Katz Seki: March 22nd 1963 - January 9th 2021


2000 Interview With Katz By Sean...

First off Katz, I know HATED PRINCIPLES has a history going back 18 years. Obviously the band has gone through a wide variety of styles...so if it's possible, could you give an overview of why the band initially formed? I know your brother helped form the band, is he still into all things punk now? When did you come aboard and what instigated playing the style of d-beat thrash? How old are the current line-up's members and what compels you to play punk rock at an age where your "peers" might look down upon this (unless they're "old", burnt-out punks too!)? I'm of the opinion that the "scene" has a bad habit of "infantilizing" it's members, relegating thrashers who are only in their 30's into some kind of mental "punk rock nursing home".

Yeah...the band has gone on for almost two decades. It was started back in April of 1981, by our drummer, Jose, and our original singer Mark. They would jam in Mark's grandmother's garage next door. I helped out with making flyers and stickers, wrote lyrics to some of the early songs...my brother, Don, would be somewhat their manager, getting gigs booked and tapes copied. Don later joined in on bass in 1983, I joined in on guitar in 1989. The musical style changed over the years usually being influenced by what was going on at the time, and with the input of the various guitarists that were in and out of the band. I've always been more partial to hardcore thrash, though I would toss in other influences from out of "left field" sometimes. Having slogged it on for this long, it's obvious that we are all in our 30's...Me, 36...Don, 31...Jose, 32...The thrash scene is but a small fraction of the punk/hardcore scene, and there's not a whole lot of thrash bands, but of those that exist, many of them have members in their 30's as the majority of the teen scene seem to be more into "mallternative" pop-punk and ska-pop.

Lyrically speaking, HATED PRINCIPLES follows some tried (but true) "cliches"...songs such as "Extermi-nation" and "We Are Nothing" strictly follow the formula of "this system sucks". Does much thought and sincerity go into the lyrics now (especially at an age where revolt turns to resignation), or is it just "music first" with an attitude of "Fuck it..we're preaching to the converted anyway...we'll just give them what they expect to hear topically"?

I was an English major in high school, and I was in the "fast" creative writing class where the first 15 minutes was spent writing a story, so in that short span of time I would generate 12-16 pages...when I used to do reviews in Flipside, I would do them at a rate of one every 3-20 minutes...When I write lyrics, entire songs would just pour out from my mind to where I would have an entire records' worth in one afternoon. It basically depends on how absolutely livid or miserable I am at the time I'm recording a particular session, and I draw upon these emotions when generating lyrics. The songs you mention were written back in 1992, during one of those said dark moments in my life when I was out of work for 18 months and no one would give me a break. In the past few years I've been working some back-breaking jobs, so now I've been writing about killing my boss or killing off the rich...if you remember the lyrical contents to our split 10" with CUFF. Doing this shit is like an exorcism...like primal scream therapy...an emotional release of sorts. 

You've got a fucking humongous record collection Katz! What are you numbering vinyl-wise now? How the fuck do you even remember all the shit you have? I understand that it spans several genres, but at what time did you stand back and really think, "Fuck! I've got a lot of bitchin' shit!"? Do you ever trip out on the size of your own collection? I know that you don't like to consider yourself a collector, but CHRIST you've got a ton of great stuff!!!

I don't think that I have a humongous record collection as I've only got around 7,000 records, tapes, and CD's...though some might disagree with my assessment, especially if they only have 50. I'm really not that hyper-serious about having every fucking punk record. The collection just grew over time and I've never been a fucking drug addict, so I never had to hock off my collection for a fix. Big collections are those of friends who have collections 3 or 4 times more bigger than the one I have. [Such as Felix Havoc. --S]

I understand that a lot of the thrash/punk vinyl you picked up was back in the day (and now some of the pieces are legendary/$$$). Now, when picking up raw punk like SHITLICKERS, PROTES BENGT, SWANKYS...what did you think of the extremity of those releases then? Did people trip out and say "NOW THIS IS HARDCORE!!!" or was it all a bunch of noise to them? How did the more extreme/faster/noisier bands impact you? What are the records that have made the most impact on you not just musically but spiritually as well? Anything nowadays that grabs your attention (any genre!)?

Yeah...I remember buying the SHITLICKERS 7" for $1.95 and just hearing the sonic blast booming out the stereo speakers! I was totally floored. I never imagined back then that punk records would become so comodified. I just bought them, spun them, and that was all...I would say that there is no such thing as "too fast" or "too loud". If its noise that can scare people...that was "cool" in my book. There were some classics that had an impact on me, like: The first two DISCHARGE albums, G.I.S.M. "Detestation" 12", DISORDER "Distortion To Deafness" 7", and RAW POWER "Screams From the Gutter" LP. Hell, hearing the rough mix tape of "Screams..." is what inspired me to buy my first guitar.

At what age did punk rock hook you? What was it about the music that drew you in so hard? You're Japanese, right? Did you experience any racism/harsh sentiments about both being a "minority" AND a social outcast?

I was in high school at the time...the student body during the late 70's was either disco-freaks, heshers, jocks, etc...I was more a science nerd and didn't fit in with any clique, but I wasn't a dork because I had a very violent streak, and I was hell-bent in murdering any asshole who was giving me shit...smash the face of one asshole with a trash can, bash another with a chair, beat one with a chain during the middle of class, etc...believe me, I've gotten shit from way too many people for way too many things they don't like about me and I have little tolerance for the shit, so when some dickface think that they got an easy mark on this "slant-eyed yellowman", they will get one big shock when they get a fist in the mouth, a steel bar across their head, or a loaded military weapon in their face. But yeah, X, Suburban Lawns, Rubber City Rebels, and Devo were the bands that got me into punk.

How many releases (vinyl or demo) has HATED PRIN-CIPLES managed over the years? You're friends with Brian/G.T.A., so why no "back in the day" collection? When do you expect Matthias/Ecocentric to release that 5- year-old 3" material? You also have some new releases slated for later in the year...what are these, and why has there never been a full LP?

Right now we're waiting for our next record to be released. It's a limited split 7" that the guys from CHACHI ON ACID, out of Canada, are putting out. Our debut was released in 1983...an LP was put out in 1988...a live 7" in 1991..."Extermination" in 1992...the split with SLIGHT SLAPPERS...the "1982 Demo" on 7", split 10" with CUFF...we've done 2 demos that we sold and several for comps or reference. Actually, Brian/G.T.A. did inquire once about a HATED PRINCIPLES retrospective, but I don't think that there's too many people who would even buy it, so I don't expect one anytime too soon. There is a 90 minute collection of demo tapes out on A.O.N. in Bulgaria. The Ecocentric session was supposed to be for a comp CD, but it was later cancelled, so Matthias decided to do our shit for a 3" CD. When will it be released? Don't know...someday.

Punk rock can't be everything in someone's life (unless you're Thrashead, notorious L.A. hardcore-records maniac and drummer for BAD ACID TRIP), what is it that you get up to outside of scene stuff? I understand that you're quite the mixmaster, having recorded sessions for GAIA from Japan and Mexico's SOLUCION MORTAL. Any other hobbies?

Other than music, I used to do quite a bit of photography and videography. With work and poverty, I haven't partaken in these activities recently. I used to go camping out in the desert...I'm still a science buff...recorded quite a few bands on my 4-track recorder, and some of it has actually gotten used...Some of the best sounding stuff I've got is: LACK OF INTEREST, MAN IS THE BASTARD, SLEESTAK, MK ULTRA, HERMIT/JALOPAZ, and CHRISTFALL, of which all were recorded live. The demo sessions I recorded of my other band, the noisecore group N.O.Y.F.B., is also quite good too. 

You do a deathnoise project called HUMANEXTERMINATIONPROJECT. It seems that a lot of hardcore people have gotten into harshtronics. What compels you to create fucked soundscapes and what has the response been to your tapes? What are your comments on ridiculous special packaging (like the time where Merzbow sold a tape wrapped in burlap and dipped in cement!!!)?

I got into the noise thing because it's a sound that seems more Dadaistic than noisecore...it was just the next step over. This is not such a new phenomena as many years ago THE WEIRDOS did the "Warhead Alert" album on CONTAGION records, and the guys in ANTI did "Zurich 1916". I've gotten some good feedback from my latest batch of noise recordings, and I'm hoping to be doing a collaborative 7" with AMPS FOR CHRIST. I do all this noise shit 'cuz I can do all the instrumentation by myself...it's another outlet for my inner expression. Being more a "Hardcore Head" , I don't care for some of the artsy pretentiousness that exists in this scene...some of the amusing packaging is just that, amusing. On any other level than that it becomes pretentious...the prices charged for some of this shit is over the top.

What does the future hold for HATED PRINCIPLES seeing as you guys have been a studio band for several years? Any dreams you still wish to accomplish? Will you ever play live again?

Record more stuff...more records...etc. Live performances? Not likely...can't really find the time...works a drag.

Wax - "Punk Och Kärlek" Demo 1983


"I demand that the master tapes are found and that this demo is released on vinyl!!!"


"This Swedish band was formed in 1982 and the three boys playing the instruments was only 14 years old. The female singer Eva Fasth was 3 years older and made a hell of a work behind the microphone. All songs was written in 1982 and the demo was recorded in January 1983. It has that raw attitude when kids are angry and just want to play. Hardcore never benefit from too much contemplation – it should come from directly from the guts." --Swedish Punk Fanzines Blog

Hectics & Rabid Demos (FLAC)


Post Dust Noise (similar style, but professionally recorded) slaps kacks with
thrashy dis-noisers Rabid (clean-raw production). Debuts, and finales 😢...

Speed Airplay '86-'89 (Mostly 320, With Covers & Track Listings)


Five "off the radio" tapes released by the Swiss hardcore show itself...


Disregarded: 27 Years Of Forgotten Disses - Disaccord Demo 1985 (FLAC), Disappointments "Better You Than Me" 7" 1987, Disarray "1982-1986" CD 2008, Disclose "Raw Brutal Assault Vol. 3" Homebrew Data-CDR (No Year), Disco Cunt VS Electric Shock 7" 2005, Disco Disco (Watch/Swankys) "Dischord Disc" CDEP 1998/2002, Discontrol "The Skies Turn Black" Demo 1986 (Pre Warfear/Wartorn), Disgorge "New Wave Sucks" Demo 1988, Dislickers ‎"And The War Continues" Demo-CDR 2006, Dispense "Nothing But The Truth" 7" 1993, Disprove 7" 1995, Distate Demo 2009, Distemper Demo 1984, Distrust Demos 1 & 2 1983-1984 (Some Bands With Scans, Some Releases Not On Discogs)


ANTICHARGE!!!

Am Not - "The Developing World" CD 2017


"Am Not's new album is pure assault of industrial/power electronics, well designed
and structured - a tour de force from start to end...his most varied work to days!"


"Sell your shares, fortify your houses, invest in gold, stock pile fuel, choose your allegiances,
change them as necessary, sharpen your blades, tear up your passport, seek asylum, hasten collapse,
stay safe, take back control, seize opportunity, and with your God willing you will survive."

Dispyz - "Dangerous Techno Punk Pop Rock!!!!" CDR 2003, "Raverblood" 7" 2009, "Datarunner" 7" 2010 (320)


"Dispyz is an alias of the Amiga tracker musician, producer, and live performer Tyler St Clair. Born in the concrete suburbs of Milwaukee, he developed a radical musical chiptune style. Although a majority of his sound is based in the minimal, harder edges of early industrial music, he is known most for his unique blend of breakneck speed video-game music."


"My name is Tyler and I've been making tunes since 1995. I began writing music at the age of thirteen when I saved my paper route money to buy a Commodore 64 computer. I originally purchased it to feed my video game addiction but I quickly realized the machine's ability to create sounds like those of my favorite games. Those long afternoons spent as a latch-key kid conveniently allowed me to create songs and melodies while being able to happily shut out the world. Gone were the days of recording my NES to listen to the rhythms on the way to school! During those years I created the foundation for what became my first batch of material. My simple hobby turned into a full blown obsession several years later when I became aware of audio sampling through the use of my Amiga computers. I kept my music a secret from everyone around me until a friend of mine heard it by accident and because of his reactions I started to think about music as more than just a secret."

Otakt - Demo 2 1986 (With Scans)



Dispense - "In The Cold Night" 3" CDEP 1994 (FLAC/320)


This was an early blockbuster for Damaging Noise (five T-H-O-U-S-A-N-D downloads!!!).
It's one of the better 90s dissers, but not something I thought would be lusted after like a
revenge-porn leak of Henry n' Harley. Re-ripped for today's generation of the vampirically thirsty...


Corrupted - Collection 1995-2002 Bootleg Omnibus Minus LPs (320 With PDFs, No Year)


"We've never done an interview and we don't let professional photographers take our picture. This is our policy—more an attitude—that we'd like to keep. Our expression of being Corrupted is in the sound, lyrics and artwork of our records. Of course, we always appreciate the people who buy our records, see us play and support us along with the fanzines, labels, distributors and event planners. We do not reject all media, or bash writers who express themselves through articles or reviews. All are free and it's only through our personal expression of using the media that we exclude interviews." --Corrupted, 2002

Write-up by Phil Freeman for Burning Ambulance...

Corrupted are a fascinating, mysterious band. They never grant interviews or allow themselves to be photographed in an official “promo photo” capacity, though they perform live and photos and video of their shows can be found online. They’re Japanese, yet for the majority of their career, their album titles and lyrics were entirely in Spanish, with early EPs using images of graphic violence clipped from Mexican tabloids as cover art. Only in recent years have they begun to give songs titles in Japanese, and this, their latest CD and seemingly the beginning of a new phase for the group due to membership turnover, bears a German title which translates to “garden of unconsciousness.”

Corrupted’s style has evolved greatly over time. Their earliest releases were sludgy, primitively recorded doom metal; their debut release, the four-track Anciano EP from 1995, sounded very much in the spirit of Eyehategod and similar acts, churning out Black Sabbath-esque guitar riffs at half speed as the drummer and bandleader, Chew (formerly of Boredoms), crashed his cymbals relentlessly and occasionally set up a slow, thunderous beat. But even on the follow-up, El Dios Queja, recorded the same year, the band’s sound was already evolving. The EP’s third and final track, “Sisto,” was nearly 15 minutes long, prefiguring ever more epic works to come.

When Corrupted began releasing full-length CDs, they didn’t play around. Their first album, 1997’s Paso Inferior, was a single 42-minute track, a feedback-drenched marathon of pain with guttural, anguished vocals surrounded by a storm of guitars that sounded more struck than strummed, and drumming that seemed fueled by fatalism and despair. Doom metal bands frequently seem intent on subverting any attempt at catharsis, preferring to oppress the listener, and Corrupted quickly proved themselves masters of the form.

Consequently, they moved on. Their second full-length, 1999’s Llenándose de Gusanos, was a two-CD, two-track opus that radically expanded their sonic territory. Disc One, “Sangre/Humanos,” was a 50-minute track that began with delicate piano and murmured vocals; the guitar didn’t arrive until the 20-minute mark. Meanwhile, Disc Two, “El Mundo,” was a 74-minute ambient composition, nearly inaudible in parts and reminiscent of pieces by Bernhard Günter or Francisco López. They waited five years to put another album out, and when Se Hace Por Los Sueños Asesinos appeared in 2004, it was another stylistic left turn. With three tracks in only 35 minutes, it was practically a single, and the first piece, “Gekkou no Daichi,” was not only their first Japanese title but also a 17-minute marathon of growled vocals and slightly detuned acoustic guitar, closer in spirit to Jandek than to doom, or to any previous Corrupted effort. The disc’s other two tracks, “Rata Triste” and “Sus Futuros,” were more like old-school Corrupted, with the latter coming shockingly close to actually rocking, driven by a powerful drum performance by Chew and built around an actual riff—one that could have started listeners moshing, rather than standing around, arms dangling at their sides, morosely shaking their heads.

Se Hace was a brief detour, though; the following year, Corrupted released El Mundo Frío, a single 71-minute track that incorporated harp into its early, quiet passages. In the track’s final third, the guitars ceased to be as doomy and distorted as they’d been, and shifted into almost post-rock territory, as vocalist Hevi began to recite the lyrics in a hoarse, earnest whisper rather than his usual bestial roar. It was a sign of things to come.

It took a while for Corrupted’s new direction to become clear, though—the group released only two 7″ singles, “Vasana” and “An Island Insane,” between 2005 and 2011. But a new album is finally here, and it may be the group’s most fascinating effort to date.

Garten der Unbewusstheit is another three-track effort, running just over an hour. The first piece, “Garten,” is almost 29 minutes long; it’s followed by a four-minute acoustic guitar interlude, “Against the Darkest Days,” and the album concludes with a reworking of “Gekkou no Daichi,” from Se Hace, that’s over 30 minutes long—nearly double the length of the original.

“Garten” begins with an extended passage of acoustic guitar, with the merest hint of drums behind. Six or seven minutes in, electric guitar and bass join in, but they’re quiet, almost jazzy or post-rock in tone. It’s not until the 10-minute mark that the first element of doom appears, and the guitars don’t suddenly come roaring in—they build slowly, getting louder and louder until almost before we know it, we’re being crushed by riffs the size of buildings. And then, the loud guitars are gone again, disappearing at minute 12 and not returning until minute 20. They’re being used as punctuation, a device to divide this composition into thirds. “Garten” grows quieter and quieter in its final minutes, until eventually it fades down into gently echoing distortion which leads seamlessly into the four minutes of acoustic finger-picking that is “Against the Darkest Days.” This track, too, flows directly into the next one—the reworking of “Gekkou no Daichi.” This new version of the Se Hace track is electric and ultra-heavy, with the familiar riff transformed through distortion and volume into something just as despairing as the original, yet much more overpowering. As the piece crashes onward like a lumbering prehistoric beast through a fog-shrouded forest, knocking down trees and tearing up the earth, it begins to feel like something that’s been built up to not just over the course of the album, but over the course of Corrupted’s entire career. This is the thing, the sound, they’ve been chasing and setting the stage for. And eventually, of course, it dissolves in a wash of noise, leaving behind a minute or so of softly plucked acoustic guitar to end the album.

This is the final gesture for this version of Corrupted. Hevi has left the band, as has guitarist Talbot. New members have been recruited (and there have been many lineup changes in the past), but this is the end for Corrupted Phase 1. It’s a hell of a way to go out, making what’s easily one of the best albums of the year—crushingly heavy at times, delicate at others, and always beautiful in a way that’s unique to them.
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