Merzbow - "Merzbox" 50 x CD 2000 (320 / 7+ Gigs)







"'Merzbox' is a box set compilation by the Japanese noisician Merzbow (Masami Akita). It consists of 50 CDs spanning Merzbow's career from 1979 to 1997. The label's original plan was to reissue Merzbow's collaborative LP for them as a tenth anniversary repressing. There was then talks of repressing even older recordings, with that idea ballooning from a 10 disc set to the final number of 50. It was made available for preorder in late 1997, but kept getting delayed until an official launch on June 16th 2000 in Barcelona (where Merzbow also performed). In April 2002 it was exhibited in its entirety in Vienna, with Merzbow performing opening and closing concerts and webcast live for the duration of its run. In December 2002, Georgia Tech's student radio station 'WREK' also broadcast the complete set without interruption. A local magazine article described the marathon as 'what may be the most obscure and counterintuitive move in the history of radio'. Masami Akita has stated in a 2009 interview that he has enough unreleased material for another 50 CD set."

Viletones - "A Taste Of Honey" CD 1994 (320 With Scans)



"The Viletones are a punk band from Toronto, led by Steven Leckie on vocals. Other members from the original line-up were Freddie Pompeii on guitar/vocals, Chris Hate on bass/vocals, and Mike Anderson (1955–2012) on drums/vocals. The original line up was active in from 1976-1977, and thereafter featured Leckie as the only original member (with various backing musicians). They were one of the first generation punk bands in Canada, even appearing on the front cover of various magazines, like Record Week and Fanfare.

In july 1977, the group joined The Diodes and Teenage Head at a CBGB showcase billed as 'three outrageous punk bands from Toronto, Canada'. The rock critic Lester Bangs described the show as 'This guy 'Nazi Dog' (Leckie) hung from the rafters, crawled all over the stage, and hurled himself on the first row until his body was one huge sore'. The concert was spoofed in an early episode of the television comedy show 'SCTV'. Also that year they self-released their first single 'Screamin' Fist'.

In 1978, they released 'Look Back In Anger', then Pompeii, Hate and Anderson abruptly left to form another group, 'The Secrets'. That year, the new lineup of the Viletones appeared at the concert 'The Last Pogo', which was filmed as a documentary. At the 'Rock Against Radiation' concert in 1980, they shared the bill with DOA, Stark Naked and The Fleshtones, Forgotten Rebels, and Joe College and The Rulers. In 1983 they released their first LP 'Saturday Night, Sunday Morning' recorded live at 'Larry's Hideaway' in Toronto. In 1994, the record label 'Other Peoples Music' released the retrospective 'A Taste Of Honey'."

Missbrukarna - Live 8-15-81, Live January '82, "Krigets Gentleman" Demo 1984, Live Studio Demo 1987, Interview 2005 PDF

Terror Against Terror (Lustmord) - "Psychological Warfare Technology Systems" CD 2002 FLAC


"Conceived as an exercise in sound and rhythm, and as an alternative evolution of ideas explored on the first Lustmord album. Although recorded in 1989, the two labels involved with its release had to cancel due to financial problems...so it didn't see an actual pressing until 1992, by which time the ideas and techniques incorporated were in many ways out of date."

Death Sentence - "Until The End Of The Sentence" Discography CD 2007 (320) & Rare Pics / Interviews / Scans




Interview with guitarist Gary by Sean 2003...

Wotz poppin' Gary? First off, though it may embarrass you somewhat, I'd very much like to say that it is an extreme honor to be given the opportunity to conduct this interview with you. Why dont we start by introducing the readers to who you are, age, and some of the bands/styles of hardcore you've been involved in both prior to Death Sentence's formation and after it's demise. You seem to have an affinity for Anal Cunt and C.S.S.O. now!

Well, my name is Gary James McGillivray, I'm 40 going on 12, and I've been into what I'd like to call extreme styles of expression for the past 25 years. I left Death Sentence sometime in 1986 and reformed for a really bad tour of Adelaide in 1988 which was a mistake. The first band I attempted to play in was Zyklon B (a bit of un-PC name maybe, but it was 1980), then a Stooges cover band called The Hogheads, then the Bader Mienhoff with Scott before joining Death Sentence. Sorry to disappoint but I'm not totally into grind, gorecore or whatever as some of it I've heard really lack a bit of guts and it's really methodical. But bands I have heard that I do like are CSSO, Brodequin (probably metal really), Warsore (from Australia) and Basket Of Death (who scare the shit out of me). I liked A.C. when they came out because they really went over board and took the piss.

Death Sentence played ultrafast hardcore that gave your peers (Larm and Siege) a bloodsoaked run for their money. Playing at such brutal speeds, while not entirely uncommon around the globe, was still a bit of a novelty in the early 80s. Why the decision to play ultracore, and did you guys realize how fast you were playing at the time? Did you just consider yourselves a standard hardcore unit ala D.R.I.? Who was in the original lineup of D.S.? 

The original line up was Peter - vocals, Con - bass, Matt -guitar, and Izzy (I think that was his name) - drums. Matt and Izzy were in a band called Permanent Damage (kinda meat n' potatoes hardcore). Matt and Izzy didn't have the time to do both. Peter had heard of Scott and I trying to get something together (though we'd never really met) and decided to give it a try out. Scott and I were just into playing really fast. With Matt and Izzy it wasn't very fast. When Peter and Con showed us the riffs I remember Scott and I just saying "yeah that sounds great, lets just speed it up by a factor of 10". So I guess we weren't that conscious of any influences per se just playing what we wanted a band to sound like. Our first gig was with I Spit On Your Gravy. We were on first. Because Scott and I were outsiders we hardly knew anyone and some of the more fashion conscious punters said to Peter we didn't look very "punk" (!?!...I've never been into the fashion thing although I've had tattoos since I was 15). So anyway, there was all these punk rock type I Spit On Your Gravy crowd watching us setup. We had five songs: Balance Of The Nation, Air That We Breathe, Christian Fanantics, Moral Majority and Death Sentence. The set went for 3 minutes, I Spit In Your Gravy went for 2 hours. The first song was Balance Of The Nation and Peter vomited up baked beans right at the end. No one said anything. There was just stunned silence. Then we went into the second song and the whole place just erupted!!! So we did our set again and by the end the place was just about trashed. We did the set again after I Spit In Your Gravy with even more chaos. After that we built up a following.

Honestly, hardcore was a real bitch to track down in the early 80s, yet members of D.S. seemed to always be on top of the most cult and extreme records from around the globe. How the fuck didja score (especially so quickly) crazy shit such as Headcleaners EPs especially in an often ignored (by the punk community) country as Australia? And speaking of lovin' hardcore, why the decision to not include (the most amazing cover I have ever heard of) Negative Approach's "Nothing" and SSD's "Glue" on the "Ryan" EP?

During the late 70's and early 80's I was heavily into buying punk records. Some of my favourite bands were (and still are) The Saints and The Leftovers. I've got a live Saints EP from 1977 which is brutal as fucking anything. Did you know that Black Flag used to do "Nights In Venice" an awesome Saints song? The Leftovers have an EP called Cigarettes Et Alcohol from 77/78. Two songs Only Panic and No Complaints are total thrash. (I think Peter saw them a few times, he's from Brisbane). Apparently the fans from these two bands used to have pitched battles. I think they call some of this stuff Killed By Death. I also liked early Damned, Dils, Maus Maus, Negative Trend, etc, etc from this period. In the early 80's I moved to Melbourne (I was born on a farm in a place called Wannambool). I really didn't know anyone. There were few punk gigs except by maybe Corporate Body and The Sick Things (awesome band, Mick Turner from indie hand Dirty Three used to play guitar for them). Anyhow, there was a record store called Missing Link who got some of the classic records in such as the Discharge singles and Black Flag Jealous Again', etc. One day I picked a magazine for 10 cents called Discords which had the Void (top 5 all time fave bands) Faith Split, SOA EP and Minor Threat 1st EP. It cost me $13.00 in total to send for them. This was around 1982, this stuff blew me away. Anyhow, Maximum Rock 'n Roll started coming out which had all these reviews of bands etc in it. I was working shift work 13 day fortnights, etc and making good money. On night shift all I'd do was sit down and write to all these band labels and began ordering records as soon as they came out. I also started trading with a guy called Tos from Holland who played guitar in Agent Orange and Cory Rusk from The Necros in the US. So basically I was able to get nearly every thing I wanted in exchange for obscure Australian stuff. Headcleaners, Neos, Shit Lickers, Mob 47, Terveet Kadet, The Eu's, Cheetah Chrome Motherfuckers, Pandemonium, Indigesti, Raw Power, etc, etc. I didn't know Peter at the time but he was basically doing the same thing. I guess we decided not to do any covers for the Ryan EP because we may have been a bit embarrassed as to how they would come out. Scott and I joined the band in early November 1984, our first gig was on the fith of December and the EP was recorded in January. So it happened all very quickly. 

Have you heard of Seven Minutes Of Nausea? You do know they formed (in '85) solely from being inspired by seeing D.S. live right? (They actually played real proper ultracore at first and were seriously damn good at it!). How were crowd reactions to D.S.? It seems from listening to the "Waldo" promo that the crowd was really into you guys! That was your very first show correct? Being Australia's fastest band (and I say that with truthful recognition!) how did the other Aussie bands of the day take to you?

I've heard some of their stuff, although it was years ago. They used to do ultra fast 10 second songs and stuff - is that right? I didn't know they formed after seeing us live. The crowd reactions were great, especially with the first proper lineup! Although some people said that our songs should've been longer to give them more time to get into it! The Waldo tape would not have been our first show. A lot of bands did not really like us at the time. I could put this down to three reasons: 1: Jealousy, especially after the rave reviews we used to get. I rememebr the original bass player of Vicious Circle calling us un-musical in a Maximum Rock n' Roll interview once. Although I take it as a compliment. 2: Peter had a reputation for being quite violent (I know he'll probably read this interview but I know he won't mind). But in retrospect he never beat up on anyone who didn't deserve it. 3: The association with drugs. (for a while there we were referred to as "Drug Sentence").

Speaking with other Aussie bands and individuals it seems to are that you are a people of above-average intelligence and wit. I know that statement sounds like a huge ass-kissing fest, but it's reality pal! Have you noticed this trend yourself, and does it have something to do with a possibly more advanced educationtsocial system? This isn't the core question though, wot I'm really getting at is that why is your nation so well educated/worldy yet balanced with an attitude of TOTAL FUCKING NIHILISM!!! No shit, your people (in the various scenes at least) are serious fucking misanthropes! This may seem humorous to you, but to a foreigner it is a certainly lucid detail!

Great question, I've got a degree in political science and a masters degree in environmental studies ("Environmental Politics") which the state paid for. I could talk politics for ever and ever. But more to the point the state paid for my university education when I think in the USA everything is down to the market, I.E,: you have to pay for it yourself. While I'm not sure whether we are more educated than anyone else, Australia certainly looks pretty lucking stupid at the moment. If you do think there is a dose of nihilism it would come from the geographic isolation. This is especially so with bands like the Saints and the Leftovers in the 70's because they had no contemporaries in sound. "I'm Stranded" by the Saints came out in June 1976, the first Independent punk record, 5 months before The Damned! The channels of communication then were very limited. With the advent of the internet information is at your fingertips so it's not too hard to be influenced by different sounds. Twenty years ago you had to be dedicated and persevere if you wanted to find something worthwhile. Um, I guess I didn't answer your question, maybe we're misanthropes because we're from convict stock.

Why was the band so fixated on Ronald Joseph Ryan (the last man hanged in Australia), a man who had been dead nearly 20 years when D.S. formed? I did a few internet searches on him and managed to find an Aussie anti death penalty site citing Ryan's story and eventual demise. His tale honestly moved me, and I am curious if you lot were maybe paying tribute to his name with the EP? Was there a growing pro-death movement in Australia at the time the band formed, hence the "Ryan...Thanks for The Support" title? Ryan was wrongfully hanged for being a supposed cop-killer, right?

I really do not know the fixation about Ronald Ryan. It is a question you would have to ask Peter. I can't quite recall if there was a growing capital punishment movement in the mid 80's but nowadays it is a completely dead issue (no pun intended), it's highly unlikely it would ever be reintroduced. The sentence was carried out for political expediency for the current Victorian Premier (Henry Bolte) to be re-elected. Ryan supposedly shot a prison guard in a failed escape attempt. It has since been proved that he couldn't have done it. I don't believe in the death penalty because I think all criminals especially ones who commit heinous crimes so they can be made to have it on their conscience for the rest of their lives. Mind you if someone did something to my family, especially my young son, I would want to extract vengeance as I see appropriate.

Why the name "Death Sentence"? Were you aware that there were already British and Canadian D.S.'s as well? Did people ever confuse all the D.S.'s? Obviously you were the BEST of the bunch!

Peter came up with the name Death Sentence which I believe would have been connected to the Ryan fixation. It is a pretty standard "punk" name so when I joined I wasn't surprised that others existed. I don't think anyone ever confused us except maybe in British and US fanzines (maybe).

Did the band ever climb into different kangaroo's pouches and play demolition derby with the 'roos?

Never had any Kangaroo Derbies, although Peter was tripping once and broke into a factory and went for a joyride on a forklift and demolished the insides.

The band certainly had a firm grasp on living the "chaotic life",  I understand that all of you had/have a STRONG affinity for alcohol and that it got all of you in trouble on occasion. Amongst the stories are crashed tour buses, jail time, and lawsuits. How did all this hard living effect the band? Did it drive a stake between you all or bring you closer together? When I used to drink I always had a fucking blast getting loaded and talking about hardcore! How did Peter reconcile drinking in his personal life and an anti-alcohol song on the 12" entitled "Alcohol"? There's a soundbyte on the 12" that sounds as if Peter was going apeshit at a show cuz he was so tossed and everybody was trying to get all involved to kick the fuck back.

Yep...drugs and drink drove the band so to speak. I used to smoke a little, pills, whiz, etc but mainly drank. My only vice now is alcohol and I'm still in love with it! I think in the end our indulgences drove us apart. There were a lot of fights with the Paul, Davo, Peter and myself line-up (don't know about the other line ups). I think the most out of it time was when Paul was living with a bunch of alcoholics above a bottle shop in Queensberry St. Carlton. No one had much money, so any acohol was a godsend (it was torture having a King Solemons hoard of alcohol underneath, we always debated as to whether to try and break in, but it would be so obvious who did it). One night a miracle happened. It was at the start of winter and one Sunday night a truck overturned out the front doing deliveries. Half a load of fruity elixir wine (by the cask) was wrecked because of the damage to the packaging, but it was still drinkable. Rather than have it removed we convinced the owners to dump it in the courtyard/ garage and we'd take care of it (which we did). So if you can imagine it, here was this foot high mountain of fruity elixir to be drunk The place became one long winter party house (and vomit pit). I'm not sure how Peter reconciled the "Alcohol' song and his personal life. I think it was just an ackowledgement of his own personal demons. The person on the front who is losing it is not Peter, it is a now deceased guy called Borgie.

Why weren't you asked to join the 3rd lineup? When I discovered that you were no longer involved with the band by the time of the recording of the unreleased "51st State Of Amercia" MLP I was really shocked! The band was rocking harder and heavier than ever and back to form, and from hearing those trax I could have swore it was still you pulling duty on guitar! What were your views of the band with the 3rd lineup and was your split amicable?

The third offical line up was Jackie, Peter, Simon, Paul and John (I think). After the "Pain..." recording things were really beginning to strain. Opinion started to diverge and I got asked to join S.T.P. which were guys I hung around with more than the D.S. crew anyway. I joined them and suggested Peter start looking for another line up. Davo moved to Queensland. The split was amicable. I think Peter and I have always had an unstated respect for each other. The 3rd line up was much better than the "Pain..." line up as they were really getting a great sound together. I remember seeing them play with DRI, they nearly blew em' away.

Why was the 12" so decidely more "artsy" and rockin' than the previous straight-forward ultracore attacks? I'm not saying the 12" sucks,  but the change was an abrupt one. I'm completely infatuated with the trax "Anti Apartheid" and "Sweet Thing of Innocence". How did the band as a whole feel exploring the 12"s many nods to lost love? Why the title "If Pain Mends My Mind?"

With the 12 incher we really tried to do something different, which didn't quite work. I think if I could digitally re-mix it (as I said before) it would sound like a completely different record. Initially, I thought the "lost love" thing should have shelved, but with Peter singing it he kind of infected it with bitter irony. I think the title "If Pain Mends My Mind" sounds fairly straight forward at first, but it is totally ambiguous. That is, on one hand if you suffer you'll be better for it, or on the other hand it may pay homage to self mutilation, I.E. cut yourself up a bit and you'll feel all the better for it. Or it could even mean if you do what you're told you won't get hurt yet you'll be going against your convictions...but if you do decide to suffer the pain at least you're following what is on your mind.. A bit like you'd "rather die on your feet than live on your knees". It's all a bit confusing really. 

Why did D.S. break up? I really love you guys, and as obscure as you were there are a few other thrashers 'round the globe who found you killer enough to bootleg the first EP and select trax from "51st State." Do people still come up to you and give you "props" to D.S.'s legend, and how do you feel about the boots (they're very well done, though the "Needle Park" one was produced from a shady label called Sludge)? I know reformation plans are absolutely out of the question, but ya seriously touched enough people that much mate!

The last official line up was complete crap. The line up consisted of Jim (great drummer), John, Peter, myself and another guy who was a tanker who part owned Dreamtime/Funnel Web. He had absolutely nothing to do with what we were trying to do, which was to play good fast hardcore music. A total straight arse. If this line up played now he'd be trying to get us to be like Good Charlottee or Blink182 or some other crag The point was that the sound became really formulized merely by this guy playing and directing the sound because he part owned the label. I re-joined for about 2 months. We played one Melbourne gig then toured Adelaide. It was really fucked. Peter arrived the day before and started raking up a bar tab (would you believe the arseholes at Dreamtime convinced Peter to register D.S. as a business...this is where it was heading) thus everything was "charged" to the band. Anyhow, we headed over in a commuter bus by a Hell's Angel called Rasputan whom we paid in illegal substances. Apart from the shows being crap a guy from Adelaide asked for the keys to get his wallet from the bus. We thought he meant on the bus, but he actually drove about 10 miles pissed out of his brain to collect it from his house. He crashed it into a Jaguar car and together with a bar tab that wouldn't get paid the arseholes declared Death Sentence (as a business) bankrupt. Thus D.S. disbanded. I left before this event happened, not to play hardcore again until seven years later. I've no problem at all with bootlegs, someitmes its the only way you can get hold of the music. Now and then people bring up Death Sentence but not a great deal to me as I live in Adelaide which I have done for the last 9 years and all the D.S. people live in Melbourne. I have not lived in Melbourne for 13 years. However, I will be moving back to Melbourne at the end of this year (2003) which will be kinda strange but almost like a home coming. Reformation? I have not seen Peter since 1991, but Sean has kindly supplied me with his e-mail to contact him. Id be interested in what he is up to. I'd love to do a reunion show with Davo, Paul and Peter, who knows?

D.S toured the states???!!! That's wot it sez in the EP...how was the Yank reaction to the band and was there anybody notable that ya played with?!

DS did not tour the states. We were going to do a tour with Adrenalin amongst other's, but Peter and Con had a big falling out and line up 1 ended. The reason it is mentioned on the EP is because by the time it came out we thought we'd be in the US.

Please describe what you've been keeping yourself busy with since the end of D.S. (kids? cthulhu? public service? model kits?) and please give us a little info on your involvement with the recent Gacy's Place and your new "kinda fucked" band (more lawsuits eh?)! Are you in contact with any of the old D.S. members? It seems from our short contact that you've gravitated towards harsher forms of hardcore (I.E. keeping all your Fear Of God records but selling off Anti Cimex), so as a quick note, when grindcore made it's first waves what did you think of it (since you'd been breaking velocity barriers for years prior to that genre).

Since D.S. I've gotten educated, started working (which I don't want to do anymore), worked in the Northern Territory for a while, etc. etc. and have a 10 month old son. Also lived in Warrnambool for awhile and played in several hands (mainly Loudmouth and Slugfelcher). Gacy's Place were the most fun band I've ever played. We've had so many funny experiences that I'd need to separate interview to cover them all, it's a band that never had any real malice between members. We even had a farewell gig which included a get up on stage and do the foulest thing possible to win a prize. That was in 1999. Dick, the lead singer, is the total showman, manic, craziest, funniest performer I've ever had the pleasure of doing shows with. He's also my best drinking buddy and a total gentleman, He has a Z-Grade movie company called Cheesy Knob Productions and makes crazy short films. He has also run several short film Z-Grade film festivals, from coming out dressed naked with a 2 foot piece of kabana taped to his cock to blowing up a PA after chain sawing in half a giant effigy of Santa stuffed with offal and blood and shorting out the foldback, he does it all. Anyhow we now have a new band called the Kamikazes that plays dementedcore. I've no contact with old D.S. members and no idea how they are. Hopefully I'll catch up when I relocate to Melbourne. I'm not sure what I thought when I first heard grind core. I first heard Napalm Death on a shitty tape deck and thought they were pretty awesome, all those blast beats. However, I think the first Carcass album is what really blew me away. I only glimpsed at the cover and thought it was just pictures of vegetables, not bodies. I think what we were doing was a lot different to grindcore though.

I have a very young friend who happens to be named "Ryan" (really!). He's enamored with the fact that guys "our age" are still active in varying degrees in our scene (hey Gary, bet my wheelchair can outrace yours!). As a personal favor, could you publically lend any advice here for how he and others his age can persevere in "keeping it real 'till the grave"?

Please don't take the points below as gospel, god know's I've fucked up a lot in my life. Okay Ryan hear goes: DON'T TAKE HEROIN, keep asking questions, don't model you life on your parents (no matter how cool or uncool they may be), play an instrument and keep playing it, if you don't like your job leave immediately, if you don't like your town leave immediately, if you don't like your girlfriend leave immediately. If you have depression or anxiety see a doctor (I mean this truly) because you don't have to feel like that. Get a pet but treat it as an equal for life, respect those of the opposite sex, make sure you have a good shit in the morning (and don't eat until you do) I really mean this, it makes your day go right and you'll avoid bowel cancer. DON'T TAKE HEROIN. Get interested in politics and talk about it with your friends, it's good to see where people are coming from. Don't sell your records, they are your historical documents. As you get older stay interested in things you liked when you were younger even if it doesn't seem right amongst your peers, don't take shit from no one no matter how much it hurts (except if they have a gun). DON'T TAKE HEROIN. Finally, if you have to believe in a religion or theistic deity, believe in yourself first.

Well Gary, I could ask you 16,000 more questions, but I think we've covered all the basics for those not in the know. I'd very much like to thank you for all your time doing this interview, and especially your wondrous legacy! This is one thrasher who will certainly NEVER forget Death Sentence! Leave all shout-outs and hails here for those who deserve it, and last minute answers to questions I never asked. Take greatest care pal and expound further on whatever you wish! LONG LIVE DEATH SENTENCE!!!

It's an absolute pleasure doing the interview Sean. It was a good mental exercise to purge those old memories.

The Angelic Process / A Lifetime Burning - 2001-2007 FLAC




Interview With Kris By 13th Apostle Winter 2001 (questions redacted)...

K. Angylus is an insomniac who lives in the same house as his studio and spends the majority of his time recording, reading, and listening to/researching music. As far as what The Angelic Process is...well, it is my attempt to create music with some depth and an experimental attitude that hopefully will have some merit and be important to music as a whole. The initial purpose of The Angelic Process was to create music based around dynamics and flow within a song-based structure. I wanted the music to be epic and vast and encompass a huge sound range and that could be emotional and cathartic.

I record everything in my own studio (AngelCage Studios). I have a small house and when I moved in I renovated it and put in a pretty comprehensive studio, based around my desire to record everything by myself. I record and mix everything at AngelCage, and in the past have mastered at a place called VSM Mastering. While I'm recording I tend to work from the ground up. I'll usually start by tracking several drum patterns, then adding guitar, bass, and feedback/noise. I never do demos and instead start with something and just re-record parts until everything is right. I record into a PowerMac G4 running Cubase VST/24. This allows me to record and re-record, keeping everything I've done so I can change things around as needed. Vocals (if there are any) go on last and in the beginning were distorted and mostly textural, layered into the music to give it more density. But lately I have been experimenting with using both textural and cleaner vocals. Sometimes I have lyrics, but most of the time I use the vocals as a sort of tonal painting, using the sounds of my voice to aid the songs mood. For the next release I will share vocal duties with The Angelic Process' new female vocalist Natalie Dempster. Big P.S. on my sound.: That huge, "deep choir" sound as you put it isn't synth at all. I get that sound by playing my guitar with a violin bow through a special combination of effects. That is a sound I have had in my head since I was about 16 and only recently found out how to realize it. That sound is the heart of The Angelic Process...the first recordings using it just came together into what was the self titled debut EP. I also have spent several years creating custom effects on digital effects processors to give me a broader sound spectrum with the guitar than most have. As far as when I'll get signed, who knows.

I was in a lot of bands in high school (I was one of only 3 good vocalists) and I could play quite a few instruments, so I would spend my time writing songs only to come back to a band that would rather sit around pretending to be a band rather than actually work. I became really frustrated with this and after high school I just decided since I could play any instrument I needed played, it would be easier to just figure out a way to record everything myself. I started to become interested in recording at about 16 (not soon after I wrote my first song). I bought a cheap 4-track and messed around with it, recording other local bands just to figure out how to do it. After that I spent a lot of time reading interviews with artists who talked about their recording techniques, and on the internet I read everything I could find in relation to recording. After high school, I started engineering local bands' demos and eventually moved into producing and mixing. But at this time I also started gravitating toward noise recordings and my production started to reflect that, so most bands started shying away from me. By this time, I had all the knowledge and experience necessary to really go it alone and record and produce my own material. I started "Artwrek" and began releasing that material on CDR. 

And you want an equipment list, huh? Well, as I said above, I record on a Mac G4 running Steinberg's Cubase VST/24. I have a 16 channel Berhinger mixer that goes into a MOTU 2406 72 input soundcard (then into the Mac), Berhinger Quad Limiter/Compressor, tons of out-board effects (old stuff like an Alesis MidiVerb II and the fucking awesome Fender Blender). I put just about everything through the filter inputs on a Korg MS2000R, various stomp boxes and digital effects processors, a Line 6 Pod, I have a Fender Stage 112 Amp and a Peavy rig consisting of a 5150 II head and 2 4x12 5150 cabs, a cello, synths, the Alesis Andromeda, Roland JP-8000, Korg N364, various waveform synths, an old Crumb analog string emulator, Guitars: I bow an Ibanez Talman (great guitar, amazingly warm sound), 2 Fenders, a Strat and a Jazzmaster, Ovation electric/acoustic, Washburn Acoustic and a Washburn Bass, an Ebow, various slides, and other objects (knives, metal strips, nails, paint scraper, etc), several drum machines (an Alesis SR-16, Boss Groovebox, several broken ones), a 6 piece drum kit , and a customized Roland V-Club electronic drum kit. I have 3 samplers: an EMU ESI 2000, an Akai S20, and a Zoom Sampletrack. All samples are usually thru'd on Minidisc then inputed into the sampler or I will input something into the Mac and manipulate it with plug-ins as it goes into the sampler (thats how I get some of the weird bits). I also use various tape decks/cassette players/microcassette recorders to create and manipulate tape-loops. Mics: several Shure Sm57's and 58's, several cheap mics, and an AKG C 3000 condenser mic. Lots of patch cords. I think thats about it. All of this gear has been accumulated over about a 7 year period. The only reason I gave such a detailed list is because when I read interviews trying to figure out what to get, hardly anyone ever really mentions specific gear. At some point or another just about everything has been used on an Angelic Process song (I'm really bad about floating in short texture loops made up of a combination of instruments). 

I first started getting into music when I was 15. I started out rather late and got into guitar music and then into things like Nine Inch Nails. Thats what initially got me interested in technology. When I was 18 I was in an extremely bad car accident where I had some bad head trauma and broke my right hand (which hasn't been the same). For some reason after the accident, things had changed in my head. The sounds I had heard before got louder and I couldn't sleep as much and my general interest in the music I had been listening to started to wain. I think everything started to change for me when I read a review for a Merzbow album in some magazine. I was just intrigued with the idea of noise as music. It would be a year or so before I would actually hear a Merzbow album, but when I was able to record again (about 6 months after my accident) I stated putting everything through distortion pedals and just became fascinated by how it changed what I heard. 

Everything really changed in my head when I first hear Swans' Soundtracks For the Blind, I was really struck by how everything flowed into everything else and how their songs were more transitions than verse/chorus stuff. By now I'm about 19 and I just spend all my time researching all these bands and how they record. It was at this point that I started Artwrek. Several all noise recordings were issued over the next few years culminating in The Angelic Process' self titled EP released earlier this year. Specific bands I like and that have influenced me: Swans (especially "Soundtracks For The Blind"), Merzbow (I have the 50 CD Box Set from Extreme in Australia, it is an absolute education in sound),


Neurosis (especially the "Sovereign" EP), My Blood Valentine's "Loveless" (an absolutely amazing album, get it now if you don't have it). Not much new music does anything for me...I really like the new Neurosis album "A Sun That Never Sets", M.Gira's Angels Of Light as really good. I am huge fan of Japanese noise artist Masonna, Isis, a mostly acoustic/atmospheric band called "SoulWhirlingSomewhere" does some amazing, emotional stuff, Deftones, Tool/A Perfect Circle, Sigur Ros are cool (the guitar player bows his guitar too). The Angelic Process' name comes from something a girl I knew who died recently once said. She said that creation was an angelic process. That just stuck with me.

How the Crucial Blast release came about was Adam Wright of Crucial Blast happened upon my website. At the time I didn't yet have mp3s, just a description of my sound. He emailed me and asked for my previous releases to see if he liked it and I sent him my debut EP and single (both issued on my label). He liked what he heard and offered to release a limited cassette to see how the response would be. So far response has been positive and I am very happy to be working with them. 

More or less, I live in a small town and am surrounded by smaller towns. I live right between Birmingham, AL and Atlanta, GA, but I really have nothing to do with the music scenes here. It's cheap to live here, the people (can be) nice. Its clean and I live out in the country, so no one ever bothers me. There are a couple of good records shops here, the best being "Slip Disc" in Anniston, Alabama. The owner is a cool guy and has always sold my releases there. They also sell weird music in addition to the typical stuff...so its all right. As far as work, I do Internet stuff (basics for websites, etc) to pay my bills. I own my house and car and this covers my bills, so I don't have to make a living off my music (although that would be nice and I hope that happens someday). I'm just in a good position where I can make less accessible music and not have to worry about being able to feed myself. 

I hope to be doing The Angelic Process for a long time. I view the music/my art as a progression. I guess I would ultimately like to have a career that spans something like Swans did (in that they constantly pushed things forward and progressed and changed...not the whole be totally under appreciated and broke part). As for new releases, I am currently recording new material at AngelCage for an EP to be entitled "Porcellina". This EP will contain the first songs featuring vocals/vocal-textures and lyrics from Natalie Dempster. The idea and overall mood for Porcellina was inspired by a poem of hers and her lyrics thus far have been truly stunning. We hope to have a recording completed by the end of the year, with a release in early 2002.

The Fits - "The Fits Punk Collection" CD 1995 320


"The Fits formed in Blackpool in October 1979, with an initial line-up of Mick Crudge (vocals), Andy Baron (bass guitar), Kev Halliday (drums), and Bill Hughes (guitar). They played their first gig only four days after forming. After four gigs, Bill was replaced by Steve Withers. Their first release was a tape called 'You Named Us', which was really a rehearsal recording with an interview tagged on at the end. Their first single 'You Said We'd Never Make It' was recorded in June 1980, and was sold through the used record store of Barry Lights. When the initial run of 1,500 had sold out, Lights repressed it on his own label 'Beat The System', where it eventually reached number 2 on the 'Sounds' punk chart. 

Increased exposure saw them supporting more established punk bands such as the UK Subs, then signing with the Rondelet label in November 1981. Rondelet issued their second single 'Think For Yourself' on New Year's Day 1982. In March 1982 they entered the studio to record the 'You're Nothing, You're Nowhere' LP. They were collectively disappointed with the record, enough for Kev and Andy to leave soon after. Tez McDonald of One Way System and Ricky McGuire of Chaotic Youth stepped in to replace them. The new line-up had immediate success with the 'Last Laugh' EP, which entered the 'UK Indie Chart' in December 1982, peaking at number 44.

McGuire left in February 1983, his eventual replacement being Gaz Ivin. The band then released the 'Tears Of A Nation' 7" through Corpus Christi. The success of that record as well led Crudge and Withers to relocate to London. McDonald remained in Fleetwood with his family, and did not travel to all of the band's gigs, so Ogs from 'Peter and the Test Tube Babies' would stand in. A split EP was then issued on Test Tube Babies' 'Trapper' label. Trapper released two more singles, 'Action' and 'Fact Or Fiction', both of which again sold well, but the growing violence at gigs of the time affected the group too much, and they split up in November 1985. In 1995 'Captain Oi!' records released a 27-track retrospective, simply called 'The Fits Punk Collection'."

Test Records - Labelography '94-'96


Offbeat little label of straight hardcore, sick speednoize, and cathedral doom,
with aliased releases by Miroslav Pajic, Simon Wiltshire, Guillaume Leroux and more... 

Ghosts Of Breslau - "Gas" CDR 2006 (320 With Scans)


"As the name suggests, Ghosts Of Breslau evokes mystery and atmosphere of the city in music, as well as spirits of the lost or fallen inhabitants. Early productions connected with this dark ambient project were a sort of lost chronicle, existing only in memory of the spectral metropolis. Those soundscapes were supposed to conjure up the spirit of complicated and often tragic stories."

"Wrocław (Breslau) is the historical capital of Silesia and Lower Silesia. The history of the city dates back over a thousand years, at various times it has been part of the Kingdom of Poland, the Kingdom of Bohemia, the Kingdom of Hungary, the Habsburg Monarchy of Austria, and the Kingdom of Prussia and Germany. In the interwar period and during World War II, the city witnessed discrimination and persecution of its Polish and Jewish inhabitants, including deportations to forced labour and Nazi concentration camps, and in addition tens of thousands of forced laborers and prisoners of war of various nationalities were imprisoned in multiple German labour camps throughout the city."

Genocide Lolita - "Fuck Equality" CDR 2005 (224)


Before Zyklon SS there was... 


"This music is made for those who are at war against the modern world. Genocide Lolita is the work
of one man, Justin Ordnung, and has been operating since 2002. Heavy electronics in the tradition
of The Grey Wolves, Ex.Order, and Survival Unit. Equipment used: Boss BR 532 digital 4 track,
Yamaha PSR 280 synth, Wavelab mastering software, Boss Metal Zone MT-2 distortion pedal."






The Grey Wolves - "The Atrocity Exhibition" Tape 1988, "Victory Through Violence" Tape 1991, "Punishment" LP 1992, "The Age Of Dissent" LP 1995, "Incaceration" [sic] Tape 1995, "Catholic Priests Fuck Children" LP 1996 (Mostly 320)


556a - "Police Are Alien" CDR 2002


An exemplary ambassador of the Bloody Fist sound...who never released on them
(a prerequisite for the label was being a resident of Newcastle, which 556a wasn't)...

815? - "Final Refuse" Demo 1 1995 & "Okdekkvin?" Demo 2 1995 (320 With Scans)


Japanese performance-art project that played metallic melodrama and heart attack hardcore
only as an expressionist monologue on Japan's surrender in World War 2 (815? = August 15th
1945, I'm unsure of the symbolism of the question mark though). Shares vision (and abraded production) with early Aburadako, Sekinin Tenka, and Crazy SKB... 

324 - 1997 Demo, "Customized Circle" CD 1999, "The Sun Of Desecration" CD 2000 (320)


"Japanese Terrorizer"...GODDAMN FUCKING RIGHT THEY WERE!!!

Uutuus - "Tyontakaa Saantonne Hanuriin!" CDR 2010 (FLAC & Scans)


ALL the tapes (and final gig) from these '82-in-'92 flaying Finnish hardcores. Ssssssorta authorized? 

L.S.D. - '83-'88 (2005 "Hate" CD Minus DVD) 320


Scrappy hard-punk from these ghosts of Japan's alleway dive bars.
Pre Bloodthirsty Butchers and Chikusho...

Bitousha - "Hiromi's Party Part 1" Flexi 1984


"Japanese hardcore supergroup project (from Sendai), with members and
future members of Disarray, Rebel, Sekinin Tenka, G-Zet, and Cocobat."

Afobia - "Disagio" Tape 1994 (320)


Paying this forward for Phoenix Hairpins (R.I.Pussy.):
Single sublime release of traditionalist (Bauhaus, Killing Joke) Italian post-punk... 


Larm - 1983 Reh-Demo


High rip of a low dub of one of the most death-race-desperate performances from
the great-grandfathers of all noisy hardcore. ИГРАЙТЕ ГРОМКО

Chaotic Disorder, Havaistys, Konkurssi, Krahajy, Kylma Sota, Polttoitsemurha, Ristisaatto Pro-CDRS 2001-2010 (320)


A jollification of some of my fave releases on the singer of Conclude's CDR label, which neurotically specialized in newer Finnish (or Finnish-inspired) noisiest hardcore and rawest punk.
Favest of the faves: Ristisaatto ikuisesti!!!

Borderline - CDR Demo 2003 (FLAC)


Only release of noisy thrash that...borderlines...on crasher crust. A well observed floater in collector hot tubs of the time, the band is so completely forgotten now that even Discogs is amnesiac to their existence. Fave Track: Lost In Maze

Straight Ahead - Discography & Live 1986-1988





1987 Interview By Paul/Larm...

WHO ARE IN THE BAND?

Me (Tommy) on vocals, Rob on guitar, Craig on bass, and filling in on drums is Arman. Craig and I are 16, Rob and Arman are 18.

HOW WOULD YOU DESCRIBE YOUR MUSIC/SOUND?

Fast with crucial mosh NY style! Very generic at some points, like old minor threat sped up a lot, you have to hear it to judge.

WHAT'S MORE IMPORTANT TO YOU, THE MUSIC OR THE LYRICS?

The lyrics 'cause I write them, the lyrics because that is the main thing to be in a band, to express your views, trying to make a better tomorrow for future generations. We put a lot into the music too!

WHAT DO YOU SING ABOUT? AND WHO WRITES THE WORDS?

We sing about unity, peace, caring, loving, hoping for a better world, helping people in need, never forgetting to care. I write most of the lyrics. It's time to help others, unite to fight the enemy, our fucked up system which only supports the rich. People have to start helping other people to make things work. We're much stronger when we stick together to destroy: Sexism, Negativity, Fascism, Nazism, Racism, we are the youth, the future, it's up to us to make a better world!

DO YOU PRACTICE A LOT, IS IT EASY TO FIND A PRACTISE ROOM IN N.Y.?
We practice 1 or 2 times a week, sometimes 3 times. Yes it is easy to find a room here, we rehearse for $5 at Giant studios in N.Y.C.

TELL US SOMETHING ABOUT THE N.Y.  SCENE?

New York is a good place, a strong united scene, not much fights I'm happy to say but sometimes stupid shit starts for no reason. BANDS: Numskulls, Youth of Today, Fit For Abuse, Rest In Pieces, Token Entry, Letch Patral, Cro Mags, Sheer Terror, Murphy's Law, Crippled Youth, there are many good N.Y. bands. A few good zines: Attitude, Guillotine, Tse-Tse Fly, Smash Apathy, Bullshit Monthly. Gigs every week at CBGB's, sometime even 3 gigs a week...very strong scene & good bands.

DID YOU EVER PLAY IN OTHER GROUPS?

No, well yes! I played in N.Y.C. MAYHEM for almost 2 years before we broke up, and a couple of joke bands before that.

WHO CAME UP WITH THE NAME OF THE BAND, AND DOES IT HAVE A SPECIAL MEANING?

I did and yes much meaning, it describes our music, attitude and the way we think and live. We're proud of what we do and who we are, we walk STRAIGHT AHEAD, "straight" to speak with fairness, truth and honesty, and "ahead" to try to succeed in our fight for unity, caring, and peace.

DO YOU HAVE A LOT OF GIGS AND HOW'S THE ATMOSPHERE AT YOUR GIGS? IS IT EASY TO GET A GIG?

We play 1 or 2 times a month, this summer we tour the U.S. we might go to Europe this summer too. The atmosphere is good, no fights, only 1 or 2 fights in all the time we played. It's kind of easy to get gigs, you just have to meet people in other big bands.

DO YOU HAVE ANY "FANS", A FANATIC STRAIGHT AHEAD FOLLOWING?

People come to see us, but i don't know about any fanatic following, maybe? who knows?

HOW DO YOU FEEL ABOUT POLITICS? ARE YOU A POLITICAL BAND? ANY PERSONAL VIEWS?

Concerned...we're not really a political band, although we know the U.S. system has to be changed to help everybody, not just the rich. Don't get me wrong I don't hate them, some of them worked hard for their money, it's just that they got so much and we got so little. Our system must be changed or improved but we the people must stand together to make a change.

ARE THERE ANY SQUATS IN N.Y.C., OR REAL PUNK/HC CLUBS (OWNED & RUN BY PUNX)?

Yeah! There's squats, also real punks. I really don't know of any clubs owned by punks, maybe run by punx but not owned by them.

WHAT ARE YOUR FAVOURITE N.Y. BANDS?

Wow! Many, to name a few it has to be: NUMSKULL, SHEER TERROR, WARZONE, YOUTH OF TODAY, REST IN PIECES, MENTAL ABUSE, CRO MAGS, and so on.

HOW DO YOU THINK ABOUT METAL MIXED UP WITH HARDCORE? SEEING HC BANDS GOING METAL?

If that's what they want to do then I guess it's fine. As long as they keep the heart, trust, spirit, and hardness, and don't forget the people who supported them in the beginning. Stay loyal!

WHAT'S YOUR VIEW ON "STRAIGHT EDGE"? IS THERE A HIGH DRUG-ALCOHOL ABUSE IN N.Y.?

I'm straight edge, the rest of the band doesn't take drugs or shit like that, they drink beer once in awhile. Plus, they have girlfriends and shit, that's fine if they really love them. Yes too many people get drunk and start fights, if they can't handle alcohol they shouldn't drink. Drugs, not that much just smoke, that stuff is stupid and a losing game, STAY STRAIGHT, stay pure and stay hard, especially when it controls you instead of you controlling it.

WHAT ARE YOUR MUSICAL INFLUENCES AND WHAT BANDS INFLUENCE YOU LYRICALLY?

I listen to a lot of south california bands like Doggy Style, Scared Straight, Unity, Uniform Choice...etc. I like good positive thinking bands.

WHAT ARE YOUR VIEWS ON NUCLEAR POWER, THE ARMS RACE?

We should bring it to an end! DISARM! Why should we pay for our government's ignorance and anger. We're people too, equal as they are, the first thing to do it to unite and stop this mad obsession with power.

DO YOU LIKE LIVING IN N.Y.C.?
Yes, very much but I wish I had a car or money to travel. I've been here too long, I need a vacation.

HOW ARE THE COPS IN YOUR CITY, DO THEY LEAVE THE PUNKS/SKINS ALONE OR DO YOU GET HASSLED?

The cops are pretty cool lately, but still, you give somebody a gun and a badge and they think they're better and stronger than you, a lot of them are very ignorant and don't care about helpin', just killing or beating up people. But there is good & bad to everything and everyone. I'm only one voice that will never stop expressing his views!

I HEARD THERE ARE MANY YOUTH GANGS IN N.Y.C. IS IT TRUE, IS THERE A LOT OF VIOLENCE ON THE STREETS, CLUBS, LIFE?

That was 2 or 3 years ago, not now, it's mellowed a lot. The scene is smaller, more united. Sure, there's fights, but nothing like there were back awhile ago. Besides, they're weaker and we're getting stronger, we'll take a stand for our scene.

HAVE YOU MADE ANY DEMO/TAPE/RECORD?

No, but we're recording 10 songs for a comp 7" in Feb. That should be out in late march or april with LARM, PILLSBURY HARDCORE, and ATTITUDE ADJUSTMENT. MIKE RUBENSTEIN is putting out the record, called END THE WARZONE. Then we record a 7" and we're looking for a label to press it up. We might put out an official live tape in march too.

ARE YOU OPTIMISTIC OR PESSIMISTIC ABOUT THE FUTURE OF HARDCORE?

We're getting stronger, the scene is more united and I see many improvements. Nothing dies in my heart, it just makes changes for the better.

DO YOU HAVE ANY ACTIVITIES BESIDE THE BAND?

I help fanzines out, but I'm not a worker or writer for one yet. I workout, practice ( drums), work sometimes, hangout with friends, write lyrics...stuff like that.

DO YOU HAVE JOBS/GO TO SCHOOL OR ARE YOU UNEMPLOYED? DO YOU WANNA WORK? AND IS IT EASY TO GET A JOB?

Bob works, Craig goes to school and I work sometimes at a moving company. It's hard to find a job and even harder finding a good job, but we manage.

ANY FUTURE PLANS?

Records, tours, and looking for a better world for you and me.

ANYTHING MORE TO SAY TO OUR READERS?

Stay pure, stay straight, stay true, stay hard. Keep the spirit and never lose the heart. Think right to unite, start to care for others. Take a stand for unity and wipe out all negative ignorance, watch out for a group of kids from washington D.C. calling themselves POSITIVE FORCE, they sound like they got cause, spirit, and heart. Take care of yourselves.


2013 Interview By Tony Rettman...

When did your interest in playing music start? 

Tommy Carroll: I started working when I was 14 at the boathouse on Nineteenth Street and First Avenue and saved up my money and bought a drum set. I played with a few friends in the neighborhood and my friend introduced me to Gordon Ancis (guitarist of NYC Mayhem) and Tony Marck (first bass player for NYC Mayhem) They were taking lessons and were pretty decent musicians. Metal was our thing. Sabbath, Priest, Maiden and then, of course, Metallica.

How did you get into Hardcore?

We were aware of Circle Jerks, GBH and Discharge; the Metal bands liked. I went to CBGB’s and saw Adrenalin O.D. I liked the scene. There were so many restraints in Heavy Metal and these guys were jumping off the stage and dancing around. I wanted to be a part of it. I was a young kid and I was still searching for things. I wanted something more real; purer. After that show, we got more into Hardcore and replaced Tony with Craig Satari. I knew Craig through Danny Lilker (Nuclear Assault). Looking back now, it all went by so quick. There was a two-year window and then I was out of music. But I really fell in love with the scene. I ended up meeting a woman through the scene and having a child with her. It became more of a lifestyle after a while. I always thought I was an outcast, so I fit right in with all the other broken toys.

What do you remember from the early days of NYC Mayhem?

Back in the day with Mayhem, I used to make our demos by taking my sisters’ cassettes, erasing them and putting our shit on there to send out to all the Metal ‘zines. I was really into the tape trading shit. That was fuckin’ awesome. You had the Metallica demo with Dave Mustane on it and then Death from Florida. It was a great, great scene. You’d be on the phone with these guys and the long-distance bill was building up. I guess the internet is a good thing since it saves these new bands a lot of money on phone bills!

What bands do you feel best exemplifies NYHC?

Up until this day, Agnostic Front is NYHC as far as I’m concerned. When I see them playing in front of tens of thousands of people, I couldn’t be more happy for them. I used to look at my parents listening to all their 50’s shit and laugh at them. Now, I look at myself and all I listen to is the Bad Brains, Agnostic Front and the Cro-Mags. I came to realize that’s my era. That’s the stuff no one can take away from me. That music is connected to the best memories of my life and I hang on to them. I had the privilege of being Roger’s roommate for a couple months way back. When you come into something new, there are guys who are reluctant to befriend you. Roger and Jimmy are still here, so that’s the kind of guys they are. They welcome people in to keep the scene going. New blood, new bands.

What were some of the more important shows for you at CBGB’s?

The first time I saw Agnostic Front at CBGB’s was a big thing. The vibe was great. But even the small bands that played there made an impact on me like Malignant Tumor and The Neos. There was just so many good shows.

Wasn’t there supposed to be an NYC Mayhem seven-inch at some point?

NYC Mayhem recorded fourteen songs for a seven-inch that Dave from Mental Abuse was going to put out on his label, Urinal. He didn’t like the way it came out. I remember him telling me he thought it was going to be more Metal.

You played drums and sang in NYC Mayhem. Barring The Mentors, that’s a pretty unique thing for a punk band.

Yeah, someone who did both those things in Hardcore was hard to find. I had a lot of energy and I could play drums. I have a regret that I didn’t stick with singing and playing the drums because I was actually a pretty decent drummer. Some of that stuff you hear on the NYC Mayhem tapes, I was only playing drums for six to eight months. My ego took over and I wanted to be a singer. In all honesty, I didn’t think I was a good enough singer to sing on a record and carry a band into anything further than playing Hardcore at CBGB’s. Back then, I wouldn’t admit it. I think my talent fell into playing drums. It was my ego that got me to sing but also stopped me from playing music. NYC Mayhem jumped from being this super-fast thrash band to being a full-on Straight Edge band with Straight Ahead. I wanted to be accepted. We started shaving our heads and I admit to losing some of my identity. I was trying to emulate H.R. and John Joseph. I got more into satisfying the crowd and playing something that was the norm. When we did Mayhem, we didn’t give a fuck. We did whatever we wanted to do. Straight Ahead consciously followed the blueprint to be an NYHC band.

Why did the Straight Edge thing appeal to you at that time?

It was easy for me. I grew up with a lot of alcohol and drugs. I did them at a young age and got burnt out on drugs by the time I was fourteen years old. It was an easy choice for me. It was a better way of life.

What do you remember about being in Youth of Today? 

Ray had been into Hardcore for way longer than anyone and he wanted to get a crowd, he was trying to find the pulse of what people wanted.

What do you remember about touring with them? 

People embraced us. Our van broke down and we were starving and all that, but I guess that’s a typical story for every Hardcore band from that time. People in that scene let us come into our house and fed us. It was cool. Back then, I was very liberal, but then you get more conservative as you get older. You’re a bit more naïve when you’re younger because everything’s new and fresh and the friendship and unity held it together. Let’s face it, people are a lot stronger the more unified they are. That scene was a strength; it was the power of a movement. Everybody tried to grasp that and wanted to be a part of something. I’m a New York guy. I’m cynical. I’m a pessimist. As much as I try to be positive and optimistic, that’s the way I’ll always be. Maybe it was because of the way I was brought up and the things I’ve seen and experienced. But it was nice to take a break from that; even for a small period of time. It was a very enjoyable part of my life.

What can you tell me about the tracks Straight Ahead recorded for the End The War Zone compilations? 

Those End the War Zone tracks were really makeshift. I played drums and sang on them and we threw it together really quick. I don’t even think it was mixed. Matter of fact, I don’t even think it was on a reel. I think I sent him a cassette tape.

And how about the recording of the Breakaway twelve-inch? 

Chuck Valle (Ludichrist, Murphy’s Law) started getting into the other side of music and started working at Chung King Studios. I was a good friend of his and he was a fan of Straight Ahead. He wanted to start using the studio to record. We had to come in there at three o’clock in the morning to record. We had no intentions of doing anything with it but seeing how it would come out. It was a twenty-four track board and we had Chuck producing. Duane Rossignol (owner of Some Records record store) approached me about putting in on vinyl. Straight Ahead didn’t last too much longer after that. We were already broken up by the time it was pressed.

What are your memories of Duane Rossignol?

Duane was a good man. I know at one point, he called me down to the store and gave me some money from the profits of the record, which I didn’t really expect. The money wasn’t something I was really interested in. Even today, I’m not someone who cares about money. I probably should! But I don’t! At that point, I wanted to be famous, but on my terms. I didn’t want to be a sellout. I guess I was just too much of a Hardcore communist. But Duane was very knowledgeable about music. He was a big blues guy. At some point, people found out Duane and his politics, made it public and that brought about the store closing. Duane seemed real out there sometimes, but his love for Hardcore was incredible. He was a good man and treated me right. I think everything he did was for the love of the music and nothing else.

Around the same time, Some Records was in business and pushing DIY ideals, Chris Williamson was putting on his mega-shows at The Ritz. What did you think of those shows?

I was never a fan of Chris Williamson. I thought he was a money-hungry cheeseball, but I did enjoy the shows he put on. I thought the Cro-Mags hooking up with Chris Williamson and recording The Age Of Quarrel did them a disservice. I thought the album was produced horribly. They could have been bigger. They got short-changed I think. I mean, Agnostic Front made Victim in Pain for nothing and that record is still a monster. That record was proof that it wasn’t the quality of the sound, it’s what you capture in the recording and they captured something really special with that record.

There’s an infamous story of you harassing or attacking Kirk Hammett of Metallica at a CBGB’s matinee when he jumped up to play with the Crumbsuckers. 

I don’t know, when Kirk came in with his big bouncers, it bothered me. I was there to see a Hardcore show, so I grabbed the mic and said ‘Get this fuckin’ rock star out of here!’ Maybe I was wrong about it, but I was a fifteen-year-old kid at the time. I honestly didn’t think he heard it! But then I saw him make a face at me. He took his guitar and jammed me in the chest with it and then made a motion like he was going to spit on me. I don’t know if he actually spits, but then I spit on him. And then he definitely spits back! Then his two big bouncers grabbed me and Billy Milano said something on the mic. Then one of the guys from the Crumbsuckers said something like ‘It looks like you bit off more than you could chew’. I’m a fifteen-year-old kid, I’m not going to take on two six-foot bouncers. I don’t care how tough I thought I was. Everybody was pissed off at me, but fuck this guy! If he ain’t a rock star, then why is he affected by what I said in the first place? I don’t want to rehash things. Like everything else in Hardcore, it’s made out to be more than it was. There’s no question Metallica is a great band.

Why did Straight Ahead break up?

Rob Echeverria is an excellent guitar player and started getting bored with it. I don’t blame him. We were purposely playing three-chord songs because it had to be a certain way. Don’t get me wrong, Straight Ahead was a good band, but we short-changed ourselves musically. We dumbed it down so to speak. I can’t speak for all the other guys, but that’s how it felt to me. I did something to be accepted. I definitely followed the format to be accepted into the Hardcore scene and by the time I was 17, I was done. I’m just being honest. After we broke up, we got back together for a little bit. When Craig was still playing with Youth of Today, Rob and I said to him, ‘Quit and come back to Straight Ahead’, so he did. But we really didn’t have enough steam to keep going. I’m just so glad to have had a part in it. It’s like CBGB’s, everybody puts their stickers up on the wall, and that’s what we did. We put our sticker up on the wall just like everybody else.

After Straight Ahead, you sang briefly in the band Irate. What do you remember about that? 

Sergio Vega (Collapse, Quicksand, Deftones) was a real good kid who had something going on. He brought me along to sing in the band, but I was really done by then and went through the motions. I was washed up at twenty!

In the present day, NYHC is something celebrated worldwide. From your perspective, why is that?

Back then, I thought NYHC was the only thing on earth. Over the years, people have looked in, idolized others and I guess I can see why. It made history, it made a wave. To me, it was just about being young, being from New York and our personalities and being what we were as people. I thought L.A. was soft and I think they still are. I was never a big fan of the West Coast and I never will be. New York IS Hardcore, period! Why is NYHC great? Because New York’s great!
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