Within punk zine issue 12

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 Mike Mccarthy

ACKNOWLEDGEMENTS Mike Magee/Stomp Records Melanie Kaye PR Inddor Recess inc Epitaph Records Skull Skates Records Triston Whitehead L’ecurie /Hugo Mudie,Anne Marie Dubreuil Piston Head/Brutal Brewing My Fingers My Brain Reords GREENWAY RECORDS

6 10 14 16

THE POUZZA EXPERIENCE BY NAOMI KELLY CATCHING UP/ RAY CARLISLE TEENAGE BOTTLE ROCKET TALKING WITH “FEENY” THE NILS ARE BACK!

23

JOEY CAPE/ MAY16th OR WAIT WELL...SORT OF.

31

ALEX MARTEL/TALKS AMNESIAROCKFEST 2015

44

BROCK LINDOW/TALKS TIME AND TRAUMA 36 CRAZYFISTS

50

TALKING “TOOTHGRINDER” “KEEPERS OF THE SHRED”

60

CONTRIBUTIONS “HE SAT ON A TOMBSTONE” TRISTON WHITEHEAD

CONTACT

withinpunkzine/facebook

www.withinmagazine@hotmail.com

POUZZA FEST 5 “THE POUZZAFEST EXPERIENCE”

BY NAOMI KELLY

If you ever needed a reason to visit Montreal in the spring, Pouzza Fest is definitely worth the trip. For a couple of newbies, not just to Pouzza Fest but to Montreal as well, we managed to survive a fast paced weekend of pub crawling punk rock music.

This iconic music festival entered its fifth year featuring over 200 bands in 8 venues in downtown Montreal. Other than light rain to test people’s spirits Saturday night, the weather was perfect and allowed for an easy walk between each scene as we tried to catch as many bands as possible.

Friday night we started at the Pabst sponsored main stage outside at Clark Corner/Coin Maisonneuve and caught Audio/ Rocketry, moved over to TRH bar for Animal Ethics…with 2 drummers, and then back to the main stage for Drag the River and Lagwagon’s own Joey Cape. Rounded it out at Foufounes Electriques to see Fake Problems and Teenage BottleRocket. Far too much beer was consumed and we ended our first night with a customary shawarma and the LONG way back to the hotel.

Damn GPS. Saturday we spent the afternoon at the headquarters at UQAM residences for the media open house hosted by Melanie Kaye PR and the folks at “L’ecurie” We had some delicious fresh brewed coffee and once again had way too many Sailor Jerry drinks and forced bands to respond to our burning questions – interviews we pass on to you right here in Issue 12. After all, Within Punkzine is all about the interview and displaying it in its raw form for all to read. We want to know what the musicians have to say and think you do too.

After the freshest burrito salad I’ve ever had, we headed back

out to the main stage for the Resignators and the Beatdown before seeing the Muffs at Foufounes. Caught the last of the Planet Smashers again at the main stage (also for $2 Pabst King Cans), where they had the crowd on their feet. You can never be unhappy around ska music! Everyone from grandparents to babies were dancing to this well-loved Montreal staple. But obviously we liked Foufounes, ‘cause we headed back there for 88 Fingers Louie and squeezed in Brutal Youth at Katakombes.

Pouzza Fest is A LOT of walking if you want to manage to see everyone on your list. It’s an understatement to mention you should make a wise choice in footwear. Some will get this, others won’t care. Just bring back ups ladies.

Sunday we started the day with Ceasers on the patio at Foufounes at Stomp Records hangover breakfast and spoke with Dan “Mr. Precision” from 88 Fingers Louie. After the interview a much needed “Brunch” was in order to fuel up for the last big night ahead and perhaps a “Powernap” to refresh those aching legs.

We decided to hit up the main food sponsors Frite Alors main restaurant below the Piranha bar on St Catherines St. After a massive plate that couldn’t be completed even in the most meaningful of attempts we headed back for a lounge and quick rest stop at the Hotel Bonaventure’s infamous heated pool. While I took a refresher for a couple of hours Jay headed back out in a triumphant spirit to catch “The Penske File” and label mates “East End Radicals”. After a quick rendezvous the party train started back up with our fellow media group converging on an epic itinerary that consisted of starting out with Beau’s on tap at “Les katacombes” for “Fire In The Radio” then over to catch “Punk Rock Karaoke” at the main stage at The Quartier Des Spectacles park with the crowd getting it going with some covers.

Then back to the main bar of choice Fous for the best set of the weekend with “The Dwarves” to a packed house where we caught up with the legendary “Blag Dahlia” for an on the fly Interview.

After the words of wisdom from him we rushed back over to Les Katacombes to catch Montréal’s own “The Nils” play an energetic set. There was an after party wrap up at L’Exit bar but after the wickedest weekend it was time for a much needed rest.

SPECIAL THANKS TO

HUGO MUDIE AND ANNE-MARIE DUBREUIL L’ECURIE SPECTACLES/POUZZA FEST 2015

TEENAGE BOTTLE ROCKET

INTERVIEW WITH

RAY CARLISLE

@ POUZZAFEST 2015

MAY,16,2015

COURTESY OF

MELANIE KAYE PR

J.B: So Within Punk Zine is catching up with Ray Carlisle of Teenage Bottle Rocket at Pouzzafest 5 and talk about the latest album “Tales from Wyoming”. So how’s it going Ray how was the tour with Pennywise?

RAY: It’s going great we just finished it hitting it up with Pears and Pennywise. And we’re about to hit it back out again with the Copyrights and it’s cool and going great people are reacting good to the new album so it’s great.

J.B: On this tour you have a set list of some old and some new so you guys have this extreme energy once you hit the stage and you give it everything you got so what’s the secret how do you have that energy and nonstop go ,what do you do before the set that gives you that flow?

RAY: For me I think it’s because I quit smoking like 80 days ago and I feel like I have a rejuvenation of my spirit and maybe like eighty days ago I might have been like hurting and maybe have tapped out early. And mostly I like to keep that energy up and start every song like it’s the first song and I don’t know if we end up like that but we try to do it like that.

J.B: And Miguel does the yoga and stuff to chill out so are you guys it’s kind of like reverse polarity opposites and he focuses through mediation and chills out to give it his all is there anything like that before the set that you do?

RAY: Ahh ya Miguel is very spiritual and that’s cool and he does this weird thing with like rubbing these beads and do that thing

and I don’t really do that? And everybody has their own form of mediation thing that I was talking about last night whether it’s chilling out playing video games or face time with my kids and we each do our own things and we try and relax and calm down and we get really anxious . Especially when it’s like six at night and you’re like literally thinking we are going on tomorrow because you play at midnight and it’s like literally tomorrow.

J.B: So you have the video for “Head RAY CARLISLE PHOTO J.B banger” “Cruising for Chicks” and my old favorite classic videos “Skate or Die” and most recently “They Call Me Steve” anything new that you guys are working on?

RAY: Well one of my favorites that we did was “Haunted House” and that was fun it was filmed at an abandoned old house that we took over in Fort Collins and we poured a bunch of fake blood everywhere. We are going to try and make a video in July and release in late July and August as a second wave release of the new record and we did a lyric video for “Nothing Else Matters (When I’m with you). But if we did a video for every song then it would be a pretty crazy thing to do.

J.B: So on “Nothing Else Matters” (When I’m With You) you have a reference in there to Metallica “And Justice for all” and which

one is it once and for all that is the best is it “Kill Em All” or is it “And Justice for all” because they are two totally different records in there.

RAY: Defiantly “And Justice For All” it is by far the best Metallica Album and because it was my first Metallica Album I got and I’m thirty seven years old and I saw “One” on head bangers ball and that is what sucked me in and I got a cassette tape with “Harvester of Sorrow” and “Eye of the Beholder” and “Bread Fan” MIGUEL CHEN PHOTO J.B that was my first single cassette and first Metallica anything. I know “Kill Em All” is the right answer because it’s awesome but I have to say “And Justice for All” has that special place for me and it always will. You know Jason Newsted wrote us and we tried to get him the “Nothing Else Matters” video and we referenced him in the song that would have been awesome and he wrote us and that really meant a lot but he said he really liked the song but he couldn’t be in the video and he signed it (J.N) and where like Jason Newsted wicked!

J.B: After Freak Out and coming back to “Tales From Wyoming” and you wrote a slower acoustic song as the last track “The First Time” So how did that come into play? Is that something you wanted to try?

RAY: Well that song I picked up my acoustic guitar and wrote it as a fun song and some songs are written that way kind of like “T.V Set” was written that way but it turned out great and is a really good ong.

J.B: So “LaCollina” pizza is it really that amazing?

RAY: Dude it is the shit! It is the best pizza on earth it’s so amazing and perfect it’s just right a perfect amount of sauce and crust. For me it’s all about the simplicity of it and just the classic Pepperoni it’s so good you just can’t get enough of it.

J.B: Do you still skate?

RAY: Yeah every now and then I will ride my “Lance Mountain” up and grab a burrito or something while waiting around but it’s hard to get out and I grew up around H street and Matt Hensley blew my mind and ramps in the back yard and stuff mostly I just sit around and my son Milo and he will be like hey are we going to the park and I’m like how can I refuse that? So I still skate not as I use to.

J.B: Well we always finish with a famous quote or book anything come to mind?

RAY: Ya read the “Joe Strummer” book it’s fucking amazing!

“AVAILABLE NOW”

FEENY

INTERVIEW WITH

MATHIEW KOERNER

@ UQAM POUZZAFEST 5

MAY 16,2015

J.B: So I’m standing here at Pouzzafest and I’m talking with?

MATTHEW: Matthew from “Feeny” J.B: How’s Pouzzafest going for you guys?

MATHIEW: Where loving it this is the second time playing the festival and the fourth time being in Montreal I love it here.

Actually four years ago before the band was started I came to the festival and I was taken aback by all of it and it was the best place ever. I went back and said “I have to start a band” so I did and we played the following year and then again and I love it this is a culture that celebrates art.

J.B: Yeah we got lost last night and we ended up way downtown Montreal and there was some weird venues going on an party in the middle of an old parking lot, and this place is happening and it does not sleep for some strange reason.

MATHIEW: They I look at it it’s like New York meets Paris because of the night life and because it’s French.

J.B: So you guys currently have a couple tracks out on Band camp is that right?

MATHIEW: Yeah we have a couple of tracks out on Band camp and Spotify and ya on our Facebook page.

J.B: Are you planning on doing a 7 Inch?

MATHIEW: Yeah were in talks with doing a split 7 inch that will be released later this summer and we are writing for a full length E.P. I don’t have many details beyond that but look for us this summer we will defiantly be out there.

J.B: What inspired your sound and direction?

MATHIEW: A lot of New Jersey bands like Bouncing Souls and “Seize the Day” but we’re a three piece like “Jawbreaker” and we

also like bands like “Modest Mouse” which is also a three piece so “Jawbreaker” is a good band because they did the Pop Punk but they also weren’t afraid to do the indie jam.

J.B: So you guys just up here for Pouzza and then what?

MATHIEW: Ah just heading back and concentrating on the split 7 inch and writing for the full length.

J.B: So you’re filling in for another band “Molly Rhythm” for guitar tonight?

MATHIEW: Yeah there guitarist couldn’t make it so they asked me and I was excited because they are gnarly.

J.B: So the New Jersey scene I understand it as a smaller scene that has Pop punk going on. Then again you’re not far from New York for Hardcore and Boston?

MATHIEW: Yeah on the way up here we listened to “Every Time I Die” and some ska and some “Street Light” and Tegan and Sarah we like everything.

J.B: What inspires your lyrical content?

MATHIEW: Every “Feeny” song that is and ever was or ever will be describes a “Epiphany” and clarity on a situation and the situation is always described. Every “Feeny” song is about that moment when you’re like “Oh” and there’s that shift.

J.B: Do you think the three piece is the perfect sound?

MATHIEW: Yeah I mean Modest Mouse does it the Police did it so yeah I think it works.

JORDAN: It’s really easy and and actually works really well I was in a six piece metal band before and it’s really hard to organize and get everyone together so a three piece actually makes perfect sense. The three piece is fun and Matt is defiantly an efficient machine at writing and is really good at it.

J.B: We always end with a famous quote or a Famous book being a history major you must have one?

MATHIEW: James Joyce is one of my favorite authors and he talks about spacious days. Or the quote from ( Catcher in the Rye) “ Don’t tell anybody anything. If you do, you start missing everybody”.

THE NILS

INTERVIEW WITH

CARLOS SORIA, JEAN LORTIE @ POUZZAFEST 5

MAY 16,2015

COURTESY OF

MELANIE KAYE PR J.B: I’m here with “The Nils” Carlos Soria , Phil Psarakos and Jean Lortie how goes it my friends?

CARLOS: This is awesome yeah it’s going really great.

J.B: You guys have a brand new release coming out? “Shadows and Ghosts” CARLOS: Yeah it’s not out yet it officially comes out May 19th so we are pretty excited about it we got an advanced copy of it last week when we did CMW in Toronto and we are really proud of it. We put our hearts and soul into it it’s two years in the making and it’s our official second full length album within twenty eight years. So due to bad record contracts and my little brother passing away we had to take some time off to collect my marbles. And we had to take some time to rebuild the band and now we have Jean back the original drummer which is a blessing from heaven above.

JEAN: Well I didn’t play on the album because I was sleeping.

CARLOS: Don’t say that! He passed away for a bit he fell asleep.

CARLOS: and then we got two new guitar players and it’s amazing and were really proud of it. And were really giving it our go and it’s like a comeback in a sense you know. It’s going good so far everyone’s heard the record everyone’s freaking out about it so I played to all my peers that are in big bands like Pete in Circle Jerks all the guys in Channel Three love it my buddy in Social Distortion loves it so I’m hoping you people will love it to.

J.B: Yeah ever since I got it we listened to it all the way up and ever since I got it so I like it it’s good.

CARLOS: That’s awesome.

J.B: You guys did go through some lineup changes obviously because of the death and the time needed to recover from that do

you think you guys are solid now?

CARLOS: We have people that run record companies and publicity and stuff and they said honestly this is the most solid it’s been and that’s not taking anything away from my little brother or anybody that’s been before us. And you know the longer you play the better you get it’s inevitable if you don’t you’re a fucking idiot I guess. We are back now even more solid because

CARLOS SORIA/ PHOTO J.B

of that and the only part that was hard was nobody wanted to sing because Alex was our singer and basically none us wanted to sing and he did a good job at it so, learning to sing has been our hardest part and I think we have done pretty well.

You know I’m still hearing my voice every now and then but I guess someone has to sing so…(Grinning) I did the best I could.

J.B: I caught you guys in Toronto opening up for Agent Orange a couple of weeks ago!

CARLOS: The last time we played Toronto was at eh El macombo in 88 and The Goo Goo Dolls and Gangreen opened up for us, think about that the Goo Goo Dolls opening up for us!

Actually we don’t mind the opening thing we’ve done shows were we have opened up and it was killer and just as fun as if we headlined so. It’s better because you don’t have the pressure of filling

JEAN LORTIE / PHOTO J.B

the halls or whatever and where lucky we have fans that stuck with us through thick and thin and there still here with us so god bless their little hearts.

J.B: So you guys screwed over pretty good from “Profile” CARLOS: My asshole still hurts from that you know!

JEAN: Dude it was like the price of a small house to get a lawyer to take care of those guys.

CARLOS: They signed us up for

seven albums and two other ones technically it was nine, so seven full lengths a greatest hits and a live. We put out our first release we charted in the top ten of Rolling Stones top college albums and then they ruin our career. And then on top of that we had to sit out the contract and then on top of that Alex dies think about it? It was like way to go dude you just chopped us off at the knees, that album to this day is referred to as one of the best Canadian Punk Albums. You know we are right up there with D.O.A and Subhumans or any of those bands and those guys are my friends and they will tell you if you don’t believe me.

It was the worst I lost my brother and my partner and stuff and I don’t want to play any violins or anything but how many people get over that and keep going you know? But now it’s about the new album and the new kids that didn’t get to see us back then and they are liking it and people are really touchy about it it’s

weird.

J.B: so what do you think about the scene now as compared to what is was like back then?

CARLOS: Dude back then there was no internet no cellular phone they actually made that sound you know..ringgggg rinnggggggg..

JEAN:I love the internet though people get to see bands that they never got to see before so that’s cool!

CARLOS: Yeah they get to hear and see bands now that they never knew about and that’s the good thing about it is they hear it and then they come to the shows, and they show up and they buy shirts and everything because they really want to be a part of it because they weren’t part of it and didn’t get to live it you know.

JEAN: Even if you’re fifty you can still play Punk Rock!

(Laughing) J.B: Some people it’s fad thing or something to do and others it’s a lifestyle right?

CARLOS: Punk till you drop I get it! We do this because we love it! Punk till you drop baby!

JEAN: I got nothing better to do!

CARLOS: Hey some people don’t get you know they come up to you and are like wow you played C.B.G.B’S? And they have all these questions and to them they weren’t even born then you know? I’ve gone out with girls that were born in the nineteen seventies you PHIL PSARAKOS / PHOTO J.B know and it’s weird!

J.B: Where from Hamilton and The Forgotten Rebels and Teenage Head are still going strong!

CARLOS: He comes to my shows imagine that! We drive him home after your driving Gordy Lewis home after our shows eh Pete? It’s fucking amazing. I saw Teenage Head when there first album came out it was at the Hotel Nelson and I was fifteen years old and I was like okay that’s what I’m going to do. And then it goes full circle it’s kind of nice you know.

J.B: Where was this new album recorded?

MARK DONATO / PHOTO J.B

CARLOS: It was recorded at Studio Plateau INDICA in Montreal by Peter Edwards who plays guitar in Grimskunk and we were there for three months, and then it was engineered in Woodstock New York by Phil Burnett who did our first album.

He engineered “I against I” by the Bad Brains and he’s there sound guy and he’s got Grammies for “Steely Dan”. And we didn’t have much money for this album we did it on a pledge

CARLOS SORIA / PHOTO J.B

thing. And he did it on Spec and he did an amazing job and like I said he’s won Grammies so he doesn’t need to do this he did it because he loves us. Once again you do it because you love it not because there’s a million bucks to be made and that’s what’s cool about all of this in a sense.

J.B: I always end with a famous quote or a famous book anything come to mind?

CARLOS: “The music business is a long and plastic shallow hallway that’s filled with pimp’s and thieves and good men die like dogs and also there’s a negative side.

JOEY CAPE

INTERVIEW WITH

JOEY CAPE

@ UQAM POUZZAFEST 5

MAY 16,2015

COURTESY OF

MELANIE KAYE PR J.B: Hey this is J.B and I’m standing here in the rain in Montreal with the one and only Joey Cape and he’s on his solo project how’s that going?

JOEY: Good yeah good em I mean Pouzza I love Pouzza it’s a good time. Played early last night play late tonight. Yeah 1.30 tonight!

J.B: Yeah that’s a little harsh?

JOEY: Yeah it’s harsh I think there’s going to be a little nap after diner you know what I mean?

J.B: Yeah when you get a little older it gets a little harder?

JOEY: Nah it’s all good J.B: So you’ve quoted ‘Sitting Alone for hours on end either brings out true expression or insanity”! So is that how you explain you’re solo?

JOEY: It’s recording process tuff I mean I do a lot of recording and especially If I’m doing solo things and I have my own studio.

So a lot of the times I’m alone and it’s the thing of the absence of someone producing. It can be really nice because it’s pure expression that’s kind of happening you know and there’s no outside interference you know and that’s a good thing. In some ways it

can also be a real hindrance and you have to make choices and it’s hard to make choices and I found that out the hard way. Sometimes I will work on something for hours and hours and days and days and I come back to the original thing it was and then go well it was good then. And then you sit back and go what the hell just happened and I kind went on this journey.

J.B: So you’re just losJOEY CAPE PHOTO J.B ing yourself into it?

JOEY: Yeah I guess that’s just part of it so I guess that’s where it came from I don’t know it’s a guess.

J.B: Yeah so you’ve got Bridge, Doesn’t play well with others and Volume 1 and 2 acoustic so how did those kind of go for you?

JOEY: They were good I just kind of.. I don’t know you make records they seem they have done okay. I’m working on a new one it’s almost like the Pouzza thing was an interruption I have a deadline and I have to be done recording by the end of the month to reach this deadline before I start touring again with my band.

And I think I needed a break I was starting to do that thing where I was alone in a room and looking at this new record (Laughing) but ya I came up here and I really like making those records it’s a big difference between the band things. The band thing is great thing it’s a collaboration thing where it’s at with me but it’s nice to do things that’s you own things to.

J.B: Do you find it’s an equal balance going between Lagwagon

and yourself?

JOEY: Yeah I defiantly think I do more of the band thing than the solo thing, but the solo thing is a nice release and relief from everything once in a while. It’s just something different you know and it’s merely self-indulgent you know and it’s a nice thing.

J.B: yeah it’s also more self-expression also to?

JOEY: There’s no one else with you so there’s no one else playing with you that needs to be pleased and what you collaborating on and you can literally do anything you want. It’s ahard to exercise all of the option because you have very little amount of time to do it. If I had more time and more money I’m sure I would make really weird records and I never seem to get the time to get that weird.

J.B: Well you never know until you start the recording process right?

Is there a certain type of process you go through prepping yourself coming into it?

JOEY: I kind of write songs and I write all the time especially when I feel inspired and I’m very prolific that way and some of the stuff sits around for a while and I’m like “Well this isn’t good” and it kind of goes away for a while then I may revisit it and I come back to it and “Oh actually” there’s something BRIAN WAHLSTROM PHOTO J.B here. And the only

JOEY CAPE PHOTO J.B

process I have is when I have ideas I just record them and some of the ideas are good to do with his band and that band and some of them are just good to do on my own. That’s it it’s not really complicated at all I write I just like to write.

J.B: So after Pouzza is there anything going on for yourself or you just going to be going on the 25th fat wreck chords anniversary tour coming up?

JOEY: No I have month long tour in June that is why I have to finish my record before June 1st and then in July I have two tours that take up most of the month then in August is the 25 year tour.

I’m pretty much on tour every week until Christmas.

J.B: Wow busy schedule!

JOEY: Yeah its tour time I put out the new album last year with Lagwagon and we haven’t done a album in long time so when we put out a record it’s usually a constant two year touring thing which is great I do not complain.

J.B: Yeah?

JOEY: I’m most comfortable on tour.

J.B: One of the most notable songs that inspired me forever was “Mr. Coffee” so..

JOEY: I thought you were going to say May 16th because that’s today!

J.B: I know that is true to!

JOEY: It’s even more interesting because it’s a song about a Saturday May 16t h and that only happens every seven years and today that’s the day. I’m going to open with that song tonight but it will be at 1.30 a.m. so it will be May 17th. (Laughing) That was the whole point of the secret show! When they booked me I’m like are you sure you want to do the 15th because the next day also a Pouzza day is the 16 th and it’s a Saturday and Hugo’s like oh shit! And is like let’s do a secret show and the y added it now I’m playing at 1.30. Anyway I thought that was pretty funny anyway “Mr. Coffee”.

J.B: So you do have some of your own songs and you do play some covers of the Lagwagon songs is that how you generally flow with the recordings?

JOEY: I do a lot of the badastronaut stuff and a lot of the Lag-

wagon stuff and a lot of it I’ve written and have played acoustically anyway so all of those songs when they were originally written were It was a incarnation of me and an acoustic guitar anyway so they kind of come from that anyway. A lot of things change when you record with a band it gains a lot of things and loses a lot of things so like parts of the songs. So when you play it acoustically you can revisit it and play what you really wanted to express lyrically and it just makes sense. And just to mention I do a lot of my material with a band so If I played acoustic stuff all the time it would bore people and it would bore me!

J.B: Well you conventionally decided to play with a keyboardist and not at a drummer?

JOEY: Well not by choice I couldn’t find any drummers to tour for nothing!

BRIAN: WHAT? JOEY: That’s the piano player right there! (laughing) and smiling I’m just kidding yeah I think that piano is the corner stone of music and as an instrument it has the most depth and it covers everything tonally it covers everything over any other instrument and the spectrum you know. It covers the composition and you can hear the subtleties and I like to hear the songs that I’ve written that seems so basic and common when played on an acoustic and then you play it on a piano and those minor and major chords sing you know and I love it I’m addicted to it.

And Brian him and I collaborate on everything on is music on his new record he’s doing now and he helps me on the things I’m doing and wither it be writing for Lagwagon or my solo stuff he basically became my writing partner and a different kind of partner to but we won’t get into that. But no I’m really lucky to get to play with someone that good it’s amazing.

J.B: They say that piano is the cornerstone of all instruments and once you learn that it really flows and everything comes naturally.

JOEY: It’s always bothered me when I was a kid we had a piano and my father was a pianist he was like this common thread in our house you know and my sister studied piano and she was going to go to Julliard and almost everyone in my family is a better musician than I am. And my dad he was kind of he was a

great guy but I think he thought here’s a football for me and my brother and a guitar was okay because my brother played jazz guitar because he was a jazz guitarist. And he thought the piano even though he played it I think in his mind was for a women to play even though he played it. It’s a very bizarre thing and I don’t think it’s even true because I wanted it to be true because I always wanted to play piano but it wasn’t a instrument that was available for me to play. Of course by time I was five he left and the piano left with him. This is a great story I’m sorry! Oh boy I wish I knew how but I tried to learn in my twenties and it’s like an old dog and new tricks the dexterity just wasn’t there and I went to school and I studied piano and I just couldn’t get it in my mind you know.

BRIAN: Well you got in your fingers you just can’t get it out of your mind because when you write things it’s rolling out and you’re barreling along. I get it I truly do It might have been a different life and for the most part a better life if I would have learned and a better writer.

J.B: are you going to be doing any new covers?

JOEY: Well I’m going to be doing this Bad Religion Song “Generator” are you talking about my cover band Me first and the Gimmie Gimmies?

J.B: NO in general any that you thinking of that you’re going to fuse with?

JOEY: I wanted to do for like 20 yrs. I wanted to a punk rock cover album of covers and it takes a long time to do that and make it sound right with like you know the Beatles and Simon and Garfunkle and Bad Religion. And again it’s been done a lot now so it’s hard to do.

J.B: So we always end the interviews with a famous book or quote?

JOEY: I like so many books and so many books! The first book that inspired me when I was a kid was “The Outsiders” and also a book called a “Wrinkle in time” but it was the Outsiders in fifth grade that was way cooler and you can just name an author so many books are inspirational especially if you like to read books like I do. I wrote a song about a John Irving book called “A prayer for Owen Meany” and it’s a really underrated book and one of my favorites.

ALEX MARTEL TALKS ABOUT

AMNESIA ROCKFEST INTERVIEW WITH

ALEX MARTEL

@ POUZZAFEST 5

MAY 16,2015 COURTESY OF MELANIE KAYE PR

J.B:This is JB, Within punkzine and we’re sitting here talking to Alex of Rockfest 2015. You have quite an amazing line up this year, so what was the process in picking it out this year?

Alex: It’s our tenth anniversary so I wanted to do something pretty big, bring back some bands that were there in the past and bring in lots of new stuff too and just have an all-round great lineup as every year.

JB: When you first started out, you had family build the stage and it was just a couple of bands and you kind of evolved from that so do you still pay homage to that aspect of it?

ALEX: Ya I’m really proud of how it all began, it’s not like we were a huge corporation to decide “ok let’s do this big festival” it just kind of started from scratch. I was just a music fan and still am so I think it’s really cool how it started from nothing to how it is now and I think most festival goers appreciate the story behind Rockfest.

JB: So it’s like a ‘if you build it, they will come’ type of situation?

ALEX: Ya I guess so.

JB: So that being said you guys cover pretty much everything, you did have to pick up a coordination unit to get the proper

procedures in order because you guys kind of got crucified by the press over some bad reviews but that’s what happens with large festivals, especially the organization behind it. Do you feel it’s at a perfect level right now?

ALEX: I think so, there’s always room for improvement and there’s always going to be tweaks here and there, but I feel that last year we really built the structure that we needed to be in place for it to run smoothly. This year it’s going to be really similar in terms of logistics to last year so there’s not going to be any big changes.

JB: Do you feel that the festival, as large as its growing, is going to be sufficient enough or are you going to try to grow it to a certain point and then just stay at that point and hopefully the site will accommodate it?

ALEX: That would be great, we’re not going to be upset about it

for sure. There’s a lot of room to get it bigger but for this year we expect it to be similar to last year, maybe a little bit more people.

JB: As in previous years, you have bands playing full albums in entirety, this year you have Rancid with “…And out come the wolves”, you have the Offspring also, so do you think that aspect of it is good for the festival?

ALEX: For sure. All these bands played Rockfest in the past and I wanted them to do something different and I think those are all classic albums so I think it’s going to be pretty cool.

JB: Now Rockfest is actually in Montebello, which is a small farming community. Did the townspeople support you on that, was there ever any contention in regards to your plans?

ALEX: At first we had a few people complaining, which happens everywhere, there’s always going to be people “anti-whatever” but we quickly got rid of those and now everyone’s happy and the

economic spinoffs are huge. People rent space in their backyards for tents and parking etc so everyone’s happy for sure.

JB: Especially how the church opened up to the camping - which I believe pays for the entire year’s budget?

ALEX: I think it was pretty cool. And it was ironic that we booked Marilyn Manson the same year.

JB: Did [people try to stop you the first year?

ALEX: No but one funny thing in regards to Marilyn Manson is I actually got an anonymous letter a few weeks before the event saying that because I’m booking Manson and Alice Cooper in Montebello that I’m converting all the festival goers to Satan and it says ‘I’ve been there myself and my son is gone because of that’ and it was super creepy.

JB: Ya that happened to me when I was growing up because I was wearing a Slayer t-shirt - that’s the way it goes. That being said, this year Slayer is coming back and it’s going to be amazing you’ve got quite the lineup – Deftones, some hardcore in there with Raised Fist…How do you make your decisions and try to catch everybody all at once and make everyone happy?

ALEX: I really like the diversity, its’ the strength of the event since the beginning because there’s just something for everyone and its cool to see everyone unified together, punks, metal heads and everything in between. And it represents my musical tastes.

JB: Last year one of the biggest acts was Cypress Hill wasn’t it?

ALEX: Ya it was one of the biggest crowds for sure, we didn’t know what to expect and it turned out to be huge.

JB: This year you have Fat Mike and Tim Armstrong at the helm of things and you also have some craziness with Tenacious D and Steve-O – I can only imagine the chaos that’s going to happen.

Is there some sort of special riders and insurance you have in regards to antics that are backstage?

Alex: It’s not as crazy as people would expect, I guess, but I think what you just mentioned is some of the cool stuff at the festival – like Tenacious D, it’s going to be their first show ever in Quebec and all the comedians like Steve- O, Tom Green, Mike Ward just adds to the overall party vibe of everyone having a good time at Rockfest.

JB: You guys have tried different things before in the past with a haunted house and things like that so is there anything special that you’re doing this year that adds to the festival?

ALEX: We’re actually adding a Ferris Wheel on the main festival grounds and an entire amusement park behind the church so that’s going to be pretty special.

JB: While everybody has fun and a good time it is also one of those festivals that involves camping – how do you anticipate everybody getting along in that type of environment, is everyone pretty friendly?

Alex: Everybody becomes friends with each other at Rockfest, regardless of language, of age, of music style, of whatever you know. It’s cool to see people from Northern Quebec hang out with Brazilians. Actually for the language thing, it’s one of the best examples I’ve seen of French people in Quebec partying with Anglophones from elsewhere in Canada, it’s one of the rare examples of everyone having a good time together, which I think is super cool.

JB: When you’re not planning Rockfest and you have a break, do you focus on what the next year is going to be or do you travel

around to different festivals?

ALEX: Well it never really stops, it’s ongoing, and it takes all year to plan it.

Sometimes I confirm bands for the following year before even the current year takes place. For the most part I want to get my hands on everything so it’s a lot of work year round. In a perfect world I would need two years to plan a perfect Rockfest but instead I just work non-stop.

JB: What is the magic secret to getting bands that have disbanded back together?

ALEX: If there is one I won’t give it! I feel like it’s one of my specialties, it started with bands in Quebec and just figured ways to make it happen. The more we do them, the more it’s easier for the following year to get other ones because we’re like “hey, last year these bands reunited at Rockfest, it would be great for you guys to do it, so it’s something that I’m proud of – all the reunions at Rockfest.

JB: You do have a lot more sponsorship now with the labels that are coming on board - do you find it a little bit easier to obtain those bands through the labels?

ALEX: We don’t go through the labels, we go through their agents, obviously it helps that we’re well know n now that we have a good reputation and it just makes it easier to know all these people, as you mentioned the fact that Fat Mike and Tim

Armstrong are involved in the line-up and are curating the event obviously helps and it’s cool that those guys believe in what I do and it’s good to have all these relationships.

JB: You do have a lot more government funding now, do you find there is a little more of a control issue to what you can and can’t do?

ALEX: Not really, especially in Montebello, we can pretty much do whatever the fuck we want. It’s more complicated doing festivals in big cities where there’s all these rules and regulations. A good example, I think it was in Quebec City, there was this tree blocking the view from the stage and they wanted to cut it down and it took them almost ten years to get the approval. For us if there’s a tree in the way, we just tell our logistics guy ‘hey cut this down’ and it’s done.

JB: so you cover everything, from shuttle transportations from the campsite.. I think I made a comment once about the riding of the cows, you could rent a cow you know…no really do you see a lot of antics like that during the festival?

ALEX: Name it we’ve seen it. It’s crazy during Rockfest it’s like a punk rock Woodstock, people go crazy, dress up, do all sorts of fucked up shit but it’s all good natured fun, no-one’s making trouble or whatever JB: That being said, you did kind of fill the void of Warp Tour and Lollapalooza dying out, you really picked up where they left off, which is fantastic and now you are known for the main festival to be at – how does that feel?

ALEX: Ya it feels great and all these older festivals that you mention were obviously influences when I was growing up and I used to go to Ozzfest when I was a kid and it didn’t even come here so I had to go to the US to see that and all these things influenced Rockfest. I just wanted to take all these different aspects I liked of the other festivals and just do in my eyes what would be the ultimate festival for this kind of music.

JB: We always end with a favorite book or quote that inspired you. Any that come to mind?

ALEX: One book that influenced me was Marilyn Manson’s book “Long hard road out of hell” just because he was like ‘I want to

"FER STARTERS" Pouzza Fest is not only about well known bands it is also a festival that takes great pride in helping those up along the way. Many of the other known bands help support the new talent that comes a long way just to get heard and experience the festival for themselves. We caught up with some of those bands and caught their sets or talked with them to see what inspires them to drive countless hours to come north to Montreal. For all the bands that played and to those who self promoted themselves and gave it their all that is exactly what it‘s about.

Cheers J.B

http://animalethicsinc.bandcamp.com/

https://feeny.bandcamp.com/

https://decidebyfriday.bandcamp.com/

36 CRAZY FISTS

INTERVIEW WITH

BROCK LINDOW

@ THE HARD LUCK BAR

MAY 22,2015

COURTESY OF

INDOOR RECESS PR

J.B: Hey brothers and sisters I am standing here with Brock Lindow of 36 Crazy Fists. How’s it going?

BROCK: Awesome.

J.B: You guys are half way through the tour and still going strong?

BROCK: Ya it’s been a really great tour so far and great shows a lot of great bands on the tour roster - it’s been good.

J.B: And you got a new one out on Spine Farm Records “Time and Trauma”?

BROCK: Yeah it came out in February.

J.B: You guys have had some unfortunate incidents in your lineup. Does that reflect on the title of “Time and Trauma”?

BROCK: Ah well definitely the album for sure is about the passing of my mother and we have had a couple of tragic situations in our career as a band and we lost our original bass player in a car accident... so you know, that’s life and it’s a motivational driven thing that inspires our dark moody hard rock.

J.B: Well that’s a reference to the message of lyrical content and it’s always strong and people hear it. Sometimes people get lost do you think your message is getting across?

STEVE HOLT / PHOTO J.B

BROCK LINDOW / PHOTO J.B

KYLE BALTUS / PHOTO J.B BROCK: I’m not sure of the message really because I write pretty vague and it’s personal to me but the music is open for interpretation to anyone else. And I talk to people nightly and I hear how the music has touched them personally and that’s a wonderful thing. The music definitely has helped me in my life so I write pretty vague, so I’m not sure if it’s getting to a message but more so on this album it’s about managing loss and coming to terms in our lives at a point that is unfortunate.

J.B: On this latest release “Time and Trauma” it really shines through as an emotional album and is dark but the lyrics shine

BROCK LINDOW through. Is that the direction you’re heading in?

BROCK: Ah most of our stuff is very dark and moody and we’re trying to stay on track and evolve and it gets even better as we go along.

J.B: So you had a five year hiatus between the last album “Collisions and Castaways” and the latest “Time and Trauma”. Why the wait?

BROCK: Well the main reason was my mother passed away in 2011 and then my bass player’s mother passed away 2 months later and we were living real life and trying to let the dust settle and get into the mindset where the band is relevant again and start writing the record and started it in 2012 and then finished it in 2013 and then tweaked it in 2014 and then finally released it in 2015. So it took a lot of time but there was a lot of elements as well.

J.B: You guys got noticed on Roadrunner but now you are on Spine Farm do you feel that Spine Farm is the direction for you?

BROCK: Yeah I love those guys we reflected back on some of the labels and I am very pleased to be on Spine Farm, they are amazing.

J.B: How long was the Studio Recordings?

BROCK: Ah for me it took about a month to do the vocals and then I would say about a good part of a year for doing the recording we were solid at it so it we tried to do it within a year.

J.B: So you guys record in digital or analog, do you do some re-

MICK WHITNEY /PHOTO J.B

cordings when you’re on the road to take back to the studio?

BROCK: Nope it’s all straight forward what you hear is what you get. All the imperfections are there.

J.B: So I always end the interview with a famous quote or book anything come to mind?

BROCK: Yeah I read this book that was amazing, it was Lance Armstrong’s “It’s not about the bike” I don’t care about what you think about the guy that book will make you get up off the couch and want to fight for something and that book really resonated with me.

TOOTHGRINDER

INTERVIEW WITH

WILLS WELLER,JASON GOSS @ THE HARD LUCK BAR

MAY 22,2015

COURTESY OF

INDOOR RECESS PR J.B: So here with “Tooth Grinder” (on the “Time and Trauma” tour with 36 Crazy Fists) and we are talking with Wills Weller and Jason Goss about their E.P “Schizophrenic Jubilee” So what’s the new record going to sound like?

WILLS: Ah I can’t tell you yet it’s a little bit of a secret (Grinning).

J.B: You guys really came through on “Vibration Color Frequency” - you came from bandcamp and that was kind of your big breakthrough and it evolved into the scene where it’s at now and it kind of took off - so it was motivational.

WILLS: Thanks man J.B: So the message is there of the hardcore spirit and you guys have that sound, so what’s the direction of the new one? Is it even faster?

WILLS: You know it’s more of everything - it’s slower, it’s faster, it’s more emotional. I think we dive more into our creative side and we just start pushing ourselves as hard as we can.

J.B: You guys mentioned before that you were inspired by Mike Patton. Now, is that Mike Patton of Faith No More or Mike Patton of Mr Bungle ?

WILLS: No as a whole we’re talking about him as a whole and as a band just going for it and just being crazy.

JASON: Were talking about him doing what he wants, writing a Metal record to a Country Record then a Folk Record and then even an Italian Opera - the guy does it all.

JUSTIN MATTHEWS/ PHOTO J.B

WILLS: He’s just a creative soul and it’s so inspiring.

J.B: So what’s the set list like on this tour?

WILLS: Em with this tour we’ve been pretty structured with what we have been doing.

We are playing pretty much what we like to stick with and are playing most of the E.P through and a lot of “Vibration Color and Frequency” They’re just 30 minute sets so it’s hard to get all it in there and play especially longer songs.

WILLS WELLER / PHOTO J.B

J.B: Well, no! You can, you just have to play really fast! Well the Hardcore scene has really evolved and turned into a lot of subgenres like Post Hardcore and Metalcore, so what do you guys think the scene is like when you are out on tour?

WILLS: I don’t know, I think it’s mixed. I think kids like technical stuff and stuff that’s flashy and in the end I think it’s about the songs that they can sing along to. We have a lot of technical songs but we have also stuff that they relate to and can sing along with.

I see the kids really responding to that so having both of that in your music right now is really where the scene is at right now. At the same time it’s got to be something that is at your heart and something that is rewarding for you to play also it’s got to mean something you know.

J.B: You guys are from the East Coast and the Jersey Scene is pretty well known with the bands coming out of it. What’s it like now over there for the scene?

WILLS: Ah you know it’s pretty diverse man and it’s going strong we have a lot of everything, a lot of indie bands a lot of Rock ‘n Roll and a lot of Hip Hop. We have kids that are D.J’s, we have kids starting Metal Bands and it’s cool, it’s just a big huge melting pot of everything.

JASON: It’s always cool also to hit the North East, there’s a lot going on that way too.

J.B: So what’s after this?

WILLS: We end the tour in Washington JASON GOSS/PHOTO J.B then it’s like fifty hours back so we booked a couple like three more stops left to go after that two in Minneapolis and then Toledo and it’s like crazy hours on the way back so we have something to do and it’s not straight driving.

JASON: And it gives us something to do and not go insane and chill out enjoy some things on the way back and see some familiar faces.

J.B: After the tour what’s coming up - just getting ready to launch the new album?

WILLS: Yeah we are going to be doing some video shoots and getting ready for the album in the fall and planning out everything around that. I mean we have been on tour now for the past six months and have been out there pretty much so it’s time for a little break and we have two months to do that.

JASON: Yeah we have some stuff that we are going to be working on also that is live and that’s cool to kind of step up our game a

MATT MIELKE/PHOTO J.B

bit you know or maybe look at some new lights or something like that you know some new gear.

J.B: You guys were up in Montreal two days before Pouzzafest playing at Les Katacombs which was a fantastic show. I was at Fous for some shows and it was going off. Apparently in Montreal when you’re stage diving people get the hell out of the way and you end up diving all right!

WILLS: Haahha

really? That’s intense, I guess it was really NOT going off I would have liked to see that show - that’s intense, would have made it more interesting.

J.B: So on the latest release “Schizophrenic Jubilee”, you guys feel happy with that recording?

WILLS: Yeah I think it made us come together not as a band but sound wise and we started forming our own sound and not sounding like others and like “Oh that’s another Metal Core band”. I think it sounds like “Tooth Grinder” now you know and that’s a thing with the full length is the energy and progression of it and as you get older it begins to show and it wears on you. So on this release it was rejuvenating and refreshing and full on and I really like the songs and the producer on this album was super focused and super relaxed and made it flow and it turned out

amazing.

J.B: So the name “Tooth Grinder” - where did that come from?

WILLS: Well the name “Tooth Grinder” is about that physical moment when you’re doing something like something really hard and you’re grinning and bearing it and your teeth are just crunching because you are in the middle of it and it’s emotional and you’re just grinding it. And people come up with all these meanings to it, but that’s what it’s about, the moment when you’re in it and just going for it full on and just grinding it.

J.B: So it’s a feeling?

WILLS: Exactly it’s a feeling more than a name and that’s what it’s about.

J.B: So I always end with a famous quote or a famous book. Anything come to mind?

WILLS: I think instead of a famous quote: “I believe treat others as you should be treated” and be kind and accepting and that goes farther than trying to be the best or all-knowing and treat everyone as equals and be kind.

“HOME STREET HOME” AVAILABLE NOW www.fatwreck.com

“NOT SORRY”

AVAILABLE JUNE 16,2015 www.fatwreck.com

THE BEATDOWN MEETS HUGO MUDIE AVAILABLE NOW

“BURN INTOTHE EARTH” AVAILABLE JUNE 2,2015

“HOME STREET HOME” Orginal songs from the shit musical

AVAILABLE NOW

FAT WRECK CHORDS

Home Street Home may be viewed by some as a punk musical but it’s far more than just that. It’s the voice rising from the darkness that saddens the hearts of those who have endured the pain, who tell the tale of the will to overcome irrespective of their outcomes or differences. Mike Burkett (Fat Mike) has hit a home run on his vision of a musical score that derives from the world’s true faces and reality of those impacted from abuse and the choices that are theirs to make. Although Mike has chosen his own band NOFX as the primary score he has selected various musical contributors including the late Tony Sly. “Home Street Home” focuses on a story line of a sixteen year old girl “Sue” with the opening song “Monsters” a song about fairy tales and molestation.

The tale begins to unfold and carry through. She ends up finding refuge as a runaway street punk and finding family with a crowd of likeminded street kids with songs like “ Three string guitar” about having self-pride regardless of the situation and the song “Three against Me” about sibling rivalry and abuse. The lyrical content carries through with songs about opinions of drug abuse on “High Achievers” and moral values on “Bad Decision”. The musical score becomes more upbeat and lifting in songs like “Urban Campers” a tale of sleeping on the streets, and the bluegrass twang “ Fecal Alcohol Syndrome”. The story pics up after High Achievers on “Gutter Tarts” a song that’s fast paced and a lyric duo about renting parts to get by. The song “Missing Child” is a slow paced piano score that is filled with the sadness of a mother’s loss and strikes deep, followed up by the song that flows in narrative “I’m Sue-icide” the turning point in the musical’s story line of coming to grip with the decision of giving in to the demons.”. The songs “Let’s get hurt” has that piano chorus of a Midwest saloon feel with some horn work and “Safe Word” has a cheeky play on the lifestyle of Mike’s fiance “Soma SnakeOil” and have value of the hidden lifestyles and choices that remain between partners and the topic of boundaries. The song “Sleeping Beauty” picks back up in the thought score with a slow lyrical base of self-infliction for release. Barely Legal touches upbeat on the life’s choices of age difference and experiences. The most upbeat fast paced track “Because I want to” is the ‘who the fuck cares’ attitude and ‘do what I want’ theme. Tragedy follows suit with “Life Oh what a Drag”. The musical is wrapped up with a chanting chorus title track about the choices we make and the places we’ve been and how the decisions along the way are subjective to each of those who have lived it or who still choose to do so.

“A BRILLANT SCORE THAT RESONATES TRUTHFULLY AND STRONGLY WITH TEARS AND REALITY”

THE BEATDOWN MEETS

HUGO MUDIE AVAILABLE NOW STOMP RECORDS

Alex Giguere and Hugo Mudie have had a few drinks, a few ideas and created something truly wicked. The Beatdown is one of Montreal’s iconic hard working energetic ska bands that have a laidback reggae sound that would fill a burning auditorium with smiles. It was only a matter of time until another iconic Montreal staple Hugo Mudie came into the picture with “The Sainte Catherine’s” and “Powernap” under his belt. It was time to take it to the next brilliant idea. The Beatdown play their usual laidback upstroke organ fusion haze that can only be described as enjoying life with a well-crafted beer, good times and good friends. Besides Hugo’s voice he also adds in some work on the harmonica which is usually done on Beatdown albums by Alex. The song “The Night I searched for you” is an example of Hugo’s low toning lyrical content that carries the beat and mood of the songs. Growing up around oldschool organs I can fully appreciate this album and on the track Eeboo it rages out full on to one of the grooviest tracks I have heard in a long time.

“None of the above” reminds you of the simple things in life regardless of the outcomes. Things go more punk-fused with “Break the Rules”, a song about not caring and is reminiscent of street punk meets reggae and “I’m the war” with Hugo and the Beatdown doing some heavy surf sounds. Aand with Hugo’s voice shining through clearly it by far is one of the favorites on the album. This album flows from beginning to end and hasn’t left my relaxing feel good playlist.

“THE HANGING WITH FRIENDS CHILLING VIBES OF THE SUMMER”

WRITTEN WORD “HE SAT ON A TOMBSTONE” TRISTON WHITEHEAD

Young Jim sat on an ancient tombstone. With eyes as black as coal he watched an old man come and mourn over his long passed wife’s grave. Jim never had anybody to love like that. His family gave up on him and he had no friends but the mouse skull on his necklace he called pip. “Well looky here pip. I think we got a mourner. “ he gave a rotten smile “I think he wants to see her, what do you think?” He lifted the skull to his ear “thought so.” He kissed it and let it hang. He trudged through the fog ridden graveyard towards the far side of the field. He walked towards the cypress tree that loomed over the old man. “Oh marguerite, it’s been 25 years but I still think ‘bout you all de time.” Said the man who was obviously close to the end of his days but still quite a few years shy. “The kids is doin’ good. Lil’ Suzy ain’t so lil no more,” he sniffed and smiled a nearly toothless grin. “She married that nice boi by the name a’ Luis O’Brian.

Sure he’s a lil weird but he’s a worker and a nice feller. Justin... Well, he still talks to himself and listens to that horrible screaming stuff but he works and earns so he...”

“Justin Bradford?” A voice said from within the fog. “Why, y-yes. Who-who’s there?” The old man shakily asked. “Well some call me an angel others just call me death. Either way who I am is not important.” The old man reached for his cane and unsheathed a hidden sword that was in it. He had bought it at a police auction years ago but he’d never had to use it. “Just stay away!” He shouted into the eternal nothingness. Out of the fog stepped a horrible creature of a man. He was incredibly tall but also incredibly stooped. He wore a long black trenchcoat and boots wrapped in rusted chain. On his hands shone gloves sewed to his skin that resembled bones. He had a completely bald head and no eyebrows or eyelashes. His eyes wide and impossibly dark. But the thing that the old man was horrified at were the deep wounds carved into this monsters face that formed the shape of a skull. The deep maroon gashes stuck out in from the gray and struck the old man stone dead. He had a heart attack and died on top of his wives tomb. “Well pip. A job well done i suppose.” He began to trudge off back to his home in the mausoleum but stopped and grabbed the pitch black cane sword in the dead man’s clasp and sheathed it. He stared at it quizzically for perched atop the black wooden cane was a carved raven which took the place of the handle. Embedded in its eyes were blood red rubies that shone with the intensity of hell itself. He sat the end of the staff on the peat moss that covered the damp cemetery earth and crept slowly back to his crypt leaving the old man and his wife to sleep together for eternity and for ever.

Formed in Vancouver, Canada in 1992, the Real McKenzies were the first group to wed traditional Celtic folk music with the ferocious roar of punk rock, and this is their booze-fueled story. Exhaustively researched and comprised of numerous interviews with not just the bandmembers themselves but managers, friends, booking agents, and associates alike, this action-packed book gives readers an inside view of the innovative and tenacious group.

Contains twenty pages of glorious photographs, most of which have never been pblished.

Along with everything from the original biography, this updated version contains an 11,000-word update about SNFU’s critically acclaimed new album Never Trouble Trouble Until Trouble Troubles You. Even those who have read the book previously will find the text streamlined and more informative.

Collectors will also be pleased with four new pages of colour photographs, never before seen in print.

Other, smaller changes appear as happy surprises along the way.

UPCOMING RELEASES

REHASHER

“CLOCK SMASH”

SAINT NOVEMBER RECORDS JUNE 02,2015

THE PENSKE FILE “BURN THE EARTH”

STOMP RECORDS JUNE 02,2015

FOUR YEAR STRONG “FOUR YEAR STRONG”

PURE NOISE RECORDS JUNE 02,2015

BAD COP BAD COP “NOT SORRY”

FAT WRECK CHORDS JUNE 16,2015

D.O.A

“HARD RAIN FALLING”

SUDDEN DEATH RECORDS JUNE 23,2015

REFUSED “FREEDOM”

EPITAPH RECORDS JUNE 30,2015

DRAKULAS

“OWOWOWOWOWOWOWOW”

RED SCARE INDUSTRIES JUNE 30,2015

JUNE 18-21 2015

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