EDITOR
Jason Bolduc
COPY EDITOR Naomi Kelly
PHOTOGRAPHERS Jason Bolduc Jim Smith
COLUMNISTS
THE TOWER
Hamilton's Anarchist Social Centre 281 Cannon St. E Hamilton, ON L8L 2B4 Hours: Sundays 11am-5pm* Mondays 2-6pm* Thursdays 12-5pm* http://the-tower.ca/
Jason Bolduc Jim Smith Juana Luck Mike Mccarthy
REVIEWS
Jason Bolduc Mike Mccarthy
ACKNOWLEDGEMENTS Mike Magee/Stomp Records Melanie Racette / Stomp Records Melanie Kaye PR Sacha Miller/Erin Caroll/ AB Co. PR Mike Cubillos / Earshot Media Nikki Law/ Metal Blade Brian S Gross/ P.R.B James Gooson/Brixton Agency Talia Miller/Brixton Agency Dan Gildan /Brixton Agency
Label ACKNOWLEDGEMENTS Epitaph Records /Fat Wreck Chords / Stomp Records / Bird Attack Records / Spartan Records Paper & Plastick Records/ My Fingers My Brain Records/ Greenway Records/ Flatspot Records Metal Blade Records/ Cardigan Records / Rebel Time Records/ Victory Records
CONTENTS
MATT COLLYER
ON THE PLANET SMASHERS and LIFE OF THE PARTY
THOMAS BARNETT
TALKS ABOUT HIS “GREAT COLLAPSE POLITICS and THE 7” SPLIT WITH THREADS
BRAD MANNERS
TALKS ABOUT SCHOOL DAMAGE and THE NEW UPCOMING RELEASE. LATEST RELEASE NEWS MUSIC REVIEWS
MATT COLLYER TALKS LIFE OF THE PARTY
WITHIN PUNK ZINE INTERVIEW WITH
MATT COLLYER /PLANET SMASHERS BY EMAIL
JANUARY 11 ,2016 COURTESY OF
Mike Magee/Mel Racette J.B: So let’s talk about the beginning of it all and the formation of The Planet Smashers back in the school days? I guess Mcgill couldn’t handle the awesomeness? MATT: We were to cool for school but to stupid for the real world so we made a band! J.B: Way back in 93 it was the next Ska Wave coming through and it had that Manchester sound? What was some of the inspirational sounds for you? MATT: It was mainly the two-tone version of ska that was the most impactful for the band. We listened to old school awesomeness and a lot of contemporary US bands but they didn’t really shape the Smashers ska factory. J.B: Stomp Records was formed on the need for a label to support the cause and Moon was a huge influence in that direction do you feel that things may have been different if wasn’t for creating Stomp? MATT: Yes! J.B: So psycho neighbour’s ,Super orgy porno parties, Dark Personalities , Pee in the elevator that’s some heavily influenced tracks what’s the creative writing process? Maybe some influence in Montreal’s night scene? MATT: Each had it’s separate story. Psycho Neighbour was about my psycho neighour – she was nuts! I used to hear her ranting through the walls and one day I made the mistake at pounding on my wall and shouted “stop yelling, you nut bag!!!”. And that made things worse!!! The next day she was
PATRIZIO MCKELLAN PHOTO J.B
smashing at my front door, screaming all kinds of shit. That’s her on the recording, it’s the real shit. Eventually the cops came and carried her away (apparently she was uttering death threats to a slew of people). Good times! Orgy was inspired by a fictional electro band that I had hoped to join plus a good friends promiscuous lifestyle (which we revered). Dark Personality was inspired by our old tour manager but taken to an extreme. With that said, a shit ton of other songs are all abou the MTL night scene. J.B: The lineup changes altered a bit how was that significant to the overall sound? MATT: Moreso on the song-writing then our sound. We haven’t changed that much, like frozen dinner somebody once told me. But seriously, the new guys have always agreed to respect the Smasher sound., which is very kind of them. J.B: Attack of the planet smashers has that 90’s Mighty Mighty Boss tones sound then it really came on with “Life of the party” and then that sound continued on to Descent, do you feel that overall sound had been formulated and worked for you? MATT: I’m hoping it’s a yes. J.B: You guys have been playing for quite some time now and are older with family’s do you find it hard to do extensive tours? MATT: Yes. It’s not only families, indie touring isn’t for the feint of heart, it’s tough biz. J.B: “Mixed Messages” seems more laid back and has more fantastic 8 bit sound shining through like on “Scientific Explanation”? MATT: Yes and no…the sound is a bit rounder than others but there’s some aggressive tracks like You guys are assholes. But ya, Scientific really worked out well, I’m super happy how it came out. J.B: Toronto has always been that not too far away scene that was similar to Montreal and you played at the most iconic little venue “Sneaky Dee’s” did you pay homage to what was going on at that time? MATT: I love playing Toronto. The show at Sneaky’s was in 1995 I think, maybe 96…it was a different time back then, some good
some bad. J.B: This year at Amnesia Rockfest you had someone do an engagement on stage are there any other memorable times while on tour that stood out like that? MATT: We had a guy do that without telling us once, there was definitely an air of confusion, but everything worked out. She said yes. I picked up the mic afterwards. All good. We’ve had some good times. J.B: You say that 3rd wave we’re talking like Skankin Pickle/Buck O Nine / Dance Hall Crashers / Mustard Plug and of course Reel Big Fish / Less Than Jake, what do you feel was the best years of the scene? MATT: I’d have to go with 1994 to about 96. The bands were all good by then, everyone was making quality recordings rather than releasing demos but without pandering to radio. Good stuff happened after this too, but 94-97 was really exciting in the ska world, everything was on the up. J.B: Your overall sound is best described as
PATRICK TAYLOR / PHOT
“With that said, a shit ton of other songs are all about the MTL night scene”. 75% party/ goodtimes 10% Ska with combo’s of Calypso/surf and 10% Jazz and about 5% percent punk would that a good explanation of the formula? MATT: Sure!!! That’s hilarious. J.B: What happened to the Hippo? And is there any attempts to find a replacement?
TO J.B
MATT: It smells terrible. I had it in my basement of xmas stuff and couldn’t figure out where the smell was coming from…it took a few days. Anyway, the suit was lost in Whistler about a year ago. Hippo had a great life, he (or she) went to Australia and all over Canada and the US. Long live hippo!!! J.B: Ska has come onto a new wave that’s more personable in the likes of “The Beatdown” do you find that direction of old is coming new again? MATT: Ya man, there’s definitely a new scene brewing but I have a hard time putting my thumb on the sound. But it’s getting exciting again, I’m looking forward to hearing more new bands! J.B: Anything new in the works for The Planet Smashers maybe your own Roller Derby team? MATT: We’re gearing up for a new record, it’ll be another 8 months before we hit the studio but we’re writing. And we’ve got a good 20 shows lined up for 2016 too,
should be fun. As for Roller Derby, no, It’s too painful. I learnt the hard way! J.B: We always end with a famous book or quote that inspired your life anything come to mind? MATT: Party party party party party party party ska.
“Hippo had a great life, he (or she) went to Australia and all over Canada and the US. Long live hippo!!!”
ALEXANDRE FECTEAU PHOTO J.B
DAVE COOPER / PHOTO J.B
AGGROLITESBCASABEATDOWNBOIDSANN BAR RETTABEDOUIN SOUNDCLASHBIG D AND THE KIDS TABLEBELEVADEREBUCKONINEBRAINSBROADCASTERCAPTAIN EVERYTHINGCEREMONIAL SNIPSCREEPSHOWDANNY REBEL&THE K.G.BDEATHBYSTEREODIG IT UPDOWN BY LAWDREADNOUGHTSEAST END RADICALSEQUINOXERIC PANICEXPOSFIRE NEXT TIMEFIFTY NUTZFLATFOOT 56FLASHLIGHT BROWNFUNDAMENTALSGANGSTER POLITICSGENERAL RUDIEGLEN MATLOCKHELLBOUND HEPCATSHUNTERSHYPNOPHONICSISOTOPESJESSE JAMESJFK& THE CONSIPIRATORSJAH CUTTAJOHNSTONESK MAN &THE 45’SKOFFIN KATSLOST LOVELES SOIREES STOMPMIRACLESMORGANMEN O STEELMISCONDUCTMOTEL RAPHAELMUSTARD PLUGNEW YORK SKA JAZZ ENSEMBLENICOTINEOPEN SEASONONE NIGHT BANDPAUL CARGNELLOPENSKE FILEPENELOPE PLANET SMASHERSRANDOM HANDRESETRAYGUN COWBOYSREAL DEALREAL MCKENZIESRENT TO KILLRESIGNATORSRIPCORDZRUDE CITY RIOTSKAVENJAHSAINT ALVIASAINTE CATHERINESSARAH BLACKWOOD SKAVENJAHSNITCHSAINTE CATHERINESSKINNYSUBBSNUFFSURBURBAN LEGENDSTHE OFFENDERSTOTAL CHAOSTURBO A.C’STHE FLATLINERSTHE FRENTICSTHE KINGPINSTHE KNOW HOWTHE NEW CITY GAMBLERSTHE PEACOCKSTHE RESISTENCETHE RIPTIDESTHE STOMP ALL STARSTOASTERSV/A COMPILATIONSVIDEO DEADWESTBOUND TRAINWHOLE LOTTA MIKA Stomp - Union 2112 - Mayday 1223 Blvd. Saint-Laurent Suite 305 Montreal, Quebec H2X 2S6 Canada
CRAIG
LEWIS
WITHIN PUNK ZINE INTERVIEW WITH
THOMAS BARNETT /GREAT COLLAPSE BY EMAIL
JANUARY 21 ,2016 COURTESY OF
Mike Cubillos/Earshot media J.B: So there always seems to be these amazing stories of band formations stemming from work place networking within the industry Eg. (Me First and the Gimmie Gimmies). Do you feel working at an iconic Merch and distribution and Label gave you the necessary means to make it happen? THOMAS: Well,to be clear, although this is a kind of sexy way to ask the question, the King’s Road/Epitaph Warehouse is located in an apocalyptic East Los Angeles railyard and Industrial corridor,near Alhambra. The loading dock faces a recycling reclamation building where, especially when its hot weather-which it often is- the winds blow a haunting and greasy smell into the building that is like a living angry mixture of raw sewage, used diapers, and burning creosote. It was on this loading dock, trying not to breathe while somehow still eating a vegan pizza for lunch, that Joe and I first started brainstorming this project. And,although it was rad to be able to work in a warehouse with some pretty inspiring and influential records, and good people from all walks of the punk rock spectrum,between bands and tours, sharing ideas and music and laughing, it’s fairly likely that, had Joe and I met at ANY job together, this same course of events would have gone down nearly identically. Also, although friends and alumni from several great and hallowed Independent punk and hardcore labels were working alongside us, my memory of Joe and my first conversations about starting a band ( Or, rather, me contributing to the project he was already building with Tom Arnott and Kyle ), included mutual sense of distance and fatigue from a lot of aspects of the industry and lifestyle, kind
of detoxing from ten years plus spent in solid cycles of recording and touring; wash, repeat. We talked about feeling like we were at risk of becoming industrialized, even within a counterculture. One of my favorite parts of working out there, was the sense that it was a spot where folks from many scenes, regional allegiances, and experiences with punk and hardcore, could come in from the cold of touring and get some perspective. And skate around a warehouse, gathering treasures for people all around the world to receive, hopefully unbroken, in packages.I wonder if they’ve poured a ramp in there yet . .. .. .? J.B: I get in heated debates about cresting the precipice of Humanity considering that only a very few percentage of the next generation engage values, do you feel that the message is getting though lyrically? Or is it too late for everything?
“We talked about feeling like we were at risk of becoming industrialized, even within a counterculture”.
THOMAS: It’s probably not too late for ANYthing, right? But, I agree, I find that when observing events on the current scale given in the digital age, minute by minute data through media filters, even the strangeness we are all getting comfortable with in a joyless and hyperconnected state of somnambulance, this pacification of direct
experience and contact with the flow of history and events is the deepest cut to our effectiveness as members of the the community of life on this planet. We know the what of things now on a scale never before imaginable, but maybe the why ( and really the who, or whom ) less than what we thought possible. I do, however, see and hear of inspiring new intersections of activism, art, radical grassroots alternative community organizing, and a collective, greatly intuitive patchwork of new generation peace activists, prison abolitionists, solidarity groups doing incredible, multi-dimensional work that exists outside the framework of Campus Radicalism, or niche identity politics that put us all in locked rooms for so long. So, and I think a lot of different art forms and subculture can share the credit,I do feel like, in my time from 1990-present, being in bands, writing and connecting with folks as I’ve had the honor and luck to meet and share ideas with, that there has been a tangible change in the depth and range of activism, counterculture openness and solidarity,and potential. It’s about finding a new view and the core truths of all the culture work punk/hc, as just one of many links in a chain,as we evolve to transmit ideas and provide an authentic catharsis. Helping audiences,’ performers’ and ‘consumers’ break out and become their truer selves. J.B: Great Collapse is a formation of some really interesting directions with members from some iconic scene setters how do you view this new direction? THOMAS:Hmmm. I guess I don’t necessarily see this as anything
new, but perhaps a continuation, a parallel battery of songwriting and ideas, alongside the records and relationships we’ve each built with our former and current bands. I’m probably a little too inside this thing to give an accurate assessment. I’ll say that this project wan’t something where there was a lot of -what if ?- talk. No strategizing or saluting each other’s pedigrees. ... Just getting inspired, punks in a basement,pulling on threads of songwriting in new combinations that inspired us, viscerally and in the moment. We didn’t play for too long, that overthinking game, that trap a lot of ‘veteran’ songwriters in our genre fall into, with the songs, just listened for that moment when it felt right, but kind of still on its edge. The transition from Kyle’s drumming and writing to Todd’s was interesting and definitely changed aspects of the sound and direction, but the Elemental record has a kind of compressed ‘sampler’ feel to me now,each song explores a distinct flavor in the soup, if you feel my hungry analogy, but that might be the nature of a lot of bands early processes, and entirely accidental. J.B: So Broken Rim Records which is a smaller independent how do you like working with them? THOMAS: Good people, deep appreciation for the art and the details, with all the operational ethics and enthusiasm that the bands
involved share,too. I’m stoked on this split , the Threads songs, too, and grateful that Kyle is pressing the Elemental EP with such care and vision. J.B: And on the full length you went with End Hits Records? THOMAS: Yes indeed. Oise Ronsberger is an old and dear friend, one of the anchors of the European Punk/ Hc/SxE community, with a keen sense of humor to match his dedication to this movement. He was,and remains, focused and inspired and very supportive of this band and Holy War. We are honored to be a part of the label with this release and to have his ear and collaboration. We got in touch with him about it and went with it. J.B: You also came out with a silk screened “B side” do you feel that is where the scene is today that seven inches and limited run vinyl is important to the fans? THOMAS: I think that collecting vinyl, and having special care to the physical art of the media has always been a part of our scene, but its also a separate aspect to our relationship to the music. This is pure speculation, but maybe its also a bit of a reach back, to the tactile,the artifact of contact with the untouchable. Especially as the digital age moves our civilization away from physical representations of ideas, and shared feeling. J.B: So how did the lyrical writing transpire on “Holy Wars” what’s the creative process like between the three of you?
The lyrics were covered by myself, with healthy input from Chris, Tom, Todd and Joe when they had ideas, additions, subtractions,clarifications.. .. Joe started the song ‘Beyond Authority’ with those first four lines, and then the rest just poured out of my notebooks and voice memos in response. J.B: The working title of the release “Holy Wars” pretty much sums up the indifferences of human nature and the destruction of social control which is referred to as religion, what inspired the title was it the division of beliefs and the secular violence? THOMAS: I think its probable that there are several, even contradictory, meanings to the title. As people’s experiences with the record deepen, the same also happens with us in relation to the songs and the way the themes and ideas between the songs ‘mature’. Sorry this sounds kind of overwrought, but I think this happens with a lot of records, and may happen with Holy War. Essentially, the song New Abolition, is a personal look at the Culture Industry of Militarism, the fear and distortions of protection and pride that are sold viciously with no expense spared into our lives. The justifications,prejudices, and even the political ideas of the present day all serve the Deep State, economy and industry, which is only nourished by Endless War. We’ve taken various layered and loving Religious ideas, Secular ideas, political philosophies, and allowed them to be recast as a desperate function of hyper militarism and paranoia. We’ve made War into something beyond even the 20th Century deception of ‘Human Nature’, it is now sacred,holy even to cynics and the pragmatic culture programmers. If we let this inertia continue to shape history, it will eventually be the only religion or politics left. J.B: Perhaps Darwin’s experiments and observations never truly ended? THOMAS: I think sometimes that we use Darwin, or a really limited and superficial understanding of his Theory Of Natural Selection, as a cowardly justification for brutality and avarice. The brilliance of Evolution is the sacrifice, the co-mingling, and the parallel harmonic effects beyond the dangerous oversimplifications of ‘Survival Of The Fittest’. But! If you’re suggesting that we are kind of using this Pop-Culture Darwinism as a a moral and intellectual liquor to get us
blurry, and stupid, aroused, and enraged to participate in what we THINK life,civilization,and our species’ mechanism of destiny requires, then, Yes, I hear you and that is definitely a part of what our Holy War LP is talking about. J.B: Do you feel that today’s generation is subdued into the digital age and have lost the connection of realism despite the fact of being pacified in their emotions through modern pharmaceuticals and consuming what they believe to be the truth? THOMAS: I think it cuts both ways, but its definitely an emotional and intellectual box one can crawl into and live unchallenged. There is a hall of mirrors quality to the current incarnation of the digital age,and that does leave the individual with less taste or understanding of outside experience, changing in real time in a living environment,which is arguably the only way we learn and even evolve, body and mind together. The issue of first world psychiatry and the general overmedication, under-treatment, of anxiety, depression,and neuroses in our society speaks to many issues, some definitely a part t” There has been a tangible change in the depth and
range of activism ”.
of the failures of community and identity in our economy. Punk and hardcore, as a part of the greater search for truth in arts that cut against the grain of consumption and degradation in our capitalist societies, have been screaming about this since 1977,and I imagine this quest to counter the deliberately diminished state of ‘normal’ in our society is a primary fuel for this movement. I personally am grateful for that, and feel like this is one of the few cultural movements still evolving and growing that provides an alternative for folks pressured by their inner eccentricity, creativity and empathy to question their sanity and join the clutch of the pacified and broken. J.B: You are touring Europe and plans of a wider broader North American Tour? THOMAS: We’d love to do some more touring in the U.S., and are actively looking for interesting opportunities. Little long weekends around California, and the Pacific Northwest are what we are getting
THOMAS BARNETT
up to at this present writing. J.B: What was the recording sessions like in the studio? Who did the producing and mastering? THOMAS: Chris recorded, mixed and produced the songs, with help and advice from the whole band, of course. Mastering was sent, as ever, to Paul Miner at Buzzbomb Studios for his ear and trusted knob twirling. J.B: There are so many great organizations and movements now that the late sixties and seventies generations inspired do you feel the world would have been a different place without that movement or without those select few that pushed the boundaries? THOMAS: I feel like the American Civil Rights Movement was the apex of the rather large and diverse cultural and political uprising during that Era. The tactics, ideas, and strength of the Highlander Folk Schools, Sit-In Movement, March On Washington, Freedom Riding, Congress For Racial Equality, continues to be the model for so much of the social justice activism since and their always evolving, questioning of power and expanding inclusiveness was, and remains the high bar set. J.B: Are there any causes that you would like to mention to draw attention to that you stand behind? THOMAS:At present, the Prison Abolition movement, various Veterans Against War,Ecological Community activists like CUIPO and Pachamama Alliance, The People’s Expungement Project in Richmond and Philadelphia, Antifascist Action at home and abroad, Black Lives Matter( although i feellike they need to take a step deep-
er and start up meal programs, self-defense training, parallel economics and generally carry the Panthers legacy forward more. .. .physically. I feel like social movements can get ‘Occupy’ed’ and become just mouthpieces and media liasons despite theire better intentions ) J.B: We always end with a famous book or quote that inspired your life anything come to mind? THOMAS: ‘Would you and I, With Fate Conspire, To Grasp This Sorry Scheme of Things Entire, Would Not We Shatter It To Bits And Then, Remold it Nearer To The Heart’s Desire?’ That’s from Omar Khayyam’s the Rubaiyat. It’s Persian Poems from the 13th Century that are remrkably like a sort of proto Anarchist, Agnostic Beat Poetry.
Great Collapse (Featuring Current & Ex-Members of Strike Anywhere, Comeback Kid, Rise Against and Set Your Goals) and Threads Releasing Split Via Broken Rim Records.
WITHIN PUNK ZINE INTERVIEW WITH
BRAD MANNERS / SCHOOL DAMAGE BY EMAIL
JANRUARY 04 ,2015
J.B: So the name School Damage It’s inspired from the Dead Kennedy’s “Straight A’s” song? BRAD: Yeah, you nailed it. I remember seeing that word in books as well. I remember seeing it in “Get in the Van” by Henry Rollins. He used it to describe people who were conditioned to live their lives as wage slaves. Work, get married, have kids and die. But he seems like a pretty weird dude. I just thought it was a cool name. J.B: I air bombed a 40ft Dead Kennedys on the back of my High school as a symbol of where others could meet. Anything like that ever happened in school that moment where you like fuck? That just happened? BRAD: That’s awesome! I was pretty well behaved when I was in high school. I was a bit of trouble maker, but nothing major. I went to school with sociopaths. People in my school would torture animals and beat people up for fun. I just cracked jokes and pulled pranks. I got kicked out of class about a lot. I cut class one day to go fishing, and came back with a bucket full of minnows and put them in the tank of a toilet in the girls washroom so when someone would flush, the toilet bowl would fill up with fish. That kind of stupid and senseless shit. I feel bad for those fish now, though. J.B: We also had nowhere to skate in our small town so we bribed the janitor mickey’s of whiskey and smokes on the weekends to let us thrash the halls, the school official’s couldn’t figure out what all these black streaks where buffed into the floor. You guys ever actually do any School Damage? BRAD: That’s tight as hell! I think the most school property de-
struction I did was the fish in the toilet and putting food on this wall in my cafeteria. Everyday my friends and I would stick food on this wall. It’s still there to this day from what I’ve heard. I couldn’t get away with too much shit because my mom worked at my school. I didn’t want to bum her out too bad. J.B: What’s with you and burning through drummers I hope you don’t lose Curtis cause dam he fits the bill! BRAD: I don’t know, man. Some people just don’t want to do the work and some people get a head of themselves and take on too much. Our last drummer left on a bad note, unfortunately. I think we’re okay now. Losing band members is like break-ups. It’s kind of awkward to see them after they leave. Curt is the best drummer I’ve ever played with, if not the best drummer in Toronto punk rock. He’s in a few other bands, too. He also makes me laugh harder than anyone I’ve ever been in a band with. Sometimes on the road we fuck with him for hours, but he’s a good sport about it. We made him arm wrestle a person in six different states once. He beat every single one including Intruder Green from Masked Intruder and a robot! An actual fucking robot that was built for the sole purpose of arm wrestling! But yeah, he’s a pretty good drummer and he says some pretty hilarious shit. J.B: So let’s talk about the “Get Weird’ Cover cause dam that brings back some memories first off “What’s the safe word”? Secondly who is the Dom? And who is the Sub? And
finally what about the inspiration of the cover was it a metaphor of being a slave to the grind at the job? BRAD: We thought of that design right after we finished recording it. We left the studio and were walking home and came up with the idea. Yeah, I guess you can say it’s a take on being a slave to the grind. It also says “casual Friday” on the calender in the Sub’s cubicle, so it can also be perceived that that’s what he would wear on a casual Friday. Who’s the Sub and who’s the Dom in our band? I guess Jon’s a Dom because he’s the business guy and he calls most of the shots. I’m a bit of a Sub because I’m a glutton for punishment. And I let a girl pee on me once. J.B: Most of your sound is heavily Vapids/Weasel sounding that sound is mostly formed on the self-titled did you feel you needed to experiment a little from that formula with a more “Queers” sounding direction like “Straight d’s”? BRAD: Fun fact, Jimmy Vapid actually recorded, mixed and kind of produced
“Straight D’s”. I just really love that driving Ramones influenced sound and, obviously, am a Vapids fan. Straight D’s is a bit more stripped down and old school sounding, I think. We released it online for free because Jimmy never charged us for recording and Mark Rand from Cross Dog mastered it for free, too so we figured we’d just let people have it. There was no expirementation, really. It’s the only recording we did that features a cover, though. That song “Chelsea” is a Doug Hell song. He was in the Vapids, too. J.B: You have some interesting lyrical content like “I can’t get off ” what’s the creative writing process? Is it inspired after some debauchery? BRAD: I watched a video of a dude in a bear mask having sex with a mechanical pony with a dildo attached to it. I thought that if that’s what it takes you to get off, then that must suck because that’s a lot of effort. So I wrote a song about getting off in some weird ways. Horrible, horrible ways. J.B: You’ve played in some fucked up venues got paid in less that figurative means of bartering any real messed up tours or shows come to mind? BRAD: We got paid in a gram of weed at a show in Montreal where we played with all Grindcore bands. We lost our rear tire on some Ohio highway during a rain storm and came inches to death. Then we lost it again months later on our way to a gig in Timmins. Another time we ended up owing a venue money, so we got in the van and took off. Besides that kind of stuff, we’ve been pretty fortunate. J.B: So what’s it like working with Doug and his amazing Indie lLabel “My Fingers My Brain Records”? BRAD: Doug is great. We’ve established an actual friendship with him. He did everything he could when he put out our first couple of releases. Top notch, dude. Actually, I think we owe him money, too. J.B: You did the video for “Checking Out” that Jesse hooked you guys up on did he also work his skills on “You’ll Shoot Yer
Eye Out”? BRAD: Jesse Bennett did “Checking Out” but he didn’t do “You’ll Shoot Your Eye Out”. That video had a few people behind it, actually. Our friend Fabian Rivenet shot that along with Patty Neary from Brutal Youth and Chris Veinoit. They shot all the live stuff. The stuff from the road was all shot by us and our merch girl. That was the time our back tire came off on the way to Timmins and we were stranded. It was a shitty situation but at least we got a music video out of it. J.B: Big fans of “A Christmas Story”? BRAD: Yeah man, I watched that movie so much as a kid. It was shot in my home town, too. J.B: Your live show intro has the Ed Gein intro what’s your favorite Horror Movie? BRAD: Man, you’re good! Yeah, our intro is the opening scene from The Texas Chainsaw Massacre. That’s hands down one of my favorite films. If you see my house, I have Texas Chainsaw Massacre posters, action figures and dolls. I know Curtis and I are big horror movie fans. Yesterday we were walking together and talking about Chainsaw Massacre sequels. He’s more absorbed into the horror stuff than I am, but I really dig those old zombie and slasher flicks from the ‘70‘s and ‘80‘s. J.B: What’s next for School Damage maybe a full length? BRAD: The record is done and is called “Battered Lives” and is mixed and mastered by Steve Rizun art work and everything is done will hopefully be out this spring. We just need to get it out there to some labels. We leave for the States again in a few weeks where we’ll be doing some shows with The Dewtons, Flamingo Nose Bleed and the Dopeamines. Then more tours throughout the spring, summer and fall. So, we expect to be very tired and broke in 2016. J.B: We always end with a famous book or quote that inspired your life anything come to mind? BRAD: B.B King once said “You pay me to travel, but I play for free”. I feel that is pretty inspirational for any band who tours because traveling is the worse part. Being in a band is fun as hell, though. We can go to so many cities in North America and see old friends again and
make new ones and that’s the main reason why I spend my time and money doing this. We were up until 5am last night partying with our friends from NECK from Ottawa and we met those dudes just from playing there, but now we’re good friends. It’s incredible how many amazing people we have met and kept in contact with. That’s why I do it. To meet new people and keep friendships.
MY FINGERS MY BRAIN RECORDS
NEWS RELEASES San Diego Punks Castoff Releasing ‘First Step To Recovery’ LP on February 10; On Tour with Flag On Fire This Month San Diego melodic skate punks Castoff will release their new full-length ‘First Step To Recovery’ on February 10 via Bird Attack Records/Morning Wood Records, with a limited edition run of vinyl (100 pieces) and CD’s available for pre-order, starting on February 1. The band will also be selling CD’s on their Florida tour with Jacksonville, FL’s Flag On Fire, which runs Jan 28 - Jan 31. Influenced by bands like Bad Religion, Pennywise, Strung Out and Propagandhi, Castoff blends vocal harmonies, fast guitar riffing with technical flourishes and a furious rhythm section, along with thought provoking lyrics around societal issues and the ups and downs of human existence. Driven by a persistent work ethic and common goal of progressing musically and playing as many shows as possible, Castoff is ready to become a mainstay in the melodic skatepunk scene.
Man Overboard Announce “Farewell For Now” U.S. Tour Dates w/ Forever Came Calling, Watermedown, Microwave, Souvenirs, Gin War, Such A Mess Man Overboard have announced a run of United States tour dates in April. Dubbing them “Farewell For Now” shows, the dates will be the last of their current plans after years of relentless touring. The band explains:: “We have spent the last 7+ years tirelessly building Man Overboard into something that we all love and are proud of, from booking our first tours and hand numbered copies of the Hung Up On Nothing EP to touring the world and making albums with producers we never thought we’d meet. We put our hearts and souls into this band because it’s something we believe in. Whether we were being detained in a desolate Russian train station after illegally trying cross the border to the Ukraine or walking off stage after a sold out show, our friendship and love for everything this band has afforded us is what makes us want to be a part of Man Overboard forever. This band has been and will always be something that we hold close to our hearts, not only because it has transformed and shaped us as people but because of how we know how it has affected other people’s lives, be it in a large or small way. Joe Strummer said “Without people you’re nothing” and we know that the support of our friends, families and fans helped guide us to where we are today. Heavy Love is an achievement by nature of it’s very existence. The fourth full length in an already impressive discography, it is evidence of Man Overboard’s staying power and ability to adapt. Where many punk bands falter, Man Overboard has flourished and created an album that celebrates their past and dives headfirst into their future.
NEWS RELEASES srcvinyl to Reissue Blink 182 Deluxe Edition Vinyl - Enema of the State Available for Pre Order Now. Out on March 28,2016. srcvinyl is giving the Blink 182 catalog the full SRCHIFI treatment with limited edition audiophile-level vinyl pressing and premium packaging. These deluxe vinyl editions include Enema of the State, Blink 182, Dude Ranch and The Mark Tom and Travis Show. All four titles were mastered for vinyl by Kevin Gray (Coherent Audio) and pressed at RTI on a limited edition, 180 gram, audiophile virgin vinyl. The artwork for each release includes expanded artwork with high end paper finishes.
PAPER + PLASTICK ARE PROUD TO ANNOUNCE THE UPCOMING RELEASE OF MEDICTATION’S DEBUT ALBUM Dickie’s untimely and recent passing shook not only those closest to him but also the punk world as whole, such was his influence and the positive impact that he had on the community. Whilst most of us are familiar with the majority of Dickie’s works, his final pieces have not been announced/released, until now. Following the demise of Leatherface in 2013, Dickie Hammond and Graeme Philliskirk (also of Leatherface) joined Hugo Mudie, Fred Jaques and Julien Blais (all of Montreal, Canada’s The Sainte Catherine’s) to form Medictation. Medictation went on to record their debut LP “Warm Places”, which was due to be announced early this year before the aforementioned events overtook. Now (following the blessings received from Dickie’s mother and son) Medictation are able to announce their impending release and share Dickie’s final works.
LIKE TORCHES REVEAL NEW TRACK “WALKING HOME” BAND TOURING THE UK STARTING TONIGHT LIKE TORCHES is a young band from Stockholm – Sweden that consists of lead-singing brothers Jonathan and Daniel Kärn and their childhood friends Zakarias and Jimmy. IN FEBRUARY 2013 the band released their self-funded debut album ‘Keep Your Head High’ recorded in Hollywood and produced by Ryan Key and Ryan Mendez from Yellowcard. THE FIRST SINGLE ‘Missing It All’ which features guest vocals from Ryan Key, was released two months prior the album release and immediately climbed the iTunes charts where it peaked as number 1 on the alternative charts in Scandinavia and number 7 of the most sold singles in Scandinavia. SINCE THE ALBUM RELEASE the band has toured Japan with We Are The In Crowd and Set It Off, supported Yellowcard on two separate EU/UK tours, played the entire Vans Warped Tour Europe & UK, supported bands like Taking Back Sunday, Memphis May Fire and The Story So Far, headlined a full European tour and co-headlined the Ourzone Found Tour with As It Is.
“PROTECTION”
AVAILABLE MARCH 4/16 www.fatwreck.com
“CONSTRUCTS OF THE STATE”
AVAILABLE NOW @ www.fatwreck.com
THE BRAINS
“OUT IN THE DARK” AVAILABLE NOW
“SUPERBAFRANGO” AVAILABLE NOW
NEW
NOISE https://21stories.bandcamp.com/releases
The Real McKenzies 03.10.16 - Vancouver, BC - Venue 03.11.16 - Victoria, BC - Upstairs Cabaret 03.16.16 - Lethbridge, AB - Studio Nightclub 03.17.16 - Calgary, AB - Dickens 03.18.16 - Edmonton, AB - Starlight Room 03.19.16 - Red Deer, AB - Fratter’s Speakeasy 03.20.16 - Banff, AB - Wil Bill’s 03.22.16 - Regina, SK - Mcnally’s Tavern 03.23.16 - Moose Jaw, SK - Bobby’s Place 03.24.16 - Winnipeg, MB - The Windsor 03.25.16 - Saskatoon, SK - Amigo’s
LAST IMPRINT WITHIN SIGHT
AVAILABLE NOW “Last Imprint “Within Sight” is a non stop straight ahead playlist that makes you beg for more and hit the repeat button” Last Imprint is on of those bands that will leave a lasting imprint in your head. This album is chock full of lyrical content of self reflection and personal meaning that shine through with positivity to find the strength through it all with songs like ‘Through these Eyes” and “Disunited”. Musically, Last Imprint has those heavy influences of older “Ignite” works with rhythm feels of earlier No Use For A Name and Pennywise and of course Strung Out. From the first moment of the first track “Desecrate” (with guest vocals from Strung Out’s Jason Cruz) to the end track “Burning”, this release carries through without a break including a faster cover of Johnny Cash’s “Folsom Prison Blues”. And who doesn’t like Johnny? The title of the album is Within Sight, which reflects the position of the lyrical content written on this album, which strikes deep that many will feel and relate to. The track “Lost Inside” will leave that impression of self reflection that will resonate inside of you. The actual composition of the album is well defined as these guys are no strangers to the scene and the over all feel of it will have you pushing play again. Lyrically Peter Giannoulis is the creative writing process on this release except for the two very meaningful tracks in which vocalist Rocco Stragapete wrote “Desecrate” with guest vocalist Jason Cruz and “Disunited”. This release is an example of what hard work, faithful dedication and perseverance can achieve through doing an independent release. Also notable is the contributions and involvement of Last Imprint in promoting and bringing the heart back to the punk scene. Why this band remains unsigned is truly beyond questionable. “A EXTREMELY INFLUENTIAL RELEASE THAT WILL RESONATE DEEPLY “
The john fished two twenties from a wallet that Becky noticed was still comfortably full. “You do understand, don’t you? You, me, all this—we are all fulfilling God’s destiny, even if we don’t know what he has in mind for us. Faith is not believing that God can, but believing that God will!” His eyes burned with the fury of a thousand suns. “Whatever you say, pal,” said Becky, tucking the money away and reaching forward to unzip the trick’s pants. To her surprise, he was already rock hard. She quickly unrolled a condom over his cock, thinking that maybe this wouldn’t be so difficult after all. “REPENT!” roared the trick as Becky worked her magic. “GOD’S HELP IS ONLY A PRAYER AWAY!” Becky worked faster, split lip reopening, a small amount of blood running down her chin. The trick was very modestly endowed, and her bloody bottom lip made contact with his white briefs with each rapid bob of her head. For one horrifying second, the bloodstain bore an uncanny resemblance to Jesus, but when she looked again the crimson mark was just a blob. She kept going, certain that the freak would spurt his holy juice into the condom at any moment. There was nothing like the love of Jesus to bring a man over the edge.
UPCOMING RELEASES
LIKE TORCHES “SHELTER”
RUDE RECORDS JANUARY 22 ,2015
MEDICTATION “Warm Places”
PAPER AND PLASTICK RECORDS JANUARY 29,2016
SECRET STUFF “This is Fine”
SPARTAN RECORDS JANUARY 29,2016
BLACK TUSKS “Pillars of Ash”
RELAPSE RECORDS JANUARY 29,2016
TSUNAMI
“Trust No One”
KUNG FU RECORDS JANUARY 29,2016
SHIP THIEVES “No Anchor”
NO IDEA RECORDS JANUARY 29,2016
MANIPULATE
“Becoming Madness”
FLATSPOT RECORDS FEBURARY 12,2016
UPCOMING TOURS/SHOWS
https://www.ticketfly.com/purchase/event/979309?utm_medium=bks