so you have really missed 
something if you havent heard them.Their first release was a eds 
"Stop" wich also was NLB's first release, but their full length "Shield 
between" sounds alot different and more developed. There are re- 



ally speedy songs and good vocals. I guess there will be another 
release from them soon and i look forward to that... 

Start Today is a even faster, more heavyer and more emotional 
band then the first one. This band has two (2) vocalists and that is 
really great! ! ! Their first release was a cassette "Nature" but the 
sad thing is that it's a lithe not so good sound quality on that one, but 
it does not matter very much • although the music is so great. They 
have also made one song for the NLB compilation "Brotherhood", 
wich is with the right soundQ, and then it's even better. But, this 
band are going to split up and thats very sad because this really is a 
very good band. But before that they're gonna record a split-7 to- 
gether with another great (also splitting) VBG band "Watergate." 

The second biggest VBG band, after "Ultimate Concern" are 
Outstand, with their alot softer and more melodic rock n roll sound. 
Maybee this is not really a hardcore band anymore, but since their 
first cassette "The eternal pose" (wich is very unlike the other 
meterials) was alot harder and more aggressiv and they're all straight- 
edge and stuff, then they are like a hardcore band anyway (although 
they don't call the band HC). Now they've also made another cas- 
sette "Five songs of life" wich is like a promotion for their yet to come 
cd, on "Dolores Records". It sounds alot different than the first cas- 
sette, just as their song at the "Brotherhood"-compilation. The comp- 
cd's booklet also tells that that song is their last aggressive, so I look 
forward to hear their full length. This is a really good rock n roll band 
so you better check em out! 

The compilation also contains songs by New Direction, Innerself . 
Content and Watergate. The first three band have only released that 
one song for the compilation so I can't write very much about them, 
but "Watergate" has also made a cassette Thirdviewofthesculpture". 
This band is als<(very haevy and emotional and all that stuff, but as 
I told you before, they're also splitting up and thats sad because 

they're also very good. 

The next release on NLB (probably out by the time you read 
this) will be a cds by the great band Nine. I havent heard any record- 
ing by this band but I know that they have done some cassettes. But 
I have seen them live ones in their hometown Linkoping and I just 
tell you., .that was one of the best concerts I have ever been to. 
They have a pretty heavy and sing-along sound (I don't remember 
x-actly) and I really look forward to hear their cd and I hope to see 
them live again soon. If you don't check this band out then you really 
miss something... 

This was some lines about the best known Swedish bands, 
and there are more. I hope this got you a little interested in checking 
out the Swedish scene. If you haveany problems these records, 
then write the Inside Front address and they help you get in touch 
with me. Bye- Johan 





IS NOW OPEN 

CttHYING THE BEST OF WHAT THESE FINE PEOPLE HAVE 10 OFTEB: 
EBULLTIlOft REV, VERY, VICTORY, NEW AGE, AREA 51, 



lHUu :M;U;W.*WMlPiiW^^ 



ARTNONK, DISCHORO. VERMIFORM, CRANE!, RECESS, TRUSTEQ1, 

BLAH, BLAH, BLAH YOU KNOW THE REST... 

THE POINT IS. WE HAVE SOMETHING FOR 

EVERYONE NO MATTER WHAT LABEL YOU 

PUT ON YOURSELF. SO IT YOU FIND YOURSELF 

IN SOUTHERN CALIFORNIA, STOP IN AND 

SEE US AT: 

10533 LOS ALAMTrOS BL. 

LOS ALAMrrOS, CA 90720 

OR CALL FOR MAIL ORDER @ (310) 430-6975 

OR 

Fax (310) 430-7846 

SUPPORT DiDEPENDNrr HARDCORE BY SUPPORTING DfDEPENDANT 
HARDCORE STORES! KAPISH? 









fifes.* 



m 









... 



■gnHBH 



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/>n>i/ reviews: Richard Allen ("Things Fall Apart" magazine, inside Front 

debate team captain) 

record reviews: Enrique Ahierto Sazon ("Open Season " weigh/lifting 

journal. Inside Front machine shop foreman) 

all other reviews by the editor, especially if they are marked with a "b " 

So please, if you re so petty that you want to fight one of us over a review 

(rather than thing something fucking constructive, right) make sure you 've 

got the right guy. 

Of course, as Maximum Rock and Roll never tires of saying, 
every independent effort deserves respect for being what it is: an attempt to 
take life back into our own hands, so that we will no longer only sit back 
and watch the world but instead take an active part in it as individuals. But 
our job at Inside Front is not to pat people on the back. Obviously our 
readers can only check out some of the material we review, so if we 
recommended everything we would not help them at all. So we try to 
describe everything we receive to our readers in as much depth as possible, 
and at the same time to give any constructive criticism we can to the 
musicians or writers who have submitted their material — if we can do this 
successfully, we will have helped out both the 'zincs/bands and the listeners/ 
readers. What more could you ask of us? 

There sure are a lot of reviews in here. Please try to read through 
1 hem all anyway, we've done our best to make them interesting reading. I 
can think of a million better things for us to do with this space, but I feel like 
the task of concentrating on reviews has sort of fallen to us by lot in the 
hardcore scene, because so many other big 'zines do such a fucking horrible 



cians — make music inspired by real things in your life, things that touch 
you, so that your music will touch others. Look for new ideas to freshen up 
your work... otherwise you will only help to make hardcore stale and boring. 
The same goes for magazine writers. Good luck to everybody on your work 
(surely you'll be able to at least do better than we have here!), we'll be 
looking forward to seeing it when we write the reviews for I.F. #10. 

PARE NT A L APV I SQRY 

I guess I have to do a little mediating here, because it's better to 
get it over with now than have to deal with it later. One of our reviewers 
occasionally uses some language that could be construed as homophobic. 
None of us here at Inside Front arc homophobic, we're all grown up men 
and women who respect whatever desires our fellow human beings may 
have, and expect the same in return (hardline kids take note..!) I personally 
never use and don't like to sec language that can be construed as homopho- 
bic, because I think the United States is an environment that is already too 
hostile to people who happen to be attracted to members of the same sex. 
I lowevcr, there is a reason that this reviewer of ours uses this language: he 
has spent a fair amount of time in a violent offender prsion. If you have ever 
been in prison or know anyone who has been, you know that terms that 
usually carry homophobic connotations in the free world refer to a 
completely different subject inside... So, in the interest of being open 
minded and learning to understand the languages that people who arc 
different than you speak, please do not jump to conclusions but try to 
understand this reviewer's language in context. For Christ's sake, we're 
trying to create a world where we can all understand and coexist with each 



- Editor B, D iablodem- 
t-lcarus Was Right #3* 
2 -Gehenna side of 7" split 
3-Systral 10" 

4-Intcgrity "Humanity" 10* v 
5-Burn Collector 'zinc 
6-Timebomb CD 
7-ncw Lash Out CD 
8-Jesuit demo 
9-Trial 7" 

10-Hardwarc #8/Dcadguy live 
*of course it goes without 
saying that the new Amebix CD 
bootleg "Beginning of the 
End" would be in first place 
hetv if it was not a re-release... 



-Jechnjcim ifrfrf Mr 
1 -Catharsis CD 
2-Gehenna live 
3-Gcorgc OrweU. I9&4 
4-Thoreau, Civil Disobedience 
5-Dahlia Seed new \T 
6-new Unbroken 7" 

7-cr. r 

8-Quarantinc live 
?-Bob Dylan 
10-£quus 



■!:'l 



-Aerobics Instructor fi&ft 

(*toptenfort{fting'l- 

1 -Black Army Jacket demo 

2-Blood For Blood "Hurt You 'demo 

3-Breach '•Friction" CD (Burning Heart) 

4-CatharsisCD(Crimethinc; geeks) 

5-Dying Breed demo 

6-Madball "Demonstrating My Style" CD 

(Roadrunneri ...that's a pretty big label. E! 

7-Poiitics of Contraband 

"Drunkscumbagmetalfreak" demo 

8-Prison "Discipline" CD (Lost and 

Found bootlegging cowards) 

9-Stigmata "Redemption Songs" demo 

J O-Wir-Time Manner "Scorched Earth Policy" demo 



I -Speed Metal Symphony CD 
2-Vcnom-Everything 
3-Dream Theatre-Live CD 
4-Earth Kxicis-Everything 
S-ThcSpandex Experiment CD 
6-O.R.l-Everything 
7-Snapcasc-.fo/w CD 
$-Voivod~ Every! lung 
9-$\rypet-Everything 
\0-TTX}uick-£verythmg 



job of it. The last "Punk Planet" I saw had about seven one- or two- word 
record reviews in it. Of course a one word review doesn't tell the reader shit 
about the record— those fucking reviewers don't care about doing their jobs 
well, they just want free records! Fuck them, they should 'retire' from 
reviewing before they make punk rock any fucking worse than it is... 
apparently they don't care about their readers, the bands, their magazine, or 
punk itself as much as they care about satisfying their own fucking greed 
without even working for it. One-word reviewers, two-sentence reviewers, 
all lazy reviewers and your uncaring editors, give it up — life sucks enough 
already without you wasting our time. I said all this already last issue... how 
many more limes will I have to say it? 

Of course, the other problem with reviewing records and 
magazines is that there are so many mediocre ones out there. I think most of 
the Haws in the material I come across stem from the creators just being 
afraid to be original. Obviously if you just go through the same motions as 
those who came before you. hoping to be as popular as they were, chances 
are that your work will not be as inspired or timely. Dare to do your own 
thing, not to try to engineer your music or writing so that it will be pushed to 
success by the latest trend. If your work is good, which it eventually will be 
if you work hard and try to draw upon what is original in your ideas and 
experience, eventually people will catch on regardless of trends. Musi- 



other, not a world in which we all speak, look, act, and think the same... 
aren't we? 

—ATTENTION: SPECIAL CONTEST FOR 
BORED INSIDE FRONT READERS— 

Simply correctly identify which band recorded each of the records listed 
below from one of our staff member's all-time favorite list, and we will send 
you an Inside Front pencil of your very own! Good luck kids! 

LP's: 

I - "Those Who Fear Tomorrow" 

2- "Monolith" 

3- "Rock For Light" 

4- "Troops of Tomorrow" 

5-"LiveatCBGBV* 

7"s: 

1 - Self-titled (big hint: singer's brother is asleep at a show on the cover) 

2- "Demolition War" 

3- "Resist This Atomic Menace" 

4- Self-titled (there's a kid in a swing on the cover of this one) 

5- "The Underdark" 



IP;!, 




-■ . 



■ 




AGNOSTIC FRONT "Raw Unleashed" CD 

My friends all hate this, because they don't have the stomach to appreciate 
messy bands with shit recordings, but I love it. I always liked Agnostic Front's 
earliest songs best (I liked their later, more skilled execution belter, though... 
that's why "Live at CBGB's" was so good: you had the old songs with the 
modern quality), and you get fucking 62 tracks of early A.F. here... pretty 
much everything they did before 'Victim in Pain', and early versions of those 
songs too. By the way. for you Madball fans, most of the early Madball songs 
('Smell the Bacon/What's With You'.to name one of many) were actually just 
old A.F. songs (that even includes the Animals cover) — so hear the originals 
here. On this CD are two different mixes 
of their "United Blood' 7". plus extra songs, 
an earlier recording session, a practise tape. 
and two songs (by far the best sounding, 
because they are from just before the Cause 
For Alarm days) from a long lost compila- 
tion record. I'm just thrilled I got to hear- 
"Friend or Foe" four times on here! If 
you're not familiar with old Agnostic Front, 
what you get is shit recording quality, 
catchy as fuck songs played fast and crazy, 
nothing fake, nothing forced, just yelling 
and bashing hardcore that takes no prison- 
ers... everything good in hardcore today 
owes A.F. a debt. The packaging is exten- 
sive, with fliers, the old Schism interview, 
old photos, plenty of ranting from the Grand 
Theft head executive, and some old A.F 
lyrics I thought I'd never track down. Some 
of them are admittedly incoherent, such as 
"Fight": "Push around and stab each other, 
fight around and kill each other — Fight fight 
riot riot — beat him hard, beat him dead, 
break their legs, we're gonna break their 
legs, let's go!" -b 

Grand Theft Audio, address below 
All Out War- Destined To Burn 7" 
This record has been out for awhile, but we 
here at Inside Front arc still required by 
hardcore law to review it. Two of the three 
songs on this 7" appear on the Philly Dust 
Crew comp. cd. Al I Out War are a metalcore 
band from downstate (NY), that combine 
screechy vocals with lots of chugging riffs 
and double bass. One of their guitarists is fucking gigantic. They throw in 
atmospheric deathmetal leads once in awhile, and mostly sing about the evil 
of mankind and organized religion. To me, they sound similar to Merauder, 
maybe because they have lots of shouted back-ups. Nice packaging, with a 
glossy hardstock cover and lyric sheet. 
Hardwax Records. 8, Rue Berlin Poiree. France 
AMBER INN 7" 

I think this is cmo music. The vocalist is ovcrdramatic in his enunciation of 
such lyrics as "tranquillity throughout steadiness statics into me." Every once 
in a while there is some distortion on the voice. The music is midtempo, gentle, 
almost acoustic. I know some people who tell me that this sort of thing is 
extremely moving for them, but I just can't get anything out of this emotion- 
ally: it just seems bland. It might be soothing if there were no vocal tracks, but 
it's a little too upbeat for that either. The band seems to have personally splashed 
paint across the cover of this record, and I appreciate them going to all that 
trouble for me. -b 

Sunnex Sindicut. 915 LSt.. tic- 166. Sacramento, CA 95814 
ASCENSION "The Years of Fire" CD 

Who knows what the title refers to. This is modern, chunky, very metal, 
hardcore-influenced stuff., mostly midpaced. with plenty of changes and tran- 
sitions, and lots of fucking energy. Lots of chunky guitar work, some double 
picking, hecticly talented drumming, growling hissing screaming vocals, and 
a generally irresistablc rhythm. The guitarist and drummer are both skilled 
enough to add the necessary finishing touches and subtle details to make this 
interesting listening, and to create occasional moments of metal beauty. The 



AGAINST "No Arms" CD 

This is a fucking hilarious CD. The music is great, 
simplistic fast old-fashioned (and I don't mean Bold!) 
early-80's hardcore, with catchy riffs and a surpris- 
ingly powerful guitar sound, excited drumming 
mixed to sound like a monkey beating on cardboard 
boxes, and occasional 80s blues-metal guitar so- 
los/noise to give it extra flavor. The singer has a re- 
freshingly natural (that is, NOT forced, unlike plenty 
of today's vocalists) hoarse yelling voice, and gen- 
erally has only written about thirty syllables of lyr- 
ics for each song... which he repeats over and over. 
Here for your reading pleasure I've reprinted in their 
entirety four whole Against songs: "no more — abol- 
ish war!" "no arms... no legs... no skin" "dried blood 
cracked and peeling, flies crawl amongst his face, 
no individual grave" "consistent bombardment, 
obliteration imminent, one thousand pound bomb." 
...Of course, since Grand Theft Audio put this out, it 
has everything Against ever recorded on it, plus 
extensive packaging that tells you about everything 
Against was up to when they were together... in about 
1983. -b 
Grand Theft Audio, address below 



lyrics use generally scary words and images, it's a little hard to tell what mes- 
sage they're trying to convey. The recording is great, not extremely heavy but 
really clear so you can appreciate all the fancy guitar and drum work. If they 
direct their song structure a tiny bit so that their songs really carry the listener 
from point a to point b effectively, this band will have every necessary ingre- 
dient for musical greatness, -b 

Toybox. 1 16 NW 13th Street. #1 18. Gainesville, FL, 32601 
Bad Posture- G.D.M.F.S.O.B. cd 

Raw as fuck old, old hardcore with songs like 'Time For Smack' and 'Kill The 
Peace". They remind me a lot of Nihilistics and the Fuck-ups, so you know I 

like this shit! Tons of pictures, lyrics, and 
flyers arc included in the booklet, and I can't 
help but wish hardcore was still this much 
fun in '96. But who says it can'f be?! To 
give you a better idea of what this sounds 
like, picture Void crossed with maybe the 
Circle Jerks, just beating the fuck out of their 
instruments. This shit was before hardcore 
got pretentious and elitist. Also included are 
live tracks from a show on 8/1 5/82. and their 
12" cp from '83. No metal, no hip-hop, no 
artsy horseshit. 28 songs total. "Any time 
is the right time for Smack!" which is actu- 
ally an anti-drug song... Bad Posture was a 
Ca. punk/hardcore band in the early 80's that 
never got as big as Suicidal or Circle Jerks, 
but were still trail-blazing and offensive. 
And unlike a lot of music from that era. Bad 
Posture's stuff holds up pretty well. Even 
the live and demo tracks still sound power- 
ful. 

GTA, 501 West Glenoaks Boulevard. Suite 
313. Glendale. CA.9I202 
BLOODLET "Entheogen" CD 
This is a real masterpiece, but it's a record 
that I think musicians will appreciate more 
than other listeners, because Bloodlct uses 
their technical prowess to concentrate more 
on breaking new ground in musical 
artisanship rather than trying to write really 
moving, accessible songs. That's a good 
thing, not a bad thing, but something to take 
into account about this record. The thick, 
forceful production complements their mu- 
sic perfectly, and the grainy guitars. dccp"smooth bass, and punchy drums all 
work together with exacting grace. Every musician in this band is fucking 
amazing, and they use their skills well to create entirely original, perfect song 
structures, gut-twisting unorthodox rhythms, and unbelievable musical arrange- 
ments and instrumentation. At literally every turn they break new ground in 
music composition, bringing out a brand new idea for every single transition, 
and magically knowing exactly how far to proceed with each one. At some 
points later in the record they seem to go into extended improvisations, an 
undertaking for which they are entirely prepared and which they handle grace- 
fully. Not only do they show the way to new musical ideas on this record, but 
they also come up with a number of new ways to use their instruments, espe- 
cially in the Field of guitar noises. Although he's by far the nicest and most 
approachable guy in the band and I hate to say this. I think the singer's work is 
the one sort of weak spot on this record. His vocals are gruff and crazy sound- 
ing, but they have a real monotone enunciation that translates to an emotional 
monotone. Sometimes he speaks in a fragile-sounding voice, which I think is 
a good variation in his style, but other than that I think his older recordings had 
more feeling and were more interesting. The same goes for his lyrics here, I 
think; on the First couple 7"s they were some of the best poetry I have ever 
read, but here his way with words is a little less emotionally compelling, his 
imagery a little less gripping, and they remind me a little of the sort of lyrics 
the many bands that imitate Bloodlet might write. It hurts to say that, though. 
And partly because of the vocals, as I said al the beginning, this record is more 
interesting technically than emotionally. My guess is that Bloodlct just has to 
become a little more comfortable in the new territory they have explored and 
they will be able to create a record that is a matcrpiece of emotion as well as 



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artisanship (son of like Neurosis, whose 'Souls ai Zero' broke lots of ground 
but was a little flat emotionally- but when they followed it with the soul- 
twisting, heart-gripping 'Enemy of the Sun', it all fell into place), -b 
Victory 

BOTCH "The John Birch Conspiracy Theory" 7" 
Bouncy, excited midtempo screaming hardcore. Not chunky generic dance 
stuff, they have too much nervous energy for that: instead they shake out some 
epileptic, impatient noise. The drumming is thick and complex, never letting 
the listener rest, The bass guitar has a fairly prominent place next to the scratchy 
guitars in the mix. adding to the raucous energy of the whole thing. Of course 
the singer has that hoarse screaming voice, 
but he docs sound like he means it. Their 
music only breaks a little ground in the 
noisy/crazy genre, but they have the fuck- 
ing guts to cover the famous classical piece 
from Carmena Burana. 'O Fortuna". com- 
plete with latin lyrics, a gong, and plenty of 
drama to spare . I've dreamed of covering 
that myself, and they outdid even my ex- 
pectations. For this alone this record is a little 
piece of hardcore history. Good packaging, 
including a lyric booklet (vague, discon- 
tented lyrics) and a little essay in which they 
attack conservative republican politics in 
hardcore (Hardline, for instance). Good 
work, -b 

Phyte, P.O. Box 14228, Santa Barbara, CA 
93107 
Bound 7" 

This is the latest band by this name, out of 
New Jersey. Pretty simple midtempo new 
school hardcore here, with distinctively 
weird nasal screaming vocals. The singer 
occasionally throws in some talking or 
singing, and the music has some chunky 
guitar parts and a couple metallic moments. 
One song about rape, one about striving for 
self-improvement, and one abou being 
straight edge (Complete with a couple cli- 
ched lyrics). There is enough packaging/ 
liner notes, which unfortunately include a 
few embarrassing spelling/grammarcrrors. 
-b 
Spirit/all, 215 Hancock Ave., Bridge water, 

NJ 08807 

Breach- Friction cd 

A big. BIG surprise from this Swedish straight edge band. I figured this to be 
another deeply introspective emo-wuss band, but instead I hear totally origi- 
nal metallic music with unusual tempos and changes, atypical riffs and a vocal 
sound and guitar sound that honestly reminds me of newer Entombed. The 
lyrics are in English which helps this Ugly American understand them belter, 
and they re simple, to the point, and without cliches. There's so many awe- 
some changes and hooks on this cd. I hear something new every lime I put it 
on. I do so solemnly swear that from this day forth. I will take European hardcore 
seriously! Everything about this, the packaging, the recording quality, the 
material, is top-notch. I'm speechless. 

Burning Heart. Box 138, 737 21 Fagersta, Sweden. Fax +46 223 145 42 
BROTHER'S KEEPER "The Continuum" CD 

The production and guitar sound on this record is so fucking polished il sounds 
like Mctallica arranged it for them. The overall mix is weighty and powerful, 
and the guitars incorporate a Hanger sound or slide guitar sound here and there 
to add variety. The music is mid-paced, sort of rock and roll, danceable like 
their older material, but a little more involved and varied, a little less straight 
newschool hardcore and a little more rock and roll. Mike Ski's yelling vocals 
have gotten more high-pitched and rock and roll. too. On the one hand it's 
definitely a good thing that he has found his own style and gone with it rather 
than trying to sing like anyone else, and it is clear that he feels comfortable 
with the style he has developed. On the other hand, his vocals are definitely an 
aquircd taste, because of the high pitch of his yelling. The packaging is glossy bit more original, a bit more memorable, a bit more earth-shaking. This is an 



Catharsis cd 

This is a collection of Catharsis* 7", demo and com- 
pilation tracks, and as such, it crushes so much of 
the he out there today, that is satisfied with settling 
for less and imitating imitators. I've got a theory about 
nature and hardcore that goes like this: the more 
isolated the locale, the more unusual the result. Now 
Catharsis is from North Carolina, which has never 
been a hotbed of hardcore. And they prove my theory 
correct by raging with their own style of fast, metal- 
lic, original hardcore violence-violence. Nothing about 
this band is cliched. If you're reading this magazine 
then you should be familiar with their style by now. 
And unless you're some kind of fucking MORON, 
you'll like It too. They've got a lot of heart and Cathar- 
sis isn't afraid to trying new things musically (or sexu- 
ally!!), as shown on songs like 'Ritualized' and 'I 
Corinthians 1 :18-29\ The cd comes with a large book- 
let with lyrics and graphics, and a Karl Marx quote 
that seemed too cool for a lying bastard like him. Oh, 
and all nine songs are included backwards on the cd. 
Wacky, huh?-eric warner 
Crimethinc, 2695 Rangewood Drive, Atlanta, GA. 

30345 USA 



and professional in appearance, although it doesn t include anything besides 
show photos, a thanks list, and lyrics (which have a Snapcase-csquc impreci- 
sion). My advice to Brother's Keeper at this point in their career, when they 
really have their musical style down and their quality control in place, would 
be this: be sure to articulate your message clearly and challenge your listeners, 
rather than just rocking out. Make sure that the newer kids know that hardcore 
is about more than just dancing and dressing well, -b 
TrustkilL address below 
Bulldoze- Remember Who's Strong 7" 

This is another Hard way release that we've recicved for review, that has been 

out for a long time. I believe this first was 
released two years ago. and already it's 
showing signs of age. Nice packaging, 
glossy lyric sheet, etc. Music-wise, this is 
slow NYHC like Outburst or Icemen. 
There's a few more hooks on this than on 
their demo, but lyrically.. .In light of the 
singer's current imprisonment, its obvious 
that Bulldoze had no problem living up to 
the violent as fuck lyrics on this record. Out 
of four songs they say "DMS" in three, and 
there's several parts where Kcv-Onc will 
say shit like "You gotta step up ta keep yo' 
rep up. Punk!" or "Da Beats. Kid!" that I 
could live without. I like that most of the 
songs are about violence and beating the 
fuck out of people, but as Kcv could tell 
you from his prison cell, violence is not 
without consequences. This is worth hav- 
ing even if you don't like this type of 
NYHC. because it's a genuine document 
of true violent he that keeps its word. And 
how many bands do that? 
Hardway Records, 8, Rue Berlin Poiree, 
75001 Paris- France 
BUREAU OF THE GLORIOUS CD: 
Often acoustic, not very energetic (cmo?) 
music, with the usual bass/drums/guitar 
thing going on. The vocalist sings in a high, 
gentle voice; she doesn't really sound so 
much soothing, though, as she sounds like 
a rock and roll singer on the radio doing 
that post-blues kind of singing. The 
songwriting is a little too abstract and wan- 
dering to make for marketable radio mu- 
sic, however... although it really doesn't make mc any more excited than the 
radio docs. At the end of the record they break out for a few seconds with a 
little more intensity, but after twelve of the same song, it's just too late. I kept 
waiting for them to at least give me a moment of heartbreaking fragile beauty, 
but they just plodded along at that damn slow, emotionally monotone pace. At 
least the packaging is fancy and original; it unfolds in ususual ways to reveal 
the CD. and looks very slick and 50's style. If anything I said about this sounded 
good to you. go steal the first Cowboy Junkies record — it's like this, only it's 
good, -b 

Sutiney Sindicur. address below 

BY THE GRACE OF GOD "For the Love of Indie Rock" CD 
I think it's fair to mention that the guy from Hnkindel sounds like c fucking 
rich kid preppies from my old high school when he introduces this record, and 
in so doing really annoys the shit out of mc. But of course that's got nothing to 
do with the music. This band is a sort of new incarnation of Endpoinl, I guess. 
This is faster hardcore stuff, sort of old-fashioned but you can definitely tell it 
was made in 19% by some kids in Louisville, whether by the extra dose of 
melody that shows up or by Rob's high yelling vocals. The beginning of the 
fourth song sounds like old Face Value, and every once in a while I actually 
find myself reminded of the 'Life Cycle* (Even Score) song on the first "Only 
the Strong'. Other times it's definitely melodic punk, with singing and every- 
thing. As far as the songs go. they're well played, but (as often seems the case 
with project bands or recently formed bands of experienced musicians) I feel 
like if more time had been taken in writing them they would have come out a 







■■ i .-■ -..U> ,-V --^ 






#*\ 










energelic, decent record, bul maybe if they take the band seriously and keep at 
it they will turn out some really good music... -b 
Victory- 
Cast Iron Hike 7" 

Terrible alternative rock/groovcmcial. with glam rock vocals. I know it might 
seem like I'm going out of my way to tear up these bands, but I'm not. I think 
Brian went outta his way to send all the garbage to me. I just call it like I hear 
'em. I'm reminded of Only Living Witness, but this is even more annoying 
than them. 454 Big Block also comes to 
mind music-wise. There are some hard 
moments, some good hooks, but I've gotta 
sort through so much horscshil to find 'em! 
Actually the vocals arc the worst aspect of 
this 7", musically its not all bad. 
93 Farm Edge Lane. Ttnsdate, NJ. 07724 
Crosscheck- Persist 7" 
Sec Shankbuiz's review. Oh. alright, I'll 
review this. Average mid-tempo newer 
styled hardcore that just doesn't have the 
heart to push things over the edge. Their 
lyrics are more positive than Shank Buzz, 
and they try to utilize some harmonic leads 
in the 2nd song. The packaging is just kinda 
lackluster. The lyrics to "Hope" arc good 
in a positive way, and for that I will hold 
back from drilling the hell outta this. "Small 
time small town, you put mc down. We arc 
all the same. One life, one goal. My town, 
your town, we'll all stand tall." It's a nice 
thought anyway. Crosscheck shows poten- 
tial. 

ignition Records, P.O. Box 220, Vercennes. 
VT 05491 

DESPAIR "One Thousand Cries" CD 
I was sort of expecting the sound quality 
on this CD to be better. It's a little rough, 
not really clear or balanced enough to work 
with the music, I think. The drums tend to 
overload the mix a little, just like on the 
Faultlinc and Turmoil CD's. Here we have 
very modern hardcore (you could almost 
say that Despair is the textbook modern 
hardcore band), with alternating guitar- 
chunk mid-paced dance parts and faster, 
slightly older-fashioned speedy pans. Here 
and there the lead guitar fancies the music 
up with a little metal. The vocals arc that 
throaty screaming that defines modern 
hardcore. The insert has s,how photos of 
Despair rocking out, and the lyrics and 
thanks list... very similar to the Brother's 
Keeper insert, in fact. The lyrics aren't too abstract, and address personal 
.struggles/sufferings, betrayal by friends (they don't say 'slabbed in the back". 
but they do say "I believed in you... turncoat... now I'll never be the same"), 
and. better than the other songs, religious leaders who brainwash people and 
lead them astray. At the end of the CD is a decently recorded live set. which is 
similar to the studio material, although the vocals are a little loud, -b 
Trustkill. address below 

Digression- Controlled 7" 

Straight edge hardcore band from Eric. They sound like exactly who you'd 
expect them to sound like, Strife and Earth Crisis. The cover has a huge de- 
mon intimidating a small (presumably straight edge) child in a dark forest. 
Songs about betrayal and resisting social pressures. Still, they seem to play the 
newer style of hardcore with passion and some amount of heart. 
Sa Mob Productions, P.O. Box 1931, Erie, PA, 16507-0931 
DISCIPLE "Lantern" CD: 

Modern, "evil" sounding hardcore metal. It has a pretty fast midtempo speed, 
with lots of chunky danceable parts, metal shrieks and riffs on the guitars, 
black metal growling/hissing vocals, and a generally dark atmosphere to the 
whole thing. The mix isn't perfect but is good enough to work with the music 



EARTHMOVER "Themes from Everyday Life" 10" 
From the first moment, when a heavy guitar rumble 
fades in and the vocalist pronounces "You should 
have learned by now that the world is not against 
you— it just doesn't give a shit about you," you know 
you're in for it. Fast, angry, straightforward real 
hardcore with tempo changes and passion aplenty. 
The first song, in which the singer screams "this is 
no vegan warrior fantasy/' is an oath that if anyone 
they knew were to be raped, the band members would 
do their best to kill the rapist, regardless of the threat 
of jail time, etc. The subjects they address are real 
life shit ("this song is about those times when you 
know you're going home to the worst situation you 
can imagine..." "this song is not about what you be- 
lieve, it is about standing up for whatever that belief 
may be") and you can hear the conviction in the 
screaming, breaking vocals, in the excited old-fash- 
ioned hardcore guitar riffs, in the thumping bass 
breaks, even in the raw but thick and heavy mix. There 
are a couple original parts, too, like the singer's long 
drawn out choking growl/hiss in one song, and the 
echoing spaced-out guitar effects atmospheric part 
at the end. If you're a kid growing up on the streets 
as much as at home, in any town or city in the West- 
ern hemisphere, and you'd rather just figure out how 
to deal with tough shit and get on with life than cry 
about It (because you've learned how much good cry- 
ing does), it'll help to put this on your record player 
and know you're not the only one. -b 
+/- records, P.O. Box 7096, Ann Arbor, Ml 48107 



well (if you don't mind hearing a little more bass drum than usual). There arc 
a number of other bands in this general genre these days, and this band doesn't 
quite have the memorable songwriting skills to set themselves apart yet. but 
they do what they do well. There's a song with a monotone speaking part that 
sticks out as not really working in the context of the other music here. The 
lyric sheet is copied so badly that you can barely read it. but I can make out 
some lyrics praising Jesus Christ, and one vehemently anti-choice song re- 
garding abortion. Now that, I think, is some truly "evil" stuff: believing not for 

rational reasons, bul because of faith in 
church doctrine alone, thai there is no dif- 
ference between an organism composed of 
a few cells that can only function as a part 
of a woman's body, and a learning, breath- 
ing, thinking human being, Not to say that 
the band explicitly pronounces themselves 
to be anti-choice on the basis of church doc- 
trine, because they don't... but the combi- 
nation of anti-choice rhetoric and obvious 
Christian beliefs sure makes me think about 
that, -b 

Disciple. P.O. Box 7042, Erie. PA 16510 
District 5- Leap Year cd 
I didn't like the cover of this cd. but I got a 
surprise when the cd got going with a pow- 
erful, well- produced groove. It went down- 
hill from there, as the jackass singer just kept 
rapping and sounding fake as fuck. Halfway 
through the 2nd song I was ready to brake 
ihlscd too. I don't know who told these idi- 
ots that Rage Of The Corporate Whores was 
the band to be like. This cd's good points 
arc ruined by the vocal style and corny 
songwriting. There's definitely potential, 
and the recording quality is good, but the 
repetitive song structures and horrible vo- 
cals kill this cd, because he anunciates ev- 
erything he says and repeats everything like 
he's a fuckin' coffee shop poet or something. 
And then in every song the guitar drops 
away and the bass and drums arc left, and 
the felching singer says some "deep* beat 
poet crap. Fuck this shit. And if that isn't 
gay enough, they thank Suck Mojo, the 
weakest band in Atlanta. Oh. and I was right 
about the coffee house vibe these fruits have. 
They also thank Strongsvillc Arabica! HA!!! 
Uprise Recs, p.o. box 360141, Strongsville. 
OH. 44136 

DOUGHNUTS "Feel Me Bleed" CD 

Because Victory signed them so early. 

Doughnuts was given a tough job — lo grow 
up musically in front of the whole hardcore world. That sounds like a recipe 
for disaster, hut on this record they actually rise admirably to the challenge, 
believe it or not. Their best attribute and saving grace is their singer, whose 
voice is always filled with drama and emotion. Her singing, deeply melodic 
bul with an edge of real pride and challenge, makes interesting the songs on 
here that might otherwise be forgettable. The rest of the band has a little ways 
to go yel... sometimes they arc on lop of their job. bul I feel like they could do 
better in terms of actual musical structuring. The song structures, while a little 
long, work fine, but the actual riffs and pails sound like they could be taken a 
bil further: for instance, the guitars often sound like they're going to dive into 
a full-on Unbroken metal/hardcore explosion, but always pull back into weaker, 
more discordant territory, as if they're not sure of themselves. I think that kind 
of Unbroken sound would suit this band perfectly, if they would go all the way 
and do it. (And. the beginning of the 5th song sounds suspiciously like the 
beginning of the IZarth Crisis LP.) Also, the guitar production makes them 
always sound a little out of tunc. One the other hand, there arc some good 
moments on this CO where everything comes together, like the fourth song 
("The Demon and the Desert." a new version of their compilation track) which 
is perfect from beginning to end (a real classic), and various pans of other 



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songs on the record. Really it might have been better for Doughnuts and ev- 
eryone if this had been the record that got them signed to a big label, so that 
their next record (which judging from this should be excellent) would make 
them widely known as one of today's best bands. Becoming well known loo 
early usually can only hurt a band. Before I forget — the packaging is great, a 
very original booklet of paintings by the singer, -b 
Victory 

The Eat "Scattered Wahoo Action" 10" 

Nice, nice packaging and vinyl quality, though no lyric sheet. I want to like 
this, because the ISai arc one of those fabled punk record collector bands 
{this is some unrelcascd stuff they did in 
8 1 -82), and because my friend Edwin re- 
leased it. Also, Mike Cheese says Mike 
Rhodes (both of Gehenna) likes the Eat. 
and Rhodes is always telling me that the 
bands I like (Amebix) are rock but he lis- 
tens to 'real punk" music — so I expected 
(his to be 'real punk". Well, it sounds like 
bad '70's rock to me. like Jethro Tul! or 
something; fasr simple rock music, over- 
dramatic melodic vocals with really fuck- 
ing pointless lyrics (if this is ironic, their 
delivery is really deadpan), pop-punk gui- 
tar leads, silly choruses, even a saxophone 
in one song. So. unfortunately, I can't rec- 
ommend this record — if you still want to 
get something Edwin released, track down 
theSeein'Red7". -b 
Wicked Witch, P.O. Box 3835, 1001 AP 



Amsterdam, Netherlands 

iSnkindcl- Some Assembly Required 
cd 

I don't know how Initial could go from put- 
ting out decent hardcore like This World 
Rejected to this fuckin' garbage. I don't 
know what to compare this to musically so 
I'll comment on the packaging first. Very 
professional full color layout with lots of 
toys from my childhood like viewmasters 
and various Fisher-Price stuff. There's even 
a speak and spell on the back cover with all 
the song titles on the cd. Yep. it's all very 
clever and cute. The music sounds like a 
cross between Pearl Jam and Fugazi, with 
all the anger and aggression of a fucking 
butterfly! Occasionally there's a decent 
catchy part, but this just is not my thing. 
Oddly enough the recording is a bit 
muddled, you would think it"d be crystal 
clear and professional, the way the cd looks. 
This is horrible. Enough... 
Initial, POBox25ll45, W. Bhomfield. MI. 
48325 

Erase Today- A big yes and a little no 7" 

A three piece Oi! band that reminds me a lot of Cocksparrer (vocal-wise) and 
The Business-Out In the Cold era. Very poppy and sing-songy. and I'm just 
not into it. No band pictures and not much in the way of lyrical substance, with 
a very trebly mix. Three songs. Next. 

JSNTGM. 64 Sedhurgh Ave., Blackpool. Lancanshire. England FY4 4DQ 
EYELID "Days Infected" 7" 

The first song strikes me as being fairly by-the-numbcrs modern straightedge 
kid hardcore: metal-influenced guitar lines (chunky parts, metal melodies), 
midlempo danccablc drumming (with some torn work for flavor), deep thumpy 
bass, and deep roaring vocals (vague, imprecise lyrics about despair)... diffi- 
cult to differentiate from any other bands in this genre. With the second song it 
gets a little better, with more complexity in the guitar lines suggesting a bit of 
a Mean Season (7" era) influence on the string section. A little squeaky noise 
at the beginning and a little e climactic octave melody at the end serve to make 
it more interesting. More of those two songs is what you get for the rest of the 



ENEWETAK "And the Beat Goes On" 12" 
Discordant, ugly noise hardcore, sometimes with a 
bouncy careless kind of beat and grating, almost 
singsongy riffs, other times more like the vile holy 
terror filth churned out by other bands affiliated with 
this label (i.e. Gehenna, Fall Silent). The recording is 
similarly (and appropriately) raw. The singer has a 
good, shredded, hoarse shrieking voice that only var- 
ies through the record in terms of how painful and 
torn it sounds. Their music definitely doesn't sound 
forced or predictable, it just sounds like they stole 
some instruments from the bargain bin of some shit 
music shop and started banging away with no regard 
for how obnoxious or unpleasant they sounded. Of 
course this means that their song structure and tran- 
sitions are somewhat spotty i n quality, but on the other 
hand they sound like a genuine no-posturing punk 
band... and anyone who has ever spent an afternoon 
sitting on some garbage-smeared sidewalk trying to 
figure out how they will eat and where they will sleep 
that night will probably consider that a fair trade off. 
Besides, they have some really good, spine-tingling 
moments on this LP (although a 10" might have been 
a better, more to-the-point presentation of their mu- 
sic — of course, 10"s cost more to make). The pack- 
aging is fittingly spare and low budget, although the 
lyric sheet is very well laid out as if it were a newspa- 
per from the 1 950s. The lyrics are good, rabble-rous- 
ing, trouble-starting shit, and not too vague either. The 
record ends with a good few minutes of pure 
unlistenable broken guitar noise— as well it should, -b 
Revolutionary Power Tools, P.O. Box 83694, San Diego, CA 92138-3964 



record, although it ends well with a distorted scream. It's well crafted modern 
hardcore music, but on their next release they need to distinguish themselves 
by either playing with a lot of heart or breaking some new musical ground, -b 
Ammunition, P.O. Box 461, Bell/lower, CA 90707 
FAULTUNE "Roots of the Rape Culture" CD 

This is definitely what I like to sec in punk rock and hardcore. The music is a 
little rough, but really impassioned, and the band is well-spoken, obviously 
concerned about the issues they address, and unafraid to do new things on 
their record. We hear compcllingly eloquent and well -researched spoken word 
parts about why and how our Western civilization is a "rape culture" and drum- 
circle improvisations in between the mu- 
sic. The music itself is roughly recorded 
midpaced modern hardcore, occasionally 
danceable but focused more on simple tex- 
turing and rhythm, with some beautiful/ 
moving guitar lead melodies here and there. 
The vocalist alternates between speaking 
his outrage clearly and screaming the spe- 
cific and 100% political lyrics. In some 
songs, like '100% Natural', the lyrics arc 
as uplifting as those on the new Refused 
CD. This isn't the only legitimate approach 
to making punk/hardcore music, but it cer- 
tainly is one of them, and it's executed per- 
fectly. My only advice would be that the 
band continue to smooth out the 
songwriting, and get a much better, 
smoother, more balanced recording next 
time, -b 

Earth House. P.O. Box 1332. Redding, CT 
06875 

59 Times The Pain- More Out Of To- 
day cd 

I was amazed at how sincere and powerful 
this cd Is. 59 have a fuckin' great thing go- 
ing. So does this Burning Heart label! Pro- 
fessional, full-color booklet with lyrics, 
band photos, etc. and top-notch production 
values. And musically this totally kicks ass. 
Raging, positive hardcore that comes off 
real and non-derivative of American bands. 
The clean recording helps. 59 plays a lot. of 
fast parts, but they have a good balanced 
attack overall. Lyrics are mostly about chal- 
lenging yourself and those around you to 
strive for more and fucking get more out of 
today!! To me that's what hardcore and life 
(!) is all about! I mean, all bullshit aside, 
that is IT! And 59 Times The Pain put their 
message out that doesn't mimic the posi- 
tive bands that came before them. There arc 
some heavier songs on this cd also, like 
'One After Another' that are maybe in the 
vein of Judge, but still aren't derivative. 
This cd just has well-written, catchy hardcore that actually makes me feel 
belter when I listen to it. 

[turning Heart Records, Box 138 737 21 Fagersfa. Sweden 
THE GET UP KIDS 7" 

Both sides start out real quiet and acoustic, gentle and pretty, than leap into 
fast rock and roll pop punk stuff in a major key. There seems to be some 
youthful enthusiasm here in the slightly nasal singing and upbeat riffs. In both 
songs they do an interesting thing where they quiet it down a bit, keep singing 
in the foreground, and have offbeat shouting in the far background. These kids 
seem like they're having fun and not trying to pose or become extremely popu- 
lar. It's not quite silly enough to oe catchy, which is probably good. OK. I 
admit that since this is poppy, happy stuff I'll never listen to again, but if you 
like that stuff you probably would, -b 
Huey Proudhone, 4308 Oak Apt. S. Kansas City, MO 641/1 
HARVEST "incision" 7" 
The first song is slow and sort of monotone, but it actually works out to be 




hypnotic rather lhan dull. The snare drum has a really nice ringing sound, and 
the mix is good... and though there are flat moments, the cumulative effect of 
the grooving guitar chunk riffs (occasionally touched with slightly more me- 
lodic parts) is, as I said, almost hypnotic. The second song has a more e chord 
chunk thing going on, and when you add the singer's deep vocals thai are very 
reminiscent of Earth Crisis' vocals in their rhythm, sounds less original than 
the first song. It still has a dark atmosphere, and a deep, deep thick production 
going on. and these qualities certainly make the second song more interesting 
lhan most other modern hardcore songs. Overall, listening to this 7" makes me 
feci like I'm deep underwater, sinking slowly through ocean depths. The pack- 
aging is originally laid out and generally classy. Not a bad release... my advice 
is that Harvest add some variety to their music, and dare lo go further in the 
direction (hat they arc aimed towards, and 
they may become an excellent band, -b 
Trustkill. 23 Farm Edge Lane. Tmton Falls. 
NJ 07724 

Indecision- Believe 7" 
Vegan straight edge from Brooklyn, of alt 
places. I'm not getting a self-congratulat- 
ing feel from this record, which is a big re- 
lief. Then again, I doubt that people in the 
city would put up with some of the ridicu- 
lous whining that goes on upstate, in the 
name of veganism. None of the lyrics di- 
rectly deal with straight edge/vegan ism. The 
music is choppy, heavy moshcorc with few 
fast parts. The recording is a little thin which 
hinders the real mosh pleasure. No big sur- 
prises here. From what I understand, this is 
a younger band, and based on what I heard 
they could develop into something ass-kick- 
ing in the future. 

PO Box 1520 Cooper St. NY, NY 10276- 
1520 

INTENSE NOISE CORE ROT "1988- 
1991 "CD 

The name of the band pretty much says it 
all— hype rspeed ugly as shit punk, the mix 
diny and ugly, the guitars and drums so ugly 
and messy that they arc indistinguishable, 
the yelling, raw. nasal vocals ugly as fuck, 
the whole thing ugly, ugly, ugly. Perhaps 
Extreme Noise terror would be a good com- 
parison for the music, only this is more 
messy, ugly, and incoherent; the vocals are 
the sort of disgusting punk gibberish that 
you might expect. As music it's unlistcnable. 
but as an emetic to clear out your system 
alter listening to Pcnnywisc or Shelter it's 
perfect. The cover depicts violent sexual 
bondage scenes... -b 

Discommunication. 734 Kobeto, Annaka Gunma. 379-01 Japan 
KICKBACK "Cornered" CD 

Here we have some convincing tough NYC-stylc hardcore from Prance. As 
with most music in this style, nothing really brand new is accomplished here 
musically, but they do what they do well, and if you like this kind of music this 
makes for good listening. Their singer's choked-up voice sounds genuinely 
angry as he yells in that style passed down from bands like Warzonc and John- 
Joseph era Cro-Mags to singers like Rick Healey today. The music is well- 
polished stylistically, with no real weak points, and a flattering clean record- 
ing. You can definitely hear later Agnostic Front in the chunky guitar parts, 
song arrangements, frequent danccable breaks, rare metal guitar squeals, and 
occasional backing vocals. In that respect as well as the vocals, they have a lot 
in common with 25 ta Life. Not to say that they have that mythical, unforget- 
table genius that Agnostic Front had. by any means — but if you like 25 ta Life, 
you'll probably like this Kickback CD just as much. From the packaging, I 
can tell they have some friends who are skilled graffiti artists, -b 
Hosiile/labels, 11 Place des Vosges. 75004 Paris. France 
LASH OUT "What Absence Yields" CD 
Lash Out has crafted an album of rare beauty here. Using lots of e-chord chunk, 



FALL SILENT "No Strength to Suffer" CD/LP 
Oh shit. I'm- aggression and anger in this music, enough 
that you can taste blood on your tongue from the first chord. 
Fall Silent is a lot like Vision of Disorder, hut they are a 
straight real hardcore band, filled with actual passion, rather 
than a hardcore/metal hand. The guitars have a really thick 
rugged ugly sound that hits you like a ton of bricks and the 
drums are mixed perfectly so you can feel them pound. There 
are fast parts and medium-speed parts with plenty of mo- 
mentum, and you could dance to this, hut I'd rather just 
break shit and hit people (consenting people. I mean — what- 
ever). The vocalist is the link in their sound to V.O.D. in that 
he alternates between a little clearly enunciated speaking 
and a lot of fucking intense shrieking. He sounds pretty out 
of control, and a couple parts had me reaching for the re- 
wind. In their lyrics they dare to attack conformist militant 
straight edge bullshit and hardcore fashion-consciousness, 
and address other topics such us child abuse and the death 
of loved ones. All the songs come with articulate explana- 
tions, and the packaging (especially of the vinyl) is excel- 
lent, considering this is basically a self-released record. They 
even throw various experimental parts into some songs for 
flavor, demonstrating that they have the potential to become 
a versatile and effective musical hlit/krieg unit. At the end 
of the CD we hear them do a little joking around with 
freestyle rap... it actually isn't too bad, compared to the kind 
of shit you'd expect, -b 
Revolutionary Power Tools, Reno Hunker; P.O. Box 15051, Reno, SV 89507 



haunting acoustic parts with a really dramatic medieval atmosphere, unortho- 
dox rhythm structures, and extremely intricate music composition (in fact, 
they sound a lot like the band Intricate...) they fly the listener out into vast 
nordic soundscapes and leave him hanging in the clouds. This record isn't so 
much hard and powerful as it is haunlingly beautiful; it has powerful mo- 
ments, but the abstract, wandering song structure lends itself much more to 
hypnosis than it does to violence. The singer has a distinctive strained, slurred 
yelling voice, and occasionally he sings mclodically... and unlike almost any 
other band in related genres (Lash Out is really in a genre of thicr own, except 
for Intricate), it actually works better when he sings... although the combina- 
tion of both is perfect and leaves little to be desired. The record ends with a 
brief cover song off the first Exploited record... that's one of the best things on 

here, certainly the most tough-sounding. To 
sum up: a great record to listen to when the 
fog rolls in. -b 

Stormsthke, Kollmarsreuterstr. 12. 793/2 
Emmendingen. Germany 

LASH OUT "Under Every Depth" 7" 

Hcartbreakingly beautiful marble vinyl. 
The original song on this 7" is from the 
same session as the songs on their new LP. 
and is pretty much the same as all of the 
LP songs in terms of quality, style, etc. They 
do Breakdown's song "Sick People" on the 
b side, at about the same pace of the origi- 
nal, with a little more complexity/melody 
in the guitars; the singer sounds a little un- 
comfortable here, like his voice won't go 
quite as far as it needs to. In general. I feel 
like they're more comfortable in their own 
musical territory lhan doing this cover... and 
as Lash Out is a band that plays in its own 
original style, that is no surprise. The back 
cover reads "Under every depth... a lower 
depth opens." Those of us who have been 
low know about that... -b 
Stormstrtke, address above 
Lesser of Two "Man... kind" 7" 
This comes in fast, rough, ugly shouting 
and screaming jarring and jerking punk 
music. Every once and a while it pulls 
back to a dirty, rough acoustic part to add 
texture before blasting off again. The 
drums arc complicated and chaotic, the 
guitar is rough and grimy, and the mix is 
thick and unclear enough to complement 
what they're doing perfectly. Sometimes 
they hit a really soulful groove, too. This 
is genuinely unmarketable, revolutionary 
.music that makes you feel what it's like 
to live outside of mainstream culture. The 
lyrics are very intelligent in their criticism of the current economic/political/ 
social climate, except the last song, which is pretty enigmatic (the entire 
Jyrics are: "We're living our lives trapped inside inside of flesh cages".) -b 

P.O. Box 687. Shalimar. FL 32579 

LIAR "Falls of Torment" CD 

This new Belgian crossover reminds me a lot of Ringworm, but also of older 
80's crossover... like D.R.I. ! Lots of double bass, occasional guitar shrieks, 
some double-time grindcorc bursts, lots of metal chunky parts, lots of metal 
double-picking guitar parts, shit, lots of metal in general. The singer sounds a 
little like James from Ringworm, too. with his choked up throaty screaming. 
The recording is^ood enough to be flattering, and the speed maintains enough 
momentum to hold my interest... it's all quite well-executed. All there is to be 
desired is a little more calchincss and original parts, but I'm sure they'll have 
that by their next record. The packaging is hilarious, really overdramaiic pic- 
lures of medieval fantasy warriors in armor fighting off skeletons and wolfskin- 
clad barbarians... they're painted beautifully, at least — and someone actually 
outdid the ridiculous Congress LP cover, which is a sort of achievement I 
guess. A lot of the lyrics seem to attack Chrisitanity... "slapped me in the face. 



ihcn asked for my other cheek..." It is a legitimate assertion that Christianity 
has been used to deliberately weaken people in order to take advantage of 
them: remember, the men and women who were brought over from Africa to 
be enslaved by Christians in the Americas 
were converted to a white man's Christian- 
ity that commanded that they accept the lot 
they were given and turn the other check 
rather than fight for their freedom. Fuck that! 
-b 

Good Life Records 

Lock weld "Corner Radius Theory" 7" 
Side one is a woman speaking, but she's 
incomprehensible because of industrial 
rumblings in the background.The b-side is 
more industrial noise; the production makes 
everything sound overloaded. This defi- 
nitely is less interesting to me than the other 
noise projects on this label, -b 
Holy Terror, P.O. Box 770213. luikewood. 



OHM 107 

Malefaction- Smothered cd 

Interesting and unusual metalcorc from this 
Canadian political hardcore band. I like this 
quite a bit. Malefaction throw some weird 
twists into their mix of powerful. Prong in- 
spired, sometimes moshy, sometimes blast- 
ing, pounding, crazy shit. The packaging is 
sparse, but they do include lyrics. Malefac- 
tion uses what sounds like a drum machine 
in places, and they use interesting keys at 
limes and riffs I found refreshingly differ- 
ent. They're from Canada but they sound like 
NYHCal times, especially the vocals. Some- 
times Malefaction uses tuneful singing to get 
the point across, and that works alright. 
Plenty of grinding fast parts, that come off 
well also. Klcven songs, with not much filler. 
'Perpetuate The Myth' pounds, reminding 
me of East Coast bands like Hatcbrccd with 
some wacky keyboard sounding shit thrown 
in. I'm impressed. 

Out Of Enslavement, 484 River Rd. St. 
Andrews MB. RIA 3C2 Canada 
Maximum Penalty- East Side Story 7" 
I was surprised to learn that this band was 
still around, more surprising is that this 
record actually isn't bad! 
Some people have a hard time dealing with 
Jimmy's voice, to me he sounds like Hr most 
of the time. This is actual N YCHC with more 
fast parts than you'd expect, considering 
most of Maximum Penalty's peers arc play- 
ing soulless, gutless alternativc/pop-punk at 
this point in their shallow hardcore lives. It 
has that Don Hury recording sound to the gui- 
tars and drums, even though he had no part 
in this record. Interestingly enough. Bill 
Wilson and Mike Rep the cop do back-up 
vocals on this. I think they also do a Lament 
song onhcre (I'll Save You), and members 
of MP were/are in Lament. There's baby pic- 
tures on the inside cover, just like the Break- 
down 7". Most of this record is fast, melodic 
hardcore with mosh parts and some rock 
thrown in here and there. More rock in 
tempo, than guitar sound. It's not bad for a 
band that's been out of the loop for several years. And one of them is wearing 
an Ullraviolence shirt. If you don't know who Tony and Ultraviolcncc was, 
you better ask somebody. 



INTEGRITY '•Humanity is the Devil" CD/10" 
I hadn't listened to this in some weeks and I'd forgot- 
ten how I felt about this record. Putting it back on, I 
remembered when I first heard these songs last Janu- 
ary: I had just returned from California to the little 
basement cubicle I live in in North Carolina, which 
doesn't really have heating. I was sick as fuck, and it 
was about thirty degrees in my room— less than that 
at night. In my mailbox was a package from Dwid con- 
taining an A.F. wool cap he had found me in Europe 
and an unmixed tape of these songs. I would crouch 
day and night in my room eating cream of wheat (the 
only thing I could both afford and cook), shivering in 
my jacket, with the cap pulled down over my ears 
and the tape playing... and listening to "Jagged Vi- 
sions of my True Destiny", somehow everything 
seemed worthwhile, all the starving and stealing and 
teeth chattering and sleeping in my sweatshirt and 
jeans seemed justified for this one moment of bro- 
ken beauty. Obviously I'm getting carried away here. 
The record comes in with Dwid screaming incoher- 
ently over a vicious guitar crunch, and immediately 
sends a shot of adrenaline directly into the listener's 
arteries. The mix is the thickest, weightiest shit I've 
heard in recent history, much more powerful than any 
hardcore mix but much uglier than any metal mix... 
the myriad guitar tracks blend together into a jug- 
gernaut of audio destruction, and the drums cut 
through like gun shots to hammer home the aggres- 
sion. Dwid's vocals are mixed lower than before, so 
you can only hear the most torn, trebly layer of his 
screaming. For the first five songs the music itself 
alternates between fast parts (that would sound like 
old-fashioned hardcore if they weren't being deliv- 
ered like psychotic metal) and slow, pounding parts 
with so many layers of guitar solos that it sounds 
like an opera at the end of the world. All the riffs and 
transitions are memorable, some of them unforget- 
table. The final song, the one I mentioned above, is 
slower than the others, and comes in with an acous- 
tic part before it builds to that "apocalyptic opera" 
sound I'd described earlier.. . it is at least as powerful 
as the other songs, but rather than expressing ag- 
gression it has a real tragic beauty to it, a cold, bitter 
beauty like a silent moment in the eye of a hurricane. 
I can't say enough how perfectly crafted and moving 
this music is. At the end there's a little audio experi- 
mentation, including a funny Tony Pines interview, 
and the father of Integrity's deceased drummer nar- 
rating the religious pamphlet that comes with this 
record courtesy of the Holy Terror church of final 
judgement. Listen for Manson's backing vocals on 
the second song. -bVictory 



Maximum Penalty, 356-A 14th St.. Brooklyn. NY 11215 

Moment Of Truth- Premonition cd 

I reviewed this awhile back in my own zine, and I tried to go easy on it. Since 

then this band has broken up. I loncstly, this 
is horrible shit, and a waste of good money 
that could' ve been used to put out some 
vegan straight edge or cmo-homo-core or 
whatever, anything hut this mess. I say this 
is a mess because it was recorded like shit, 
and style-wise they throw screechy, weak 
vocals in with boring, chugging riffs and 
equally boring generic beats. There's no 
hooks, no power, no heart, nothing. Some- 
times a fast part will drop in and raise this 
cd up to mediocrity, but the feeling I get is 
that this band should' ve practiced more 
before they recorded, and they should've 
gotten a different singer. The packaging 
sucks also, but It's not as dissapointing as 
the lousy music. Like I said there's parts 
that almost work, but something manages 
to fuck it up. Also, it says 'all music by 
M.O.T. from the years 1991 - 1995'. I'd like 
to say that for the record this band didn't 
start until 1992. Oh. and while I'm on the 
subject that Diehard demo didn't come out 
until 1988. not '87 like it says on that In- 
tegrity cd. Back to this cd. If they had bet- 
ter vocals and a better recording, this 
would've been a decent cd. Decent, but 
nothing great. 

Image, c/o Don Rehak. 81 Bradwood Rd.. 
Buffalo NY 14224 
MORNING AGAIN V 
The cover illustration from Gustave Dore's 
illustrations for Dante's Inferno, and those 
haven't been quite overused yet. The mu- 
sicians probably listen to a fair amount of 
Slayer-type metal, as similarities to Mean 
Season suggest (metallic, sometimes com- 
plex guitar melodies, high and low note 
riffs, pretty solos, etc.) The drumming is 
generally midpace, although there are 
some tempo changes; and the music is not 
really as much chunky dance hardcore as 
you might expect. The recording is good 
enough for the music. The vocals arc 
clearly pronounced, not really screaming 
enough to be screaming but not really 
speaking enough to be speaking either. 
Honestly the most memorable part of this 
record is the first few seconds of shriek- 
ing when it begins, after that although it is 
excellently played I find myself wishing 
for a little more careless emotional inten- 
sity. One song attacks Catholicism and the 
pope without going into much detail or 
mentioning the pope's responsibility for 
horrible suffering and overpopulation in 
third world nations (the pope claims God 
won't permit us to use birth control, and 
many people in these troubled nations fol- 
low his edicts somewhat blindly, leading 
to...). I would have liked to have seen ei- 
ther more depth in their explanation of this 
song, or a more wholesale attack on Chris- 
tianity and all religions that ask you to bow 

before a higher being and consider yourself sinful and unworthy, -b 

Intention, 1345 Plato Ct., Vero Beach, FL 32963 

Morning Again- The Cleanest War cdep 




vocals and the midpaccd melodic, energetic, sometimes powerful music. There 
is a brief acoustic break, much faster guitar-strumming stuff than most acous- 
tic breaks are; it's a little unconventional, but I don't think it really works as 
well as the rest of this. Of course it's always good to throw some variety in 
your music. I've seen slicker packaging... and I usually don't prefer it to the 
sort of D.I.Y. packaging here. Overall a good modern hardcore record from a 
genuine band, -b 

Option, 612 Deacon St. Apt. I. Scranton, PA 18509 
OUTCOME 7" 

The members of his midtempo, danceablc modern hardcore outfit probably 
listen to Starkweather and Slayer. I know, who doesn't? But these guys actu- 
ally start their record with a little high heavy 
metal singing. It's not bad; in fact it is the 
only attribute that really sets this record apart 
from others in its genre. After the beginning. 
the vocals alternate between a hardcore yell 
and a deaihmetal growl; the lyrics are, like 
many modern hardcore bands, vague... and 
include phrases like "my soul is bleeding." 
"shadows cry out my name," and "mind 
scarred with retroversion." (Retroversion 
isn't in my dictionary...) I get a general idea 
that the lyrics are talking about being un- 
happy and hurting people. The guitars have 
a nice deep, ugly production, and there's 
some double bass drum action here and 
there. The cover has a picture of a priest 
kneeling before a man crucified on an up- 
side down cross, but that theme doesn't seem 
to be further explored on this record, -b 
SA Mob. P.O. Box 1931. Erie, PA 16507- 
0931 

OUTLAST "Friendship" CD 
Speedy, late 80's hardcore, in the vein of 
Chain of Strength. Unlike most USA would- 
be "old school" outfits, a couple of their 
songs arc catchy enough to be as good as 
the real thing. It has the kind of mix of a lot 
of 80's bands of this style: not too heavy, a 
little rough, and that works well for them. 
Their singer's yelling voice isn't very strong, 
but he sounds like he's into what he's doing. 
The music has all the best parts from those 
older-fashioned bands: breaks where the tre- 
bly bass brings in the next part. 100 mph 
verses, fast drum rolls and intro's. shouted 
catchy choruses, occasional slower moments 
with some guitar melody, backing vocals, the 
works. The lyrics arc a little less positive, a 
little more downcast than you'd expect. If 
you're looking for this fcind of music, I'd 
recommending bypassing most US bands on 
the way to this CD. -b 
Wounded. Box 193. 612 24 Finspang. Swe- 
den 

OVERCAST "Begging for indiffer- 
ence" CD 

This record starts out with a Slayer imper- 
sonation (two guitars playing some twisted, 
salanic melody together) so close to the origi- 
nal that the listener who doesn't have enough 
Slayer in his collection already will be thrilled — however, this doesn't really 
qualify Overcast as doing anything new that needs to be done. They go back 
closer to their old style (growling/singing vocals, complicated guitar chunks 
all over the place, midpaced drums, intricate musical arrangements) after that, 
although they have improved: their song-structure is no longer wandering and 
irrational, and they sound a little more polished. The transitions are (as former 
members of Starkweather have pointed out) sort of shaky, with the band paus- 
ing to let the guitars bring in the next part... and the feedback parts (which 
were by far the best parts of the last record) are gone. Still, as carefully con- 



REFUSED "Songs to Fan the Flames of Discontent" CD 
This CD should be on my top ten list for this issue, 
it's really just accident that it's not. I'd always thought 
Refused was Just some stupid, generic POPular 
hardcore band that didn't really care about anything 
but rocking out and being well known... not unlike 
many well-known USA bands. That suspicion was 
increased every time I heard that. Earth Crisis-style, 
they were on the television in Sweden again. But I 
sure was wrong. Real conviction and sincere consid- 
eration of important issues practically drips from this 
full-length. The lyrics are moving and positive at the 
same time as being grimly realistic, a combination 
that is ultimately very uplifting: "I'd rather be dead 
than alive by your social values, I'd rather be dead 
than alive by your tradition. .. but I'd rather be Alive. " 
The yelling vocals have enough emotion to make 
these lyrics convincing and moving. The lyrical mat- 
ter is varied enough to not get repetitive, as is the 
music— in the main it's comprised of pounding, 
speedy old-fashioned hardcore with metal flourishes, 
but there are plenty of unusual time-signatures and 
other eclectic parts worked in; a good example of this 
is the song "return to the closet," which successfully 
incorporates some Fugazi/emo-style melodic abstract 
parts. This musical variety makes the record a solid 
listen, a real masterpiece. Refused also had the cour- 
tesy to send me a copy of their 'zine that includes in- 
depth explanations of every song, a detailed history 
of the band, and plenty of insightful social commen- 
tary on issues such as homophobia, anarchism, etc. 
I think it's really too bad that this 'zine didn't come 
with the actual record, and I would recommend that 
every single person who gets the record send $4 to 
Refused for a copy of the 'zine: Refused, c/o 'Inside 
Front said I should get your 'zine', Dennis LyXzen, 
Gluntens vag 8, 907 37 Umea, Sweden, -b Victory 



structed, complex metal, this makes for good entertaining (if low-protein) lis- 
tening. The packaging is pretty, once again a little low-content, and the lyrics 
are 'scary, evil' stuff that doens'l make too much sense or carry too much 
emotional weight. For instance: "a toxificd embrace holds me up as my sui- 
cide increases..." 'Toxified' is not a real word, and saying that your 'suicide 
increases* is confusing — since suicide is. I thought, all or nothing, -b 
Edison, P.O. Box 42586. Philadelphia. PA 19/01-2586 
PAINSTAKE "Consecrate" CD 

The vocals are very similar to the Bloodlet vocals, only sometimes (hey are a 
bit more impassioned and interesting than Scott's are on the new Bloodlet 
record. The music walks the line between being boring, slow-to-midpaced 

modern straightedge metal and being mc- 
lodically beautiful enough to qualify as 
haunting, frightening original stuff... and 
because of a superb performance by their 
lead guitarist, who knows just how much 
lead guitar flourish to add, it comes down 
on the latter side. Not that there aren't 
moments when I wished they would just 
hurry past the slow, plodding generic metal 
part, or the already overdone acoustic pan, 
but they reached a compelling level of 
emotional force often enough to keep me 
interested. The fact that they are walking 
that line, however, suggests that this might 
have been a little better (more compressed 
energy and quality) as a 10" release rather 
than a full-length (45 minutes of music by 
almost any band, even a more experienced 
one, is a fucking lot, and it gets hard to sit 
through/pay attention to after a while). 
Anyway, on to the details: the singer does 
this whispering/deep growling thing that 
isn't as good as his screaming voice ex- 
cept in the last song, the drummer throws 
in a lot of double bass and some tom-work 
for decoration, and in general there's a lot 
more low-end on this record than there is 
high-end. The song structure could be 
tighter, it wanders a little. The lyrics are 
quite well-balanced and involved: though 
they are often a little too abstract for my 
taste, they certainly are less superficial than 
almost any other band in this particular 
genre ('vegan/vegctarian-issue straight- 
edge mosh-metal'). The writers are not 
afraid to express personal doubt, struggle, 
and suffering in their discussion of the 
greater problems of the world around them, 
and this really adds a quality of convinc- 
ing empathy to the lyrics at the same time 
as it saves them from seeming didactic — 
so, great work there. One more detail: their 
label is run by the former singer of Vegan 
Reich, if that makes any of you uncom- 
fortable. I know that I feel uncomfortable 
when anyone refers to the idea of world 
domination by a particular ideology as be- 
ing desirable... the last famous champion 
of that idea was Adolf Hitler. After his 
'third reigh' slaughtered millions of people, 
do we really need to try a 'fourth reich'. vegan or not? -b 
Uprising, P.O. Box 490. Laguna Beach CA 92652 
POPE SMASHERS "This is a Test" 7" 

Damn, all these emo-type records have these drawn-out moany over-dramatic 
vocals. At least the music on this one is more interesting, sort of abstract with 
random guitar noises and plenty of chaos in the background. When this band 
gets going, though, they sort of lose those virtues, and do a faster, more straight- 
forward, noisy, nasally thing that is sort of jarring without really being moving 
or exciting. They' re at their best when they pare it down and give us the slower. 











n>ore spare parts wilh whispers and tension in the air. There is definitely an 
eclectic mix of musical approaches on this disc (there's even an interesting 
moment when it sounds like they're going into a reggae dub), although like I 
said it all son of blurs and gets lost when they speed up and get excited. The 
record ends with a more improvisation;*! mess pan. which is certainly listen- 
able... mostly because those whiny vocals are gone! The packaging is messy 
but extensive enough, and the lyrics aren't so lost in bad, meaningless poetry 
as to be pointless (sometimes they're great: "I'm allergic to the cops just like 
you, I break out in handcuffs just like you") — but those vocals fucking drive 
me crazy. Ugh. -b 
Sunney Situlicut. address above 
Psywarfare "Process of Elimination" 
7- 

Incredible packaging, plenty of nice stuff 
in here including religious propaganda 
(from the "Holy Terror church of final judg- 
ment') and mint green vinyl (beautiful)). 
Side one is a noise sampler, a scries of lock- 
ing grooves; most of them arc electronic 
noise, one of them sounds a little like rave 
music, and one of them is a guy screaming 
through distortion. The second side is a 
symphony of the kind of 'distorted noise 
wash' that Dwid has been perfecting in his 
latest Psywarfare outings. There's defi- 
nitely some interesting stuff on this record, 
probably much more interesting than the 
other psywarfare releases... some of the 
Japanese noise stuff I've heard still beats 
this, but this shows improvement. The un- 
dertaking itself is original and praisewor- 
thy for that, -b 



enoagh to stick oul from the othe 
record label seems to do. -h 



. 1 1 .' ■ i ■ i a, ill 



Nice packaging, as this 



Holy Terror, address above 

Rebel Truth- Everybody Hates Every- 
body, Nobody Loves Anybody cd 

I never got to hear this band when they were 
around and judging by this cd. I wouldn't 
have been into them anyway. I like some 
old punk, and I've liked some old punk rock 
when I was younger, but this band doesn't 
really do it for me. Slightly melodic punk 
with sung vocals. An almost acoustic gui- 
tar sound, with very political lyrics. The 
lyrics are naive in today's context, what can 
I say. When I was 15 I was naive loo, you 
know? Lots of pictures, flyers and lyrics 
round out this cd. If you like melodic po- 
litical punk and you wanna front like you 
were there from the beginning, then pick 
this up. As for myself. I'll Mick to U.S. 
Chaos. 

Grand Theft Audio. 501 W. Glenoaks Bou- 
levard. Suite #313. Giendate, CA. 91202 
Red Scare- As Promised cd 
This cd is interesting to me for a couple rea- 
sons. First of all they have a female singer, secondly, she died awhile back. 
Red Scare reminds me of female-fronted bands like the Avengers or the Go- 
Gos, (Bianca thought they sounded like Pat Benetar) but with a gothic feel 
also. It's not what I'm into, bur Red Scare is/was still good for this style of 
gothic punk. Intelligent, political/dark lyrics and lots of funny pictures of the 
deceased singer in 80's punk rock clothes. 

GTA, 501 W. Glenoaks Blvd. . Suite 313, Giendate, CA. 91202 
Republic of Freedom Fighters 12" 

I'm sorry, this did very little for me. although people with more 'emo' tastes 
might like it. lots of acousticy pans, jangly almost acoustic guitar, stuff thai 
sounds son of like less commercial alternative rock to me in places. The 
vocals stand out as being uncertain and unsure, and the singer's voice breaks 
frequently. Also, I'm not sure if there is enough variety here for a full-length. 
There are the predictable quiet parts with speaking, etc. but not done well 



SYSTRAL "Fever...the Maximum Carnage'' 10" 
The sounds of the world being destroyed. Searing 
flames embrace the earth in all-consuming fury; dust 
and atomic clouds fill the sky to blackness and the 
oceans evaporate. Every once in a while the smoke 
clears briefly and we see ashes carried by the wind 
across the bleak wasteland... before the flamethrower 
vocals, earthshaking bass, and doomsday guitars 
come in again. This is the most truly devastating 
grindcore I have ever heard. Thunderous, pounding 
slow parts alternate with death-spasm bursts of speed, 
as the deep voice-of-God-the-destroyer singer 
switches off with the shrieking monkey-being-killed- 
by-vivisection singer. The guitars and bass are dis- 
torted beyond all recognition, and the drums sound 
like machine guns. Let me put it this way: in the sec- 
ond world war, we created weapons capable of de- 
stroying hundreds of thousands of people in one 
blow— and we used them, too. In Hiroshima and 
Nagasaki we turned men to dust, we burned the skin 
off of teenage girls so that maggots grew in their 
crippled living bodies, we gave grandmothers and ba- 
bies radiation sickness. In the 1990's we have thou- 
sands of times the murderous capabilities we had 
then, and we've forgotten completely. This record 
should remind us that we still do live uncomfortably 
close to the brink of a holocaust to end all holocausts. 
And it ends with the same sample Rennie/ 
Starkweather has on his answering machine: "where 
you gonna go? where gonna run? where you gonna 
hide? nowhere... because there's no one... like you... 
left." Fuck, -b 
Per Koto, Markus Haas, dismarckstrasse 55, 28203 Bremen, Germany 



Mountain. P.O. Box 1172. Huntington. NY 11743-0656 

RF7- All You Can Eat cd 

This cd has nothing to do wilh the joke band of the same namesake (AYCE), 
and if anything this band sounds like an English Oi! band to me. even though 
they're from California, and unlike many of the bands on this label, they still 
exist. They remind me of The Gonads or maybe a tamer Blitz. Pretty fast in 
most places, with the low-fi punk production common to the early 80's. Less 
melodic than most bands from their area, and I'm glad for that. I fuckin' hate 

melody. They've got a sense of humor, with 
songs like 'i.en Bias Disease' and 'Revo- 
lutionary Worker'. Hmm. actually the lyr- 
ics to those songs aren't so funny. Ok. 
'Vampire I^idy' is pretty funny. For as long 
as they've been around. RF7 kick ass on 
their peers. There's some songs on here 
from as late as '87. and they still have balls 



and aggression. Fuck. Youth Brigade. Circle 
Jerks. Wasted Youth. TSOL. etc. ail went 
commercial/cheesy rock-metal by then, So 
do a little research on your punk rock roots 
and check this out, because there's more 
out there than the metallic hardcore of to- 
day. 

GTA. 501 West Oaks Blvd.. Suite 3/ 3. Glen- 
dale. CA. 9/202 

Rejuvenate- To The Extreme cd 

Rejuvcnale's 7" was a breath of fresh air 
wilh iis blasting old style assault. Now its 
four years and two ed's later. So let's sec 
what we have. This 1 3 song cd has six stu- 
dio songs and seven live tracks thai were 
recorded at Jimmy Gestapo's birthday party 
@ Coney Island High. Two covers. Bad 
Brains and AF. that have been done by many 
other bands, but arc done justice by these 
wackos. The four new songs are slower and 
cleaner than their older stuff, and I w ish they 
stuck to the fast, energetic older style of 
hardcore. But the vocals arc still awesome. 
Tommy's got one of the best voices for 
hardcore in all of NYC. Imagine roaring. 
barking vocals crossed wilh Jabberjaw. the 
cartoon shark. Instead of the CFA/Trip 6 
sound their 7" had. there's more of a Kill 
ing Time/slow Sheer Terror sound on this. 
and the fast parts have that GBM pace to 
'cm. It's not bad. just not as good as the 
awesome 7" and comp. track on Squat Or 
Rot #3. The live tracks contain most of their 
old songs and apart from the sketchy 
recoding, they kick ass. So even though I 
like their older shit better. I would still rec- 
ommend Ihiscd, fuck Lost And Found. Free 
Spirit is Tommy Rat's label, previous releases include the Trip 6 7" (which 
Tommy also sang for) and the Rejuvenate 7". 
Free Spirit, p.o. box 1252, Madison Sq. Sta.. NY. NY. 10159-1252 
SCOUT -Economics" 7" 

Not hardcore, but interesting music none the less: Scout's songs unfold sort of 
like extended improvisations by talented but unpolished musicians, the loose 
song structure allowing them to wander through a variety of noisy, abstract 
soundscapes. Don't gel me wrong, they actually have a lot of energy, but their 
music has a sort of spaced out quality that makes it impossible lo put your 
finger down on what is taking place. This works well lor them, giving them 
the freedom to occasionally come across moments of fragile beauty in their 
angsty, uncomfortable, restless explorations', The lyrics and even lyrical ex- 
planations are wandering and unfocused, which I guess fits with the music. 
Seoul apparently has the courage to act unaware of present trends and CXpCCta- 



lions in punk music, and ihis has paid off for ihcm wilh ihis promising 7". -b 

\fno Cow, address below 

Sic & Mad- Skank This! 7" 

Break ihis, I thought after listening to it. And break it I did, after Matt and I 

took turns seeing who could throw it the farthest off his patio. I'm not gonna 

waste much space drilling the fuck outta this dogshit. Retarded rapping over 

slow duh reggae and a little ska. Go fuck yourself. Death to false ska. don't 

bother... 

SEVIN 7" 

One of the biggest problems encountered 
by bands that form in the name o( some 
narrow ideological purpose is that, because 
they have a specific job that must be ac- 
complished other than thai of making good 
artwork/music, they often do noi have the 
freedom ihey need lo become good art- 
ists, They cannot lake lyrical risks because 
I he subject matter they must cover is al- 
ra idy laid out before them, and they can- 
not lake big musical risks cither, because 
their responsibility as a band is to make 
music that people will get excited about 
so thai people will hear the message (and 
people usually arc just seared off by risk- 
taking, unusually original music). And yet 
you cannot break new ground and become 
a great ariist/tnusician unless you take 
risks in your lyrics and music. That's why 
so many Krishna-consciousness bands, so 
many hardline bands, so many Christian 
hands, so many communis! bands, etc. jus! 
pi iin suck from an artistic perspective. For 
(his reason. I'm truly thrilled to see a vo- 
cally vegan/earth liberation band like 
Sevin dare to make a record with songs 
about subjects besides their war on the un- 
believers. The lyrics here deal with the 
deceptive religious assertion thai God is 
merciful and forgiving when the world 
around us demonstrates this to be false, 
and similar subjects — they're a little vague 
in their poetic approach, bui all the same 
it's a breakthrough for a band in this genre 
io have ihe courage to address a variety of 
subjects. May others follow. The music is 
less original, basic midpaced modern me- 
tallic hardcore with chunky parts and 
screaming vocals; listening lo a lot of Earth 
Crisis is obviously responsible for their 
style The mix is OK. Just imagine a less 
skilled, less polished, less complex Earth 
Crisis and that's what they sound like (the 
vocals are a little less forced, but that's not 

hard...) h 

Militant. P.O. Box 271, Bloomfield, IN 

47424 

Shank Buzz- Mr. Public 7" 

Average mid tempo East Coasi sounding 

hardcore from Mci's hometown of Philly. 

Chunky, uneven drumming with barked 

vocals and heavy but not blatantly metal 

guilai sound. Lyrics aboul frustration and 

anger. It just sounds very average lo me. 

! here's some surprises here and ihcre. but 

noi many. "Mr. Public" is aboul idiots who 

crave attention and always have to be the 

funny guy. 

P.O. Box 1520, Cooper Station, NY.NY 10276-1520 

Stampin ' Ground- Starved 7" 



TIMEBOMB "Hymns For a Dying Empire" CD 
Perhaps Timebomb and Refused, two excellent and 
sincere politically conscious bands, should tour to- 
gether (it would be the "Songs for a dying empire/ 
Hymns to fan the flames of discontent" tour). The 
main difference is that while Refused play fast, simple 
hardcore, Timebomb is an incredible deathmetal 
band. Their music is, at its best, awe-inspiring, 
anthemic, earth-shaking. The mix is perfect, raw and 
rough enough to not sound slick, but thick and heavy 
as can be and clear enough for you to follow every 
drumbeat or guitar note. The fifth song is probably a 
good example of their best work: distant guitar shots 
like machine gun fire haunt the listener before the 
full assault rolls in, crushing guitar and drums attacks 
alternated with a tragically beautiful acoustic part that 
as a whole makes one think of flowers being run over 
by tanks. There are no superfluous guitar solos — their 
songwriting is tight, rife with hyperspeed parts, crazy 
transitions, pounding choruses of Biblical power, and 
double bass frenzy. The only field in which I can see 
room for improvement is the singer's roaring vocals: 
certainly they are deep as the abyss itself and fear- 
inspiring, but he doesn't usually apply enough em- 
phasis for the emotion that I'd like to hear come 
through in his voice. If he would be willing to let loose 
a little more, there would be nothing more I could ask 
for. Anyway, at least as good as the music is the pack- 
aging: their CD booklet, illustrated with a very appro- 
priate chilling painting of war carnage, not only lists 
the lyrics and explanations (both of which are ex- 
tremely eloquent in their angry discussion of the ills 
affecting our modern capitalist/statist/Chrisitan cul- 
ture) but also includes a lengthy further discussion 
of the issues addressed which intelligently ties to- 
gether such problems as the fashion industry, world 
hunger, animal and human exploitation, and con- 
sumer culture. Over ten years ago it was common to 
find this sort of reading material in records by great 
punk bands such as Antisect, and it's a fucking relief 
to finally see it again. Perhaps we in the hardcore 
community will once again develop an intelligent cri- 
tique of our world, so we can go about improving it 
with better tools than just anti-drug slogans, -b 
Daniele Marini, V.R. Battistini, 32 00151Roma, Italy 



tempos, wilh lough vocals and an apparently vegan lyrical slant. Actually they 
don't really sing lhat much aboul veganism. duh.. .they mostly cover religious 
topics with a fresh perspective. So often bands sing aboul the same old topics 
in boring cliched ways. Good recording quality, and professional packaging. 
It's interesting to sec Too Damn Hype go outside the realm of East Coasi 
hardcore for their releases. Good for ihem. 
P.O. Box 1520 Cooper Station. NY, NY 10276-1520 USA 

Splinter- Scathed 7" 
Matt liked this more than I did. Glossy, full 
color cover with brick-colored vinyl, il 
sounds too slow and repetitive for my tastes. 
Splinter is definitely covering new territory 
though. This honestly doesn't bring any other 
bands to mind, except maybe Starkweather, 
and thai doesn't mean shil, because mosi of 
the time STARKWEATHER doesn't even 
sound like Starkweather! Musically, its slow 
technical metal with unusual riffs and struc- 
ture. The 7" comes wilh a useful history of 
Splinter, who apparently are still together. 
Who knows, ihis record may grow on me. 
Stormstrlke, Kollmarsrueterstr. 12, 79312 
Emmendingen. Germany 
Sub-Zero- Happiness Without Peace 



cd 

I like Sub- Zero a lot, and I'm glad to see Ihey 
finally have a full-length oui after seven years 
of existence. Many of their old songs from 
their demos and 7" appear herein, with a bet- 
ler production. I was told this cd was recorded 
awhile ago, but it doesn't say when in ihe 
liner notes. Sometimes the vocals sound al- 
most exactly like John Joseph, and other 
limes ihe Lou sings in a weird, kinda glammy 
voice thai I don't like. The lyrics range from 
support of Gulf War Vcicrans, lo 'the pit' 
(when was the last time you heard a song 
about THAT?!?), to sell-outs, and all kindsa 
shit. Some of the newer songs have way too 
much melody and rock-ish tendencies, and 
while it's good lo see Subzero trying new 
things, they don't work so well. Subzero's 
good points arc the vocals (at times) and 
catchy, hard songwriting wilh decent drum- 
ming. The older, good songs are mid-iempo, 
double bass metallic NYHC that sounds 
pretty original, at least when the songs first 
came oul. And the album lille is prcliy cool. 
To be honest Subzero tries all kinds of dif- 
ferent styles and sounds on this cd, more than 
I can analyze right now. I don't know, give it 
a shot. 

TDH, p,o. box 1520, Cooper Station. NY. NY 
10276-1520 

Terveet Kadet- Hardcore Brutality cd 
Boy. this is a tough one to review. Finnish 
punk rock discography with lyrics mostly in 
Finnish. 53 songs of wacky Discharge meets 
the Ramoncs styled raw beyond belief early 
80's punk. When I say raw... this shil is vir- 
tually unlistenable. Terveet inspired bands 
like H-100's. Dropdcad. hell even C.O.C. 
have listed these guys as inspirations. If you 
enjoy melodic, emotional punk like Dag 
Nasty. h2o, etc. then stay ihe fuck away from 
this cd. This shit is just nuts! It's noi as fast 



as grindcore, Terveet has more of a old Dead 
Kennedy's pace. The packaging comes with ions of information, which I'm 
beginning lo realize is standard for this label. Sure, these guys put out a record 
Surprisingly Good English hardcore band that blazes with unusual riffs and or two on the infamously naughty label Rock O Rama, but ihey have abso- 



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iutely no common ground with the National Socialist rock bands thai ROR is 
known for. 

8231, 501 West Glenoaks Blvd.. Suite 313, Glendale. CA. 91202 
Thenceforward- Winner 7" 

Above average mid-paced Southern hardcore from Atlanta, that has impres- 
sive bursts of speed and occasional melodic leads and breaks. They come across 
unpretentious, with a rare (Cor hardcore) sense of humor. They list their influ- 
ences, which include No For An Answer. Disrupt. Asbestos Death, and Cow- 
boy Killers. They also list their names as Mcir Mcgill, Justin Caballero. Clay 
Hawk, etc. If I remember correctly. Thenceforward has former members of 
Quadiliacha. The vocals and lyrics fit their sound well. Its too bad that bands 
like this often get passed by in the rush towards vegan straight edge, cmo, and 
all-yo'd-outcorc. 

Phyte. P.O. Box 14228, Santa Barbara. Ca. 92107 
TURMOIL "From Bleeding Hands" CD 

There's alot of fucking Dcadguy in here, plenty of crazy bursts of speed and 
noise with torn (distorted, in this case) screaming over them. The mix on the 
Deadguy CD worked a little better, (hough, because here the bass drum over- 
powers the other instruments in some 
places. I'd say the second song was an ac- 
tual Deadguy cover if I didn't know better. 
Elsewhere their music has a little more va- 
riety, maybe even a pinch of Overcast here 
and there, some harmonics, some sudden 
pauses, some (still Deadguy-esque) groove 
parts. The mix is definitely grainy, thick, 
ugly, even a little distorted, which (besides 
the bass drum problem 1 mentioned) is cou- 
rageous on their part and certainly distances 
them from the hordes of generic new- 
school hardcore bands. The risk here, 
though, is that they are too similar to the 
other noisy new-style hardcore bands in the 
Dcadguy/Jesuit genre. Their songwriting is 
polished, and tight enough, and their play- 
ing is for the most part flawless. They just 
need to use their ability to set out in a di- 
rection not already explored by other bands. 
The lyrics of the title track describe the 
plight of a man who has constructed his 
conception of himself around his economic 
function, only to lose his career. They are 
convincing — not too abstract, either — and 
pretty much representative of all the lyrics 
on here, although better than many of the 
other songs. The artwork in the packaging 
is, of course, breathtaking; they are on a 

big consumer-culture label, though. If you don't want to buy from Century 
Media, you can get two of these songs on a 7" from "Trcadwatcr" records. 
P.O. Box 654. Buffalo. NY 14207-0654. -b 
VOORHEES "Smiling At Death CD 

As I listened to this. I was pinching myself, convinced it was Negative Ap- 
proach. They even do NA covers. Pure raw. ugly, no polish, jagged edges that 
could fuck you up. don'l-give-a-/uc& hardcore, not old-fashioned like Gorilla 
Biscuits (or any other "one day I'll make a million bucks off this" band) but 
old-fashioned like those older bands that were so gritty and obviously fucking 
pissed that there was no question as to whether or not they were real. This is 
the kind of music you gel when you give instruments to a bunch of double-y- 
chromosome criminally insane motherfuckers who don't give a shit if they 
sound fashionable or macho or in style, who just want to destroy everything in 
their path. And musically, they do. With plenty of changes and transitions, 
they sometimes reach speeds of over 120 miles an hour, and never stop as- 
saulting the listener's cars for a second. Their singer is the best part: not only 
docs he have that requisite deep grainy yelling voice, but his lyrics arc hilari- 
ous: "What's all the fuss? The more junkies who die the better it is for us! 
Heroin is fun!" "I don't like him. he doesn't like me — what better reason to 
Tight can there be?" etc. etc. — suffice to say there's a lot about hating every- 
body and fighting people and institutions, and it sounds real as shit. Every- 
thing Voorhees has released so far (70 minutes of music) is on here, with typi- 
cal excellent packaging by Grand Theft, -b 



Trial- Through The Darkest Days 7 
First Seattle straight edge band I've heard since the 
long-gone and much-overrated Brotherhood, so let's 
see what we have. Great packaging, thick, color- 
cover, big lyric sheet, etc. They have a decent fast 
straight edge hardcore sound, not unlike Verbal As- 
sault or Uniform Choice, with a few of the structural 
characteristics necessary to keep this from being 
another sad period piece of rehashed hardcore his- 
tory. None of that straight edge Sha Na Na shit for 
these guys! They throw in enjoyable dance parts, 
and just hit with a solid well-produced attack. I 
thought it was interesting that they had a paragraph 
after each song explaining what the song is about. I 
don't know if that's good or bad, because sometimes 
I feel like too many bands and people in general do 
too much explaining. Either people will understand 
your message or they won't. But enough of my tan- 
gents. 
Trial, 427 11th Ave. East, Seattle, WA. 98102 



Croud Theft Audio. 501 W. Glenoaks Blvd.. \te. 313. Glendale, CA 91202 
Warzone- Lower East Side cdep 

This is a re-recorded version of War/one's first record... I don't see why it was 
really necessary. Other bands have done the same thing i Youth Of Today and 
Suicidal come to mind) and lemme tell ya, it's never the same. You can't rec- 
reate that spontaneous hardcore energy. The recording quality is better this 
time around, especially the guitar sound. There's plenty (too many) samples 
now. The music is still good, solid, catchy NYHC with singalong choruses and 
lots of fast parts, and positive lyrics. I thought it was funny that Ray quoted 
Last Resort in the liner notes, and it's also interesting to see War/one once 
again sporting the skinhead image. In the past three years, they've put out ;i 
live cd, a split ep. and this rc-recorded shit. Now as a long-lime Warzone fan. 
I wanna see a fuckin' full-length, goddamn it!! 1 OF NEW SONGS!!! Enough 
of this horscshitM WRITE SOME NEW l-UCKING SONGS. ALREADY!!' 
Now that I've got that off my chest, on with the review. Gone are the Ameri- 
can flags from the lyric sheet, replaced with a collage of pictures, many from 
Warzone's tour of the Far East. I think I spotted Jimmy Gestapo in there too. I 
guess 1 can't blame War/.one for not writing new shit. I'm glad to see that Ray 

still gives a fuck about hardcore. God only 
knows why he still docs. Victors 
ABNEGATION/CHAPTER split 7" 
Abnegation has admirably broken out of the 
generic, metallic, slow, plodding, generic 
danceable shit most militant vegan bands are 
doing these days; instead, they play full-on 
speedy Carcass-style death metal. They do 
have slower parts, but these parts are still 
energetic and original, being either unusu- 
ally timed or well layered with complex 
musical structures. Other times we get 
double time drumming. Slayer metal guitar 
riffs, double bass attacks, the works. Their 
singer also sounds less forced than most of 
the singers in the genre from which Abne- 
gation appeared out of — his high, torn 
screeching sounds a little unnatural, but not 
cliched. Occasionally there arc deeper, 
slurred backing vocals, or spoken parts, that 
don't complement the music as well. The 
mix is a little unorthodox, a little heavy on 
the vocals and snare, with the guitars (which 
have an excellent metal crunch sound! and 
the rest of the drums loo quiet. Hie lyrics 
are predictable, faux-poetic descriptions of 
the flames of justice engulfing the evil 
ones... hey. go actually kill somebody ("as 
the razor graces your throat." they threaten), 
sec how it feels, and then write lyrics like this, OK? Because writing about 
things you've never experienced is hound to come off a little flat i for the same 
reason, I wouldn't write about being a starving child in Somalia... having never 
experienced it. 1 could not offer any valuable artwork on the subject). Chapter 
have their abstract, experimental song structure and music in lull effect here, 
with better results than before. There are a couple great transitions, one from a 
quiet jazz part to shrieking madness that made nie want to go into the street 
and hit the first person I saw. Their general approach is to go on for a while 
with midpaced metallic parts; in one case they then pull back into a practically 
silent part with speaking, throw in a little torn drumming, and suddenly fuck- 
ing explode. Their singer sounds like a fucking throat cancer patient on the 
operating table. Their mix is also a little rough, featuring a repeating sample in 
the second song that is pretty damn loud but still almost incomprehensible. 
Their lyrics are even more abstract than those of Allegation, but they seem a 
little more poetic, a little less empty threats, and a little more outraged at the 
western world. To sum up: this 7" is a perfect representation of up-to-the- 
minute modern hardcore... noisy, metallic, shrieking, and occasionally daring 
to try new things, -b 
+/- records, address above 

Armitron/As Good As Dead split 7" 

Armitron is a two piece drums/bass/" vocals" band, that is thankfully broken 

up. They come across like total fucking idiots, and they sound like shit. Their 

music' has no structure, nothing. It's just two spoiled brats screaming and 




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bcaiing on the instruments their parents bought ihem. And what the luck is 
'Midget Child' supposed to be about? Actually its about beating and killing a 
midget, and (don't find that shit funny at all. If you re so politically correct (as 
they preach in this record's insert) then why the fuck did you write a song like 
that? As Good As Dead are nameless, faceless, and hookless, grind. No heart, 
and a shitty recording. I like some of this grindcorc crap, but these guys suck. 
At least Armitron has the excuse of being a two piece. Uncontainer. PO Box 
80342, Lincoln. NE. 68501-0342 
ATLAS SHRUGGED/NEW DAY RISING split 7" 
Atlas Shrugged sounds like they did last 
lime here, only a little more polished; tal- 
ented musicianship, fairly complex melo- 
dies that alternate between harder and more 
gentle, occasionally almost acoustic parts, 
a good mix and production, abstract lyrics 
that have more poetry in them than your 
average vague hardcore mumbo-jumbo, and 
those trademark yelling almost nasal vocals 
(that were annoying before but are a bit 
easier to swallow here). New Day Rising is 
a little better here in every respect than they 
were on their split 7". The quiet, atmo- 
spheric parts are more haunting and less 
weak, the harder parts sound more impas- 
sioned and harsher, the production sounds 
clearer, and the songwriting itself is more 
interesting, with good transitions and vari- 
ety. Their singer still does that melodic sing- 
ing in a fragile voice thing when he's not 
doing that cmo scream, but I guess that's 
his thing. The lyrics strike me as really con- 
scientious, they've printed two different 
versions so you can get a clear perspective 
of what they're trying to accomplish with 
them. The subject matter has to do with the 
bullshit of the mass media and the gener- 
ally bad political situation we're in. If you 
often bypass the extremely ugly, abrasive 
kind of punk for the more pretty, textured 
stuff, but still want to be listening to bands 
that care about what they're up to. you'd 
probably like this record, -b 
MOO Caw, P.O. Box 616. Madison. Wf 53701 
CHALKLINE/FIGUREHEAD split 7" 
Chalklne has a really thick, powerful guitar 
sound, which complements their more mc- 
lodically contoured modern hardcore well. 
The songs arc midtempo. have a fairly en- 
ergetic if not danceable beat, a couple 
chunky stop-and-go parts, and occasionally 
add a little harmonic guitar texture to be- 
come actually catchy. The singer has a nice 
torn screaming voice, although at one point 
there arc some sung vocals that could have 
either been done better or done differently 
in a style that worked better. They also use 
a really silly sample from some comedy 
movie — it would have been easier to take 
them seriously if they'd left it off. Their lyric 
sheet is nice enough, with photos of band members and song explanations 
(lyrics about staying true to what you believe, and vegetarianism). Figurehead 
is <Hie of those poppy, punky sort of bands, with plenty of obnoxious bounce in 
their music, nasal obnoxious vocals that generally sing but scream incoher- 
ently from time to time, an obnoxious raspy guitar sound, and good enough 
song structure. And they use samples — Announcement: kids of the world. 
samples are PLAYUD OUT! It's been done already, and done belter! Stop 
doing it! Do something new! I thought you were all nonconformists, doing 
your own thing... so why do you ALL continue to use samples as if there's a 
law requiring it? Most of the time they just takeaway from the music. OK. I'm 
off my soapbox now: as a last note, the Figurehead's insert is such a silly. 



GEHENNA/apartment 213 split 7" 
Wow, find this one if you can. To get it over with, the 
Apartment 213 songs are really bad speedy 
grindcore/punk written in five minutes and recorded 
on a boom box — they suck. But holy shit, Gehenna 
is on here, and at their best. Take the most genuine, 
live-on-the-street life-of-crime l-don't-give-a-fuck 
destroy-the-status-quo hardcore guys you can find, 
put them through hell their whole lives, then give 
them instruments and you've got Gehenna. It's not 
pretty, it's not fun to listen to, and if you've never 
had to eat out of a garbage can it probably won't even 
sound tike music to you. Their side of the record 
starts with a fast charge of straightforward ugly 
hardcore, pauses for the most beautiful, haunting 
feedback I've ever heard, and goes into a pulsing, 
crouch-Iow-and-sneak-through-the-night breakdown. 
If you try to follow Mike Cheese's guttural, deep vo- 
cals with the lyric sheet, it doesn't work— he's just 
going crazy with no regards to the english language 
or any other, growling and hissing, speaking in 
tongues, wading into the black ocean of the uncon- 
scious frothing at the mouth and spitting hate and 
disillusion with existence itself: "hell is now, excru- 
ciation is this: this very second in time, the present 
tense." This is the kind of music that, when I listen to 
it. though it tears me up inside as much as the most 
fucked up things I've ever done have, somehow 
makes me feel like all this shit is worthwhile just for 
that moment. The inscription on the record, which 
doesn't even have labels, reads (side 1) "1001 ways 
to murder..." (side 2) "...one way to die." There are a 
few different packagings of this record circulating, 
but the two that I've got have on the cover a photo of 
harvesters returning from the fields with scythes on 
their shoulders — so they look like... -b 
Area 51, P.O. Box 83694, San Diego, CA 92138-3694 



ridiculous mess that it's really difficult for me to believe they care about theic 
music anything at all. I guess that's obnoxious, though... -b 
Shandle. 7950 Mentor Ave. #G8. Mentor OH 44060 
Coleman/Three Studies for a Crucifixion split 12" 
Coleman has a very bass-drum-heavy, very trebly mix. and a generally bad 
recording, which doesn't complement their music much — sure, a little rough- 
ness would be perfect here, but this is too unbalanced. I like the epileptic fits 
of speed from the jerking drums and the insane torn screaming which sounds 
more like sound effects than vocals; I'm a little less crazy about the guitars. 

which aren't very weighty and sound a 
little out of tune. Overall there's a real feel- 
ing of discord here, except during the ab- 
stract emo/acouslic breaks during which 
the screamer — you guessed it — speaks. 
Despite the flaws there's definitely some 
heart here; and their singer gave one of 
the few interesting interviews I've ever 
seen in HeartattaCk magazine. Three Stud- 
ies' isimilarly speedy and epileptic, jar- 
ring, lots of noise, with vocals that are al- 
most as crazy. The drum mix is better and 
the production more listenablc. The gui- 
tar adds some high, noisy lines for spice. 
They come off as a smoother, more pol- 
ished Coleman in regards to songwriting, 
recording, and execution. Plenty of writ- 
ing, etc. in the extensive packaging. 



Mountain, address above 

GAMBIT/CAVE IN split 7" 

Gambit has those grindcorc vocals that al- 
ternate between deep dcathmctal grunting 
(which has always sounded a bit forced to 
me) and throat-ragged screaming (which 
sounds more impassioned here). There's 
even a moment when their singer talks, 
which was a bit unexpected. Their music 
is also grindcore-influenced. with bursts of 
doubletime speed and more pounding 
slower parts, as well as some guitar noise 
for texture. If the production was clearer it 
would be more flattering to their music (it 
would make it more powerful and more 
interesting). The lyrics arc delightfully dis- 
interested, nothing forced or fake there — 
at one point in the lyric sheet it reads 
"burned all the bridges behind me. burned 
fucking everything (including one fat ass 
spliff. the white house, the Vatican, your 
rat faced granny and your little dog toto 
too)" and at another point rather than lyr- 
ics they print "(a bunch of generic harcorc 
lyrics... no revelations here) constant — col- 
lapsing — inferior — blah blah blah (whine 
cry and whine some more)" — at least 
they're more honest than most bands to- 
day. And thir lyrics, where printed, do have 
some moments of poetry and moving power 
("all the madmen came and gave us secu- 
rity — they stole it back and laughed out 
loud, at the way we crawled from grace into insanity — the saints came march- 
ing in on top of you"). Finally, they get points forgiving us four whole songs. 
Cave In gives us one long song: their vocalist alternates between that torn 
screaming we're familiar with, and a sort of speaking/singing thing. Their 
guitars occasionally pause to be acoustic, but arc usually doing a noisy groov- 
ing midpaced thing, with an occasional interesting melodic line. The bass is 
mixed too loud. I think. They have some good moments in their songwriting. 
but they also have a couple wrinkles to iron out, I guess. I'd like to end by 
mentioning that I think entirely D.I.Y.. scrappy small scale releases like this 
are what punk is all about. Keep your glossy, "Fashion Records release #45" 



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shit away, -b 

/fly Frechette. 4 Wilson Street, Met/men. MA 
01844 

Integrity/Psy warfare split 7" 
The one traditional Integrity song on here 
is much more like "Systems Overload" in 
style/writing/sound than it is like their new 
record. Their other song is a collage of 
slowed-down backwards tracks, pretty 
quiet and abstract, not as effective as it 
might be. The first Psywarfare song is a 
wash of distorted noise, not bad but not 
nearly as good as a couple Japanese noise 
tracks I've heard. The second one is more 
haunting, similar to the Psywarfare song 
on the Inside Front W8 CD. Besides the one 
straight Integrity song. I'd say this 7" is 
more of an experiment than anything else, 
and like most real experiments it's not en- 
tirely successful, but hopefully foretells 
better things to come. 
Victory 

NEGLECT/HATEBREED split 7" 
Neglect has those standout sarcastic/cyni- 
cal vocals about death and suicide that make 
their slow, pounding groovy hardcore 
memorable. Their mix and production is 
good, the music well-played, but what 
makes them an original band is the singer's 
grim, over-the-top obsession with hating life 
and himself. They've broken up now. At the 
end of their side is a sample of their singer 
having some trouble at a show — he says 
"...because I'd hate to go to jail here, but if 
I have to I will. I have nothing to lose. I 
have nothing at home." Hatcbrccd comes 
in fast, with a distinctively high-tuned snare 
drum. They have slower choruses, with the 
low-tuned guitars doing that old chunky e- 
chord thing. Singer Jamcy has a deep, lough 
voice, that doesn't sound as forced as many 
singers in his style do {it's a little mono- 
tone, but that comes with the territory I 
guess). The lyrics are in the "no one is for- 
given, everything precious lost" vein, to 
quote from the insert. Their sound produc- 
tion is also good, -b 

Stillborn, RO. Box 30/9. New Haven. CT 
06515 

NEW DAY RISING/DESPAIR split 7" 
I'm excited to hear a band as' popular as 
Despair playing hardcore this fast. Even 
their midtempo basic-dance parts have good 
momentum. They have some fairly complex 
guitar work interspersed between the 
chunky e-chord dance parts and the fast 
older-fashioned riffs. The vocalist has a 
screaming/shouting voice that sounds a lot 
like many other singers to me; and the lyr- 
ics, while dealing with very traditional 
hardcore subjects such as staying true and 
not liking backstabbcrs or fakes, arc at least 
not vague or meaningless like some bands. 
New Day Rising (who put a cute picture of 
flowers on their side of the record, making 
it more difficult for me to like them, despite 
my best efforts) come in very calm and 
pretty with high singing and acoustic gui- 
tars, and proceed like that for quite a while, 
before finally adding a little thick distorted 



THE CALIFORNIA TAKEOVER—LIVE CD 
Here we have Earth Crisis, Snapcase, and Earth Cri- 
sis, live. The recording quality is unbelievably clear, 
and the mix sound is weighty; in fact, this recording 
is almost more interesting than the more flat, over- 
produced records these bands have made in studios. 
Strife actually sounds pretty worked up and impas- 
sioned at some points as they play their speedy, 
simple newschooi hardcore. Snapcase is as rock-and- 
roll boring as ever, and their singer's voice is more 
strained and ineffective than on their records. Karl's 
vocals for Earth Crisis sound a little less fake and 
forced than they do in the studio, although I think the 
live environment is not the best one for their brand 
of fancy, complicated metal. Victory owner Tony 
Brummel appears to sing as Strife plays a song by 
his old band Even Score, and it is clear that he is 
understandably out of practise. OK, that said, let me 
bring up a couple points about why the general ap- 
proach of this CD makes me really uncomfortable. 
The packaging reads prominently "Hardcore: love it 
or leave it" in some quirky computer font... now, six 
years ago, the slogan my friends and I used was 
"Hardcore: live it or leave it," i.e., live in actual defi- 
ance of the existing order every day. Now, love it or 
leave it' doesn't mean that... either it means that 
people who are complaining about the apathetic state 
of mainstream commercial hardcore these days 
should get out rather than trying to change it, or it's 
just some meaningless slogan that sounds cool (in 
which case, what is it doing on the packaging any- 
way?). And don't argue with me about mainstream 
commercial hardcore being apathetic... there are 
plenty of kids who buy Snapcase records without 
actually being motivated to LIVE hardcore... so should 
we call things as we see them in our community, or 
should we just 'love or leave' hardcore? Really, I'm 
just complaining about that quote, but I can't for the 
life of me figure out what else it could mean. Second 
of all, and more important, I hope that all three bands 
on this CD realize that the fact that they can all fly to 
California for one big sold-out show which is recorded 
and released as a fancy CD indicates that listeners 
like me will not be able to relate to them anymore. 
Because while they're rocking out like rock stars in 
front of hundreds and hundreds of fans, having their 
special event performance released live by one of the 
very biggest hardcore labels, I'm crouched alone in 
my basement room eating stolen food and trying to 
figure out how to get through another month. 
Hardcore kids like myself will eventually no longer 
feel like we can relate to these bands, and just go 
back to our Amebix and Gehenna records — because 
the lives these bands draw upon to sing about are 
not the lives we are living down here, -b 
Victory 



guitar and screaming. When they do add it. 
it docs effectively add some excitement. As 
usual I'm glad to sec their lyrics dealing 
with political and social issues, in a gen- 
eral way here. They do seem to really be 
concerned about the subjects they address, 
-b 

Moo Cow. address above 
Plain Wrap/Mox Nix split cd 
This cd has the demos for Plain Wrap and 
Mox Nix. which shared members, actually 
Plain Wrap formed out of the ashes of Mox 
Nix. Plain Wrap used to be one of my fa- 
vorite punk bands, and my favorite song of 
theirs, 'Green Light, Red Light" is included 
on this cd in demo form. Plain Wrap was a 
fun kinda punk band that gave up mem- 
bers to Uniform Choice. They sounded 
similar to old DK's or Agent Orange, and 
are still enjoyable today. Mox Nix are a 
little more raw. maybe a little faster. I miss 
the sense of humor that so many old 
hardcore bands had. these bands included. 
Time's been a little rough on some of Mox 
Nix's stuff, but it isn't bad for the time it 
was recorded ('S3). 

SFA/Dare To Defy- Dead People 
Make The Best Friends split 7" 
SFA is one of my favorite bands, and they 
appear on this with an Avenger's cover and 
one original, DTD check in with a wacky, 
glam-sounding Bad Brains cover and also, 
one original song. SFA continues with the 
sound they had on their last 7". which is 
motorhcad- paced, raw NYCHC with ut- 
terly hateful lyrics. Not very metal sound- 
ing at all. SFA sounds like they recorded 
this @ Don Fury's, but they didn't. While 
most NYC bands have somewhat of a hip- 
hop influence, these guys don't, which is 
refreshing. Raw, basic guitar riffs over 
simple but effective drumming with growl- 
ing vocals. Dare To Defy are a lot faster 
than SFA and more metallic, which is Tine. 
The lyrics to their song deal with rednecks 
who arc twice your age but still fuck with 
you. Both of the songs are on the DTI) new 
demo, so refer to that for more info. I've 
never been a big Bad Brains fan so I can't 
say I'm familiar with the original version 
of 'Rcdbonc in the City', but I can tell you 
that the lyrics are about light-skinned black 
women who think they're too good for HR. 
or Lcs in this case. He doesn't say anything 
about smashing 'em in the face with a brick 
though. like naughty Lcs sang about on the 
DTDcd! I wish that these bands could tour 
more, or at least play out of NYC. Espe- 
cially SFA. They've only been together, 
what, twelve years!! And they've never 
played Buffalo. Syracuse, etc. Do you re- 
alize how many bands have passed them 
by in that time? It's kinda sad. 
P.O. Box 1520, Cooper Station. NY. NY 
10276-1520 

Shit Happens/Pitfall split 7" "We 
Must Learn To Share" 
Two French bands that I thought would 
blow, I was dead wrong. The picture of a 
cow being slaughtered on the cover, and 




■ ■&*£. .#* ?%m- t&%m&- <Mf M . " 




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l ho caption "Wo must learn to share, the common ground (hat we stand with. ..any 
form of lite." also on the cover led me to believe I was in for another round 
with the concerned vegan care-bears of the world. Besides having a stupid 
name, Shit Happens blast out some raging, kick-ass hardcore with a lot of 
heart. Fast as luck with great vocals and the raw recording quality necessary 
lor straight hardcore to sound mint! Deep, tough vocals, that fit well with the 
music. From their lyrics and thanks list I gel the impression they are a Krishna 
band. When your music is good, you can be whatever the fuck you want! 
Pitfall was less memorable, but still pretty fuckin' good for a European band. 
They're a bit slower than Shit Happens, and it takes them longer to get going. 
as the vocals don't mesh well with the music at first. But then they settle in to 
a decent stomping, mid- tempo style with standard changes. Not bad either, 
Holy Fury Records. 4. Rue Du Seigte, 50120- Equeurdrcville- France 
ALL FOR ONE... ONE FOR ALL compilation CD 
This is a G.T.A. benefit for Roger Miret of A.F., who apparently got hurt at a 
Madball show. I hate to repeat someone else's review, but I think it was Hard- 
ware that summed this CD up by describing it as what you would get if you 
had a 1 1 lend who had an incredible collection of rare punk from the last twenty 
years (especially '79 to '85) and he/she made you a 48-song. one-hour-plus 
compilation of the 'greatest hits of obscure and ancient punk rock'. Most In- 
side Front readers will not have heard most of these bands, let alone songs. 
before, and it would be a great place to discover some music you've never 
heard and broaden your horizons. I'll drop some band names: America's 
Hardcore. Slalag 13, White Cross. Heart Attack, Lost Generation. Proletariat. 
Ami. Caustic Cause. Trip 6. B.G.K.. Red Scare. China White, Crucifix, the 
Accused. Terveet Kadet, Psycho, lots and lots more... Absolutely indispens- 
able are the detailed notes placing each band and song in context for the lis- 
tener, -b 

Grand Theft Audio, address above 
AN AMERICAN TRAGEDY compilation 7" 

Benefit 7" with songs by Dead Silence. Three Studies for a Crucifixion, Still 
I ite. and Watercolour, for a good cause: an Earth First activist who was crippled 
by a car bomb (apparently planted by the FBI. who were there in seconds to 
arrest her lor "having a bomb," a charge that was quickly dropped) and is now 
taking the FBI to court. It conies with alot of reading material about the ease 
and the bands on the record as well. So the cause and delivery are admirable. 
Dead Silence covers a song by Dissent, and it sounds alright: they sound like 
one of the weaker fast punk bands from the imd-80's. with excited speaking 
vocals and weakly distorted guitars. TSFAC (named after one of my favorite 
painting tripiychs) deliver a short, fast noisy screaming song — not powerful 
or aggressive, but impassioned. Still Life's singer sounds as self-pitying and 
whiny as ever in the midst of their messy, flaccid melodic emo music, which 
ends in a long drawn out acoustic session. Watercolour is fast but not dis- 
torted, their vocalist sings in a sort of weak voice, -b 
Diffusion, P.O. Box 1881. Bloomington. IN 47402 
And The Scene Goes On comp. cd 

This is a DC area compilation of grindcore/death bands. Oddly enough it was 
mastered at Inner liar, site of some classic hardcore recordings... Well some of 
this is pretty good, but I wouldn't say an> oi it is classic. Very little packaging 
came witli this cd. no lyrics, band pictures, and the first band. Enemy Soil. 
doesn't even list their members. They sound like Crossed Out with a drum 
machine, and too many samples. At limes the vocals remind me of Carcass. 
The guitars are tuned low, and there's plenty of distortion on the bass. The 
next band. Biovore, didn't do much for mc. with there attempt at technical 
jazz-thrash with laughable vocals. And songs like The Prototype' and 'Digi- 
tal Odyssey'. The music isn't that bad. but the shitty vocals ruin their sound. 
The vocals suck because the singer has no power to his voice and just sounds 
fiat. Amerced are next and they use keyboards, as some death bands are known 
to do. Only two songs from them, but they're quite long. Excellent drumming 
is the first aspect 1 noticed, standard guitar work, still having good hooks 
though. Cookie monster vocals that give me a chuckle, and it fits the music 
well. The recording isn't as clear as the two bands previous, but the musical 
skill they display more than makes up for that. Nice leads. Next is Bereaved 
who sound kinda like Deicide and that's fine with me. Their vocals are more 
understandable than Amerced, and Bereaved have better songwriting also. 
Excellent guitar and drum work, with countless tempo changes and hooks. 
Bereaved are just a whirlwind of burning deathmetal aggression! Even the 
solos are good, showing skill without becoming excessive. Lyrics about prey- 
ing upon mankind, and suffering, etc. Next is Disinterment who take awhile to 
get going, and sound ok I guess, they don't quite have the hooks to make this 



worn-out genre interesting. They play pretty standard deathmetal, I don't know 
what else to say about 'em. They're not bad by any means, they just don't 
blow me away. There are some impressive parts that show power and original- 
ity. Last band is Scab, and they must have had some pretty evil parents, to 
name them The Evil One", 'The Iron One', and 'The Vile One'. This has gotta 
be a Crucial Youth type joke band, with songs like 'Bloodgasm'. Actually 
Scab isn't that bad. with quirky riffs and double bass all over the place. They 
sound kinda like old Immolation. I guess. 
With Your Teeth Records. 5953 N. I Oth St.. Arlington, VA. 22205 
A DOCUMENT OF NOTHING compilation CD 

Enkindcl starts this out with some energetic Southern-rock-linged hardcore, 
with melodic singing that gels soft in some places. The Harvest song is similar 
to their work on their Trustkill 7". coming in with a long acoustic part before 
going into the screaming midpaced modern hardcore stuff. Cycle with their 
happy silly quiet acoustic music and bad singing were extremely difficult for 
me to listen to. Stedding is sort of melodic post-punk/rock stuff, with melodic 
post-punk/rock vocals too. Two Line Filler has some energetic, fast chunky 
parts in their music but then the HORRIBLE whiny singing and poppy guitar 
parts come in and 1 want to fucking throw up (don't gel mc wrong. I don't 
mind the Bouncing Souls, but this isjusi fucking awful). Despair sounds simi- 
lar to their Trusikill CD here, although I think the production sounds belter, 
inexplicably. Walleye could be described by the same words I used for Stedding. 
and is about the same level of quality (I would say: mediocre). Combination 
Grey is also similar to that, only their singer is female. As far as this alternative 
rock stuff goes, it doesn't make me bob my head like I'm listening to the radio 
(which is probably what it's good for. if anything... and. if you think that's 
'good'), and it sure doesn'l inspire me with any strong emotion, so I can'l 
really find any use for it. Autumn also sounds pretty rocked out here; although 
Endeavor is more new school hardcore than the other bands near them. Rain 
Slill Falls sounds like an "Emocore" band from a few years ago would have, 
with a lot of melody in the guitars and melodic singing as well. Converge is 
the real standout on this CD, their maniacal screaming, unusual musical ar- 
rangements/song structure, and general craziness/innovations will set them 
apart in a ny company. Surface. Jejune, and Mainspring close the CD with 
alternations of noisy rockish hardcore with melodic quiet rockish stuff like the 
earlier songs on this CD. For fans of the alternative rock/'hardcore' style com- 
mon on ihis compilation, I would recommend it as being less difficult listen- 
ing than the "The World is Yours" CD would be for fans of modern meiallic 
hardcore. Still, you'd have to really like mellow rock and roll music to enjoy a 
lot of this CD. I think, -b 

Second Nature, P.O. Box 1/543. Kansas City. MO Ml 38 
Respect Due comp. 7" 

Glossy cover with a weird little graffiti scene on the front of a bum waiting for 
the bus. Unfortunately, there's very little else in the way of packaging. Lyrics 
are included for the four bands (ITI, Time's Expired. Lockdown. and Temper- 
ance) but no other band information. Intent To Injure do justice to a popular 
Black Flag song. I didn't know they were slill around. Time's Expired start off 
w iih heavy, pounding promise that evaporated when I heard the Leeway/hiphop 
lype vocals. The music is good, but the vocals fail. Lockdown is slow and 
painful, reminding me of Crowbar. Temperance is melodic and metally, in a 
bic-flickin' rock ballad way. and I didn't like it. After listening to this I wasn't 
sure why I should give these bands or this label "respect". It's noi a bad Utile 
comp.. but its far from necessary. 
Brick Records. P.O. Box 364. Flagstaff. Az. 86M2-0364 
THE WORLD IS YOURS compilation CD 

O.L.C. starts this off. sounding 2 parts Mcanstrcak/Confront and 1 part Madball. 
as usual, Zao is decent, more modern metallic hardcore. The Spudmonsters 
sound a lot like Brother's Keeper. Skipline has an overdone computer intro. 
before launching into a pretty well done (if terminally generic) heavy modern 
Cleveland-style metal /hardcore song with the post-Integrity screaming vocals 
and everything. Brother's Keeper is similar to their Trustkill CD here. L.I.G.H.T. 
is awful melodic 'hardcore' with some shitty rap parts and singing pans thrown 
in to make it worse. Ascension sticks out. playing my favorite song from their 
CD. with a horror-movie backwards whisper part at the beginning. Envy (who. 
amazingly arc not from anywhere particularly close to Cleveland) play decent 
(if dated) late-80's straight edge hardcore a la Chain of Strength or Youth of 
Today... they certainly don't hold a candle to bands like Final Exit and 
Mainstrike. though, who make this stuff sound as vital today as it was ten 
years ago. Apartment 2 1 3 recycle a song off their 7" that came out years ago. 
Phore, Pushbutton Warfare, and Slate of Conviction offer their somewhat un- 



polished, youthful, second rale lakes on the fast Cleveland metal/hardcore thing, 
and Six Feel Deep do the same without sounding quile as bad... Choice, Elev- 
enth Hour, and Cell 42 all son of fit into the same category of modern hardcore 
lhat is too generic to really stick out, although Cell 42 isn't bad at all for NYC- 
style hardcore. District j> is horrible hip hop, and Strongarm (though they haven't 
submitted one of (heir better songs) stick out head and shoulders above the 
bands around them with their more polished and skillful approach to this mu- 
sic. At the end we get a wash of distorted noise from Psy warfare to sec us on 
our way. In general what we have here is too many long, dull inlros, too much 
forced, unnecessary screaming, and too many recycled hardcore musical con- 
ventions lhat just don't work anymore. There are a couple good songs on here. 
but the plethora of bad ones makes the CD itself a painful listen. Finally — why 
doihe liner notes (which don't include lyrics, by the way) list so many of these 
litllc bands as appearing "courtesy of..." some little label? I mean, did Zao 
really have to beg Steadfast to let them appear, and were it not for the courtesy 
of Dog Collar, would State of Conviction really noi be on this CD? AND — if 
that is the case — that's pretty fucked up. isn't it? Proclaiming that your band is 
under the control of some label is a humiliating thing... especially if it's not 
really true! Kids, contracted slavery is not something to brag about, let alone 
make up. -b 

Uprise. P.O. Box 360141, Sirongsvilte, OH 33/ 36 
YOUTH FOR JUSTICE compilation CD 

The kind of praiseworthy, very D.I. Y. CD compilation I like to sec. First up is 
Faultlinc. they play modern, midtempo hardcore, wilh a lot of energy and pas- 
sion and song-slruciures lhat are very surpsising and original — an unbalanced 
recording is the only drawback to their politically conscious screaming anger. 
The second band is annoying and jangly. with acouslic guitars and some guy 
shouting, the third band. In Vain, has some intense parts with abrasive music 



and a screaming vocalist, but just when you think they're really going to let 
loose they go mellow and gently melodic... at least they end wilh a crazy shriek 
Then. Faceless brings us some really interesting punk, alternating between 
quiet haunting parts and heavy, throbbing parts, with a mixture of woman's 
singing vocals and man's growling vocals that makes il stand oui (although 
ihcir songs are much tew long)... again, the recording could have been a litllc 
better. Really, every recording on here could be improved. Nexl up, Ego Filter 
plays some raw, messy, unpolished yelling punk for us; it's not really catchy 
enough to be anything special. Three more bands finish out the CD. Hmhcrsccni 
(screeching, noisy punk with some melodic breaks). Quadiliacha (major key. 
prclty. positive, old-fashioned hardcore, with those 8()'s sort of "spoken" 
voclas), and Element 33 (fragile-sounding female talking, crazy-sounding male 
screaming, fast and slow modern hardcore, some acouslic breaks) After the 
music we have eleven tracks of spoken word performances by a variety of 
men and women. There's nothing better than an attempt like this one to broaden 
the horizons of the hardcore community by bringing in new mediums of art 
and communication like spoken word. We as a community need to bring in a 
wider variety of projects, like this CD does, to avoid doing the same shit over 
and over. As far as the actual spoken tracks go. the quality is spotty, ;i lot ot \)\c 
speakers sound prelty nervous and uncomfortable wilh what they are doing, or 
at least a little forced. That's to be expected when people enter a medium foi 
the first lime, however, and hopefully if others follow their lead we'll hear 
some good spoken work soon. The packaging is exactly what I want to sec. 
filled to bursting with extensive discussions of the ill effects of capitalism, 
consumerism, and large corporations upon our world, and our alternatives to 
them. I wish I could open up any record and see this much food for thought- 
it's a crying fucking shame that I can't, especially in punk and hardcore, b 
Earth House, P.O. Box 1332. Redding, CT 0687S 



fit * 7* r 




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ABADDON #2 

Pocket size, top qualify "zinc to read on your 15 minute break at work, for 
maximum education value and variety of material. It reminds me of Richard's 
'Things Pall Apart." actually. First we have a briefing on the miserable human 
rights situation in Burma and which corporations are perpetuating this (Pepsi, 
for one. who also own Tact) Bell... that's why buying vegan food there is no 
belter than buying beef tacos. and that's why your fucking "Taco Bell Straight 
Edge" fashion shirts demonstrate that you are uneducated or disinterested in 
your world). Then we have four excellent, in depth hook reviews, on books 
concerning anarchism. Noam Chomsky's political/social criticism, the Zapatista 
struggle in Mexico, and Anton LaVay's satanism. Next we have a little enter- 
taining anti-cop/corporation artwork, followed by a decent interview with 
Ren me of Starkweather, in which he comes off as the generally antisocial and 
cynical maniac that he is. The Vine is fleshed out with nice clip art . -b 
stamps? to Milkhoy. 12039 UNCO, Greensboro NC 27954 
ALL THAT #9 

Obviously "All That' has come farther in nine issues than Inside front: the 
entire thing is now glossy like Time magazine, with 88 pages of fancy big- 
label ad's (for Chrissakes, Sony conglomerate even bought an ad in here for 
the soundtrack to million-grossing movie "the Cable Guy"), record reviews of 
a variety of big punk/hardcore/metal/industrial/pop bands, and interviews or 
profiles of about twenty bands, from Bad Religion to Amorphis to Murphy's 
Law to Oeadguy to Sensefield to Battery to Corrosion of Conformity to fuck- 
ing Type O Negative. There are also various other snippets thrown in for vari- 
ety: top ten lists, a q&a piece about sex with some well-known musicians, that 
sort of thing. This issue also comes with a CD (is it just coincidence, or why 
does everyone now do Inside Front-style maga/.ine compilations'.^ featuring 
bands as varied in style as those covered in the magazine: Subzero. Dare to 
Defy. Brightside. Anal Cunt. Texas is the Reason, Seven Gone, and a good 
twenty some others. As far as the CD goes, all the music is really polished 
(often itH) much .so for my taste), and though there are a couple interesting 
tracks most of it is out of my field of interest... any listener will probablv have 
the same reaction, even if they don't like the same bands as I. The European 
bands on it are generally the Lost & Found ones that badly imitate old US 
hardcore, not the good modern ones that are breaking new ground. This maga- 
zine and CD are a really good resource together, and quite affordable, which is 
great; but All That is clearly geared towards people interested in purchasing 
music for their leisure time, rather than individuals who see music as an artis- 
tic force that could turn our fucked up world upside down, -b 
$5 to P.O. Boa 1520, Cooper Station. New York. NY 10276-1520 
ALLIANCE FOR SURVIVAL #2 

Half-size, smallish "zinc, a little messy but readable. Contains some random 
stuff ( letters and responses, a sort of stream of consciousness page of quotes 
and etc.. thoughts on false alien abduction stories and popular hardcore themes 
such as veganism. Kinko's. selling out. etc.) that makes for decent-enough 
reading. The interviews with 25 la Life. Option, and the editor of the 'zine 
"Farther than Forever" are pretty short; and, there are a few decent reviews as 
well, -b 

$2 to P.O. Box 608071, San Diego, CA 92120 
ANTHEM 05: 

Free Vines like this are beyond all criticism, just for being free. Take ii or 
leave it. David puts all the information he can at your disposal out of the kind- 
ness ol his heart and wallet. This issue has a decent N. Carolina hardcore news 
section, brief interviews with Setback. Outrage, War Prayer, and Shutdown. 
some fairly useful reviews, and some commentary: some of which is notably 
intelligent and well-balanced, and other parts of which are concerned with 
Christian issues or old-fashioned moral rules that I don't really find compel- 
ling (chastity comes Up). There are a few photos, and the general area of cov- 
erage is modern day youthful straightedge hardcore. I hope this is around 10 
serve its readership for a while to come, -b 
stamps to 10025 Thomas Payne Circle, Charlotte. NC 28277 

Anxiety Closet #7 Spring 1996 

This is the only zine I've ever seen that has first aid tips for household pets. 
Not a bad idea at all when you think about it — you might not ordinarily have 
given your need for that sort o\ information any thought be fore h and. Aside 
from that, there are good interviews with ChokehoM and Blindfold and less 
compelling ones with perennial zine features Quicksand and Shelter. An ar- 
ticle on "Fascism in Hardcore" discusses various bands' frequent and casual 
advocacy of violence a s a solution to problems in hardcore. An appropriate 
touch is that they sent out copies of the article to the bands they cited by name — 



one band is given space to respond in print next to the article, and they prom- 
ise to publish forthcoming responses from o thers. It's good to see people 
foster dialogue on issues rather than to have two groups attacking and defend- 
ing redundantly. My only complaint about AC is the amount of wasted space — 
the personal ramblings of the two editors are not very compelling and run on 
and on. There is also an overabundance of typical zine features like pro-straight 
edge testimonials and attacks on Civ for being on a major label. Lastly, the 
Simpsons trivia quiz in the back is just too damn hard — I hate to think of how 
much lime someone must have spent collecting the answers to questions like 
"How does Chief Wiggum open walnuts?" ( $2 to 4 Lcona Terrace, Mahwah, 
N J 07430-3025) 
BACKSEAT #1 

First of all. the fact that this 'zine is designed to be free is great — I'm always 
thrilled to sec kids getting away from the profit motive (however small the 
margin may be ) and towards a free exchange of ideas. The 'zinc is also founded 
with a commendable purpose: so that more women's voices will be heard in 
the community, which is something that I think has been sorely lacking. Not 
that there aren't columns by men in this issue (for example, there is an excel- 
lent article by Emmanuel Ortiz about the goals of this 'zinc, which essentially 
says thai (hey are in the best interest of both men and women), but at least half 
of the columns and even one of the two band interviews (Tara of Disembod- 
ied... the other interview is with Dave of Harvest) arc from a female perspec- 
tive. The interviews are conversational, fairly lengthy; they go into about as 
much depth as the bands interviewed permit. One woman writes an article on 
"vegan hardline," which I found typically ovcrzealous and unbalanced, but 
most of the other writing was useful and well-done (an article about bicycling 
activism caught my attention). There are a couple good book reviews (it's 
always exciting to read book reviews...) and a total of four record reviews. 
Hopefully backseat will continue to exist, and other 'zines will follow it in 
encouraging diversity in the hardcore community. 
postage to P.O. Box 141 1 3. Minneapolis, MN 55414 
BANTER "#99" 

Four page, tabloid size newsprint hardcore briefer from NYC with a fair vari- 
ety of short reviews, ad's, and a two interviews (Faction Zero and Advertcncia 
from Puerto Rico) that are very difficult to read. In fact, the layout in general is 
pretty damn messy. That's everything, -b 
$1 to R.G. Walter, P.O. Box 645. New York. NY 1 000 1 
BLOOD BOOK "Handbook for Holy Terrorists" #4 
Dwid's 'zine is back in a smaller, much slicker format this time, with all sorts 
of crazy artwork and collages. In the introduction, the editors convincingly 
criticize the 'fallen hardcore movement' for no longer posing a threat to any- 
thing at all, and resolve to still remain committed to being dangerous to the 
status quo on their own, apart from hardcore. What follows are interviews 
with Catharsis. Gehenna, and experimental noisemaker Maurizio Bianchi, 
record and 'zine reviews, and a record trades page. The Ringworm demo (re- 
mixed by Dwid to ba clearer, more exciting and a little ovcrdramtic on the 
vocal effects) comes with this issue on 7"... it's high time that demo was avail- 
able by itself on record, it's the best thing the band ever did: fast, really punchy 
crossover metal with screaming-baboon vocals and triple time drum bursts; 
this recording is the classic that Liar and Congress have patterned themselves 
after (especially Liar). Of course supplies are limited, sp hunt one down if you 
can... 1 hear there are a few at the Inside Front HQ... 
P.O. Box 770213. Ukewood, OH 44107 
BREAK FREE ft4 

This 'zine's real coup is the one-sided, one song Backlash 7" that comes with 
it: Backlash is on top of their game, turning out some simple, old-fashioned 
straightforward hardcore, perfectly crafted with some layered parts, plenty of 
speed and catchy melody, and more emotional punch than they ever had be- 
fore. The song builds to a real climax a couple different limes, and to top it off 
it comes with sonic very compelling and intelligent commentary on the sub- 
ject of the song: child abuse. The *zinc itself contains a decent interview with 
Backlash, a little Internet resource page, a couple descriptions of good "zines 
(except for Inside Front, which is inexplicably listed), plenty of record re- 
views, and a good deal of straightforward writing about the editor's (and some 
contributors') life and opinions about abortion rights, national funding for the 
arts. L'FO's. growing up as the "fat kid", "why big families suck", etc. Sort of 
a mish mash of material, and not all of it polished, but it makes for decent 
reading nonetheless, -b 
Chad Rttgola, PO. Box 121. Lehman, PA 18627 




■ 



Ifcjfri 



■ 



swaa 



SUflN COLLECTOR #3 

This is always a favorite of mine. Al Burian can write a few rambling para- 
graphs on anything (this issue we get pieces on the extinction of metal. H.P. 
Lovecraft: the king of the nerds, and Vincent "Buddy" Cianci, Providence's 
mayor/mafia don) and it makes for excellent reading, because he is such a 
skilled, insightful, and intriguing writer. For sheer interest value I would com- 
pare him with Henry Miller, although he certainly has a much more bleak and 
cynical view of life. Al has also included an interview with a local weird guy 
from his town; an unusual choice for an interview, but ultimately more enter- 
taining than any member of, say... well, we won't name bands here. That's not 
positive youth! -b 

stamps to At. 307 Biueridge Rd.. Carrboro. NC 27510 
Con(tra)science 05 

Con(tra)science is one of those rare zincs that devotes itself to backing up its 
opinions with facts and references. Its main goal is to refute or reexamine the 
"truths" many Americans learn from supposedly neutral sources such as ou r 
schools and the mainstream news media. This issue has well-written (and, just 
as importantly, well-researched and attributed) articles on the myopia of Ameri- 
can school textbooks, the Smithsonian's exhibit commemorating the anniver- 
sary of the dropping of t he atomic bomb on Japan, and the perpetuation of our 
country's arms buildup despite the end of the Cold War. Some of these topics 
may seem familiar to followers of left-wing publications such as 'The Utne 
Reader", "The Progressive" and "The Nation", since this is where the major- 
ity of the citations in Con(tra)scicnce's articles arc from, but the attention to 
detail and quality of these articles is welcome and hopefully some of the infor- 
mation contained within will reach a new audience. Also included are inter- 
views with Craig O'Hara, author of "The Philosophy of Punk", and artist Piotr 
Szyhalski. ($2 to PO Box 8344, Minneapolis, MN 55408-0344) 
DESTROY BABYLON #3 

This is a foaming-at-the-mouth Hardline politics 'zinc. It's done so much bel- 
ter than most hardcore 'zincs that it's ridiculous: decent layouts, good gram- 
mar, thick as hell with a variety of well-presented content, a genuine sense of 
wanting worldwide change, and a generally well thought out approach to their 
'zine (unlike their politics!). It's amazing that these would-be fascist funda- 
mentalists can put together something so focused while more level-headed 
punk and hardcore kids just turn out drivel. The contents include a few articles 
about various intra-hardline goings on, a list of recent illegal actions in favor 
of the hardline cause, an (unbalanced, superficial, one-sided and ultimately 
reactionary) attack on pornography, health and fitness advice (inclusion of 
this is laudable, at least), an interview with hardline metal band Talisman, an 
article on communal living, a couple essays by individuals who describe how 
they came to be hardline (one heard a good angel and a bad angel literally 
arguing aloud in her head, which is usually a sign that you're not qualified to 
make decisions... rather than good reason to join a narrow minded group of 
homophobes), and most interesting of all: an interview with the former singer 
of once-hardline band Raid, after he had started smoking pot and distanced 
himself from hardline. (I've been told by a current hardline member that the 
interviewer, who gently attacks the ex-singer for 'selling out.' has now left 
hardline as well!). That interview is extensive and covers a lot of interesting 
territory. Do you think I'm being too cruel andcloscd-mindcd about hardline? 
Here's only a couple (of many) examples why I'm not: One writer laments the 
passing of times when homosexuals and child molesters were considered the 
same thing (and were" accordingly burned at the stake). He also says, like Rush 
Limbaugh and other reactionary conservative bible-thumpers, that homosexu- 
als don't want equal rights, but more rights than everyone else... that's a good 
excuse to give them no rights at all. right? Finally, God ("The Great Spirit of 
Nature that spawned us into being, you arc the Hardline that we follow, the 
Truth that we obey") is first on the thanks list — it's always easier to be a rabid 
absolutist if you think you're acting out the will of God and the truth (but how- 
can you tell if you're right about the "Truth"? See my essay in the beginning 
of this issue)... you want to be free of slavery to corporations and other men. 
but you still have to be a slave to somebody, right? Honestly. I'm just plain 
confused by the hardline edict that we must live "according to nature" — how 
could you not live according to nature, to your nature? Ants build anthills, 
human beings build cities and make pollution. That doesn't mean we can't 
stop making garbage, but if we do, then stopping must have been somewhere 
in our nature too. right? (And I hope it is as much as any hardline kid does — 
don't get mc wrong!) -b 

$2 or $3? to Cincinnati Hardline, P.O. Box 40941. Cincinnati. OH 45240 
ENGINE #3 



; \/i m 




It's been about two years since I last saw this'zinc, but it was worth the wait, 
because this is everything you should gel in a punk 'zine: in depth interviews 
that range from educational and eloquent (Los Crudos) to anecdotal (Assfactor 
4 tells of .a near-fatal experience) to historical (N.O.T.A.) to conversational/ 
personal (Dave Mandel, Dan O'Mahony) to downright stupid (Spazz). Max R 
& R-stylc record reviews (read as: half-decent, but not great unless you com- 
pare them with Punk Planet record reviews) of a large number of hardcore/ 
punk releases, interesting/entertaining comic strips and other space filler, and 
by far best of all prose pieces by a couple old punk guys telling hilarious 
stories about old punk shows, failed rclaiionaships, or why Black Flag makes 
them want to kill college students. This magazine is better reading by far than 
most of the print I reviewed this issue... it's well-wrilten, well-thought out 
(except Spazz — fucking first grade morons), and high on content. 
$3 to P.O. Box 640928. San Francisco. CA 94164-0928 
Excursion #T Spring 1996 

This is very much your typical straightedge zine. with a name that coinciden- 
lally has an X in it, many photos of beefy guys wearing baseball caps shout- 
ing, and noi one but two bad graffiti-style drawings of cartoon charactcrsw 
earing Champion clothing and holding baseball bats. This is the visual accom- 
paniment to ignorant shit like a list of "Whodcy'sTop 10 Chicks"; an account 
of having stopped a Chokehold show by dancing too hard and punching a girl 
who tried to make them stop (which ends with the writer being mad at 
Chokehold for saying the Incident "ruined their set"!); and a vaguely pro- 
American editorial with the first line, "What's up with the disrespect to 
America?" This tidy package is held together by short, uninformative inter- 
views with Tension. Culture, Built to Last and Driven, some bad record re- 
views, and several Victory Records ads. (673 Galli Court, Columbus. OH 43228) 
H8Z: Hate8000Zine #2 

There is a big hardcore community in Belgium right now, a lot of newer kids 
and newer bands playing angry, metallic music: Congress, Liar, etc. This is 
their local 'zine. and it conveys the general flavor of their scene in the letters 
and show reviews sections. It also includes decent interviews with Integrity, 
Jose of Abhinanda and Desperate Fight records, and locals Regression, as well 
as a few reviews and articles on how hardcore in general and violent dancing 
in particular arc coming back in their region. Nice layout, and a serious but 
excited approach... if Belgium hardcore gets much bigger we'll all have to 
subscribe to this, and wish we lived in Belgium the way eight years ago we all 
■wished we lived in NYC. -b 

$? to Jozef Demeesterstraat 33. 8800 Roeselare. Belgium 
HARDWARE #8 

This is just about the best hardcore 'zine you can get today, not because it has 
the broadest coverage by any means, but just because it is so well done. You 
will find here interviews with the famous Pushead, the infamous Half Off. the 
recently notable Ignite, Floorpunch. 97a, Enrage, and Ensign that tell you ev- 
erything you could ever want to know and more about the interviewees. These 
interviews are so much longer, more interesting, more informative, and better 
researched than any others you'll see that it's amazing. A wide variety of re- 
views, not long reviews, but a wide variety... that makes the review pages 
something like those in Max R&R.only from the perspective of old-fashioned 
iralc hardcore kids. Plenty of rantings, funny stories, and NJ news from the 
editors as well, plus scene reports from the four corners of the earth. I suspect 
lhat MRR in it's heyday was to punk what this is to hardcore now... maybe 
twelve years from now I'll be reading Hardware #150 — and by then it will 
suck, loo! I'm joking. I hope, -b 

$2 to David K. 120 Coolidgc St.. 2nd Floor. Linden. NJ 07036-4302 
ICARUS WAS RIGHT #2 

I reviewed this zine elsewhere a few months ago. Looking al it again, I'm still 
impressed. Beautiful graphics, a commitment to a wide range of topics and 
styles of music, a strong advocacy of non-musical expression as seen in the 
book reviews and artwork (original and reproduced from other sources), inci- 
sive interviews with bands as disparate in their outlooks as you can gel (in ihis 
case, it's Fugazi and the Mr. T Experience!), and an overall commitment to 
being challenging and thought-provoking. This zinc's staff is obviously very 
ambitious and driven and I would expect even belter from them in the near 
future. (S2 to PO Box 191*175. San Diego. CA 92519) 
ICARUS WAS RIGHT tf3 

This was ihc mosi exciting, refreshing, inspiring 'zine in ihe review box this 
issue. The formal and layout are ihc very best around — ihis looks like the 
thesis project of a graduate student in graphic arts, what with all of the clip art, 
fancy arrangements, special effects, and reader-friendly text. And unlike many 








pretty 'Zincs, there is some serious content here... so the graphics complement 
the subject matter, making it more dramatic rather than obscuring it. There arc 
extensive articles about Food Not Bombs (what it is. what it docs, what it's 
like to be involved), censorship in the U.S. media during recent recent wars 
(carefully documented), and punk rock on the internet (pro's, con's, and how- 
to's). There are editorials on consumerism, the Unabomer manifesto (which 
comes with a few pages of excerpts from the real thing), and culture (why it is 
in itself a bad thing and hostile to human happiness). There are in-depth inter- 
views with Unwound and the Promise Ring. There is a letters section (filled 
wiih intelligent exchange about relevant subjects), 'zinc reviews and record 
reviews, reviews of books, movies, animated movies, and mature comics (re- 
markable in the variety of exciting genres and original works covered — the 
book section reviews everything from Henry Miller to Bertrand Russell to a 
collection of interviews with Jcrzy Kosinski. author of "The Painted Bird"), 
and a biography of the tragically controversial artist Egon Schiclc. All of this 
is decorated with plenty of propaganda, diatribes, photos, poetry snippets, 
notable quotes, and illustrations. The general theme is the life in its most in- 
tense and fulfilling manifestations, with all the danger, romance, and excite- 
ment that that entails. What I like most about IWR is that it makes punk and 
other "underground" countercultures relevant to life in general, by tying them 
in with the ongoing struggle of human beings to find freedom and meaning in 
life... a struggle that has been going on a lot longer than punk has been around, 
-b 

$2 to P.O. Box 191175. San Diego. CA 92159 
Last Breath 01 

The majority of this zine is interviews with Falling Forward. Blood of Judas, 
and Instil. There's also a really heated response to Todd Forkin from 
Starkweather's column in the last Inside Front where he dismissed modern 
hardcore as infc rior to the old school, a weird discussion of using animal 
organs for transplant in humans, an article that's in favor of musical diversity 
in hardcore (hear hear), and a lot of stuff pulled off the World Wide Web. This 
zine is a little thin on content at p resent, but the editor asks some interesting 
questions in his interviews, and the articles show promise too. I must note that 
this may be the only zine you'll ever sec with photos of Indian Summer and 
Integrity on the same page. ($l to 55 Wakcr Ave, Allentown. NJ 08501) 
THE MATCH! #90 

Interested in anarchism? In genuine, mature, grown up, well thought out anar- 
chism as a possible social alternative to the systems we live under now. and 
not as an immature shock value sound bite? Read the Match!. Here you'll find 
(in addition to the overly extensive lettcrs-and-responses section that seems to 
plague every serious anarchist publication) articles on how the Unabomer has 
successfully been used in the mainstream media to discredit anarchist think- 
ing, on the drawbacks of computers (an article that I think relates to a more 
general problem we have today: that our technological development seems to 
have outstripped our actual need for technology, especially in relation to our 
greater need to live really meaningful lives, thus wasting a lot of our time). 
"How Businesses and Institutions Attempt to Control the Small Press" (much 
of it being an attack on Fine Print distribution), and a number of other interest- 
ing topics generally relating to the liberty of the individual. Similarly there are 
reviews of anarchist and atheist publications, notations of dangerous goings- 
on in the government and society at large, and entertaining reminiscences upon 
the author's past, All of the writing is excellent and clear, as is most of the 
thinking here (it's certainly more balanced and restrained than anything you'll 
read in Inside Front). If you want some interesting, challenging reading/think- 
ing material, to alternate with the ficiton and nonfiction books I'd like to be- 
lieve you read, definitely try the Match!, -b 

$10 to subscribe... $2. 75 per copy? to P.O. Box 3488, Tucson. AT. 85722 
MINORITY #2 

Nice-sized, small print hardcore/punk 'zine. written in Czech. If you speak 
Czech you'll want toczech it out (ouch! sorry), because there is a wide variety 
of music coverage here: show reviews, lots of record and 'zinc reviews, long 
interviews with Ember, Clean Slate. Amity, and Metroschifter. a letters sec- 
lion, and columns, etc. The editors' top ten lists alone demonstrate a healthy 
range of interests: they list the Damnation LP next to Hesse's "Demian". a 
Woody Allen film, and a documentary on experimental composer Phillip Glass. 
If you don't speak Czech you'll probably want to advertise here or send in 
records for review, because I believe this reaches a wide audience, -b 
Roman Soumar. Topokianska 419/10. Litomehce 41201. Czech Republic 
MIRROR #2 
Aesthetically, this 'zine is really exciting because it successfully achieves the 



BIHMnHaHIIWHnHMBH 



rare feat of combining a clearly homemade presentation with real quality. The 
hand-torn cover, which uses a variety of materials, is at least as durable and 
attractive as any mass-produced cover would be, and much more original. The 
contents include a reflection on 'fame', some interesting quotes (the general 
theme being "life"), a few other pieces of fairly poetic prose writing, a little 
spot-illustration artwork, and some band photos. All in all it's a quirky, literary 
sort of read; not a bad thing to have on the coffee table, -b 
$1 to Tom Nys. Broekem 6. 3740 Bilzen. Belgium 
MURDER #2 

Thin xeroxed N. Carolina 'zinc. A few long reviews, half of them of weird 
metal bands. There is a rambling sort of anti-religion article, at the end of 
which the author says that he believes in God simply because he does not want 
to believe that there is no afterlife (but my friend, wanting doesn't necessarily 
make it so...) This issue also includes an interview with Minneapolis' notori- 
ous Disembodied, -b 

fifty cents to 6049 take Bandt Rd.. Greensboro. NC 27405 
NO SCENE #a 

This little free newsletter is basically an attempt for the editor to communicate 
with others. In this installment, after his introduction (in which he complains 
about straight edge being on MTV), there arc interviews with Jug Life and 
Cold Front, a couple show reviews, a list of straight edge 'zine addresses, and 
a "personals" section for lonely letter writers, -b 
a stamp postage to B***er. 3260 Starr #3. Lincoln. NE 68503 
OPEN SEASON #7 

O.S. is a good 'zine to read for some variety in your hardcore diet. Editor Eric 
has been into hardcore for a much longer time than most of today's zinc edi- 
tors, and remarkably has never lost his interest in it; so his approach to cover- 
ing the subject is refreshingly honest, independent, and aggressive... some- 
how I remember those three qualities were much more prevalent in the hardcore 
community about seven years ago. It is this direct, fcar-no-conflict-or-contro- 
versy attitude that makes interesting the contents of this 'zinc: decent-length 
show and record reviews, band photos, and non-generic conversational inter- 
views with Cold as Life. Cornerstone, One Life Crew (interviewed long be- 
fore their Victory CD even came out). Brother's Keeper, Disengage, and Envy. 
The rosier of interviewed bands should give you a general idea of the music 
covered in O.S.Thc 'zinc itself is not thick, but is well put together and has a 
decent amount of content. Suburban youth should be warned that the knowl- 
edge and mannerisms that Eric learned while he was in prison (assault and 
battery) may make some of you uncomfortable... -b 
$1 to P.O. Box 10282. Rochester. NY 14610 
Psst... #1 

A very short first zine with two pages of photos, interviews with a couple of 
ska bands and a bus driver, some random stuff, and a drawing of a turkey 
standing next to a building marked "Slaughter House" saying "Gobble gobble 
murder." (SI to PO Bo x 4862. Palm Harbor. FL 34685) 
PLAYDOUGH03 

This is a well-put together, fairly thick half-size 'zine. The author seems seri- 
ous and sincere about his work here, although I can tell from his various writ- 
ings about his life (scattered throughout) that I don't have much in common 
with him (he seems to be a pretty happy camper... although I did find his 
meditation on the briefness of life convincing). There is a fairly short inter- 
view with Farsidc (in which the band says nothing of any interest at all... but 
what do you expect from a pop band?), a number of show reviews (and I mean 
a lot!), a comparatively high number of record reviews as well (mostly more 
mainstream hardcorc/metal/pop). and more commentary from the editor (his 
writing is fairly polished, although I'd love to argue with him about some of 
the details). Playdough is made complete by the photos, ads, and interesting 
snippets (reprints, top-ten lists, etc.) that arc interspersed throughout its pages, 
-b 

52 to Brian. P.O. Box 3. Manomet. MA 02345 
POWER SCHLIEF #7 

German hardcore 'zine with an obnoxious and sarcastic attitude. That's re- 
freshing, and it would be more so. if only I could speak German. But unfortu- 
nately all I can tell you about PS. is that the cover is glossy, the photos and 
obnoxious pictures/snippets are entertaining, the interviews with Acme, Un- 
broken Steakknife. Ego Trip. Sheer Terror. Snapcase. and Sick of it All arc 
long and look educational, there seems to be lots of funny commentary, and at 
one point I am misquoted as having said "violence belongs to hardcore" (!?). 
If you can read German I bet this is great. 
Axel O ran gemann. Stammbach 9, 74538 Rosengarten-Rieden. Germany 





QUEEN OF THE SCENE 

This is certainly the mosi hilarious and insightful comic you can find that has 
anything to do with punk or hardcore. Every punk superstar from Tim Yohannon 
to Jello Biafra is parodied, and there's a lot of great humor at the expense of 
generic punk/hardcore youth as well. On top of this the author actually sneaks 
in some of the most cuttingly true points I've seen made by anyone in the 
mediums of punk or comics. Write this guy, send him some postage or money 
or something, and beg him to put you on the mailing list I'm not joking. 
P.O. Box 1910, Beverly Fucking Hills. CA 90213 
RAGE GENERATION 01 

English hardcore 'zine from Singapore. Includes reprinted articles (veganism, 
Ron Coronado, and a really interesting one about Islam), lengthy band inter- 
views (Carburator Dung. Foursidc, Chronic Mass, Nccrous. Warzone, 
Propagandhi), columns (scene politics, etc.), some reviews of shows and 
records, and photo's, reprinted fliers, and more reprinted newspaper clippings, 
etc. Decently put together. This should be a useful resource and contact point 
for anyone into hardcore in the Pacific area, -b 
Abdul Khalid. blk 225, pasir ris si. 21 #02-58, S (510225), Singapore 
Refuge 06 

The majority of this zinc is devoted to arguments, solicited from a wide range 
of people in the scene, for and against the death penally. It's interesting to sec 
that many of the people who oppose the death penally don'l seem any more 
passion ate about the issue than the people who are satisfied with the status 
quo. The few people who do have well-reasoned arguments really slick out. 
Also included are an interview with Burial Ground and a letters section that is 
proportionately too long for such a short zine, although it does allow Ihc editor 
to make a well-reasoned defense of a woman's right to choose without resort- 
ing to name-calling, an unusual occurance in the zine world. ($1 to 123 Rice 
Sl.,Trucksville,PA 18708) 

RETROGRESSION/Warning: May Provoke Thought 010/06 
This issue is definitely head and shoulders above most magazines, including 
the last issue of Retrogression, in faci. Light printing in some places is the 
only drawback: everything else you could want in a magazine is here. You'll 
find a very informative article on the German punk convention "Chaos Days", 
plenty of writing about editor Brian's experiences doing this or that (most of 
which serve to illustrate his mantra: "it's OK not to be a dick") and editor 
Dave's opinions, an informative (and important) article on knowing your legal 
rights with cops etc.. an article on vegan/vegetarian nutrition, a resource guide 
to punk on the internet, a good long interview with 7 Seconds, plenty of cru- 
cial politically educational reading concerning the upcoming election and con- 
servative "welfare reform", a useless trivia page, a "tips on safer sex" column, 
lots of reviews (which are generally pretty good, but seem to cover so much 
ground that it's often disorienting), a hilarious rant entitled "10 Good Things 
about the Firestorm" (I do have to warn you that it's .not very nice...), and lots 
of other really useful, interesting reading. The layout is excellent, and to top it 
off a 7" comp. comes with this as well, featuring Ascension (reviewed else- 
where in here: excellent Cleveland metal/hardcore with some emotional high 
points). Seven Years War (more jarring, sometimes rockish hardcore/post - 
hardcore type stuff). Black Krondstadt (fast, old-fashioned straight punk with 
angry, spoken political lyrics), and Fork (alternative rock in some parts, just 
messy God-awful demo garage noise in other parts). Some records are classic 
(this one isn't!), but this issue of this 'zinc is itself a classic. A+. -b 
$4 to Retrogression, Brian Hull, 104 Newport Avenue, Attteboro, MA 02703 

Rust 03 Winter / Spring 1996 

A very visually appealing zine from Seattle with a fairly basic computer lay- 
out and many good photos. There is a decent amount of local HC content 
(always a plus), "mainly show reviews and a scene report. The interviews wit h 
Ian MacKaye, Shift and Guilt are interesting, if too brief in all cases. Perhaps 
the most interesting feature of the issue is a discussion of the pros and cons of 
major labels with actual A & R representatives who arc pursuing punk and 
hardcore bands — in this case, it's David Wolters of Hollywood Records and 
Mike Gitter (who used to do the zine XXX way back when) of Atlantic—plus 
one of the members of Orange 9mm. Understanding the way these guys jus- 
tify handing over financial control of hardcore to major labels is instructive. 
However, the interviewer in all cases seems to be more interes ted in getting 
ihc major label side of the story than questioning the assumptions his 
interviewees have made about hardcore ethics, which is disappointing. (S3 to 
PO Box 2293, Seattle, WA 98 1 1 1 -2293) 
SELFWORTH 02 
In this half-size 'zine, we find scene report from Belgrade and Bulgaria, an 



article approaching animal rights from a socialist perspective, some band pho- 
los (well-reproduced), an interview with politically conscious/socialist band 
Feeding the Fire, a listing of other 'zincs and projects throughout Europe re- 
lated to this 'zine, and more than anything else a lot of so-called "personal" 
writing, which is the real focus of this 'zinc. The editor and his friends share 
ihcir feelings more than their rational opinions with us, on a variety of often 
politically-related topics. This is a hard kind of writing to pull off in a way that 
is interesting to the reader... but Selfworth is getting close to accomplishing 
(his, which is an unusual feat, -b 
Jan, Bosserveldt 32. Bigi SK Seek (L). Netherlands 
SHOW CASE #2 

Plenty of little articles here on subjects ranging from hardcore dancing to "break- 
ing things for fun" to how fashion is never rebellious to an attack on MTV. As 
you can see, there's some silly stuff and some serious stuff here, and it's hard 
to tell which predominates. Probably the best piece is an in-depth attack on 
Chrisitan religion. There are record reviews here, but not only arc they pretty 
short, they also review records from last month next to records that came out 
in 1 989 (and if they aim to cover the last seven years of hardcore records, they 
fall a little short). Anyway, you wouldn't read this for the reviews, but for the 
writing, which is not very polished but sometimes interesting. 
P.O. Box 151372. Cape Coral, FL 339/5 
SOBER 03 

Sober opts for a more serious approach this time... coming with (you guessed 
it) a tape compilation. The 'zine contains decent, often lighthcartcd interviews 
with Shutdown. Indecision, Scorch, Chapter. Brother's Keeper. Digression. 
25 ta Life, and Day of Suffering, and a couple pages of short music/'zinc 
reviews. The layout is clean, and the photos and illustrations look nice. The 
tape includes lyrics and addresses, and has songs by Option (by far the best 
here — see their 7" review for details). Chapter (this song is interesting but too 
long; see their demo review for details). War Prayer (growling dcathmetal). 
Catharsis (godawful shit), Polyester Cowboys (classic NC punk/hardcore cross- 
over). Indecision, Shutdown, Digression (modern hardcore from those three, 
pretty exciting), Comin' Correct, a live 25 la Life Agnostic Front cover (simple 
NYC hardcore from those iwo). Dreadsecd. and Scorch (modern, occasion- 
ally metallic hardcore, still rough around the edges, from these young hands). 
-b 
$4 to Dan-E Fresh, 311 South LaSalle St. Apt. Id. Durham. NC 27705 

Statue 02 

It's always good lo have sources of news from Europe and the rest of the world 
to remind us that US bands aren't the be-all and end-all of hardcore. This 
excellent zine from Ihc Netherlands (edited by a guy who writes in English as 
a second I anguage better than most Americans do in it as a first) features 
interesting interviews with current Scandinavian favorites such as Veil and 
Congress, lots of revealing news about that area's scene (bizarrely enough, 
Cleveland hatecore is the new rage, so a II the kids start fights at shows now), 
some genuinely engaging personal writings about the changing of the seasons, 
and an interview wilh 1 08 coupled with a debate over the relevance of Krishna 
and religion in general in which the editor does a good job of refuting the need 
for a controlling religious identity. I have to give Vic (I mean Vraja. whatever) 
credit for voicing his views clearly — I imagine if you're always being ques- 
tioned about your beliefs, you learn how to present yourself and your thoughts 
mo re effectively. Anyway, this is a very good zine and should be pursued by 
anyone who wants to know more about the thriving European hardcore scene. 
(Pieter. Van Gocnslraal 8. 5463 HJ Vcghel, the Netherlands) 
Tadpole 02 

Another European zine, this time from England, where the hardcore scene is 
relatively much smaller than in the US or mainland Europe. I'm always glad 
to read about bands who exist outside of the scene spotlight, wherever it may 
be; 1 wasn't familiar with any of the bands in this issue (Stampin' Ground. 
Undone, and Schema) and was interested in hearing them discuss the issues 
that are important to their own local scenes. Aside from interviews, this zine is 
mostly record reviews, which I have to say were far too short to be helpful, (uh 
oh, no address) 

THINGS FALL APART "Report of the TEA. ladies Auxiliary 01" 
This is an interim issue to hold us over between TEA. #4 and #5. Richard is 
an irresistibly funny and indecently talented writer, and everything that comes 
out of his typewriter is interesting and memorable. Here, for example, we 
have a really telling and convincing rant on how much people in punk/cmo/ 
etc. today seem to want to return to childhood, and what's bad aboul this; a 
hilarious satire of punk/hardcore record reviews; a review of two books on 



if: \$%^f$t'f' : ''.' 




terrorism thai contrasts their subjccl matter with today's armchair revolution- 
aries, with the result being unflattering for everyone; and a little poem/comic 
tor filler. Checkout TFA#5, out now in theatres everywhere. It arrived too late 
for review, but I assure you that it's hilarious and really interesting (contents 
include a commentary on the positive and negative aspects of "emo" culture, 
some "zinc and book reviews, an interview with the defunct Action Patrol, and 
an extensive\mcandcring conversation between the editor and a certain self- 
important individual who shall remain nameless). -b 
stamp to Richy Rich. 2609 John Milton Dr.. Herndon. VA 22071 
UP FRONT #7 

A shortish, high-content 'zinc focusing on Northeastern hardcore; though the 
editors are fairly young and it shows, they have a serious approach that mani- 
fests itself in a good layout, lengthy interviews with Age of Reason and Sub- 
zero (the latter of whom are extremely articulate in their criticism of the ill 
effects of mainstream media exploitation of the hardcore scene, and on other 
topics — I was definitely impressed), a whole lot of show and (short) record/ 
demo/'zinc reviews, and some nice band photos. All of that stuff is definitely 
useful. There are a couple pieces of written commentary that could have been 
a bit more polished, including an anti-choice piece on abortion that didn't 
really shed any new light on the topic. But for kids in the area, this is a good 
resource, -b 

Darrvll Tamo, 7 High Street. Collinsville. CT 06022 
UPSTATE 07 

The key feature of this 'zinc is that it's put together by professional graphics/ 
design people. Consequently, it's appearance is beautifully jarring, manicly 
chaotic, pandemonical... it's impossible to digest what's going on everywhere 
at once. Crazy images and typesetting seem to be literally spilling out on the 
pages into your lap. This is exciting and original in a 'zinc. However, unlike 
Icarus Was Right (the only competitor I can think of in the graphics depart- 
ment), the content of Upstate really suffers. A good half of the writing is near 
impossible to read. This in itself might be a daring statement to the effect that 
"the medium is the message"... but where you can read the writing, it's simply 
not as good quality us the layout. Not that it's not better than the writing in half 
of the bad straight edge 'zincs I sec, but it's just disappointing that it doesn't 
measure up to the dramatic presentation. There arc articles about "punk to- 
day" and how violence is not a solution to any problem, vague emotional rants 
that are hard to pin down as to subjccl matter, some interesting rumination on 
the ultimate purpose of graphic design, fairly good 'zine and book reviews, a 
short piece of fiction, an article on the 'zine "revolution", an interview with a 
talented graphic designer (this is admittedly an original interview subject), 
and some music reviews (that arc at their most useful when they describe 
spoken word records by Beat generation authors, and at their least useful when 
they try to describe hardcore music... fortunately they spend most of their time 
in between on alternative records). This "zine is definitely an original, unlike 
any other — but somehow it leaves me unfulfilled. Maybe I just need to get 
used to Upstate. Hm... -b 

52 to 283 Betsinger Road, Sherrill. NY 13461-1208 
ViSIONS OF TOMORROW 01 

Sort of an unusual, spotty collection of topics in this xeroxed 'zinc. There is a 
pretty good interview with Damnation, some photo spreads, some commen- 
tary (a touching introduction in which the author describes the difficult life 
that has led him to become straight edge, an article about not judging by ap- 
pearances, an editorial which suggests plausibly that the hardcore scene over- 
reacted to One Life Crew, and a reprint from a book about veganism). a short 
interview with Tony of Victory records about the whole O.L.C. thing (which 
doesn't really say anything new), and some filler pages of random nonsense. 
There's some interesting stuff here, but I'll be more curious to sec the next 
issue, -b 

$1 to ... shit, no address in the 'zine. Here 's editor Mike s phone number: 414- 
647-0945 
WAR HYMN #1 

Free handout pamphlct-'zine... this is a self-proclaimed "Strhatc Edge War 
Bulletin." and in keeping with that purpose the subtitle reads "A new era in 
narrow minded thinking, which I think is hilariously direct. In fact, though 
this title would usually be a real warning signal for intelligent 'zine-readers. 
this first issue War Hymn is actually not unbalanced, excessive, or laughable. 
Instead, the contents are a couple tirades (one against the various fringe groups 
of morons and posers in the hardcore community, another explaining in an 
intelligent fashion why it is important to be able to defend yourself and ac- 
cordingly recommending the best martial arts styles to learn), a short scene 



report from Rome/Italy, a list of addresses for active earth- and animal-de- 
fense groups, and a few short record and demo reviews, -b 
postage to Maurizio Ricci. ViaAtnico Bignami 12, 00152 Roma, Italy 
WELL FAIR 01 

It's great to see all these free 'zines (although I'm a little nervous, since each 
one is only on its first issue). Here we have articles on how the Atlanta 1996 
Olympics could be used for very visible protests, on how voting Republican 
will evenutally make the world a better place in the long run (by making people 
more frustrated with their government in the short run — I have to say it's a 
great article!), and D.I.Y. show booking (a good thing for sure). Kevin Zelko 
also contributes a really intelligent rebuttal to Noam Chomsky's theory that 
animals do not use language, and there are a couple other pieces of writing 
here... plus the obligatory 'zinc and record reviews. There's a lot of intelli- 
gence here. Good stuff, -b 

postage to Well hair, Hitey proudhon, 4308 Oak, Apt. S. Kansas City. MO 
64JII 

WHOLE NINE YARDS 09? 

Comes with a "Whole 9 Yards" pen (I used mine until it ran out, and it served 
me well), and a 7" featuring Eleven- 1 1 (very melodic, with some quiet acous- 
tic parts and a rock singer who. it becomes apparent whenever he gets excited, 
can't sing at all). E Manon (fast, rough, and surprisingly impassioned angry 
New York hard-core... I wish I heard more NYC bands this into what they're 
doing, and not just going through the motions), and Pitfall (bass, drums, and 
geek making farm animal noises, recorded on a boom box). The editor does a 
lot of stuff, and his layout style is about three limes as messy and illegible as 
Rick's is in Back Ta Basics, but (hough it is present here as usual I can still 
make out a fair amount of content. What we have here is plenty of band and 
graffiti photos (not too well reproduced), short interviews with a graffiti artist, 
Nuclear Assault, and Goatamentise, a whole lot of reviews (not extremely 
descriptive, but there arc a lot of them), lyrics for the bands on the 7" (it seems 
that No Redeeming Social Value was supposed to be on there, but somehow 
isn't), and lots of other really random stuff. I'm not sure if I got the cost cor- 
rect, but if 1 did. the price is right... -b 
$1? to R. Walter. GPO PO Box 645. New York. NYC 1000/ 
WHOLE NINE YARDS ISSUE 010? 08? Hmm... 
Gabe's unreadable layouts have got me again, and I can't tell which issue this 
is. This is probably the best thing he's done, though, in terms of amount of 
material present... between the scattered ten syllable demo and record reviews 
and general visual noise, we find a useless interview with Sic-n-mad, show 
reviews, graffiti/band photos, a Full Contact interview, more fucking visual 
noise, even more goddamn visual noise, and what I think must be information 
on the bands on the CD. There's some good stuff on the CD: probably four or 
five of the bands successfully pull off Cro-Mags covers that aren't actually 
covcr> but original songs... they sure do fucking sound like the Cro-mags, 
though! That's a good thing, not a bad thing, and these songs make for nice 
listening, with the angry roaring singers, the rough and grating metal guitars, 
the midtempo pounding energy, and the catchy singalong choruses. Of course 
there are a couple really silly annoying joke band songs on here too. playing 
fucking nonsense that I guess is entertaining to them but not to the listener. I 
think the bands on the CD are One 4 One. N.R.S.V.. Setback, Struggle Within. 
E Manon. Sour. Gillcte. Goatamentise. Putdown. and Sic-n-mad. I'd really 
love to be able to give band by band descriptions here, but the labelling is just 
not clear enough. Sorry. But. for 54 minutes of NYHC music (which is better 
than most of the generic NYHC of today) and reading (??) material, the price 
is right. So hunt this down if you like New York hardcore. 
$5 to R. Walter. G.P.O. Box 645. New York. NY 10001 



B|MU||aa||HH^^^^^^^^^^^^M^Hm 



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Ascension demo 

Begins with a long. long horror movie sample. This band clearly belongs lo 
ihe new generation of bands thai listen to lots of Integrity and Earth Crisis, 
and consequently play midtempo metallic modern hardcore with shrieking 
vocals and a generally dark atmosphere. They're actually one of the best of 
those bands that I've heard, the only drawback I can sec is a loose, sprawling 
tendency in their song structure, which surely will improve as they continue. 
Their guitar work is confident and interesting, with occasional retained solos 
and divehombs. And although most of each song fall into the traditional 
hardcore formula, there is enough variety lo maintain my interest: they throw 
in unusual parts (group screaming like damned souls in hell, faster parts, etc.). 
The lyrics of the first song (entitled "being and nothingness," perhaps in refer- 
ence to Sartre's confusing philosophical book) is an excellent attack of Chris- 
tianity, criticizing Ihe way it encourages people to sacrifice the present for 
some future award. The rest of the lyrics arc clear and intelligent, which sets 
them apart from the demo crowd, since most of todays demo lyrics arc unclear 
and unintelligent. Three songs on the a-sidc. decent quality recording; five on 
the b-side, fucking messy recording! But. still good enough listening. Over- 
all, this is a grade A demo.-b 
17406 snyder Rd. Chagrin Falls OH 4402,1 - Chris 216-543-9115 

Brother's Keeper- Two Dollar Bill 

BK have been hit or miss in the past, but Mike and co. arc right on target with 
this two song cassingle. I like cassinglcs. This js probably Iheir best shit yet. 
due to the greal recording, and the songwriting is catchy and hard. They're 
still singing about failed relationships but I won't hold it against 'em. Not so 
heavy in a double bass. Slayer kind of way. but it's chunky and funky and 
danceable, mid-tempo, etc. I always thought Mike's delivery style was a lot 
like Chuck D's. this does nothing to change my opinion about that. Really 
clean recording. There's a broken heart on the cover of this tape, which gave 
me a chuckle. P.O. Box 11363 Erie, Pa. 16514 1363 
Burning Human- Death Is Mercy demo 

This has been out for some time, but I still wanted to review it. Burning Hu- 
man is a side project of past and present members of Stigmata, and a short guy 
named Jonah who sings. Most project bands lend to suck ass, but this is level- 
ling. You know how a lot of bands sound like death metal with NYHC type 
vocals? This is more like NYHC with death metal vocals. NYHC with a hell 
of a lot of brute power and anti-human sentiment, great drumming, good re- 
cording, good packaging. Actually, there's a lot of deaihmeial in with the 
deathmetal vocals and NYHC. There's a lot of hooks in here loo. Quite a few- 
samples also. I don't know why, but a huge percentage of the stuff we got 
recieved for review this time around contains way loo many goddamn samples! 
I could've also used a lyric sheet, as I can't understand a single word Jonah 
says. This has one of the funniest copyright warnings I've seen in a longtime.. 
Burning Human . 2171 The Plaza. Schenectady NY 12309 (518} 377-0354 
Cave-In 

This sounds like a badly recorded recorded practice tape, it says it was re- 
corded on a fostex 4 track in their basement which explains everything. There's 
moments that sound ok. but this fails. The screechy vocals one minute. Paul 
Mcartncy the next just sucks. Musically its tuneless, sloppy noisecore like 
Snap case or Groundwork. I thought that if you have a band, you practice 
AND THEN put out a demo. 
Chalkline 

A Cleveland area band thai sounds more like they're from Syracuse or Buffalo 
with none of the violence or personality I'd expect out of Clevo. What the 
fuck! Some of the riffs are ok. but the drumming, lyrics, and back-up vocals 
suck, reminding me too much of Earth Crisis, without EC's production values. 
The lyrics are in the "ihe blood on my hands of shame retreats into my mind as 
my true self is revealed" style that is jusl generic and gay as fuck. The drum- 
ming is choppy. Noi good. Chalkline 7950 Mentor Ave. G~8 Mentor, OH. 
44060 

Chapter demo 

Midpaced guitar chunks and groove, deep grainy vocals, atypical guitar pro- 
gressions, and surprising song structure show that this young band aims to 
develop their own style and approach to modern hardcore. That impression is 
reinforced by the insert, which includes a stapled booklet unlike anything I've 
seen before in a demo: it contains reprinted intelligent discussions of the place 
of religion in our era. band information, lyrics (which in their vague dissatis- 
faction are ai this point probably the most predictable element of Chapter), 
and a spread about an imprisoned unionist/socialist. There are something like 
nine songs on this. Good job. -b 



138 Walton Tea Room Rd. Greenshurg PA 15601 

Corrin demo 

I ihoughi this would suck, because the packaging was artsy and shitty looking. 
In my rnind, artsy = cmo. and you all know cmo = suck. Instead of emo, I 
heard a disturbing cross between Dcadguy and older SFA that just blew me 
away. This band is definitely noisy and heavy, with lyrics about rape and suf- 
fering! They throw insane bursts of speed inlo Ihe mix, and structure these 
three songs in a sometimes sloppy, sometimes tight style that keeps ya guess- 
ing. Not too shabby. 47 No. Williams St. . Johnston. Rl. 02919 (401)272-1513 
Digression demo 

This demo comes in with a midpaced. '90s hardcore riff, and soon adds bass 
and choked up. angry vocals to complete the dancablc equation. The produc- 
tion is just barely good enough to do them justice — i.e. its better than most 
demos (but not great), The song structure is traditional, with a bass/drum 
breakdown and build up in the middle of the song. The second an third songs 
come in sounding a bit rock V roll with a melodic tune (a la "Bricks Are 
Heavy" L7), before returning to the '90s hardcore formula. Although the L7 
bit on a couple of songs is original, ihis is extremely similar to ihe other new- 
school hardcore demos we've received for review this issue. Don't gel me 
wrong, if you like new school hardcore demos, you'll like this.-b 

2214 Taggertst. Erie PA 16510 - Joe:8 14-898* 1065 
Dying Breed 

Another Troy area band.~wiih more of a hiphop influence than a lot of other 
bands from there. Great, distinctive drumming, good riffs, decent songwriting, 
good recording qualit) for a demo. More gOCSl vocalists than I can count. 
coming off as a community effort of sorts. I like it, even though there's "too 
much" of a Biohazard influence at times. If you like Mcrauder or Zero Toler- 
ance, you'll probably like this too. When they get going, they jusl pound out 
the moshmetal madness that makes you wanna smash your 40 againsl someone's 
head, The lyrics arc in the 'life in the ghetto is hard for me and the crew, and 
\ye're gonna fuck you up* style, bul 1 gotia also say, Troy really is a ghetto, and 
the people in this band mean it. The guitar work isn't as simple as a lot of NY 
bands either, and that helps set ihis apart further. Mike Stack 232 3rd St. 
Troy.NY 12/80 (518)273-9261 
Forward Defense demo 

The cover reminds me of the Raw Deal demo, a desperate looking guy with a 
bal. Honestly, this is the first Aussie hardcore band I've heard since Vicious 
Circle/Perdition's split lp. This band is coming from a Negative Approach/ 
early NYHC/Oi! perspective, and it comes out pretty good. It's hard for me to 
understand some of the lyrics due to the singer's accent. It reminds me of 
NOTA or Rejuvenate. One of ihe guys in the band is wearing a Clockwork 
Orange shirt. Good, raw mix. Ten songs. I like Ihis the more I listen to it. FD. 
PO Box 831, Canberra CityACT2601, Australia 
Groundzero- 1945 

Cool demo packaging, bul the everything else about ihis is mediocre. Four 
average 'new school' tunes with poor, lackluster drumming and lousy, weak 
vocals. This band just sounds like ihey have no heart. There's one song about 
child abuse that has decent lyrics, but other than lhai this is just no good east 
coast hardcore thai doesn'l stand out at all. Oh well. At least they're not pop- 
punk. Groundzero. 7 High St. Collinsvillc. CT 06022 (860) 693-0330 



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This 7" and magazine are.axailable from the 



Inside Front address for $£ \J | JUL ($4 world). 
Wholesale is $1 USA/$2 world if you order ten or 
more copies. Of course we're always looking for 
more distributors... 

Ad Rates for issue #10: 

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:ourse we depend on our fellow punk and hardcore kids 

for distribution... and for contributions to keep this magazine 

•interesting. We'd kill for a scene report from your area or a 

.negative, hypercritical "letter to the editor." We also might be 

interested in a new columnist or two. We're always happy to 

" receive anything foririatcrial that has something to do with 

• the general theme of Inside Front. 



If you've enjoyed Inside 
Front #9... 
Also available from 
• Crimethinc: 
•Back issues of Inside From 
•Crimethinc. Worker 
Bulletins: These are released 
monthly and are available 
tree of charge. 
Crimethinc. Pamphlets: 
These range from a reprint 
of the Unabomer Manifesto 
to the Aboloition of Work. 
# Each is one dollar for 
postage; write for catalogue. 
Crimethinc. Records: Flip 
through any tine music 
magazine for advertisements 
describing these releases 
from such popular bands as 
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•Crimethinc. Fashion Wear: 
Band shirts and wintt»wear 
are available for your 
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•Miscellany: We also have 
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patches, at nominal feesyind 
we often distribute other 
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•more is coming soon! 



Inside Front Workers' Collective 

Minister of Design— Paul Maul {ITIDWITIR Publishing Magnate} 

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Minister of Music— E.S.D. {Open Season) 

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Minister of Communications— Jay Bailey [School of Fantastic Realism, Reno} 

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Janitor— B. Diablodein 

and all of our news reporters and editorial writers 



Published and produced in part by resources of many 
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sometimes available through the Inside Front address. 





Inside Front is itself a small division of the 
Crimethinc. Workers' Collective, and is 
available through their headquarters, from the 
former address of the disbanded Inland Empire 
Productions cooperative: 

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