Invasion Zine!

Issue 4

2010-03-22T01:04:00.000-07:00

Updates on Issue 4!

2010-02-23T00:17:00.000-08:00

Issue 4 comes out April 1!

So far we have articles with:

Trapped Under Ice

Hope Conspiracy

Title Fight

Creatures

Rotting Out

Forfeit

Lewd Acts

Emily Ellis of Valentine

and we're currently working on articles from:

Adam Green (Director of Hatchet and Frozen)

Heart Eyes

Gone But Not Forgotten

Minus

The Birthday Boys

Stuff for Issue 5 is also underway! Announcing Marta (Bleeding Through) as Issue 5 centerfold!

More to come! Make sure to check out Issue 3: magcloud.com/browse/Magazine/43562

Zombieland Review

2009-10-03T19:12:00.000-07:00

By: Ama Reeves

"While other monsters clamor for attention with capes and claws and bandages, the zombie has embedded itself into our consciousness with little more than a stumble and a moan. Metaphorically, this classic creature embodies a number of our greatest fears. Most obviously, it is our own death, personified. The physical manifestation of that thing we fear the most. More subtly, the zombie represents a number of our deeper insecurities. The fear that deep down we may be little more than animals, concerned only with appetite. Zombies can represent the threat of collectivism against individuality. The notion that we might be swallowed up and forgotten, our special-ness devoured by the crowd.

Oddly those rotten bastards also give us hope. The undead maybe tenacious, single minded and relentless as lava, but they are also stupid and slow; ineffectual and inept. You don't have to be Van Helsing, or even Peter Venkman to throw down with a zombie. Anyone with a pulse can ste up. As long as you keep your head, defeating a zombie is not an insurmountable task. You don't need spells, or stakes, or silver bullets, you just need your wits and a weapon. A gun is good, but most blunt objects will do, things we might have around the house or garden. It is perhaps this combination of hope in the face of terror, that makes the zombie so attractive to us. The idea that we could ourselves, beat death. Beat it until it's brains come out it's ears."

-Simon Pegg from Shaun of the Dead

When I first read this quote by Simon Pegg in the back of a Walking Dead graphic novel it stuck with me. What could be more true and relevant to our obsession with zombies. Anyone can be the hero in a zombie flick and this is the sentiment that Ruben Fleischer was banking on when making Zombieland.

The cast was solid, even though I've never been a fan of Jesse Eisenberg (in this writer's opinion the poor man's Michael Cera) I did feel he played the part of the neurotic, nerdy underdog to the fullest. Emma Stone and Abigail Breslin were phenomenal as gun slinging sisters and completely believable as post zombie apocalypse survivors. Of course, a great film for Woody Harrelson, rarely depicted as an action hero but it suited him well. I think on top of individual performances the ensemble, which had a majority of the dialog for the entire film worked will together and the chemistry was incredibly believable.

The zombies looked great throughout the film and something I personally loved is the individuality of the zombies- housewife zombies, little girl tea party zombies, farmer zombies, etc. No mass of the unidentifiable dead for Zombieland. No sir! The make up was understated for the most part but not terrible. I believe most fans of the genre will be pretty okay with this.

As for the story of Zombieland, don't go in expecting a horror film, you will be disappointed. This film is more in the vein of Shaun of the Dead, with silly deaths, characters with "rules" for beating the undead, and great bad ass one-liners. On top of it being a film about survival it's also about people coming together and creating new bonds after the rest of the world is dead and gone, well... kinda.

I highly suggest running out and seeing this film. If you hate it, it's only a whopping 1:20 mins.

Inhuman

2009-09-12T10:31:00.000-07:00

Article by Ama Reeves

Invasion: What is your role in Inhuman?

Mike: I am the lead singer/lyricist and founding member of the band, along with our guitarist Nick, who was actually the drummer for Inhuman when we started in 1995. I also book most of the shows and semi-manage the band as well.

Inv: This band has a long history. Can you give us a brief summary?

Mike: Inhuman started in the early summer of 1995 and it is now the fall of 2009 and we are still here. No breakups, no sellouts, no reunions and no bullshit. Our guitarist Joseph James has been with the band since 1997, our bassist Hank since 2000 and drummer Steve since 2006. Although Steve was in Inhuman from 2001 - 2003, he re-joined us in 2006. We added Nick as a 2nd guitarist in March of 2008 and we have been a 5 piece ever since.

We have put out 4 full length cds and one cdep, all on different labels, with the last being on I Scream Records with our best release to date "Last Rites", which came out in October 2007 in the USA and January 2008 in Europe.

Inv: Thats awesome. Can you tell us a little about I Scream Records for people out there who aren't familiar with them?

Mike: Well, I Scream is a label that started in Europe, Belgium to be exact in like 1994. But 3 yrs ago they opened up a US office which is now based in NY. I really don't want to shit talk, but I will say that we are no longer on the label and that is for the best scenario for us. We didn't feel that "Last Rites" was pushed at all and it was an unfortunate situation since we feel it is our best record to date and deserves to be heard. We hope to find a new label to call home soon.

Inv: What kind of line up changes of come about over the years?

Mike: We have had a few, mainly drummers since they are so hard to keep in any band it seems because most of them are usually in 3 other band or are insane, or both! But the core of the band, being myself, Joe and Hank, have been doing this for nearly 10 yrs straight on. Over the past 14 years as a band, I will say that every lineup change we have had has been for the better, so it's not that big of a deal. It's been the same vocals and the same people writing the songs for the last 2 or 3 records.

Inv: You are synonymous with New York hardcore.. how do your reactions fare outside the city?

Mike: Sometimes better than NY, sometimes not so much. Lateley we have done quite well when traveling outside of NYC which is great. NYC is a strange place sometimes. You have a good chunk of the crowd at a show in bands themselves or you have kids who don't think it is cool to move up front or dance, but then you have kids who love you and see at every show and those are the ones I play for. I do this for them and for my own selfish reasons I guess becuase I still love playing Hardcore.

Inv: What are some of the places you've been travelling to recently? What bands have you been playing with?

Mike: We played a cool festival in RI called the "Built To Last Fest" with some great bands like Wisdom in Chains, Madball, Strenth For A Reason and many others. Over the summer we did a sold out show in NYC with Sick of It All, Bane and Capital @ the Blender Theatre which will go down as one of our best shows ever in NYC. We have been to Europe, Canada the East Coast and the West Coast, but it has been a long time and we are dying to play out more again. It gets a bit hard with Joe's Agnostic Front schedle sometimes (Inhuman guitarist Joseph James has also been in Agnostic Front for 4 years) but we work it out.

Inv: You've often been referred to as a "compilation band" but over the years you've secured several releases. Do you think you've gotten out from under that title?

Mike: Actually, I think one review said that, which is odd because the last compilation Inhuman was on may have been about a decade ago. As a matter of fact, we would love to be on more compilations. So any labels reading this, do get in touch, ha. Being on a good compilation can get a band some nice exposure so it's not a bad thing. Not sure why anyone who knew the band would say that, but such is life.

Inv: Right now NYHC is at an all time high in popularity in the hardcore scene. I see Merauder shirts going for hundreds of dollars on ebay. ha ha. Has this caused an influx of new fans?

Mike: Since "Last Rites" came out, we have got a lot of new fans and for that I am thrilled. As far as NYHC being at an all time high...I beg to differ. Being from Mass or Long Island or even Cali is "cooler" than NYC these days. Some of the really good labels arent even looking at NYC bands and that is a shame. As far as Merauder goes, they are great friends of mine and I had the honor of being on the bands new cd "God Is I", where I co -wrote and song on the track "Built on Blood". I want anyone and everyone reading this to get the new Merauder cd, it is their best since "Master Killer" or maybe even better than that one! I grew up with Merauder and I am happy to see them put out a new cd after so long. RIP to my brother SOB

Inv: Oh trust me! Your time is coming. Bands out here in California like Downpresser and Ruckus are really striving to emulate the NYHC sound and with a label like Reaper it's only a matter of time before NYC actually realizes it's a cool kid again ha ha. Was working on the Merauder record a challenge since they're coming from a new writing standpoint?

Mike: It was an honor to work on that track for the new Merauder record. I have known Jorge since 1988/1989 and was at Merauder's second show ever in 1990, when Minus was the singer. Being from Brooklyn, back then I had a band called Confusion ( I was the bassist) and Confusion and Merauder did countless shows together in the early 90's. The track "Built on Blood" was just about done as far as the lyrics went but all of the music was done and when I heard the song I was blown away! I wrote my part right there in the studio, after Jorge gave me the scoop on what the song was about and what he wanted to say in it. I really like how both or our voices mix together, very hard and brutal. It was a lot of fun and I'd love to work with more bands in the future if ever asked.

Inv: Your current art work is awesome! Who's the artist?

Mike: Thanks for noticing! All Inhuman artwork, t-shirts and flyers are done by our bassist Hank and he does a great job every time! He did the layouts and covers for "Last Rites", "The New Nightmare" and "Black Reign" as well as our shirst for the last 8 yrs or so and many flyers. Hank may be doing work for other bands soon, so check out our myspace or facebook pages for info on that.

Inv: There is a slight horror vibe to your music, is this intentional?

Mike: I am a huge horror fan with several hundred horror and exploitation dvds. Although we are a Hardcore band, I don't think we should be limited to writing about the Hardcore scene or society or feeling etc. Sometimes I am as moved by a film as I am by something that happens in real life so I almost feel compelled to write about it. On the "Last Rites" cd there is a song called "Grindhouse" which is not about the film from 2007, but about Times Square in NYC in the from the late 60's to the early 90's where they showed some of the sickest movies ever made on the big screen. It was also inspired by a book about the Times Square moviehoueses called "Sleazoid Express" which I highly recomed for anyone interested in film or NYC history.

Inv: I'm a big fan of horror myself. We could probably do a whole interview just about that ha ha. What are some of your favorite films? Do you still love Dario Argento in 2009?

Mike: Hmmm..something says to me that you too hated "Mother of Tears" as well perhaps? Well, yes I am still a huge fan of Dario Argento in 2009. So much so that I spent nearly $50 to get to meet him and have him sign a few dvds sleeves this past June @ the Fangoria Convention in NYC. This was the 2nd time I met him actually, the first was in 1999 @ yes, the Fangoria Convention as well! Only back then I cut a huge line and paid nothing to have him sign a "Demons" vhs sleeve, which is now also signed by Lamberto Bava and framed on my wall at home. Here are my all time top 20 horror favorites in semi-order: 1. The Shining 2. The Exorcist 3. Suspiria 4. Texas Chainsaw Massacre (Hooper) 5. Halloween (Carpenter)6. The Beyond (Fulci) 7. Hellraiser 8. Phantasm 9. The Thing (Carpenter) 10. Cannibal Holocaust 11. Tenebre 12. Deep Red 13. Audition 14. Last House on The Left 15. Bram Stoker's Dracula 16. Dawn of the Dead (Romero) 17. Maniac 18. Last House on Dead End Street 19. An American Werewolf in London 20. Nightbreed

Inv: Ha ha, yes Mother of Tear's was a terrible film and a let down to the Triology, so what do you have coming up? Shows? New Albums? Tours?

Mike: We are in the process of writing a new record and finding a new record label for Inhuman to call home as we are no longer with I Scream.

We are always playing around the Northeast and hope to get out West once a new cd comes out, which should be in 2010 sometime.

Check out our websites www.myspace.com/inhuman, www.facebook.com/inhuman and www.inhumanlegion.com to see what we are up to.

Thanks a lot for the interview and thanks to all who support the Cult of Inhuman.

Good Clean Fun THE MOVIE!

2009-09-06T14:13:00.000-07:00

Interview by Ama Reeves

Hardcore is serious business. It's about how hard you mosh, what you've done for animal rights, and how straight you draw your X's. Just ask Issa Diao, vocalist for Good Clean Fun and the director of Good Clean Fun The Movie. If you are too young to remember the antagonists of hardcore, Good Clean Fun brought a new spin to the late 90s with songs poking fun at people who take hardcore far too seriously, X'd up teddy bears, and songs girls could mosh to. Many have tried to do it since (just think ISHC), and many will try to do it after but no one "saves the scene from forces of evil" like Issa Diao and Good Clean Fun. Now he's taking his creativity and channeling the ghosts of John Hughes and Kevin Smith's discarded elastic waist pants to create a teen romance for our generation.

So Good Clean Fun The Movie. How did this idea come to be?

It is hard to recall exactly, but I think the idea started being thrown around back in 2000. There was no plot idea yet, except we knew that the band should be in it as little as possible since we are terrible actors.

What went into the making of this film?

Everything. I cannot even begin to describe how much work it was. It sort of reminded me of the first day of tour…there are a hundred things to coordinate, you have to figure out how to fit everything in the van, everyone has to be somewhere at a certain time, unforeseen problems arise everywhere, the drummer forgot to bring sticks, and everything is always behind schedule. But shooting the movie felt like that every day!

You wrote and directed right? Is this your first feature? Is film making something that has always appealed to you?

This was not only my first feature, but it was my first anything. My previous experience with film involved making the video for The MySpace Song. I’ve always been a huge fan of film… so much so that my daughter is named Ferris… it would be fair to say that my childhood was defined by movies more than anything else (except maybe music which explains why I saw Footloose so many times in the theaters!).

Living in LA, I know a lot of people slaving away in the film industry. From what I understand, making films costs a lot of money. How did you guys raise funds?

The movie ended up costing a lot more money that I initially thought it would. The words “complete financial disaster” come to mind. Two investors backed out the first week of shooting, and that caused a lot of problems. By the time we were done, I was broke and I owed just about everyone I knew money. A guy who had really helped me out in the beginning ended up getting stuck with a pretty big bill, and I’ve been slowly paying him back…it sucked, because it completely ruined our friendship. But I’m pretty confident that it should break even…I don’t mind eating a loss myself (I had the time of my life and would never consider it a “loss” no matter what!) but I’m very anxious to make sure everyone who contributed gets reimbursed. For the most part, the people who paid for this to happen were just friends who believed in the project. It was really amazing.

Thats all that matters at the end of the day. I believe I once heard Kevin Smith had to sell all his comics to make Clerks.

I hadn’t heard that. That’s hilarious, because I’ve been trying to sell mine to help pay for this movie. It’s been hard to find anyone buying recently though. If anyone reading this wants to pick up about 2,500 comics (mostly Marvel from the 70s and 80s) drop me a line!

Are the members of the cast friends or hired actors?

There is a mix of both. The two main characters are professional actors, and I hired Bronson Pinchot (True Romance, Beverly Hills Cop, Perfect Strangers) to play a role. But the rest of the cast is a mix of friends and actors who are just starting out in their careers. A lot of musician friends were in the movie, and they made it a lot of fun. You will definitely see a lot of familiar faces.

Oh Wow! How did you happen to get him to play a role? Rumor is you had asked Henry Rollins to play a role. What ever happened to that?

I wrote the script with the idea of getting someone famous to play the school Dean. My first choice was Ian MacKaye. I have no idea if he can act, but it would have been pretty cool. Ian said no, but suggested Henry Rollins for the part. Henry also said no. So I put out a casting call for a “name actor” and got some interesting responses from agents. The short list included Dustin “Screech” Diamond, Gary Busey, Vanilla Ice, and Jerry Mathers (Leave it to Beaver). I was flirting with the idea of spending more money and trying to get Joey McIntyre (NKOTB, Boston Public), but then I got a call from Bronson’s agent, and I instantly knew I had my guy. Bronson had perfect comedic timing and could play it with just the right amount of smugness.

What's the plot? Should we be expecting something epically ground shattering to hardcore? ha ha

The easiest and most accurate way to describe the movie to hardcore kids is this:

“Good Clean Fun the movie rips off John Hughes the way that Good Clean Fun the band rips off Gorilla Biscuits”.

The plot will not be unfamiliar to anyone who has seen the classic 80s movies that I grew up on. There is a girl in love with her best friend, a college dean who is her arch-nemesis, and a band who aren’t quite what they seem.

So a mix of The Breakfast Club and Sixteen Candles?

Both those movies are much better than mine! But I think Good Clean Fun compares decently to “Some Kind Of Wonderful”, which I am very happy with!

A little off topic- but how did you feel about the recent passing of John Hughes?

It was actually pretty devastating. Just to give you an idea of how much his movies meant to my childhood (and my adulthood), my daughter’s name is Ferris. I had a daydream fantasy of someday getting to meet John and introducing her. John Hughes is definitely at the top of my list for both writers and directors that I aspire to be like. James Cameron, Cameron Crowe and Ivan Reitman round out the list. It always amazes me that those 4 people fill so many spots on my favorite all-time movie lists.

What kind of reaction have you received so far?

The overwhelming reaction from the people who have seen the final product has been “it’s like a real movie”. I guess when someone says “I’m going to make a movie” you expect something that looks like it was filmed on a video camera and edited in iMovie. This was shot on actual film, and if you were flipping through the channels, it would fit right in with any other movie you’ve ever seen. That is definitely a big surprise to people.

Will there be a sequel?

Haha…I’ve actually got my next 4 movies mapped out. If all goes according to plan, movie number 5 will be a GCF sequel. I really liked how Kevin Smith took his time getting back to Clerks. I would have been sad if he had made Clerks 2 instead of Mallrats, or his next few movies.

Making a GCF movie was very restricting (for lack of a better word). There were certain guidelines that I just had to follow to make it fit with the band. This isn’t a bad thing…I think I came up with a film that strikes the perfect chord for the band…but it will be fun to make my next movie without having to fit that mold.

So this is something that you are going to actively persue? Are you thinking total career change?

Definitely. When people ask what I do for a living, I tell them I’m a director. And I can usually keep a straight face for 3 or 4 seconds before I add “aspiring”.

It seems that you have alot of the same influences as Kevin Smith. Is he also someone that really inspires you? I've heard he's pretty easy

I am definitely a big fan of Kevin Smith. One of the things I like so much about his movies is the way the dialog flows. Clerks was definitely a benchmark in my head for a lot of things about this production…it was a great example of a good script overcoming financial and acting shortfalls. There were a few scenes in Clerks where you just could tell that Randall was reading his lines. Haha…it is actually part of the movie’s charm. In Good Clean Fun, the lead performances are really strong and that makes up for the few lines delivered by non-actors that could have been better with more time and money. I think it is another situation where the strong story makes up for any shortcomings.

As far as Good Clean Fun goes as a band, will their be more tours to promote the movie?

We are figuring out exactly what we will be doing for 2010, but we will definitely be doing something.

From what I've been told, and correct me if I'm wrong but GCF was formed in order to poke fun at the serious and "tough" image that hardcore portrayed in the late 90s. That being said even though you're fueled with sarcasm and humor, you actually practice what you preach, right? You're a practicing vegan and you're straight edge right

I’ve been vegan for over 15 years now and straightedge my whole life. That is a pretty accurate description of why GCF formed but there is a bit more personal story to it. I’d ALWAYS wanted to be in a hardcore band. And since the time I was 15 I had been in one or another---and they were all terrible. The biggest problem was that I didn’t have anything new to say. What made Minor Threat or Youth of Today or Earth Crisis such great bands is that they took the scene that we were used to and moved it in a new direction. I’ll be the first to admit that I had no such illusions about any of my projects. But with the concept of GCF, I got to say the same things that had been said before, but say them in a new way. For instance, a lot of kids were turned off to animal rights by Earth Crisis’ militant attitude, but were willing to listen to our “funny” take on why they should be vegan. At the end of the day, it certainly isn’t groundbreaking, but it gets the job of spreading the message done, and I’m happy with that.

How do you feel when kids take you super seriously?

There have been people who haven’t quite realized that we’re joking about certain things. My personal favorite was when Maximum Rock-N-Roll criticized us for “not being punk” because we had Legal Representation listed on our album cover. Of course, if you read the name of the law firm, you might realize that it was a joke: Chandler, McNamara and Duke. Granted, if you haven’t seen Heathers, it might not be the best joke. But anyone with half a brain should have known that GCF did not have legal representation!

Oh! I completely forgot about that! I had to work at Daniel Waters' house once! If it ever happens again I'm going to bring it to show him! Ha ha

Awesome. And tell him I am a huge fan of Demolition Man! A totally underrated story!

How do you respond to negative criticism from people who just don't "get it"?

I generally find negative criticism to be pretty entertaining. GCF was one of those bands who were instantly “cool”. And then, a little later, we were just as instantly “uncool”. It was hilarious. But, trendiness aside, there are a lot of people who take themselves (and hardcore) way too seriously. The trick with GCF is that we poke fun of everyone, ourselves most of all. What matters to me is that some people “get it” and that makes it all worthwhile.

You've said several times that you've accomplished what you set out to do with Good Clean Fun, and yet you've recorded more albums. Did you find more fuel for the fire or boredom, or has it just people pressing for new records?

The entire “Between Christian Rock and a Hard Place” record came about when I played some old Fugazi for a young emo friend of mine and she said “what is this? It sounds like Bear vs. Shark”? This is a true story.

But seriously, the decision to do another record after the band had pretty much achieved its goals was a pretty easy one. I had some songs written, and I had enough free time to do a few tours.

Let's talk about the Myspace Song and Video. I heard a rumor you actually met your wife on myspace. ha ha. Confirm or deny?

Confirmed. We started talking on MySpace, met a week later, and got married 6 weeks after that. Love at first site.

Wow! That's pretty amazing. So did the song derive inspiration from that or is just a coincidence?

Actually, the song was written six months before we met. Total coincidence. And it wasn’t even released yet when we met, so she had never heard it. It was like secret irony.

I know you teamed up with Joseph Pattisall of Wraith Films to create the video. Was this something that inspired you for more film projects?

Joseph and his partner Daryl Pittman were very inspiring for the movie. Joseph was originally going to co-direct it with me, but couldn’t make it work schedule-wise, and Daryl was actually the Director of Photography---the guy who makes it all look good!

It looks great! Did they have any input on the GCF Movie?

Daryl helped me through some first time director mistakes…simple things like “if we move this shot indoors it will look a lot better”. Or, “don’t touch that, it’s hot”. Mostly the first one.

More importantly, did Tom ever see it and if so what was his reaction?

I’ve heard he “liked it” but cannot officially confirm that he ever saw it.

So after this mountain of a project what's next- with the band, you, and other projects?

I’ve actually already begun working on my next movie. All I can tell you is that it is a superhero film. My goal is to have the screenplay written by the end of 2009 and film it in 2010. I have definitely fallen in love with making movies!

Get more information on ordering Good Clean Fun The Movie at http://www.posihq.com/

Ceremony

2009-09-03T12:50:00.001-07:00

Photos by: Brandon Tridle

San Diego at the Che Cafe

Lewd Acts and Hour of the Wolf Photos

2009-09-02T13:38:00.000-07:00

Photos by: Brandon Tridle

Shot at the Che in San Diego

LEWD ACTS

HOUR OF THE WOLF

Insted and Betrayed

2009-08-31T00:21:00.000-07:00

Ventura, CA - 8/30/2009

Photos by: Ama Reeves

BETRAYED

INSTED

Rise and Fall US Tour!

2009-08-28T12:11:00.001-07:00

10/05: Baltimore, MD @ Sidebar w/ Bracewar, Creatures

10/06: Richmond, VA @ Alley Katz w/ Bracewar, Creatures

10/07: Raleigh, NC @ Brewery w/ Bracewar, Creatures

10/08: West Columbia, SC @ New Brookland Tavern w/ Bracewar, Creatures

10/09: Atlanta, GA @ PS Warehouse w/ Bracewar, Creatures

10/10: Birmingham, AL @ Green Cup w/ Bracewar, Creatures

10/11: Little Rock, AR @ Vinos w/ Bracewar, Creatures

10/12: 1919 Hemphill @ Fort Worth, TX w/ Bitter End, Mammoth Grinder, Creatures

10/13: Austin, TX @ Emo's w/ Bitter End, Mammoth Grinder, Creatures

10/14: San Antonio, TX @ Ten Eleven w/ Bitter End, Mammoth Grinder, Creatures

10/15: Tucson, AZ @ Living Room w/ Creatures

10/16: San Diego, CA @ Che Cafe w/ Ceremony, Lewd Acts, Black Breath

10/17: Anaheim, CA @ Chain Reaction w/ Ceremony, Lewd Acts, Black Breath

10/18: Salinas, CA @ Building E w/ Ceremony, Lewd Acts, Black Breath

10/19: Las Vegas, NV @ Eastside Joes w/ Creatures

10/20: Albuqeurque, NM @ Taylair w/ Creatures

10/21: Denver, CO @ Blast O Mat w/ Creatures

10/22: Kansas City, MO @ Mission Theatre w/ Creatures

10/23: St Louis, MO @ Fubar w/ Harms Way, Creatures

10/24: Chicago, IL @ tbd w/ Harms Way, Creatures

10/25: Indianapolis, IN @ Murphy Building w/ Harms Way, Creatures

10/26: Cincinnati, OH @ Warsaw Arena w/ Harms Way, Creatures

10/27: Romeo, MI @ Static Age w/ Harms Way, Creatures

10/28: Cleveland, OH @ Tower 2012 w/ Harms Way, Creatures

10/29: Lemoyne, PA @ Championship w/ Cold World, Creatures

10/30: Edison, NJ @ Clara Burton Hall w/ Cold World, Creatures

10/31: Albany, NY @ Valentines w/ Cold World, Creatures, Title Fight, Cruel Hand, Mother Of Mercy

11/01: Holyoke, MA @ Waterfront Tavern w/ Cold World, Death Before Dishonor, Creatures

Alana Potocnik of Abigail Williams

2009-08-24T17:05:00.001-07:00

Interview- Ama Reeves

Photos Submitted by Alana from Various Artists

In a genre that runs rapid with testosterone, beer, blood, and groupies there stands very little space or desire for female musicians. With Abigail Williams, this is not the case. This epic black metal band is now on it's third female (and completely gorgeous) keyboardist, Alana Potocnick. Just as predecessors (who've moved on to the likes of Cradle of Filth and Winds of Plague), Alana isn't there just for her looks. Her talent and song writing capabilities put her in a league or her own and that's why Invasion loves her!

Ama: What is your name and what do you do?

Alana:My name is Alana Potocnik and i play keyboards in Abigail Williams

Ama: Were you ever in any bands before Abigail Williams?

Alana: Yes, iv been playing in bands since i was 14, but my most recent national act i played in was called The Breathing Process

Ama: Abigail Williams has had alot of line up changes, is this the permanent line up?

Alana: Not to sure yet, were still undergoing some tryouts. We want to make sure the line up is solid before announcing anything set in stone.

Ama: Your predecessors Ashley and Kristen have gone on to do some great things, are you stoked for them?

Alana: Of course, its always awesome to hear other girls in metal, succeeding. Best of luck to them, they are going far!

Ama: Was it hard to fill their shoes?

Alana: I was worried as to of what people may think about me or fans comparing me to ashely alot, but i think alot of people respect me as a pianist because trust me, ashleys work is not easy. She is an amazing musician and im glad i had the opportunity to undergo the challenge of filling her shoes.

Ama: Your band sits on a lot of fences genre-wise what would you say you are?

Alana: I would like to label us as symphonic black metal. The music is very keyboard driven but dark guitars and fast drums.

Ama: Are you a classically trained musician?

Alana: Yes. i started with music when i was young, although i began playing guitar when i was 8, but i was convinced to take piano lessons also. I was first trained in jazz piano and then switched to classical.

Ama: What's the hardest part about being a girl in an all male touring band?

Alana: Haha, im pretty used to being on tour with a bunch of smelly guys, but the hardest part id say is being able to maintain my hygiene the way i like to. Also having to deal with the guys farting and talking about their sex stories although most of them make me laugh.

Ama: Your band is touring relentlessly for the next six months, is this hard on you?

Alana: I get homesick alot, but i love being on the road, its what i live for. I tend to get really sick on tour also so i know there will be a bunch of times where i wont be enjoying tour as much as usual. haha

Ama: What are some tour essentials, being a girl?

Alana: Hmm, some tour essentials. My green and black fuzzy blanket definatly, macbook and wireless card, make up bag, hair straightener etc. Showers, laundry rooms, BED, and a gym are some essentials are hard to find on tour that the guys dont need as much as i do.

Ama: Do you have any advice for girls trying to start bands?

Alana: Dont be discouraged because you are a girl, be strong and show them guys what we can do!

Ama: What's next for you and your band?

Alana:We have a tour in october with God Dethroned and a tour in January with Nile with more in the works. We are at home working on the next album currently.

Drag Me to Hell Review

2009-08-21T23:14:00.000-07:00

By Ama Reeves

Of course the anticipation of a new Sam Raimi horror film just about drove me insane so when I saw that the Century 8 (the most ghetto theatre in the valley) was doing a midnight sneak preview on Thursday I was the first one in line. I had certain expectations for this film and I already had in mind that they would probably not be met. To my surprise it was everything that I hoped and dreamed it could be. Simple plot and wonderful visuals paying homage to classic horror and specifically, the Argento camp. Spot on lighting and no over dramatic CGI.

Quick Premise: A loan officer ordered to evict an old woman from her home finds herself the recipient of a supernatural curse, which turns her life into a living hell. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point

For Sam Raimi fans "the Classic", his Delta Oldsmobile is seen in the first fifteen minutes as the gypsy's car. A great treat! On top of that Ted Raimi and the rest of the Raimi family have cameos. Along with that plenty of scenes have the oh so Raimi style very reminiscent of Evil Dead 1 and 2. Keeping the campy mid-70's film alive is something that Raimi has strived to do throughout his entire career and seeing his renewed love and inspiration for the horror genre in full effect is absolutely incredible and resulted in 2 hours of thrilling nail biting entertainment.

Bear Trap and Hivemind

2009-08-21T22:34:00.000-07:00

All photos by Zac Wolf

www.zacxwolf.com

BEARTRAP

HIVEMIND

In Defense of Depression- An Essay

2009-08-21T12:29:00.000-07:00

By- Eros Marcello

There's something quite unsettling about being happy and I don't like it.
I'd much rather be in a state of utter turmoil. You see, turmoil leads to
such vices as self-destruction, which is a supremely better method of creation
and expression. There's so much more to it. After all, the only things that
come from contentment are idleness, age and ego. Feeling happy is only
an omen for the bad things to come. The way I see it, if you're miserable every
second of every day, you always win. Nothing can bring you down lower. You
expect the worst all the time. No surprises, nothing. If your mother dies, if
your girlfriend fucks your best friend, if your car explodes, if your

dad gambles away your college funds, if the asshole at work gets the big
promotion instead of you, if you lose a breast to cancer...these are all things
that take part in the grand shit storm of your life.

Take a look around, and I mean take a good look around. Is there anything
worth being happy about? Is there any justification for being optimistic?
There isn't ever a bright side. There is no "other hand." The people
that tote and gloat about how positive and upbeat they are almost always the
people that are up to their wastes in debt, were abused as children or get off
to defecating on themselves.

The truth is that we are all damaged. Some just mask it with temporary pleasure
and most just deny it all together, but don't just take my word for it, it's an
industry. Thousands of people every year purchase anti-depressants and walk
into counseling offices, and my question is...

Why?

Am I missing something here? Am I the only one who recognizes the malevolent
beauty in introverted agony? My crippling doubt, my dirt low self-esteem, my
heartaches, my heartbreaks....I couldn't live without them. I dwell, sulk and
mope and do it all without shame.

Still skeptical? How about this, get your hands on the most depressed,
negative, lonely, good-for-nothing person you can find and put a gun right
between their eyes. Watch them tear up like a thirteen year old girl during her
first period. Listen to them beg for their lives and grovel at your feet. Press
the cold metal right up against their skin and just watch their hysteria ensue.
Now, if a legitimately depressed person loathed their existence so, why would
they fear a swift end to their troubles? Well, the same reason why teens cut
themselves and purposely botch their suicide attempts, the same reason people
waste themselves away with hard drugs and alcohol. These are individuals who
are unable to ascertain their intrigue, their lust for depression. The masses
claim they're merely "cries for help." Such cop-outs are laughable,
and only exist to serve as fitting scapegoats for a generation of parents who
are far more destructive and oblivious than the kids they're raising.

Ask yourself, which is stronger: Great joy or great sadness? Why is there
such heavy persuasion to disregard our negativity and our pessimism? By doing
so, you're overlooking an element of our primal nature as human beings. Put
down the Dr. Phil book, turn off Oprah. Life is not easy. Life is not simple.
Life is not pleasant. Life is not fair. Stop wasting your potential by
pretending otherwise and spawn something with your desperation instead of
hiding it in the lump in your throat.

It's the people that cling to their happiness who carry the most misery but
it's the people who embrace their despair who bear the most humanity. It's the
few who wave their emotional masochism like a flag that are truly to credit for
all beneficial, heartfelt, intelligent creation while the rest of the world
gallivants in their hollow, pointless glory. Which would you rather be, the

forest or the tree?

Artist Profile: Jay Jacoby

2009-08-20T13:48:00.000-07:00

Interview- Ama Reeves

If you're a fan of modern youth crew one name is synonymous with this scene and it's album art- Jay Jacoby. He is our generation and genre's Raymond Pettibon. Not only is an amazing artist but did we mention he works for free? Keep an eye out for this talented artist with tons of great projects in the works with great up and coming bands!

Ama: What are you some of your favorite current bands?

Jay: Man, where to start? There are a lot of great bands going right now, it’s easy to be stoked on hardcore. Let’s see, Mindset and Right Idea, On, pretty much anything on React!, Alert, Force Fed, Remission, Outlast, Reveal the Truth, the list goes on and on.

Ama: Tell us some things you're posi about it?

Jay: Man, there are so many things, I guess I’ll break it down like, this: I love my wife and kids, my family and friends, my job is amazing. I can’t ask for more than that, really. Then on top of that, I’m doing art for a scene I love, full of individuals that, for the most part, are conscious and caring and are (hopefully) trying to affect a change, both within themselves and hopefully, the world around them. Let’s see what else? Talking to younger local kids that are stoked on the core, hearing a good band for the first time, getting e-mails from all over the world asking me to do art for their band, free shit in the mail, etc.

Ama:How long have you been doing art in the hardcore scene, what got you started?

Jay: After a couple of misfires, I really got my start about a year and a half ago. I had mentioned to Jeff Hess from Right Idea that if the band ever needed art, I’d be more than happy to do something for them. When Hess was working on his zine, he contacted me about doing a profile on me and several other artists and asked me if I would like to contribute something. I gave him an old drawing and a new drawing which he used and it’s just kind of snowballed from there. It’s come full circle too I just did the test press cover for the 7” version of the Right Idea Our World EP.

Ama: You seem to work primarily with youth crew bands, any specific reason why?

Jay: HAHA I never set out to do it that way, that’s just kind of the way it happened. And to be honest, it’s not really been a goal or anything, but the youth crew scene is small and pretty close-knit right now, and word travels fast. You put out the word you’re doing art for free and it attracts attention. I also think that the aesthetics of the original youth crew stuff holds up, it’s really clean and crisp (if that makes sense) and so is my “style”, if that’s what you want to call it, is kind of similar. I would never turn a band down based on the fact that they aren’t “youth crew”.

Ama: Are there any artists you look up to?

Jay: I have to say, I look at art constantly, there are so many talented people out there doing/have done, so many different things. Here’s a short list of people whose work I really admire and have a lot of respect for: Linas Garsys, Wassily Kandinsky, Mike Bukowski, Mike Mignola, Hokusai, Frank Miller, Brian Walsby, Pablo Picasso, Yoshitoshi, Jackson Pollack, Jake Bannon, M.C. Escher, the list goes on.

Ama: What are some of your inspirations?

Jay: As far as artistic? I’d have to say that I’m inspired mainly by the music I listen too, you know? I also think that a lot of the hardcore punk artists that have come before, Raymond Pettibon, Mad Marc Rude, and a lot of the guys listed above, always make me want to push it that much further. The idea that I’m trying to create something that conveys so much, either a band’s shirt or demo or record cover, into one singular image is a challenge. I’d like to think I do a fairly decent job of that. And other inspiration? This thing of ours, hardcore really.

Ama: What mediums do you enjoy working in the most?

Jay: As far as what I’m doing in HC, it’s pretty straight forward- pencil, eraser, and pen/marker; it’s really basic and really immediate. I’ve got very little experience on the computer so I’m hoping to remedy that and learn my way around the different programs to further help me. I also dig a lot of printmaking, which is what I got my first degree in college. It encompasses a lot of stuff, such as linoleum cutting and wood cutting, monotype, silk-screening, and lithography. One of these days, I would love to do something that combines both. We’ll see…

Ama: In a time where artists are making bank off bands why do you choose to work for free?

Jay: I’ve gotten so much from HC. The city I’ve grown up in has never really lent itself to my particular tastes in hardcore, even still, I’ve been able to connect to a lot of great people and bands over the years. I always wanted to do something, to contribute, to give back, as corny as that sounds. I figured that the best way to do that was to do something for the bands I love, do some art. I think that at some point, I may say “Hey, if you want to give me a little money, I would take it”, make it kind of an optional thing. Either way, it isn’t a part of what I’m about or where my interests lie. There are several bands that I’m doing stuff for that are paying me now because they want too and won’t take no for an answer. HAHA

Ama: Any new artists we should be checking out?

Jay: Really, the main guy that I always tell people to check out is XSlabaX. He and I bounce ideas off of each other, one of these days we’re going to collaborate on something epic, we just don’t know what yet. He is extremely talented and gets me stoked on the core and art on a regular basis. Also, Michiel Walrave, another good hardcore artist, he’s got a real bold style that lends itself well to the color he uses.

Ama: Tell us some big projects you have coming up?

Jay: My plate is full right now and really, I try and treat everybody and every band the same so I try not to look at certain projects as “bigger” than others. I’m working on stuff for Chapters from CAN, Stand Clear from the UK, Channel X from Malaysia, HoldXTrue from Hungary, something cool coming up for Outlast and Reveal the Truth from NJ and FL respectively, and some other cool stuff that I’m really stoked on.

Ama: Any last words?

Jay: First of all, thanks to Invasion, really appreciate this. Also, big shout outs to all of the bands that have asked me to work for them or are waiting on something from me, the Alert Crew, Dave and Outlast, Youth Crew Alex Records, XSlabaX, HYE, Jeff Hess, Evan and Mindset, Jym 129, and Aram and React!. If you want to get ahold of me, check out my blog at http://positiveartlook.blogspot.com/ or e-mail me at xjmjx@hotmail.com

Bayonet

2009-08-20T13:43:00.000-07:00

Interview: Eros Marcello

1. Let's get the obvious stuff out of the way, who are you and what do you do in the band?

My name is Jeremy Comitas. I play guitar and sing some supporting vocals for Bayonet.

2. How did you and Buddy Nielsen hook up to do this project?

I was home from The Banner's Europe tour since November of last year. We didn't do any shows or work on anything really, so I was aching to do something. I started toying around with some rough demos. I was playing the songs for Ben from the band Armor For Sleep at my place one day, and he let me know Buddy was looking to do a Hardcore Punk band. Buddy ended up just calling me the next day, and we started meeting up regularly.

3. What are the general thematic elements in Bayonet's material, if any? Do the songs coincide with each other in subject matter/motif?

I wish I could go a bit more in depth for you guys on this one. Music-wise, the theme is in your face aggression. Plain and simple. At any given moment, we want our songs to sound pissed, desperate, or uplifting. Lyrically, It seems to me like Buddy has been throwing in topics of family life, as well as poems with less obvious meaning. I haven't unlocked the meaning of it all 100% yet, so I'll wait to go into more detail after Buddy clears that up a little bit personally first. Generally, our songs mesh lyrically... But we do have a few one-offs.

4. What immediate plans do you have for this band (releases, tours, labels, etc.)? What does the future hold?

As far as releases go, it looks like our prospective label will be putting it out on 7" vinyl, as well as iTunes and the usual digital media sites. We are also being sent to Salad Days in January, to record our full-length with Brian McTernan. (Snapcase, Thrice, Cave In, Circa Survive, Converge). He has developed a great relationship with Buddy over the years, and I am personally a big fan of his work. Now, tour plans are a little looser planned. We have gotten offered by a few really awesome bands to do tours with them, but as of right now all we have planned is a possible 5 dates with Defeater. Our future is limitless. This is a real band, not a one-off mash-up or side project. We have every intent to tour as much as your average full-time band.

5. How is the overall response from listeners? And what kind of feedback are you getting from those are fans of your other bands (Senses Fail, The Banner, Jerk City, etc.)?

So far, our response has been great! We didn't really expect so many people to jump on board during this pre-game phase. Everyone has been extremely supportive, and we have a nice handful of kids going around spreading the word the old fashioned way. We will put more into pushing the band and promoting it when the full-length is done... If need be. A lot of our messages and comments online are from Senses Fail fans, or fans of Buddy himself even. We get a lot of Banner kids as well, and a lot of people saying that they love both bands, so this is perfect for them. People are asking for more, and my main concern is that we can give them more as soon as possible.

6. What's the song writing process like for guys?

Fairly simple. I write a song, teach it to Paul in a loose and still somewhat open ended manor. Then Buddy puts his two cents in musically. He is really good at coming up with ideas for smoother transitions. It's great to have a singer who doesn't really play guitar too much, and expresses ideas through parts, rather than trying to change songs. I think when any songwriter lyrically or musically writes something, it is dear to them. Unless they are writing fish hook dance-pop substance lacking crap. Even then, some of those kids are proud of that garbage. But what I'm getting at, is that Buddy builds off of my parts, rather than straight up changing them. I respect that, and i can still get my original message across unscathed. I don't write any lyric content. Not my thing anymore. But we do have a bassist since we wrote our EP. Will wrote and played the bass parts on it, but he wasn't around for the actual songwriting. He is a very talented songwriter, and I only see him helping us. But if for any reason his input were to change our sound more than improve it, then we would not go that path. I also recorded the EP with some help of my co-worker Bill at The Machine Shop, and then Will mixed it the night he layed down the bass. So if any bands local to North Jersey or NYC wanna come track some songs, find me.

7. All of you are involved in numerous other projects and it goes without saying that things can get hectic. How did all of you find time to get this band running and off the ground?

Banner wasn't doing anything during this process, and Joey was working on a new band called Wolve as well at the time, so there was no conflict at all on my behalf. I wrote the skeletonwork for our material while Buddy was out on tour. He came home and we did revisions, dropped vocals, and the rest is history. None of our schedules have cause conflict. Paul has a day job, and I work at the studio with Will, so we are consumed as far as time goes... but that won't stop us from doing this. A lot of the responsibility falls directly on me as far as songwriting goes though. I mean, if I slack off, then I have nothing for Buddy to be working on. So I sort of need to stay on top of shit. But we keep on each other enough, and it just gets done.

8. What musical acts do you derive inspiration from? Do some of your influences fall outside the spectrum of hardcore? And what are your non-musical inspirations?

I can only speak for myself here. NOFX, Good Riddance, Propagandhi, and Kid Dynamite are my biggest punk rock musical influences. I'm not a fan of tough guy shit. I really like more anger driven/fast trashy hardcore. Poison The Well was my first favorite Hardcore band, and still remains my favorite. Those guys are the most talented people I've ever encountered. The Banner guys got me into Tragedy. I had already loved From Ashes Rise, and I wasn't even aware that those guys had a second band. Also, I really like The Bronx, Gallows, Ghost Of A Thousand, and some really dirty rock music. I'm a pop-whore at heart, so I still love my New Found Glory, Jimmy Eat World, and even Green Day. Who can resist? Faith No More and Mike Patton paved the way for some of my open-mindedness at a young age. There's hundreds of other bands I could go on and on about, but I think the ones I mentioned sum up more than enough to get a picture of what I draw influence from.

9. What do you hope to achieve with this band?

I just want to look back at this band in ten years and think it was awesome. I've played in a lot of bands over the years, and it's hard to look back and truly say one of them was amazing. I have one previous band I really had a passion like this for... but we never got an opportunity to turn heads. It means so much to me, and I know that Bayonet can mean even more to me. We just write the stuff we love and call it a day. You can't go wrong with this direction. There's nobody to impress, and no asses to blow smoke up.

10. And lastly, the definite question...if you were a muffin, what type of muffin would you be?

C'mon... You know damn well I'd be a Stud-Muffin. But if that was taken already, I'd be a Dunkin' Donuts Chocolate Chip Muffin with those huge sugar crystals up top. Yeahhhh. Mmmmmm.

The Geeks

2009-08-19T07:25:00.000-07:00

Interview - Jon Hanka/Preston Hyer

Photos- Ama Reeves

INVASION: Here in America, when we think of South Korea, we usually think of martial arts, hot chicks, and some pretty good food, but we never think hardcore music—especially not straight edge hardcore music. How did a straight edge hardcore band come from South Korea?

KI SEOK SEO: The formation of The Geeks began back in 1998 or so in high school, we were really into hardcore punk and we were probably the only kids that were really into hardcore music and punk. We just kind of jammed around and at the time, we were really into straight edge youth hardcore and we wanted to play the music that we loved, so it just went from there…

INV: Is straight edge the biggest message you’re trying to communicate with your band? If not, what are some of the other important messages you’re trying to communicate with the band?

SEO: The straight edge message is not the biggest part of our music. With our music, we’re trying to inspire kids and make them think and open their eyes to the world so that they can be aware of what’s going on so that they can see it and make it a lot better.

INV: What do you hope to gain from people in both America and South Korea being exposed to The Geeks?

SEO: Korea is a really conservative country; there are a lot of mandatory things there… there’s so much pressure and I want people to be aware that there’s more than the limited sight in Korea. I really want people to be aware that there are other things out there and to think about bettering ourselves. For American hardcore kids… to know that there are things outside of America and that people can connect to each other through music.

INV: One of your songs is titled, “What We Believe”. What do you believe? What are some of the things that you hold dear in your heart and that are important to you?

SEO: I like that we can be friends just because we listen to the same really weird type of music, because this music has more than just words… it has a feeling and I’ve witnessed it with my own eyes. I believe that it’s more important than making profitable music and I really believe that we can be as one with this music.

INV: What are some of your favorite bands inside and outside hardcore?

SEO: Oh, my favorite rock band is Nirvana, before I would listen to All 4 One and Boyz II Men, hip hop and R&B. Youth Of Today is my favorite hardcore band; they totally changed my life. The music, the lyrics, no question about it… everything about them changed my life.

INV: The Geeks have toured pretty extensively; where else would you like to see The Geeks go? What is the next level?

SEO: Next year is gonna be our ten year anniversary so we’re trying to release our next EP or LP and we’re tying to get a really big hardcore show in Korea. We’re planning to invite people from all over the world… we’ve done a lot but the scene in Korea is kind of stagnant and it’s not really growing, so we’re trying to make the local scene better. America has a lot of great venues, but people can’t be so DIY in Asia because it’s so much more expensive to rent a venue. It’s really different; it’s a lot tougher.

INV: As far as hardcore scenes go, Boston or LA?

SEO: Boston! [Laughs] Sorry… Boston is my favorite city in the world, besides Seoul. We haven’t been to Europe, but we’re trying to go soon.

Strike Anywhere

2009-08-15T12:20:00.000-07:00

Strike Anywhere

-Interview Lionel Hill

-Photos Erica Schultz

I got halfway through my introductory spiel when Strike Anywhere’s Thomas Barnett cut me off. “Hey Lionel, it’s good to meet you,” said the small, dreadlocked frontman, flashing an outwardly warm smile. “Let’s have a conversation.” Barnett’s openness is refreshing. His soft-spoken voice and demeanor defer from the attitude problems and pretentious nature of his contemporaries. On this night, his band will close Los Angeles’ F Yeah Fest, a multi-band, multi-genre, multi-venue celebration of underground music and art, with a secret performance at a Downtown gallery. Shows like this are rare for Strike Anywhere, but Barnett is legitimately excited to be playing in a room with no stage, in front 100 kids instead of 1,000. As he speaks of politics, hardcore, and his hometown, you learn very quickly that he’s not a jaded veteran, but a lifelong punk who’s just as hungry for knowledge as he was a decade ago. Sitting under a street lamp on a Downtown curb, Barnett showed me he is every bit the person he is on his records: determined and educated, yet energetic and positive.

Lionel: You guys are in-between albums right now. What's your process for putting one record to bed and preparing a brand new one?

Thomas: We're really excited and thirsty to write this record, so we’ve kind of blended the processes. We're in the final edge of the touring cycle for Dead FM, and we've been writing ideas, and guitar and vocal parts while on tour. However, we still need to get together in a basement in Richmond and play really hard and fast, and as our friends the Bouncing Souls would say, “feel our feelings.” So when we get back to the United States, we’re playing our hometown at an art gallery in Jackson Ward on election night. That’s the last show of this year and the touring cycle, and then we’re staying there and writing the record.

Lionel: What are some of the themes of this upcoming record?

Thomas: There’s a deeper understanding of borders and boundaries of different nation states. We discussed it a little bit when we wrote about being detained in Japan on “House Arrest,” but this record is more about the nature of economic predation, and the lies that countries tell themselves to exist and co-exist with the elites of other nations. There are stories about deserts, and narratives about families trying to get somewhere where they can afford to live, eat, and escape violence. There are also tales of environments in a city, like seeing the oil derricks move up and down, or black helicopters everywhere like strange prehistoric beasts flashing lights into your windows. I live by the 10 Freeway in Los Angeles, and there’s always that kind of activity there. It’s going to be darker, more impressionistic, and slightly more apocalyptic than Dead FM. Yeah, the times are changing, and there’s the possibility of a historic political moment in the United States, but we can’t let go and retreat back to our lives. We have to stay connected and stay involved in our communities. It's getting too expensive just to tour and do all the things that punk bands and people in our community love to do, so you have to choose the right moments to express yourselves. There is not a great deal of energy and time left, so we have to make it count, and that’s a big theme on the record. At this point, there are stories, characters, and narratives, and there are metaphors that are drawn deeply and globally. There are also more songs like "Instinct" that come from a personal place, an autobiographical standpoint if you will. I had a friend almost shot in her house by a stray bullet a couple of years ago, and I finally pulled myself to a place to write about it and the reaction to it. I want to capture what incidents like it mean to people in communities in all these cities all over the world, especially in America.

Lionel: You mentioned a "historical political moment" that we could witness (and hopefully are witnessing as you read this interview - LH) in the coming months. Does any part of you fear that the election of Barack Obama will make people comfortable, therefore apathetic and less attentive to politics?

Thomas: I don't think so. I thought that back in the spring, but as of tonight I think that there's a sense of accountability, and of engagement, that no one's had with the political process before. Yeah, there's obviously an aesthetic, commercial vibe, but I think this election has a cultural hold on people that's hopefully going to make what it means to participate in democracy different for more people than it has before. I don't necessarily agree with all the policies, but I also don't know if we're voting for policies and ideology, or if we're voting for someone who's reasonable and not in the pockets of elite aristocratic wealth. For that alone, Obama's election is important. I have some friends who are tooled up militant radicals, opposed to the electoral system for all of its bloodshed and deception. When I talked with them recently, even they said that everyone's got to lay the fuck back and let something happen, and only then can we hold people to what they promise. We can then start to have engagements with people from all working class communities of the world, the same people that stuck their heads up and said "maybe this can be real, maybe these people are finally speaking for us and we can have a voice too." I'm not necessarily buying into all of the dreams of "hope," but I'm not letting myself fade into hyper-sophisticated intellectual cynicism either. I think it's important to keep your mind open and just remember what you want. Look, larger anarchist ideals, like the end of the international system, are not a part of any kind of any vaguely liberal Democratic agenda, but there will be lives saved, and there will be a more rational national culture, if he's elected. It's important to at least have something that can get us somewhere else.

Lionel: Your music has touched on various political and social philosophies. Is there a certain philosophy you subscribe to?

Thomas: My first experience recognizing inequality, and figuring out what to do about it, was organizing an organic produce market in my hometown with a friend of mine who is an Industrial Workers of the World delegate. Since I've been traveling on tour, I haven't been as engaged, but Anarcho-syndicalism is probably where I fall. However, I think that every ideology and every -ism of the last century is past. There has to be something new that's a fusion of ideas. I'd rather find common pathways to walk with people than I would just play into the identity politics of radicals, especially tax paying, voting, American radicals. Wallowing in that shit is pretentious, uninspiring and unimportant. You still have to believe in what you believe, but keep your mind open. I think our lyrics touch on ideas, and get people thinking, but sometimes we're just saying things we need to say. We don’t want to be automatons living in this theatre of performance and ritual-esque catharsis. We challenge ourselves with what we do and say, much like the whole punk community challenges all its participants. You have to call yourself out on your shit, without getting bogged down in a guilt trip. There's ways to free yourself from that and enjoy everyday life. Some of these ideas have been around since revolutionary anarchism of the 1890's. There's shit to take and re-appropriate and re-contextualize and paint a different color. To be honest, I think trying to nail us down to one ideology wouldn't be honest, or honorable, or even worthy of all the intelligence and creativity of this whole community.

Lionel: So the community has a role in your songs as well?

Thomas: Absolutely. I don’t think a song is fully written until people are singing it with us and incorporating what it means to them. People tell me what they think a song means, and I'm like "yeah, it means that," even if what they’re saying wasn't originally what I wrote about. The way a song attaches to something important in someone's life, like the flickering of sub consciousness, is a big part of our music. For example, I get great catharsis singing about the powerlessness of a racist police assault on my neighbors in Richmond in "Sunset and 32nd," but that song means different things to different people in the different cities that we've played in the 8 years it's been written. It's not for me to say "okay, that's cool, you guys can have your fantasy about the song’s meaning but that's not what I originally wrote it about.” It's all these living things going out there, changing people and being changed by people that help make the song. I don't mean to sound all new agey and lofty, this is hardcore after all, but we do hope we can reflect some of the insight, openness, and optimism of all the good people who've given our band their attention and their time.

Lionel: The underground punk scene has a way of turning its back on bands and people the second they become popular or have any kind of major mainstream exposure. Being a band on a bigger punk label that does large festivals and big tours, as well as small clubs and warehouses, what do you think is the line between empowering yourself to sell your music and ideas to people, and staying true to your roots?

Thomas: We just do what feels good to us. Sometimes we're excited about a weird adventure, like doing a large tour through Europe opening up for some bands that are in a completely different musical realm. We’d love to only be in our counterculture, where everyone at the show knows more than we do. It's a mutually educating and inspiring experience where everyone is dialed in, but there's something almost too comfortable about that. Sometimes we’ll do something that isn't emotionally or artistically comfortable or rewarding, like opening up for some larger band that draws young kids, but I like seeing what happens. Maybe we can talk about our ideas, not because we need to sell more records or we need more people, but because everyone needs to have a window to our community. We call it the "gateway drug theory." If Billy Talent takes Anti-Flag on tour in Canada, then people may be able to listen to Anti-Flag and get into some of their ideas and beliefs. Then Anti-Flag takes us on tour and people fall into us through that window. After that, we go on tour with a band like From Ashes Rise, or Modern Life Is War, or A Global Threat, and then people get into that world through us. You go further and further and all of the sudden, those kids aren't coming to our shows anymore; they're putting on their own shows in the same cities. That’s how we all got into it too. You weren't just born with an Amebix patch or the Minor Threat discography in your hand; you get there through a process. Hardcore and punk is our world, it’s is where we came from, it’s where we're going, it’s everything. Things like DIY shows at art galleries are really organic and fulfilling for us on so many levels, but it's important to feel like you're trying to reach out to people with a message. We want make this more than just entertainment and go into spaces that are not predictable and try and pull some kids out of the impossible, two-dimensional, mindless world of going to see rock shows. We want to provide a bit of a challenge and inspiration. We play these epic "give-it-a-name" festivals in places where you could fit the space shuttle. Europe has these wild events where a bunch of bands, punk and otherwise, will just get together and play. At the end, everyone is left shaking their heads like "what just happened?" These things are really interesting spectacles, but we try to bring meaning, or just shake it up for a second, and blink in those bright lights.

Lionel: It’s like you’ve got a master plan…

Thomas: (laughs) We don't do anything tactical. We don't have a grand aesthetic vision for how to bring the purist, operationally truthful, radical punk underground together with the kids at the mall, but here's no reason to say that those kids are already written off the board and are never allowed in. They are just as worthy of the opportunity to get into this community of radical mutual aid and music. They can have these ideas, and this art, and be more than just fans of a radio band. We see the kids that go to Warped Tour, or see us open for different emo/pop bands, at one of our shows like tonight, and we’ll say "this place has more shows than this one. It's not just about us. It's in your hands too, so let's do this together." So you knock out that hierarchical pop-star presentation, and suddenly kids realize "whoa, this band is playing on the floor, and I just saw them on a ten foot stage with bouncers and it was shitty, but something moved me enough that I decided to come here!" We still believe in that, that's part of our mission. We still get guys who say "I saw you guys on the Warped Tour, and that was miserable because now I know that this shit is here. I would have never known." That's really cool.

Lionel: So are you guys going to play more big shows and tours in the future?

We don't have any plans to do anything like that again. Sometimes wild shit comes up, and we'll be asked to open for a really big band that happens to be our friends from way back, but whenever we have our own ideas and designs, we'll be like "let's do a tour with Paint It Black, or the Bouncing Souls, or our friends in Richmond bands." That's kind of where we want to be.

Lionel: You guys draw a lot of inspiration from your hometown of Richmond, VA. Being a band that tours extensively, and whose members reside in various cities worldwide, how has Richmond shaped the way you see things in these places?

Thomas: In many ways, Richmond is the way we see the world. It was the place where I said "I can step out of this wheel, drop out of school, and be creative with my friends so we can speak our mind, have our say and build something." A lot of people leave their hometown to have that experience, and I got to have it where I was born. There is a remarkable history of resistance in Richmond. During the Civil War, southern abolitionists secretly emancipated their slaves and set them up at positions at the White House of the Confederacy. These African people posing as servants were literate and educated, but pretended not to be and sent coded signals to the North. So these wealthy white Richmonders that did not believe in the Civil War were subverting it from the inside, and at the highest level! These are stories we like to sing about, like the “Ballad of Bloody Run” on Dead FM. There are lots of specific bits of history about people in the Conservative, racist south doing what they could to make a difference. Nowadays, you see historic neighborhoods that have been destroyed by police brutality and the everyday economic violence that happens to the working poor. You have to recognize it and you have to speak out. You don't have to carry all the weight and prejudice of your ancestors, or even the confusion and ignorance of society at large. There's a way to harness your intelligence and your compassion and not just exist in a space where people aren’t meant to have these conversations or work beside each other. We did guerilla community gardens in our hometown, and we see that all over South Central Los Angeles now. That strikes a harmonic with me. Los Angeles is so much bigger and has such a different history than my hometown, but it has these moments of radical mutual aid and revolutionary love that are the same, and on a bigger scale. Our songs are windows to interpret these things. We’ve been really blessed to have this life and we try to give back to it. I know it's a weird thing to say, but after awhile you have to realize that the weird spiritual fabric of punk rock is not just coincidence. It's not just raw ambition either. It’s having some kind of sense that there have been movements in the past before distortion and electric guitars that harnessed all this potential. The jazz age in our hometown that was similar to punk rock. People were putting on shows and trying to have moments of ecstatic experience, joy and connection. They were saying “this is my planet too, and we have to change the way that bosses and Presidents and all of these people with illegitimate power have been oppressing us. They have dictated the terms of our survival for too long.” That's the focus of the lens I use to look at the world, and that's what Richmond taught me.

Ignite

2009-08-15T12:04:00.000-07:00

-Inteview Lionel Hill

-Photos Ama Reeves

"Hey man, my name's Lionel. I'm scheduled for an interview with Zoli but can't seem to find him, any idea?"

"Zoli went to the hospital with throat problems about half an hour ago. I can do your interview... oh but I've only got 10 minutes, is that cool?"

The time line on my tape recorder reads 9:58, giving Ignite's Brett Rasmussen two seconds to shake my hand and exchange a "Go Dodgers" before running off to see if the Cro-Mags need his bass amp. He's busy, but accommodating, answering every one of my impromptu questions and not so much as tapping an impatient finger at my "uhh's" and "uhm's" (they tend to happen when you're using notes for an hour-long one on one with Zoli Teglas).

The following interview was conducted on Ignite's motor home at the Lisk Fest in Irvine, CA.

L: You've played some new songs lately. Is there a new Ignite record on the horizon?

B: We're chipping away a little bit, but we've been touring too much. Our band doesn't write well on the road. We need time at home and in the rehearsal studio to focus. We've pieced together a few songs, that's about it.

L: There was a huge break between ""A Place Called Home" and "Our Darkest Days." It seems like there won't be as much of a lull this time...

B: Dooooon't underestimate the situation *laughs*...

L: *laughs* So it's like that....?

B: Nah, I don't know. We don't set time limits to the stuff. If we don't think the songs we have are great, we're not going to put them out. If it takes two months to write a record, cool. If it takes two years, cool. We'd rather put one great record out than a couple of mediocre ones with only a few good songs. We want to think every part of every song is amazing. The label's always going to pressure you with time limits, but we don't care.

L: Ignite has always toured extensively. How has touring changed in the internet age?

B: It's a lot easier now. There's so many more ways to inform kids that you're coming to play a show, and there's so much more connectivity. We used to have to wait for a fax from our European booking agent to find out what the dates might be, and we didn't have a fax at home so we'd have to go down to the record label to see if it came. Now we get an email as soon as everything is booked.

L: With so many diverse political opinions in punk and hardcore, were there any reservations about writing "Poverty for All?"

B: A lot of people see red stars on t-shirts that some bands wear and think Communist symbols are some cool political statement. Look at Cuba, North Korea, the former Soviet Union, the whole Iron Curtain, even China. Communism isn't cool at all! It's shitty for Joe Citizen. More people have died under Communism than any political system in the history of our planet.

L: Does it bother you that a lot of high school aged kids are getting into those symbols, reading the literature...

B: It's just kids not knowing. You can throw a swastika on a shirt and think it looks cool, but if you know you're history you know that's not a cool symbol. If people would just study how many more people Communism killed than Nazism, they'd be dumbfounded.

L: After all the acclaim for "Live For Better Days," is Ignite going to do more acoustic songs?

B: We want to do a whole acoustic record. We're trying to plan an acoustic tour in Europe in January to promote our DVD that we recorded over there, but I'm not sure that's going to happen. We'd love to do it though. A lot of our songs start acoustic to begin with, then get taken to practice and plugged in. "Live For Better Days" was exciting for us because it started acoustic and stayed acoustic.

L: Do you prefer writing about personal feelings or political rage? Ignite does both very well.

B: Political songs are good for the live show because they crowd fired up and give Zoli things to say, but I liked ["Our Darkest Days"] because we touched more personal stuff. I know what the stuff's about, and I know how the content of the song affected me or the other members of the band. That was cool for me because our agenda is normally environmental, social, and political.

L: Do you prefer the larger festival crowds or the smaller, more intimate club crowds?

B: It always depends on where we are. We played Costa Rica the other night in this tiny room, and it was like an old school show with pile-ons, stage dives, etc. We played a show in Japan that was "sold out" with 75 kids and the venue was the size of this motor home. It's all the same for us. We love to play the big shows and festivals in Europe because it's fun playing in front of that many people, like "whoa, there's 10,000 people watching you," but you play a little tiny club and the energy is awesome. To be honest, both have a lot of upside.

To that point, do you prefer going out on these big tours or topping the bill on a smaller one?

B: I like headlining. I like going out and knowing everyone is there to see us. We've been on tour with like, crazy random bands, like Goldfinger or Sevendust, and you have to go out and get it because none of those people have ever heard of you. We play a lot of these rock festivals where people in the front know who you are, but everyone in the back is like "who?" I have to admit, I like the challenge of winning people over. When we're headlining, I know we're going to knock it out of the park and blow everyone away. When no one knows you, you have to work hard to win people over.

Horror Movies Reviews and Recommendations

2009-08-11T02:34:00.000-07:00

Reviews By Jon Hanka

The Texas Chainsaw Massacre

Kill Count: 5, only one is by a chainsaw

Tits:0

Ass:0

Full Frontal:0

Black People: 1, he’s the truck driver at the end of the film.

Quotes: “That’s the last goddamn hitchhiker I ever pick up.”

Narrator: “The events of that day were to lead to the discovery of one of the most bizarre crimes in the annals of American history, The Texas Chain Saw Massacre.”

High’s: Dude in wheelchair tumbling down a hill while pissing, crazy hitchhiker in the van, old man beating the girl with a brook, a girl being hung alive on a meat hook.

The sound effects and gritty filmmaking.

More High’s: LEATHER FUCKING FACE, the tension during the dinner scene, the man being ran over by a 16 wheeler, grandpa trying to use a mallet on a girl’s head.

Repeat Viewing? Duh. Here’s some fun facts: Alternate titles for the film included "Headcheese", "Leatherface" and "Stalking Leatherface".

During the dinner scene when Leatherface cuts the girl's finger, he actually does cut her finger because they couldn't get the fake blood to come out of the tube behind the blade.

Gunnar Hansen (Leatherface) didn’t like Tobe Hooper so during the last scene when he’s swinging the REAL chainsaw around he tries to swing it towards Tobe who was behind the camera.

On one of the last days of shooting the cast and crew ate pot brownies while filming inside the house.

The soundtrack contains the sounds an animal would hear inside a slaughterhouse.

Return of The Living Dead

Kill Count: 15

Tits: 7

Ass: 3

Full Frontal: 3

Black People: 1. He sports a Rick James Jheri Curl and looks eerily like Arsenio Hall.

Quotes: “The events portrayed in this film are all real. The names are real names of real people and real organizations.”

“Leak? Hell No! These things were made by the U.S. army corps of engineers.” (Hits the barrel and gas leaks out)

“Brains…More brains!”

Highs: TARMAN! slutty punk chick stripping in the cemetery while talking about being eaten alive…BONER. Sawing a zombie’s head off, midget zombie eating brains.

Low’s: I would like to have seen more gore, but overall it’s a cool premise and I don’t have many complaints about the movie.

Repeat Viewing? Yea. I think it’s a cool zombie flick with some comedic moments and a sweet punk soundtrack. The creators self-reference their other movie Night of the Living dead and even make up some more rules for the zombie genre.

Otis

Kill Count: 3

Tits: 0

Ass: 0

Full Frontal: 0

Black People: 1 in the background at the hospital wearing a red tuxedo. Weird.

Quotes: this movie is very quotable. “Fuck you and Fuck your disco ball!”

“She’s my girl now. That mean nobody gets to put their fingers inside her but me. Can you believe I just said that?”

High’s: a Fat Daniel Stern with a chainsaw, awesome 80’s soundtrack, Otis prematurely ejaculating then punching a girl in the face, curling iron burning a man’s tongue off.

Realizing I might be Otis in 10 years.

Low’s: No Tits… What the fuck, man?

Repeat Viewing? Some good comedy mixed with some violence. Plus A Creepy dude reliving high school and torturing girls in cheerleader outfits. AKA definitely.

The Gingerdead Man

Kill Count: 6

Tits: 0

Ass: 0

Full Frontal: 0

Black People: 0. Black people don’t work in bakeries

Quotes: “what the hell is that?” “It sure ain’t the Pillsbury fucking doughboy.”

“Killsbury Dough Boy.”

Highs: Gary Busey pissing on what’s left of his career. Old lady who works at the bakery holding a bottle of jack and a shotgun. Gingerdead man cutting a finger off with a butcher knife. A 12-inch Gingerdead man driving a car and using a gun…exactly.

Low’s: Worst use of a music library. Too much plot/shitty music. The same music is also used in evil bong.

Repeat Viewing? 70 minutes is longer then you think. Fast-forward through the talking and just watch the Gingerdead man does his thing.

Sorority House Massacre

Kill Count: 9

Tits: 6

Ass:0

Full Frontal:0

Black People: 0. I don’t think black people existed in the 1980’s.

Quotes: “I’m not Laura, you son of a bitch!”

Highs: A guy getting hit in the nuts

Low’s: Undecipherable plot. I still don’t know what happened. The death scenes sucked hard too.

Repeat Viewing? This movie has no redeeming qualities. Have your friend punch you in the face until you black out instead of watching this shitty movie.

Evil Bong

Kill Count: 3

Tits: 12

Ass: 2

Full Frontal:0

Black People: 0

Quotes: “Every high is an amazing high. Just like there’s no such thing as a bad blowjob.” “…Bullshit!”

Highs: an appearance by the Gingerdead man! Great crossover. Death by a blowjob. Tommy Chong putting hot wheels on a strippers implants and saying “this ones got a hill to climb.”

Low’s: Ama Reeves snoring while I was reviewing this movie, watching it sober, the characters talking and not dying, and the character Alistair being a complete and utter faggot.

Repeat Viewing? If you like weed don’t rent this movie…Buzz Kill

The Burning

Kill Count: 9

Tits: 2

Ass: 1

Full Frontal: 1

Black People: 1, as the overenthusiastic orderly.

Quotes: “Every year he kills. Right now he's out there. Watching. Waiting. So don't look; he'll see you. Don't breathe; he'll hear you. Don't move; you're dead!”

“Man, this guy is so burned, he's cooked! A fucking Big Mac, overdone! You know what I mean?”

Highs: The death scenes are incredibly violent and graphic. Thank Tom Savini again. The testosterone levels are at an ultimate high in this movie. Also Jason Alexander with hair.

Low’s: This movie has no faults. It’s my favorite 80’s slasher flick. Ballsy but true.

Repeat Viewing? Yeah this is probably the most underrated horror movie of the 80’s. I watched this movie so many times in the past few months. This is also the first Miramax/Weinstein film.

Re-Animator

Kill Count: 6 and 1 cat

Tits: 2

Ass:0

Full Frontal: 1

Black People: 1, he’s the security guard.

Quotes: “You killed him!” “… I gave him life!”

“What if we get caught?” “What’ll they do? Embalm us?”

“Who’s going to believe a talking head? Get a job in the sideshow!”

Highs: Awesome intro, and the opening score during the titles is an homage to psycho. Reanimated Cat trying to attack people and a headless man feeling up a girl are also cool.

Low’s:

Repeat Viewing? There’s a reason this movie is heralded as a classic.

The Prowler

Kill count: 8

Tits: 2

Ass: 0

Full Frontal:0

Black People: 0. This is an 1980 slasher flick.

Quotes: Not very quotable, but it doesn’t need any.

High’s: Tom Savini does the effects so you see lots of bloody gore including a head exploding and death scenes that feature a pitch fork. Oh yea there’s some good tension and the last scene of the movie is fucking awesome.

Low’s: read above. This movie rules

Repeat Viewing? Yes. Good amount of Tension and blood to sustain a viewer’s attention

Demon Knight

Kill Count: Humans: 6 Demons: 8 Possessed Humans: 6

Tits: 11. You can thank Uncle Willy.

Ass: 1

Full Frontal: 0

Black People: 3, the most out of all the horror movies I reviewed.

Quotes: “Frights. Camera. Action.”

“God dammit get that pussy off the table!… I meant the cat.”

Highs: Billy Zane punches a hole through a cop’s head.

Low’s: I only wish there were more movies featuring the crypt keeper.

Repeat Viewing? Yes. The movie has a cool plot based around a guardian protecting a key that if let into the wrong hands can open the gates of hell. What’s not to love?

Behind Sound and Fury- Interview with Bob and Riley

2009-08-11T02:21:00.000-07:00

Interview by: Kat Kartel

Photo: Ama Reeves

One of the most celebrated events in hardcore is Sound and Fury Festival, for those of you unfamiliar with this event it's a three day fest in Southern California in the summer months for the past several years. As many know, putting on hardcore events is a thankless job. You will rarely be thanked and more often than not be at the very heart of skepticism, gossip, and on top of this listen to the never ending complaints and nit-pickings of the internet. But none the less hundreds of thousands of kids travel the globe to Southern California faithfully every summer for this gathering. We've had the chance to sit down with Bob Shedd and Sean Riley, who if you don't know spend their lives, money, and free time investing in hardcore- whether it's to loan their friends money to tour, put out cds, help bands network with labels, and of course put on this huge festival year after year. Enjoy this no bullshit interview and hopefully it'll put some rumors to rest.

Sound And Fury’s Bob and Riley:

INV: Okay so can you both introduce yourselves and what your roles are for Sound And Fury?

BOB SHED: My name is Bob and I’m one of three guys that run everything in the fest, but I primarily deal with band and label interaction and I guess last minute damage control. [Laughs]

SEAN RILEY: I’m Sean Riley, and as Bob said, I’m one of the three people responsible for Sound And Fury, but I think our responsibilities really blur a lot. We all work on the fest in different areas and mainly I handle a lot of the back end stuff, like setting things up online, getting the announcements out there, you know, stuff like that, but we really do share a lot of the responsibilities.

INV: Tell us how it all began and why.

SHED: So, it was February 2006, actually, let me rewind a bit. In 2005 at a small California festival called Sink With Cali Fest, me and Riley were there talking and we were like, this is a really cool thing, it’s cool energy, a really cool vibe, it would be great though if a lot of the bands that we liked played. That’s something you always hear kids say, “Aw, I wish my favorite band would play!” After that we thought, well, why not do it ourselves instead of just complaining about it? So then, fast forward to February 2006 when I was sitting in my community college class and I thought, why don’t we do the fest? I started making a list of bands and I called Todd and he was into it, and we already had a venue in mind in Ventura; we called Riley just to round it out and within ten days, we had everything booked and the show was scheduled. After the success of the first year, we just had to do it again and again.

INV: What’s the process of putting on an event like this?

SHED: Well, the first thing you have to do is find a venue. The first two years we did Alpine in Ventura, which was a great venue and they really helped us out a lot. They had built in sound, built in everything and they were pretty sizeable. Finding a venue for this year’s fest was easily the most difficult task. At this point, all the bands know that we’re legit, know that we’re putting on something really well organized, so yeah… venue is first. Then you work out cost, start figuring out bands and then just locking up all the incidentals. Promotions, posters, flyers, figuring out ways to get out information about the fest are pretty important. At that point, the ball is rolling, Riley set up the web store, so it really is that anyone can do it if you just put the work into it.

INV: So it was pretty much trial and error for you guys?

RILEY: I don’t think so; we would get together at least like, once or twice a week which was pretty crazy considering Bob was in Irvine, I was in El Segundo and Todd has lived in various places up here in Ventura. It would turn into a whole day event because we would get together for about once a week in at least the six months leading up to the fest and just plan everything out. I mean, it worked because we’re all pretty capable and we’re self-starters.

SHED: It was three different mind, three different perspectives, three different voices but we were all trying to work together towards the same goal but that’s why we try not to cut corners and put the work in even though it can be a real pain in the ass.

INV: Is there anything you guys would change about this year’s fest?

SHED: Well, it’s hard. There haven’t been any fights; we’ve all had a really fun time working with all of these bands. This year has been pretty smooth sailing…

INV: When you guys are trying to put something this huge together, does it ever get overwhelming to make sure that all of the bands are happy and content?

RILEY: Yeah, of course. You have to realize we’re three people and there are fifty-ish bands and we really do put a lot of ourselves into this and we just really want everyone to leave here thinking that they have the perfect experience.

INV: What would you say to the people who believe you’re just in this to make money?

SHED: Look at my bank account and look at where I live… [Laughs] It’s really ridiculous and borderline insulting. I mean, I have $80 in my bank account… I am over $75,000 in student loan debt and I spent most of my student loan putting out hardcore records.

RILEY: We aren’t in this for the money; we just want to put on a great show. We could book bigger bands, but we want this world to have a place. This hardcore, I mean real hardcore, to have a place.

INV: Awesome; is there anything else you guys would like to add?

SHED: Yes; the bands involved, the people that come, they are what make this fest what it is, so we’d like to say thank you to them above everything else!

Ever wanted to see Joe Harder's Ass? Fun photos from Sound and Fury 08

2009-08-11T02:08:00.001-07:00

Yep... we follow through.

Friends at Sound and Fury Fest 08

The handsome Gentleman of Pulling Teeth

Good friends out for Sound And Fury Fest 08

From Left to Right- Preston Hyer of Generations (CT youthcrew), Ki of The Geeks, Ama Reeves, and Jon Hanka (both of the Invasion Staff)

Wow we're gross. A majority of the Invasion Staff after the last band of Sound and Fury 08.

from Left to Right- Mike Blum, Kat Kartel, Ama Reeves, Brandon Tridle, Josh Classon

Bitter End - Texas Hardcore