The Rock-O-Rama sound reborn (O.G. not W.P.)!
Hardcore-adjacent fast n' hooky P-U-N-K from Deutschland...
8-Bit Bandit & Dumbfoundead - "Super Barrio Bros" CDR 2007 (320)
Mindblowingly nerdy chiptune with above average
home production. G-rated rhymes, but a whack-free time...
Raw Peace 2017-2023
Passionate Belgian d-core (not discore, it's got more hard's than d's). Fave Track: 100 Days...
T. Mikawa - "Cloud Carpet Bombing" CD Version 2022 (FLAC / Bleak Bliss Rip)
Incapacitants/Hijokaidan side squelch...
Interview by Mikko Aspa 2001...
When you started Incapacitants, did you have clear vision of what you want to achieve? What was your motivation to create this sound and when did it actually start?
When I started Incapacitants in 1981 as my solo recording project, not a live unit, what I wanted to do was to create pure strong noise. At that time I had been a member of Hijo Kaidan, which was very notorious for the disgusting live performance by some members. I didn’t like such performance on stage so much and thought that I would like to concentrate on sound itself.
Did you think that it would last this long, still doing loud noise after decades?
I had no idea about that matter then. I just started what I wanted to do.
Jojo Hiroshige said in old Bananafish interview that some noise artists like Masonna and Hanatarashi sound like they are trying to revenge being bullied as children by being as unpleasant and harsh as possible, but Incapacitants is different – mostly interested seeing how much power you can generate with noise. Is this your goal in noise? To generate as much power as possible. Or like one of your CD’s is titled “As loud as possible”?
Basically, Yes should be the answer to this question.
Many people talk about noise and power electronics as almost opposite styles. Many feel that noise without message/content is useless. Often it seems that many of those who created record with “content” still have nothing more to say than just pure noisers. They just insert pornographic or political picture to cover. With Incapacitants, I don’t think there is any clear message, except titles like “Curse of Ceausescu”. But you have done Incapacitants for so long time, I think it must have some personal meaning for you?
Whether to put some kind of message or content with noise when to create noise is up to the attitude of the person who creates noise, I think. In my case, I don’t think to give message to noise sound itself except for the pieces’ titles. Titles I gave to the pieces are basically based on very personal matter and I don’t expect listeners to understand my intention of the naming because each title requires to be explained minutely by myself if they should be correctly understood. I would like to listeners to concentrate on noise itself that I strongly believe contains very rich context.
Incapacitants style has remained same since beginning – or at least on all releases I have heard. Long songs of extreme noise, with strong “live” feeling, no quick cut’n’paste editing. Most of recordings have different sounds, some with electronics, some with metal junk, some with feedback. Some of the are heavier with lots of bass, some just high pitched noise. But still, basically same style. You also have CD called “No progress”. Do you feel Incapacitants have no progress at all? Have anything changed since beginning? Recording methods, equipment, live show method?
Yes, I agree with your opinion. The retrospective CD “No Progress” shows that we have no intention to make progress from the beginning. Of course, equipments we use have changed rather dramatically, but as you mentioned, basic style remains the same. The biggest change in Incapacitants history was that at first it was my solo recording project but later it has become duo live unit.
What is the equipment you are currently using? What happened to old equipment? Do you (accidentally) break equipment during shows, as you told they are very physical shows?
Recently, I usually use crystal microphone, metal sheets with pick up, sampler, Electro-harmonix mini-synthesizer, mixer, fuzz, octarver, ring modulator, auto-wah, Ishibashi-thermin and some other effectors. At an early days, I used hand made ocillator, named “The MIKAWA”, which was named after “The Simeon” of Silver Apples, but it was broken now. I don’t know why it’s broken but it may be due to the intense physical action during the live performance. I sometimes kick the equipment table down toward the end of the show, which might cause some troubles in the equipments.
Sometimes Incapacitants uses also screaming or yelling vocals. Does it include any words, or only used as instrument equal to noise?
Screaming voice is one of our instruments, but it could be both meaningful sentences, though it is hardly heard, and just meaningless screaming.
Merzbow creates now his noise with lap-top computer. What do you think of computer noise? Does manually created noise with junk metal and simple electronic devices have more feeling?
Computer noise is interesting and cool to me, but so far I don’t want do it by myself, especially on stage. Live performance with physical action is essential to us.
Do have been member of Hijokaidan in all their best records. Is Hijokaidan still active? Lately I have only noticed re-releasing old stuff. Is there new recordings / live shows?
Hijo Kaidan is still active. Basic member is Jojo Hiroshige, Junko and I. Kosakai sometimes joins as a live member also. If possible, we’d like to release new Hijo Kaidan’s album, but recently Jojo’s main activity is his solo performance.
In past Hijokaidan collaborated with Japanese hardcore/grind band S.O.B. and made it SOBKaidan. I think you wasn’t involved, only Jojo, but what do you think of fusion of noise & this kind of music? Nowadays lots of noise fans have punk or metal music past, do you think it affects the style of noise?
My feeling about this is that hardcore punk guys tend to feel sympathy with hardcore noise. Of course some noisician likes hardcore punk or metalcore or whatever. I myself am neutral.
Have you noticed that interest towards (Japanese) noise would have gotten smaller abroad during late 90’s? Not so much of noise being released and sold. Does this same thing happen in Japan, or everything stayed normal?
My observation tells me that new comers in this category who continue to be active are relatively few and the artists who receives attention to some extent have been the same, generally speaking. Of course I don’t want to say there have been no new comers in these 10 years, but most of them disappear form the scene.
Also some other Japanese bands seem to disappear or have not made new records, for example long time nothing new heard from CCCC, Gerogerigegege, Solmania, Monde Bruits, Diesel Guitar, etc! Do you know these people and are they still doing something? Kosakai was in CCCC, I heard it has stopped. Does Kosakai have now involvement in other bands/projects besides Incapacitants?
CCCC disbanded. Solmania is still rather active. They are doing gigs and releases new CDs. About Gerogerigegege, I have no information but they seem to be still releasing something. Diesel Guitar has returned to his own hometown and is still active to some extent, I heard. Regarding Monde Bruits, he made a new unit “ABM” which is guitar noise improvisation trio. Kosakai belongs to various kind of unit in addition to his solo action. Recently he released 2 CDs. One by the drone improvisation unit “Tangerine Dream Syndicate” which used to be “Ramones Young” CD release by Alchemy. The other was under the name “Uchu Engine” where his part is vocal and guitar. It’s basically rock band in my opinion. CD release by Pataphysique Records.
Do you listen to new noise bands of Japan or rest of the world? Does it interest you?
I don’t care whether it comes from Japan or abroad as far as it’s interesting to me.
Do you listen to your own noise releases?
Yes, sometimes. I love my own sound very much. In other words, I create noise which I would like to listen to.
I noticed Incapacitants appears on compilation CD made by SONY/Epic records. Does this kind of big label enable you reach new listeners outside “real” noise scene, or do you think people just are shocked for this kind of loud noise?
Regarding “Balls to the Wall” compilation, it was one time plan and had no continuity. I don’t think that had big impact to ordinary people, because the sales itself was negligible and people who bought that CD were mainly people who were inside the scene or at least around the scene.
Many noise artists collaborate with others very often. I don’t remember any other Incapacitants collaboration than on “Live Incapacitants” CD there is live collaboration with Tatsuo Yoshida, which has very strange result! Do you think Incapacitants works best in own pure noise and not in collaborations with other artists?
I have no intention to stick to pure noise duo style but so far I believe the duo with Kosakai is the most effective style to do what I want to do. In case of the collaboration with Tatsuya Yoshida, it was a kind of experiment. The result was very exciting for us all, though it may sound strange as Incapacitants. Even if so, I don’t care at all. Other than that case, we collaborated several times with K2. His latest release (4CD set!) contains our live performance. Moreover, Kohei Gomi of Pain Jerk and me collaborated under the name of GOMIKAWA, whose CDR was released by Self Abuse Records. With Fumio Kosakai, GOMIKAWA had become GOMIKAWA FUMIO. GOMIKAWA FUMIO’s CD will be released by Alchemy in the near future.
Many of your releases include live recordings. How does this differ from your studio work? Do you use same methods or are they different?? Sound often is very similar in both…
Though Incapacitants started as my solo recording unit, now its main activity is to do live performance. So, it is natural that the sound sources of the CD releases tend to live materials. However, we sometimes go to the studio to make a kind of recording. Basically the same as live performance, as far as sound concerns, but in studio, we have no frantic audience at all, we can be cooler and concentrate sound itself much more. On the other hand, in case of studio recording live feeling I love can be easily lost. In a sense, it’s a trade-off.
When reading for example Ongaku Otaku magazine, it looks like noise shows are often very social things in Japan. Noise artists meet each other and go to eat together after show etc. Is it always like this or only when “special” shows, like foreign bands touring? Do you see new people come to noise shows or is it always the same maniacs who come every time?
It depends. As for me, I rarely go to see other people’s performance except when I’m also the performer at that show. So, that is almost the only chance to speak with other noise performers face to face. More importantly, I like to drink. So I usually go to drink with other performers and organizers. We call it “Uchiage” in Japanese. Regarding audience, some new, some regular, but Uchiage members from audience is mainly regular people.
I remember reading somewhere that Incapacitants also played live show outdoors in public place early in the morning, and “Live Incapacitants” includes live show recorded in Christmas day. Do you have more “special” live shows, have you played in any strange places etc.?
The only outside performance was at Tajima in Fukushima prefecture, JAPAN. CD “Fabrication” contains the recording at that time as “Good Morning Tajima!” By the way, I’m not Christian and so don’t think to play live on Christmas Day. I should have stayed at home calmly with my family, however. There is no other special show or performance in a strange place so far.
What does your family think of Incapacitants?
I guess they don’t mind it. I think they don’t like noise at all, so if I try to make them listen to my sounds, they may run away. As far as I do it away from them, they don’t mind.
Have you played outside Japan?
Yes, only once. At “Mottomo Otomo” Wels, Austria, Nov. 5, 1999, which is included in “Live Incapacitants”.
Old Hijokaidan live shows was violent / intense actions. Did you participate on them? Did this kind of things happen with Incapacitants? What kind of live shows you are doing now?
As mentioned before, I was at those early days shows but not engaged in that kind of action. However, strange to say, Incapacitants live always contain intense physical action. Usually I come to be unable to continue to play due to extreme fatigue and disappear form the stage while Kosakai is playing. A few minutes later, his diving to the audience ended the show.
Are you interested to combine noise with visual arts, installation / multimedia, or is noise best when it’s pure and without anything additional?
I’m not so interested in visual arts, etc. In my understanding, noise should be as loud, fertile and pure as possible.
Many of your CD’s released on Alchemy Records include a lot of text, but only in Japanese language. What these text are saying? Why not English translations, even with small text? Is Alchemy only interested in domestic Japanese market?
I’m not in the position to answer this question, but generally speaking, taking it into account that there are many customers outside Japan, Alchemy should try to translation. I don’t think they see only domestic market at all. My guess is that cost and time translation required prevents Alchemy to do so. I’ll talk to Jojo about this matter.
Alchemy Records re-released your debut album “Repo” on CD format. Will you start re-releasing more old materials (tapes), or is newnoise priority?
“Repo” re-release is based on strong request by many fans. I think the “best” release is always next release, so, re-release is not my priority.
Future plans?
Nothing special so far.
I.R.A. - '89-'93
"I.R.A. was formed in the fall of 1986 under the name S.I.D.A. (Sucios y Desordenados Anarkistas / Dirty and Wild Anarchists) by a group of friends that used to meet in the El Poblado park in MedellÃn. The lineup was Yoryi on the drums, José R. on the bass, José Juan on the guitar, and Viola as the vocalist. They started rehearsing at the house of a friend, but were soon thrown out because of the noise and disorder of the public that attended the rehearsals. They then began to rent one of the first practice spaces that existed in MedellÃn. The quality of the sound was bad. Still, it was one of the few options that they had in order to continue. They changed their name to I.R.A., for Ideas de Revolución Adolescente (Adolescent Ideas of Revolution) and found other places to rehearse, but those places had little or no public access (in hopes of avoiding problems). In 1989 the band performed for the first time in the La Visitación neighborhood of MedellÃn. The same year, they recorded their first work at Chava Bluss Studios, 'Barquizidio', a 7" EP with nine songs.
In 1990 Jose Juan rented a house with his buddy Chozas. This house became the place where the Medellin underground scene survived and grew strong during the violent times of the narcoterrorist war. The band had several performances. In these, they played alongside some of the most important underground bands of that time: B.S.N. (Bastardos Sin Nombre), Dexconcierto, Reencarnación, Crimen Impune, C.T.C., Nada, Antioquia Podrida, Ataque de Sonido, and others. That same year Yoryi left and was replaced by Marcelo. Also, the group performed outside their department (state) for the first time in a performance in Pereira, Risaralda. In 1993, at Raimond Records Studio, they recorded their 2nd EP, 'Atentado Terrorista', which contained eight songs. Bass was also performed by Viola, replacing Jose R. The group then changed members yet again: new drummer Kamel, new bassist Federico, second vocalist Mónica, Viola continued to do main vocals and José Juan did the guitar. With this lineup they recorded the 'Impotable Diversión' LP ..."
(Moar Medellin Madness...
Ataque De Sonido 7" 1991
80's Euro-style noisecore/trog-thrash, but from south america (brutally so!)...
Assück - Discography 1989-1998 @ 320 (Banned Aussie Bootleg CD)
Con.Sect Interview (Year Unknown, Pre 2003)...
First off who is Assuck made up of, and when did you form?
At this point, Assuck is me (Steve Heritage – vocals, guitar) and Rob Proctor (drums). We’ve been in the band the entire time. Our new bass player is Jason Crandon, who plays guitar for Reversal Of Man. We’ve been together for a long time, since 1987 [No document, and I highly doubt it was "grind" they were playing. --S]
Give me some history about the band. Where are you from and what was the original line up?
We’re from Florida. Tampa bay, basically. There’s a lot of cities in Tampa bay. Originally we all lived in St. Petersburg. Now me and Jason both live in Tampa and Rob still lives in St. Petersburg. The original line up was me and Rob, and we had a singer named Paul Pavlovich.
What happened with Paul?
Paul was going to school for art, and he lived about an hour south of where we were. We didn’t see him that often. He spent the whole week at school and came home on weekends. He kind of floated and ended up being into different kinds of stuff than us. When he decided that he wasn’t into it anymore, and was kind of still doing it, we decided that he shouldn’t be in the band anymore. It was kind of mutual. There’s been a lot of line up changes since then, though.
At first, you had no bass player?
Yes. About a month before Anticapital came out, our friend Pete who played guitar for the band No Fraud, which is an old band from Florida, he really wanted to play bass for us. We thought that was awesome, because personally, I drew a lot of influence from the way he played guitar at the time. I was just a kid, and he was my age now. He wanted to be in Assuck, so I was like ‘wow’. That was ten years ago. It was really cool. I’m going to see Pete again on this trip. He called us out of nowhere. He lives in San Francisco now and he called when we were in Europe. He said 'I’m going to come out to your show and see you guys when you play San Fran.'
Where did the name Assuck come from?
It’s just a silly name we were fucking with in high school. We can’t change our name now, it’s too late.
What would you change it to?
I don’t know. I wish we didn’t have the name that we did, and we had something that was more serious, because we’re a more serious band now. At the time, that’s what was funny and what we were into. It’s stupid to try and start over just for a name change. I don’t really care about it that much.
You used to be pornocore.
When we first started, it was a joke. That’s why we didn’t need a bass player, it was just a joke. We were like, ‘o.k., we can just jam out and sing about this and that, and it doesn’t matter’. Then when we decided that we had the capability of being a real band, we set our minds as to what we wanted to do and what we wanted it to be about.
How did you first get involved with the death metal/grind scene?
I never really was into the death metal scene at all. I never really liked very many of those bands. I liked a lot of the thrash bands that were before death metal. I never liked the growly vocal bands or anything like that.
No?
I never liked them, no. I was out of metal by the time that stuff happened. We liked Slayer and Celtic Frost, Kreator and stuff like that. By the time that Cannibal Corpse or Deicide was big, the way that I actually found out about bands like that is because I work at Morrisound, and they would come in. I was like, ‘wow, this is what it’s like now, I guess’. I was into hardcore and I didn’t know anything that was going on with metal at the time.
So you came from a punk/hardcore background?
Absolutely. The reason that our vocals are all growly is because of bands like Fear Of God. Not because of Suffocation or any thing like that, even though those bands have their place. It’s weird. At the time when everything was becoming fast and like ‘grindcore’ and stuff, there were screamy bands, we called them dogs and cats. You had dog bands and cat bands. Some how we just ended up being a dog band because that’s the way Paul sang. Musically, we wanted to be Fear Of God. [You failed. --S]
And you keep it DIY. That’s more of a punk rock thing.
Absolutely. There’s nothing metal about driving around in that van right there [points to the tour van]. The only thing that’s metal about us is the traces of Slayer riffs in our songs. We’re a hardcore band that plays fast, with growly vocals.
What kind of old bands are you into?
When we first started doing Assuck, we were into Cryptic Slaughter, Septic Death, stuff that was fast but before there was ‘grindcore’. Paul liked Napalm Death at the time. I never had liked them. It’s more of an attitude, like the Pusmort records stuff, and Christ on Parade. All that old stuff. The fast hardcore bands. That’s why we were doing it. Right now, we listen to so much music. There’s so much music within the genre of punk and hardcore and metal, and anything that falls even close to that now. It’s hard to touch it all. At the time, it was the fast hardcore bands, which aren’t fast now in comparison. Spazztic Blurr, or Wehrmacht, they aren’t fast compared to like, Discordance Axis.
Do you dig DA?
Discordance Axis? Rob played drums for them.
Really?
They lost their drummer somehow. I’ve known John since they were called Sedition, and Rob’s known them for a real long time. They had a trip planned for Japan, and I guess they were going to get fucked out of it if they didn’t have a drummer. So Rob flew up and learned all their songs in a couple of days. And they went.
Rob’s the man.
Ya, Rob’s killer.
He’s a great drummer.
Ya, It’s because the kid’s that are starting bands now, or are learning how to play drums now, are learning from bands that maybe aren’t as fluent at playing drums. Rob was ripping off stuff from like Dark Angel, and guy’s now that are just too good to be in metal.
Lombardo?
Lombardo’s awesome. But for Slayer, it’s not the drums that are good, it’s the fucking guitar playing and the riffs. Lombardo never did anything nuts, but that’s what Rob was learning how to play. That and Charlie Benante and all the thrash bands that had hauling double bass. That’s how he learned. Now the kids are learning from bands like Anal Cunt. Skipping the kick drums, just hitting the crash symbol and the snare. Have you heard the drummer Dave Witte?
Of course.
He’s in a lot of bands. He’s in Black Army Jacket now. He played for Discordance Axis, he played on an Exit 13 record. He played for Human Remains. He’s fucking an excellent drummer, hauling ass all the time. Real good. Kids like that are pretty inspirational, because they’re still within the hardcore scene, but at the same time, they took the time to learn how to do stuff right and not just fuck around.
What are you trying to illustrate with your sound, what are you trying to make people feel?
I don’t think about it like that at all. I write songs that I think sound good and I don’t try to portray anything.
Lets get into the last record you did. You took a four year break between the Anticapital/State To State CD.
I think the last thing we recorded on that was the Blind Spot seven inch, and between that and Misery Index was five years. But we did a lot in that five years. We went to Europe, we toured the US two or three times, we switched vocalists twice, we switched bass players twice, and we wrote all the songs. We started a lot also. We started a record store, it was a volunteer thing. We were busy. Rob went back to school. A lot of things happened within that time period. It’s just that Assuck isn’t going to go away for us, so we don’t necessarily feel that we have to hurry up and write another record. It’s always going to be there for us. We don’t feel rushed, like ‘hey, when’s our next album coming out?’. It’s always going to be there, so it’s not a problem. We didn’t disintegrate as a band, we probably did more in that five years than most bands will do at all.
What did you do differently on the Misery Index release, as opposed to the previous stuff? It’s actually a bit faster with very few breakdowns.
We call it all go and no slow. Between Anticapital, which was recorded in ’91, and Misery Index, which was recorded in ’96, we changed a lot musically. Basically, we wrote what we wrote. It wasn’t a conscious decision at all. We wrote what we thought we could do.
Do you plan to have anything else out before 2003?
We are working on a project right now. It’s the same thing, we have so much going on. By the time this summer’s over, we will have played around seventy shows this year. That’s a lot. We started a band called Anthem 88, which is a youth crew type of band. It’s Assuck with another vocal guy. We recorded an album already. It’s twelve songs. We’ve played shows with that band. We picked out a whole bunch of cover songs that we’re going to record when we get home from this trip. Rob’s going to be moving, so it’s going to be kind of difficult to get that together, for rehearsals and stuff. He’s going for his masters degree and he has to move to the University of Florida, so…ya, we’ll be recording. There’s five Assuck songs right now that aren’t recorded. I bought this box that allows me to play guitar to my self in the van, through headphones. There’s a lot of time to kill in the van, so I kind of made a conscious decision to write more songs.
How is the scene down in Florida, do you get a lot of support?
The scene in Florida is awesome. There’s three or four different cities that have cool individual scenes, where there’s not a cross. Where, if you played in one city and played in the next, none of the kid’s would be the same. It would be a totally different scene. Florida’s pretty big. Population wise, It’s the fourth biggest state in the US, so there’s a lot of kids. Tampa, where we live, has a real good scene. A lot of kids come out to shows, and we started that record store which is basically a space to do shows. Gainsville has a really good scene, it’s totally different from ours, but there’s always kids hanging out. As far as Assuck in Florida goes, we do pretty well. Last year we played six or seven times just at that one space. You can only play so many times before people stop making a big deal out of it. We’re here like twice a year [Boston], and we’ve only played Boston like twice before. We never played in Worcester before, so…
And I know you had a bad experience one year at the Rat…
Ya, the Rat was rotten to the core.
So how has this tour been going for you so far?
This tour is a long tour. This is the last summer that Rob’s going to be able to go for the summer. He’s going to start taking summer sessions at school to get his masters degree done. Actually, this trip was supposed to be with Spazz and Man Is The Bastard. Spazz, who shares members with Capitalist Casualties, Max, couldn’t go, and MITB recently broke up.
I heard that.
Ya, exactly. This trip is big. This trip is probably too much for one person to be able to handle. We’re one month into it, we have another month to go. Were not like an Avail, or anything, that writes music and tours for a living. We have real lives at home, and we value that in a lot of ways. So being away for two months has a huge impact on our regular lives. We’ve been to Europe already this summer, and this is our eleventh show in the United States- we played a couple shows before we left. Over all, we’ve played about 29 shows so far, and we have another thirty to go.
I take it that you read a lot. do you have any literature you would suggest?
Rob reads nonstop. He’ll go to the bookstore and buy a book that’s like the thickest book he can find because he reads real fast. He’ll read a whole book on one trip. Jason brought a suitcase full of books. I can’t believe it. First of all, I don’t read that much. I sure as hell can’t read in a van. I’m always wanting to look at the map, or see where we are. Look around, stuff like that. I listen to music in the van, but Rob reads like crazy. His birthday is on this trip, and I just bought him The Grapes Of Wrath. He wanted to read it, it’s like a four inch thick book. That’s pretty cool.
What’s up with you and Seth from A.C.?
There’s nothing really for me to talk about. There’s no tension, it’s just shit that he starts. You know how he is, man. He’s not just like that towards us. He’s like that towards everyone. That’s part of their shtick. Specifically the Rat show? Were you at that show?
I was there, and I was watching him give you a hard time. Also, I was curious about your side of the story, because I got his side.
What was his side of the story?
I asked him if he really hated you that much. he said you ripped off his band and don’t give him the props. Like, you saw his show in ’88, and that’s why you formed.
I haven’t talked to him since we did sound for them at a show in Tampa once, but we were already a band. It was the same kind of idea. Fucking around and being nutso, which is why our first seven inch is the way it is. But, Paul quit the band, and we don’t do stuff like that anymore. It’s not even anything similar to what they do. A.C. was one of the first fast bands, so…right now, I think even more so than us, they’re a lot truer to what they were when they first started, than we are. Fuck around, write stupid songs, write 100 songs on a record type of a thing…it has it’s place, and kids like that. That’s great, but it’s not what I’m into at all. There’s very few fast bands that I think are good unless they're like old thrash bands.
Have you heard Crudos?
Yes.
Ebro, their drummer, used to play for Charles Bronson and still plays for MK Ultra- he’s pretty fast.
Ya, I saw him the other day. MK Ultra played at the Columbus Festival. They were rock solid, they were totally great. It was awesome. They were the best band of the day. They were also the only band that had anything intelligent to say. Everyone else was like, ‘oh, this is our next song, it’s really weird to be up here on the big stage’. MK Ultra totally, hand over fist, just had cool stuff to say.
You guy’s never talk when you play?
No, not really. I’m not a public speaker. I’m not that kind of person. I write stuff, and I edit it a lot. It’s very systematic, and rehearsed, the kid of stuff I write. And it gets trashed, and started over, and I’m not a very good on the spot talker. In addition to that, we’re not here to make speeches, we’re here to play music. If some kid wants to get into the whole political thing, or whatever, I’d be happy to talk to kids about it. We get bummed about some things we talk about, like fights at shows and people falling all over our stuff. We talk about stuff like that. It was cool to see MK Ultra do that, and they're that kind of band, but we’re not that kind of band at all. Shut up and play, is more what we’re into.
What’s your discography?
There was a seven inch called Necro Salvation that we hate. It got bootlegged again recently. I smashed a hundred and fifty of them on the fucking sidewalk in front of a club in Berlin. The kid tried to give me bootleg records as compensation for bootlegging our record. I just went off on him. We put out a record, it was a split with Old Lady Drivers a million years ago. There’s Anticapital, and State To State, Blindspot, and Misery Index.
Atavistic - Discography '86-'90 @ 320
"Fast thrashing hardcore with metal riffing and a touch of grindcore,
a bit more sophisticated than average." --Brob Tilt
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