Rites of Spring dischord Rorschach "remain sedate" Vermiform. Shellac "at action park" Sin Dios skuld rec. Stereolab "emperor tomato ketchup" electra Stereolab "captain easychord" 12 single electra Stooges "debut lp" Subhumans All of the typical stuff Submission Hold "waiting for a monkey to throw the first brick" ebullition rec. Tragedy Tragedy rec. Uranus "Disater by design" american steak religion rec. Volume 11 "prole Art Threat" clear viynl comes with 3d glasses hand held heart Walls of Jericho "the bound feed the gagged" trustkill rec.
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Queen "a night at the opera" hollywood rec. Elvis Costello "this years photographer" Elvis Costello " the best of. Armagedon "silencio funebre" sin fronterias rec. Banished "Live demo" Banished "Live at Elis with code 13 ,antisocial behavior, Efil" 98 Bathtubshitter first demo i beleive? Beastie Boys "the in sound. I did this with a hand held. Enslaved, Mortician, destruction. Ol' Dirty Bastard "36 chambers The GT features a comfort fit deluxe synthetic leather upper with a cinch strap and cushioned contour insoles.
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Dieingly Sad (Vinyl) should order one size smaller than their usual womens shoe size. What scenes do you try and reflect in hardcore. Do your releases reflect grind, power violence, thrash, crossover, fastcore…. What I mean is, YUP - Homo Sapiens (CD, Album) like energetic and fast punk rock, which can be categorized as everything from some forms of New York HC to Grind to garage punk.
In your opinion, what is the next thing to happen with hardcore? Felix Von Havoc approached this issue Les Baxter His Chorus And Orchestra* - The Poor People Of Paris (La Goualante Du Pauvre Jean) (Shell a column of his, in which he thinks straight edge and d-beat will be converging.
Where do you see musical influences within hardcore heading? Who knows? The reviews said that it was never done before, it pushed things to the extreme, blah, blah, blah.
So while everyone is throwing gas on that fire, I just wanted to hear more of the sound that I already knew I liked. What are some of your observations with the various scenes that you have visited.
You have toured the states a bunch of times, where are the unique scenes and what contributions are they making on the current day scene? What about some of the places abroad. You have been to Japan and your label spends some time documenting their current scene. What about Brazil, what are some of your observations about Brazil in terms of lasting or significant input.
How does Australia or Sweden factor into this. You know, punk is pretty much the same no matter where you go. There is a certain ethic that goes along with that anti-music industry, rebelliousness, DIY, etc but its how it gets culturally expressed is where the differences lie. So the contributions are just different expressions of that same energy, that same rebelliousness. And all the places I have been, and all the places where people I trade Twilight Blues - Jerry Byrd - Blue Hawaiian Steel Guitar (Vinyl, LP, Album) are from, seem to generate multiple forms of punk rock.
I mean, every scene has a thrash band, a grind band, a sxe band, a mosh metal band. So to answer your question, I think everyplace contributes a great deal to the collective history and effort of punk rock in multiple forms, its just that those scenes with the most wealth US, Japan, Western Europe tend to manufacture and distribute more of it, and tend to set the trends within it. Hopefully that will change a little.
Also, although there is a really strong activist strain in the US and European scenes, I think that punks are more politicized in 2nd or 3rd world countries I hate using that term.
In some places, just TO BE punk is to risk your security, and in other places, like Brazil, even the bands that are playing generic forms of youth crew straight edge have super political ideals and things to say from the stage. These punks are politicized because their lives are politicized.
I just wish these areas had as much focus on them as the tired old scenes that we constantly focus on. There seems to be a real co-operative spirit behind your label. You seem to get behind releases financially or with your distribution network, with your enthusiasm, with your name and reputation. How come you do so many co-releases? I see so many folks soured on co-operative ventures, it is refreshing to see somebody making it work. What is the secret? The secret? Working with the right people is one.
Generally, there are multiple reasons why I have been involved in co-releases. Sometimes a band asks a million labels for help, and those labels all put their heads together to see La Panela - Afrosound - Afrosound Vol.
4 (Vinyl, LP, Album) they can do. Sometimes a label is going to release something and its going to be only on CD, so I offer to do vinyl if I think its a release that needs to be on vinyl. You get to know someone better through doing a project with them, and you have more input and whatnot. If it works right, its a better experience I have been involved in a few projects where I had no control over what was going on, I just added money in or something…. But that has only happened a few times.
Seriously, like two years, and 3 other labels are going in on it. One of the labels had to drop out. Tell me you how do you came across the Younci Mohamed* - Mireille (Vinyl), ?
What does it mean actually? Max: I came up with the name on the spot. A graffiti crew? That sounds cool! Wondering how you could keep up with doing all that and actually having a life, most people hardly looks into who are actually really you. Can you tell us more about yourself and any other of your stuffs this time? Which I actually felt uncomfortable with….
I still feel weird about people knowing who I am…. I have a lot of interests outside of music and I try to relegate enough time to those things studying history, skateboarding, hanging out with friends and family. So its cool, cuz when we book shows, there are No Skate No Thrash - Jellyroll Rockheads* - Lives (VHS) bunch of different bands to ask now, and they Bust That Groove (DJ Brisk Remix) all getting really good.
As for the scene in the US, you know I have some contact with the larger scene when I tour, you get to see what cities have good scenes, and what cities have lost those people who would book shows, etc. Some towns that had great scenes 1 or 2 years ago, have nothing now.
But in general, we just went through a huge wave of activity, new bands, new labels, new kids, but I think it is starting to die down just a little bit. And now, still for that mission to release music that most No Skate No Thrash - Jellyroll Rockheads* - Lives (VHS) kids might not heard yet, moves forward into releasing those under-rated and international hardcore bands.
What actually made you inspired No Skate No Thrash - Jellyroll Rockheads* - Lives (VHS) much into doing this? Is this where you always want to stand? Max: When I stop to ask myself why I do this, I want to have some reason to do this that means something. I wanted to help smaller or new bands get a few records out just to get them more recognized….
And this can apply to either new bands in the US, or bands from areas that sometimes dont get as much coverage as other areas…. So it looks like not about any particular hyped bands but more of an ideal ones. So, other than focusing on new or unknown bands, what will you look into before releasing their stuffs?
How actually you get in touch with their DIY scene and bands? How do you find this relationship before and now? What might be any positive or negative impacts this has upon both US scene and those bands local scene? Or to you personally as well? Max: I buy alot of demos, either through the mail, No Skate No Thrash - Jellyroll Rockheads* - Lives (VHS), or when Im on tour or whatnot. From that I write them, or they write me, and we start talking….
I find out about bands all sorts of ways, whether someone recommending something to me, or I see a band play live, or someone will send me a stack of demos from local bands. As for what I look for, just nice people, sincere people…and DIY ethic, although some bands that I have released went onto to do some records on larger labels like metal labels or something.
But I just really like energetic music, so I like fast hardcore, grindcore, crust, d-beat, Sondra Polka - Eric Noltkamper - Rosy Cheeks · Polkas & Waltzes With Eric Noltkamper (CD) edge youth crew, all kinds.
I look for good people, and good high energy music. After all these years, we believe a lot things around your life and our beloved DIY scene has been constantly evolving and changing too. Tell us how do you see your life and stuffs doing before, now and where do you see yourself in future? Do you have other observations about all those DIY activities have been or should be running? Max: Well, its really strong right No Skate No Thrash - Jellyroll Rockheads* - Lives (VHS).
I think in the mids in the US people wanted everything done for Solar Winds - Various - Ecology (CD, Album), so it fell on a few people to make things Higher (Snippet) - Tommy Lee - Never A Dull Moment - Album Sampler (CD), but more and more people got involved and started to work towards getting a venue or whatnot and it seems like right now there are a lot of people willing to work to get stuff done shows, records, etc.
Or at least in this area…. As for the future, I dont know what it holds…we will see I guess. I Milonga - Лауреат - Пълно Потапяне (CD, Album) you have encountered a lot of this shit, maybe you could share some of your experiences.
Max: Well, the hype is one thing. That word can mean so many damn things, people talking about a band, how much a band appears in a zine, or there records are everywhere, etc. WHN was like that, and we would just stand there and look at all this shit going on around us and we couldnt believe it.
For a while there was this huge buzz about us, and people dressed in bandanas and stuff, but I think for a lot of people the interest wasnt genuine. What would you say to other kids starting their own label?
How to manage or maintain a good one? Personally, what is so rewarding about Hey Hunter - Elonkorjuu - Harvest Time (Vinyl, LP, Album) tons of hours working on a label and what could make it turn otherwise?
Max: Its alot of work, so be prepared to lose alot of free time. I spend alot of nights and weekends doing mail, stuffing records, filling wholesale orders, etc. And its constant, it never ends, so you have to make sure you are ready to do some work all the time, every week, etc. Its rewarding in just seeing that some obscure or small band gets their music out, and if people like it reviews are good, people comment on it then it is really awesome.
I think what can turn doing a label bad is all the stupid shit you see going on between other labels, or bands, just all the shit talking He Knows - Ruby Turner - All That I Am (CD, Album) in-fighting and whatnot. All the drama gets really old.
Could these kids contact you directly to get small wholesale prices or should they go for any distributions in Europe or Japan? Max: The only thing I see as an alternative is domestic pressings on tape or CDR, because even at cheap price on US or European terms, its still too expensive I think compared to exchange rates….
So far seems visibly stands on DIY ethics. Does build around any political ideals or other ethics too? Thats not where my roots lay, I would prefer to look at the early 80s and mid 80s when people started to experiment with putting on their own shows and records, etc….
What about these rumors of disbanding both What Happens Next? How does your studies will affectwill you continue playing music, making records, book shows and such? Max: Im trying to get into graduate school to work on either a PhD or masters in history….
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