Winterview #3

Contents Σκοτοδίνη

3

Zero

14

Nature Boys

19

Jonathan Sirit

26

Dirty Wombs / Lifewreck Euro Tour Report

37

K-Town Hardcore Fest Report

46

Greek Discography ‘15-’16

52

Review Section

61

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Texts Dino & Giorgos Layout Giorgos & Dino Putrefurnaced (putrefurnaced.blogspot.gr) Cover Art Jonathan Sirit (jonathansirit.com) Thanks to Mike, Fenia, Livas and Frixos, Mietzsche (ultragrim.tumblr.com) This fanzine costs 2,50 euros. All earnings will go in support of the local DIY scene.

Thanks for supporting us. https://winterviewpunk.wordpress.com

My last year in Patras City was definitely my favorite one in this amazing decade spent in sweaty basements, occupied places, collectives, bands, fanzines, concerts, the rituals of the worldwide DIY network in general, and the anarchist / radical-left movement of Greece. Of course, it couldn’t be that great without the strong friendships I made through the years, and all the unique personal moments I’ll take to my grave, or even the tough ones; hard to deal with in the beginning, but, subsequently, easy to overcome, with all this passion, mutual aid, dignity and respect you would find among comrades. My heart, thoughts and soul will always return to Prokat35 squat, a place called home, and I’ll never forget the last two gigs I took part in, celebrating its 9 years of existence in the university area of the city, including sets by LAPINPOLTHAJAT (FIN), ROTTEN MIND (SWE), the mighty GUTTER (rip), ΧΩΡΙΣ ΟΙΚΤΟ and more. I really cannot describe my feelings about this brand new compilation LP, where most of the bands I consider as my “generation” in the local scene teamed up for a good cause. And the pleasure is even bigger now that I know there’s some hot new blood that will be taking care of the space and the – always organized with a DIY perspective – live shows. I just want to wish good luck to my lads, expecting more gigs, new bands, more fanzines, and, for certain, a “35” comp LP vol.2!

I’ve now moved in Athens and, honestly, do not know what the future will bring for me, but the only sure thing is that I’ll try to keep a good company to my friend, Giorgos, in this Winterview family, sharing my thoughts, opinions and favorite sounds in the pages of this magazine. Issue #3 is here to stay… in your toilet!

P.S.: If you are a DIY band and want a show in Patras, too, mail right away at prokat35@gmail. com.

P.S.2: If you want – for any reason – to contact Winterview, hit us up at winterviewpunk@gmail. com.

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Greek word “σκοτοδίνη” derives from the words “σκότος” (skotos; means darkness) and “δίνη” (dini; means vortex) and would translate to “blackout”; a temporary loss of vision, memory or consciousness. I contacted Ioannina’s ΣΚΟΤΟΔΙΝΗ (SKOTODINI) to find out more about this ‘disorder’.

Interview by Giorgos, October 2016 Layout by Giorgos Photos in pages 9-12 by Nick Paleologos Hey, people! Who are ΣΚΟΤΟΔΙΝΗ, when did they start playing and what kind of music are they up to?

Hey you! ΣΚΟΤΟΔΙΝΗ is a 4-piece band. Pinelopi is our vocalist, Petros and Nikos are playing guitar and bass, respectively, Lefteris is behind the drumkit. All the rest of us add some vocals, depending on our approach to each song. We live in Ioannina. Some of us study, others work, but we came close when Antiviosi squat was once again occupied in January 2015. The next month, we started jamming at the

studio, which also came back home, and started coming up with tunes and lyrics for our first songs. What we play is neither hard nor mellow; neither fast nor slow. We’re somewhere in the middle of a punk sound whose notes are never happy and lyrics are the result of the inspiration drawn from the decay or pain of everyday life.

From what I have read in the internet, when people have a blackout, it means they feel a bit dizzy. Could something like this be responsible for forming not only ΣΚΟΤΟΔΙΝΗ, but any other band? How does it feel to be a student, an employee, a band member or anything, while modern world seems to be on a perpetual blackout?

This world still hasn’t found peace and balance. And, probably, it won’t ever find them, as long as money, possessiveness, ruling classes’ strong-arm tactics, apathy, individualism and greed, poverty and fear are some of the different components that find their own share in our lives. We close our eyes to what we are about to endure; we want to erase bad memories and pretend there’s

no pain. We hope they ‘ll just fade away and there’s no need to get involved in anything. Gods, masters, chemistry, luck and destiny. If we don’t open our eyes to face the monster, it won’t ever be gone. We ’ll just keep on spinning and getting older for on and on, while helplessly following this dark vortex’s orbit. Playing some music and talking about that vortex, is like facing yourself in a mirror. Our songs reveal our weaknesses. Having a different status and personality when meeting people is a passage to new viewpoints.

You get to see the world more clearly. But, what we need is to be willing and strong to change ourselves and get better, in the first place. Refusing to move on, we’ll keep on sinking deeper and deeper and nice songs won’t be able to do that much.

So, you ended up jamming in Antiviosi’s studio. Did you have the need for something new, since many of you have other bands, too, did you find yourselves liking the same music or was this just another way to get to know to each other? How did we come to this?

Well, we actually met each 4

other a little earlier by being involved in Studio From The Down collective, which runs a studio and sets shows with a DIY perspective, and kept being active even after the evacuation of Antiviosi.

From the first days of being back in Antiviosi, we wanted to put the studio back where it belonged and the hours spent on working or talking about this or the whole place, brought us close. Of course, we found ourselves listening to the same stuff or sharing the same views on some topics. Our lust for life and thirst for music matched perfectly with a self-organized and anti-commercial way of thinking and acting. Lefteris was already both drummer and vocalist for ΣΚΩΜΜΑ (SKOMMA; means banter), Nikos was playing bass and singing for ΜΠΡΙΖΕΣ (MPRIZES; means sockets) and Petros was playing guitar and doing some vocals for ΛΥΣΣΑ (LYSSA; means rabies). Pinelopi gained the right to scream on the mic, after enduring a respectable period of being trolled. We all wanted to play some dark, Greek mid-tempo punk. We haven’t played such stuff with our other bands, even though we may have kept singing about the same things. No regrets about getting down to this. Definitely.

Happy tunes might be missing, but the rock ‘n’ roll spirit is alive. Although this 5

depends on each one’s musical background, I got my garage and catchy punk dose, while listening to your music, especially on some fast guitar parts. Your tunes are raw and immediately sticking in mind. Were there any influences for the songs that people could dig on your “Ανυπόφορη Κατάσταση” (Anypofori Katastasi; means unbearable situation) album?

All of us listen to a lot of music. Obviously, we dig so many shapes of punk, but it surely goes beyond just this. We wanted to create the melancholic atmosphere of dark post-punk or 80’s anarcho-punk, but also go for some electric bursts. Garage and rock ‘n’ roll are in the air, but punk has always been close to them. ΤΡΥΠΕΣ (TRYPES), WIPERS, LOST TRIBE, INSTITUTE or BELGRADO are some bands we consider influencing.

It’s been ages since I last enjoyed an unbearable situation, so let’s talk about your album. As far as I’m aware, you took full care of this CD release. Where can anybody find it? Are you considering a vinyl release? It’s not been long for you as a band and you soon found yourselves recording an album. How did this process turn out?

I’d say that it’s a lot more demanding than practicing or live performing.

We released the album in CD

format. We made 200 copies for which financial contribution is optional. This was intentional, since we didn’t want to put a price on our passion. We took full care of this release by doing everything on our own. We were the ones that burnt, printed and packaged those CDs, so it was not really a financially risky move or something. It felt good working this way, ‘cos the result derived from our inner hearts and own attempts. We paid for the recordings and Studio From The Down’s distro covered the rest of our expenses. Earnings from our CD sales went to this distro, so that other bands can be helped with their upcoming releases, too. People welcomed and supported this first release, which rewarded our choice no to sell it for a specific amount of money, but let people pay what they want for it. We still have some copies at our shows, but you may also find our CD at some DIY spaces or distros, such as Studio From The Down, Accion Mutante Collective, Ypoga Κ94, Ntougrou Squat, Scarecrow Records and We Don’t Fight It Records. We have thought of releasing the album in vinyl, but that would require much money and time. As far as recording is concerned, it’s a totally different case, which, of course, though, would have lasted much less if Lefteris got to understand that there

are people – like him – that just aren’t made for football.

Going back to the recording process, it’s hard to leave some of your enthusiasm behind and focus on the slightest of details. You might be rehearsing for days and think you’re absolutely ready for this, but it’s that “I start playing and this will be recorded and stay like this forever” feel that is a bit fucked. It makes things harder. We did a live recording without using a metronome. And, yes, we’re sloppy hicks! We wouldn’t accept any tic tac other than the so-called mints. In general, it was exciting and we were in very good spirits, but there were also some moments of tension, when things didn’t

just roll in the way they do at our rehearsals. We definitely owe a big thank you to Andreas Venetis, our man behind the mixing console, for his precious help and boundless patience with us. In the end, we really believe that we got what we wanted from the album’s recorded version.

In any case, you got this primitive feel of live recording, whose spark is in some way audible. What are your lyrics about? All of you have vocal parts in your songs.

Does this have to do with your taste and how you want your songs to sound or is it a way for each of you to have some room for personal expression?

Our lyrics try to unfold how we live and perceive our daily routines, no matter whether we ’re talking explicitly or allegorically. We end up going for both some criticism to our society’s modern lifestyle and a deeper, personal, inner fight. We want to point the finger on ourselves, who most of the times stand on their thrones; spotless and immune to any responsibilities. Exposing ourselves might lead us to surpass some of our worries, fears, complexes and weaknesses.

There are nice moments in life, that’s for sure. The thing is that we just don’t feel like singing about them. Probably, getting to know and changing awful things is 6

gonna give some more fine moments. Concerning occasional use of all four voices, it’s kind of all those things more or less. There are times that this would be a way to fill some room in the track or blend both male and female voices. But, of course, there are things that all of us want to scream about, so having four mics around got us to just use them. However, Pinelopi is much more in charge of the vocals in our new songs. The rest of us focus a bit more on playing our instruments, since singing and playing at the same time puts some restrictions in the way you ‘re playing. Last but not least, one of the mics is currently dead, so there are less of them.

How important collective culture and action are when trying to get into a better position in that inner fight mentioned before? I ‘d say that getting to talks and setting things with people in an equal and honest way that would include both criticism and self-criticism can make people come out of their selfish shells, ‘cos they were meant to have none, rise up to their own selves and responsibilities, break their limits and overcome their worst fears. Do you share such a belief? Could it this be about you being in a collective such as Studio From The Down? How come you made this choice?

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There are always two sides of the same coin. Forming collectives and acting as part of them won’t avoid this rule.

So, there’s that one, when you try to treat people with honesty and respect as part of wanting to build a community, which means getting out from the comfort zone of criticising and get down to some self-criticising as well, or being in the mood to both give and take and deeply understand others. This is not only self-soothing, but is for the good of the community, too.

On the other side, bunching up to hide our heads in the sand is not going things anywhere. This would be more of a group therapy, rather than a way to improve the way we think or act. In any case, being in this collective is really fulfilling. We enjoy having our own practice space where we can rehearse or jam any time, or setting shows with our own rules; no sponsors, no bouncers, no rock-stars.

We like being behind the console or the bar, we love cuddling with brooms and getting tangled with wires.

It’s also very nice when you get to meet and open your home to people that may come from any corner of the world to just play music, and this puts the whole city in an unusual non-mainstream situation. So, having made clear what we do and stand up for and that we won’t put up at all with fascism, racism, sexism, homophobia or machismo,

we’re still mopping.

How has the reoccupation of Antiviosi affected the city’s daily life? What has been the squat’s relationship with Studio From The Down throughout the years?

Antiviosi was occupied in 2008 for the first time and, since then, has been helping the anti-authoritarian movement in any possible way, rising way above than being just a local point of influence. So many people have crossed its doors through the years. Some used to stay there, there were always a lot of guests, others took part in its talks or used its facilities and a lot more attended some of its cultural or political events. Certainly, there have been quieter periods, which inevitably occur in most squats and DIY spaces.

Nevertheless, its evacuation was a big blow for the city, since it had been a reference point of social struggle. Taking this building back in January 2015 was a real boost, as people and, especially, young ones, found one more place to meet and get active.

Our studio got back to its place of birth, finding its way to that room that was once transformed into a practice space after a lot of sweat and spent money. Before this, we had found shelter in Dompoli Campus in order to keep setting shows. Although we never had problems with the students living there and

running the place, it never felt like home. It couldn’t compare to a place entirely shaped by us, which was always available for practising and, more importantly, was part of a broader political space.

After the state’s coordinated attack on squats back in Samaras’ conservative government days in 2012 and 2013, you won’t find many DIY gig collectives doing their thing under a squat’s roof.

It’s more functional to be independent and work separately. You can directly aim to full your ambitions and spend no time on complications and disagreements that are seemingly irrelevant to the goals of such a group of people. On the other hand, you must be blind if you don’t see the correlation between all aspects of our lives. How important is for DIY music, arts or whatever to go hand in hand with radical political ideas and spaces?

We ‘d say that the truth is somewhere in between. What is more, Ioannina is not the only Greek city where DIY gig collectives blends with a squat or broader political space. However, as the years pass by, it’s clear that, such groups have invested respectable amounts of money in some decent equipment.

Living with the fear of finding Mr Alexis Tsipras playing your drums, Mr Mitsotakis 8

being behind the mixing console, while a police orchestra is showing off some skills, is not cool. Besides, the anti-authoritary movement itself is always evolving, and, nowadays, is not to be found only in squats. On every corner of the street, you ‘ll bump into rented DIY spaces, trade unions or sports clubs, and any kinds of assemblies and groupings. Some years ago, people used to gather up in the local squat, but this might not be the only way, if you take into account all those options, when it comes to 9

trying to establish a different way of living and reacting.

DIY collectives that emphasise on particular activities, – concert promoters, dance or sport teams, printing and silkscreening labs or whatever, seem to be more accessible. They don’t stick to a specific ideology, so depending on what they want to do, people can adjust their politics and interaction with the rest of the society up to their desired level. People just want to do things and learn to communicate and settle some principles for the sake of their

activities. That’s just fine. This is what happened to us as well. At first went to a DIY show, then came across some political texts that would lay there, and, eventually got to take part in political talks or actions. We weren’t born in a squat, nor had we Kropotkin’s stuff as lullaby. Here in Ioannina, you ‘d see most people being members of more than one collectives, so there’s both a personal and political bond between them.

Of course, people disagree or have different viewpoints, but you wouldn’t see them arguing about them. People’s relationships, the interaction with the locals and the current circumstances can differ from town to town. As a result, what goes without saying here, in the Greek province, might seem unreasonable in bigger cities, and vice versa.

We firmly believe in solidarity, respect and understanding, and that’s how people, collectives and spaces can be in harmony. We won’t always agree or take the best of decisions, and, most probably, we will just get along with others rather than identify with them, so we shouldn’t be neither dogmatic nor careless.

Regarding ΣΚΟΤΟΔΙΝΗ, it isn’t just about punk, it isn’t just politics. You can use anything in order to keep moving. Neither dancing to a kind of rebellious pogo nor endless enlightening talking, as if there’s this academic, perfect solution for every

problem, would do it for us.

What is important for people is to love and be passionate about what they get down to.

What are the benefits of taking full care of a studio?

Getting used to equipment and messing around with instruments must be a great boost for anyone playing in a band or setting a show.

How significant are such resources when it comes to the survival and improvement of an independent music scene?

No shit! You rehearse for free in a space shaped exactly the way you want it. And you won’t ever need to move a single thing. It’s great! In its 5 years of existence, Studio From The Down has managed to get its own equipment in spite of any difficulties. There are still things to be bought, so that we don’t need to rent anything or use people’s personal stuff, but we can practise and set shows in a proper way with what we’ve got. This way you keep your hands clean of paying extra money, wasting time to arrange and carry things or whatever comes along with renting stuff. The studio and gig space are in the same building which is a lot comfortable. Of course, we give our equipment for events of other collectives for free. If anybody, though, wants to contribute to the equipment’s maintenance, that’s highly appreciated and more than

welcome. Having all these things in our possession is a success story. It’s not Lefteris’ drums or Petros’ amp.

We won’t be empty-handed one day, just because someone is leaving the city. These things will be here for anybody that wants to use them in the years to come, even if we ‘re dead gone. Some years ago, we wouldn’t even dream of all this. Nevertheless, this situation isn’t exactly heavenly. Everything is in order, some people start jamming, and, all of a sudden, there’s

a total mess afterwards. At that moment, you desperately look for some katana to start taking heads off.

Damn, every single damage costs. And when we can’t fix something ourselves, there are not many technicians that can quickly repair things on the cheap in this city. In any case, we try as hard as possible to provide the bands with some decent sound for their show. We ‘re not that qualified and what we have learnt, came from experience. We surely need improvement

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and any well-intended feedback from bands that play here is essential, so that we can become better. OK, we’re not professionals, we’re not paid for this and mistakes are unintentional, but under no circumstances would we want people to be frustrated due to sound problems. It just needs some good mood, respect and understanding to deal with almost anything. In general, such resources – studios, printing presses or anything – are so beneficiary for the whole anti-authoritarian movement. Depending on others in order to act keeps your hands tied. You can seal your fate this way. It’s up to you to decide what, when and how things will be done.

In our case, we don’t have to worry about losing money on shows, since we save some from renting stuff and, consequently, we can book more bands, give money to bands that have traveled to reach us or support a greater cause.

In addition, new bands can crop up and express themselves without giving a fuck about financial problems or commercial bullshit that keep them down. When you play music, set things up and contribute to a place you take care of at the same time, you find yourself experiencing so many new things and reach a new level of understanding the whole thing. You go deep into shit, you meet other people, their ideas and behavior, and you find yourself either 11

living it up or going off it.

Exchanging knowledge and switching roles can make individuals, bands and spaces grow up all together. Whoever have found themselves in a DIY show can probably get the point.

The problems of DIY shows have been the subject of many conversations or interviews like this. Organisers may spend endless hours in a venue, as if they ‘re working in a nightclub or something, there’s often bad quality sound or lack of equipment, people might

not show their support or respect to what’s going on.

Most of the times, the answer is at least stale. Yes, I know that attendants, bands or promoters should feel the same and be equally responsible for keeping the flame alive, but as long there’s no action, this is only a wish.

No one has a magic wand to invoke this fair perception to everybody, and to be honest, things can’t change that much from one day to the next. What more should organisers themselves do in order to establish DIY cul-

ture?

We should stop comparing DIY venues with clubs, in the first place. You can’t compare Απείθαρχος (Apitharhos; means disobedient and is a DIY football team in Ioannina) with AC Milan either.

They have nothing in common. They were not brought to life for the same reason, they don’t share their plans, goals and motivations. And let’s not talk about each one’s financial status. On the one side, you have chairmen and bosses, professionals and ex-

perts, and workers, too. On the other end, it’s just people that are eager to do things and have chosen to break the mold and try to get better day by day depending on no one but themselves. And, yes, things don’t change at once.

Stimuli, research and friction are equally crucial. We ‘ll say it once again, but doing pretty much anything is big. Dealing with frequencies and eliminating feedback, exposing yourself and playing in front of an audience, carrying everything to the bar and serving people, after

waiting for hours until they show up, can give you the full picture of how things work.

But, most of all, the crowd, bands and promoters must behave themselves. You can disagree or criticise others, but you don’t need to fuck things up. Greek DIY scene has stepped forward in these last years, and yet there are so many things to be done. And most of them are rather subtle than world-changing and bear upon all of us. Beginning with gig collectives, they can express themselves more often, for instance. People and other collectives – that’s part of why an even better network between such collectives is needed – should be informed about what people that set shows find disturbing or excellent. Sharing knowledge is also huge. Shows shouldn’t depend on specific persons who are the only capable of accomplishing some tasks. You must also be aware of how far you can go.

There’s nothing wrong in doing less shows, as long as you make sure those you do, are flawless with a lot of people involved in organising. Stop delaying concerts in favor of waiting for a large audience.

It’s sad that some bands will play in front of a few people or that you don’t get as much money as possible, but there’s no other way. Last but not least, have a long-term plan of upgrading your equipment. For this reason, some extra non-cost happenings, 12

such as screenings or parties may be required. Bands could at last start arranging their order of appearance on their own and stop making so much fuss about it. OK, it would be wise that locals give way to traveling bands, but, in any case, there’s no headliner here and it’s not the end of world if your band plays first or last some times.

Be nice to soundmen, too.

That guy/girl that tries to help you sound okay is not a professional and you don’t have to be a jackass in order to ask for anything. Instead, bands could try arriving at the venue some hours before the show, so that there is time to fix everything and meet with people that host you.

Moreover, playing a show means you can use a number of mics, so why not trying to tell some words about what’s going on in this place or why this show is happening. So many people turn up to shows and many of them are kids. That’s a simple way to make them bother. Finally, playing in the show does not mean endless free drinks for the whole night. These places have a lot of expenses, including giving some gas money to your band, so you ’d better chip in just like everybody else does. As for the audience, a couple of things would do it. Show up early. Don’t look for trouble, people are here to have a fine time. Keep in mind that all this equipment

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is expensive and pouring beer onto it won’t make melodies and chords headier. Last, this event might be free and you can bring your own drink with you, but if you do so, put a coin in the box, so that there’s another show some time soon. In conclusion, respect and understanding is all that is needed, no matter how many times we’ve said this.

As we ‘re reaching towards the end, let’s relax a bit. You have played in some Greek cities, and as far as I’m aware, you ‘ll soon be going to Larisa and Karditsa for the first time. What do you most enjoy when you get into a car to play somewhere else? What do you listen to during your trip?

At last, we can enjoy a show without being responsible for anything! The whole adventure of playing in another place is amazing! Leaving back your routine and familiar spots is so refreshing.

You’re suddenly somewhere else where you make new friends or meet old ones that you haven’t seen for ages. Additionally, being given some gas money means we don’t have to pay everything on our own, so we can take to trying as many local delicacies as possible. Last time in Athens, we ‘ve most likely left some of our teeth in a patisserie. We also don’t need to spend time looking for a place to party

after the show. Hosts usually get us in the right places!

During the drive, we tend to listen to releases we occasionally buy at shows. Most of the cars we borrow do not have a turntable, but, at least there are still bands that put out CDs. If time is not running out, we usually prefer something trippy.

What’s next for ΣΚΟΤΟΔΙΝΗ? Any plans?

You’re gonna be the first to have this breaking news, haha! There’s almost nothing, actually. We work on some new songs, but it’s too early to speak of recording them. We also want to play in towns we haven’t visited yet.

It’s a bit hard, ‘cos two of us work weekends and we have to work everything out way ahead of time. It would be nice if we could play abroad as well, during 2017.

I hope so, too, and I think that nowadays if you plan things carefully, it’s something possible. That’s it, people! Thank you, it was nice having you. I think I gained a lot from our conversation.

Last words are yours!

You’re welcome, Giorgos! We enjoyed it, too. Thanks for giving us the opportunity to share what we feel and worry about. Hope that people that may read it, will also find it interesting. Keep on what you’re doing in spite of this unberable situation!

I am totally bored with all this US hardcore wave of our days. Of course, there are brilliant exceptions out there – coming from the US, Scandinavia or even Greece, but to be honest the majority of these bands sound exactly the same to my fucked up ears. On the other hand, in my opinion, ‘burning spirits’, the traditional Japanese – or Japanese-influenced – hardcore has still a lot of things to offer.

There’s room to improvise and blend different musical tastes in it, in order to play rock ‘n’ roll under a completely different perception than the one obtained from the mainstream culture. ZERO is one of the few new bands attempting to rock this way and I didn’t lose the chance to contact these guys and change a few words with them. Thanx my good friend, Λίβας, for suggesting the band!

Interview by Dino, August 2016 Cut ‘n’ paste by Dino

Hey, guys! I’m Dino. I’m really glad I have the chance to make this interview with you. You just returned to the States after your first – and, actually, really long – European tour with GEWALBEREIT, and I think that this is the best place to collect your thoughts and experiences from that big adventure. So, was it actually an adventure? Now that you probably got over the jet lag, could you tell me if you liked Europe? What did it make a big – positive and/or negative – impression to you culture-wise, but also counterculture-wise?

To mention some things that differ, possession of guns is illegal here, but lots of squats do still exist in terms of state independence...

It was indeed an adventure. Europe was a great experience. Obviously every place you go is different and has its own idiosyncrasies that make the overall experience an adventure. Some uncomfortable times, some raging times, some tiring nights, and some restful days. A few of us had been to Europe before and seen the squats and relative free-

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dom that the alternative culture enjoys and cultivates, but it never gets old and there’s always new surprises. I’m aware that there’s a wave of right wing extremism washing over parts of Europe right now in response to the tactics of fear that certain machiavellian politicians use in order to gain power and status, but luckily that hasn’t infected all aspects of life. The ability to squat and reclaim unused space is a very radical thing which cannot exist in the US. But yes, on the flip side there are gun toting maniacs lobbying for less control of tools built to kill.

Everything is controlled in the US… Somehow along the way our laws began to reflect a culture of fear and violence (it is argued violence for self-defense), and not a culture of protection of human rights like housing or access to food. Control is used to protect assets, not to assist human beings. So really it points to how the culture in the US is about self-preservation rather than community and care for a fellow human. I believe you can see this in the punk community here as well. Frankly most millennial punks don’t know that community is an important part of the DIY underground. It’s people trying to make money off punk and be in cool, trendy bands for whatever reason. So, yeah, many cultural differences are noticeable, of course, and they bleed from mainstream culture into counterculture.

I got to know GEWALBEREIT from a 7” split with Leipzig’s BRONCO LIBRE. What about you? How was this tour booked? Was it fun to tour with the band?

We met GEWALBEREIT when we were in Leipzig at the beginning of tour. Our friend, Wink, in Leipzig booked the tour with the help of the punk community there. Many people helped in the booking process and in the logistics of borrowing us gear and renting a van out.

GEWALBEREIT are great guys and we were lucky to spend time with them. They are a passionate, no trend band with real songs and real passion.

You both are new bands. ZERO’s self-titled LP was released last spring, but in my opinion, it quickly had a big impact on the worldwide 15

DIY hardcore punk scene. Was the feedback at your European gigs the same and maybe the expected one? Which was your favorite show, venue, city or band you shared the floor with? You managed to play in the best places, and I’m sure you had the best of promoters.

Well, to be honest I’m not sure what the response is to the LP. I’ve personally seen a few positive reactions online or in print, but our shows haven’t been amazing in the US, and I haven’t seen a very pronounced reaction in person. We play pretty underground shows, there were lots of gigs in wagenplatzes and squats in smaller cities in Europe. It’s difficult to pick a favorite city, because there are different things to enjoy in different places. Krakow has amazing old buildings, but our show wasn’t good, Berlin has tons of punks and is amazing, but no one seemed to care about our songs, Freiburg had a great wagenplatz and the festival we played was very free and liberated, but I felt like people just wanted to party and the music wasn’t a priority.

That said, I thoroughly enjoyed every place we went and even if there was something bad about it, there was always something great about it as well.

I was really wondering what kind of DIY bands get a big response in the US. A few friends of mine have told me that the feedback is not that warm in the States, at least for European bands touring there. What about the local ones? Of course, I’ve seen videos of crazy shows in The Acheron and the Bay Area, but I guess it’s not always like that. Is there probably any hype?

Oh yeah, definitely hype. I don’t mean to discredit (m)any bands, because a lot of them that get hype here play interesting music and are genuine about their sound, but there’s absolutely entire scenes built on a new idea of what punk is that is much different from my experiences 10-15 years ago. Growth is good but I feel like I can hear the contrived nature of certain bands, striving for a sound that’s an idea of what they should sound like, or striving to sound like a specific style that isn’t informed by years of experience but rather a yearning to be

part of some cool contemporary scene. Trends have always existed but maybe social media and the internet have made them more pervasive?

The Culture Industry is strengthened by a heavy media presence. I maintain that a lot of music will sound dated in a few years. There’s less open mindedness than you’d hope, and I think part of that comes from an almost competitive attitude of who’s cool and what’s cool – lacking a community vibe that I mentioned earlier. The idea of trying to understand bands that play music outside your comfort zone is alien to a lot of “punks” in the states. It’s very safe, and definitely not hardcore. Further, if a band contributes a lot to their local scene, booking shows, playing with touring bands, hosting and feeding them, helping run spaces, etc., it doesn’t guarantee that their work will be reciprocated. It’s pretty grim and disheartening in my opinion. It’s sad that so many people limit themselves and choose a narrow judgmental lifestyle. I suppose it could be argued that certain bands speak the times better but I believe there’s some mechanisms at work determining taste. Sorry to be negative here, there’s also some great people in the states that don’t care about what’s cool or hip and have been keeping it real for years.

What about your hometown, Minneapolis?

Is there a core of ZERO friends and fans out there? I’d like to know about your local DIY network. Where do DIY gigs take place? Is your local scene political at the same time, doing any solidarity gigs, events etc.? Other interesting bands I should listen to?

When we play in Mpls we get a really good response, which we appreciate very much. It’s mostly our friends who come out and support us and there’s a great energy that bounces back and forth. There’s a ton of people involved in Minneapolis, even though it’s a relatively small city. There are record labels, Extreme Noise Records – the best record store in the world – which is run by a dedicated group of volunteers, bands, houses that put on shows, promoters, people who love punk and underground music… everything you need to have a healthy DIY scene. There have been a few great DIY warehouse spots over the years – about the clos-

est thing we can have to a squat in the US – but they never last forever, and lots of houses put on shows. Honestly there’s not much political involvement directly in the punk scene in Minneapolis. Extreme Noise works with the local info shops on some promotional things and events.

Because of how life is regulated in the US it’s easy for punks to exist in a rather normal domestic way, like renting a house or apartment, buying food, living non communally with just a few roommates and working a normal job. That lifestyle leads to a disconnection from radical participation sadly. It’s hard to say what’s objectively worse, living a docile life while being kept pacified, or living a radical life due to your daily struggle to survive… I prefer the red pill.

I tend to agree with you. However, I’ve also seen people adopting a so-called radical life living in detached (from the rest of the world) wagenplatz communities or big house projects “offered” by the state – you know things that, looking in depth, might seem not so radical, after all. On the contrary, normal ones like those you mentioned before, strug gle a lot more for all people’s lives and a general social change (let’s say punks in Mexico, East Asia or even Greece). Is there a need for re consideration, maybe? What is more important in 2016 for a punk?

16

Focusing on a radical change in his/her way of life or making her/his identity visible in terms of social activity?

Yeah, I wonder if those state offered communities are another way of placating radical communities. Not to discredit Ungdomshuset in Copenhagen, but that’s sort of what happened there from what I understand. It’s a great place and they fought hard for it, but they had their original location taken away and now their space is somewhat outside the city center, up a hill. Once again, I’m not an authority to speak about their struggles but from talking to people there, it sounded like the local government there did as much as they could to appease the people fighting for Ungdomshuset, while keeping their own interests in mind. But hell, at least in Europe the government offers the opportunity (not without fight of course) to live in a separated community. Even if your living space is state sanctioned I still believe it can have a positive effect and be put to radical use. From what I’ve seen, the way that people off the grid in the wagenplatz communities is outside the materialistic, consumptive, wasteful paradigm that most North Americans live. I guess the question is ‘are you trying to change the system or just live outside it?’. What is important for being a punk nowadays? Critical thinking, a sense of humility, compassion, rage. I think fighting social media and technological obsessions, existing in the real world and asking what you want to accomplish is important. There’s a large movement in the US of bringing attention to the violence that black citizens suffer under the police. That’s important. Fighting for something is important. Complacency is the end of punk and life in general. Even if you are fighting for yourself, for your sanity, that’s great. As far as your last question goes, I have always thought that change starts in the self. I’ve met a lot of people involved in radical social activities who turned out to be full of shit. If you’ve got strong enough personal convictions your actions will follow. The world in 2016 is very complicated and I think that running off and creating autonomous zones is a perfectly reasonable answer to the insanity. For those that stick it out in society 17

it’s important to care for your community and do what you can – and that changes whether you live in Minneapolis, NYC, Patras, Oaxaca, or Hiroshima. In the US, start a band or make a zine, work on setting up a place where shows can happen, book bands, feed bands, feed strangers, be nice and give people a chance, do social work, volunteer, make art, dance at a show, be yourself, have passion!

Concerning Extreme Noise record store, how do things work there exactly? Volunteering in the punk community is an American thing I’ve really admired, knowing a few things about the way MRR and a couple of Βay Αrea venues function. In Europe, labels/distros/ record stores are usually an individual’s personal “business”…

Extreme Noise has been running for over 22 years now and is pretty amazing. There’s some hierarchy in the store, but only in the duties that volunteers take on willingly. Volunteers work 4-hour shifts once a week and there are two shifts a day. Some people choose to work more than one shift and others take on responsibilities such as ordering records, organizing events, and everything else it takes to make a record store run. Personally, Extreme Noise has changed how I view a record store from a personal profit venture to a sort of community resource. But, yeah, it’s a unique thing to count on volunteers to run a place smoothly. Much respect to the folks that have been there since the beginning and keep it running smoothly!

What about Mpls’ Desolate Records? Will seems to be a big ZERO fan and an amazing dedicated guy with good aesthetics and excellent taste in music. I really loved your EPs’ silk printed packaging with all these colorful inserts… ZERO LP artwork was done by Sugi, but who did design your first releases?

Will is one of my oldest friends and we’ve been through a lot together. It’s really cool he’s started a label up and is excited about releasing records he believes in rather than records that he knows will sell out immediately. He works hard and also has responsibilities outside his label that keep him super busy, so it’s impressive

what he manages to get done. The record design and printing stuff was all done within the band.

It was an honor to have Sugi doing the LP. We had been in contact with him and he was doing flyers for shows we booked in Minneapolis and when I mentioned to him we were doing an LP he said he ’d love to do the art. Like I said we were honored. He is very kind and professional and in a way it added some legitimacy to our band (laughs)!

Well, I’m really enjoying this interview, mate, and I was honestly moved by a previous answer. However, I guess we should now meet each other, drink a beer and continue the conversation in a real-life environment. I also hope we play together in a gig in the future!

Something last; who’s playing in the band, what else is he doing to feel alive, and what’s next for ZERO after the LP release and the European tour? Thanx again, take care!

ZERO’s music is definitely my cup of tea.

What I really love in ‘burning spirits’ hardcore is that it offers enough space to improvise, match different musical backgrounds and give punk rock a personal taste. I mean, all this US HC wave of our days, for example, it really gets to sound the same… Music-wise, what are your main influences? I also dig the lyrics. They’re personal and honest… serious stuff. You know, not cheesy at all.

Thanks for the interest and the questions! We would love to come to Greece someday, I hear it’s a wonderful place. We have Joey on drums, Sean on guitar, Joe on bass, and Tanner as the singer. We love music and animals and our partners and getting together with our friends for a pint or twelve! We hope to write some music this winter and do another EP before too long.

In the future, hopefully, we tour in Scandinavia, Malaysia, Japan, Korea, Brazil, Mexico, Southern Europe, Russia, China, Indonesia, Australia and Canada! Thank you, Dino, take care!

Thanks, I’m glad you like it! Honestly, I don’t think it was very intentional to sound like a “burning spirits” band. The sound came from letting ourselves do some melodic stuff and trying to write songs with some melodies and emotion, so I think you’re right. Sean is a very expressive guitarist, so letting him play to his ability is the key to the band’s sound. Many bands choose to limit their abilities to sound punk. We love raw punk bands and think when bands are genuinely sloppy and passionate it’s top notch, but we also like bands that do interesting song writing and shred a bit, without sounding corny or too polished. I have heard some people say they think we are playing to a trend by sounding Japanese but I thought we were being totally non-trendy in sounding sort of crusty and melodic… Honestly within the band we like everything from jazz to punk to Motorhead to industrial to hiphop to old country and folk. In a way the lyrics reflect the way we wrote the music. Trying to be genuinely expressive and not fit into a mould was a big thing.

Many punks bands write about topics they are supposed to write about rather than what’s inside their head or effecting them daily, and we wanted to avoid that.

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I did this interview with NATURE BOYS shortly after they played in our home squat, Prokat35, Patras city, back in May 2015, and, hell, it’s being printed in 2017…

I guess I should be doing something else other than writing a fanzine, shouldn’t I? Time flies away and everything changes so quickly. NATURE BOYS have changed since then, too; even my English level might be higher by now. Anyway, the band released an excellent six-track demo cassette in the meantime, they’ve been playing with a new drummer for a year or so, test pressings of their third LP are ready and they’ll be touring through East Germany, Poland, Czech Republic, Slovakia, Italy, Switzerland, and a lot of France in June 2017. So, you ‘d better get ready ‘coz these amazing boys and girl are the purest, garage-fueled hardcore punk band out there!!!

Interview by Dino, August 2015 Layout by Dino, Giorgos Hello NATURE BOYS! You just got back from your first tour in Europe, which was a long one, including countries from Portugal to Serbia, the Balkans and Greece. I had al19

ready a few words with Leki, your driver in a big part of the tour, but I would also like to directly ask you. How come you decided to visit the Balkans and Greece, in particular? Most bands from the US avoid such a trip with all these tolls and big distances, plus I believe there’s the notion that the best shows are taking place in central Europe, which I would obviously disagree with, hehe. Are you satisfied with the result, comparing to what you expected?

Well, this was our second tour in Europe. Last time we went mostly through north Holland, Germany, and Austria, then down into Slovenia, Croatia and back up through central E u rop e.

We

tried to go to Budapest a n d a l s o N o v i Sad,but t h o s e shows g o t can-

celled for breakdown reasons. The goal of most of our tours is to try to go to places we ’ve never been before. We came to Greece to meet Greek people, play our

music and talk about what it’s like being alive on this fucked up planet. We played 6 shows in Greece! All of them where some of the best shows we had all tour... or any tour. I can’t say enough good things about the hospitality and the people we met there. Thank you! I talked with Leki malaka loco around 6 months ago to ask if he thought touring through the Balkans and to Greece was possible. He said “Yes, of course”, but it would take some planning and luck with shows.

There is a very important paperwork, called ATA Carnet that all bands should know about before touring the Balkans. It allows you to claim your equipment and merch before crossing borders.

Otherwise they may not let you pass and you will spend a lot of wasted time at a shitty border.

W e

heard stories and ran into a few bands that weren’t allowed into some countries.

It’s not fun.

Is there something memorable from your times in Greece? Reality here is fucked up with all this crisis, poverty, unemployment, and state’s violence around, but I think there’s still a bunch of people, fighting for a better tomorrow, trying to act collectively, and, of course, smiling a bit. What is the opinion you shaped about Greek people – even if it was just the punks who you met – after visiting our place?

We love Greek people; the collective attitude, the hospitality, how busy and tired some people were, but kept on going, the mountains, the homemade tsipouro (traditional Greek alcoholic product). There was a really cool show in a parking lot in Karditsa, where people were coming from small towns in the surrounding area for the show. A woman said we were the first Americans she had ever met, that we are like aliens. Maybe it was the tsipouro. The people, the punks, the activists, yes! I would like to go back. I think we are going to try to come back.

The show in my hometown, Patras, was a nice one I absolutely enjoyed. Ev20

eryone seemed to love your music and your garage influences, while most of the bands playing here are more into crust and sludge stuff.

That show helped us gather some money in order to release a vinyl compilation, a big project with all its earnings destined to support arrested protesters.

I certainly like the fact that, in Europe, squats and DIY spaces book shows to support both music – the touring bands – and the anarchist movement, and, actually, I can’t imagine of anything different.

Is this happening in the US, too?

Yeah, Dino, Patras was a lot of fun! Thanks for helping set it up. Almost all of the shows we play in Kansas City go to benefit either a touring band, the space we are playing or a cause. Rarely all three at once. However, our band almost never receives money for a local show. The way things are being done in Europe is very admirable and should be done more here in the U.S. I can’t speak for people in other towns, but more can definitely be done here in Kansas City. Small move21

ments and collectives pop up from time to time, but do not last long enough for various reasons. Building community for the better cause should always be a goal. We are happy to have been part of the cause in Patras.

I’m happy that this work

will be a product of so many wonderful people, sharing the same ideas and ethics in music, politics and life, in general, as well. What about the venues in Kansas and the U.S.? I know there aren’t many squats and occupied places offering ground for such events and I’ve also heard that apart from rented DIY spaces and small clubs, shows are taking place in garages in the middle of nowhere or even taco

bars, often with really poor equipment. No doubt that this can be a lot of fun. Have you ever played such shows?

OOooh, yeah! Most of the “venues” we play are basements, community or project spaces, generator shows, garages and even a bar now and then.

The DIY scene in this country is pretty good at mixing it up, when it comes to keeping shows interesting and fun for the bands and the people in attendance, as well as being donation based entry, so that no one is turned away. For example, we’ve played a generator show in New Orleans on the levy by the shipping yards, the metro station in the Mission, in San Francisco, a nice community center called Pangea House in Minot, North Dakota, a taco bar in Denton, Texas and people’s living-rooms kitchens and basements all over. We’ve toured a lot here. There are a lot of people in this country working really hard to make events that are fun and approachable for everybody in

what may be a shitty town with a dead or shitty scene with not much support. Not just in the big cities. Some of the best shows can be found in the small towns. Sometimes it’s dicey, but it can also be super fun and good for the scene in general by bands reaching out and going there.

To me, these are the roots of the whole thing.

I asked a lot of things about your Greek experience and it’s not fair for the other places you visited. How was Portugal, for example? I hardly know anything about the Portuguese DIY / hardcore punk scene. Which was your favorite show in SouthWest Europe and the best European band you shared the floor with? Did you notice that the Balkan scene – excluding Greece – is a big family?

It’s hard to gauge a whole scene in a city only being there for one night. Lisbon was a lot of fun and we made some friends there and had a great show. Also one of the best. I might say that a lot, but we had a few top-notch shows and I can’t compete them against each other. But, yeah, I would like to go back to Lisbon even just to hang around.

That’s how it is in some places. You just wanna be around and get to know people better. That’s how it felt in Lisbon. Unfortunately, we live thousands of miles away and it takes too long to ride my bike there. The best band we

played with was the band we toured with for the first 3 of 6 weeks. LE PROFS DE SKIDS from Grenoble. Excellent surf band. We covered most of the south-west with them. Some of the highlights being Lisbon, Madrid, Marseille, Toulouse, and Grenoble. It’s nice to tour with a band when you look forward to seeing their set every single night. I can’t wait for their LP to come out!

And, to answer your question about the Balkan scene, our driver for the last 3 of our 6 week tour was/is Balkan.

We picked up a lot of Balkan passengers. A professor, writers, a raw foodist, activists, anarchists and some others who just wanted to be along for the ride. They came from Croatia, Serbia and Greece.

But also, they could have been from Macedonia or Slovenia or wherever in the Balkans and it wouldn’t have made a difference, because, after getting to know each other, it felt like family or old friends. Everybody was always talking, asking questions about this or that. Especially in an area that has such a recent history of war and violence, it felt really important that everybody is communicating with each other about everything.

I did a lot of listening and felt really fortunate that people were speaking to me in English. Yes, I would say it felt like a big family.

That’s the beauty of the worldwide scene, and, indeed, I think we should all

feel fortunate that punk offers us such opportunities.

But let’s talk about noise now! I previously referred to the term “garage” and I ‘d say garage punk seems to be a big inspiration for your music, but can admit you’re doing it in your own way. First, you basically play hardcore punk. I mean, you are fast and your new drummer, Alex, is a warrior behind the drum kit. Then, you give the tracks a melancholic approach, with the way you sing and some effects you use, and the result turns out to be a pissed-off and “wounded” hardcore punk I really like. Above all, what kind of feedback did you get from Europe? I believe European hardcore lacks that “garage” vibe.

And what about the U.S.?

America has always been a machine that produces such music.

Feedback for our band has always been mixed. People have a hard time categorizing us. One thing I can say, is we didn’t sit down and decide how we were going to sound.

We just started writing and playing and this is what we got. Like most places in the U.S., feedback in Europe was similar. Some people are saying we are weird, unfocused or whatever blah blah, while other people really appreciate it for what it is. Maybe a version of how you described us.

I don’t think Europe is lacking a “garage vibe”. I’m not 22

the best music critic and don’t research bands in my spare time, but the bands we’ve played with and heard in Europe have plenty enough grit to fuck up any garage I’ve ever been in. And here in the U.S., there are also bands very capable of melting faces in the garage. Maybe it is a machine sometimes...? There is definitely, at times, too many bands that sound the same in that “garage” way, and it can be boring.

So, I ‘d bet you were just good friends at first, and the idea of playing music together came naturally after a while, right? I mean, bands that know exactly how they wanna sound from the beginning, usually form because of this specific goal and members get to know each other day by day after the first rehearsals. What did exactly happen in your case? How did you get to meet each other, and which was the main reason why you decided to play music together? Why do you think you make a good match? ‘cause you do! That’s for sure!

The first drummer, Aaron, and I had been friends for 20 years or something. He didn’t play any instruments and I had been a guitar player and been in some bands before. Him no. I wanted to start a band with the goals of touring and making records without any musical boundaries... Except I suppose we 23

wanted it to be fast, loud and raw. We both knew Suzanne from playing pick-up games of baseball at a park on Sundays. I just asked her one day “Hey you’re cool. Wanna be in our band?”, she said “uhh, maybe”. She decided to come over and try it out. At first, she tried playing a moog, but then – having never played the bass before – shortly after ditched that for a bass.

We clicked, NATURE BOYS were born and yes, I guess the rest just came naturally.

Speaking of influences, I remember talking with you here at the gig about legendary DEAD MOON, a band Greek people truly love and admire. I remember telling you that you remind me a bit of NIGHT BIRDS, this great new act from the U.S., and we had a discuss about NERVOSAS as well, another good band from your continent with a similar sound.

Do you think that there’s a strong connection among all these new bands? Would you say you affect each other in one or another way, not only musically, but also in other things such as attitude, for instance? Where else can your musical roots be found?

Ahh, DEAD MOON. Fucking great band. NIGHT BIRDS I’ve heard of, but do not know so much about.

NERVOSAS are good friends of ours and we run into them about once a year. We’re play-

ing with them next month here in Kansas City, at a space called FOKL. There’s definitely a strong connection between all the bands, or at least the ones that know each other. I’m sure we all influence each other in one way or another. We all keep it going.

The attitude sure, fuck the bullshit because that is big part of it. I think that’s where we come together and where our musical roots are found.

You can hear it in the music we play and the music we listen to since the beginning of well... music. The first song was probably some kind of protest against some good old fashioned bullshit. Or some sort of sorrowful scream, or cry or maybe even a pleasant hum, because it had been raining bullshit on some poor bastard for too long. It lifts you up to let it out.

I’m happy that we traded “Pissy Wind”, your latest 7”, ‘cause it’s fuckin’ amazing and it totally describes the term pissed-off and “wounded” hardcore punk I used before. Do you think you can write music about positive things as well? Or do you prefer using it as a way to express the darker side of you? What’s your viewpoint on what music should talk about, generally? If it should, in fact.

Most of our songs are introspective about how to make it through fucked up life, flying through space strapped to a

giant ball of dirt, while trying to make sense of it all and keep going for the better... somehow. Shit is fucked up and weird. In all that, yes, we use music for ways to express our darker side, our brighter side, our sexual side or any side we feel like expressing.

Music is free and people should express themselves any way they want with it.

Yeah, it’s going to make a lot of controversy, but that’s how it goes. It’s something to fight for. Unfortunately, not everyone has the privilege to just walk out on their front porch and do that without being arrested.

Mate, I can talk with you for hours, it’s a very interesting conversation... Do you feel that sometimes you have to

write some words and play some chords for all these people who do not own that “privilege”, for all those who may go through really rough times? As if you owe to them or something…

I write songs from my own experiences with rough times and shitty circumstances and, yes, I suppose those words go out to those who may feel the same way or to anyone who can identify with it. If something I write feels like a way out for someone else, then that’s all good. Maybe we owe it to each other? It’s a really tough question. I have also asked some of my friends that same question reflecting on yours. A lot of us use our privilege to express ourselves probably in what could be

considered selfish ways, BUT, a lot of people use that privilege so they don’t kill themselves with repression in oppressive societies or families etc. So, after all that, it’s hard to make space in your brain to share that privilege or pay attention to others who don’t have it, while it is the only thing keeping you from blowing your fucking head off. So, I suppose in a way of expressing yourself to promote awareness of those who are oppressed is a way to share that privilege. And in some ways, I guess I have been doing that for a long time. Basically, I care about people and I will do what I can to help if someone is asking for that.

I was deeply affected by an 24

interesting topic I recently read about in a fantastic Greek fanzine. There was that big discussion on whether punk, music and the whole movement, can speak to the masses, I mean the real masses, and help change our world a bit. I owe my life to punk, I’m sure punk and DIY can change a person and shape their identity, but I have been wondering how far all this can get. What do you think about it?

Punk HAS changed the world and spoken to the masses.

The only thing Ι have a hard time identifying is what the word “punk” stands for now.

It became a price tag a long time ago, like a lot of other things. I think outside of the words that identify movements, there is a feeling that is there. It’s the soul of what we do and it moves around fast, because it has to. I’ve felt it in a few ways, and it’s always been when I thought I was doing something right, or helping someone or something, fighting for something that matters. Caring. This feeling pulls us together and helps us accomplish lofty goals. If it’s necessary to tag it punk or whatever, I’m all for it. Just don’t call it god, ‘cause I don’t wanna hear any of that shit.

I guess, this is a good point to put an end to this interview, and make our few readers think about this 25

thing, too. It’s true it has become a price tag up to a point, and, besides, anyone could easily suppose that it has gone into decline nowadays, since there is a big commercial interest about it. However, it’s definitely still alive and breathing, as we – its individuals – are doing the same. So, is finally punk an/our instinct of survival?

I need to think about all this also. My head is spinning a little... I’m not sure how to answer your question. It would make a nice discussion and I’d rather leave it at that.

But in the meantime, I will simply say, yes.

This is it my friend! I’m glad we had the chance to make this interview. It was a great pleasure talking with you and I really really loved all your answers. Please give greetings to the other nature boys, and please keep in touch for anything. I’ d love to meet you again in the future. Before I go! Which was your favorite nature spot in Europe? And which is your favorite one in Kansas?

Thanx again, take care!

Thanks, Dino! It was really nice meeting and speaking with you! Maybe if we would have had more time, we could have gone on a picnic in the shade by the sea or something. The frogs singing in the ditch at the show spot in Patras were amazing, though. Crazy frogs! We

didn’t see a whole lot of nature on this tour outside of a van window. Any time we can get to a sea, river, lake or any kind of water is really nice for us. We live in what is called a land locked area, meaning there are not a whole lot of water options nearby. It’s not a desert, but there just aren’t many favorable water places.

Getting to the Atlantic, the Adriatic and the Aegean Sea was special. In Kansas City, there is a big shitty river that we like to go to with our dogs and drink beer. It’s called the Missouri river, named after the state we live in. Missouri, not Kansas*. You don’t want to swim in it, though, because your skin might melt off. It’s very polluted… I have swum in it before out of desperation. Luckily, I live to tell the tale. Other than that, we have to make a special trip to south Missouri about 4 hours away. It’s nice down there. It’s close to Arkansas, one of the prettier nature states. Best to you and all the homies! Hope to see you soon! *There are two cities called Kansas. One on each side of the state line border of Kansas and Missouri. Kansas City, Missouri, is a much larger metropolitan city of approximately 2 million people. This is where the NATURE BOYS live. Kansas City, Kansas, is a much smaller town on the other side of the Kansas (or Missouri) river. Both cities look at each other over this river.

I first came across and became interested in Jonathan Sirit’s work when he was still creating art as ‘La Muerte Es Inminente’. I didn’t know back then that he has been drumming for BELGRADO as well, but I should have figured it out. Their minimal aggression and aesthetics share so much with his orderly, abstract and geometric works that seem like influenced by Russian suprematism and constructivism. I’m digging whatever he’s done for so long, so I reached him in order to talk things over.

Interview by Giorgos, February 2017 Layout by Giorgos Artwork by Jonathan Sirit So, Jonathan… most people might know you from drumming for bands, but you’ve also been creating some of the greatest minimal artworks I’ve ever seen. How long have you been doing this and what made you take a more serious approach and convert particularly this into something closer to a fulltime activity/job?

Thank you! I’ve done different kinds of artistic/crafty stuff every now and then since I was a kid. I have played in bands for about 12 years and I was always involved in the process of making the artwork. It wasn’t until 2014, when I started taking it more seriously and doing designs for other people as well as creating my own pieces. I haven’t had an official job in many years, so it’s very easy to find myself devoting my time to doing what I like, so it came naturally to focus on this and turn it into a kind of job.

How do you work in order to create your compositions? Is it all digital? Designing and collaging to put something together in the end or do you draw, too? Was it like this from the very start?

Nowadays it’s mostly digital, but with a manual touch. It starts in photoshop where I draw everything and then I print it and photocopy 27

it, trying different papers and textures to give it an organic feel, then scan it and work it again in photoshop. Of course, there are many factors that have an influence in the final work which I have been learning with time. I also use transfer lettering to make compositions and draw occasionally. I’m open to trying out different mediums depending on what I feel like doing.

In my opinion, you have acquired your own distinctive style. How did we come to this? Was this an intention of yours to make works with this particular style from the beginning? Does this make collaborations a bit more difficult? In any case, are you interested in collaborating with other artists or do you prefer working on your own?

I would say it’s many artists/designers’ intention to find their own distinctive style, but it also came naturally. I have tried different techniques and styles during the years, but my work was slowly becoming more structured and minimalistic. Then I began studying the avant-garde art movements of the early XX century, from which I learnt and developed a geometric visual language. I like working on my own, but I do collaborations, too. I consider doing the artwork for a band a collaboration; they create a mood with the music and a content that I try to transmit visually. I have the plan of doing collaborations with writings, poetry, photos and collages.

I suppose that every artist always wants to experiment and evolve. How can this coexist with running projects and new requests? Do you use new ideas or techniques on pieces you start working on or do you need some time by yourself before getting used to anything new before trying it on something you’d soon put out?

I usually try new ideas on my own projects as well as in projects for someone else. If I get an idea I want to try out, I just do it no matter if it’s for somebody or for myself. Luckily, most 28

of the time, I have got good results.

Apart from being an uneasy and not well-paying job, creating art usually includes making stuff to illustrate or accompany other people’s efforts. How much room for intervening in artists’ work should exist for someone that asks for some artwork and how difficult does it gets when people pass this limit?

With this kind of designs I’ve been making, I can say I’ve been lucky, cause people just pretty much let me do what I want. Some had said they have a few ideas in mind, or a color scheme, and then I start from there, but usually I’ve had complete freedom to come up with a visual concept, and that way I feel more loose and happy creating it.

Design artists are usually supported only by or via bands. It’s common for punks to buy someone’s artwork when it’s on an album cover or printed on a T-shirt, but I ’d really say that it’s quite unusual or unthinkable for some people to buy a poster, a fanzine or a collage, even though I understand people can find music and clothing more useful.

Is it a pain in the ass when people care only about bands and don’t give a fuck about artists, sound engineers, people who set up shows or even spaces that host their favorite moments?

Bands and music are what people in the scene pay most attention to, but I also think in the last few years there has been a growing interest in different kind of arts and artists within the scene, with exhibitions popping up at punk festivals and zine fests and different things.

And, yes, for sure shirts and merch and records sell way more than posters and zines, many times people don’t really think of buying this stuff.

As far as passing a message and expressing yourself or just having a good time are concerned, what are the differences between creating art and being in a band? How does 29

each of them make you feel fulfilled and how do they complement one another?

For me, music has always been a collective effort cause in a band there’s more people you are working with. There’s a mix of different ideas and personalities that you put together to come up with something new that can set a common ground for the people that are in the band, which is interesting and can be difficult at times too, but it’s very rewarding to create something that you end up enjoying so much. With creating art it’s pretty much me exploring my head and thinking and letting my mind flow and just listening to my inner voice, which I enjoy a lot. So I like doing both cause it gives me a nice balance.

How do you manage to deal with both the band and your projects? Is time the major reason that you could turn an offer down or do beliefs and taste come also at the surface at this point?

Well, sometimes it’s difficult to do both and I have had to turn a project down for that reason, but, of course, taste and beliefs are always at the surface. I try to avoid, as much as I can, doing something that has any commercial brands involved or bands I wouldn’t agree with politically.

Has it ever happened that you got your juices flowing whilst on tour? On the other hand, how do you deal with running projects during supposed periods of drought?

Before, I used to take notebooks and pens on tour in case I got some nice ideas coming up, but most of the times they came back home empty, cause there’s no proper time to focus on this while on tour, at least for me. I need to have a quiet place to do so. So, nowadays I just take it as a nice way to change air and take my mind somewhere else far from everyday life and just focus on the daily responsibilities of tour, like shoplifting and finding weed in every city. Luckily, I don’t have those periods of drought often anymore and I have many ideas 30

stored there waiting for their time, but sometimes energy and motivation are low, and that’s a big problem when you have a deadline to meet. In that case, the best is to force yourself and try to create a nice atmosphere that helps you get in the mood and, then, when you get to it, eventually you get back the motivation you need, sometimes it can take a while.

Is making artwork for BELGRADO any different in comparison with creating anything else?

It’s different in the way that from the beginning Ι take part in the process of making the songs and creating a concept, so it’s easier and more natural to come up with ideas of how it should look. When Ι make art for other bands, Ι’m not that aware of it and Ι have to speed up the process and try to come up with ideas just by listening to the songs a couple times and reading the lyrics, sometimes being the album title what helps me the most.

If I’m not mistaken, it’s not only you that are doing artwork for BELGRADO, but your bass player is shooting videos for your band and other artists, as well. Was a necessity for you that the band depends on no one else but yourselves, or is it just that all of you are a bit restless when exploring art and its endless outlets and possibilities?

When we formed the band, we didn’t think about putting together our abilities or anything. I actually wasn’t active doing art in those days, but the band was a good reason to get back to it. I do think we are all a bit restless when exploring art and we are all obsessed with experimenting and the band was always a good way to channel all that. So, we ended up doing recording and mixing efforts, video, designing and photography, and other stuff.

In any case, I can’t help asking about BELGRADO’s future. You are big favorites and your shows here in Greece will be unforgettable for many of us. Are there any imminent plans? What’s next for you, too? Are 31

you working on anything?

We had a couple long tours at the end of the last year, so for this year we have a few plans here and there, but nothing too crazy. More like going playing festivals round trip. We are now a bit more busy with personal projects and jobs, so it’s also difficult to dedicate so much time for the band, some of us also have other bands active, so let’s see what the future brings. As for my next steps, I’m opening up a web shop to be able to sell my stuff online and I have many ideas and plans for the future.

Right now, I’m working on the art for a Swiss band called FUTURE FACES as well as a shirt design for UK’s THE AGNES CIRCLE and many other things! Better not talking much about them in case some don’t happen.

Give me some last words!

Thank you for the interest! Good luck with the zine :)

Visit jonathansirit.com to check Jonathan’s works and contact him at humanoangular@gmail.com for any inquries.

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K-TOWN HARDCORE FEST 2016 The experienced viewed by an individuaL involved in the Greek DIY scene words by Dino / cut ‘n’ paste by Dino photos by Christina Carlsen) est, the rdcore F city, a H n w K-To uicide e to visit in Denmark’s s m ti g o years n town tw for a lo ganized r e g o th in n nit o to a ti oved lebra een w ad. I ma I have b ardcore punk ce best friend V. m y damaged he lly a n fi m h y nd annually n, and, when m the whole idea in ets -thanx G.- a to me, e e k g g c n a Copenh ly started shapin for the flying ti was a special o the last r h w ey ago, I slo rrow some mon 16 edition, whic my favorites fo llective o o en K c e b 2 e b e to e th th v f d a o e h ag mbers place in participating e y e scene m m n im e d r e e c , the reserv y had b bands in it e a c g th e a f e th o c t ouse giv n in since a lo y Greek friends is year’s fest. O se”, the project h orebro m ted in N nizing th uth Hou year and for orga the famous “Yo toric squat, loca ch day’s linele ib s n o resp e his huset, e! k to ea ngdoms tion of th Let’s have a loo t and lots mor U ic t v a e s e a s th w . fe r 7 e 0 e 0 ft a 2 th nks k in d to en to pu city center, bac d events relate e n a th s f g o in a n e ar ppe ll the ha up, to a

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Friday June 17th The doors opened at around 18.30 after a long waiting in the queue, which offered some interesting time for socializing with worldwide punks, though. I must admit, I had a hard first day adapting to the fest.

There was a huge crowd in every corner of the house, everyone was trying to find his spot for the next days of the fest, there were many bands performing, the music was loud -it was impossible to stand in the venues without earplugs. Fortunately, the fest was offering a pair of them -each one for a euro- and the wait at the bars and the food stalls was quite big, too.

The first band of the whole fest was EXTINCT EXIST from Australia, with a solid set of heavy metallic crust, for fans of HELLSHOCK and the international stenchcore family.

I was happy to see the punk rockers of DARK MATTER playing next, in the kind of Danish melodic melancholy I love, delivered by members of THE ASSASINATORS and HALSHUG. I really enjoyed their show, but obviously missed their first EP’s last track “Pain”.

Ireland’s d-beat knights 47

RATS BLOOD were amazing and I dug a lot their latest hit ‘Punk Is Mutants’, while locals BRUDTE LØFTER were not exactly my cup of tea, but people seemed to enjoy their last concert ever.

Washington D.C.’s PROTESTER and RED DEATH were totally out of control and it’s crazy that these boys seem maximum 20 years old and have already done so many things including touring, recording stuff etc.

Especially RED DEATH played the most interesting thrash I heard recently (okay, along with mighty VEKTOR, of course...).

EEL, featuring ANNIHILATION TIME’s vocalist, were crazy, noisy and dirty, making every single mutant of the venue dance like there’s no tomorrow.

RIXE from France made ev-

eryone sing along their catchy and old-school Oi! anthems, no matter if they were in French, and seeing those 20 skinheads in front of the stage among all these dreadlock crusties and blackdressed punks of the fest was a remarkable thing; a fact the organisers noted, too.

An amazing performance, indeed.

STRESS SS was the first day’s last act and they set the whole place on fire. Considering they shared on stage -’cause, originally, it’s the drummer’s one-man projectmembers of INFERNOH, HERATYS, SKITKIDS and more, it couldn’t be different, could it? It was pure sonic d-beat chaos. I was stoked to see this tattoo-faced freak on the microphone, ready to explode, and it was a pity I was so tired and didn’t get into the pit at this band’s set.

Saturday June 18th The shows started early in the afternoon, but I preferred to miss the first four bands (CHROMA, KOHTI TUHOA, GLORIOUS?, and a Danish one with a huge name; e.n.: well that would be SMERTEGRÆNSENS TOLDERE, after all) in order to keep some physical and mental power for the rest of the day. People said they were all great and I roamed the place to drink some cocktails, eat vegan food, and buy some records and gifts.

I entered Ungdomshuset’s big hall when NO TIME from Pittsburg, U.S., hit the floor. I’d say I preferred them much more on stage than in their recordings. Their music is Oi! again, but in a more violent and brutal way, and it was some kick-ass stuff for the skins who reappeared.

They also played a cover of BLITZ’s ‘Someone’s Gonna Die Tonight’, and I think they have a member of MASAKARI, too, just for trivia.

SYNDROME 81 from Brest, France, were the last Oi! band playing, and one of my favorite acts of the fest, as well. I was really looking forward to their gig, and was totally rewarded by their performance. They played all the good tracks of their latest releases and they sounded more aggressive -in a wayrather than sentimental in

comparison with the studio recordings, which was nice to experience, even though I love both the same. The space was not full, but the show was top and combined with sing-alongs and a lot of dancing.

TØRSÖ from California and SCUMRAID from South Korea, were both angry and ferocious, delivering pissedoff female-fronted hardcore punk and distorted frenzied d-beat mania respectively, and I admired seeing the female power sending blasts of rage all over the place.

GORILLA ANGREB was the big surprise of the fest, a last minute addition to the line-up, and were highly expected by the locals, as it is the second biggest reunion of the last years for the K-Town scene, of course after that one of NO HOPE FOR THE KIDS in the summer of 2015.

The venue was at its fullest, and the band was very excited to play again at home, in front of familiar faces, after almost a decade. There were people knowing the lyrics and singing along the tracks, others were crowd-surfing, everyone was smiling, and it was a beautiful feeling being there feeling and witnessing all this joy of the local punks.

Sweden’s D.S.-13 power machine destroyed our eardrums with frantic jolts of thrashy hardcore punk and

made everyone fly in the air, hit the ground, and stand again on her/his feet. Winners of stage diving by far.

DOOM legends were the last ones to play on Saturday, but I was never actually listening to their music, so I saw them for 10 minutes and left the venue to have some booze.

They were good, though.

Sunday June 19th After we had an amazing time at Bike Wars (see below), we rode our bicycles to Ungdomshuset again, for our last shot of K-Town hardcore overdose and we were still happy, despite the fact that the big celebration was soon coming to its end.

PLANET-Y was the opening band of the day and, hell, I loved ‘em! They also play this kind of Copenhagen’s melancholic punk rock, but they certainly have their own personal taste, plus their tiny guitarist -also singing for doomsters DEMON HEAD- is a fucking genius.

I was staring at him, digging his ideas.

I missed SNOR from Sweden, but had the chance to see BLISS and HALSHUG from K-Town, XM2 from Spain, and DAUÐYFLIN from Iceland, and, even though none of them is exactly my thing, they were all great, super tight, and let’s 48

say “professional”.

THE WAR GOES ON was the last band of the fest and my personal headliner of this year’s edition, and I gave my heart and soul during their set; a show I will never forget. I have been listening to their miserable melodic anthems for the whole year and hearing them live, was honestly a dream which came true. Singing “This Shitty Life”, “Copenhagen Rejects” and “Darkness Descends” along with beautiful people who share the same love for the band was something priceless... We tried to avoid the post-fest depression, so we celebrated all these good times with a lifetime binge, including bicycles’ crash, merch tables used as a bed and a struggle to take a few beers home. We made an appointment for next year’s K-Town Hardcore Fest and left Ungdomshuset early in the morning Bike Wars!

Okay, you should all know that Bike Wars is a lifetime experience. I had already heard a lot of things, but had never imagined what this really is about. It’s an annually organised event accompanying K-Town Hardcore Fest, which takes place in outdoor spaces of Copenhagen’s center and includes one-on-one fights with Do It Yourself made bicycles and a huge battle with tanks made by bicycle parts and scrap metal in a superb imaginative way. It’s like entering a Mad Max scenery and follow the street insanity, made for punx by punx this time. It was so funny seeing adults fighting each other with a big smile in their faces, without any actual reward, and, in the end, destroying their rides like kids. I really had a lot of fun. During the breaks, we had some time to drink some beers, eat cheap vegan sandwiches, and attend a cool gig under the bridge with two local bands and KRIMINAL from Berlin.

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The food, the booze, the party and other events K-Town fest was not only the right place to listen to your favorite music and attend amazing gigs, but also the perfect one to eat, drink, have some fun and meet punks from all over the globe. There were all-day food stands and bar corners, offering delicious food and cool drinks in low prices; let’s say for the local Scandi standards. Vegan burger and chili sin carne were my favorite meals, the vegan ice-cream they prepared was the best dessert ever, and the classy cocktails they served were a success story for sure. That one called “Burning Spirits”, with dark rum and fresh chili as basic ingredients, was just incredible. Ungdomshuset’s yard was the meeting point between the bands’ sets, and a pretty cool place to sit up on cut tree trunks, enjoy your drink, and have short chat with friends and people you just met at the fest. At the end of each day, there was a party in the small venue, where drunk punks were swaying ‘till early in the morning, under the sounds of ‘80s disco, hardcore and punk, selected by local DJs. There were a couple of other events taking place during the fest, like screen printing workshops for beginners, small exhibitions and more, but to be honest, I only participated in the exceptional concept of the K-Town Friendship Zine, where everyone was requested to fill in a questionnaire and take a picture of her/himself on Saturday. Questions included basic info of the participant (name, age, city etc.), personal details, such as favorite meal/ pastime activity/candy/style icon(!), “the story of your first kiss”(!!) and questions related to punk such as “dream booking for K-Town 2017”, “most important punk accessory”, “RAMONES or MISFITS?”, “Emo or Oi!?”, “top three punk records of the last years” and many more. The fanzine was ready by the end of the day, and, on Sunday, it was printed and given to the punks for free. What a memorabilia!!

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Notes and other thoughts about the fest -What I really loved in this festival was the sense of community I felt in the worldwide DIY scene. It was wonderful that punks from all over the world, flew to Copenhagen for this purpose, and were friendly enough to sit and talk with new people, drink, have fun, discuss and change opinions about several things, such as politics, punk, DIY, and how these appear

in different corners and cultures of the earth. I’m happy I saw people I met in my tours again - cheers Lia and Mirna, people I helped with shows in my town -cheers SHEER MAG, Greek people who visited the fest and lots more.

Vaios, Thanos, Atzela, Kostis, Aggeliki, Dimitra, Alex K. thanx for the good company!

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-The way everything was perfectly organized is at least impressive. Everything was always on time -sometimes even before what was written in the schedule, the sound engineering was amazing, and the volunteers worked hard to offer quickly all the goods and help things flow smoothly.

-K-Town Hardcore collective was remarkably consistent, concerning Ungdomshuset’s

and the fest’s policy about sexism, racism, homophobia, heterosexism, violence and hard drugs, and the appropriate intervention was immediate, when that was needed.

-Punk also means being proud of your mistakes, but forget about mistakes here. The level of the bands participating was fuckin’ astonishing. I think you have

to work really hard in order to be some good shit for the organizers’ ears, and, of course, to make it to the fest!

-I think this year’s edition was too raw and noisy even for someone who considers themselves a hardcore punk fan. I would definitely enjoy a few more dark / post-punk melodic bands in the line-up.

-A place to keep your records and jacket

during the day would also be nice, just to be free to enter the pit and fly in the air at your favorite band’s set. Don’t use your friends as clothes hangers.

-Last but not least, I’d like the fest to announce part of the bands playing a bit earlier, so that people can book the cheapest possible flying tickets.

I guess this is it! Be sure to visit K-Town Hardcore fest!!!

GREEK DIY/UNDERGROUND DISCOGRAPHY AND REPORT words by Giorgos layout by Giorgos arwork by Livas

For all the fucked-up children of this world we give you kaccapunk. Greek punk. Or Greek music. Well, some non-Greek music, too. From Greece, though. I’ve really messed things up here, so without further ado, I present to you all the underground – most of the times literally meaning below the surface – sounds, hailing from Hellass (come on, Dino, we have to stop this cliché), I’ve managed to track down. So, here we go, beginning from the date of the last issue.

Requests to try to dig a bit deeper or earlier are acceptable.

There was a handful of trademark Greek punk releases. My favorite one was CHERNOBYL ATTACK’s self-titled LP. Feral noise from the bowels of the worst human disasters with the aesthetics of ‘80s Greek anarcho-kaccapunk. Thessaloniki’s metal infused punk rockers, ΔΙΧΑΣΜΕΝΕΣ ΑΛΗΘΕΙΕΣ, returned with a 12’’ called ‘Δράση-Αντίδραση-Αδράνεια’ (‘Action-Reaction-Inactivity’) on Now Or Never Records after 6 years of absence. ΤΑ ΣΤΟΥΚΑΣ (TA STUKAS) participated in rock’n’roll marathon for the second time in their lifetime and released ‘Ως το Θάνατο’ (‘Until Death’) album. ΧΑΛΙΑ ΜΑΥΡΑ’s (HALIA MAVRA) straight-forward punk found itself in a s/t CD, ΕΣΧΑΤΗ ΠΟΙΝΗ (ESHATI PINI) gave us a demo, ΤΟΞΙΚΑ ΑΠΟΒΛΗΤΑ (ΤΟΧΙΚΑ APOVLITA) released ‘Viva La Commune’ CD, THE GENETIK PETS did the same with their ‘Breakfast’ CD and ΥΠΟΚΟΥΛΤΟΥΡΑ (YPOKOULTOURA) had ‘Vourkos’ (‘Swamp’) as their 5th release. Supergroup JUNKHEART – take it easy, warriors, just mean their members have played in some emblematic Greek punk acts – delivered their solid punk rock in their ‘Τραγούδια του Ανέμου’ (‘Wind Songs’) side of the split LP with ΚΡΟΤΑΛΙΑΣ (KROTALIAS). So, there must only be the long-standing heroes of TIMETRAP, who released their 3rd fulllength album in the beginning of 2017, left, before I’m done with Greek punk coming straight from metropolis’ doom and gloom.

Northern Greek bands worked in a collective spirit and, as a result, we saw a 4-way split demo tape between TOXIC MINDS, KAVALA SS, Athens’ THE KOPROSKYLA and dark anarcho-punks from Turkey, UGLY SHADOWS. What is more, at the moment, both Megara’s ΜΥΑΛΑ ΠΙΘΗΚΟΥ (MYALA PITHIKOU) and Kozani’s ΑΠΝΟΙΑ (APNIA) have a debut album called ‘Μυαλά Πιθήκου’ and ‘Ωδή Στο Χάος’ (‘Ode To Chaos’), respectively, with the latter coming after the band’s first EP, ‘Κραυγές Απόγνωσης’ (‘Cries Of Despair’). ΣΜΠΑΡΑΛΙΑ (SBARALIA) from Veria, had both ‘Juventida Valvida’ LP and their split LP with VAZURA – you can also find their noiz in the ‘Μηδέν/Εξάρτηση’ (‘Zero/Dependence’) 7’’ – released by Weird Face Productions.ÄDRÄLLÄ punks from Karditsa, were a last-minute addition with their demo of raw, d-beat Greek punk. Last, but definitely not least, come our homies and ex-homies

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of ΑΝΤΙΣΤΡΟΦΗ ΜΕΤΡΗΣΗ (ANTISTROFI METRISI) and SARDANAPALM DEATH. Both of our experienced minarides kept active, with the first recording an album and the second already having the test press of their second album, ‘Διαμόρφωση Συνείδησης’. There’s also a new band in town, called DISCORDANCE, which has also been recording some stuff.

The Greek DIY scene saw more births of hardcore punk and crust bands in these last years, so, from now on, we’ll probably have more goodies. Picking up from where we left, DIRTY WOMBS might not be here anymore, but will always be the birthchildren of Patras’ Prokat35 squat. Their last release, ‘Wrecked Youth’ expressed 100% what this band is really all about and was their best so far. Heavy metal madness intruded into their Japanese hardcore punk more than ever in a 7’’ of incredible artwork. You can tell for yourselves how cool their second full-length, being recorded right now, is gonna be.

V8 CARBURETOR also unveiled themselves, since they finally got their shit together for their ‘Street Cocaine’ 7’’ of hellish rock’n’roll in ZEKE fashion, on Weird Face and B-Otherside. New bands from Athens, ANTICLUSTER, featuring members of ALLOCHIRIA and PROCESS OF DECAY, and MOLISMA, with pals from SARABANTE, CONSPIRACY OF DENIAL and ΟΜΙΧΛΗ (OMIHLI), released their demo tapes. HC band from Thessaloniki, ΞΕΡΑ (KSERA), released a 9 track 7’’ EP and youngsters, CRIME STATE from Athens, already have 4 hardcore punk songs for you. KAMIKAZI and CORPSES had a split 12’’ of d-beat rock’n’roll on World’s Appreciated Kitsch (WAK) and Noise Effect, while UPTIGHT BASTARD are also in the same boat, as the ‘Rockandrollholocaust’ LP – co-released

by Weird Face and Scarecrow – title implies. However, there’s some sad news, too. Athens hardcore punk heroes of GUTTER will play no more. Fortunately, they kissed us off with another excellent release, a split EP with a recently formed band called ΧΩΡΙΣ ΟΙΚΤΟ (HORIS IKTO) that features members of ANTIMOB, SARABANTE, ΠΑΡΟΞΥΣΜΟΣ (PAROXYSMOS) and CUT OFF. ‘Μουσική Για Τα Παιδιά Σας’ (‘Music For Your Children’) is the ideal exploding hardcore punk to raise your kids to. This one is here to stay. And, yet, ΧΩΡΙΣ ΟΙΚΤΟ didn’t lose any time and just put out a full-length, too. ΗΛΙΟΣ ΘΑΝΑΤΟΥ (ILIOS THANATOU) have a debut ΕP as well, while we should be soon waiting 7’’s of YOUTH CRUSHER and CUT OFF to get a physical form, with the last one being a collaboration between 7inch distro and… of course, Scarecrow Records.

All these last releases, actually, came out – or will do so – by Greece’s finest DIY label and now is the right time to say some nice words about this guy that has been supporting Greek DIY bands and scene for so long and has also been bringing the best of punk records here in Greece. So, big thumbs up to Darek for all this remarkable stuff!

But we ‘re not done yet! Apart from what has already been mentioned, Scarecrow anticipate releases from AΝΤΙΜΟΒ, LIFEWRECK and MOLISMA, more music by ΧΩΡΙΣ ΟΙΚΤΟ, some drum-machine driven, noise punk mayhem by GAY ANNIVERSARY and a lot more we ‘re gonna talk about in a moment, in 2017.

Heavier stuff is always found in the inner core! RUINED FAMILIES made a second strong statement of (their) aesthetics with their

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‘Education’ LP on Adagio 830. Their bass player is also in BROKEN FINGERS, a new post-hardcore band from Athens that released an EP. ΜΑΥΡΟ ΓΑΛΑ (MAVRO GALA) have worked hard to get themselves a screamo/post-hardcore sound that feels like their own and this is to be found on a cassette EP and their first album, called ‘ἄγχος’ (stress), while CHRONOBOROS greeted us with their ‘Dial Up The Cutter’ EP via Body Blow Records, which seems that has been brought back to life. Last, YUBARI GOGO is a post-rock/screamo, one-man-project from Patras that had three cassettes released

by Adorno Records and a couple of other international tape labels.

DEAD ON PAROLE (DO.P.A.), with members of FIELDS OF LOCUST, CORPSES, TERROR DETONATOR and SARDANAPALM DEATH, have played some metallic hardcore/crust these last years, having just released a cassette album. Female fronted LAST STAND and NEVER-TRUST from Athens, had their shares of hardcore as well, with ‘Fight Back’ and ‘Wrong Place Of Birth’ CDs, respectively, while Heraklion, Crete, followed this example, with REPRISAL and BELOW THE BOTTOM getting down to some metal-minded hardcore for their full-length CDs. Nevertheless, the most remarkable thing that happened in this island city is that it got a DIY point of reference. Στοά 60 (Stoa 60) is a new DIY venue in Heraklion, run by a collective that has taken full responsibility for bringing underground bands to such a remote place of the country; a task that needs so much hard work and devotion to independent music and expression. At last, let’s give some grind to the masses! Thessaloniki is traditionally the place with the biggest grind power supply, but most of its bands haven’t been releasing music lately, except from NOMA, a new band that terrified unwary citizens with their split tape with RAMPANCY from Canada. SLAVEBREED fame had their split with BIRDFLESH out via Screaming Victims Distro. At the same time, TEKNOKRATER hooked up with Liver Damage Recs for a bunch of releases; split tapes with GARCIAxVEGA – Angry Owl Records from Veria, Northern Greece, put a hand, too – and SHITNOISE BASTARDS as well as a 4-way one with SHITNOISE BASTARDS, BADASS FARMER and WHYWHOWHAT. STHENO from Athens and Volos released a split 7’’ EP with DOWNFALL and devastating JAGERNAUT a split CDr with AGAMEMNON PROJECT. Fortunately, Greek crusties have paid more attention to their music than their black outfits. ΛΗΘΗ (LETHE) and CONSPIRACY OF DENIAL’s long-awaited split LP will soon be out on 7inch distro and Scarecrow, which along with Labyrinth Of Thoughts took the 8 never released tracks of classic Greek crust punk band ΨΥΧΩΣΗ (PSYCHOSIS), mastered them and put them on wax. SARABANTE extended their poisonous legacy with their so-called LP on Southern Lord and Greece’s most loved DIY band at the time, KATAXNIA (KATACHNIA) from Thessaloniki, have gathered their last pieces of condemned poetry in a second LP, entitled ‘Στη Σκιά Μιας Λαιμητόμου’ (‘Under The Shadow Of Guillotine’). Their fellow citizens, MUMMRAH, released ‘Η Τραγωδία Που Λέγεται Άνθρωπος’ (‘This Tragedy Called Human’) both on CD and tape, while Ioannina’s ΣΚΩΜΜΑ (SKOMMA) have a s/t CD and Karditsa’s PROCRASTINATE played some crust in the veins of TRAGEDY in their

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‘Ideals To Burn’ 7’’ EP. Last one was – partially, since WAK, We Don’t Fight It, Angry Owl and Clean Head Productions also participated in this release – once again on Scarecrow, which will also be the home of the new LP by legendary Greek crust act, ΧΑΟΤΙΚΟ ΤΕΛΟΣ (CHAOTIKO TELOS). On the other hand, freshmen have been keeping up, since ΔΙΧΩΣ ΠΝΟΗ (DIHOS PNOI) and SARKHA already have a demo, and DEAD BEAT their ‘Παράνοια’(‘Paranoia’) ΕΡ, but, most of all, Patras and Prokat35’s young hot blood, KAFKA, have an album of five-star epic black HC/neocrust in the works. So, keep your ears peeled and show some love to my boys!

Fading even more to black, mighty BLACK TRINITY have their upcoming album up for listening, before it gets some physical treatment in 2017. HUMAN SERPENT from Lamia came up with some more black metal in their ‘Inhumane Minimalism’ album and their splits with HUMAN PARASITES and BLACK WINTER. However, it’s post-metallers that juice most things up lately. Patras’ iconic act, FIELDS OF LOCUST, might have been put on ice for a while, but have finished recording a new album that could reach your ears some time soon. AUTUMN ACID from Thessaloniki, are the new hot name of the list and we desperately wait for more stuff after their rehearsal demo CD. The capital has been more sludgy with DEAD ELEPHANT’s ‘Heavy, Huge and Rotten’ CD, GRIMHORN’s ‘Weed, Satan, Violence’ tape, ZEBU’s ‘At The Delta Of Venus’ 12’’ EP and, lately, with the demo of HOUSE ANXIETY – people from ΔΙΧΩΣ ΠΝΟΗ seem to not lose any time. Sludge can match with rock’n’roll, too, as proved by SONS OF HOGS from Volos. Moreover, the Greek province provided us with some post-rock noise; LIVING UNDER DRONES from Ioannina released their s/t album and CALF from Karditsa released a split cassette with UNCLE GRASHA’S FLYING CIRCUS via their own Sweetohm Recordings. This brand-new DIY independent record label has managed to deliver four(!) releases in its first busy year, including MINERVA SUPERDUTY’s first fulllength LP – Body Blows worked for this, too – and KALPA’s CD album, no matter if this release was a co-release of many Greek DIY labels. One of their next releases is gonna be a 7’’ split vinyl between KALPA and THOLE. Vault Relics is another new-born label from Serres and must be the child of people playing in KEMEROV that released ‘Slay Your Son’ EP and have their ‘FMKD’ CD ready to go.

The first label release was the SADHUS / AGNES VEIN split 7’’.

Time for some bravery, repetition & noise. Oddly enough, I’m not talking about the BJM again, but about any other form of experimentation and noise. Personally speaking, discovering BLANK VEINS was the biggest of surprises for me. I couldn’t believe there would ever be a Greek band that would deliver such fucked-up noise with the use of an out of pitch trumpet. BRAINBOMBS would be fuckin’ proud and that’s why NO BALLS – a project of these eternally controversial Swedish noise rock legends – was on the other side of this cassette album. KRAUSE, featuring an all-star line-up of older extreme bands, arrived with an LP of almost equally heavy noise rock. ‘2 a.m. Thoughts’ is out by Riot Season worldwide and 3 Shades Of Black in Greece. One of them plays in RITA MOSSS, who will soon show us their pure love with ‘Period Sex Before Vomit’

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album. I guess it’s gonna be that screwed up, noisy punk I listened to in the first-ever Sweetohm release, which was a split 7’’ with YOU & WHAT ARMY FACTION. The latter will release albums, as long as there are four-letter words available to remind us of JESUS LIZARD. ‘Glum’ was released in 2015 by Smash and Sweetohm will release ‘Rite’ in February 2017. Additionally, ONE LEG MARY’s mix of post-hardcore and indie rock will find its way to a full-length album (‘On The Quied’ via Sweetohm) again, whereas THREE-WAY PLANE are pretty much on the same wavelength, reminding me a bit of UNWOUND in ‘A Waltz For Unity & Love w/ New Destination’ 7inch on B-otherside, which prepares the ground for their upcoming album ‘Your Kingdom, My Life’. FRIEND OF GODS’s experimental math-rock is to be found in ‘Mad Music For The Apes’ and ‘You Gotta Look Good In This Fuckin Business’. IDIOT STROSZEK and BUDALAH gave us a split demo tape of lo-fi, wicked, blackened punk that came out by krapp’s tapes. The first of them had also a s/t album out last year, as well. What is more, the weirdos of LOST BODIES are on vinyl at last via B-otherside. It’s like a full band now and one of the plays in WHAM JAH, whose non-stop experimentality not only makes them heavily psychedelic, as anybody could understand by listening to their latest album, ‘Lean On’, but it also led two of them make some solo music of the same perspective as DEAD GUM and KOSTADIS, respectively. The latter created an album called ‘Unleash’ this year. They keep releasing experimental pieces of theirs or other people through Phase! Records. In addition, they have been featured in Protos Orofos’ compilation, which is a venue hosting experimental electronic shows. One of them, performed by PS STAMPS BACK, was released as a whole in ‘Half Life’ CD. This is the solo project of the man behind 1000+1 Tilt Recordings, which released his collaboration with BRYAN SAUNDERS in a CD, entitled ‘Stolen Dreams’. That man along with two members of XERA express their negativity as MILLION OF DEAD TOURISTS and released a s/t album of dark, minimal techno or whatever. You can also find some experimental synth acts in the Phormix Tapes compilation. E.D.A. is another avant-garde/experimental label, hailing from Athens. It started in 2015 and has released dE – an ΟΔΟΣ 55 member creating some kind of cosmic, ambient electronic music, which was also a nice live experience, Z.64 and XTEMATIC cassette albums as well as some compilation tapes. Besides, HAU from Heraklion, provided us with industrial noise in their second EP. Last, I don’t know if they have released anything recently, as it’s a bit difficult for me to keep up with noise stuff and the way it gets around, but you should check BLACK FAUN, a project of homemade noise by the vocalist of STRAIGHTJACKET FIT, who delivers some noise as GRIM MACHINE, too, and another man whose moniker is HELLASH (Dino, here’s a new cliché!). The first one is also in a new improvising noise jazz trio that felt so good live, called THE ZYKLONS, while RAMDAT is also a fresh improvisational three-piece from Athens that came up with some free jazz noise in their ‘About Citrus Seeds’ CD. In the end, this fanzine has broken so many deadlines that it also saw the birth of SCRAG, the one-man project of ΑΡΧΗ ΤΟΥ ΤΕΛΟΥΣ’ guitarist, who will help our ‘Entering The Era

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Of Recreation’ with the so called tape of dungeon synth/folk/black metal.

If you made it and read these lines, after all, you’ll probably find yourselves in the dead of night. No worries! We might find some dark tunes for you. The best of them are probably made by ΟΔΟΣ 55 (ODOS 55); hopeless screams about our imminent future upon synth soundscapes and motorik beats. This one was released by εἰρκτή, an independent label that specializes in dark wave and minimal synth sounds and, mostly, does a very good job of bringing hidden diamonds of the past to the surface. A member of ΟΔΟΣ 55 makes music as LOVE BEVERLY, too, and has self-released a 7inch called ‘In My Mind’. The third album of ΑΡΧΗ ΤΟΥ ΤΕΛΟΥΣ (ARHI TOU TELOUS) is gonna be out in early 2017 and is their best so far. It’s even groovier and tighter with great melodic dark punk guitaring and its 8 new tracks, which have once more the right words to talk about everything that hurts us, became instant hits.

The same goes to COLD i, although their dark wave aura leads them to be slower and more eloquent. Both of these last two are Scarecrow releases and I’d swear I wouldn’t write that word again, if it weren’t for the split LP between ERA OF FEAR from Xanthi and – unfortunately, disbanded – ΠΑΝΔΗΜΙΑ (PANDIMIA) from Athens, which was a co-release between this label just mentioned, Dark Liquid and Eye5 Records. Actually, I did it! How smart of me! Anyway, this record will soon be a Greek punk classic, as ERA OF FEAR’s dark punk might be much into ‘80s goth, but at the same time, it’s extremely energetic, while ΠΑΝΔΗΜΙΑ’s bleak anarcho-punk fed us with a bunch of dystopian anti-anthems. The drummer of the first also plays in UGLY SHADOWS, a female-fronted punk band, influenced by ‘80s post-punk and UK anarcho-punk, that released a s/t EP on Dark Liquid and a full-length, entitled ‘Kids Of Tomorrow’, while ΠΑΝΔΗΜΙΑ’s guitarist, probably, couldn’t stand his life without playing some new wave/post-punk and went on to form ΚΩΜΩΔΙΑ ΘΑΝΑΤΟΥ (KOMODIA THANATOU), whose s/t LP is out, again by Dark Liquid. No matter if you have read too much about them in this issue, it’s my duty to add ΣΚΟΤΟΔΙΝΗ’s decent dark punk in this list, as I like finishing off neatly anything I get down to. Thessaloniki’s REGRESSVERBOT minimal synth-pop always filled the background of Greek urban life with the optimal shade of grey, but it wasn’t until June 2016 that their recordings found their way to a proper release. ‘Music For Ordinary Life Machines’ LP is out on Fabrika Records, a fine label from Athens that’s looking for new and eccentric artists untouched by the norms of era and has released records of great dark wave/minimal synth international acts, such as SHE PAST AWAY and LEBANON HANOVER. When not sailing towards every corner of the world, TANGO MANGALORE uses his synth to share his noir aesthetics and feelings and I don’t know if this means he’s doing too well or he can’t deal with this shitty world anymore and ends up doing music, but Dark Liquid released his ‘Comandante Macabro’ LP and his collaboration ‘Contra Los Vampiros Y Hombre Lobo Discoteca’ with DOCTOR MUTANTO. ACID BARRETS from Athens, also have an EP, called ‘DK’, and many songs of minimal attitude, but their references would

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be something more like shoegaze, MOON DUO or the monumental legacy of SPACEMEN 3. Add JESUS AND MARY CHAIN to all this and we’re off to some PSYCHEDELIC TRIPS TO DEATH. Next trip is their ‘Blood For Blood’ LP. Departure from Thessaloniki. Finally, I should also mention ONEPERCENT’s ‘Words In Action’ via krapp’s tapes, which reminds me a bit of Portland’s ARCTIC FLOWERS, MITIČ THREESOME‘s ‘The Sparkling Arcane Network That Impairs And Degenerates Aptitude’ album, whose music is as weird as this album title, and HEAD ON’s s/t EP. The end is coming, so let’s sway to some sinful rock’n’roll. Until recently, BAZOOKA were known for their raving garage punk and their electrifying live shows. However, their song-writing craftsmanship on their second album for Slovenly, went to an even higher level, which along with the entirely Greek lyrics, made ‘Άχρηστη Γενιά’ (‘Useless Generation’) LP sound unique, proving why they are the hottest Greek band right now. The next prize will be awarded to the band with the coolest name ever. And, of course, that would be ΟΤΟΜΠΡΙΤΣΙ ΜΟΤΟΡΙ (AUTOBRITSI MOTORI) from Heraklion, who play some full speed rock’n’roll. There are only some live recordings of theirs, with their show at Στοά 60 being the best. Michael Malloy not only managed to avoid being murdered, but also brought some kids to life. They grew up in Tyrnavos and used to play some epic d-beat noise for GO FILTH GO and rotten crust for DYSPNEA. Lately, the family got together and here we have THE MALLOY’S KIDS with their ‘…Can’t Die By A Shot’ tape that sounds like DEAD KENNEDYS playing some nuts horror punk. Their drummer also plays in BIRTHDAY KICKS who released ‘Black Echo Trap’ and a split 7’’ with SCREAMING DEAD BALLOONS on Vault Relics. The latter also released a 10’’ album, ‘Banana Blue’. It seems that Greek DIY garage punk is a bit decentralized and you can find bands from al lover, such as PISSTONS from Syros island, who deliver some hardcore punk full of dirt in their ‘In Crisis’ album, or THE BUCHANNONS and ΩΧΤΟΜΗΔΕΝ (OXTOMIDEN) who played some garage for their ‘Sluggish’ CD and s/t EP, respectively. On the other hand, DEAD DRANKS from Athens finally released their debut CD album and NERRVES gave us some TY SEGALL type of vintage goodies in their ‘Pest’ 7’’ single on Smash. Greece is the only country in the world where there is a so-called co-capital and that may be because Thessaloniki has always been a city with a unique lust for life and, of course, good rock’n’roll bands. JOHNNY CARBONARAS’ s/t LP was released again by Green Makaroni, so that you can reach some top-notch surf rock. THE BASEMENTS have a sophomore garage fuzzy album full of nuggets, on Lost In Tyme, which apart from a label, is a great garage fanzine. But none of all this would be the same without THE FRANTIC FIVE that have been leading the country’s garage and surf scene for more than twenty years. Their last release, ‘La Fin’ 10’’ on Back To Beat Records from Norway, has found them with a new frontman and this was a perfect beginning of a new era of hitting the dance floor, since this release might be the best of them, concerning recording and production. Another important band for the city scene, ‘ROUNDLIGHTS, have their ‘Exposito’ LP in the makings. THE MONGRELETTES, an almost

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fully female group from Athens, are also into the garage revival sound of the ‘80s and had a decent debut LP, full of garage tunes that equally delve into pop and psychedelic. I just wrote the magic word! Not many psychedelic bands here in Greece, but there are some good ones. SOCIAL END PRODUCTS have gone a lot more psychedelic than in their LP. There are sitars, flutes and all kinds of wonderful stuff in their ‘Feels Much Better On The Other Side/Utopia’ 7’’ and there’s a split of them with mythical Greek psychedelic act, THE YESTERDAY’S THOUGHTS, given exclusively along with Timemazine fanzine. And this not the only new music that will be coming with a garage fanzine this year, as gew-gaw fanzine will be celebrating their return after 17 years, with a CD compilation of 16 Greek sung, garage dynamites, including some bands just mentioned as well as some foreign ones. ALIEN MUSTANGS, featuring some BASEMENTS members, have given some of their typical, trippy jams for ‘The Tape Sessions’ of krapp’s tapes and they must have been in to a new band called BEYOND THE BLACKOUT. Staying in the Thessaloniki, Melotron Recordings have also been important for the city’s scene with all this releasing of excellent quality Greek and international acts. MELLOW LIZARD is the alias of a guy in Heraklion, who was, probably, deeply inspired by the BJM’s Anton Newcombe. It’s not only his neo-psychedelic cool tunes, but the whole process of creating music under any circumstances, no matter whether there’s a whole band behind him or what kind of equipment he had at his disposal. He has released ‘Some Kind Of Magic’ and ‘Daisy Tapes’ EPs. In the end, MELLOW LIZARD became a full band to play some shows. This guy has another project called 420 FLOORS HIGH and is also featured in THE PINK ELEPHANTS, a band supposed to be located in Ottawa, Canada, which during these last years has created a lot of excellent psychedelic music that is heavily influenced by SPACEMEN 3 / SPIRITUALIZED, BJM, DEAD SKELETONS and the likes. HOLY MONITOR first came into the surface when they opened for THE WARLOCKS, but soon delivered a self-titled full-length of Fuzz Club type of repeatable psychedelia with ambient sensibility. I’m gonna bring this section to a close as usual, with music from my hometown, Patras. LES SKARTOI! rocksteady orchestra, released a CD whose title pretty much describes them, as ‘Fighting On the Dancefloor’ is all they do with their fine ska and rocksteady tunes.

Having finished talking about bands, I’ll leave you after speaking about some compilations, featuring many DIY bands referred in this article. ‘Punkολεθρία’ and ‘Rampage For Animal Rights’ CDs will feed you with an hour of punk/hardcore and crust/grind, respectively. But, mostly, I’d like to spend a line informing people about ‘35’ benefit compilation 12’’ LP released by our home squat, Prokat35, which features bands that used to be located in Patras or have supported the squat’s events. All the earnings will financially support Patras’ prosecuted comrades fund. You can download it for free or maybe donate anything you want at prokat35squat.bandcamp.com or order it at prokat35@gmail.com. DIY bands can use that mail to contact us about future shows as well.

That’s it folks! Take care and be nice to each other!

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“35” Benefit Compilation LP // Benefit compilation album for the financial support of Patras’ prosecuted comrades fund, co-released by Prokat35 Squat in Patras and the bands participating // Featuring unreleased tracks of DIRTY WOMBS, CFS, TERROR DETONATOR, SARDAPALM DEATH, ΛΗΘΗ, ΣΑΡΚΑ ΣΤΟ ΖΩΟ, DALA SUN, FIELDS OF LOCUST, MASS CULTURE and ZVARNA // 12” LP released in 500 copies with a 7 euros indicative fee. Contact us at prokat35@gmail. com to get your copy // Available for free download at prokat35squat.bandcamp.com // There will soon be a collectively worked CD-format release. Contribution for this will be optional.

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R ES E C V TI I O N E W

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SIDE D BELGRADO – Obraz (Barcelona)

Night (USA)

LITOVSK – Litovsk (France) SPECTRES – Utopia (Canada)

THE SAVAGES – Tomorrow’s View 7”EP (Japan) KRIEGSHOG – General 7” EP (Japan)

I honestly believe BELGRADO is the best band of the decade, a name to be considered legendary in the far future. All of their recordings are incredible, showing variation and evolution, their live performance is a breathtaking ritual worth to experience, and their attitude, concerning politics and their DIY point of view, is something at least admirable. ‘Obraz’ is their third full-length to date, it’s probably my favorite one and it mixes their unique dark rhythmic sound with … some kind of dub elements let’s say. Stoned stuff with dreamy loops that are sticking in mind.

Both these are my favorite post-punk albums of 2016, along with BELGRADO LP. LITOVSK are pouring the coldness of their hometown, Brest, into the genre with their melancholic songwriting, while SPECTRES give a pop touch, investing in their amazing vocals, with half of the tracks being the most heartbreaking tunes of the year. Gloomy releases for wandering souls. Be sure to check their ‘Eindeloze Winter’ and ‘Figures In The Sand’ tracks, respectively.

THE WAR GOES ON – The War Goes On (Denmark)

I have listened to this one for so many times that I find no sense in writing anything about it. It simply is an essential record for anyone claiming to be a punk in 2017. True melancholic punk rock from the ashes of NO HOPE FOR THE KIDS with the most authentic suicidal lyrics ever written.

ZERO – Zero (USA) BUTCHER – Holding Back The

You can read a lot more about ZERO in the featured interview of the issue. Burning spirits hardcore band with terrific riffs, relentless flow and lyrics about the self and all the hell inside your head. BUTCHER’s 2015 LP is also a Japanese influenced monster spitting ferocious blasts with epic leads, thrashy parts and - no exaggeration, here - the best vocals of the worldwide DIY hardcore scene, delivered by the infamous Jack Control of WORLD BURNS TO DEATH’s fame, fathers of Graveyard Of Utopia masterpiece.

Everything mentioned here is a must-listen.

It’s been a long time since I listened to something that nostalgic and personal in punk rock as THE SAVAGES’ 2015 EP is. Portland vibes, Oi! elements and an anarcho-punk dosage can all be found in this three-track (plus a hidden song?) release, combined with the exotic aura of Japanese lyrics, excellent dancing bass lines and the zing of true street punks! KRIEGSHOG’s ‘General’ 7”, on the other side, contains three nuclear explosives ready to destroy Tokyo, bring chaos and deliver total raw punk devastation. Do you feel safe?

BIG MESS – You Know I Care (Denmark)

I had the chance to discover BIG MESS, when they supported INSTITUTE (USA), at a show after K-Town Fest, where I immediately fell in love with them. I was stoked and it was actually impossible to take my eyes off the band. I hadn’t heard such a passionate,

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honest and true punk rock band for a long time and the fact that their music is a blend of ‘90s emo stuff, like JAWBREAKER, and the early pop punk legacy of BUZZCOCKS and THE UNDERTONES, makes it a lot more special for me. Tracks such as ‘Twenties’, ‘Losing End’ and the last song of their set - which should definitely be released as soon as possible - are poignant confessions, moving my heart. Amazing!

ROUGH KIDS – Rough Kids (USA)

Thanx my partner, Giorgos, for this suggestion. If I’d say this shit is a mix of AUTISTIC YOUTH, RED DONS and NEON PISS’ best recording moments, could you ever believe me? It’s exactly as excellent as anyone could think, when reading about these influences.

Twelve tracks of super energetic punk rock, in the veins of the aforementioned melodic bands, diffused with brave doses of top notch rock ‘n’ roll solos and lead parts for non-stop air guitar playing.

SHEER MAG – III 7” EP (USA)

I think SHEER MAG’s myth began after that huge two-month European tour they did in the end of 2015. I remember everyone listening to their first EPs and discussing about the band-phenomenon of the worldwide DIY network back in these days, and the truth is that they deserved all this attention. Superb original rock-ish stuff played by nice and talented people who like to take special care of the music they create; those groovy tracks that radiate an old-school vibe. It’s crazy that the band plays both tiny venues and huge festivals, like the show we booked in Patras’ basement and Primavera fest, for example.

‘III’ EP is as good as their first works.

BARBED WIRE – Barbed Wire (USA)

New York city mutants of several great bands’ fame (AJAX, HANK WOOD & THE

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HAMMERHEADS etc.) unite in order to deliver punk rock fueled ‘70s rock music, including all the basics: the AC/DC spirit, keyboard-driven riffs or even a use of harmonica. This is a pure rock ‘n’ roll gem, bringing a high energy climax during every single track of the album.

PURA MANIA – Cerebros Punk (Canada)

These cerebro punks from Vancouver dish out the most interesting international latino punk I’ve heard recently. They’re not as raw as the majority of the bands out there neither melodic as SUICIDAS or the latest GENERACION SUICIDA record. They’re somewhere in between, with genius dirty work in the guitars, perfect effects, adding a slight electronic sound to the outcome and vocals, reminding me of that great group, CRIMEN, from Mexico city. Remember ‘em? Good shit.

RUINED FAMILIES – Education (Greece)

It’s hard to explain with a few words the greatness of RUINED FAMILIES’ third fulllength. It’s definitely mature work, and, yet, with a youthful rage and aggression, transmitted through harmonic chaos and orchestral madness. And there’s so much information in the tracks that it’s spectacular how RF blend ‘em in the whole, as every single detail of the album makes full sense. The production is better than ever and the lyrics are still the band’s key-strength, with ‘Use Your Hands’ being a gripping commentary on Europe’s black hole, Greece. This record is a milestone for the European “metamodern” hardcore scene.

ΟΔΟΣ 55 – 2016 LP (Greece)

Another future classic from the Greek corner and an essential one for those who dig underground electronic music dressed in

synth punk. What I really admire in ΟΔΟΣ 55 is that their music is actually punk, even though there’s a total lack of common instruments’ use. There’s just drum machine, effects, synths and clear screams: 21st century haunting cries of a dystopian reality. The album is excellent and it’s a pity it’s too expensive. Come on, 15 euros for a 2016 simple black covered edition? Where do you live?

DEMON HEAD - Ride The Wilderness (Denmark) S U R V I V E – RR7439 (USA) SUMERLANDS – Sumerlands (USA)

These three are the non punk releases I’ve most listened to lately, and, since I’m not an expert in these genres, I’ll only make a short description for each one of them. DEMON HEAD share members of several good Copenhagen bands, including the freshmen of PLANET-Y and JUNTA, and play superbly sung 70s doom rock; this occult style which is as fine as a bottle of good, old, red wine.

S U R V I V E, hailing from Texas, belong to the electronic field and I really find their minimal synth atmospheric music, the

perfect company for outdoor experiences in clear summer nights, surrounded by both urban and natural landscapes - their previous record is also top notch stuff. SUMERLANDS is a fucking epic heavy metal journey to unknown worlds, for fans of MANILLA ROAD, OZZY OSBOURNE, CIRITH UNGOL and more, played by the most talented US metalheads of our days, known for a couple of masterpieces, including STONE DAGGER, MAGIC CIRCLE, DEVILS’ DARE albums and the great ETERNAL CHAMPION’s ‘The Armor Of Ire’, as well.

What else?

WHITE LUNG – Paradise (Canada)

To be honest, this band has no more a place in a DIY magazine. They’ve been deep in mainstream shit, since they signed with a major label and they’ve made a couple of idiot statements, trying to manifest the way their music is written is some serious stuff in contrast with the childish bullshit the majority of punk bands play nowadays. Fuck you girls & boy! It’s sad your guitar ideas are from outer space, composing a unique futuristic urban sound for my melodic desires.

SIDE G ARROTZAK

‘Arrotzak’ tape (self-released)

Thinking that I’m somehow getting to meet Euskadi punk by listening to ARROTZAK, I was kind of expecting something that would sound more exotic. The only such element is their language, but I’d say that it’s typical of any Latino punk to be so moving because of it. However, why the fuck should I care, as long as they sent me back to the golden first days of Portland’s post-punk revival? After

all, their Basque, sung in some double singalong fashion is more than enough as well as a perfect fit for the dark, punk melodies, like THE ESTRANGED’s early ones with the lively quirk of RED DONS, they pull off.

Last, but not least, big ups for the production of this album for giving the songs some punk rock coziness in such a way that it feels as if the band is playing live in your own room.

Well, I’d definitely have them play in my room, in a basement, squat or anything and hope that, eventually, all this could happen

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out of headphones, too.

BLACK TIME

‘Aerial Gobs Of Love’ LP (Förbjudna Ljud)

BLACK TIME’s heavy vampire sound is back! Their last years’ recordings finally managed to see the light and, indeed, came as aerial gobs of love to our sweet faces. Their trademark sound is here, but not only to be found in a fired-up, noisy garage punk in the veins of PUSSY GALORE that stinks of proto-punk’s dirty glam or THE FALL’s garage moments. This time, you’ll also get it from primitive and vintage psychedelia, kind of electronic improvisation with reversed tapes and overdubbed stuff, reggae dubs and even folk arrangements with a purely traditional strings’ sound. As their lo-fi creepy story unfolded through the years, all these sounds came along, which is also evitable in their “Walking Abortions” compilation cassette, which includes recordings of the last many years that summarize the band’s evolution.

Here’s the soundtrack for our screened – or not – horror B-movies. Night time is the right time!

BUCK BILOXI & THE FUCKS ‘Streets Of Rage’ LP (HoZac)

There’s a thin line between love and hate and an even thinner between being dumb or genius. No one can really tell which side you’re on and, actually, there’s no such thing as success or failure. So, is there a difference between GIORGIO MORODER’s kind of dance music sonic synopsis with DAFT PUNK and GIORGIO MURDERER and his BUCK BILOXI AND THE FUCKS’ raw garage punk? I could so much dance to this monotonous, noisy mess that could only be compared with some not whining RAMONES or less groovy SPITS that have kept ripping the best guitar parts of the ‘80s greatest post-punk records that were never born

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and let the cymbals bleeding. Who can say I’m right or wrong? At least, the murderer is gonna tell you that, no matter what you’re up to, you ’re total shit and your life sucks, just before this rock ‘n’ roll trashing party and the hungover next day. This one is for the nextdoor, sloppy geniuses or underachievers who don’t really care, but would walk the streets of rage.

CULT VALUES ‘Cult Values’ LP

(Sabotage, Static Age)

KILLING JOKE’s fans don’t have to worry about Jaz Coleman’s disappointing comedown anymore. Post-punk enthusiasts need no longer complain about WIPERS wannabe bands. Even ‘80s US hardcore kids can finally see their boredom, due to so many bands sounding exactly the same, coming to an end. All this would not have happened, though, if it weren’t for that international collaboration that once took place in Berlin and, eventually, led to combining all these CULT VALUES to provide us with some fresh grim, yet catchy intensity. Nevertheless, these ten, ice-cold, AUTISTIC YOUTH type of hardcore, two-minute rippers are just a single case. There has been an accumulated, menacing darkness above Berlin’s sky lately, so you’d better keep an eye on this growing scene.

DIÄT

‘Positive Energy’ LP

(Adagio830, Iron Lung)

DIÄT’s first two EPs created huge expectations for a killer raw post-punk debut album.

And it was absolutely worth waiting for it.

Because DIÄT took their time in order to reach an accurate, distinctive and flawless outcome; their own contemporary version of depicting Berlin’s gloom through their dark aggressive punk without the need for any industrial obsessions. A commanding, robust and steady rhythm section, cold, razor-sharp

guitar parts that go hand in hand throughout the whole record and a deep, ominous voice erect DIÄT’s wall. And it’s so massive that it could naturally absorb the CANNANES’s indie pop sound and make it fit to the band’s standards. The murky, old-school artwork and the cynical and self-reflective lyrics give you the full picture. Having said all these, the album title seems provoking or, at least, deliberately contrary, but I’d suppose it might be not. All this tense dismisses apathy and keeps us alive and kicking, despite all the shit we have to face. This is how we won’t end up passive fawners and will keep on going. This is our positive energy.

THE GREASE ARRESTOR ‘Volume Two’ LP

(Third Eye Stimuli)

The next sounds of THE GREASE ARRESTOR perfectly project ‘60s psych pop onto some ‘90s gazey psychedelia. Jiving rhythm section and percussion, a classic organ, celestial female and male vocals and prolific, both fuzzy and clean,12-string guitars. This is like a ‘60s garage instead of ROLLING STONES inspired revival of the BRIAN JONESTOWN MASSACRE ’96-’98 era. It must be Their Satanic Majesties’ Third Request. That’s why predecessor A.A. Newcombe is thanked in the digital edition of the album for being responsible “The Freakout”, especially for that one of the so-called obscure BJM tune, which is here reprised by this Sydney based band. Since 2012, they have attempted creating music depending on no one and this comes to be the second release of both the band and Third Eye Stimuli Records, a label run by one of their members among others. So, spread some love and dig this!

HELTA SKELTA

‘Beyond The Black Stump’ LP (Helta Skelta, Deranged)

The big thing with Perth’s HELTA SKELTA is that their own perspective about punk seems to matter way much more than its various sub-styles. As a result, changing some of their references or balancing neatly between classic and up-to-date comes as no surprise.

After a couple of transitional 7”s, they have slowed things down a bit in comparison with their self-titled LP, where garage and ‘80s hardcore perfectly match. This time, they are more of engaging in some cutting-edge, mid-tempo hardcore punk and flavouring it with some early MOTÖRHEAD or TURBONEGRO filth, whereas they can’t help imposing their passion about WIRE’s structures on it. Well, the whole spirit seems to be British, as this record has been heavily shaped by the pop sound of BUZZCOCKS and the likes, or even anarcho-punk, to a lesser extent. This also applies to their singer, as he has kept spitting lungs out for his performances with PRAG. After all, the mix got into an Australian rock ‘n’ roll filter that can keep things both dirty and hippie. Go grab your beers. It’s just about time. Cheers!

INSTITUTE ‘Catharsis’ LP

(Sacred Bones)

Having released a demo and a couple of EPs, INSTITUTE began to draw attention, not due to curiosity about a band featuring members of WICCANS, BACK TO BACK and GLUE, but because their music sounds so pure and bleak. They might have gone for a tighter post-punk to go as far as it gets with continuous guitar strumming, but it’s their bad temper that still holds the helm.

In other words, OK, I’m so in love with the addition of this acoustic rhythm guitar, but it’s this crabby sound that still dominates everything. Not even that grand finale, where punk gets as kraut as possible, can break the rule, as their singer, pissed off with the world and himself, breathes and yells his last at its

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ending. All this makes INSTITUTE sort of an EDDY CURRENT SUPPRESION RING case in my mind. Their catchy, repetitive punk is so well-played, but they wouldn’t sound so peculiar if it weren’t for their solitary frontman, who, in this case, keeps letting his pessimism out by non-stop spitting phrases, just like a contemporary version of Mark E. Smith, driven not by arrogance, but by disgust. What we have at the end of the day is an album that defines death rock, not as a sound, but as an attitude.

LIBEREZ

‘All Tense Now Lax’ LP (Night School)

The endless experimentality of eccentric post-punk and no-wave bands or of acts that have prevailed during the industrial movement’s burst eventually brought us some of the finest pieces of music ever made. The dismissal of any kinds of forms and the fusion of any possible genre led to extraordinary sounds, capable of pointing out our lives’ contradictions. This is also what LIBEREZ from Rayleigh, UK, do. But they probably don’t sound like any past pioneer. They just share the same philosophy; making the most of everything they have in disposal, in order to see how far they can go with it, and that’s why their mix is unique. Consequently, a wailing or distorted violin – and I really can’t tell if it’s this that goes too far and ends up sounding like an eastie flute, acoustic piano and an harp-like synth, clanking percussion, fragmented or looped vocals or any effects are just some media that are deeply in the cause of creating music that can be both abstract and noisy or ambient, acoustic or electronic, tribal or industrial. Claustrophobic and yet free. All I need to do before I finish this review is to find a clever wordplay between the band’s name and the word ‘liberating’ and hope that this will be the soundtrack of a future drama masterpiece.

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Thanx my friend, Anna, for this one!

LIQUIDS

‘Hot Liqs’ LP

(Drunken Sailor)

What’s up pals? Treat yourselves during this cold winter and get some hot liqs served by the best bar-tenders of Indianapolis.

Their typical, dumb as fuck CONEHEADS / CCTV recipe of lo-fi, tight hardcore punk just blended with the REATARDS’ legacy for some maximum rock’n’roll experience. Add a few drops of vintage power pop or some melodic parts to this treble madness and you’re laid to waste. Greek folks should be prepared for such an epic garage punk frenzy that can only compared to the shock of listening to KOMODINA 3 LP for the first time. It might have become a cliché to talk about sweaty basements and house shows, but their tunes are so made for this. In fact, they have put out a tape called ‘Live at Mat’s House’ and you’d never call them a recording band or anything. In other words, LIQUIDS do everything it takes to get us in high spirits. OK, not everything. They didn’t kill Donald Trump for real.

PHEROMOANS

‘I’m On Nights’ LP (A L T E R)

PHEROMOANS’ latest album “I’m On Nights” might stray from their guitar-driven, unorthodox British post-punk, shifting from electric to electronic, but it does keep the same scenario. This is none else, but the hilariously self-sarcastic and yet cynically realistic narration of this banal farce called modern urban life, performed by a vocalist whose job is to recite the boring trivia of our personal failures. What is new, is their flirting with minimal electronic music, whose forms depend on the band’s cyclothymia. In general, though, the early NEW ORDER’s touching atmosphere, along with their lyr-

ical subjects, keeps everything pretty much down to the earth. Closing track’s title “Rock ‘n’ Pop Quarrel” gives us the mood, but as stated in it, the thing is that PHEROMOANS still make their own tea!

PISSE

‘Mit Schinken Durch Die Menopause’ LP & ‘Kohlrübenwinter’ cassette

(Beau Travail, Gafas Del Rigor, Phantom)

In this case, it’s not about the releases themselves. Most of all, I would like to hang out and find out what’s on the mind of people whose Chiquita Bananas covered cassette ends with something like a hyped, highpitched vocal, electronic indie-pop parody or make a record whose title translates to “with ham during menopause” and begins with something like a cheap R’n’B remix just before a 20-minute anarcho-punk burst.

Prefix “anarcho” is not only musical here, but mostly has to do with the erratic structures of these tunes. In general, PISSE’s punk is as rough as the German accent of their rants and as bouncy as their surfy side of hardcore punk. But, above all, it’s as rad as their synth themes that can go from creepy to spacey and are all over the place to destroy any means of sanity. While most of the punks out there keep rehashing the same stuff, PISSE make music you ‘ve never danced to before.

And, of course, I nominate them official carriers of the kaccapunk culture. Scheiß DDR! Scheiß BRD! Scheiß Europa!

POLICE FORCE

‘Power Point’ & ‘Formula 1’ cassettes (Tenth Court)

No sane person likes cops. And no one will ever do, until they just die or stop beating the hell out of oppressed citizens, while protecting all kinds of rich bastards. The only hope for them is to quit, turn into some psychedout freaks and get down to playing some outer space crazy stuff. This Brisbane’s band

has done so and, hopefully, that’s why they are the only acceptable POLICE FORCE in their city. Some groovy, heavy beats and addictive bass lines or riffs of some ‘Psychocandy’ noise are the basis of what we will dance, trip and make love to in the future. On top of them, there are new wave or kraut-like synth atmosphere and melodies, but, most of all, their edgy, multiple guitar explorations that are drenched in reverb and delay and take much from the DEAD SKELETONS or the ’08-’10 BJM sound. And they let all these out with the punk brass of their COBWEBBS past. To all people out there: listen to this shit! To all cops out there: find a way not to be considered the biggest of assholes; here’s a fine one.

PRISON

‘Prison’ LP (Saudade)

Scene is set with something like NICO and some other female, heavenly voices singing in Polish for the beginning of a dark occult celebration. As the ritual goes on, its either danceable or hypnotic beats, dreamy synths and sweet noise added by delayed guitars, eventually mesmerize the rest of the participants. After all these, what if I told you that all this is going on in the interior of a prison?

Any joyful happening in this hell would be a paradox, wouldn’t it? In any case, I could just be maundering and PRISON here might only be the name of a queer feminist migrant band hailing from Copenhagen, Denmark.

But as prisons are on every corner of our world, it might as well be the title of their debut LP, where this witchy goth, which carries all this cold wave romanticism, is to be found. These nice people must have been busy lately, as, apart from the split 7” with the – unfortunately, disbanded – heroes from MOTH, some of them are playing some cello, banjo, and synth for FALLOW GROUND, a project that does keep it dark,

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but takes a more folk way. They are accompanied in this travel by an excellent cold wave – and, possibly, ex-crust – band from Warsaw, HÄNDE, who go for their own gothic paths.

Make sure you check their split LP, released collectively by a handful of Polish DIY labels.

SHOPPING

‘Why Choose’ LP (FatCat)

This piece is about to demonstrate why there is absolutely no need to aggrandize the glory days of any genre or dignify old obscure bands due to pure fetishism. Firstly, there are so many new bands that really nail it out there.

Secondly, many of them are up to fresh ideas and many more deliver superbly your beloved sounds. Let’s take SHOPPING as an example.

They’re probably more Londoners than dry gin and have worked hard to make you admit that here’s some pure British class; the early CURE guitaring, the GANG OF FOUR’s flow, the AU PAIRS and DELTA 5 vibes. And, in spite of their ‘back to the basics’ philosophy, they’re so solid with a crystal clear view on how exactly they want to sound and that’s what makes them genuine, even though this kind of music has been around for so many years. So, please wash your tears away, stop mourning and spending big money on what’s dead and gone, ‘cos your next favorite bands are right in front of you. All you need to do is to get your ass moving.

V/A – STAND WITH STANDING ROCK cassette (Sky Lantern)

The construction of the Dakota Access Pipeline our times’ biggest display of exploitation of indigenous people by the United States, this time in favor of corporate interests for which there’s a continuing desecration of natural habitats and resources. There has been a cross-cultural movement defending the land

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around lake Oahe that has initially managed to stop the construction. However, the struggle is far from over, since the rise of Donald Trump as president of the US arrived new federal raid in the area. This compilation

by Sky Lantern stands in solidarity with the DAPL movement and all the proceeds from cassette and digital purchases will go to protesters, especially in regards to legal defense funds for those arrested for their acts of resistance. Great psychedelic underground acts, such as THE MYRRORS, DEAD SEA APES, WHITE MANNA or DREAMTIME, provided new music for this cause that is still going on!

V/A – YPJ SUPPORT LP (Saudade)

As you all know, there’s a war going on in Syria. There are not only religious fundamelists, local dictators and world’s superpowers, among its contesters. There’s also an ongoing revolution in Rojava, where Kurdish – and not only – people fight for their right to establish a world of freedom in territories that have always suffered from fascism, religion and patriarchy. As part of this, there are coordinate male and female battalions responsible for holding the flag of equality up high. in such a doomed place, such as Middle Earth. YPJ is the women battalion and what a better way to support what they stand up for than a compilation featuring the world’s finest female-fronted DIY post-punk bands. As a result, SVART MAGI, BELGRADO, ARTIFICIAL MONUMENTS, PRISON, DEAD CULT, TOTENWALD, STATIONS, CATHOLIC SPIT, GREY PLACES, INFINITE VOID, FLOWERS & FIRE and ANNEX gathered up for an excellent release for an even greater cause. The whole thing was treated by Rusted Teeth and Saudade, which already have an upcoming Syria Benefit Comp in the works, too!