Category Archives: Interviste

“Schegge di Rumore, Storie di Hardcore Italiano negli Anni 90” – Chiacchierata con Andrea Capo’ e Monica Rage Apart

“Conobbi l’hardcore e me stessa, perché, pur essendomi sempre saputa, mai mi ero potuta riconoscere così.
Da quel momento ho iniziato a immergermi nei pit che gli anni Duemila mi offrivano, nel modo ingenuo in cui a quell’età si pensa forse che andare ai concerti e tuffarsi nella rovina sotto al palco significhi pienamente afferrare un pezzetto di mondo e farlo proprio.
(Monica RageÀpart, Schegge di Rumore)

Sabato 3 luglio 2021. Seconda giornata di una intensissima due giorni per festeggiare i 23 anni di Villa Vegan Occupata. 18/18.30, se non ricordo male (cosa molto probabile vista la stanchezza e la quantità molesta di alcol ingerita fino a quel momento), finalmente è arrivato il momento della presentazione di “Schegge di Rumore”, libro sulla storia dell’hardcore italiano degli anni 90 scritto a quattro mani da Andrea Capò e Monica Rage Apart, volti noti della scena hardcore della Tuscia. Un libro che ho voluto fortemente venisse presentato in quella splendida cornice, in quella situazione in cui ho sentito più vivo e pulsante che mai lo spirito punk hardcore più sincero e appassionato. Inaspettatamente Andrea e Monica mi chiesero di presentarlo insieme a loro, facendo loro delle domande in merito al libro da cui far partire riflessioni e discussioni da condividere con i presenti. Ricordo che la mia emozione fu tanta e palpabile, così come l’orgoglio provato nel sentirmi proporre una cosa simile. La presentazione andò alla grande, le riflessioni e i confronti con diverse individualità appartenenti alla scena dei 90 sono ancora vive nella mia memoria e le ricordo come estremamente stimolanti. A distanza di mesi, grazie anche al rapporto di amicizia che mi lega ai due autori e alla condivisione intensa di quel momento, ho pensato di intervistare nuovamente Monica e Capò per parlare di Schegge di Rumore e riprendere da dove avevamo interrotto questa estate. “Nella tua testa, nelle tue braccia e nei tuoi occhi c’è solo punk hardcore!

Ciao carissimx, l’idea di farvi questa intervista nasce un po’ per riprendere il filo e lasciare testimonianza scritta della presentazione di Schegge di Rumore che avete tenuto questa estate in occasione del compleanno di Villa Vegan, presentazione che ho avuto estremo piacere di organizzare al vostro fianco. Partiamo come quel giorno di luglio nella splendida cornice di Villa Vegan Occupata, com’è nata sostanzialmente l’idea di scrivere un libro sulla scena hardcore punk italiana degli anni 90? E perchè intitolarlo proprio Schegge di Rumore?

Capò: Ciao caro ed innanzitutto grazie per il supporto & l’amicizia! Torno volentieri a quello spumeggiante 3 Luglio 2021 con molteplici bei ricordi: un po’ perché non suonavo a Milano dal 2016 (e addirittura non capitavo in Villa da un giretto Tear Me Down di 10 anni prima!), un po’ perché la Presentazione di Schegge -nonché il susseguente show Neid, Zona d’Ombra, Città Dolente, Potere Negativo- son proceduti alla grande ma, soprattutto, per la piacevolissima rimpatriata (PS: sempre grazie a Piera & Pier per l’umile giaciglio!), Venendo dunque alla tua prima domanda ci è sembrato qualcosa di fortemente dovuto dato che, a differenza della scena hc anni ’80 dove s’é trovato di tutto, -da fanze a reunion, a libri passando per innumerevoli ristampe discografiche- sugli anni ’90 non era mai stato uscito nulla a riguardo!      

Monica: Ciao a te, David! Schegge di rumore è coesistito per lungo tempo con me e Andrea, seppure non avesse una forma precisa né noi pensavamo a ciò che avremmo potuto fare di quelle nostre lunghissime chiacchierate sull’hc degli anni ‘90. Il nocciolo di questo libro è venuto fuori poco alla volta, a partire dalle nostre frequenti conversazioni sul punk delle vecchie e delle nuove leve a confronto: quel che ne usciva sembrava sempre interessante e autenticamente bello, tanto che ad un certo punto pareva un peccato che i ricordi di Andrea rimanessero una questione privata. Aggiungici poi che altrove non c’era modo di ascoltare questo tipo di racconti perché gli anni ’90, che sembravano esclusi dalle cronache “ufficiali” del punk, a fronte invece delle tantissime informazioni presenti sulla scena degli anni ’80, ed eccoti alcuni dei motivi per scrivere questo libro. Sì, c’erano le fanzine, c’erano i libretti dei dischi e dei cd di quegli anni, è vero, ma pareva che le persone e il loro vissuto si riuscissero a intravedere a malapena attraverso quelle pagine e quei vinili rigati. Forse ero io che non sapevo vedere oltre oppure non so, ma ero felice di poter ascoltare la testimonianza di Andrea, che quegli anni se li era vissuti a pieno e che tuttora vive nel nostro mondo sgangherato. Inoltre, ha contribuito anche il fatto che spesso l’hc degli anni Novanta era usato come metro di paragone negativo. Tutte queste ragioni hanno fatto maturare la consapevolezza per entrambi di voler far qualcosa con questo suo vissuto e di volerlo fare assieme a quattro mani. Da lì in poi tutto è proseguito con naturalezza e spontaneità. Alla fine, il titolo che abbiamo scelto è stato Schegge di rumore perché ci sembrava che raccontasse esattamente quello che avevamo raccolto: le storie di persone, rumori, caos, diverse sensibilità e attitudini, splendidamente differenti eppure tutte legate fra loro dal quel fil rouge che è l’hardcore.

Perchè avete scelto proprio questa modalità che assomiglia più ad una vera e propria intervista/confronto tra più voci, piuttosto che un racconto più classico in stile biografia musicale?

Capò: Perché l’intento era propri quello; ricostruire la genesi e l’affermazione del punk-hc italiano vecchia scuola d.i.y. di quel periodo attraverso le esperienze dirette, fresche e ricche di aneddoti, dei loro protagonisti. Non volevamo per nulla buttar giù un lavoro di tipo enciclopedico, da giornalisti da strapazzo per intenderci. 

Monica: Schegge di rumore nasce prima di tutto come uno libro per noi e un libro per gli amici. Questo è il motivo principale per cui abbiamo scelto di fare delle interviste. Volevamo che questi amici, queste persone a noi care, si potessero raccontare in prima persona: volevamo che fossero le voci di sé stessi, che si sentissero liberi di riportarci la loro storia nella maniera più libera possibile, senza le mediazioni di uno stile biografico. Tipo “due accordi diritti sul tuo viso”, potrei dirti. Tra le prime cose che ci siamo detti sin da subito con Capò, una volta deciso di mettere insieme questo libro, c’è stato il rifiuto categorico da parte di entrambi di creare una di quelle terrificanti enciclopedie musicali che si vedono negli scaffali delle librerie. Tanto meno di fare la bibbia del punk hc anni ’90. Noi volevamo che questa parte della nostra storia mai raccontata prima riemergesse da un punto di vista completamente interno alla scena: dando la parola a chi l’ha costruita e da chi l’ha vissuta, senza mitizzazioni o finti eroismi. Inoltre, come sai, io e Andrea non siamo giornalisti che devono trarre profitto vendendo storie che non gli appartengo: siamo solo due punk, alla vecchia maniera, refrattari a certi discorsi, per mangiare facciamo altro nella vita, non siamo tipi da classifiche editoriali e di questo io ne sono orgogliosa

In base a quali fattori avete scelto le persone da intervistare e le band a cui dare spazio nel vostro libro?

Capò: In realtà è stato facile e naturale: è bastato riavvolgere quel filo rosso (chiamato amicizia!) che mi lega/legava a molte persone con cui, in quegli lontani anni, ho avuto la fortuna di dividere il palco. Nel caso dei fratelli, è proprio il caso di dirlo, Contrasto, Affluente o Hobophobic questo legame fortissimo dura da quasi 30 anni! Nel caso di altri l’occasione per tornare a parlare di questa nostra comune passione, soprattutto con coloro che da tempo non vivon più in Italia (vedi membri di By All Means & Dissesto, rispettivamente a Berlino & Tokio).   

Monica: I sedici intervistati di questo libro-avventura sono stati scelti tra la cerchia di altri membri di gruppi hc vecchia scuola del medesimo ambito rumoroso e fertile di quegli anni. Parliamo di formazioni storiche ancora oggi in piena attività, come nel caso di Contasto, Affluente e Tear Me Down, mentre altre sciolte, come Frammenti, Sottopressione, By All Means, Kafka, Jilted, Monkeys Factory, Dissesto, Hobophobic, The Sickoids e Flop Down. Sono tutte persone del giro delle amicizie strette e delle buone conoscenze di Capò, in primo luogo, e anche mie, con particolare riferimento ad alcuni di loro. Come dicevo prima, noi abbiamo potuto e voluto raccontare quella parte della storia della nostra scena dal punto di vista interno e “palpitante”, valorizzando la mentalità e anche l’attitudine di “essere comunità” propria del nostro mondo. Il solo piano musicale non ci ha mai interessato di per sé, questo non è solo rumore; perciò, abbiamo deciso di mantenere intatto anche questo nostro istinto che ci ha portato di pancia a rivolgerci agli amici, alle buone conoscenze, alle persone incontrate da Capò sopra gli innumerevoli palchi degli anni ’90. Quelle persone che hai conosciuto una notte prima o dopo il tuo concerto hardcore e che non hai lasciato più. È quello che è successo in questi casi, sono queste le cose belle che accadono nel nostro piccolo mondo e in Schegge di rumore abbiamo voluto dare spazio al valore di questi legami speciali, indissolubili nel tempo.

Voi siete attivi nella scena hardcore da più tempo di me, soprattutto per una questione anagrafica e quindi avete vissuto un’epoca che io ho potuto conoscere solamente tramite dischi, racconti, libri e chiacchierate. Quali sono secondo voi le maggiori differenze che possono essere riscontrate tra la scena hardcore degli anni 80 e quella dei 90, non solo da un punto di vista meramente musicale ma anche dal lato politico, di attitudine, militanza, luoghi e spazi e supporto tra le rispettive band e realtà in giro per lo stivale?

Capò: Per un discorso anagrafico non ho vissuto di persona la scena negli ’80, la differenza sta solo nel fatto che negli anni ’90 ci siam dovuti reinventare una scena quasi da capo (come tipo a Viterbo dove non c’era mai stato nulla prima di noi!) anche perché di quel giro non è rimasto nessun gruppo attivo, a parte qualche isolata reunion, come il caso di Kina, Indigesti o Peggio Punx. Dei ’90, oltre ai gruppi sopra nominati, ci son rimasti anche posti, vedi Torre Maura, El Paso, Bencivenga, Ateneo Libertario o Villa Vegan, tutt’ora (r)esistenti, così come alcuni collettivi, tutte realtà tuttora in piedi, con l’inevitabile evoluzione degli anni ma con stessa immutata attitude.  

Monica: In realtà io sono nata nel 1989, perciò ho vissuto anche io quello svantaggio anagrafico per l’hardcore degli anni ’90, figurati quindi per l’esplosione punk degli anni ’80! Dall’impressione che mi sono potuta fare con il tempo, attraverso i dischi, racconti e libri e non sulla base dell’esperienza personale, è che a livello di suono gli anni ’90 portano delle grosse novità, aprendo la strada a stili e generi differenti che si sviluppano all’interno della scena (penso alla particolarità dell’hc torinese, allo straight edge, ecc.) e che hanno un impatto anche sul piano attitudinale, naturalmente. Per quanto riguarda il lato politico mi sembra esserci una continuità sostanziale con i precedenti anni ’80, lo spirito di rivolta è sempre lì che infuria e scorre a fiumi (sulla militanza ci sarebbe da fare un discorso a parte, perché purtroppo non sempre la politicizzazione si traduce in militanza), come pure la presenza viva di luoghi e spazi che tenevano in piedi la scena in quel periodo. Anzi, permettimi di dire che negli anni ’90, a quanto abbiamo potuto constatare in Schegge, si fa molto di più che portare avanti un’eredità: nascono collettivi punk e spazi anche nelle province più isolate d’Italia (come la nostra Viterbo, per farti un esempio concreto), l’hardcore si diffonde a macchia d’olio, anche grazie a fanzine, radio, ecc. Nuovi gruppi si formano ovunque, a differenza dei gruppi del decennio precedente, sciolti per la maggior parte o che stavano cambiando pelle. Forse in quel decennio successivo si era preso coscienza della propria esistenza come “mondo a parte” e della volontà di fare ancora e fare meglio, di non essere costretti a volgere al termine, di dover estinguere una fiamma ancora accesa in tanti ragazzi e ragazze solo per dover seguire le sorti delle band degli anni ’80. Questa per lo meno è l’impressione che ho avuto io.

Sottopressione

Leggendo Schegge di Rumore salta subito all’occhio che il vostro intento non sia stato quello di scrivere un libro sulla storia di un genere musicale in un determinato periodo storico, bensì quello di concentrarvi principalmente sulla scena e il movimento che ne sta dietro, sottolineando quello slogan forse un po’ troppo abusato ma sempre attuale che vede nel punk uno stile di vita, non solo musica. Cosa significa dunque per voi suonare hardcore e far parte di questa scena? Quali sono secondo voi gli aspetti più importanti o gli insegnamenti principali che vi ha lasciato il punk hardcore?

Capò: Per me semplicemente Vita; Flopdown, Tmd, Razzapparte, Neid.. un’avventura cominciata quasi 3 decenni fa e fortunatamente ancora viva & vegeta! Quello che questo Stile di vita –a cui devo tutto!- mi ha insegnato è sempre parte integrante di me: l’essere un compagno, animalista, anticapitalista, nemico giurato di questa società-galera fondata sullo sfruttamento dell’uomo sull’uomo, dell’uomo sugli animali, dell’uomo sulla natura! Insomma, se mi volto e guardo indietro, nel Bene o Male, vedo solo Me Stesso.         

Monica: Per me l’hardcore è semplicemente come io sono. Ho scoperto il punk da ragazzina, per caso, grazie ad una musicassetta portata in casa da mia sorella maggiore. Dopo quell’ascolto, misi da parte gli ascolti tecnici delle band-divinità metal per ritrovare quel semplice frastuono. Fu come inseguire il malessere che mi divorava dentro fino a sbatterci la testa contro. Invece di un muro, trovai una porta aperta. Scoprii che dentro a quel rumore e in quel mucchio di gente c’erano tante persone che dicevano quello che pensavo anche io e agivano come anche io credevo si dovesse fare. Dopo tutto il tempo trascorso a sentirmi ovunque fuori posto, finalmente trovai una dimensione in cui mi sapevo dare un nome a quell’irruenza che infuriava sotto la mia pelle. Conobbi l’hardcore e riconobbi me stessa. Per la ragazzina che ero rappresentò un punto di svolta. Non passò molto tempo che iniziai a partecipare alle mie prime assemblee politiche, perché sentivo di dover mettere in pratica con fatti concreti ciò che andavo cantando sotto il palco. Avvertivo la necessità di coerenza e di dover portare anche all’esterno quello stile di vita contrapposto alla società che vivevo dentro di me, come esigenza di cambiamento e di trasformazione reale attraverso la lotta.

Ad un certo punto della mia vita ho conosciuto i ragazzi e le ragazze del Tuscia Clan, grazie ai concerti organizzati alla Cantina del Gojo e all’impegno politico profuso in altri ambiti della vita e della nostra città. Iniziai a partecipare alle riunioni del collettivo politico insieme a loro e dopo un certo periodo di tempo presi coraggio, domandando se potessi dare una mano al prossimo concerto in Cantina. Da quel momento in poi non ho mai smesso di portare avanti con loro l’aspetto militante con il Comitato di Lotta Viterbo e quello accacì e sociale col Tuscia Clan. L’insegnamento più importante che ho ricevuto dal punk hardcore è il do it yourself, che poi è una delle pratiche più significative del movimento, quella cioè di superare gli ostacoli e le difficoltà rimboccandosi le mani, contando sulle proprie capacità, senza delegare al mondo esterno ciò che possiamo fare a modo nostro. È la messa in pratica del concetto di autogestione, in cui credo tantissimo e che è il modo in cui riusciamo a stare in piedi da soli.

Altro elemento che permea l’intero libro è sicuramente la volontà di focalizzarvi sull’aspetto della militanza e della lotta politica cosi intimamente legati alla scena hardcore e punk e alle individualità che avete deciso di intervistare. Che importanza hanno per voi l’aspetto politico e i percorsi di lotta, così come pratiche come autogestione, occupazioni e solidarietà che da sempre animano il movimento e la scena hardcore punk?

Capò: Questi percorsi furono per me basilari per quel tipo di punk-hc, soprattutto in quegli anni. Gli anni di militanza/situazionismo passati coi Tear Me Down la dicono lunga: era dunque normale prassi partecipare ad un corteo, la sera tenere uno show in una situazione benefica e il giorno dopo magari presenziare ad un  presidio/concerto non autorizzato davanti al carcere. Così com’era abitudine (almeno qui in Tuscia) il doppio binario hc/militanza che ad esempio legava membri di Tmd & Comitato Antagonista di Viterbo, collettivo attivissimo sul territorio fra fine anni ’90 e inizi 2000, con iniziative, volantinaggi, presidi, cortei ed occupazioni!    

Monica: Sì, infatti, hai colto perfettamente. Dal momento che ci sembrava non fosse stato ancora affrontato apertamente questo aspetto, almeno per quanto riguarda quegli anni, abbiamo pensato che potesse essere utile aprire un dibattito militante intorno alla questione con chi ha voluto condividere con noi il proprio vissuto. Essendo l’hardcore un movimento in aperto conflitto con la società, le sue regole morali non scritte ma ugualmente imposte e con le sue leggi codificate create a vantaggio esclusivo del ceto sociale dominante – tutte queste cose vanno sotto il nome di Capitalismo –, è presente in esso una grossa componente di critica politica e sociale all’esistente, come sappiamo benissimo. Proprio come oggi, però, anche allora non esisteva un unico modo di vivere questi diversi aspetti e di metterli in relazione tra loro. Nelle interviste di Schegge di rumore emergono nettamente i diversi punti di vista personali, come pure le sensibilità e prassi. Ci sono casi in cui le cose coincidevano, cioè c’erano persone che suonavano, erano anche politicizzate e, inoltre, facevano parte di collettivi politici; poi c’era chi suonava e aveva pure posizioni politiche chiare che venivano comunicate attraverso le canzoni del gruppo ma non faceva parte di collettivi, perché dentro di sé considerava già questa cosa come militanza; oppure c’è chi, partendo dallo stesso presupposto del caso precedente, invece, la percepisce questa differenza tra l’essere politicizzati e il militare attivamente, ma sente come più giusto o naturale continuare a fare agitazione da sopra il palco; infine c’è anche chi suona ma non è interessato all’azione politica né la mette in pratica. Quindi, come vedi, gli scenari e pure gli orizzonti sono eterogenei, a volte molto lontani tra loro.

A livello personale, mi sento vicina alle esperienze in cui si percepisce intensamente la necessità di mettere sottosopra le città con tutti i mezzi a disposizione, dai presidi alle azioni, dai concerti alle manifestazioni, dalle assemblee alle situazioni di piazza… «tutto sotto lo stesso cielo», come dice uno dei nostri amici intervistati. Come già accennavo prima, oltre a far parte di un collettivo punk – il Tuscia Clan -, sono una militante politica del Comitato di Lotta Viterbo, perché sento il bisogno di portare anche all’esterno questo stile di vita in guerra con lo stato di cose presenti. Inoltre, partecipo alle attività che svolgiamo nella nostra sede a Viterbo. Questo posto si chiama Officina Dinamo, è la sede politica del Comitato ma anche un punto di riferimento per chiunque abbia dei guai con la legge o problemi sul posto di lavoro, grazie all’impegno del nostro sportello legale e di quello sindacale (S.I. Cobas Viterbo). Inoltre, Officina Dinamo rappresenta anche un importante luogo di aggregazione sociale per merito dei corsi popolari di allenamento calistenico curati dai nostri compagni del team Riot Squat e grazie al gruppo escursionistico L’Oplita. Officina Dinamo è un posto fantastico, che abbiamo cercato per tanto tempo e costruito attraverso le lotte sul territorio e grazie al sostegno di tutti quelli che in questi anni ci hanno supportato nelle tante realtà che portiamo avanti.

Come penso si capisca, le cose più importanti nella mia vita sono la militanza, la lotta di classe, la forza della lotta rivoluzionaria, la distruzione dello Stato e della sua smisurata violenza, il rifiuto di un destino fatto di miseria imposta, la gioia della vita vissuta senza paura. Ad ogni modo, al di là della posizione personale, credo pure nel principio generale della coerenza: non sono ossessionata dal fatto che una persona o un gruppo sia politicizzato o meno (preferirei ci fosse maggiore militanza, ovviamente!), però l’importante è che non si vada a millantare sopra o sotto il palco di fare cose che poi nella realtà non si avrebbe il coraggio di fare.

Contrasto

Forse la domanda più difficile, ma anche quella più stimolante. Che differenze avete notato tra la scena degli anni 90 e quella attuale? Secondo voi c’è ancora quell’idea che l’hc puo’ e deve essere una minaccia per questo esistente e non solo musica?

Capò: Parlando sempre di hc italiano vedo ad ora un buon ricambio generazionale di “giovani/vecchi” come Suddisorder, Carlos Dunga, My Own Voice, LaPiena, A Fora De Arrastu, SFC, Carne, o come la recente reunion Congegno al Marci Su Roma 2021. Quindi ecco, l’unica differenza percepita può essere giusto stilistica. Per quanto riguarda l’hc infine credo che, per sua natura, se non proprio impegnato almeno una minaccia dovrebbe esserlo, o meglio sarebbe auspicabile! Purtroppo -a mio modesto parere, grazie pure alla tecnologia nelle mani della classe dominante borghese- dal G8 di Genova del 2001 in poi le strategie di controllo e repressione di Stato si sono affinate e stratificate; vedi le infami Operazioni Cervantes, Fuoriluogo, Scripta Manent, Bialystok, Sibilla, etc…! Ma è pur vero che l’esistenza stessa di band militanti come Contrasto (arrivati a quasi 30 anni d’attività) Ludd (22) Le Tormenta o Cospirazione etc.. sono la prova che la fiamma non s’è definitivamente spenta, e che qualcosa di buono nel cosiddetto “punk di protesta” resiste ancora, non solo a livello di testi o mera musica.   

Monica: Anche qui gli orizzonti e le pratiche a volte sono differenti da città a città, da collettivo a collettivo punk. Questo proprio per il problema per il quale non sempre coincidono militanza politica (organizzata o meno) con il proprio istinto di rivolta e disgusto per ciò che ci circonda. Io credo che il punk da solo non basti a produrre un cambiamento su vasta scala, ma che vada concretizzato anche col quotidiano conflitto. Avendo la fortuna di stare in un collettivo in cui si fa moltissimo e nel quale le compagne e compagni non concepiscono questi aspetti come due cose separate l’una dall’altra, posso dire che essere una minaccia per questo mondo putrefatto non sia solo una possibilità, bensì una realtà concreta.

“L’Hardcore è Solidarietà e Lotta, No Business Punk!” – Intervista ai Jilted

Dopo averli visti suonare dal vivo in occasione della decima edizione del Go Fest! nella splendida cornice del centro sociale occupato e autogestito Strike lo scorso settembre, ho pensato, a distanza di qualche mese, che fosse un’ottima idea scambiare due chiacchere con i Jilted, nome storico della scena crust hardcore italiana. Attivo dalla fine degli anni 90, il gruppo di Alessandria rappresenta ancora oggi una garanzia in termini di attitudine e di visione dell’hardcore punk come musica politicamente impegnata, consapevole e intimamente legata a pratiche quali diy, solidarietà e autogestione. Di questo e di molto altro ho parlato nel corso di questa intervista insieme a Fulvio e Koro. No business punk!

Ciao ragazzi! Dato che vi ho visti dal vivo a settembre in occasione del Go Fest! 10, vorrei proprio iniziare da quell’evento. Com’è andata? Cosa significa per voi, band ormai in giro da più di vent’anni, suonare ad un concerto come il Go Fest! che è divenuto negli anni punto di riferimento per tutti gli amanti dei generi più estremi dell’hardcore, del punk e del metal?

Ciao! Il Go Fest 10 è stata un’esperienza veramente unica. Un festival organizzato molto bene, ottima promozione e bands provenienti da tutta Italia,isole comprese (cosa piuttosto inusuale), con una affluenza di pubblico incredibile! Credo di non aver mai visto così tanta gente ad un concerto o festival hc in Italia, se non a fine anni ‘80/inizio ‘90. Probabilmente anche il fatto di non aver potuto organizzare concerti per così tanto tempo a causa delle restrizioni per il Covid-19 ha influito positivamente, la gente aveva voglia di un’esperienza simile.

Quando siamo stati contattati per suonare abbiamo subito accettato molto volentieri, non suonavamo a Roma dal 2014 ed è stato un onore far parte del Go Fest 10 ed è stata la dimostrazione pratica che anche in Italia ci sono molti gruppi validi e molta gente che segue la scena. Abbiamo incontrato amici che non vedevamo da tantissimo tempo,altri che vediamo più spesso, in definitiva una delle migliori situazioni di sempre.

Siete in giro dalla fine degli anni 90, avete visto passare band, mode, spazi occupati, situazioni diverse. Quali sono secondo voi le più grandi differenze all’interno della scena hardcore e punk da quando avete iniziato ad oggi? Cosa pensate si sia perso invece in termini di attitudine, militanza e attivismo rispetto a quegli anni?

(Koro) In quegli anni c’erano sicuramente piu’ spazi,centri sociali autogestiti,squat,negozi di dischi ecc..,erano realta’ molto diffuse in quasi ogni citta’,ed erano una presenza forte sul territorio. oltre a dare un approccio diretto ad una cultura alternativa ed antagonista con la distribuzione di volantini informativi,dischi,cassette,libri,fanzines ecc..,coinvolgevano parecchia gente in ogni iniziativa,concerto,manifestazione. c’era forte interesse e un grande senso di appartenenza. Oggi molti spazi che davano queste possibilita’ sono stati chiusi o sgomberati,ci sono meno punti di riferimento. Ad Alessandria il “Perlanera” e’ molto attivo ed e’ sempre un gran posto da supportare. Come differenze,negli anni 90,ovviamente c’erano mezzi di comunicazione diversi,non c’era tutta la tecnologia di oggi,era tutto un po’ piu’ “artigianale”. Ci si teneva in contatto con gli amici della scena via lettera e telefonate sul fisso a ore pasti,si faceva tanto “tape trading”,si scambiavano paccate di cassette duplicate con amici della zona e in giro per l’Italia per conoscere nuove e vecchie band che non si erano mai ascoltate. Il materiale nuovo dei gruppi andava esaurito in breve tempo,ai concerti davanti ai banchetti delle distro c’erano sempre decine di persone,comprare dischi era una cosa molto piu’ diffusa.

Da sempre suonate un crust-hardcore sia radicato nella tradizione italiana dei Wretched sia influenzato dal crust punk europeo degli anni 80/90. Cosa significa per voi suonare questo genere? Quale pensate possa essere ancora oggi nel 2021 la potenzialità di suonare un punk ancora fortemente conscio dal punto di vista politico e sociale?

(Fulvio) Suoniamo grosso modo lo stesso genere da oltre 20 anni, con qualche miglioramento a livello di sonorità e per noi è fondamentale unire tematiche socio/politiche/ecologiste nonché un’attitudine d.i.y. alla sonorità punk hardcore, tutto l’insieme costituisce l’energia che ci fa andare avanti. Io suono da oltre 30 anni e se non fosse per tutto ciò che sta dietro alla musica fine a se stessa probabilmente avrei già smesso.

Da sempre siamo interessati e affascinati dalle pratiche d.i.y., io ho gestito per anni Angry records (etichetta/distribuzione) e in precedenza collaboravo con Shove records tuttora attiva e ancora oggi “spaccio” qualche disco,libro,fanzine principalmente agli amici della zona. Come hai detto tu, siamo stati influenzati da Wretched, Impact e innegabilmente anche da Wolfpack, Anti-cimex, Doom, Hiatus ma non solo dal punto di vista musicale; continuare a suonare un certo tipo di hc nel 2021 non cambierà sicuramente lo stato delle cose nel mondo ma credo che possa essere utile a qualche “giovane leva” come stimolo per approfondire certe argomentazioni ed avvicinarsi ad un certo modo di pensare e di comportarsi.

Il vostro ultimo disco in studiò e stato Venti di Guerra, pubblicato nel 2013. Finalmente lo scorso anno, in pieno pandemia, avete annunciato le registrazioni di un nuovo capitolo della vostra discografia intitolato “Nell’Ingiustizia e Nel Silenzio”, dandoci in anteprima sia lo splendido artwork di copertina che una nuova devastante traccia “Nel Sangue”. Quali saranno le differenze con i vostri precendenti lavori sul nuovo disco? Su quali tematiche vi siete concentrati per scrivere i testi?

(Fulvio) La registrazione del nuovo LP era in previsione da molto tempo, il precedente “Venti di guerra” era uscito in cd nel 2013 ed in LP nel 2015, ma siamo piuttosto scombinati nel fare pezzi nuovi; inoltre a fine 2017 abbiamo cambiato batterista quindi abbiamo passato un po’ di tempo a provare i pezzi già editi, abbiamo fatto un po’ di concerti e ci siamo poi finalmente decisi a comporre pezzi nuovi e registrare.

Non credo che ci siano grosse differenze rispetto ai dischi precedenti sia a livello musicale che per quanto riguarda le tematiche trattate; qualche pezzo è un po’ più articolato rispetto alla precedente produzione ma pur sempre veloce e aggressivo. Una differenza c’è stata a livello produttivo, infatti siamo finalmente riusciti a registrare nella nostra sala prove, grazie al nostro amico Roberto che ha portato da noi il suo studio mobile “Rec fast die young” e in tre giorni “full immersion” abbiamo sistemato e registrato tutti i 9 pezzi che compongono l’lp e il risultato per noi è molto soddisfacente.

Abbiamo curato anche maggiormente la parte grafica, copertina e foglio interno, da poco abbiamo mandato tutto in stampa ma a causa dei tempi odierni l’lp uscirà per fine Febbraio 2022. Per i testi come sempre ci siamo ispirati alla vita di tutti i giorni, a tutte le porcherie che ci circondano, inquinamento, ingiustizie sociali, razzismo, capitalismo, globalizzazione...

Continuando a parlare del vostro nuovo disco, la cui pubblicazione vedrà ancora una volta la collaborazione di una vera e propria cospirazione di etichette e distro DIY, volevo chiedervi quanta importanza hanno per voi come Jilted pratiche come appunto do It yourself, autoproduzioni, autogestione ma anche solidarietà e supporto reciproco tra band e individui all’interno della scena hardcore?

(Koro) Sicuramente il d.i.y. e’ sempre stato fondamentale per i jilted,fin dall’inizio.con le nostre forze abbiamo attraversato piu’ di 2 decenni e con l’aiuto e supporto di altri gruppi,amici di etichette e distro,siamo riusciti a mandare in stampa diversi dischi e suonare decine di concerti in quasi tutta Italia e all’estero. Anche per questo nuovo lp,la formula e’ sempre quella:una grossa mano da etichette d.i.y. per la stampa e distribuzione. Solidarieta’ e supporto reciproco sono le fondamenta su cui una scena si regge ed esiste.

Nel 2018 avete partecipato alla compilation Non Un Sasso Indietro volume 2, pubblicata dagli amici e compagni di Distrozione. Quella compilation era benefit per sostenere le lotte contro le frontiere e quelle all’interno dei centri di detenzione, quindi quanto sono importanti queste pratiche di solidarietà e complicità con compagnx e individualità che lottano contro lo Stato e il Capitale?

(Koro) Dare la nostra disponibilita’ per concerti benefit e compilation come questa,pubblicata da Distrozione e’ un segnale forte di solidarieta’ verso chi subisce sulla propria pelle gli introiti politici, le logiche e forme repressive di uno stato, che in questi anni ha pianificato questo “mercato” di esseri umani. E’ sicuramente importante per noi quindi supportare e collaborare con chi nel proprio piccolo da’ un segnale di dissenso verso tutto questo.

Nel corso degli anni avete suonato con band fondamentali all’interno della scena crust/hardcore punk europea (ma non solo) come Doom, Visions of War, Asocial, così come con i brasiliani Armagedom e i giapponesi Beyond Description (con cui avete anche condiviso uno split). Quali sono i vostri ricordi di queste esperienze in giro per l’Europa? Quali sono le band con cui siete più orgogliosi di aver condiviso date e palco? Quali invece i momenti e le situazioni che vi hanno dato più fastidio?

(Fulvio) I nostri ricordi dei concerti in giro per l’Europa sono senz’altro bei ricordi, sinceramente non abbiamo mai trovato situazioni “catastrofiche”. Io ricordo con particolare affetto un paio di date in Belgio con Visions of war, Olho de gato e Twisted System, erano le nostre prime date all’estero e mantengo ancora oggi un rapporto di amicizia con alcuni componenti (o ex) di quelle bands. Altri ricordi particolarmente piacevoli sono il tour in Germania con i giapponesi Beyond Description ai quali avevo prodotto l’lp “A road to a brilliant future”, l’Anti-fascist festival a Stoccarda con Behind Enemy Lines, Cluster Bomb Unit….. migliaia di Km , poche ore di sonno accampati ma tante soddisfazioni a livello umano/emotivo. Non parlerei proprio di orgoglio ma direi che siamo stati particolarmente contenti e soddisfatti di aver condiviso il palco con Doom, Mob 47, Wolfbrigade, Sin Dios, Asocial ecc.

Una delle poche situazioni spiacevoli si è verificata qui in Italia, nemmeno molto tempo fa ad un festival,dove (pare) che una delle band abbia preso tutto il poco incasso della serata e se ne sia andata lasciando tutti gli altri gruppi a mani vuote…….il punto non sono i soldi ma il gesto in sé, imbarazzante!

Parlando per un momento della vostra città, vi va di raccontarmi/raccontare a chi leggerà un po’ la storia della scena hardcore punk di Alessandria?

(Fulvio) Alessandria è una piccola cittadina di circa 95 mila abitanti ma ha sempre avuto una scena punk hardcore attiva e prolifica. A partire dai primi anni ‘80,i Peggio Punx hanno dato inizio alla scena punk hardcore in città, hanno contribuito alla nascita del centro sociale “Subbuglio” ed è iniziata un’attività live non da poco che ha visto passare la maggior parte dei gruppi hc italiani degli anni ‘80 e,successivamente (nella seconda sede) anche quelli degli anni ‘90. Dalla fine degli anni ‘80 in avanti sono nate svariate bands quali Permanent Scar, Point of View, Burning Defeat, Insult,Bhopal e altre ancora fino ad arrivare ai giorni attuali con ancora attivi Jilted, Drunkards, Rogue State, Suicideforce, Cranked. Oltre al C.S. Subbuglio, in città ci sono stati il Forte Guercio Occupato che è stato attivissimo per tutti gli anni ‘90 e prima decade dei 2000, oltre a una miriade di gruppi italiani passarono in città Disorder, MDC, UK Subs, Intensity, Agnostic Front, Madball, Sick of it all, No Fx, Blue Cheer e molti altri. Ci fu ancheil C.S. Crocevia ed ora c’è il Laboratorio Anarchico Perlanera molto attivo con concerti, mercatino autobiologic, presentazione di libri ed altre iniziative.

Siamo giunti alla fine di questa chiacchierata/intervista/chiamatela un po’ come volete, quindi vi lascio questo spazio per aggiungere qualsiasi cosa vi passi per la testa. Vi ringrazio ancora per la disponibilità a rispondere alle mie domande, lunga vita ai Jilted!

Grazie a te per la bella intervista e per esserti interessato ai Jilted,speriamo di tornare presto a suonare dal vivo,magari con un po’ di copie del nuovo lp e di proseguire piu’ a lungo possibile!

“Punk is About Politics and Not Just About Having a Good Time” – Interview with Nukke

Suddenly emerged from nowhere with the devastating “No More Peace“, a mix of metalpunk and d-beat that leaves no way out, Nukke are undoubtedly one of the most interesting projects of the whole hardcore and punk scene of the last year. It’s not only music though for Nukke, because as Jimmy tells us in the interview : “punk is about politics and not just about having a good time.” Enjoy reading and let’s keep making punk a threat and a tool against oppression!

Hi Nukke! Let’s start with the simplest questions. When and why was the band born? Would you like to give us a short biography?

Hi Disastro Sonoro, Jimmy here from NUKKE. Thank you for taking the time to interview us, we are appreciative of that. the band started whilst me and Hugh were touring with another project of ours and we came to the conclusion that we wanted to play punk together again(we had previously played in a punk band together but both left). We were in Italy, which at the time was the first European country to be struck with COVID, so it felt right to have a band that reflected the dystopic future about to turn present.

No More Peace,” your first record, was definitely one of the most worthwhile and interesting works in d-beat/hardcore punk of all of 2021. Musically and lyrically what influenced you in the composition of the various songs?

Thank you for the kind words. I wouldn´t consider NUKKE a D-beat band, it sure has a lot of D-beat in it but it´s also very dynamic throughout which is not the case for D-beat bands which stick to the DISCHARGE/DISCLOSE formula. Musically there is a lot of punk and heavy metal intertwined as bands like later ANTI CIMEX/G.I.S.M./BROKEN BONES/ ENGLISH DOGS play a huge inspiration of us. We are also huge metal fans so bands like VENOM, BATHORY or even IMPALED NAZARENE also add up to the sound. That´s why I would think that NUKKE is more of a metalpunk band but with it´s own twist. Lyrically and aesthetically there is no need at all to draw inspiration from anywhere other than the world we ar living in and the collapse that will come in the near future. This is something very real that many seem to ignore. Bands love to talk about war but forget that there is a cold war going on all the time against us through fear and manipulation of the masses.

In a genre like d-beat, perhaps back in fashion in recent years, it seems to have all been said and done already. To an inattentive listening in fact the d-beat seems a genre little inclined to innovations and in which it is increasingly difficult to find personal solutions. What still fascinates you about this genre? What was your approach to d-beat/hardcore punk in life?

As mentioned before we try o add up our influences in a way that is our own and did not set out to sound like the band X or Z. It comes from a very sincere place and the main goal is for us to make music we enjoy listening. In that sense we were able to sound different from the regular bands but you can pinpoint moments in the music that sound familiar at the same time. The artwork was also something that is very unlike the other bands in the genre and that was done with that purpose, to add something “real” and bleak to match the sound. The same approach to our music can be translated to our own lives, to drawn inspiration from what inspires you and make it so that you recicle it into your own bubble of influences intead of straight mimicking what other people do. Thinking for oneself is something that is a cannon to punk and should not be lost.

One question I’d like to ask any band or individuality I have the pleasure of interviewing is this: what does playing hardcore punk in 2021 mean to you? What do you think are the potentialities of a genre like this one that for its nature and history has to do with concepts of rebellion, political struggle and an anti-authoritarian, anti-capitalist and DIY attitude?

It is of the utmost importance to live your life according to those principles especially in a time in which our little freedoms are being taken away with fearful consent. Punk is what opened my eyes to the injustices of this world and it shall remain a conduit for doing so. The message has to be spread and the voices of dissent can´t be silenced.

Within “No More Peace“, as per the best d-beat tradition, the anti-militarist theme seems to represent a very important and central part. What does anti-militarism mean for you? What scares you more than the possible current imperialist wars made, as always, in the name of profit?

Our anti-militaristic views and the “war” we write about and stand against is the metaphoric war fought against our minds, as mentioned before. None of us have seen real war, nor every other band that talks about war, but what we know is that war can be silent and we are all victims of this war of fear.

In the last few months I’ve managed to interview two other great Portuguese bands, Nagasaki Sunrise and fellow friends Corrupted Human Behavior. How is the situation of the DIY hardcore punk scene in Portugal? Which are the realities (collectives, squats, zines, bands) more interesting and with which you have more connections?

NAGASAKI SUNRISE is a great Burning Spirits styled metalpunk band and I´ve known the guys for ages. They work hard and deserve the recognition they are getting, which is something hard for a Portuguese band to do, since we are in the “butt of Europe” we don´t get that much attention. CORRUPTED HUMAN BEHAVIOR is also a great band with a bright future ahead with their hommage to stenchcore that gets more “polished” by the second. Other great bands that come from Portugal and are aiming at the right direction are DISHUMAN(kids playing the sickest D-beat worship), SCATTERBRAINIAC(One-man catchy as hell snotty punk rock), DOKUGA(Legendary Oporto punk hardcore) and ANTINOMIA(fast hardcore for fans of VOID and NO TREND). Please do check these bands out. The scene is a hit or miss sometimes, it doesn´t seem to be in its fullest potential yet. There is a lot of division, elitism and a lot of partying and not enough real discussion and activism. The older generation seems to waste more time discussing who is the “punkest” or has more “punk status” rather that creating ways to educate the younger generation on solving issues. But the younger generation can sure change that. Punk is about politics and not just about having a good time. Period!

Future projects? Are you already working on a new album or are you planning concerts and tours?

We have a new album recorded and is in it´s mixing phase. It´s even more dynamic that “No More Peace” and deals with even more bleak topics. We have some gigs linned up for outside of Portugal and soon we will have some here. Just waiting for all this mess about quarantines to slow down.

Your great debut record was released by D-Takt and Råpunk Records, one of the most active labels in d-beat, raw punk and hardcore. How did you get in touch with them and how did the collaboration for the release of No More Peace come about?

I simply sent an email to Jocke, who is the most dedicated dude ever, stating that we loved the label and wanted to work with him. We love all the bands in there and it would be an honour to share the same “space” as so many great acts. Jocke loved our stuff and there you go!

Dear Nukke we have come to the end of this talk. I’m leaving this space completely up to you to add and write whatever else is on your mind! Thanks again for accepting the interview and spending your time answering my questions!

Thank you once again for the interview and thank you to whoever is reading this because it matters to be hear. Please help make punk political again and a tool against oppression. There are a lot of ways one can act and small changes in our own lifes can make an impact on others. Ask yourself if you are the solution or the problem? What are you contributing to your locals scene? Is it getting better because you are in it? Strive to b the change you want to see in the world and be active! Peace out!

“Keep the Black Flame Burning and Fuck NSBM” – Interview with Qwälen

If you follow this blog closely, you’ll be well aware of my passion for black metal and the attention I pay especially to those records and bands that are openly anti-fascist, RABM (Red and Anarchist Black Metal) or take a clear stand against the racist, sexist and homotransphobic scum that infest the extreme metal scene. If you have all that in mind, the following interview is definitely for you! Released a year ago by Time to Kill Records, Unohnden Sinut by Finnish Qwälen was literally a blaze in the northern sky, a devastating Nordic black metal record capable of mixing the second Scandinavian wave and the most modern sounds in an interesting and personal way. I recently managed to interview Qwälen, talking not only about their personal approach to black metal but also about their hardcore punk attitude and background and their sharp stance against NSBM. “Keep the black flame burning and fuck the NSBM”, this is the clear and unequivocal message screamed in the Nordic sky by Qwälen!

Hi guys! Would you like to tell us some biographical notes about your band? Most importantly, what does it mean and what inspired you to choose to call yourselves Qwälen?

Ville: The name is derived from the German verb quälen (“to torture”). I think Ari, our original bass player, came up with the idea to change the u to w. We thought the word would be quite suitable for a black metal band and well, here we are with a name that doesn’t mean anything so we’re quite happy with that.

Eetu: When I was asked to join the band, I thought the name Qwälen was twisted from the Finnish dialect word “kualen” (I am dying). Samuli, Ville or Henri can tell better about the birth of the band because I joined the band later.

Henri: Haha, I too have heard someone say “What is this mää kualen (I´m dying) band”

Samuli: Yeah, the start of the band was a rather boozy night when the idea came together. I have always had a drive to create something that I feel strongly about musically and thus had a strong drive already to start creating this kind of music. Six or so years ago Ville, Henkka, myself along with our former bass player Ari started doing music together and few of the songs of the first album were written already then. We had a different vocalist in the beginning but then Eetu was asked to fill that position and once Ville switched to bass, Antti was invited by Eetu. By then Qwälen started properly rehearsing with a goal to create an album.

As I’ve been able to read from a variety of places, you primarily come from a hardcore and punk background. How much does this connection of yours to the hardcore punk scene affect your way of playing and being a band?

E: We all have very different musical backgrounds. My background is in hardcore punk and grindcore. With my grindcore band, I’ve been doing gigs for over a decade, so it’s natural to bring Qwälen to those same venues as well. We have done gigs in free art facilities, bars and various D.I.Y events. The punk background is reflected in my performance and in that I have no need to obey the rules written in black metal.

Antti: In my case, the background is shown by accepting the equipment I already have. I don’t want to buy new instruments just for black metal.

Ville: I think it mostly shows in trusting more in power and pure aggression, sort of attacking your instrument instead of being technically that talented. In Qwälen, I switched from guitar to bass sometime around 2017 or 2018 and I think it can be heard on our recordings. Coming from hardcore background, I think it shows that I care more about the people I’m playing with than their talents and treat them as my equals.

Samuli: Punk is what I started with but that was a long time ago. I’ve been hanging in the local scene sidelines most of the time I’ve played in bands but the more I age the more I’ve been drawn into different kinds of music. I guess unconsciously the attitude and musical approach still remains. Simplicity, danger and aggression both in songwriting and in our live presence.

Henri: I myself come from more of a trash/melo-death metal background, but punk, hardcore and black-metal has always been in my playlists. In my opinion, our differing musical starting points is one of the things that gives Qwälen the twist that differs us from the traditional Finnish black metal.   

Starting from a purely hardcore background, how did you develop your passion for black metal sounds that refer as much to the second Norwegian/Scandinavian wave as to more modern sounds of the genre? Which are the bands that influenced your music the most?

Ville: I used to listen to more black metal during my teenage years, mostly Emperor, Darkthrone, Immortal and Bathory, so the passion definitely comes from there. I think at some point when I was diving more into grindcore, hardcore and crust punk, I noticed the similarities between the earlier black metal stuff and the crustier stuff, so in some way I guess the passion was somewhat natural and always there for me. Considering Qwälen, I’m as much influenced by Anti Cimex (think of Scandinavian Jawbreaker era) and Darkthrone. I think Young and in the Way’s “When Life Comes to Death” was also somewhat of a big thing for me and Samuli, but Immortal’s “At the Heart of Winter” was probably the album that made Samuli start the band.

Samuli: I wouldn’t say that “At the heart of winter” was the album that made me want to start Qwälen, but it was one of the albums that really opened my mind into the sounds of black metal. Darkthrone and Immortal we’re the ones that opened the genre to me, but from those two Darkthrone has remained a constant influence. Qwälen started out of a passion to create black metal rather than going after certain bands.

As a late-discoverer of black metal in my 20s, I felt a really strong connection with the genre from the start. The extreme aural aesthetics, connection to spirituality, raw emotionality and embracing the inner darkness felt real and meaningful. There was much more beyond the songs themselves, and for me music was at that point a long time ago gone beyond mere songs and notes. The core concepts in BM resonate very deeply to me still and the spiritual side has helped me evaluate my own philosophy and spiritual history. The music itself made me interested, but the deeper aspects started my passion.

Scandinavian first and second waves have always been the main reference points. I would not say that our sound or expression references modern sounds per se, but there are definitely bands whose influence might be heard. Young and in the way is definitely one. However, being a rather stubborn person musically I tend to gravitate towards primitive, raw, old and dusty sounds. One of the driving ideas was to go back to the very basics of playing as a band with Qwälen and approach everything with simplicity in mind. I still look for the same thing in black metal that I listen to and modern renditions rarely work for myself. There is however a fresh movement that captures the right sound in the raw US and UK BM scenes. The rise of both scenes is a rather modern phenomenon.

Henri: I grew up listening to 90s groove- and “cross-over” metal bands (such as Pantera, Machine Head, Sepultura and Biohazard) but got really into black and death metal in my teens (Immortal and Children of Bodom were the shit back then).  The rawness and multilayered dark and honest self-expression were the things that got me too into black metal in the first place. And hey, we live in a country that is dark and cold for 9 months every year.

Talking about black metal, you know better than me that the international black scene is full of overtly Nazi bands or ambiguous bands that sympathize or collaborate with openly racist, homophobic or far-right bands. What is your position on this? Do you consider, also because of your past in the hardcore and punk scene, Qwälen a political band or at least openly anti-fascist?

E: Our music is not political, but we strongly bring out that we stand with anti-fascism. In our lyric sheet you can see our statement “FUCK OFF NSBM SHIT” and we have merch with ANTI-FASCIST BLACK METAL -print. There’s no room for misogyny, sexism, homophobia, ableism, racism or any shit like those in any scene. We are very precise about who we work with, so do not contact us if you do not stand behind these ideas.

Ville: Sometimes it feels a bit hard for me to talk about Qwälen as a black metal band since our sound and mindset is quite far away from the black metal scene. It’s hard to even consider us or at least myself belonging to any black metal scene, since that’s something I definitely don’t identify with. Probably the traditional black metal scene wants us to stay out and I’m totally happy with that. I come from a small town and there was a neo-nazi wave going on in many small towns in Finland during the late 90s/early 2000s so my disgust with any fascist or nazi ideology comes from there and for me, hardcore and punk has also had a big impact on taking a stand against fascism/nazism.

Henri: Ditto. We don´t like assholes.

Over the decades Finland has been extremely fertile ground for a lot of more or less extreme genres, from black metal to hardcore punk of bands like Kaaos and Riistetyt, how is currently the situation of the underground and DIY metal and punk scene in your country? Which are the most active and valid realities (clubs, fanzines, bands, collectives) from your point of view?

Ville: I guess the overall situation is pretty good, even though there hasn’t been that much going on due to the covid situation and I’ve been a bit lazy about following new bands during the last couple of years. I think the biggest problem might be that there’s not that many small or mid-sized venues, even DIY-venues, for bands to perform and many of the existing places are quite overbooked. New Yleiset Syyt and Kohti Tuhoa 7”s just came out and Stolen Kidneys just released their new album “Maailma loppuu”, those are definitely worth checking out.

E: The D.I.Y scene has grown in Finland in recent years. There is a D.I.Y venue in almost every big city, where you can arrange performances for small bands (Tukikohta, Kenneli D.I.Y, Mäkitorppa, Hoi Sie!, Kirjakahvila, Oranssi). When I started touring with bands over a decade ago, gigs could only be held in bars. The number of distros has also risen in recent years.

We made a Spotify playlist some time ago where we collected songs from our friends ’bands. Definitely worth a look! It’s called FULL SATANIC SPEED WITH FAMILY AND FRIENDS BY QWÄLEN.

Continuing to talk about Black metal, do you notice any similarities and differences between your approach to the genre and that of more classic Finnish bands, from Beherit to Sargeist?

Ville: I guess the approach was originally to just play and do something new. I think we’ve managed to develop our own twist on black metal and not just replicate something that’s already been done. So there might be similarities and differences, but I don’t have that deep thoughts about it…

Samuli: The main idea might be the same. A great desire to express what we have inside. Soundwise the cold atmosphere is something shared, but then again that is a general trait of the genre. Also I guess there are some similar approaches to riffing in utilizing melodicism together with power chords as a starting point? One becomes rather blind to things written by yourself and I’ve always thought that the ones outside are better at pointing out similarities etc.

The finnish black metal scene is heavily coerced by unwritten rules of what black metal is and thematically limited in the sense of what is accepted. We do not care. We can do whatever we want. Fuck your rules. In this sense we might have more similarities thematically and approach-wise with the modern raw BM of the US or scenes outside Scandinavia which tend to look at BM in a thematically broader context.

What does it mean for Qwälen to play black metal in 2021? What do you think is the potential of such a controversial, hostile and extreme genre nowadays?

Antti: When Qwälen plays live, the band offers something new and extreme that hasn’t been heard in the DIY metal and punk scene.

Ville: Taking a twist on the traditional sound and mindset. The potential is huge, for example the new Pan-Amerikan Native Front with its approach from an indigenous person’s point of view is a great take on black metal and opens up discussion for current problems, even though the album deals with a historical event and persons (Little Turtle, Blue Jacket and the Battle of the Wabash).

Samuli: Playing black metal means to look inside. Bands in my opinion at times point too many fingers and my idea of black metal is looking into the spiritual mirror within. It is not ours or the point of the music to tell what to do or think, but hopefully to spark thought. It is self-expression both lyrically and  in instrumentation. Black metal in a way is a tool for reflection. Destroy your temple, build anew and in the process lift yourself up. Life is the ultimate oppressor and the answer for moving forward is within.

Your first record “Unohdan Sinut” was released this year and it is absolutely devastating! How did you get in touch with Time to Kill Records for the release?

E: We contacted a few labels when we got the record ready and Time to Kill Records were selected from those who were interested. We didn’t know much about the label but the choice has proven to be the right one. The collaboration with Time to Kill Records has been really smooth and we look forward to the future. We are really grateful for this opportunity. Thanks to Time to Kill Records and Enrico.

What are the songs contained in “Unohdan Sinut” about? What are the songs you are most attached to and why?

E: The last few years have been quite heavy for me mentally, so the lyrics are based on my inner world. ​The songs eschew the usual anti-religious black metal themes and focus instead on self-portrayals. Temppeli is the most important song from the album for me because it was the first text I wrote for Qwälen. It’s also the last song of our set list.

Future projects for the Qwälen? Have you been able to play live during these last months despite the difficulties due to the pandemic situation? What difficulties did you have to face releasing a record in a period when it was not possible to play live in many European countries?

Samuli: Future projects include a second album and possible a shorter release, but the shorter release is still on an idea-level. Second album is coming, but no timetable is yet agreed and we’re not going to hurry anything. Most of the members in the band have multiple things musically going on and that also affects how things work and when things can move along. Not to mention family obligations. I have been focusing solely on writing Qwälen for a long period of time and there is quite a lot of demo material written already! I think Henri had some ideas for music videos as well.

The album release without playing shows has gone better than we hoped. Time to kill records did an amazing job in promoting the record and people who have interest in this music have found it. I would hope to be able to play outside of Finland in the future as there have been interest from abroad as well. We’ve been able to play a few shows in Finland this fall and reception has been overwhelming. A lot of people have come to the shows just to see Qwälen, which feels very weird. Album release was many months ago and the hype has died, but I guess people have been waiting to see us live. I am weirded out by the fact that people care, but am at the same time extremely grateful.

Henri: As Samuli said already, I think we all are still baffled and confused about the positive feedback from our first album (and extremely grateful too). Live shows have suffered but the covid situation might have worked a bit in our favor since most of the world had to sit home, listen to music and reflect on their inner worlds that might not have been so rosy in the past times.

And yes, new music videos are coming.

E: I haven’t received such good feedback on any of my previous music projects. It’s great to see how warmly our music has been received around the world. People have bought records, shirts and cassettes. The most important thing, of course, is that people have also come to our gigs. Thank you.

I look forward to the moment when we get to release new Qwälen songs for the world to hear. Be prepared.

We have come to the end of this interview. I leave this space at your complete disposal, feel free to add anything you think might be interesting for the readers!

Samuli: Support the underground and keep the black flame burning. HAIL SATAN.

Henri: Don´t be an asshole, drink beer and hail satan.

E: Support the D.I.Y scene, hate the police, spit on the face of the fascists and remember that NSBM is for the losers.

“Musica del Barrio, para el Barrio” – Interview with Generacion Suicida

In October 2017, Generacion Suicida, a melodic punk rock band from Los Angeles, played at Villa Vegan in Milan in a two-day event that on paper seems to have been great, given the presence of other great bands like Canadian Massgrave or Kontatto. I say on paper because for work reasons I was not able to be present, thus missing the live of one of my favorite bands and I still regret not being able to enjoy them live and not being able to chat with them in person. Years later and after the publication of their latest album entitled Regeneracion, which I’m listening to on repeat, I decided to write to them to propose an interview. Fortunately they accepted and Tony answered in a very enthusiastic way and really in a few hours to my questions, so I leave the word to him and Generacion Suicida, nothing but punk in its purest and most sincere form, that is “musica del barrio, para el barrio”!

Hi Generacion Suicida! I’ve been listening to you for many years now, since the days of “Con la Muerte a tu Lado” and “Todo Termina”, so I’m very happy to be able to ask you some questions. I would start by asking how and why you chose a name deeply steeped in nihilism and disillusionment as Generacion Suicida?

This may seem anticlimactic, but we chose our band name based on a song by the Vicious (Suicide Generation). There wasn’t any real meaning behind the name when we chose to name our band that, although these days we feel differently about it. Maybe it was a subconscious decision, but there is definitely a sense of hopelessness and despair in our daily lives, especially when we were younger. So we often lived every day like it was our last and did tons of reckless things. So I suppose the name fits in that sense.

You have always defined your personal punk rock using two definitions: “KDB punk style” and most interestingly from an attitude point of view, “musica del barrio, para el barrio“. Would you like to deepen these definitions and explain us what does it mean for you to be a band still so strongly anchored to a very underground and neighborhood dimension?

Sure. When we say “KBD punk”, we mean lofi or low quality sounding punk. Often times, those old KBD comps from the early days didn’t sound the best, but you were able to feel the emotion and feelings that the bands were trying to convey. We feel the same, that our emotion and feel comes first before everything else. “Musica del barrio, para el barrio” is better translated as “music for us, by us”. We’re from South Central. We have pretty much nothing in this area and the kids growing up here have very little resources. It’s important for them to know this is theirs and it belongs to them. Our music belongs to the people.

You are from Los Angeles, specifically South Central L.A. How much has your neighborhood influenced your band, your musical approach and content?

All we sing about is life experiences. All the lyrical content is about the things we experience on a daily basis. The music we play is in contrast to our environment. Things around here are typically loud and chaotic, so we wanted to play in contrast to that, with more rhythm and less distortion.

You have always decided to sing in your native language. Is it a way to stay true to your origins and your community or are there other reasons behind this choice? How important is the choice to write and sing in Spanish for you?

We often say that the voice is also an instrument. We think that the vocals sound better in spanish than in english. Our style of spanish is different from the spanish they speak in Spain or anywhere in Latin America. They call it “Spanglish” here in the hood, and often times even people in Latin america do not understand us. It’s almost like the kids in our city have their own language that’s different from everywhere else. This becomes just another way that our band gets identified as an LA band.

Your style of punk rock is very melodic and slow compared to most of the hardcore and punk bands that are part of the scene. Why the choice to prefer melodies and this style over more furious, chaotic and fast sounds?

We love bands like Discharge, Kaaos, Wretched, or Indigesti. But we don’t want to sound like those bands. When our band first started back in 2010, every band in our town was a fast hardcore band. We didn’t sound like everyone else, so we decided to play in a more stripped down melodic style. Suprisingly, people liked it and we continued in that style.

The message and the more “political” and protest approach have always been central and inseparable from playing punk (in all its forms). What sense does it make for you to play punk today in 2021? Do you think that certain sounds, being only a means to convey messages and ideas of struggle, revolt and solidarity, still have potential? If yes, which one?

When it comes to music and expressing political discontent or struggle, we don’t think that punk is the only way. There are many hip hop artists that are political in nature or talk about their daily struggles. It’s really just up the artists to decide what kind of forms they want to use to express themselves, but we believe they are all valid.

Your latest album (which I can’t stop listening to) is titled “Regeneracion“. Would you like to explain the meaning of this title that seems to evoke a dimension of “rebirth”?

“Regeneracion” was written during a time when we really wanted to rewrite and redo everything we thought we know about how to play. Unfortunately, it was during Covid lock downs, so we weren’t able to actually go into a studio to do it the way we wanted to do it. Basically the album is about rebirth and starting all over again. Discarding old ideas and trying to grow into something new and bigger. We’re actually going to head into a real studio in January of 2022 to redo the entire album the way we intended to do it in the first place. We’re very excited to have it come out the way it was originally intended and can’t wait to share it with everyone! In it’s current form, it is only limited to a few hundred copies, and is only available in Europe.

Last year, after the racial murder of George Floyd caused by a cop, intense and very long days of revolt and mobilization against the systemic racism of US society broke out. The four of you have Latino’s origins, have you ever faced racial discrimination inside and outside the punk scene? What are your positions on systemic racism in the United States, and how did you live through those months of protests, demonstrations and attacks on the symbols of this age-old oppression in Los Angeles? (If you think this is too sensitive and personal a question I apologize to you, you may not answer.)

Last year was pretty difficuly, but honestly nothing new. We have been dealing with this for decades and now it just seemed that people had had enough. But it isn’t the first time. We’ve had uprisings in 1965, 1968, 1992, and now in 2020. It just seems after a few years, these revolts get swept under the rug and people largely forget. To answer the question tho, yes we have faced discrimination both inside and outside the punk scene. Everything from only getting allowed to play with Latino bands in fests, to not even being considered for playing because we sing in Spanish. It often feels like we have to work 10 times harder than an average band that does not have latino or black members.

What is the current state of the DIY punk scene in Los Angeles? Which are the most active realities? Are there collectives or squats that organize concerts?

There are no squats or collectives that we are aware. Since the beginning of the pandemic a lot of bands have broken up and a few new bands have popped up, but we haven’t had a chance to check them out. I’m sure a lot of younger kids are taking the helm tho and are organizing their own shows in spaces that we are not aware of.

Generacion Suicida thank you again for taking the time to answer my questions. This space is all about you, you can add whatever you want!

Thanks for taking the time to write to us! Hopefully we’ll see you all in Europe in 2022/2023!

“Playing Stenchcore Means Resistance” – Interview with Corrupted Human Behavior

I’ll never get tired of repeating how much I’m obsessed with all those sounds and bands that for one reason or another can be traced back to that primordial soup that emerged in the British underground of the 80s and known as “stenchcore”. Fortunately, I can share my love for certain sounds with bands like the Portuguese Corrupted Human Behavior, authors of a splendid debut last year of epic, apocalyptic and bellicose crust punk. Luckily with Kizas, Crostas and Tiago I share not only a musical passion but also the same vision of what punk music has been and must continue to be: a “symbol of resistance” and a threat. In the days when I was writing these questions Corrupted Human Behavior and mainly Crostas were hit by state repression for resisting the eviction of a squat in Lisbon. Complete solidarity and complicity with Crostas, with the 13 comrades arrested for defending Ladra Squat and with everyone who fight against State and Capital and suffer police repression! Let’s not stop making punk a threat to this existing of exploitation, oppression and misery!

Hello dear Corrupted Human Behavior! Let’s start the interview with some obvious biographical notes, would you like to tell us your story? But above all, what is hidden behind your fascinating name and what do you want to convey with it?

Hello dear Disastro Sonoro and dedicated readers, we started this band in mid 2019 when the political situation in our home city of Porto started to tremble and we took the initiative to create a band that would help spread our ideals. As a group of politically revolted friends we started to play together and define our sound both aesthetically and ideologically.

Corrupted Human Behavior is the way we found to indicate the greediness and selfishness that lives inside every capitalist pig that rules our world and way of life because cops, fascists and capitalists are corrupted in a way their humanity is long gone, stiped away by the corruption of money and doing nothing more than terrorism. Its a critique to the Fascist leaders of our modern world but also taking steps back in time to understand that this corruption has been wandering around our minds and cuminities for centuries.

As soon as one comes across your first work and looks at the cover artwork, an acrid stench-crust smell is immediately in the air. What is your relationship with certain sounds? Which are your main influences? But above all, what exactly does it mean for you to play this “sub-genre” of punk?

Me (Kizas) and Crostas started this project when we were underage, and dream that we wanted to accomplish for a long time and for that we listened to lot crust, our main influences since the beginning were always Sacrilege, Bolt Thrower, Amebix as well as Instinct of Survival and Swordwielder and of course Carnage and Misantropia, both bands from Portugal.

For us stenchore is a way to not only write powerful lyrics with meaning along with jawbreaking riffs but not being rebels without a cause. This metallic crust gives us and idea of what the horrors our people and our martyrs have suffered struggling to survive this chaotic social structures that is capitalism and imperialism. The king skull killed in the cover artwork is a direct comparisson to Imperialist leaders that taint our world and that seek to destroy the working class in order to fullfill their foul ideologies. For us, playing stenchcore means resistance, means not giving up the fight and obviously a way for us to sing about all the martyrs that have died in the fight for revolution all aorund the world.

Reqviem for a Broken Blade, the instrumental intro that opens your album, perfectly succeeds in calling to mind landscapes and atmospheres that recall battlefields (among jingling swords, horses neighing and war screams), apocalyptic scenarios and feelings of desolation, destruction and death. What fascinates you about this apocalyptic and warlike imagery typical of certain stenchcore? What do you want to convey by using these images and atmospheres?

The shadows of our kings still perpetuate today. The hordes of orcs come to reality when we take a look at our everyday lives and see the efforts made by the greedy in order to destroy what we fought to create. We try to capture this exact feeling in our sound and imagery not to escape reality but to give us hope and strength to fight on with our ideals, as what we scream about is real and affects us all directly. All escapists seem to want to flee from our daily reality, but we do not, we seek to make people understand that this horrors that can only be described in fantasy are real, affects real people and are real stories. In the afftermath of all the battles fought in this world, all the mothers kept screaming in wrath, and we can ear this screaming in the winds everyday of our lives, and for that we must do whatever we can to fight back the imperialist notion that their war is bringing peace.

In your lyrics you deal with topical issues such as the oppression and control of the state in our lives or the destruction of the ecosystem in the name of profit, showing how punk in all its forms is not only a musical genre but a means to take clear political positions. So what does playing punk mean to you? Do you still see in punk a possibility of attack and threat to this system of exploitation, devastation and oppression?

Punk was, is and always will be a threat to every greedy organisation set to exploit and dominate us. It is a symbol of resistance be it in gigs, squats or the streets and that is why we put all our efforts in this cause, not only musically but also politically. Punk is more than grabbing a guitar and screaming to a microphone, it’s mutual aid and fighting back that gives it meaning and that’s why it will always be a threat.

We try to help as much as we can everyone around us and to be present in the street and in the squats, we try to learn with everyone we meet along the way and everywere we play, for us punk started with simple symbology and ended up in a life long fight against the un-human system.

In this period I managed to interview two more interesting Portuguese bands, Nagasaki Sunrise and Carnage, bands that showed me that there is a quite fertile and active hardcore punk scene in Portugal. What can you tell us about the scene in your country? Are there collectives and squats resisting repression, organizing concerts and benefits and working to keep the scene alive?

Besides the bands that already exist there are new bands being formed such as , Dishuman, Diskrasüki, Päria and Nukke. There are a lot of squats and organizations in Lisbon such as A-da-Machada where we played a gig last month and Disgraça. Recently our bassist Crostas was arrested with another 13 people during an eviction of Ladra squat in the center of Lisbon where they fought the police and after that he and some of them created a band called Polluted Existence.

What is the political situation in Portugal? As bands and individuals are you active in particular paths of struggle, from anti-fascism to solidarity with comrades affected by state repression?

We are all part of any struggle that helps anyone fight against capitalist exploitation and fascism. With the rise of far right parties in Portugal in recent years we feel the need to clean our streets in any way we can and will continue to do so as long as it’s necessary. In our gigs we always incite people to do what they can to stop this from happening, we try to create a safe enviroment for us all. And everytime we see a nazi we punch him.

Are you already working on a new record? Do you have plans for concerts and tours in the near future or is the pandemic situation still preventing you from thinking about all this?

We’ve been working on a new record during this summer with a dear friend of ours and we hope to release it sometime in the next few months. We’ve also been playing some gigs and with the lockdown situation becoming more light here we have much more to come hopefully enough to make a tour, who knows.

We have unfortunately come to the conclusion of this interview, so all that’s left is for me to leave this space for you to say whatever you want or think might be important to those who will read! I send you a big hug my dear friends!

We ask everyone to take a stand and to directly help in what we can, we sugest Kopi and squats around the world, or the current situation in northern syria were kurds are being directly affected by turskish fascism. We encourage all to take a stand against fascism, racism , imperialism and any other kind of right wing power seekers. Also to spray the notion that everyone is capable of doing something against this sytematic horror, that we should not be afraid to fight, be it with a pen, a guitar or a sword, tho sing is to fight if the accuracy is enough, of course!

Also we want to thank you a lot, personally and in the name of our band!

“Too Punk for Metal, Too Metal for Punk” – Interview with Collapsed

Over the decades the Canadian hardcore/crust punk scene has given us great bands like Iskra, Storm of Sedition, Massgrave and many others, proving to be an extremely fertile ground for certain sounds and a certain approach to punk. Quite recently from the desolate and cold lands of Quebec have emerged Collapsed, authors of a destructive mix of crust punk and death metal as we have not heard in a long time. Since finally a real DIY conspiracy (including Phobia Records and other labels) has released the self titled debut album of the Canadians on vinyl, I thought it would be a good idea to do an interview with Collapsed in which we talk not only about music, but also about the punk scene as “support not competition”, solidarity and complicity with the decolonial struggles of the Canadian First Nations and the importance of taking a clear position against the fascist scum present within the extreme metal scene (mainly in black metal) in Quebec as elsewhere. All this and much more in the words of Santiago, Michel, Kev, Paskk and Yan. TOO PUNK FOR METAL, TOO METAL FOR PUNK. SLAVES TO NO ONE!

Hi Collapsed! First of all, thank you for agreeing to answer these questions! You are a fairly recent band, so for those who don’t know you yet, it’s time to ask you some banal biographical questions: when, how and why were Collapsed born? Where did you get your name from?

Hey hi! Well, everything started in 2018 when I (Yan) got flooded and had to move back to Montreal. We (Santiago and Yan) were already talking about reforming a band, our other project Hang them All broke up around 2013. We did a jam session at my place to build some songs and Santiago mentioned some guy (Paskk), from Belgium who used to play in Segregated back in Liege, was looking for a band in Montreal. He can play guitar and do backing vocals, he also has a roommate (JP) who plays bass. So, we met and rehearsed the song “Man/wars” and it sounded good. Then, we kept rehearsing on a regular basis. We needed a singer… tried a couple people while doing a cover of Anti-Cimex; but it wasn’t it. We asked Konfront singer (Mike), but unfortunately, he didn’t have the time. Luckily, we kept asking more and more (we knew Michel was the right guy for the job) and he finally accepted. The lineup was now completed…for a while. We managed to write a couple songs and played a few good shows (scene is pretty cool in Montreal). Meanwhile, we totally self recorded, mixed and mastered our first album during winter 2019-2020 and released the LP on Phobia records (Czech Republic) in partnership with Up the punx (Poland), Deviance (France) and Hecatombe (Spain). Bullwhip Records (Malaysia) also did a tape release! Stiv from Vision of War did the artwork for that album. Later that year, JP had to leave the band going back full time at school. Matt tcheval Deadly Pale filled in for a couple of shows to help us while we were looking for a new permanent bassist. We then asked Kev, also from Konfront to play bass and he learned the songs and joined the band quite rapidly. We got on a couple compilations, played a bunch of shows and recorded at Nomansland studio (Thanks Chany Inepsy & Dizz) an EP in two days for the Pils session in June 2021. It’s getting released on tapes right now. We are almost ready to record our next album! Ho yeah and we sucked so bad finding a name…. Nenuphar and other crappy ideas like that made us reach for help… My (Yan) girlfriend found the name.

Reading on your facebook page and bandcamp, you define yourselves as a band that plays crust metal influenced as much by 90’s crust punk as by swedish death metal. How did you come up with the idea of combining these two souls in your sound? What do you think are the links that have always united the crust punk scene with the extreme metal scene?

We didn’t really think about it… Paskk and Yan usually write all the music and our sound came out like that. We knew we all liked loud angry crust punk in the vein of Skitsystem’s Stigmata (we are all fans of Swedish crust).

Paskk brought the old school death metal influences. We forged out our sound around what we like to hear! Pretty simple no? We’ve all been in the scene since the end of the 90’(Paskk is younger though) and we’ve all been in different bands in the same scene since then.

What were your first approaches to music and the hardcore/crust scene in your life? And what are the bands primarily that have influenced your music and approach?

Santiago: As for a good majority of non-conformist teenagers, the punk rock scene was not satisfying enough at the level of hate and aggressivity. The grind crust universe was more suited to me (late 90’) when I first entered the music scene. My biggest musical influences were at the time Extreme Noise Terror, Human Greed and Driller Killer.

Michel: My first approach to the punk/hardcore scene started listening to bands like Conflict, Crass, DK, Flux of pink Indians, ENT, Disorder, Subhumans and Chaos UK. Those bands really got me as a teenager and brought me to love music, and especially to this way of life. Around the age of 15 I began to play music with friends, we were in the early 90’ in Montreal, Canada, The best time for the Punk hardcore crust scene here in my opinion. Maybe I’m just nostalgic hahaha. So many good bands and crazy shows. Civil disobedience, State of fear, His hero his gone, Global holocaust, Dropdead, Human greed and so many more. All those good bands threw me further in the crust sound like Disrupt, Wolfbrigade, Tragedy, Fall of Efrafa, Consume, Disaffect, to name a few. I’m still enjoying and discovering so many good bands and I still need to sing and scream to empty the rage of all injustices.

Kev: When I was 10 years old, I’ve started listening to Swedish death metal bands like Dismember, Entombed, Grave, etc… my first tape was Entombed Clandestine. Around 16, I’ve started to listen to punk bands and I’ve fallen in love with all this way of life. Around 20, I’ve discovered bands like Wolfpack, Skitsystem, Aus rotten, etc… And boom!!! The mix of the two styles made my head burst!!!!! Now at 40, I play death crust in my best band project in my all life!!!

Paskk: I’ve been a punk rock fan at first glance, when I was about 13 years old. When I was 17 years old, I started to discover more underground punk bands; mainly uk82, anarcho punk and street punk stuffs. When I was 19 years old, I saw a Born/Dead show and not long after, a Sangre show and it was a revelation to me. The energy that crust punk music was unleashing made me enlightened. When I was 20 years old, I pursued my discovering of the genre and started to listen to bands as Wolfbrigade, Skitsystem and Tragedy, to name a few. It wasn’t long for me to focus mainly on crust music (the Swedish style always has been my favorite) and let the street punk genre and look back behind. I started playing in a crust band around the same time back in Belgium. Before moving to Canada, I experienced playing in bands in that music style with 3 bands. Two as a guitarist singer, and one as a singer. Around 23-24 years old, I started to appreciate metal music again, because in my streetpunk phase, I kind of let it denied for a while. I was loving metal again and more especially old school Swedish death metal. Bands like Entombed, Interment, Demonical Unleashed, Bloodbath, Entrails, Asphyx or the later LIK rapidly became an inspiration and a passion to me. I started looking for bands that were merging the kind of death metal I love and the kind of crust punk I love. I already knew the mighty album “Stigmata” of Skitsystem which was a perfect example of how Swedish crust and old school Swedish death metal could become the perfect cocktail. This album is still in my top 3. I discovered bands such as Totält Jävla Mörker, Guided Cradle, Misantropic or Fredag den 13 e, again to name a few. When I arrived in Canada, I was willing to make a new band of that style of music, which I call either crust metal, or death crust. And it’s what we did. I incorporated elements of death metal in my crust riffs, Yan did too, and Collapsed was born. Get ready for next album!

Yan: My approach to music might be different than my band mates. I don’t like to consider genre, I listen to pretty much all kind of music. I’ve been introduced very young to 60’-70’ music, learned guitar pretty young in the early 90’and never stopped. I’ve been in some school band and liked the feeling of being on a stage. Some friends played in a Ska-punk band Downshift in Case in the late 90’ and I joined them for a good while, we played shows all around Quebec. We were underage playing in bars but it was fun! That band went on hiatus after a few albums and several years. Through common friends, I replaced the guitarist in a local legendary crust band Global Holocaust in early 2000 and got introduced to crust punk. I already liked extreme metal and grindcore complexity and speed but that mix of punk rock and metal sounded right in my ears! Played with them for some time then started various bands projects. I’m still very into experimental music of any genre. I’m all about Emerson Lake & Palmer, Dillinger Escape Plan, Bad Brains ,Assuck, Django Reinhardt, Dystopia, Spazz, Wolfpack, Elvis, Flat & Scruggs, Deicide, Choking Victims, State of Fear, Ravi Shankar, The Beatles, Louis Armstrong, Monster X ,Hendrix, The Mahavishnu Orchestra, Fuck the facts… the list goes on and gets more and more on the weird side, I got to be careful when I write music for Collapsed not put too much weird things but the guys are watching me.

Canada has been famous for years for giving birth to many interesting and valid bands in combining crust punk and extreme metal, from the seminal Iskra (fundamental for the development of RABM) to Ahna, from Napalm Raid to Massgrave. How do you explain this extreme fertility of certain sounds in your country? What are your relationships with the punk-hardcore scene in Quebec and Canada in general?

Well, there’s a bunch of extremely talented bands coming out of the north, let’s say it’s so cold you can freeze to death ½ – 1/3 of the year…people are stuck inside and music is an excellent way to get together and do something artistic and fun! The country here is really really wide so there’s a scene but it’s spread. Let’s say from Montreal to the next big city is 300+ km and it’s like that (or worse) all across the country. However, There’s a really nice scene in Montreal. Usually shows of all kinds pretty much everyday, lots of festivals… Underground music scene is active all across Canada but mainly gathered in every big town. I think we have good relationships with other bands and venues but we’re pretty much a bastard kind of weirdos cousins… Too metal for punk rock shows and too punk for metal shows… but it works out! We’re not too much politicized, but more about raising awareness… Not here to preach, we don’t have to justify our ideologies, we say what we think, like it or not.

Quebec is unfortunately famous for having an important Black metal scene whose protagonists are often linked to environments of extreme right or with strong nationalistic-racist feelings. What are your positions about this scene and bands that use extreme metal to convey messages and positions openly fascist, reactionary, racist and oppressive towards minorities?

FASCISTS ARE NOT WELCOME!!!

We’re greatly against all kinds of discriminations. The Antifa movement is really strong here in Montreal and Fascist acts in the punk/metal scene are really watched. Some bands try to book right wing shows from time to time I’ve heard, but most get cancelled or stopped. They are now a minority. Going out in more rural regions people can be more redneck… Our position towards bands openly fascist, racist, homophobic, sexist, transphobic or oppressive toward minorities ? FUCK those persons, they don’t want to meet us in person.

With your music do you also want to convey your political ideas or do you focus on other themes and topics?

Collapsed isn’t much about politics, more about critical consciousness. We talk about premature death of ecosystems due to overconsumption, war, pain, mankind stupidity, relation interactions. Ideologies will bring conflict and there’s enough of those, we are more about exposing problems that are bringing us all down the drain. Not to be pessimist, but the future does not augur well for planet earth if we keep running that kind of system…

Recently, in the last few months, horrifying news arrived from Canada about the discovery of mass graves of First Nations children. A news that certainly does not surprise in a continent born from colonial oppression and genocide of native peoples, but that returns to emphasize the importance of the struggle and the movement of decolonization. The reaction of the First Nations was in some cases violent with the destruction of churches and other symbols of European colonialism on Canadian soil. What are your positions on these anti-colonial protests and revolts as a response to the horrors of yesterday and today of (neo)colonialism and oppression suffered by First Nations? Do you also deal with certain issues in a track like “Lost Tribes?

One of the biggest Holocaust that ever happened in America. In 1924, Paul Rivet estimated that between 40 to 50 million of people lived in the hemisphere before the Indigenous Holocaust began. With some historians arguing for an estimated 100 million, or more. That population got eradicated, their lands got stolen, children killed, women raped…first nations have the right to be angry and we support them. We’re opposed to repression against the first nations and Inuit people. Who doesn’t like a nice church fire? We’re against religion anyway, people can think what they want but not impose their ways of thinking to others.

What does being part of the DIY hardcore scene and playing crust punk mean to you? What do you think about a quite famous slogan within the hardcore scene that says “make hardcore a threat again”?

Slaves to no one.

Isn’t it making punk a threat again? Bunch of good bands on Profane existence! We did our first show with Appalachian Terror Unit!

The Goal of punks was, at the beginning, to shock and provoke, and we are part of that generation of punks. -HATE US.

Unfortunately, there’s division in the scene, people get sometimes offended for nothing and stuff. We like it wild, like back in the days.

Punk is support not competition.

Your first album was recently pressed by Phobia Records and others labels. What is your relationship with this important labels? How did the decision to release your first s/t album come about through a true DIY conspiracy between multiple labels?

We started and will always stay fully DIY, it’s a way of life, we don’t want to depend on anybody. We’re able to record and produce our music ourselves and all our merch is made locally by punks. We had the help from Stiv of Visions of War for the artwork and meanwhile Paskk talked to Mirek from Phobia record to release and distribute our first Lp. We did it in partnership with other labels, it surely does help for a larger distribution! Phobia is planning another pressing of the s/t, since the first one sold out pretty fast. We’re about to go recording a new full-length album in a few months and we plan to release it on Phobia too. So you might get new Collapsed material during winter 2022! (Hint Hint we’re starting preprod really soon!) We would really like to tour Europe and meet everybody from those awesome labels in person during summer 2023, we already had plans for last summer but Covid fucked that up solid… We still managed to do a couple shows around our home town. And it seems like everything is going better now! We just recorded the first of a long list of Pils sessions at NoMansLand studio, an initiative of Chany<Inepsy> and Dizz. They have started those sessions to help to promote the DIY underground bands. They’re releasing some small batches of tapes for every band and eventually gonna release a compilation. Ours got mastered at Enormous Door Mastering (Huge thanks to Jack Control<Severed Head of State, World Burns to Death>). Also, we recently covered the song Godforsaken for a cool State of Fear tribute album with a bunch of nice crust bands from all around the globe. It’s getting released by D.I.Y. Koło Records in Poland. The S/t album also got released on tape by a local label called <Still not fast enough>. Our friend Arnaud did some limited edition tapes and patches. Bullwhip Records in Malaysia also released some tapes of the s/t to have some distribution in south east Asia.

Are you already working on the new record? If yes, do you already have in mind when you will release it and through which label you want to press it on vinyl?

Well, we have answered that in the previous question. When our rehearsal space was closed during the early pandemic, we managed to rent a secret warehouse bunker to continue rehearsing during the lockdown (avoiding the spread of the virus by safety measures though), we kept composing more and more, and now pretty much everything is ready for our second album. We might have a split coming too…

You recently participated in a tribute to the immortal State of Fear along with other great bands, from the Swedes Misantropic to the Italians Cancer of Spreading. How did the idea of participating and collaborating in this compilation come about?

Yeah!!! State of fear is a major influence for us! It’s an honor to be part of the tribute compilation and the line up is insane. Paskk saw that tribute and contacted the label to bring us in. We had to choose, learn and record the song in the same week to send it to the label which needed it very fast to send it to the pressing plant! There’s some delays with the pressing plant but I heard it’s on the way. We’ll get it in a couple months. You can already listen to our cover on our bandcamp. (Collapsed – Pils Session)

We have come to the end of the interview, I leave this space for you to write anything you want and that you consider interesting for those who will read! Thank you again and I send you a big hug Collapsed friends!

TOO PUNK FOR METAL

TOO METAL FOR PUNK

SLAVES TO NO ONE

FUCK YOU ALL

CHEERS

“A Sign of Times to Come” – Interview with Civicide

Any self-respecting good punk has surely had some kind of infatuation with the Finnish hardcore punk scene of the 80’s and historic bands like Kaaos, Riistetyt and Terveet Kädet throughout his life. That seminal hardcore scene today is also kept alive by bands like Civicide, the protagonists of this interview. A band that manages to revitalize that primordial soup typical of the British scene of the 80s in which echoes of thrash metal and anarcho-hardcore punk coexisted and mixed, giving rise to crust punk. Keeping faith with an apocalyptic imagery, perhaps a bit abused in the crust punk scene but perfectly in line with the dark times we are living because of the hunger for profit of capitalism that is destroying the ecosystem and condemning our lives to extinction, Simon, Stefan and Kakekaaos reaffirm that punk can and must still be a means to take a clear position and attack all this. Because using Kakekaaos’ own words: “punk and politics are one thing, one cannot exist without the other”. I leave you with the words and answers of Civicide in an interview full of reflections on punk, on the current political situation (both in Finland and in the rest of the world) and on the apocalyptic visions caused by the environmental devastation and plundering produced by capitalism. A sign of times to come…

Hi guys! Let’s start the interview right away with some biographical notes about you guys. When did you decide to form Civicide and what was the idea with which you decided to start the band? Where did you get your name from?

Simon: Hi! The idea to form Civicide was in my mind for many years. Maybe since the beginning of 2010th I wanted to play some stenchcore metal punk etc. Mostly it was only drunk discussions with everyone and there were never enough actions by me. In 2016 I started to look for people and try to play something. All this confusing situation was until the moment when I heard how Kake plays a guitar and it was obvious for me that I found a second guitar and my goal was close. Soon we were drinking together and found a bass guitar and in the beginning of 2017 after finding a drummer we started. After some time we were playing our first show in August with Fatum, Tanator and Hergian. Idea of the name belongs to Stefan.

Stefan: Yeah what Simon said. A very stereotypical origin story. I can’t remember exactly how I came across the name, but it was something that I thought fit the kind of music that we wanted to make and it sounds cool. Pretty easy to remember too.

Kakekaaos: It went somehow that way, details are fuzzy, I trust Simon’s memory better with this one.

On your facebook page you define yourselves as “multinational heavy crust chaos”. What does this “label” mean?

Stefan: It was jokingly put there when we didn’t really know how to describe ourselves yet. It’s a reference to our different ethnic backgrounds (i.e Russian, Mexican, Finnish-swedish and Finnish). I suppose it also works as an ironic reference to multinational corporations and global capitalism. Never bothered to change it.

Kakekaaos: The multinational part comes from our ethnic backgrounds yeah, the rest is probably the first thing someone typed in a hurry.

When I first listened to “A Sign of Times to Come” I was immediately fascinated and enraptured by your sound which reminded me of that primordial soup known as stenchcore, in which thrash metal echoes and hardcore punk impulses are mixed to perfection in the style of the primordial British scene of the 80’s. How do you define your music? Which are the bands that influence your sound?

Simon: As a Moscovite I have grown in our quite dark and heavy sounds as most of this kinda music from Russia. It pretty much affected my influence on our riffs. I was always inspired by the British scene of the 80’s as you guess and I’m a huge fan of Japanese crust. All this multiplied with other guys’ style and a bit of finnish harcore. As a result we have a cocktail of pain, speed and mayhem you call Civicide.

Stefan: I don’t think we had that much of an idea of how we’d define ourselves and just did things we like to make this primordial soup. I think there was a vague idea of “something like Sacrilege” at the beginning. I’d say punk is the main influence, but then there’s a bit of thrash and a bit of black metal and stuff.

Kakekaaos: Influences come from a lot of shit but the main ones are definitely for me ; Finnish 80’s hardcore, metal and rock n roll like Motörhead, Deep Purple and Venom, 80’s trash like Sepultura and Kreator and of course Crass and Amebix.

You’re from Helsinki, Finland, and any self-respecting punx knows that the Finnish lands have been fertile territory for a long line of great bands, from Kaaos to Riistetyt. Do you think there is a link between you and the long hardcore tradition of your country? What influenced you about the historical Finnish hardcore scene?

Stefan: Of course we’ve been influenced by older generations of Finnish punk bands. You could say that the scene we’ve grown from is a continuation of the same scene from which bands like Kaaos and Riistetyt came from. The D.I.Y. ethos, anger and drinking is all there! Personally I like the very straight forward attitude of Finnish punk.

Kakekaaos: Like Stefu said, the scene is kind of a continuation and as a result, the music and attitude influence us. What I love most about Finnish punk is the combination of how angry and raw it is (specially 80’s hardcore. )and the D.I.Y attitude it has. Wanna play hardcore but don’t how to? who cares let’s just get drunk and try it out, that kind of attitude is probably why there were so many good bands with new ones arriving all the time.

What does it mean to you to play this genre? Is it just music or do you see punk (and all its nuances) only as a way to express your political ideas with which to denounce or attack what you don’t like about this world and system?

Stefan: It’s kind of a difficult thing to say what playing this specific genre means to me. I think it’s a very good way to express the kind of anger and existential dread one feels when looking at the world and a humanity that is racing toward ecological disaster. So in a way it’s not just music. It’s a reflection on the world around us.

Simon: I just play music I like and it means for me to take a guitar and get all the shit I can get out of it

Kakekaaos: Yeah sometimes its a reflection about our failed civilisation,the world and its inevitable and untimely fate and sometimes you just want some fast noise with good lyrics to play to. To me when it comes to punk and politics, you can’t have one without the other, even the basic idea of do it yourself is anti-capitalist at its core..

The atmospheres of your music, perfectly evoked also by a cover artwork very fascinating in its old school style, are very apocalyptic, desolate and dark, building landscapes that seem to want to tell us about a humanity condemned to self-extinction and a future that seems less and less remote because of the capitalist economic system in which we live that destroys, plunders and devastates in the name of profit and unlimited production. Do you want to talk about this too and denounce this ravenous race to self-extinction because of profit in your lyrics? Intimately related to the previous question, what do you deal with in the lyrics of your latest album?

Stefan: I think you captured the idea pretty well there already. In a way it’s very cliché, but on the other hand, it’s a reality we live in. We’re witnessing so much shit that we know is destructive for life on our planet, yet we seem to be powerless to stop it. It’s good to have an outlet for the anger and anxiety and hopelessness that it causes. Then maybe we can focus on working for meaningful change and building something positive in this sea of shit. I don’t think there’s much hope and positivity in our songs for that reason too. A lot of the stuff we deal with in the lyrics is related to this; over-exploitation of natural resources, environmental destruction, power, conflict, despair, anger. I once figured it could be defined as “millenarian visions of ecological destruction and despair”.

Kakekaaos: Stefu covered it pretty well. The ultimate failure of mankind to try to live in a peaceful relationship with nature and the absurd idea that infinite economic growth – even if it is what they love to call sustainable development – and vertically built power structures somehow are the main foundations that dictate how we measure life’s value and its importance.

What do you draw inspiration from on the purely graphic and imagery side? Who is the author of the beautiful cover artwork?

Simon: All artworks in the band done by me. You already described the visual part of it well enough in a previous question and how it belongs to music. But it’s also a parody of the classic and famous painting ‘Hyökkäys’ by Edvard Isto. Instead of a Russian double-headed eagle we have the skeleton of a three-headed dragon ‘Zmei Gorynich’ which symbolizes an old world order and dead empire which still has the sharp claws and fangs. It lives in its own ruins and protects all the conservative distractions builded by the old generation and wants to keep it and doesn’t want to change. And woman by fetters and chains fights against all these shit foundations and tries to do something new and better. Yes, there are pretty much political and social points in the drawing and everybody can interpret it as they wish. That’s the point of all of us, we see everything with our own eyes. Anyways we’re building a new world between old ruins and this process has never been different and never will.

Getting back to talking about the Finnish hardcore and punk scene, what can you tell us about it? Are there any collectives, squats (for example Kumma), bands active in the scene and keeping it alive? Which are the bands and the realities with which you have more and better relationships in Helsinki?

Stefan: Lots of active bands in Helsinki, although the pandemic has put a stop on shows for a long time now. It’s getting better now again though with restrictions being lifted, but we’re living in a precarious situation. I can’t really name any specific bands keeping the scene alive. Everyone’s doing their part. There hasn’t been any active punk squats in Helsinki since Squat Kumma was shut down, to my knowledge at least. But again, the pandemic has put everything on hold so who knows what happens in the future.

Kakekaaos: There’s a lot of active bands yeah, and like aforementioned everyone does what they can. There’s a couple of new squats but who knows for how long, the city usually shuts them down quite fast ( 15 minutes being the record!.) We’ll see in the future after this situation gets unfucked.

What is the political situation in Finland currently like? What are the biggest difficulties that politically active punx and collectives in the hardcore scene may face?

Stefan: I don’t know if there are any difficulties that punks specifically would face. Maybe the lack of autonomous spaces that punks can organize themselves, whether it’s for political action or gigs. Squatting is difficult in Finland and there aren’t that many spaces that work as squats available either, although I’m no expert on this. The rise of far-right authoritarians is a problem in Finland in general, as it has been elsewhere. It could pose a threat to politically active punks and radical leftist politics in general.

Kakekaaos: One of the main difficulties ,for anyone not just us, is the rise of the new, polished and presentable far-right, here and all around Europe. Normalizing xenophobia and racist behaviour ,and claiming its about freedom speech or that everything its a conspiracy to eliminate the ¨white man¨ its the same agenda fascist have always had, the amount of disinformation and straight out lies that can now be spread around via social medias, I think ,makes it easier for these fuckers to gain popularity among the common citizen and organise better.

In 2019 you toured Russia and Estonia, also playing with a band of dear friends like the Italians Overcharge. What are your memories of those dates? What can you tell us about the reception of Estonian and Russian punks? Which were the bands you played with that impressed you the most?

Stefan: Well the first gig was in Novgorod and it got shut down by cops right as we were supposed to play, so that was a great start haha! Then on our way from St. Petersburg to Moscow our van broke down. Luckily we had an amazing friend with us from St. Petersburg who managed to get our van to a mechanic and got us train tickets to Moscow since we were supposed to play that night. Our driver stayed behind with our friend and he drove the van to Moscow the next day when it was fixed. Luckily it was an all-night show because our playtime had to be moved from 2 am to 4 am since the train ride took so long. It was one of the best gigs we’ve ever played at. The places we played everywhere on the tour were great and the people were super nice! The traffic is an absolute terrifying nightmare in Russia though.

Simon: Yeah, traffic is a bit annoying, but basic shit for the megapolices. Maybe the biggest mistake in Novgorod was to organize a gig in the house which belongs to the Ministry of Sport. They didn’t like a bunch of wasted punks in their yard and house and called the Director of house. I hope one day we come to Novgorod again and get revenge!

Kakekaaos: yeah that tour was a nightmare I love to remember. Would do it again anytime.

Plans for the future of Civicide? Are you already planning a new tour? Are you already working on a new album?

Stefan: We’ve had to find a new drummer since Niko, our original drummer, couldn’t continue. He’s still a very dear friend to us and we’ll be seeing him around! Anyway, we’re concentrating on practicing a set with our new drummer so we can play shows again. Then we’ll continue making new songs and make a new record again some time. We’ll see if we could do a tour next year at some point too, but it’s a bit too early to say anything about that at the moment.

Kakekaaos: Practicing a set to start playing gigs soon again is the priority, a new album at some point too. Would love to tour Europe at some point also!

As we come to the conclusion of the interview, I leave this space completely up to you. You can write anything that comes to mind, tell anecdotes or even answer questions that no one has ever asked you!

Kakekaaos: I hope we can play in Italy some day! Thanks and Cheers!

“Prehistoric Metal of Death against Fascism” – Interview with Prehistoric War Cult

A couple of months ago I published a review of “Cold Wind Howls Over the Burial Site”, the first devastating studio effort of German band Prehistoric War Cult, a concentration of barbaric and brutal war metal without compromise and without pity, especially for the Nazi-fascist scum that infests the extreme metal scene and not only. Some time later I decided to interview them to talk about anti-fascism, their personal proposal of “War Metal” and especially their relationship with the extreme and punk/DIY scene. I leave you to the very interesting answers of Prehistoric War Cult.

Let the barbarians run wild. Let them sharpen their swords, let them wield their axes, let them strike mercilessly at the Nazi-fascist scum. Let savage war take the place of resignation, let primitive violence take the place of waiting, let the cult of prehistoric metal reign in the rubble of this world and of all forms of oppression. Let the barbarian hordes go on the assault to the cry of “Prehistoric Metal of Death”.

Let’s start as usual with the biographical notes: where, when and why were Prehistoric War Cult born?

We started the project in September 2020, after months of Covid-lockdowns, general depression and band inactivity. It took us about two months to write the songs on “Cold Wind Blows Over the Burial Site“, we recorded everything in January – mostly only two of us at a time, since regulations kept us from rehearsing again. As to the “why” – We really wanted to write and play more primitive, aggressive and bestial music than we did in our previous band.   

What lies behind the choice of a name so fascinating and that leaves little room for doubt about the primitive ferocity of your musical proposal?

On the one hand, undeniably Conqueror had their influence on the name, as one might suspect. On the other, we wanted to have a certain theme, a background to all we do from the beginning. Historical – or even just “pseudo-historical” themes make it much easier to write both music and lyrics for us, so we settled on prehistoric rites, cults and barbarity as our “theme”. And there you go, the name pretty much came by itself.

Going more specifically inside your primitive and wild imaginary, what do you want to transmit with the label “Barbaric Metal of Death” with which you define your music?

We try to channel the spirit of the late 80s as well as possible – the 1st wave sound, where there was no Norwegian Black Metal (yet) and the boundaries between Black Metal, Death Metal and such were not yet there. Stuff like old Beherit, the Goatlord demos, Blasphemy of course – a sound that is more about primitivity, less about fancy PR stunts or camo shorts. 

Listen to your first studio effort “Cold Wind Howls over the Burial Site”, you can hear equally echoes of the most putrescent and warlike death metal as well as atmospheres of the most primordial and obscure black metal. Which are the bands that have most influenced your sound?

Beherit, Conqueror, Sadomator, Goatlord and Black Witchery, to name the most important influences. The early bands and all those who celebrate their style!

At first glance your music, your imagery and the choice of terms such as “barbaric”, “war cult” or “prehistoric” brings you very close to the so-called “War Metal”. Do you think it is a label that fits your music? Do you identify with the war metal scene or are there elements and dynamics of that musical environment with which you find yourself in conflict or distant?

We are absolutely fine with the term “War Metal” – it describes what our music is about very well!As far as the “scene” thing goes, that’s another story… Around here in Germany, there is hardly anything like a “War Metal scene”. There are a few bands here and there, but barely any shows – and if there are, you will most likely find at least one fascist or “grey area” band on the lineup. What many perceive as a War Metal scene nowadays seems to be an internet phenomenon in the first place. To answer your question, we don’t really care about any elitist war/black metal scene bullshit. The only scene where we truly feel welcome and at home is the Punk / Squat/ DIY scene

Continuing to talk about war metal, it’s well known that in this field as well as in the rest of the extreme metal scene you often find yourself in front of bands that have links with the extreme right or that are ambiguous about their political positions. On the contrary, you are a band that does not hide its anti-fascism. What does it mean for you to emphasize that you are an anti-fascist band? But above all, how is your anti-fascism declined within the dynamics of a scene, that of extreme metal, often full of tolerance and ambiguity towards Nazi-fascism or other forms of oppression such as racism or homophobia?


We have spent years playing and organizing shows in the diy punk scene. Standing openly against fascists was never a question for us. As such, we do not compromise when it comes to playing shows. The “scene” as such, if such a thing even exists, is secondary. Fascist assholes will be assholes and we won’t cooperate with them, no matter what music they play or like. Looking at the extreme metal scene in total and how rarely bands speak out openly against racism and homophobia, it makes it even more important for us to emphasize our political position. 

Going back to talking about “Cold Wind Howls Over the Burial Site” instead, what were you inspired by when writing the lyrics and what are you trying to address with them? Is the prehistory recalled in your name just a choice of style or does this theme have a recurrence or a certain centrality in your lyrics?

Our lyrics revolve around vague themes that cannot really be traced to a certain point in time or any events. Instead they much rather focus on the unknown, the mystical and the barbaric past and what may have transpired there. About ancient cults, pagan worship and human sacrifices – it is not about just replicating historic events, but rather about telling stories from times far beyond our grasp.

Instead, one of your splits together with θoʊθ has recently been released. How did the collaboration with this band come about and what were the reasons that convinced you to share a split with them?

θoʊθ is a 1-person project and that one person happens to be a friend of ours. The music itself is quite different to the usual Death Metal many contemporary bands are making and they have a historical theme as well so… it just happened. Also, releasing the demo on vinyl as a split made it a bit easier for Fucking Kill records, since nobody knew how well our music would be received prior to the release.

Are you already working on a new chapter of your “Barbaric Metal of Death”? If yes, will it follow the lyrical and musical coordinates of the first album or do you plan to expand your interpretation of bestial black/death metal?

The next release will definitely follow in the vein of the last release. We are currently working on it and already have a few songs more or less finished. The lyrics deviate a little from those on “Cold Wind…”: They focus even more on prehistoric cults, acts of torture and sacrifice and ecstatic fever dreams.. a bit less “direct” I guess. As far as the music goes, expect a few more barbaric tunes without too much innovation and lots of blastbeats!  

The interview has come to an end, I thank you very much and I leave this space all for you to say whatever you want or think is interesting! Long live Barbaric Metal of Death!


Thank you very much for your questions!
To close it off we would like to tell you our wish for the future: The world needs more explicitly antifastic metal bands that are neither fueled by their desire to be “memeable” nor bands that default to playing sophisticated prog metal or “post”-something.More serious antifascist barbaric metal, less “ironic” hipster crap!

“Charged Pacific Rim Crust Punk of War!” – Interview with Nagasaki Sunrise

Charged Pacific Rim Crust Punk of War“, this is the label by which Nagasaki Sunrise present and describe their music. To know more about what they mean by this concept, you just have to read the interview I recently managed to do with them. Also, if you like British heavy metal and the sounds of Japanese hardcore/crust punk from Death Side and the “burning spirits” scene, Nagasaki Sunrise and their new album “Distalgia” are the best band you could come across!

Like any self-respecting interview, we start with some biographical notes. Tell us about yourselves, when was Nagasaki Sunrise born, how did you choose the name and above all why did you decide to start this band?

Hey! First of all, thank you for the interview and your interest in talking to us! Nagasaki Sunrise was born in 2020, during the difficult months of quarantine and self-isolation. The project idea came from Iron Fist, who had some songs up his sleeve from a home recording session in 2015.

In late 2019 the project was coming to life, quickly becoming a full on band. Speedfaias joined for bass duty and Wartank was pounding the drums of deliverance. Gasolizna joined shortly after, recording vocals for the demo songs on “Turn on the power”.

Our main influence is drawn from the“Burning Spirits” aesthetic, borrowing our inspiration from the larger than life Japanese Hardcore bands from the 80’s that play a major role in our sound, imagery and vocabulary. NAGASAKI SUNRISE represents the paradoxical nature of the human race and its primal urge to wage war, focusing on WWII and particularly on the events leading to the atomic bombings of Japan.

If I’m not too misinformed about you, it seems to me that you mostly come from the heavy metal scene in which you are very active with various bands. What do you think are the main differences between the metal scene and the hardcore punk scene?

We actually have a foot in each scene, being active in both “worlds”, since we consider it being the same. We all started playing punk as teenagers, each one in his hometown. At the moment all members of the band are also involved in other bands (metal and punk oriented), such as Midnight Priest, Vürmo, Roädscüm, Carnage, amongst others.  We all like metal and punk, as well as their subgenres. But regarding the differences, here in Portugal, they’re only noticeable in the big cities, where we kinda of have a venue for punk, and a venue for metal. But both “tribes”, ourselves included of course, attend gigs in both places, as for us, the D.I.Y. spirit and support between bands and communities is crucial to keep the underground scene alive!

Listening to “Turn on the Power”, your first EP, your heavy metal background is immediately clear as well as a sincere passion and influence of certain Japanese d-beat/hardcore à la Death Side. And which are the bands that you think have influenced you the most?

The heavy metal background is surely there, mainly on the guitar leads and sound. The influencing bands question is always a tricky one, since there’s a huge amount of bands that influence us in a way or another. It makes it difficult to leave some bands out, but if i need to choose, i would say Death Side, Discharge, Motörhead, Inepsy, G.I.S.M. and R.U.G., Anti-Cimex, Venom, and so on. Mainly the Burning Spirits/Japanese Raw Punk, the British D-Beat/Rock’n’roll/N.W.O.B.H.M, and the Scandinavian Hardcore sounds.

“Charged pacific rim crust punk of war” is the label you use to define yourselves, your music and your imagery. Would you like to elaborate on this concept?

This term was chosen due to the lyrics, the sound, and the aesthetics of the band.  Since we weren’t able to label the band with a specific sound or genre definition. 

We like the diversity of elements that materializes our vision of punk and metal, which has more of a crossover feeling to it. It can be epic and gnarly, it has solos with d-beat, it’s meant to be chaotic while still displaying a melodic touch, but it is most of all a tribute to the “fallen heroes” of WWII and beyond.

Soon (11 September) your first full-length entitled “Distalgia” will be released, would you like to tell us something about it? What will be the differences with the previous Ep? What is the meaning of the title?

Yes, the album came out on September 11, and it’s already available on all streaming platforms. It will be out on CD in the end of September, and on vinyl in the end of October, released by Monolith Records.   

We are really happy with the end result, and stoked to play live! The recording process was smooth, working with our good friend Kiko “Gloves of Metal” Silva, who also mixed the album. 

It was mastered by Jack Control at the Enormous Door Mastering, and we couldn’t ask for a better outcome. Raw and damp, made to be listened loud as fuck! 

We think that there’s an evolution in the sound from the “Turn on the Power” demo. Not different sounding, but trimmed and polished to its best. We had more time to work on the songs, the lyrics, and the production, paying more attention to the details, and working on them till we were happy. In the end, that sets the difference between a demo and a full length album. 

The name of the album comes from the third track, it is an homage to all the bands that shaped the punk sound, inspiring others to keep on doing it. It’s a junction between the Dis-sound and Nostalgia.

Lyrically, “Turn on the Power” focused on the Pacific Rim battles of the second world war. Where does the idea of talking about certain historical themes come from within your proposal? Will the new album still be inspired by the events that affected the Pacific Rim during the second world war or did you deal with other issues?

Actually, when we came out with the “Charged Pacific Rim Crust Punk of War” thing, we had more in our minds the lyrics of the album than the ones of the Demo. The sound is there, sure. But we wrote it in the process of writing the album, so it was a lot more connected with the last one.  The lyrics of the demo are more related to being loud and playing raw. It also has war themed lyrics, like Napalm in the Morning, but the Pacific Rim war tales are a lot more present in the album. We see the Turn on the Power lyrics as an overture for what we want to do in the future. 

As for the idea of talking about certain historical themes, I can tell you that we are huge BOLT THROWER  fans, and that should be enough! Ahah. We want to talk about War, and the atrocities that transpired during the Pacific Rim battles and other wars, but in a more historical perspective. We’re not doing or writing about anything new, but we want to do it in a different way.

You come from Portugal, a land unfortunately that appears too little often on the maps of world metal and punk. What can you tell us about the Portuguese hardcore/crust and metal scene? Which are the bands with which you have more relationships and that you consider more valid?

Yes, unfortunately that’s true. I think that being a small country and geographically in the end of Europe doesn’t help. It’s really difficult to play outside of Portugal and for bands to come here to play, since we don’t have physical borders with no country apart from spain. Fortunately, this is changing a bit, and we’re starting to have more touring bands coming, and more bands going out (at least before the pandemic). It’s a small scene, but cohesive, at least in the D.I.Y. metalpunk underground scene. And there’s a lot of awesome bands in Portugal as well! To name a few, DOKUGA, BAS ROTTEN, ALCOHOLOCAUST, VAI-TE FODER, BATTLESCARS, DESKARGA ETILIKA, CREPUSCULO MALDITO, PARIA, SCATTERBRAINIAC, KAZÄN, SANGUE XUNGA, SYSTEMIK VIOLENCE, VENENO CALIFORNIA, RAVENSIRE, VECTIS, ESTADO DE SITIO, IRONSWORD, LYZZARD, WANDERER, FILII NIGRANTIUM INFERNALIUM, ARCHAIC TOMB, FREEDOOM, SCUM LIQUOR, BACKALLEY LOBOTOMY, NARCOMANCER, MARTELO NEGRO, CORRUPTED HUMAN BEHAVIOR.

Both on the first Ep and on the tracklist of the next “Distalgia” you can notice the choice to use the Japanese language for some titles of your songs. Is it only a choice of imagery and style or is it a way to pay homage to that “burning spirits” Japanese hardcore/crust that appears as one of your main influences?

It’s definitely an homage to those bands. They are the major influence in the NAGASAKI SUNRISE aesthetic and sound.

Dear Nagasaki Sunrise we have come to the end of this interview, I leave this space at your disposal to write whatever comes to your mind!

Thank you for reading this, and supporting the band! We hope to go out and play live everywhere we can as soon as possible! Keep the D.I.Y metalpunk scene raw, loud and underground!!