xCURRAHEEx Interview with SMIT! 30/11/2011

This week, BALL BREAKERS caught up with local Hardcore pioneers xCURRAHEEx to see what makes them tick. These are a genuinely exciting and vibrant group of lads who produce a fantastic racket with conviction to boot. Here's the interview!

Who and What is xCurraheex ?

xCurraheex is me (Smit: vocals), Mike (drums), Mike Time (guitar) and Taf (bass). We’re a Straight- Edge band from Manchester that play youth crew.

What made you start a Hardcore band?

There were a few bands in Manchester that all featured a friend of mine... Also another friend left his band More Hate Than Fear and gave me the phone numbers of all the guys in the band- I called them and we got together and started xCurraheex. Before this I'd never thought about being in a band- I just loved going to shows. Making that call was the best thing I've ever done. I couldn't imagine not being in a band now!

Which groups have influenced your sound most?

For me Youth Of Today, Warzone, Floor Punch and Reaching Forward have always been in my mind when it comes to writing. This won't change for our future creations.

You've certainly succeeded in re-introducing a raw, no- frills, old- school style of Hardcore but how do you feel about bands who have moved with the times and experimented in a more Metal- based sound? 

We're all open minded and we've all had other projects. Myself and Mike had a Metal band called Wound Up which for me was a way of getting my aggression out in a more powerful and poetic way. I could talk about other feelings of emotion but to the audience they could just feel the sound and be taken in by the more "moshy" side of the music... xCurraheex is different- it's straight- up- in- your- face and it touches on modern life. It will always be old school and no frills for me!

What do you try to achieve with your songs?

As the vocalist I want every song to have a meaning. You can listen to any Pop/Indie/Rock band and they'll all have album tracks which have no real backbone or story. This is why Hardcore, Punk Rock and Rap are the best forms of creativity 'cos its all based on real life. My priority is to make a point and make it stand for something.

The first time I saw you guys was on 18/07/11 supporting Agnostic Front at Moho Live in Manchester. How was that gig for you? 

That show was great 'cos it was very busy and gave us a chance to get our music across to a variety of people from our area. That was a Punk show- we turned up virtually unheard of and we were singing about Straight Edge to people drinking beer! But people were nodding along and some even got involved in dancing. After the set we got a lot of praise from people coming up to us and saying we were great, so all in all we enjoyed the show.

How important are the audience to you at a show?

Well, we've played in front of 10 people and we've played in front over 100. It only takes a 10 strong crowd to dig your tunes and all buy records to make it a success. Obviously being Straight Edge and playing to about 80% non- Straight Edge audiences can be daunting but I'd like to think that they just respect that we have a positive message and enjoy our music 'cos it's Hardcore. If one person in the audience buys our record then there's one more voice spreading the word!

What do you enjoy most about live shows?

There's no better feeling than playing live and people singing and dancing to your music. Whether or not they know it doesn't bother me though 'cos I still get the same buzz! I have a lot to say in our songs so to perform them on a stage is just amazing!

What would you be doing if you weren't in a Hardcore band? Has it affected or changed your life in any way?

Well we'd all be still going to shows so it wouldn't affect our lives in any way. We all do other activities away from music like football, muay thai and skating... So I guess those hobbies would get more attention if we didn't have music.

How do you feel about today's mainstream music? Does it bother you or do you tend to ignore it?

From 1980 - 2011, Minor Threat to Critical Point... Hardcore has survived and is still alive! Considering the amount of money and business in mainstream music it still hasn't affected what we listen to! The mainstream does affect me- it affects us all... At the end of the day a tune is a tune and if Rihanna brings out a classic then we're all gonna buy it!

Is there anything about bands in the Hardcore scene that pisses you off?

I dont want to start a war of words with any bands, but there are a few around who I think are in it for the wrong reasons. The "chuggy", "moshy" Hardcore is what everyone is into lately and people are just creating "moshy" songs. There's no substance to what they're playing. It's easy to make people move to music but what's the point of the vocalist? I wanna hear what they're about and what they've got to say! Hardcore is a sub culture. It brings less fortunate people together- it's something we can all enjoy and afford to be a part of. For bands to demand £100 for playing and £20 for a T- shirt is outrageous! That part of Hardcore really gets to me. When was the last time a city rented a venue and got 5 or 6 local bands to play for free and charged £3 entry to cover venue costs? It doesn't happen!

What's next for xCurraheex?

The next step is a split with Truth Inside (USA) followed by another split with xUnforcex (Malaysia) and we'll also be featuring on some compilations. We're also touring Europe in December (2011) and March (2012). For us it's just another year! As long as we're together we'll continue making Hardcore music.

Cheers for your time, Smit!

Check out xCurraheex on facebook here:  http://www.facebook.com/xcurraheex

LEATHERFACE'S FRANKIE STUBBS INTERVIEW! 23/11/2011

Ball Breakers Media had a chat with the legendary Frankie Stubbs of Leatherface in anticipation of the band's upcoming appearance at Manchester's Night & Day Cafe on 9/12/2011. Here's what the man himself had to say!

Although we can probably guess, why the name Leatherface?

It was better than calling ourselves teapot...

How did the group form in the first place?

Because we had no friends!

Why did you start the band?

To make friends!

What was it like in the early days? 

Shit! And good!

Did you find audiences receptive straight away? Did you care?

I didn't give a shit- that wasn't the point. Playing a gig is a two way thing; hopefully it's about

having a good time. If a band plays with no audience it's a shit gig... if there's a huge audience but no band it's a shit gig- we need each other! Leatherface always had this thing that whether we play to 2 people or 2000 people we play the same, it doesn't matter, we go for it! To be honest I prefer the sweaty bars where people are 2 inches from your face rather than 20 feet away behind a crash barrier!

What's the best on stage experience you've ever had?

One time a girl got on stage, exposed her breasts and then pissed her pants! It might not have really been the best experience ever but I remember it!

And the worst?

At the same gig Wat Tyler  exposed their breasts, nowhere near as pleasant but at least they didn't piss their pants!

How are you feeling about the approaching gig at Manchester's Night and Day Cafe?

I will not feel anything about it until the night... I look forward to playing and we'll see what happens on the night.

Leatherface have an incredibly unique sound- if you could name five things that have influenced this sound the most, what would they be?

The Sex Pistols, Killing Joke, AC/DC, The Police and Gordon Smith guitars.

What is the usual song- writing process for Leatherface?

We fuck about and hopefully a tune comes out...

What do you hope to achieve through your songs and music?

I hope I don't end up in a hospital for the terminally insane!

You seem a lot more thoughtful and eloquent than most "punk" bands. What do you think seperates you from the crowd?

The fact that we are more thoughtful and eloquent maybe?

Do you have a favourite Leatherface song? If so, what?

I have... but they change from day to day

How do you think you've managed to achieve such a misanthropic, stand- apart sound?

Misanthropic is a fantastic word... I don't think we have a stand apart sound- but we do have a

stand apart attitude- which in turn affects the sound. It involves not being big or clever and just trying to make the best songs we can!

What do you hate most about being in a band?

Mostly the other members of the band! I love them but as in most close relationships they can drive you nuts... I wouldn't have it any other way.

Frankie Stubbs, thank you for your time.

Not-So-Firm Casuals

  Lars Frederiksen seems intent on undergoing as many identity changes in his music career as possible and pretty soon will be edging out David Bowie, Madonna and Marilyn Manson- unless of course he sticks to this brand new, oh- so engaging, not-in-anyway-bandwagon- orientated fad. The Old Firm Casuals might be the worst idea the man has ever had. It's been embarrassing enough in Great Britain watching every other teenage punk fan transform into skinheads or casuals with lexicons to match in the wake of films such as This Is England, Football Factory and The Firm- let alone a grown man from California.
  What makes this outfit so terrible isn't just the inane attempt to be a part of a social phenomenon which necessitates a little more than buying the right outfit; it's the fact that the lyrics are so unashamedly thug-by-numbers and could have been ripped  straight from some nauseating "film" such as Green Street. Screaming about wearing designer clothes and breaking peoples noses as though you're part of a firm is completely devoid of creativity, wit, intelligence or depth of any sort. It does nothing but pander to a contingent of society of which Lars and co. are most certainly NOT a part. If you're going to scream this loudly about being a casual, you clearly aren't a casual- you just really really really want to be one PLEASE! It really does remind you of that kid in school who used to bullshit his way to the in- crowd by buying the same trainers and speaking the same way as everyone else. Pathetic.
  When Lars has finished deciding whether he's a punk rocker, skinhead, biker or casual maybe he'll produce some decent music again. For now, we have this flimsy nonsense to avoid and their slack jawed fans who for some reason can't see the ludicrous nature of this endeavour. Thank god for the artistic genius who decided to base the logo on that of famous clothing brand Lonsdale. As though we didn't get the fucking message, Lars. Burberry help us.

'Ard as Naiws, son

"A Way Of Life: Skinhead Anthems"- The Last Resort

  When you consider the title of this catastrophe, and for argument's sake grant it the authority it boasts, it's enough to make the most dedicated shaven head consider not just hanging up his boots- but fucking burning them. For, if this god- awful collection of bullshit really is a summary of skinhead life committed to record, then the skinhead is a violent, old- lady scaring, bigoted mongoloid who should probably be shot in the face. Thankfully, proper skinheads know better, and there's plenty more choice out there for sincere sta- prest enthusiasts.
  Evidently, it wasn't enough for Roi Pearce and chums to simply release an album that was badly produced, out of time and played by what sounds like a bunch of monkeys fighting over the chance to shit into a speaker. No. They had to throw in some truly awful lyrics too. After the musical masturbation that is "Freedom" finally ends we are thrown into the world of Pearce's inanity and well 'ard lexicon. Unfortunately, life in the east end doesn't seem to have had the same effect on him as it did on well executed outfits such as The 4- Skins or The Business, and lyrically it sounds like one of their little brothers having a go. Whilst tunes like "We Rule OK!", "Violence In Our Minds" and "Resort Boot Boys" are, let's face it, irresistible to any oi! fan- the rest of this racket really lets the album down. And that's putting it mildly.
  To communicate my criticism in a more visceral fashion, the lyrics to "Red, White and Blue" and "Soul Boys" are particularly fucking irritating. "Soul Boys" centres around what sounds like a minor and laughable rivalry that occurred in the group's hay- day between skins and soul boys, the pathetic rhetoric used is hopelessly generalising for a band who could have served to defend ferociously the most misunderstood subculture in history (The Skinhead). Dubbing all soul- boys "pricks" or "a bunch of cunts" is hardly imaginative or fair when you consider the history of abuse and prejudice suffered by skinheads at the hands of the media. It hardly seems compatible with a scene that evolved FROM SOUL MUSIC to criticize another subculture based entirely on fashion tastes and the occasional punch up. Anyone with any sense got bored with that shit in the 60's. There's rivalry and then there's stupidity. As for "Red, White and Blue"- the band ramble on about England- attempting to articulate deep seated emotions of patriotism- and instead produce something a ten year old could. Further, for a song entitled "Red, White and Blue" there seems to be a lot of emphasis on just England- I've nothing against such statements- but just call it something else for Christ's sake!
  What I will say for this record is that the three legendary aforementioned tracks helped define a genre and time in history- something some bands never achieve- and you can't take that away from The Last Resort. Also, the overall guitar sound produced is- whether accidentally or not- a corner stone of Oi! music today and no doubt influenced (or resembled a sound that influenced) modern bands such as The Templars. Unfortunately, the three classic tunes to be found on here are drowned out by nonsensical lyrics largely concerned with lookin' well 'ard (even if such things are achieved by "making old ladies die with fright- nice- just what the subculture needs) clumsily made vocal over ploddy, struggling beats all devised by a group who can't keep in time with themselves. It's a good job this band had the name of the famous shop The Last Resort to ride off and the power of this record is definitely mainly due to association with a wider, exciting scene. Therefore, we are bound to find some kin ship and do in the songs previously stated... As for the rest of it? Don't fucking bother.

"Off The Wagon"- Belligerent 86

If I had to pick the greatest  example of a beer- fuelled, testosterone- driven, bar- trashing, no- frills, fighting, fucking, born to lose motley crew of misfits it would surely be Belligerent 86. This is not to say that the band are a set of moronic meatheads content with mindless violence- it is to attribute to them the ability to convey in the most brutal, heartfelt and communicative manner the noise that best characterises the Oi!, Hardcore and Punk Rock of the East Coast in America. “Off The Wagon” is a collection of tales of a discarded working class ferociously defending their identity whilst finding the time to have fun down the bar, fall in love- be it with alcohol or women, and present their broken hearts and lives to us on a silver platter soaked in bile, beer and vitriol.

Stand- out tracks include “Belligerent 86”- a manifesto of the collective’s “suck our dick” attitude. “It’s Over” and “Down and Out” meanwhile are episodes of break- ups and betrayal in which alcohol is anointed as the appropriate cure. We are also treated to a couple of covers- of Sam Cooke’s “Saturday Night” and of Jennings’/Nelson’s “Good Hearted Woman”, both of which are a refreshing, cut- throat treat. If that wasn’t enough, there are also the standard skinhead- pleasers “Punch Out Time” and “Walking Mardi- Gras” which tell of days at work, nights at the pub and friends lost along the way.

What we have here, readers, is a racket that deserves out complete attention. It is as brutal and damaging as a chainsaw, as uncomfortable as a punch in the stomach, and bears the scars of a once handsome set of young men made ugly by what life has thrown at them. This is nothing short of absolute genius.

"Hospitals"- Off With Their Heads

   “Hospitals” by Minnesota’s Off With Their Heads is a jaunty trounce through a flower bed of depression. There’s something about this band’s ability to marry together sentiments reminiscent of introspective convictions of inadequacy with ferocious punk- rock that leaves the listener quite shaken. Although, any OWTH enthusiast should have an idea of what they’ve let themselves in for from opening track “Die Today” which articulates beautifully and concisely the hopelessness of depression and throws into the context of everyday life and the desire to escape.
    The band then go on to cement the premise that their sound is characteristically soul- destroying yet joyous with “Theme Song” which features the wonderful lyric “Life’s got the best of me, now I just want to drop to my knees,  scream, and punch the concrete until my hands bleed”. It feels as though Ryan Young and co. specialise in exposing the deepest and darkest corners of their personalities only to keep the beasts at bay with soaring melodies and an “I don’t give a fuck” facade. It feels, in short, like this is a band passed caring and in reluctant acceptance of a very morbid fate indeed (the only near- solution to which is to chronicle every moment of melancholy in audio form). The only respite from this- or possible respite depending on how you view the lyrics- is the track “Idiot” which on first listen seems like a bit of a joke- a 20 second gambit typical of a punk- rock outfit not taking themselves too seriously. Then you remember who you’re listening to, and even the phrase “you’re a fucking idiot” seems introspective and motivated by self- loathing.
   Such suspicions are more than confirmed by the end of the album, as Mr Young proclaims that “he’d rather be in New York doing heroin again” and then recants a traumatic trip to the hospital to a trudging, relentless beat that sounds like a depressed entity dragging itself through your consciousness before collapsing and rotting in even the most inaccessible recesses of your brain. Fantastic.

William McFadden (THE BELTONES) Interview!

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    Recently, I was granted to privilege of catching up with my favourite lyricist and vocalist of all time, Mr. William McFadden of the ground- breaking group The Beltones. Here's how it went: 
    
    
    Ok, so firstly, how did The Beltones form? 
    
    Rob Sessions (guitarist for The Beltones) and myself lived in what we saw as a cultural void, musically, and the general climate was thick with incredibly bad versions of bands that were popular at that moment. We saw nothing particularly interesting about the bands they were copying- and even less validity in their sad attempts at mimicry! It's kind of hard now for people to understand a punk scene (or whatever you want to call it) in the days before the internet- geographically isolated as we were. South Florida was kind of like a weird island, if you will. You had to really make an effort to even be slightly aware of what was going on outside of it. 
    
    
    Was there any particular motivation behind The Beltones' inception?
    
    
    We started a band because we were young, had guitars, and wanted to hear something we liked come out of them! We found a bass player through our mutual friend- Chuck Loose- and my then girlfriend's little brother really liked what we were talking about. He somehow procured a drum set and assured us that he'd work out learning how to play it somewhat proficiently- so we went with him.
    
    I struggle to place your main influences because the first thing that hit me was that you sounded a little like Skrewdriver! Was this intentional?
    
    There was never any real attempt to emulate any band, and definitely not them. We made some demo tapes, and sold them at the local record shop, Far Out (which subsequently became a label as well). Tim Pagones  made a little display case for them with a sign that read something like "Skrewdriver without the racism". I didn't get it... We did a Wire cover for fuck's sake!
     Are there any songs that are too painful to play live? So many of your lyrics focussed on trauma- is there a therapeutic outcome?
    
    There can be a fine line between catharsis, and beating yourself stupid emotionally. I'll play them all! If you listen to "Let the Bombs Fall" you can hear me throw my headphones against the wall at the end. That's a true story, so yeah, it sucks. The thing is, that's the song that people say helped them through shitty, similar circumstances. I guess the moral is that life shits on you sometimes, and it's okay to be upset- just don't lose sight of the good. It's the "and then from nowhere he feels a gentle hand on his shoulder" line. It's like a lot of those early songs. It's like "Okay, you got fed a plate of shit. Choke it down, and we'll go have a beer and a laugh and move on", if you know what I mean.
    
    Do you think The Beltones will ever do an international tour in the future or is it just not possible right now?
    I'm personally not into it as anything more than ocassional show now and again. If some foolish person wants to buy us plane tickets, and offer me pay commensurate with my current income for a weekend or something, then yeah. Music is not something I ever saw as a profession. I've only ever done it to entertain myself, and I'm way too old and satisfied with comfort to "hit the road".
    
    
    I heard a story somewhere that you were hounded by Neo- Nazis at one point in your career and forced out of town or something? Is there any truth in this and if there is could you elaborate?
    
    If by "Neo-Nazis", you mean a completely insane ex- girlfriend, then yes! I'm happy she did, because I love Austin. Texas on the whole can blow me, but Austin is my home, and I love it.
    
    
    The Beltones make no political stance apparent- which a lot of punk rock bands seem to treat as a necessity.Why do you not delve into the realm of politics?
    
    Well I suppose it's because I'm not a politician. Also, I could give a two-shilling shit about what people want songs written about. These songs are for me. As far as politics are concerned, I've always been troubled by the way people use issues that affect other people's lives, and turn into gangs. We're Tories, so we believe this. We're Labour, so we believe this. It's so small-minded to me. Why can't I form my own opinions on a subjective basis? I certainly don't want to listen to some overpriviledged shit tell me about the "working class". I grew up poor. It's no big deal. It just makes you get a bigger kick out of being able to afford toys when you grow up and have a couple of bucks in your pocket!
    
    You make a reference to “the good lord” in “Mr. Wrecking Ball”- do you have any religious views or is this strictly a lyrical tool for effect?
    
    It's kind of a tie-in to the song that I was paying homage to, "Last Kiss" by J. Frank Wilson and the Cavaliers. I love "Mr. Wrecking Ball" because it's the only one that's basically a work of fiction. It was inspired by a house I had a room in. Everyone was moving out, and I wasn't looking forward to leaving, so I turned off the lights in my room, and wrote it a love song.
    
    Was there any specific formula for writing The Beltones' material?
    
    A, B, sometimes music and lyrics simultaneously. Never had any kind of formula.
    
    It's clear you're an incredible lyricist and seminal composer from not only The Beltones but projects such as Everybody Poops- do you have any other new music in the pipeline?
    
    Haha. Everybody Poops isn't a musical venture, that was just some name I put on Myspace for some songs I demoed at (guitarist for The Beltones) Brad Teeter's house. Apparently at least one of them has been recorded by another band last Saturday for an upcoming release. I have no plans to speak of, but who knows.
    
    Any particular reason for this?
    
    I don't see myself ever giving music the effort required to be in any "real" band again, for reasons mentioned earlier. I love the shit out of it, it's just a matter of me finding people who I want to make new music with. I love working with Brad Teeter, even though he's completely insane.
    
    Finally, and I have to ask you this just for personal intrigue- who is your favourite lyricist of all time?
    
    Oh shit. Well there are so many, but Elvis Costello wrote my favorite line ever, so for the purposes of this interview I'll go with him. It was "I said I'm so happy I could die, she said 'drop dead', and left with another guy". Try and fuck with that! Can't do it.
    
    And your favourite vocalist?
    
    Oh that's easy: Otis Redding.
• Will McFadden, thanks for your time!
  

  

  
  
  

The Sex Pistols @ Manchester Evening News Arena, UK, 17/11/2007

             John Lydon and friends faced relentless criticism when they undertook their first reunion tour in 1996. The music press had a field day and loyal fans didn’t know quite how to feel about this latest outing. Should they be elated at this opportunity for a whole new generation to experience the original snarling punk rockers that exploded from London all those years ago in a tornado of profanity, rebellion and anger? Or should they feel sick at a cheap and embarrassing U- Turn, particularly when considering their previous condemnation of bands such as the Rolling Stones as being “more like a business than a band". For no matter how much sneering, eye rolling, spitting and shrugging  Mr. Rotten does, these glaring contradictions won’t go away. This is made explicit tonight at the Manchester Evening News Arena, UK.

                The collective present in this Arena are perhaps the most embarrassing set of clichés-in-denial ever witnessed in such a musically visionary city. Bondage trousers, mohicans and Malcolm McLaren gear floods the venue like a plague, as does the phlegm, bile and the inexplicable hatred directed towards support artists The Scratch Perverts.

                The Scratch Perverts are of a more- shall we say- electronic ilk than the Sex Pistols, and provide an entertaining, defiant set despite their impressive set being drowned out by musically bigoted morons. One has to admire the bravery of the duo marching across the stage with a hand held camera- filming the inanity- whilst sticking two fingers up for good measure.The hilarity of the crowd's ignorance is of course the undeniable contradiction between the open minded uninhibited experimentalism that was the punk movement and its modern counterparts closing themselves off in a clique of tattoos and tartan, afraid of change or innovation. It matters not, contradiction seems to be the colour that won’t run from this bizarre spectacle.

                The Sex Pistols’ introduction is probably the most moving moment of the night- as the Arena’s P.A. plays Vera Lynn’s “There’ll Always Be An England” and almost every member of the audience is caught up in inspired patriotism- whipped into a singing, chanting frenzy until Lydon marches out to declare that there will, indeed “always be an England!” rife with eccentricity and confrontation before ploughing into the Pistols classic “Pretty Vacant”. Whilst it is comforting to see such a positive rabble rousing start to the show, you do have to question just how many people in the room needed to be told to be patriotic and obeyed in sheep- like fashion. How many of this flock were, prior to this, truly aware that the questioning ethos often present in the punk “movement” is beneficial to those exposed to it, that it encourages a resilience to complacency and provides a sense of patriotic pride when it comes to characterise so much of British music, art and culture? How many of these safety pin enthusiasts were actually utilising this independence and not following a pack mentality when they hurled abuse at a perfectly sufficient support act a few minutes ago? I guess most of them are just here for the spitting and jumping- and they’ll do it to pretty much anything this group endorses.

                The fact is, the crowd would have enjoyed this concert no matter what- and tonight proves this conclusively. If you can enjoy a bunch of fat old men musically masturbating to their own reflection without an ounce of vitality or necessity in their performance then the only explanation is hero worship and stubbornness. This is a sorry state of affairs, and as the band rock out hit after hit they begin to look more and more like Status Quo- particularly when Steve Jones (guitarist) and Glen Matlock (bassist) actually engage in an impersonation of the ‘Quo by rocking back and forth with their guitars, facing drummer Paul Cook in what I can only hope is a misguided attempt at irony.

                If this were any other group, this would have been all right. This performance would have passed, but the slack- jawed inanity of the crowd and the irreconcilable contradictions of such an event outweigh adequate musical performance, some amusing conversation with the crowd, and to be fair, what appears to be heart felt sincerity in places on the part of Mr. Lydon, who to his credit has in the past admitted revelling in his own evolution. Further, the most outrageous and moronic displays of the evening were out of his control and a fault of those in attendance. None of this, however, addresses the contradictions that have characterised tonight and threaten to destroy the original integrity (if ever there was any) of the Sex Pistols. 

THE BELTONES "Cheap Trinkets" (2001) Review

The first time I heard this record redefined my view of music entirely. From the instant I heard those Skrewdriver- style guitars and that defiant yet self- loathing growl of lead vocalist William McFadden I knew that from this moment onwards I wouldn’t settle for cheap lyrics, shoddy timing and half- baked political debates. I wanted real music, tangible emotions conveyed and articulated through a sound akin to the one produce by the revving of a chainsaw. I wanted all of my music to sound something like this.

                The true joy of hearing The Beltones as the holistic noise they produce, is that half of the listener is amused and confused at the bands' overall sound which sounds, in a controversial twist, somewhat like Skrewdriver (vocalist and guitarist William McFadden has made it clear in our correspondence that this is not deliberate and most likely down to the fact that both bands were heavily influenced by The Who and Townsend's guitar style). The other half is impressed that a band has managed to harness such a volatile sound and utilised each component present in the process to produce a menacing racket complemented by timing as tight as a duck’s arse and some of most sincere lyrics ever penned.

                Most lyrics focus on what seems to be feelings of inadequacy or desolation, which are not only painful to read, but when coupled with irresistibly catchy rock ‘n’ roll riffs (most notably on “Weak”) are utterly devastating. It’s difficult to  know whether to dance or to cry. There is other subject matter, however, and we are granted a victorious roar in “Better Than A Kick In The Head” which, whilst making a touching love song full of tenderness, retains a sense of masculinity with its ballsy title, chorus and lexical focus on gambling and violence. Further, there isn’t one filler track on this album- not one moment of musical weakness.  We are, however, granted slight relief in the group’s cover of Bob Marley’s “Concrete Jungle” which takes the foot off the pedal off self- loathing for a few minutes before hitting the accelerator once again in this frenzied joy ride destined towards a world of heart break and futility.

                This truly is one of the greatest albums ever produced. Nowhere else have I read such fantastic lyrics able to convey so much in one line. Combine this with highly organised song structures- and throw in tight musicianship to boot and you have not just an exciting venture but an endearing work of art. What this album does is take a primal and primitive sound, enhance the production and use this as a backdrop to McFadden’s gargantuan growling of the most troubled lyrics I have ever heard. What you are left with, ladies and gentlemen, is a masterpiece that has homogenised the finest, grittiest elements of Oi! and punk- rock and given them a swift kick up the back passage for good measure. Quite simply, this is one of the most beautiful albums I have ever heard.

THE BELTONES "On Deaf Ears" Album Review

For those who have followed The Beltones and had the pleasure of hearing their most recent album “Cheap Trinkets”, “On Deaf Ears” feels like somewhat of a bridging of the gap- a stepping stone in progress between early demos and the fully fledged band we see at the end of their recording career. This is not to say that 1999’s “On Deaf Ears” is an inferior work- far from it. In fact, the question of which of The Beltones’ two full length albums is the finer is a near impossible one to answer.

“On Deaf Ears”, whilst having fewer songs, less frequent soul- shattering lyrics, and less fine tuning, is nonetheless near perfect. Any deficiency- or what some may see as a deficiency- brings with its own special and unique charm. The simplistic and raw production, less layered than its counterpart, provides a crass, blunt, punch- in- the- mouth sound. From the opening gambit (“My Old Man”) this band kicks you in the balls, spits rage in your face and nails a bottle of whiskey whilst you’re still bumbling around on the floor in utter shock. The lyrical focus of this record seems a little more care free in places and certainly isn’t as self- loathing as “Cheap Trinkets”. Tracks such as “Lock and Load”, “Casualty” and “Shoot the Shit”, show a gentler, more innocent aspect of The Beltones. These tracks are nonetheless interspersed with songs exploring the themes of alcoholism, depression, hatred, isolation and loss.

“Let The Bombs Fall”- the album’s last track- is quite possibly the most beautiful, harrowing and devastating song I have ever heard. The lyrics appear to be a direct and personal account of the loss of lead singer William McFadden’s mother and read less like a song more like an account of an erratic and disturbed convulsion of events surrounding said tragedy.  No song to my knowledge has ever portrayed loss- and the subsequent tendency towards nihilism, a hatred for the entire world and an apathy when considering the feelings of others as honestly and concisely as this lyricist.

“Fuck You Anyway” is another fine moment- an anthemic manifesto that upon hearing, every misfit, reject and loser wishes they had penned it first. Never has a song explicated such visceral defiance in the face of the “beautiful people” tormenting the protagonist and his listening counterparts in such a calm and calculated fashion.

Mr. McFadden should surely be credited as the most underrated poet on the planet. I have yet to discover a lyricist with as much finesse both in writing and in execution. These aren’t songs- these are diary entries of an at times screaming, writhing and struggling genius’ life set to music. Never has there been a band like this.

The Specials @ Manchester Carling Apollo UK, 03/05/2009

Sometime reunions just shouldn’t happen. The band in question should leave well alone- it’s never going to be as raw, fresh or immediate as the old days and everyone knows when you’re in it for the money. Those that they know this and try and convince us otherwise only expose their lack of integrity and leave us screaming “have some dignity for goodness’ sake!” Thankfully the 2Tone sensibilities of legendary ska band The Specials not only preserve the group’s dignity, but re-ignite the excitement of the good old days for all who attend the 30^th Anniversary tour which tonight plays to the Manchester Carling Apollo.

                As soon as I step out of the car I am greeted by a bizarre site outside the Apollo; namely hundreds- perhaps thousands of skinheads almost identically dressed. It’s as though I’ve been transported back to the volatile 1980’s- or stumbled onto the set of “This Is England”. The pub behind the venue is heaving and it takes a good 20 minutes of negotiating a path through Ben Sherman shirts and Fred Perry polos before actually getting served. This struggle is short lived, however, as the shaven headed throng gravitate towards the venue.

                Supporting The Specials are Kid British- a lively group who fuse rap, hip hop and ska together and even perform a re-working of Madness’ “Our House” which gets the crowd skanking. This is followed by a DJ set of skinhead reggae and ska during which not a soul is sat down. From the barrier to the rafters, the room is alive, and chants of “Rude Boy” are becoming ever more agitated and prevalent. The mood is akin to that of a pre- match football crowd- apprehensive, high spirited and pumped with adrenaline.

                When The Specials do take to the stage, a convulsion jerks through the crowd from the stage speakers to the highest seats at the back as skinheads, rude boys and mods dance energetically to the classics- “Do the dog”, “Concrete Jungle” (vocals are performed by Roddy Radiation on this song as lead singer Terry Hall nips out the back for a cigarette) and “Monkey Man” light a fire under Manchester’s feet that won’t be stomped out any time soon- not even by the bouncing soles of Dr. Marten boots! Musically, nothing has changed. If you were expecting lumbering podgy 50- somethings to amble onto the stage and make a pathetic attempt at reliving the glory days, sorry, but that just isn’t on the cards. The Specials are as vital as they were in ’79. Bravest of all, the collective venture into a performance of the definitive hit "Ghost Town"- probably the most impressive song of the night due to their ability to recreate the studio sound live- even the high pitched child- like vocals mid- way through.

                It’s safe I think to say that nobody could have predicted quite as strong an anniversary tour as this. No nostalgia as such, more a redefining of good times and good music that still feels so relevant 30 years on. No slacking, no lazy renditions and no compromise of credibility. 

Off With Their Heads @ Moho Live Manchester UK, 31/08/2010.

Off With Their Heads’ performance at Moho Live Manchester was one of the more interesting spectacles I have witnessed, largely due to the extreme juxtaposition of two incredibly present and tangible elements. The first being the harrowing tenacity, vitriol and relentless tirade of confrontation that is the Off With Their Heads set, and the second being the almost completely apathetic reception it is greeted with (save for two or three souls dancing and singing with the band at the front of the stage). The crowd seems to be predominantly made of thick- rimmed glasses, black fringes and rucksacks unwilling to engage with highly emotive and emphatic lyrics played against a back drop of catchy riffs and well- structured Punk Rock, who are instead content to sigh with folded arms as if the embodiment and expression of apathy was this month’s big thing. For tonight, it seems, Off With Their Heads might have felt more vitality playing to a set of mirrors.

 This of course is a shame as Minnesota’s greatest misfits bring us a performance so profound and devastating that I myself am left in a state of utter awe. Self- berating classics such as “I Am You” which can be found on the masterpiece “From The Bottom” are always going to be impressive live to say the least, and the band’s fantastic ability to convey emotions that sit uneasily in the pit of one’s stomach against heroic melodies and jaunty guitar ventures is truly inspired. Other songs that provoke positive reactions from the two or three fans engaging in this performance are “Self Checkout”, “Die Today” and a fantastic rendition of The Beltones’ “Fuck you Anyway” which is co- sung by a crowd member wearing a The Beltones t- shirt.

It’s rare that we see this sort of modesty from such a painfully gifted band, and the willingness to pay tribute to somebody else’s art is moving. The lack of ego is what helps to make this band so important- seminal I would argue, and this is truly one of the most moving sets I have ever witnessed.

 I didn’t bother to watch a single one of the other two acts billed- or take a note of their names. What looked like a silly Sick Of It All tribute act took to the stage after Ryan Young and co at which point I lost interest and headed for the bar. Meanwhile, the mannequins of twenty minutes ago have become a little more animated and receptive. You surely have to question an audience’s tastes when more people are willing to dance and participate in what appeared at best to be a substandard Hardcore-by-numbers set and yet are unwilling to engage with a band that display such ingenuity and lyrical finesse as Off With Their Heads. No matter, a 45 minute set and a heavy night of drinking was more than enough to make this evening perfect- and I happily paid the full price of this ticket to see just one band. I headed off almost immediately after, with a couple of the fans I had seen dancing earlier. We’d had our fill and left the nonsense to the in- crowd.

Words by Seb Murphy- Bates, Picture by Sarah Pennock.

AGNOSTIC FRONT @ Moho Live, Manchester, UK, 18/07/2011. Reviewed.

    After hearing Agnostic Front’s latest offering (“My Life My Way”), you could forgive the average New York Hardcore fan for being a little sceptical in anticipation of last night’s show at Manchester’s Moho Live specifically with reference as to how the band would execute the lethal and brutal kind of set that has defined their very existence since 83’s "United Blood". If any such apprehension was present however, it failed to articulate itself amongst the shaven headed, Dr.  Martens wearing fans gathered in this sweaty underground venue. Rather, any seed of scepticism was crushed under the slam- dancing heels of Hardcore fans before being allowed to grow. Instead, a mood of enthusiasm and uninhibited camaraderie is expressed, as the front line of fans soon become acquainted not only with one  another but with lead vocalist Roger Miret as he makes his entrance from the side of the club, through his loyal fans and onto the stage. The message is clear: We are one.

    Agnostic Front begin their set with a brave choice- “City Streets” taken from “My Life My Way” which has received mixed reviews (even being cited as a “mid- life crisis” of an album by one reviewer) and is sure to pale in comparison to it’s to mighty predecessors “Another Voice” (which defined their modern sound) and “Warriors” (which pushed the boundaries of this new sound in my opinion as far as it could go, hence why the latest album feels a little tired and redundant)- but the experimental opener- which even utilises vocal effects- immediately provokes the kind of crowd reaction that is the bench mark of a true Hardcore gig as the stage diving, sing-a-longs and moshing commence. The true highlights though, are when Agnostic Front rinse through their finest material: Songs such as “Peace”, “Crucified” and “Gotta Go” demand the crowd’s full participation as fans scream lyrics alongside Roger Miret only to jump back into the crowd seconds later. Even the band’s security seem a little apprehensive- and after the show I overhear the chief of Agnostic Front’s security telling a fan that he was seconds away from being kicked out! Miret, Stigma and co. seem to welcome the mayhem, however, recognising that this is what makes a show tangible and real. It feels more like a conversation than a concert as Roger and Vinnie regularly interact with individuals, shaking hands, laughing and joking. This is communication at its very best- surely the essence of punk rock.

    Agnostic Front remind us of what they’re about by denying us an encore. None of that awful “cheers guys- you’ve been the best crowd ever- goodnight Manchester UK!” bullshit only to re- emerge five minutes later to play that song we’ve all been waiting for. No. It’s all been torn apart already- there are no more songs to thrash out- no more points to labour- and indulgence doesn’t sit well this audience so it’s just as well. The crowd got just what they wanted; no frills, no bullshit, no fringes- just pure fucking Hardcore. 

Words by Seb Murphy- Bates. Photography by Gemma Luz

Off With Their Heads' Ryan Young Interview! 16/09/2011

I recently caught up with lyricist, vocalist and guitarist Ryan Young of "Off With Their Heads" (Minnesota) who agreed to an interview. Here's what we talked about:

Why and how did OWTH form in the first place?

It formed when I was 22 years old in Minneapolis. I always hated it when bands broke up and started bands that sounded similar. OWTH was my first and last band that I will write songs for.  That's why we have had so many members. Everyone involved is welcome to be a part of this as long as they can handle it, but I will keep doing it until I finally die, which probably won't be that long from now.

What is the main driving force and motivation behind your music and lyrics?

Stories about myself and trying to write simple and unique music to them. Most of the songs people like are the ones that we came up with a few days before recording. I guess you can work hard, or you can hack your way though things. I've tried both, but hacking seems to be my forte.

What message/messages to you hope to convey to the world through your music?

I don't really try to convey any message in my songs. I never think when I'm writing "Man, I hope someone can benefit from this". I dig from a place that is, in all actuality, kind of embarrassing. I think that's what makes it work out. In a way, it's sort of like a less cheesy Alkaline Trio. Those guys had a way of making me cringe at some of their earlier lyrics. I also still remember them 10 years later. I guess they might have been on to something.

How does the song- writing process usually go for OWTH?

I dictate pretty much everything. Justin (our at home drummer) and I sometimes get together and write songs, but these days most of our songs come from my brain. That's why they be so bananas.

Would you consider yourself a part of a wider punk- rock community/ scene or do you prefer to avoid pigeon- holing and labelling yourselves?

When I was younger, I was a part of the DIY scene in the US. I set up shows and devoted my life to taking care of bands on the road. Since I no longer have a home or a place to help people out, I've become pretty detached from that scene. All of the people involved with it at that time are still my friends, but I get the feeling that a lot of the newer DIY people don't understand where we came from. That pretty much makes me think alot of them are idiots. They write us off because of the choices we made as a band, but have no idea what its like to walk in our shoes. Plus, most of those people are just going through a phase. I play music until I finally kill myself or die from it. Fuck the snobs.

What do you think of the state of punk rock today? Is there anything that pisses you off in particular or do you have a generally positive attitude to the “scene”?

I don't care about a punk scene any more. I like music. I don't need an umbrella to hide under. Most of the shit that punk bands fought for for years isn't really an issue. You have these boner bands fighting about sexism- it's really funny. I've never seen a problem with that at our shows: If there's someone being a fuck, we all get rid of them. It's that easy. They don't come back. People like to cause a big fuss over shit that doesn't exist so that they can have something to complain about. That side of punk is irritating and phony- I just like to get down from time to time. I think women and gay people are better than me. 

I once read that OWTH make “no fucking sense” due to your brilliant and inexplicable ability to make the listener feel simultaneously elated and depressed through their music. How intentional is this contrast?

I wouldn't call anything I do brilliant- I'm just some dude that likes to watch movies and take Vicodin. It started as a joke. The joke sounded good, so we thought we would push it. Then the joke became real. Then the real thing that started with the joke seemed to help people. I still hate everything I've ever done. The next record will be good though.

Songs such as “I Am You” and “Trying to breathe” (amongst others) seem to carry a cathartic quality in their composition and performance. How far do you use your music as a means to exorcise certain demons?

I don't know- I just write about the shitty days- then I bottle that up and try and let it out when we tour. There are tons of times on tour where things get a little more out of control than I can handle- it seems to be getting worse as time goes on. The less responsibility I have on the road, the more trouble I get into- that's why I tour manage and usually drive the band. It keeps me out of trouble.

OWTH are renowned for their introspective and highly personal lyrics, but on “From The Bottom” we are offered a glimpse of a socio/political commentary of sorts with “Terrorist Attack”. Why don't you include more of these types of songs in your work?

That song was specifically about something that happened to me in Minneapolis (our home town).  When a massive bridge collapsed a few years ago, Fox news reported that it was a possible terrorist attack, even though there was no evidence of that being the case. Trust me, the next time something hits that close to home, I'll write about it. Everything going on in the middle east is hugely important right now. I won't write about it until it directly affects me in my home. It's none of my business.

 If you had to pick one album that helped more than any other to influence the band’s direction and sound, what would it be and why?

Probably Dillinger Four's "Midwestern Songs of the Americas" (or whatever its called). That was the record and band that introduced me to the underground. It's angry, catchy, sad and happy all at the same time. They are one of the only bands that I can still watch and be moved by.  I challenge you to find a D4 show that we are at where I am not flying through the air into the crowd or singing backups. I love them, and they have helped me to no end.

Which do you consider OWTH’s finest moment to date?

Nothing specific. We have done more than I ever thought we would. I cant believe people like what I do. Thats a good feeling. I honestly never would have thought that the little hillbilly me from MN would get to tour with Bad Religion, Youth Brigade, Bouncing Souls, Dropkick Murphys and even fucking Municipal Waste. Pretty awesome things.

Along the same lines, does any OWTH show stand out in particular from over the years as the most poignant?

Any time we play in Chicago, its the best. Thats a fucking great city, and I appreciate every single one of those people that come out and support us. There are other places where the shows are as well attended, but for some reason it means more to me there than anywhere else.

If OWTH never existed, what do you suppose you’d be doing now?

I would definitely be dead. I cant work shitty jobs. I tried. It just isn't for me. If I had to have a job now, I guess I don't really know what I would do. We'll see soon enough, I'm sure.

Is there anything in the pipeline for OWTH at the moment or are you guys mainly just touring?

Recording for our split with Discharge this weekend, touring europe starting next week, and then working on the next record.

Ryan Young, thank you for your time.