Thursday, July 28, 2005

War Stories: Ray Cappo

Welcome to the first intallment of War Stories. I plan to use this segment to gather stories about mischievious/dumbass things that dudes in the core have done in thier past. This is one of my all time favorite stories from Ray Cappo. It first appeared in Fuck You Fanzine #1 (volume II in 1998) and then again in Fuck You Fanzine #6 (volume III in June of 2003). Enjoy. -- Ronny

Our first party we threw was back when I was in the band Violent Children. It wasn’t really that punk. We were sort of into the Sex Pistols, Black Flag, the B-52’s and The Clash. We liked to dance, but then we’d like to slam. We didn’t know what moshing was or anything.

So, I had this party and I invited all of my friends over to the house. My parents just went to Europe, so I got a Mohawk. We moved all of the furniture out of the living room so we could just dance, because we were really into dancing. We were into ska. We had the whole Two Tone collection, so we were like “yeah, ska time! Yeah, punk time!” and we’d slam, and then we’d be like “pogo time!” and play something punky.

So then all of the sudden, my big heavy-set friend started slamming into the living room main support wall of my Mom’s colonial house! His name was Fudd. I was like “Fudd, man you freakin’ made a little crack in the wall! What are you, nuts?!” He was like “eh, sorry man. We were slamming.”

We were all drinking and finally after a while of still slamming and still throwing each other against the walls, I turned on the lights and realized that the entire main support wall of the house was riddled with cracks and plaster was out. I was like “holy shit! What is my Mom going to say when she sees this?!”

So, I was like “I have to get my older brother to fix this!” My brother came home, saw the party, and was like “you jerk! EVERYBODY, out of the house!” and he kicked everybody out of the house. I was like “Carl, man you’ve got to help me. Dad will kill me if he finds out we did this to the house! Carl finally goes “alright, I’ll fix it.”

My brother Carl can build anything. He re-plastered the wall perfectly and then painted it. So it was all done, completely. My parents came home, and my oldest brother, who is the biggest bitch in the family goes “alright, you fixed the wall. You got it all done. You chipped in the money. You paid for it. Now I want you to tell Dad anyway.”

I was like “are you kidding?! Why? Why?!!!

He goes “because it’s the right thing to do.”

I was like “no way! Don’t tell Dad. He doesn’t have to know! Everything looks perfect. There’s no hole in the wall. Everything is gone. It’s all sealed up. I paid for it. C’mon! Don’t tell him!!”

He goes “you got to tell Dad.”

He made me tell Dad.

And what’s worse is, I don’t know why, but the hole in the middle of the wall opened up again. It was unbelievable. I had to live with that hole for my entire life. My father refused to cover it up just to remind me of how irresponsible I was.

Every time I wanted to do something like use the car, my parents would be like “no, you can’t use the car. You know why? Come here, I’ll show you why.”

They’d bring me to the wall.

“That’s why you’re not going to use the car!”

See you at Positive Numbers!

Bands, labels & zine editors: Dave and I are currently soliciting review material for Barebones Hardcore. We review records every week, so if you'd like to have your record or zine reviewed, please be sure to say hi if you see me wandering around at Positive Numbers. A good starting point would be the Malfunction Records table, where I have been known to hang out with my good friend Tru Pray.

Dave does all the reviews, and since he doesn't own a turn table anymore, we can only accept CDs. Even burned CDRs with lyric sheets are fine. Dave is interested in what's in the box, and not necessarily the box itself. He is especially interested in bands with demos, so if you want a review on a new site with an established readership that's already averaging 12,000 hits a month, this is your chance. Established bands and labels -- you too! Help me feed Dave K's road rage!

See you in Wilkes-Barre!

Ronny Little

Tuesday, July 26, 2005

More Updates to Come Soon

I just wanted to let everyone know that more updates are coming to the site, so keep checking back. I'm waiting for several interviews to come back to me, and I have another Hardcore Archeology feature in the mix that I know everyone will find very interesting.

We're not taking a break. Things are just hectic at the moment, so please bear with us!

Ronny & Dave
Barebones Hardcore

Wednesday, July 20, 2005

Record Review by Dave K.

Sorry again for the lack of a name for this pathetic excuse of writing. Still working on that. Didn’t get too much this past week though I’m giving you the heads up on a few things. People, if you want to be reviewed, send your CD/MP3/DVD/books/fanzines to the address below. You don’t have to send jewel cases. Releases can be in the mp3 format (just send a Xerox of the lyrics, cover, etc.) and sending a cdr is fine, too. The page views are increasing every day, so people will see it.

Well, let’s get on with it, shall we? Let’s shall.

I guess some things never change. I recently gave the latest The Accused record a listen, dubbed (What else?) Oh Martha! The Accused were one of those bands I never really got into. I think it’s that their early records came from that whole crossover thing. Listen to this and it’s speedcore ala 1986 all over again. It’s a decent release, musicianship is really tight, recording is good. I just can’t stand all the little metallic licks throughout. If you were a fan of this band, you’ll love it. Sounds like it came out in like 1987 and was given major airplay on a radio station like WSOU (My apologies to people who are not from NJ -- it was the Heavy Metal station that everybody listened to). Others might find it quaint and a little dated, but then again isn’t hardcore? Looks likes they are releasing this themselves, get it at:

Man, I love some of my old friends. Way back when in that golden year of 1989, I met a guy named Charles Maggio. He seemed like a cool dude, so we started to talk, hang out, go to shows (he’s one of the first ABC No Rio people), spending too much time at record conventions and eventually, to see him be a part of one of hardcore’s best band, Rorschach. There are about five people in this world who really know me, and Chuckles is one of them. So it would go to show that he likes to busts my balls by sending stuff from his label, Gern Blandsten for me to review. I’ve know for a long time, he was the biggest Big Boys fan. Don’t know why, way too weird for me. The Wreck Collection is a compilation of various tracks from their wild career. The songs are all over the place musically. Could be straight punk one minute, wild jazzy shit the next. One thing must be said they took great pictures. They were punk for sure. Happy that he got this out, I know it meant a lot to him. Good lord, I can’t even describe The World/Inferno Friendship Society & Miss TK and the Revenge. These releases are way too avant-garde for my avant-garde ass. I think of all the good bands this man likes and cry. Charles, please stop the madness! But really, he has put out a lot of better stuff go check out his site and look around. You can always buy a copy of Autopsy.

Hey, at least one person is reading Barebones Hardcore because I was sent my first ‘zine to review! It’s from England no less. “Blue! Do You Trust That I Do Not Want To See You Die Here Tonight?” (Yes, that is the name, it’s a mouthful) is a half sized personal writing fanzine concentrating on Straight Edge in England. That might sound chessy but actually this is a good read. Part serious/part funny rants about the SxE scene in the UK, there is a couple of interesting pieces on his travels to the Middle East. One deals why there is no punk rock of any kind there. Lots of bad, but funny art. There is a really funny piece called “Ten Reasons Why Ray Cappo is Better Than Jesus Christ”. I howled over that one, especially #5. There is a really good read on touring, with advice on what to bring with you. I guess they have the same typical hardcore BS going on over as well, get used to it, dude. I’m going to have send this one up north to my editor. Since it’s a small run, e-mail first to see if any are left Mail address is:Max Mitchell 206 West One Aspect 17 Cavendish Street Sheffield S3 7SS UK

I always look forwards to watching documentaries, especially when they are on a subject matter I know a little something about. Punk: Attitude is such a film by Don Letts. Caught the preview of this on IFC, it will be released on DVD 8/9/05. There has been a few good documentaries covering aspects of punk and hardcore music, such as The Decline of A Western Civilization and Another State of Mind. The reason these worked well was they showed an exact moment in time and gave you a feel of what was going on then. While Punk: Attitude is interesting and entertaining, it tries to cover too much in too short a time. 90 minutes is too small a window to show what happened. What we really need is like a “Ken Burns” type of documentary, a 4 part mini-series to at least even attempt to do what Mr. Letts did here.

It’s begins to show the beginning and seeds of punk rock with rebellion in the 1950’s and through the late 1960’s with the activist movements. The first band shown was the MC5, considered radical at the time and The Velvet Underground. We move along to NYC in early 1970’s with bands like the NY Dolls, Suicide, Television, the Dictators and of course, The Ramones. There is great commentary by people who were there at the time. Christ, they even got Hilly Kristal to be coherent (did you see that CBGB’s “documentary” a couple of years back, the dude was practically asleep!). Then England is the focus (where Don Letts is from) with the Sex Pistols, The Damned, The Clash, the Buzzcocks, etc. Here is probably the most interesting part of the film. Captain Sensible (of the Damned) is hilarious. A lot of the band footage I have never seen before and was cool to see.

We end up back in America in Los Angeles for the punk scene starting up there in the late 1970’s but it doesn’t really show us anything. The “No Wave” scene is covered briefly. Now we are past the 1 hour mark and this film should really end RIGHT here. This is where it totally falls apart. I mean how are you going to fit like 25 years into a half an hour? They explain that hardcore came from punk and it was basically negative, violent and nasty. One of the bands shown was Agnostic Front. Now I’m glad Roger Miret got to say a few things here, but when you are talking about the early 1980’s, you don’t show footage from the 1990’s! Same weirdness abound when they very briefly go into how in the very early 1980’s in NYC that the hip hop and punk scenes started to hang with each other. Since I wasn’t in NYC in 1982, I can’t comment but you don’t make that claim and then show Beastie Boys videos from 1986 and Public Enemy footage from much later to validate it. Thurston Moore said it correctly that the 1980’s were never properly documented and that really hurt punk in general, since everybody thinks nothing went on. They very briefly talk about Straight Edge w/Ray Cappo making a brief statement, “it was kind of like a counterculture to the counterculture” and show cool Minor Threat clips. The best part of this last half an hour is the early Bad Brains footage. They should release that whole show. It was such a freaking tease.

Of course, they talk about Nirvana and how they brought punk into the mainstream. For my money, it could have been any band, it was just the band a record label decided to push and they just luckily hit. They make it seems like Nirvana were “The Band! A Voice of a generation!” From here, it’s like a bullet train to the end of the film, talking about all the other bands would benefited from this such as Green Day, Blink 182, Rancid, etc. Good lord, I was really happy went this thing was over.

They picked some really good people to give their thoughts and experiences on the history of punk. Henry Rollins (who is always great), Thurston Moore, Jello Biafra, Siouxie Sioux, Steve Jones (who looked bored), Tommy Ramone, Legs McNeil and other well-known punk heroes are the core to this. Many great quotes throughout. Another thing that bothered me was that is was supposed to be a “punk” documentary. Why did they use the standard “let’s letterbox this, offset the person interviewed either left or right with some cool backgrounds or personal effects next to them”. This is like how every documentary is done. Would have been cooler to see people revisit the scene of the crime so to speak. Like showing them outside the clubs or frequented areas that were popular back then. Oh well, in a perfect world right.

Overall, this is another in a long line of poorly presented projects, which has tried to cover a vast subject as “the history of punk”. I just hope it can be done well before I die.

Great clone bands. Wow! What a different about 10 years make. That is about how long it’s been since I last listened to Deadguy’s “Fixation On A Co-Worker” CD. I loved this record (still do), but for some reason never really went back to it. Anyway, is it me or is this like the “lost” Rollins Band Lp? Really, I know that Tim Singer was a big fan of the Hankster and it influenced him in all of his bands, though I just can’t believe how much this sounds exactly like Rollins. If you are like me and haven’t heard it in awhile, give it a listen and see for yourself.

It’s a Radio Riot! Last week, I had given you some info about Al Quint’s radio show and was saying how it reminded me of Pat Duncan’s WFMU show back in NJ. Brett Beach has been telling me like forever that Pat’s show is available over the internet. I just never got around to checking it out until now. Wow. I have been missing out for a long time. Since I moved down to Atlanta, I just never thought I’d be able to listen again. Well, as you know with the internet, almost anything is possible and you can hear Pat Duncan’s show anywhere now. That is just the icing on the cake though. Go to first and find the links to Pat’s show. I don’t know how they do it (must have terabyte servers or something) but you can listen any of Pat’s shows from 2000 on streaming. The options are vast. Choose either Real Player or your MP3 player of choice, and start listening. There are also various bitrate options to choose from. Now you might be asking why the hell would I want to listen to old radio shows? Well, one big thing Pat Duncan is/was know for is having a part of his show dedicated to live bands in the studio. Since, he has cut back a bit on that in recent years, there has been awesome repeats of “live” sets, including some well-known classic sets from a lot of NYC bands in the late 1980’s. This is the stuff we used to wait in our bedrooms, setting up the tape player and waiting in anticipation for the band to start. I know for a fact when I used to trade tapes, that I was usually the first to have it on the lists. Everybody wanted that material.

Luckily, WFMU has a great play list system set up. You can go to the playlist you want and everything in playing order is there, including weblinks if they exist. But the real benefit of this is to find the valuable “live” sets. I still haven’t figured out how to stream and record the music straight to the hard drive (I think most programs out there get blocked by the radio’s website since it’s frowned upon. But I just haven’t kept up with it.), so since my computer is hooked up to the receiver, you can just tape it then use something like Sound Forge to record it back. Hack job, I know. There is so much gold here it’s not funny.

I have always looked up to Pat Duncan because back in the very early 1980’s when I was trying to find music I liked, I came across his show by accident. I taped a lot of full shows back then to play later. I discovered Minor Threat and one of my all-time favorites, Personality Crisis, like the second time I listened. Since, it was a NJ show he played a lot of locals like Bedlam, AOD, Sand In The Face and the all mighty Death Rage! I’m am fortunate enough to have met him, hung out at the radio show many times (One time in 1988, Life’s Blood was going to play live on the air and I brought many NYC bands recordings for him to play since nobody was giving him anything. Thanks to me, the Beyond demo was played for the first time on NJ radio!) and talked to him many times. Great punk/hardcore music/Tangerine Dream fan, Pat Duncan gives everything a chance at least once. If you never heard the show, check it out, better late than never.

Dave’s Moldy Oldie Pick of the Week: Fuck, I had something else in mind but I just couldn’t resist. The first Nihilistics Lp is in my all-time top ten hardcore/punk recordings. This record is just one of the best. This is the loudest, most anarchist, self destructive recording your ears will ever have the pleasure of hearing. “Black Sheep” is like my personal song. It’s nice to see that the band has kept control of their recordings and kept them in print. If you don’t have this in your collection somewhere, you are either a new kid just getting into punk (in which case, go get one) or if you have been into punk and hardcore a while, a limp dicked, dead fuck.

That’s it…see you next week. Send those releases! When I’m on the road doing 85 mph, I need some tunes! Dave K.

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017


Tuesday, July 19, 2005

Interview: Betrayed

They say that imitation is the sincerest form of flattery, and I suppose that's true to a point. In hardcore however, most of today's bands attach themselves to the legs of their influences like frisky little Jack Russells and just hump the shit out of them with no shame whatsoever. The lack of originality in this scene over the past few years saddens me. Sounds, riffs, lyrics, logos, fashions, you name it -- stolen and tweaked by newer bands, creating a much weaker version than the original. At times this scene almost seems like it's paint by numbers hardcore.

And then a band like Betrayed comes along with such an inspired sound and message, done so well, that it makes so many other bands in this scene just look silly. There is absolutely no denying that Betrayed draws heavily from the influence of Dag Nasty. You can hear Todd Jones invoking the essence of Brian Baker in every lick he plays on the bands debut EP, "Addiction." The difference between this band and the sea of cloned bands in today's scene is that Betrayed has embraced a style, rather than bastardized it.

The band is fronted by Aram Arslanian, who has absolutely nailed the lyrical style necessary to pull off the blend of melody and power that Betrayed blasts out. His lyrics are positive, inspiring, and real, to the point that I'm jealous I didn't think of them before he did.

The hardcore rumor mill has been churning. Story had it that Aram wanted a word with me over one of the meanest record reviews I had ever written. His other band, Champion, was the recipient of the, um, the red carpet treatment in issue one (volume III) of my Fuck You Fanzine. It's been three years. I wonder if he's still mad...

Okay Aram. Despite the fact that there are thousands of miles of red states seperating us, I can still feel the death rays shooting out of your eyes and blasting me in the face through my computer screen here in Washington DC. Do you want to clear the air? Hug it out?

Aram: Actually since I live in Canada not only do we have thousands of miles of red states between us, we also have an international border. Heavy. As for hate, come on, we have different approaches to Hardcore, see things through different eyes, but that's not a reason for me to dislike you. I definitely disagree with the way you get some of your ideas out there, but I think in essence we agree on alot of things.

I'm glad you feel that way, because the way the hardcore rumor mill works, I was hearing a much different story. At the time I reviewed Count Our Numbers, the record review policy for my zine was "I either love it or hate it, nothing inbetween." It seemed like a good idea at the time, but as it turned out the problem with that philosphy was that I got lost in either nurturing or nuking bands, and didn't offer a lot that the band or the kid buying the record could walk away with. For what it's worth, I bummed out enough people that I took a hard look at what I was doing, decided I wasn't really that mean at the core, and stopped doing Fuck You Fanzine all together.

Betrayed has drawn a lot of comparissons to Dag Nasty. Throughout the years, many bands have tried to duplicate that style and have failed miserably. What I find refreshing about Betrayed is that while I can definitely hear the influences in the music, absolutely nothing is bastardized and the record stands completely on it's own. I don't think of it as Dag Nasty Jr. Unlike Dag Nasty, you have the gift of hindsight...well Dag Nasty's hindsight. They released Can I Say which is a classic, and then followed it up with Wig Out, which is not. Even with Smalley in the band, I don't think Wig Out would have been half the record Can I Say turned out to be. Now that you have a great debut record under your belt, are you giving any thought to how Betrayed can "progess" in it's sound, without falling into the same pitfalls that bands like 7 Seconds, Uniform Choice, and Dag Nasty had all fallen into once they started messing around with the idea of melodic hardcore?

Aram: Again that's a place where we differ. "Wig Out" is a great record The guitars are seriously unreal; I can see where you might start thinking shitty when we get to "Field Day" (although it has some solid jams) but "Wig Out" is a awesome in my opinion. BUT with that said, yeah I do agree that many bands fell into that trap of "developing their sound", especially Uniform Choice. The 2nd record was a huge let down not just because the songs sucked, but because they were trying to radically alter what they sounded like and what their band was about (DN "Field Day" falls into this to, but again it has some songs I love on it although its just a different band). If you're not feeling it anymore break up and start a new band and don't shit on the people who love your band and the legacy you've created by keeping the name.

Honestly though I don't think we're taking any lessons from those bands. Yeah you can use them as a lesson in what not to do, but we started this band with really specific goals and ideas in mind -- solid friends playing in a real hardcore band with real lyrics. We wouldn't move away from that because we'd be getting away from the main ideas of the band so we don't need other bands to point that out to us, we just wouldn't do it because that's not who we are. On a personal level I have zero interest in "developing as a musician" or anything like that. I mean its really important to me to always try to step up with every new effort; I want each record I have a part in to be better than the last BUT not at the sake of what the band is about. I guess the idea for me is to develop, but not to change what and who I am and what I'm a part of.

Finally, I back every 7 Seconds record ever. Some I like less than others, but they all come from the heart and not many bands can say that.

Todd: I'd have to say some of the guitar work has a huge Brian Baker influence. With any band I've done, I've always tried to take various influences and also put my own style in the music. I don't want to rip off anything to the T; I don't want to sound exactly like any certain band. As far as progression, we're not interested in changing our sound, just trying to write music that is better than our last record. We want to make a strong follow up full length to the EP. One thing I'm not going to worry about, is pleasing anybody with the music we write. What matters the most, is that if we like it. For the next record, our influences are going to stay the same, but I'm going to put more effort into the songs so hopefully they'll come out a little better. I doubt we'll ever do anything radically different. I like Wig Out At Denko's. I think there's better guitar stuff on Wig Out than I do Can I Say, although I do think Can I Say is a stronger album as a whole.

It's not that I don't like Wig Out -- I do. I just don't think of it as a classic. Can I Say is a classic from start to finish, where as I'd rather put my nose to Brian Baker's crack and breathe in his exhaust than listen to "When I Move" or "The God Father" a second more than I have to. As for Field Day, I still catch shit from my friends for listing that record as one of my guilty pleasures.

I wouldn't expect that you guys would be looking to "progress" or change your sound after only releasing an EP. I suppose my point is that melodic hardcore is one of those fires that a lot of bands burn themselves playing with. It's seems like it's really easy to go from "Walk Together, Rock Together" to, say "Praise," if you catch my drift.

Todd, with you in California and Aram in Canada, how did this record get put together? What was the process from the second you wrote the first note to the moment you mixed the last song?

Todd: Pretty simple process. I bought an eMac because Macintosh makes this really awsome program called Garage Band. It's basically a really really simple recording program that any dolt can learn in 10 minutes. I started writing riffs, recording them into Garage Band with drums and everything, and then making mp3 out of the songs and sending them to Aram over the internet. He would listen to the songs and tell me if it was good or not and we would go from there. After a song was done, we'd move on to the next song. When I flew up to Seattle to record, we made small changes to all the songs, mainly with drum fills and drum patterns, but for the most part, all the song transitions and parts stayed the same. It was really simple.

Aram: For me the way the music came together was one of the best things about this record, Todd and I kicked around ideas about what we wanted to do and about what we felt was important to preserve, or to bring back to light. To much important hardcore is being lost behind "mosh parts" and "hype bands" and I for one am fucking over it; I don't give a fuck about how "sick" a band is or how many dunks you have... not interested at all because that shit takes away from all the amazing, meaningful, records out there from both the past and present. I think we both wanted to try to focus on, and pay our respects to, some of the biggest influences in our lives in terms of music and ideals so when Todd would come up with somes or ideas we'd talk about it on the phone, and then I'd check out the files he send me and kick around some more ideas about it. The whole thing was easy in a sense because we were on the exact same page about everything, because we were focused on what we wanted this record to be. It was awesome.

Aram, who are you talking to in "A Light In the Dark?" It sounds like it's specifically aimed at one person.

Aram: That song is definately aimed at one person, a good friend of mine and Todd's who was really struggling under the weight of a depression. Todd called me up and asked that I get in touch with this friend of ours because something was wrong.. when I called him we talked for a while about what was going on and I said what I could to help him deal with what he was going through. When I got home that night I just felt powerless because here I had this friend who was struggling with so much and I knew that the only person he could really look to to help him pull through was himself. I sat down that night and wrote the song saying, "I know that I can't solve this for you, but I'm there for you until you can find your own way through". I wont name names for the sake of our friend, btu I will say that this song definately addresses depression and my belief the only way to make it through is not by relying on counseling, or prescription drugs, but by finding the reasons to live within yourself. I'm not saying that there is no value to clinical methods, because there are, but people need to stop relying completely on outside sources to solve their problems and start finding their own answers.

What is one quirky thing about each of you that nobody knows about?

Todd: I don't know I'm kind of open about my quirks. I'm really shy and anti social. Not a good mix. I don't like meeting new people.

Aram: I hate talking to people I don't know on the phone and having to ask them for anything. I mean I have no problem asking anything of friends, family, and people I've met face to face but I go way out of my way to avoid having to call someone I don't know and ask them for anything... this includes the following: ording pizza, activating credit cards, calling my health insurence, asking directions, asking buisness hours, ordering plane ticktes, etc. I am a weirdo.

At what point will Betrayed be touring? You've both been on the road quite a bit. What city/scene is tops on the list for each of you? What city/scene could you care less if you ever drove through it again?

Todd: Right now I have a job that I like and a nice place to live. I'm not just yet willing to sacrifice that to go on tour. Maybe someday. My favorite scenes and cities to play shows at are: Seattle, San Francisco, Montreal, Arnheim. Houston is rad. Scenes/Cities that I don't care about to ever play at again: Anywhere gang members go to hardcore shows.

Aram: We'll be doing some short tours this summer and fall and then see what happens when we record our LP this winter. I think we'd all like to try to tour with this band, but it needs to be right and not forced. I love playing Boston, San Diego, Seattle, San Fran, Montreal, and New York and could never set foot in Milwalkee again and die happy.

Between the both of you, there is Betrayed, Champion, Snake Eyes and Internal Affairs. If each of you had to choose one band, and one band only, which choice would each of you make?

Todd: I'm currently doing Snake Eyes, Internal Affairs, and Betrayed. Snake Eyes started out as a fun project between some friends of mine. We had and still have no agenda as far as what style songs we're going to write, we have no pressure or stress to ever really do anything - Snake Eyes strictly exists to have fun and make some cool hardcore music. I joined Internal Affairs because I want to be in a band with one of my best friends, Corey Williams. Internal Affairs is more or less Corey's band - other members help out with things, some more so than others, but it's pretty much been Corey from the begining. He writes the majority of the songs and he does all the back end stuff like setting up shows/printing merch etc etc. I'm just along for the ride and to have another reason to hang out with Corey more often. Betrayed is the band that I'd have to choose. The style we're playing is something I've never really done before so it's the most interesting to me at this time. Out of any band I've ever done, Betrayed is the most gratifying music I've ever had a part in creating.

Aram: Hahaha hard question, honestly right now I would choose Betrayed because I've been in Champion for about 5 years and we've had the chance to accomplish most the goals that we set with the band. That doesn't mean that I feel Champion's run its course, not by a long shot, we have new goals and new things that we need to accomplish before we call it a day; what it means is that if Champion was to end today I'd be satisfied with the things we'd been able to do but with Betrayed, everything is just starting to open up for us and I want to put time into that. I'm stoked on the musical direction, the chance to get some things off my chest, and most importantly the chance to play with some of my best friends. I see Champion as my foundation and nothing shakes that, but Betrayed is something I need to see through because I have some things to say and I now I have the chance to get them out there.

Betrayed's debut EP "Addiction" is available at Bridge 9 Records.

Thursday, July 14, 2005

Hardcore Hall of Fame

Not that this column is about hockey, but since the NHL and NHLPA finally agreed to a new Collective Bargaining Agreement in principal yesterday, ending nearly a year of no hockey whatsoever, I thought this column was sort of appropriate for today's entry.

This column was initially printed in the March issue of Fuck You Fanzine (issue 3, volume III) in 2003.


I am currently riding a seven game unbeaten streak against the Washington Capitals. Over the past two seasons, in the seven home games that I have attended, the Caps have yet to win a game. My record versus your Nation’s Capitals is an impressive 6-0-1. If the crowd at the MCI center is the 7th man on the ice for the home team, then I certainly count myself as the same advantage for the visiting teams. Just keep in mind that if the Capitals lose their current status as the South Eastern Division leader, or fall out of the playoff race completely, those high-fives should be directed my way.

As I sat in my seat for last night’s game against the Atlanta Thrashers (I’ll go on record as saying that I think the team should replace the bird on the front of their jerseys with the DRI skankman), I looked up to see the retired numbers of Rod Langway and Dale Hunter hanging from the rafters. For those of you who are not familiar with what a “retired number” is, it’s a custom practiced by pro sport teams where, upon a player’s retirement, the team’s greatest players also have their numbers retired, meaning that never again in the history of the franchise will a player wear that number. So in the case of the Washington Capitals, no player on that team will ever wear the numbers “5” (Langway) or “32“(Hunter) again. Next to a spot in the Hall of Fame or a championship ring, it’s about the highest honor that can be given to a professional athlete.

So as I nursed my beer watching the hapless Caps turn a 3-1 lead into a 4-3 deficit, I began to think about those numbers hanging from the rafters high above me. If a parallel could be drawn between hardcore music and pro sports, I thought, which hardcore “players” would have their numbers retired and hanging from the rafters of places like CBGB’s, Gilman Street and other hallowed clubs of hardcore legend?

It’s easy to come up with a list of names. People like Ian MacKaye, Glen Danzig, Jello Biafra, H.R., Ray Cappo, and Kevin Seconds would get the nod for their ideas, charisma and influence throughout the scene. Musicians like Greg Ginn, Brian Baker, Walter Schriefels, Troy Mowat, Mackie, Harley Flannigan and Daryl Jennifer would be recognized for the influence they passed along to thousands of musicians who wanted to play just like them. Others like Henry Rollins, Jimmy Geztapo, Choke, John Joseph, Porcell, Jerry Only and Doyle would have their numbers retired based on their stage presence and reputation alone.

These people are some of the greatest that the hardcore scene has produced over the years. Each individual’s achievements are firmly entrenched in our scene lore. These are only the people I can think of off the top of my head. I’m certain there are more that are worthy of consideration, and I think it’s a safe bet that some of my choices are ripe for debate. The point is that each of these people were very important figures throughout hardcore’s 23 year history.

What bothers me is that, all of their accomplishments and influence aside, these people haven’t mattered much in the last 10-12 years. Sure, they’ve done new bands and remained the subject of scene conversation and gossip, but for the most part these people don’t really inspire this scene the way they used to – which is fine, because they’ve already done more than enough. They’re off the hook.

What worries me is that, in terms of leadership and innovation, I can’t think of anybody who has really picked up the slack in the years since 1992. That is to say, in the past 11 years I can’t think of many people who, if we were retiring numbers or assigning places in the hardcore hall of fame, would be worthy of such a nod.

Sure, many important contributors have come and gone in the years since. There have been many people who have kept the ball rolling. Hardcore could have easily been a flash in the pan, but it has endured because of the contributions of its passionate participants.

In the last eleven years, the scene has stayed on the map due to the efforts of people like Zoli Teglas, Tim McMahon, Ken Olden, Brian McTernan, Duncan Barlow, John LaCroix, Anthony Pappalardo, Matt Smith, Chris Zusi, Todd Jones and many others who have provided the soundtrack for hardcore over the last decade. Hell, I’ll even throw myself into that group.

But when I look at the list, I think to myself -- sure, they’re all nice players, but are any of them worthy of a spot in the Hall? And I don’t mean that as an insult. I have a lot of respect for the people listed above. But in this kind of situation, could anybody justify putting any of these people in the company of Glen Danzig, Jello Biafra, or Ian MacKaye?

What I’m trying to get at is the current state of hardcore, to me, seems like it is getting by on formula alone. For the first 10 years of its existence, hardcore was innovative, aggressive and pretty much offensive to the average person. It was full of many great and terrible ideas that made people think.

Over the last thirteen years, it just seems to me that we’ve cherry picked the best parts of a long-gone era and threw them into a loop. Sure, it’s nice to hear that after 23 years, hardcore has remained a three chord phenomenon. But the new ideas that went along with that music have dried up. You can only put a twist on the same messages so many times.

Everybody knows who Jesus was. Most people know who at least some of his disciples were. After that, it’s a little fuzzy, isn’t it? What’s my point? Everyone remembers the man who puts forth new ideas. Nobody remembers the minions that follow.

You know, Rock n’ Roll used to be full of energy and all kinds of wild and dangerous ideas. To see rock music as it stands now (in its corn-fed, parent friendly format) would be pretty funny, if I didn’t see hardcore heading down the same path.

Create your own fashions. Spread your own ideas. Find your own sound (just keep it fast and loud).

Make hardcore great again.

I have spoken.

Ronny Little

Wednesday, July 13, 2005

Record Review by Dave K.

Welcome to another column of my worthless commentary of hardcore & punk music. I’d like to thank everybody for the comments of my first review column last week. I have a few more things to share with you this week. If you are a band out there with a demo or record out, a label with some new releases or a fanzine looking for some exposure, send your stuff to the address below. If you have either a website or ftp site with the material on it, point me in the right direction. Now on with this week’s tunes…

Way back when, there was a great band called B.G.K. they were one of Europe’s finest imports of thrash hardcore. Before they were that great band, they were basically The Nitwitz. I always heard about this “band”, though never heard anything by them. Now 20 or so years later, they are back in a different line-up and sound. I’m really glad to hear they are playing again. This CD, Sex, Lies and Duct Tape comes blazing out of the box. 13 songs, never lets up. It’s actually sounds like B.G.K. if they were a little slower and sound was fuller. Great low-end bass sound. If you like power punk rock (maybe a little more rock than punk), pop this disc in. It doesn’t disappoint. Go to:

Well, I covered the latest MDC release last time,Sudden Death Records also sent out the D.O.A. Live Free Or Die CD. Not sure about this one. Don’t get me wrong, I have always been one their biggest fans, though this is not a classic by a long shot. It seems(and I don’t know when exactly) that they caught the ska bug, since it has infested their sound. It’s a well-produced affair, great DOA lyrics, anti-war & President Bush presentation. There is even a couple of ’60s peace covers, done well, over all it just doesn’t grab me. Many of these songs would be great to hear during a radio show, though as a release, not too exciting. Makes me want to find Fuck You and crank it up.

You know, there are some bands that really need their instruments taken away from them. When you get a release like The Hatepinks Plastic Bag Ambitions, you really do want to get a thick plastic bag, put it over your head and wait for the end. The feeling you’d get from that (including the finality of the process)would be better than subjecting yourself to this shit. Really fast, tinny, repetitive music with screechy vocals. Song titles include: “I am a Divorce” and “I Piss In Your Swimming Pools”. Sad thing is that there will be some out there thinking this is godlike. Luckily, this only clocks in at 16 min. A Classic “Must Avoid”

Received a batch of recent releases from Thorp Records based in Toledo, OH. Don’t know much about this hardcore/metal label, but they seem to be banging them out. I never really cared for or understood the musical genre of Grind. It always seemed to me a cheap way out musically, but it has a huge fan base. The split CD release from the bands Premonitions of War & Benumb is a dull affair. Premonitions of War has four tracks here, including a cover of the cock rock classic “Mississippi Queen." Really bad across the board. Benumb fairs better, but I didn’t like this one. Cover is very nice, imaginative. Out To Win is a modern HC act out of Pennsylvania who let it fly for their CD,Beg For Life. It’s a solid record, vocals remind me of Integrity. This is fast, very heavy HC, some metallic licks & double bass but in a good way. Musically tight across the board, great when you are driving 85 miles an hour and wish you could kill some of the dickheads on the road. You just have to love a band who have lyrics like, “We’re Fucking Meatheads and Fucking Mean”! That’s what you get with Pride Kills from Texas (and damn proud of it!). Some will say I’m crazy, but the lyrics are in a similar vein of Floorpunch. The singer actually sounds like Porter at times. Heavy HC, not bad, though will probably get lost in the shuffle of all the bands out there. So 2 out of the 3 are good, looking forward to see what else this label has to offer. Check out these and other releases at

One of the great things about the internet is internet radio. Whether it’s from the big guys (, shoutcast, etc..) or little homegrown stations, it’s a great format to listen to music. It could only get better if I could get it in my car. Time to time, I get hooked on a particular station. Might be the music (I listen to all kinds) or the hosts. Recently, I was pointed in the right direction to Al Quint’s Sonic Overload radio show (new show every Monday night found at A well respected fanzine editor, Al definitely knows his music and how to present it. Strictly a hardcore/punk affair, it brings back memories of the old WFMU Pat Duncan radio show in New Jersey. I can really relate to Al musically and politically and his playlists reflect it. This past 4th of July’s show was a great mix of new and old punk/hc. It was nice to hear a lot of stuff I wasn’t familiar with, then out of the blue, an old punk classic. You can either listen to it streaming or what I do, download each of the four files. He posts the playlist each week so you can keep the page open (or print it out) and follow along at home. Quite frankly, I love it. Nice know you have something to look forward to on a weekly basis. If there any radio shows out there for me to check out, let me know.

Dave’s Moldy Oldie Pick: last week, I was going through Havoc Records site again, and noticed Felix is distributing the Willful Neglect 1982-1984 CD. For those who don’t know, Willful Neglect was one of HC/punk best kept secrets, who like most great bands, don’t get discovered until way after their demise. Fast, loud, in your face Midwest style HC that never gets old. The material on this CD was on people’s want lists for years just based on the reputation of the music. If you have some money to buy a record this week, you can’t go wrong with this one.

Ok folks, that’s all for now, if you want to see this bigger and better, send your
CDs/Mps/DVDs/books/fanzines to:

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017


I know there is a lot out there, so if some of the smaller labels want notice, better send something!

Sunday, July 10, 2005

Hardcore Archeology: Loveseat Fanzine

Welcome to the first installment of Hardcore Archeology. I will use this segment from time to time to dig for the anwers surrounding little-known hardcore records and fanzines. If there are any mythical records or fanzines that you would like to learn more about, please email me at and I will look into uncovering the secrets of the scene for all of you collecting nerds. =)

Today's segment features Loveseat Fanzine. This fanzine was the origins of Schism fanzine. Ever notice how there's no Schism 1-5? That's because issues 1-5 were done as Loveseat fanzine. The following interview was done with Alex Brown a million miles away from New York City, now living in Des Moines, Iowa.

Out of all of the words in the English language, why Loveseat Fanzine? Any significance behind the name, or was it just random inspiration?

I suppose it was just something fairly random, had a nice ring to it. I think the first issue had a drawing of a loveseat on the cover. You know, it's like an ottoman, something you rest your feet on.

The zine covered your hometown scene in Des Moine, Iowa. What were the bands from Des Moines like in the mid-80's. Were the bands completely different from the bands you would come to know later when you moved to NYC? Did any national touring bands blow through Des Moines at all, like 7 Seconds, or JFA, or Gang Green? What (if any) touring bands were featured in Loveseat?

The bands here in the mid 80's were pretty bad. There was one great band called Pent-Up Aggression. They had a demo tape that was really great politically inspired thrash. Very angry stuff with good musicians. I was in a couple terrible bands. Children of the Corn and A Childs Trust in God, the latter of which I was the singer in and the former which I played rhythm guitar. The only great show I remember from those days playing here was the Faction, a show which got shut down after a few songs. There were a bunch of mid-level hardcore bands that came through like the Rhythm Pigs and the Dead Milkmen. I think DRI played here as well but I was not around. Most of the better bands would play in Omaha, Lincoln and Iowa City. We did set up a 7 Seconds show here in the summer of 86. That must have been on the Walk Together tour. They had some lame excuse about having a broken van and we got totally blown off. Fuckers! Ha.

Porcell says you changed the name of your zine from Loveseat Fanzine to Schism Fanzine after a month of intense razzing. He also said that the name Schism was inspired by a semi-born again Raybeez. Is there a story?

I recall Cappo and Richie making fun of it to no end. I think it was a name that Rev had considered but not used. It was just a word that kids on the street would use, mainly Raybees...."Schism Bo!"...It was used as in lieu of "that's fucked up" or something to that effect. I was scared that Bees would be pissed that I stole 'his' word. But alas, no schism.

Coming from Des Moines Iowa, how did you end up as a member of the Youth Crew in NYC? How did you fall into that crowd? Did you know people before the move to NYC?

The second day I was in NY(I went there to attend NYU) I went to see a matinee at CB's. YOT and Bold's first show as Bold. I was a big fan of the YOT single and had written Ray a letter. Anyway, I introduced myself to him and Porcell and Richie and after the following week's matinee we all went back to ray's apt. and had a spaghetti dinner and they all played a prank on me saying that Craig(Setari) wanted to kick my ass. It was elaborate and mean-spirited and I still kind of resent those guys for constantly being dicks to everyone, myself included but they were usually great to hang out with. I became really quick friends with all those guys and ended up living with Cappo and Porcell on and off for a few years. Before I knew it I was playing with Side by Side, doing Schism with Porcell and eventually graduating to the Gorilla Biscuits, which still leaves a hint of a bitter taste in my mouth, but that's a completely different story...

I once read that initially the record that was to be released in Schism #7 was to be a 7-inch of rare early 80's hardcore, but you and Porcell couldn't get the rights to the music, so you recorded and released the Project X 7-inch to include with the zine instead. What was the initial record that you were going to release?

I don't remember wanting to do an early hardcore 7" but if Porcell says so....I think he has a much sharper memory of that period than I. As for that Wikipedia article, I don't know where these people get their info.

Will there be any parts of Loveseat fanzine included in the Schism book/reprint of the zines coming out on Bridge Nine records?

There will be nothing Loveseat realted in the Schism/Project X deal. I think that's better left in a dusty old box.

Thursday, July 07, 2005

When I'm King of the Scene: Straight Edge Will Be Defined, Once & For All

When I am King of the Scene, I will assemble a Straight Edge Congress to once and for all determine "what" straight edge "is." I know Ian said "listen, this is no set of rules..." but it's apparent that all of you clearly need a set of rules so that we may finally end decades of annoying and useless debate.

"Can I have sex with someone I care about, or do I have to be celibate? Is being on the pill straight edge? Am I straight edge if I eat meat? What if I'm a vegetarian and not a vegan, does that count? What if I'm in a room where some one is smoking pot and I get a contact buzz? Am I still straight edge? What about prescription painkillers? Edge? Not edge? What if I sip, but don't get drunk. I mean, straight edge is only about intoxication, right? Am I edge if I'm Catholic and I drink the Blood of Christ on Sundays? I love God, but I wouldn't want to break my edge..."

ENOUGH ALREADY! The Straight Edge Congress will debate, vote on, and ratify a Straight Edge Constitution. It will be written in Sharpie pen on acid free recycled paper, and finally signed in the poison free blood of your elected representatives. It will be the law of your Drug Free land (unless the Congress rules that ludes are cool and decidedly straight edge) and you WILL follow that law to the LETTER! (probably the letter "x")

I Have Spoken.

Ronny Little

Wednesday, July 06, 2005

Record Review by Dave K.

Well, Ronny has asked me if I wanted to do some reviews for his site. I was a little hesitant at first because I know how I am. When I used to review for my old publication, Hardware fanzine, I was pretty brutal. Most of the releases I was sent really were either below or pretty average. So here’s the first of what I hope is a weekly review column.

Please be advised, that I haven’t really heard anything in like 5 years. So chances are I don’t know a thing about any of these bands. If you would like me to review your new release(Cd/MP3/book/zine/DVD), send them to the address below. Good luck.

Youngblood Records were the first to send something, and what a something it is. When you get a CD with a lot of pictures showing the band jumping in mid-air, it tends to send up flags. I mean chances are the music is nowhere near as good as the action pictures would presume. Not in this case, as the latest CD Overload by California’s Lights Out comes out blazing. If Infest played a slower and the songs were longer, plus throw in other late 80’s/early 90’s California sounds, they would probably sound like this. This disc is great. The only negative I could say is the cover art just doesn’t work. Not to say the art is bad, better than average. Just that if I saw this in a store, I’d probably pass it up and miss out on a really good hardcore music release. Available at:

Next up a grouping of CD releases from Havoc Records. Felix has been running his label for a long time now and has a good ear for punk/hardcore music. These are some of the more recent releases, how do these stack up? Victims In Blood are a Swedish HC band who play fast, grindy music and sound pretty good, but it’s your standard stuff. Lyrics are of a personal nature. Philly’s R.A.M.B.O. (Resisting American Military Business Operations…now that’s a plan if I ever heard one!) has their 2nd full length CD out called Bring It! You know, I really don’t know what to make of this one. The music is for the most part crust/fast hardcore, with quite a bit of melodic guitar throughout. It just doesn’t grab me. The thing I do like it the presentation. The lyric booklet is full color. After each song lyric is an explanation of the song and a website where you can go to get more info. There is also more info on the thank sheet. While I might not agree with some of the ideas, it’s great that there is a way to follow up & find out more. This CD comes with a DVD of band performances. Another Swedish act (you know Felix really likes the Scandinavian stuff). Regulations plays straight up choppy 3 chord punk with good vocals. The singer sounds like someone familiar but I can’t figure it out. This not like the crap that some of the bigger American “punk” labels are putting out, so you might want to give this one a shot. Man, when I first put on the next CD, Taking You Down With Me by Tear It Up, I was like, “Where have they been all my life!” Run to the store or get on-line and order this now. Best thing I have heard in a long time. Tear It Up plays some raging hardcore. Definitely has a early ‘80s influence, have their instruments tuned like Black Flag does on “Damaged” and just kicks ass. Great cover too. Contains a live set as a bonus. Shame they are no more, I missed out…all these releases (and more including a lot of great re-issues) are available at:

Recently, I checked out the latest MDC CD Magnus Dominus Corpus. You know, most bands out there should take a lesson from these hardcore/punk rock legends. Fast early 80’s hardcore, with some weirdness thrown in and those great sarcastic political lyrics. If more bands would just keep their integrity and play the style that made them popular, people would be happier and bitch less. MDC is on tour right now, check out the recent interview in MRR. Get this disc at:

Now for the really bad...Tommy Gutless Death, Honor or Glory Bound sounds like they are a candidate for the second stage at the Sean Hannity “Freedom Concert”. Long drawn out weak “streetpunk” (their term, not mine), lyrics are on the personal/working class side. Seems to go on forever. Definitely bad barroom music, but there is an audience for this stuff. New Jersey’s Broken Heroes have been around for a long time and have a new release I Told You Once, and is some really boring punk/Oi!. Recorded well, musicianship is good but the music just doesn’t do it for me. If you are so inclined both of these are available at:

Dave’s Moldy Oldie Pick: sometimes downloading MP3s really is a good thing especially when you find a gem. In this case, an old band which if we had known about them earlier, we would call them “classic”. LOS OLVIDADOS was a California band I knew from the Not So Quiet On The Western Front comp from the early 1980’s. This was one of the first records I had…some of the first punk & hardcore I had the pleasure of hearing. I never knew much about them except that they had a good track on it. A couple of months ago, I downloaded some MP3’s which I thought was a “lost” record. These tracks are some of the best punk/hardcore you’ll ever hear. Why the hell during my tape trading days didn’t I come across this? Not sure. Some of the songs are classic South California punk, others are great Oi! tinged tunes. After some research, I found out that the great label Alternative Tentacles released this in 2002 as “Listen To This!”. This release is a MUST! If you are a fan of early 80’s punk/HC…you must have this in your collection and play it often to make up for lost time. AT also has many other re-issues worth picking up. Go to:

That’s it for now…this column will get bigger and better as more people send stuff for review…again CD’s/MP3s/books/DVD/fanzines to:

David Koenig
1990 Pinehurst View Drive
Grayson, GA 30017

Monday, July 04, 2005

Interview: Carry On

The following interview was conducted with Todd Jones over the weekend, after Carry On played two final West Coast shows, three years after their break up. In his early 20's, Todd has left quite a mark on the scene with bands like Carry On, Terror, and most recently, Betrayed and Snake Eyes. He also currently plays guitar in Internal Affairs. It's a rare thing in this scene when someone goes on to be an integral part of so many great hardcore bands. As a matter of fact, it's usually par for the course that most hardcore musicians get bored after a few years and move on to post hardcoredom. Todd has been the welcome exception, becoming one of hardcore's finest guitar players.

It's stated that the shows this weekend were not to be a reunion -- they were to be official "last shows" for a band that never got to really got to say a proper goodbye. What was the reason for Carry On's abrupt break up back in December of 2001?

It was all a build up between Ryan and I. Ryan was changing as a person at the time and didn't really put any effort into showing up for practice. He had a new girlfriend. He just wasn't interested in the band anymore. We played a show at the Troubador in Los Angeles with Converge, American Nightmare, and The Hope Conspiracy. When we got there, we found out the promoter had no idea we were playing the show. Stuff like that always happened to us. Anyway, we got to jump on the show at play 5 or 6 songs. We played 5 songs and our drummer botched a song real bad and that got me in a bad mood. It wasn't really his fault though because we were supposed to practice but Ryan called and said he wasn't coming so I got pissed and cancelled practice. Anyway, before the show Ryan told me he was moving to San Francisco and I was like "well what the fuck, why are we doing this then" and on top of that, he wasn't straight edge anymore. So basically after that show I told our bass player that that was it. And that's pretty much it. I pretty much hated Ryan at that point. You know, he pretty much ruined the band. But whatever.

How long was there anger between members of the band before you got to the point of talking to each other again and arranged for a proper send off for the band? Who ended up breaking the ice?

The only person I was angry towards was Ryan. I didn't speak to him for about 3 years. I was at a XCHORUSX show at the Showcase Theatre Summer of 2004 and Ryan walked up to me and said hello. I guess that's pretty much it. After that Ryan and I kept in touch randomly. In February 2005 Corey mentioned to me "I wish Ryan wasn't such a fuck up and we could've had a last show", and I responded with "we can if we want". That's pretty much it.

Now that a few years have passed since the break up of Carry On, when you look back on it, are there any lessons you learned from the experience?

Yeah. Maybe not directly related to my experience with Carry On but definitely applied to it - don't be so angry, don't hate so much. When you hate someone, it hurts you more than it hurts the person you hate. I've definitely learned to be a little bit more understanding when people change. I've learned you can't put so much faith in one person, and you shouldn't rely on someone so much.

How did the shows go this weekend?

Words can't describe how well they went. We all needed this closure in our lives. Thanks to the people who showed up and supported us at these shows. It really does mean a lot to us.

Friday, July 01, 2005

Review by Brett Beach

Judge "What It Meant - The Complete Discography"

Well I finally got my hands on the long awaited Judge discography from Revelation. Thankfully it starts off with the incredible "New York Crew" 7". Definitely one of the hardest hitting 7"s of all time; a true classic. Listening to this 7" is just as good today as it was the day I bought it back at the old Venus on 9th street. A lot of discographies start off with the band's LP first and the 7" gets shoved at the end. But the Judge 7" belongs up front and in your face. Thank God the masterminds at Revelation didn't fuck up the sound on any of th tracks on this CD, as they've done to almost every other reissue they've ever done.

Time has been kind to "Bringin' It Down"; I still get a kick out of listening to it. But when you compare it to the "Chung King" session it's obvious that neither recording was perfect. While the "Chung King" recording just plain sucks, the "Bringin' it Down" recording is too slick. But hey, this isn't any news at this point. It's still bums me out a little that a band as great as Judge did't get captured properly at their peak. It's my opinion that Judge were on the downside after Jimmy left the band. Imagine the "Chung King" line-up recording an LP that sounded similar to the 7"...

Also included is the Storm II 7" and one song from the 1988, post 7" demo with Lukie Luke on drums, and that's the main problem with the CD. Who dropped the ball and only included one song? It's only a 3 song demo fer Chrissake! Put all three songs on it! Major mistake.

The layout is good, mostly because of Porcelly's liner notes. Included are some pics that we've seen before and some we haven't, although I could do without all the artsy effects. Overall though this CD is a winner and a good representation of one of the greatest Straight Edge bands ever.

Revelation Records

Announcement: Brett Beach to Join Barebones Hardcore

Some people collect records. Others collect things like shoes, show flyers, or t-shirts.

I collect zine editors.

I am happy to announce that Brett Beach has been added to the collection of great zine editors here at Barebones Hardcore. Like his good friend and former business partner Dave K., Mr. Beach is in near mint condition.

Please join me in welcoming Brett to Barebones Hardcore!