Brooklyn’s Courtesy Tier have announced their new EP “Little Rock” which is to will released on Beverly Martel Records on November 6! Pre-order is now available on iTunes: Available Here Having followed the band for some time now. (More than four years now) I can’t help but be excited. I highly recommend seeking out any and all material they’ve released as well as experiencing them in a live setting. J.D.
It’s not everyday you get to interview someone whose music and overall message has inspired you for twenty plus years. Chances are you’re going to miss out on some things you may have wanted to ask or fumble over some of your words. In the case of Nathan Gray, (Boysetsfire, I am Heresy and a just released solo effort.) I knew this was inevitable. With so much ground to cover and a couple of subjects I wasn’t sure were up for discussion. I tired to keep my questions to a reasonable number while keeping the door open to further discussion and dialogue.
In creating Document Fanzine, both Jason and myself set out to communicate with the people that have affected us through their music and art. To celebrate and bring light to the music and people that have always inspired us. Get to know them on more than one level and in essence, give them a voice as well as a soundboard to speak. Thanks to Nathan for his patience and openness. J.D.
James: Can you tell me how the idea to do a solo album came about? I mean with all the things you’re involved in.. two bands, your son.. etc. Where did you find the time and what was it that inspired these songs?
Nathan: Wanting to take on a solo musical endeavor is nothing new for me. The Casting Out was actually supposed to be a solo project, but I lost my nerve, and brought in other people. Now, at this stage of my life, just felt like the right time to dive in and do it. It has been absolutely amazing so far!
If you want something bad enough, you make the time for it. It really is as simple as that. I’m not afraid of hard work. My family… my music, both are extremely important to me, and luckily I have support from each of those loves, to continue to grow and nurture the other.
James: I have to admit. I had no idea what to expect and this record was nothing I expected. While it wasn’t what I’d call “something that had to grew on me”. I would definitely say this is a record I needed to absorb before reaching out to you. Can you share how this journey begin and what the process was like?
Nathan; I think it’s safe to say that MOST people didn’t know what to expect with this project, and I sort of like it that way. People hear that the singer from their favorite band is going solo, and they (somewhat rightly) expect it to be another man-and-acoustic-guitar sort of thing, because that’s generally what happens. But, that really wasn’t me, and it wasn’t the sort of creative and emotional outlet I wanted, or needed.
Within the I AM HERESY albums, we always included these dark, emotive segways which tied the songs together. 
Those pieces somewhat inspired what the solo endeavor is. I knew that I wanted that sound and feeling in my project. I began writing, and reached out to my Dan, who was always that friend of ours who was doing his own thing, engulfed in electronic, and industrial music. I knew he would be the perfect person to help me bring my vision to life. From there, the songs started to take shape, and the endeavor started to solidify itself in style and content.
James: There’s a soft spoken strength to the record that’s very moving. In a sense, it felt as it was a perfect vehicle to deliver these songs. What was it that guided this approach?
Nathan: My personal ideology is very much at the forefront of what I produce as Nathan Gray. As a Satanist, it is my responsibility to create myself in my own best image. That means overcoming hindrances, strengthening myself, creating, and exercising my carnality.
James: Can you tell me about the narration throughout the record?
Nathan: I believe you are asking about the spoken samples within the EP, and if so, these are clips taken from various movies, which suited the mood of each song. There is the clip at the beginning of “Wolves” that everyone loves, which comes from the film “The Dunwich Horror.”
James: The lyrics themselves have a certain historic feel to them. There seems to be a common theme throughout. What are these songs rooted in?
Nathan: These songs are inspired by my personal, continued quest to create my own vital existence. They are ritual celebrations of, invocations of, or releases from all the carnal emotions, that can make or break a human.
James: As a photographer and someone who is visually drawn to photographs that tell a story or evoke emotion. I felt myself drawn to the cover image. For me personally, it brought a lot of things to mind including mental health, loneliness and inner strength. Can you tell me about the photo, who took it and what it represents in relation to the EP?
Nathan: The cover art for the EP was done by an incredibly talented friend of mine named Tom Bejgrowicz of Man Alive Creative. I have worked with Tom many times over the years, as he has created art for Boysetsfire, I Am Heresy, and now, my solo endeavor.
Using images he shot at an abandoned hospital, and then combining them with a stark white version of my personal sigil, he came up with something bold and mysterious that I absolutely love. As far as what it represents, I feel that it, as with most art, is best interpreted by the individual. The magic is contained in what it means, and does, for YOU.
James: What was it that initially sparked your interest to Satanism? Did you grow up in a particularly religious household?
Nathan: I grew up within the Christian church, both parents being actively involved within it my entire life. My first introduction to Satanism came at quite a young age, and it was through films we were shown in church. They were meant to warn us of the dangers of sin, and assured us that Satan was the enemy. Through those films, I was introduced to Anton LaVey, the man who founded The Church of Satan, and I was fascinated with him immediately.
James: What do you feel are the biggest misconceptions? For you personally, what are the most important truths?
Nathan: The absolute biggest misconception about Satanism, is that we worship Satan. Worshipping a deity other than ourselves would be ridiculous to us, and very much a Christian way to act. Aside from that, the next, and most horrific misconception, is that we kill or maim humans, and/or animals. We absolutely do not. Just as we don’t drink blood, encourage drug use, or rally to erect ridiculous religious statues on government property.
“Satanism demands study-not worship.” This means that we know the difference (or similarity!) between fantasy and reality, that we are in a constant search for our OWN truths, and that we are responsible for, and master of, our own destinies.
(While I understand the next two questions may be very or too too personal to discuss. I have had many friends and family suffer from addiction. Therefore I am genuinely interested and concerned.) I thoroughly respect your decision if it’s something you’d like to keep personal.
James: Most people our age don’t have the chance to play side by side in a band with their son. Yet you have been doing just that. What has it been like having your own flesh and blood right by your side performing with you?
Nathan: It is, of course, an incredible feeling. It certainly gave us a chance to connect in a way most parents don’t get to do. To share all that time creating together, and then touring together, was a once in a lifetime sort of opportunity, and I am really happy we were able to share that. I hope to someday possibly share that experience with youngest son, as well.
James: You recently fought an epic battle in regards to your son. How is he doing and how is his recovery coming along?
Nathan: Simon continues to fight, and is committed to getting his life back. We are extremely proud of his progress, and hope that he continues to move forward.
James: Was the solo album and the new BSF intended to be released around the same time?
Nathan: It wasn’t intentional, but they certainly happened that way. The solo EP re-release came just before the Boysetsfire album release, and I can assure you that it was a complete whirlwind. It still is! There were back to back releases AND tours, so to say it’s been a busy year, would be an understatement. But, I thrive off that sort of chaos, so it’s been an amazing ride.
James: Is there any (for lack of a better word) fear that, perhaps due to familiarity, your solo effort might be overshadowed by…
Nathan: Not at all. My friends and fans have faithfully followed me through each new adventure. Aside from that, both bands are completely different, and to compare them, or worry about overshadowing one with another would be somewhat silly. There are new fans to each band that have come from the other.
James: You’re set to tour Europe in support of the new album. Do you have any solo gigs planned where you’ll be able to perform these songs? (Understand I wrote this question a few weeks before it was sent to you.)
Nathan; I’m actually on tour as we speak! And I do not have any solo shows planned on the Boysetsfire tour, but hope to return with Dan soon, for another run of Nathan Gray shows. 
James: I Think it goes without saying that Boysetsfire were a band that not only renewed and strengthened my love of Hardcore, BSF almost single handedly got me through some very rough patches. I say this because I recently (not sure how recently, but it stuck in my gut.) read somewhere
that the band felt a sense of dissatisfaction in regards to their success. If true, why? And in the end. How do you measure success as a band and as an artist?
I’m not entirely sure why anyone would think that we are, or ever have been, dissatisfied with our success. Boysetsfire is still making albums, and still playing sold out shows after over 20 years. That is an INCREDIBLE success, and one we do not take for granted. Simply put, success is defined individually, and I can’t speak for anyone else, but I am damn pleased with what I’ve accomplished in my life. I’m not even close to being done yet…
To purchase NTHN GRY click Here . To learn more about Nathan Gray you can go Here . For more information about BoySetsFire, the new album and their tour. You can log on to the band’s website http://www.boysetsfire.net/
As a band, Beyond always stood out for me both musically and lyrically. Their metal tinged guitars and sociological lyrics still give both my ears and conscious a workout whenever I listen. During their short, yet spirited time together. I was able to see them perform at some memorable places with bands such as Gorilla Biscuits, Youth of Today and Killing Time. A few days prior to Revelation Records vinyl release of Beyond’s 1988 Dew it Demo and Live on WNYU’s Crucial Chaos. I reached out to Beyond frontman Kevin Egan to talk about the band, it’s legacy and Beyond’s upcoming show at Brooklyn’s St. Vitus. The following is what transpired. J.D.
James: I pre-ordered my copy of “Dew it / WNYU” just hours before it became officially released. What are your personal feelings on what is a pretty nice document of your teen years?
Kevin: I’m stoked. It’s rare that someone creates something at the age of 17 like we did with the demo and then 28 years later a label like Revelation wants to release it. That’s just awesome. And I love that demo to this day. I’m still very proud of it. Like you said it’s a good document of my teen years, but it’s also a document of my musical origins. I never stopped playing music, so it blows my mind to see where I come from compared to where I am currently at.
James: Can you tell me what made what led to Revelation Records making this opportunity?
Kevin: They contacted us. We got an email from Jordan saying he would love to release it, along with the WNYU performance and we were totally into it. Again, the demo means a lot to us. We recorded it at the studio in our hometown Holbrook New York and the next weekend brought it to SomeRrecords. We never thought it would’ve blown up the way it did. Having Duane Rosignal (Some Records) and Porcell (Youth of Today) get psyched about that demo was huge. It opened up a lot of doors for us.
James: I remember a post on their website stating they would also be reissuing “No Longer at Ease”. Is that still in the works?
Kevin: Oh yeah, I think they may even be pushing up its release and it might be available early next year.
James: Do these reissues give you any sense of closure? Or perhaps open the doors to future collaborations with Vic, Tom or Alan?
Kevin: Not really. My sense of closure came after the band initially broke up in 1989. Now it’s just something that happens every couple of years. Beyond comes back into my life. I almost expect it and even welcome it, for no other reason then I get to spend more time with longtime friends.
James; Strangely enough, my first recollections of Beyond predated hearing the band. I recall reading a rather glowing review in New Breed Fanzine. The other memory that has always stuck with me was how excited Civ and Walter (Gorilla Biscuits) were about playing with you for the first time. Notable considering they were already well known in NY and Beyond was just starting out.
Kevin: Like I said, we were very lucky to have Porcell discovering our demo. It opened up a lot of doors for us. As a result, our demo was introduced to Walter and other people in the Gorilla Biscuits and we were able to play shows with them. That was amazing for a 17-year-old kid to be opening up for some of his favorite bands.
James: While Beyond often played shows with and were sometimes grouped with bands like Gorilla Biscuits and Youth of Today. Sound wise and lyrically you were quite different. I always felt you sounded more like Iron Maiden meets Life’s Blood. As apposed to say 7 Seconds meets Youth of Today. What places and experiences were you channeling with songs like Hoax, What Awaits Us and Vampire Empire?
Kevin: We were definitely listening to Iron Maiden. We grew up with them and after we discovered hardcore, we went back to them just because they were so musically interesting, we felt we weren’t done with them yet.
James: Reuniting for something like Revelation’s 25th anniversary, This is Hardcore or in your case Black N’ Blue Ball tends to rekindle old friendships, as well as sparking new energy as well as a sense of unfinished business. Many of the bands we played with or went to see during that long ago time have since reunited to tour the world, record and.. well… tour. Was there ever a moment during or after that performance where someone in the band suggested something along those lines. If not, is it something you think you’d be open to?
Kevin: It’s come up. We talked about it. I don’t think we’re opposed to it. The only thing is we all have jobs and Vic lives in Japan, so it would take a lot to get us to overcome those things, but I think if the right opportunity came up, we would take them.
James: Do you still identify with the songs you created with Beyond?
Kevin: Yes. It’s just a matter of thinking of the songs in a different context. As a 45-year-old man, I relate to a song like What Awaits Us a lot more than I did at 17 because suddenly my mortality is a real thing. I was always impressed how Tom could write a song like that at such a young age. Also, a lot of our songs were about the inability to connect with other people. I still experience that as an adult.
James: As much as the music (Particularly that of “No Longer at Ease”) have always moved me. It’s the amazing talent within the band and what each of you went off to do post Beyond that really blows my mind. At the time, did any of you feel as if you were limited as to what you could do within the limited scope of what was deemed acceptable within Hardcore? Did any of that or the projects that would follow lead to the bands breaking up?
Kevin: I don’t think any of us felt limited by hardcore. We loved hardcore. That’s what we wanted to do. We just saw the possibilities of hardcore being bigger than what was presented at the time. We wanted to introduce other types of music while still remaining within the confines of hardcore. I would say the only other project that contributed to Beyond’s break up was Tom’s involvement in Bold. But even that was minimal. Vic had moved to California and I was going away to college, so there were a lot of factors leading to the break up of the band.
James: I spent a few hours immersed in the book that’s included with the LP. Read it from front to back before I ever took the record out of the sleeve. Strangely enough I really identified with it in a very personal way. That show at the Anthrax that’s pictured as well as the Boiling Point cover and the interview. There was one particular show at The Anthrax when you played with Killing Time and Gorilla Biscuits. The fact that I shared real estate with Alan just out of high school. Excuse all my chatter but, with all these memories being stirred up, I’m wondering how much of an impact that time, the music and being a cog in what was a very unique family on you. We’ve all gone on to do things with our lives Yet many of us find ourselves going back to that time with a sense of romanticism. How do you feel about the band and it’s impact on the people who were there to experience it?
Kevin: That time in my life was definitely the ground on which I was able to build some sort of musical life for myself. Without Beyond, there never would’ve been a 1.6 Band, Last Crime or any of my acoustic projects. The fact that I was able to do Beyond informed me of what I was capable of doing and from there I just kept t
rying new things. I’m a romantic person by nature so I look back at every time in my life with fondness, except the bad times of course. The only difference with my time in Beyond was, again, that was the ground on which I was able to build other things. I was very lucky to have that.
As far as Beyond’s impact on other people, I don’t know how much we impacted other people as much as we were just part of this thing that happened at this specific time. Within that scene, everyone was having an impact on everyone else. That’s what made it so special.
James: You have a show coming up this month at St. Vitus. How did it all come together? Will Vic be joining you?
Kevin: Noisey and Tony Rettman contacted Tom about the show. He messaged me and I told him I was down. A few different venues were tossed around but ultimately St. Vitus worked out. Vic is definitely playing with us. When the idea for the show came up, I thought it was best to ask Vic. I figured it would feel more authentically like Beyond if he played. He’s also one of my oldest friends, so it will be extra special to be playing with him.
In the second installment of what I hope to be a regular feature for Document. I’ve asked Jerry Lardieri to provide the lyrics for what has long been my favorite Brixton Riot song. “Signal to Noise” has been a rallying cry as well as a call to seize the day for quite some time now. Having sang, spun and hummed this song for so long now. I felt it was time I knew the lyrics word for word. In the four plus years of United By Rocket Science. Both Jerry and The Brixton Riot provided a steady flow of memorable moments. One can only hope for more as we move forward. Only time will tell. J.D.
Signal to Noise – The Brixton Riot
Dim the lights
And wind the cables
Cut the power on the stereo
There is no time
This session’s over
Signal to noise ratio
You’ve been acquired
Incorporated
They’ll grease the wheels til they just won’t roll
Then you’re retired
From circulation
Signal to noise ratio
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Pop filter sheen
On every station
Flickering static on the stereo
A hollow sound
Across the nation
Signal to noise ratio
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Keep my head down til I hear that sound
Earlier this week I stopped over at my friend Dave G. place to check out some of the records he’s selling. A good friend and co creator of my other blog United By Rocket Science. Dave has the most impressive and obsessive record collection I’ve ever seen. In recent months I’ve missed out on a number or record shows he’s sold at and wanted to catch up with him before what he was selling got into the wrong hands. As I find myself greying out of my crate digging and my gas eating record store runs. I am reminded that the best source for records is just up the road at Dave’s. Here’s a brief rundown of what I acquired. J.D.
Uppercut – Four Walls
While I often find myself thinking my love for Hardcore music has gone the way of the three finned shark… Uppercut, as well as Alone in a Crowd were two bands I missed the chance to score on vinyl when they were originally released. Not for any lack of interest or appreciation. Let’s just say, shit got busy that year. When it comes down to Uppercut. After acquiring Blackout Records “Where the Wild Things Are”. I found myself stretched for an answer to worst New York Hardcore ode to Straight Edge (pro, con, undecided) While BOLD’s “Nailed to the X” and the Project X laugh track “SXE Revenge” shared the crown. Uppercut’s “Am I Clear” garnered points with it’s non committal, non relevant and strangely Unclear lyrics.
No For An Answer – A Thought Crusade
California’s No For An Answer were one of the major powerhouses of the late 80’s Straight Edge movement. Often grouped with West Coast contemporaries Insted, Chain of Strength and others, 
They’re sound, to me at least to me, was like Uniform Choice on steroids. While NFAA’s music was driven by testosterone driven guitar leads and aboriginal rhythms. Dan O’Mahoney’s lyrics were always smart in introspective. Along with Insted and Chain of Strength. No For An Answer were guests during my short lived residence at “The Straight Edge House.” They were one of the five bands I interviewed for the second issue of Unite Fanzine and I had the displeasure of driving them to LaGuardia Airport for their departure shortly after their set at CBGB’s “Free For All” with Token Entry, Rest in Pieces and Boston’s Wrecking Crew. I say “Displeasure” considering the experience led me to pen the song “Dan O’Mahoney don’t tip.” Still, this is a great record that I feel eclipsed the Revelation Records 7′ “You Laugh”. Selling this back in 2,000 along with all of my other HXC and Punk records still remains as one of my only regrets. Retrieving it for less than I sold it for is a nice reward.
Mission of Burma – 5 Song S/T 45 RPM 12′
Total eye candy and one of the first records I put aside to purchase. Mission of Burma were an essential part of my indoctrination to melodic punk and hardcore. For reasons that can only be described as “Just listen to any and all Revolution Summer releases on Dischord Records.” I always pegged Mission as a DC band. And why not. The bands melodic, smart post punk sound fit the bill of bands like Embrace, Rites of Spring and 3. Yet came about almost ten years prior. Needles to say, this was a nice pick up. One that will get some serious playing time.
The Clash – This is Radio Clash 12′ Promo
It’s been some time since I’ve thought of the Clash as anything more than a vehicle for consumerism and cash. Funny since they were my first love and most important band of Punks I’d ever lent my ears to. Regardless of my disgust in hearing songs that changed my life being used to sell anything and everything. Seeing an old Clash record in a bin still gives me a sweet chubby. As I fondly recall “London Calling” being the first record I ever bought with my own money and the first concert I convinced my mom to take me to. “This is Radio Clash” as one of the first 12′ inch singles to find a home within my cassettes, 45’s and albums. Still a personal favorite. “This is Radio Clash” comfortable sits somewhere in the midst of my top ten songs the Clash released in their time. That apocalyptic theme and those cattle prod beats. I always felt it had a “Planet Rock” funky appeal to it. Safe to say, I am hyped to have this one back amongst the classics I still hold dear.
Superchunk – Fishing / Cool
One can never have enough Superchunk in their life. And while I often catch myself musing over how “On the Mouth: and “No Pocky for Kitty” changed the way I viewed life and listened to music. It was the early singles that first made me fall head over hind for Superchunk. Back then or at any time for that matter. Throwing down a few bucks for a Superchunk EP, LP or show was like getting a money back guarantee that would always be too good to ever want your money back. And while both “Fishing” and “Cool” are by no means new to me. Hearing them both on 7 inch format made them even more endearing to me.
Laughing Hyenas – Here We Go Again /
OOH, looky here! The one and only John Brannon at what could very possibly be his very best. While John and his former band Negative Approach were key influences in my early days of Hardcore and a much cherished indoctrination to the dark side. Laughing Hyenas, his post NA band somehow managed to elude my ears. Having heard so much about this band in recent years. I’ve felt somewhat of a loss to what I might have missed out of. So when I saw this record amongst the piles of goodies being offered to me at a reasonable price. This beauty made it to the top of the pile. Just seconds in I’m being reminded of how much I, indeed missed out on. “Here We Go Again” is a rip your throat out to spare your heart goliath. I’m already on my forth listen in one sitting and I’m already geared up for the fifth. Side B’s “Candy” stops just a few steps away from “just as good” while just as savage. Blast this over the speakers on Halloween and you’ll be able to eat all of that candy by yourself. I feel as if this will inspire me to pick up everything I can and more from this band. Someone please point me in the right direction,
Lemonheads – Luka B/W Strange/Mad
Fuck, it’s hard to believe or remember The Lemonheads were once Punk, let alone on TAANG records. Lucky considering how great they were as both Punks and Indie Pop darlings. Listening to this reminds me of all the awesome singles we used to pick up at places such as Pier Platters (R.I.P.) and …. Side A features a cover of Suzzane Vega’s “Luka”. This is so damn good. Lots of sneered distortion meets garage rock grime. I would put this up against any Nirvana track, sit back and watch and watch as Evan put Kurt to shame. Side B keeps the garage party rocking with “Strange” and “Mad”. This is a single to get dirty with. No doubt about it. This is the Lemonheads I was introduced to via cassette by high school friend Gilbert Hoffman while tearing around the streets of Wayne, NJ.
Outspoken – Survive
A recent shipment from RevHQ included the all encompassing “Spotlight” featuring the band Outspoken’s entire recorded output. At the time of the order I had no recollection of what the band sounded like. While I remembered having a copy of “Survive”. It was one of the records whose image stuck with me more than the music ever did. Par for the course when you start buying too many records. Fortunately for me, “Spotlight” turn out to be one of my favorites from that particular bulk order. Even reconnecting me to a long time favorite song from the 1996 Anti-Matter compilation. One I had no idea who recorded. Needless to say,
when I scoped it one of the many crates and boxes Dave put on display. I felt the need to reacquire. Visually, it brought me back to the days when every SXE kidded was a vegetarian and every SXE record and fanzine included enough P.E.T.A. propaganda to make even the most dedicated carnivore feel a little bad about themselves. Overall this is pretty good stuff. I record I might have held on to longer if I had listened more than once. A nice reminder of why I love the 7 inch EP format so much.
Shelter – No Compromise
Here’s another record I owned in the 90’s and sold on Ebay years later. As I recall, I shot down every opportunity to embrace Shelter as a band or Krishna Conscious as a way of life. At the time HXC had already become more about rules and boundaries than music and despite the fact that many of my friends were trading in their combat boots for saffron and krishna beads.
I wasn’t the least bit interested. Eventually though, due to a close friends descent towards becoming a devotee. I gave the band a listen. Looking back while listening years later. “No Compromise” wasn’t that bad a record. “Freewill” still has that fast, tempered energy with lyrics that anyone in the throws of rebellion can identify. And while “Sarangati” is by far, the weaker track. It’s not a bad one at all. Having done my share or reading and researching. LIke most religions, you take the best parts and apply them to your own beliefs. There’s no need to join a commune and spend your life begging for donations while playing shitty Indian music.
Spinanes – A Handful of Singles from the band
The Spinanes are another 90’s Indie act I kind of missed the boat on. (I missed a lot of boats in the 90’s.) Having had a recent interest in tracking down some of the groups records over the past year. I should have known I need to look no further than my friend Dave for these. As I’ve already listened to two of the four singles I picked out of the pile. I realize that I’d best had steered clear of this act. For me personally, this is just flat out boring, After two singles I’m reminded why everyone was on heroin in the 90’s. Not my thing, might be the biggest understatement you’ll ever see on this blog. To quote Leonardo DiCaprio in The Departed “Why don’t you just give me a bottle of scotch and a handgun.”
Being able to embrace your own weirdness and individuality is one of life’s truest gifts. As an artist, or in the case of Seattle’s Helvetia. Embracing these sometimes underrated traits has been quite rewarding. Since their 2006 debut Static Cult Label release ” The Clever North Wind”. Helvetia have been honing their impressive, Lo-Fi experimental sound with excellent results. Proving it doesn’t take a nation to write great songs with a quirky appeal. On “Dromomania”, Helvetia’s second release on Joyful Noise. (The first since 2012’s ‘Nothing But Rambling’.) these weirdos create an awesomely trippy vibe. Overall, these songs are all over the place. Dropping something spaced out and eccentric wherever they go. While I felt varying influences from Sebadoh to Half Japanese to They Might Be Giants throughout. “Dromomania” and Helvetia are manning a rocket ship all their own. To quote my good friend Ev Gold of Cinema Cinema, “You have to be willing to surrender to the trip.” I’m glad I did. It was well worth it. “Dromomania” features twelve tracks and runs a good thirty seven or so minutes. A nice investment in time, if you ask me. J.D.
“Incision” features four new tracks that continue Strife’s legacy as one of the best Hardcore acts to come in the last twenty plus years. The release also marks first on War Records, a new label owned by Strife’s guitar player, Andrew Kline. And while these four songs match up very well with what we’ve come to expect from the band. “Incision” doesn’t exactly set itself apart from anything the band has written in the past. Making this feel like a mere pit stop in what has been an incredible race. In addition, pressing and pricing what is essentially an EP as an LP leaves to question whether or not to invest in the vinyl version. In my case, I was quite disappointed when mine arrived with no download code. I could have saved a few dollars as well as some shelf space downloading this from iTunes. While Strife remain an important cog in my appreciation for Hardcore and the bands who continue to fly that flag. With the lack of listening options provided. “Incision” will most likely end up in a pile with all of the other records I rarely pull out of the shelf. J.D.
Last week we all heard the great news that our old friend and guitar god Sulynn Hago (Feral Babies, Ink & Sweat) would be joining the legendary Canadian band Propoghandi. While we were all pretty excited about the news. I never thought I be watching the audition as it took place. This is just some amazing footage worth everyone’s attention. I’d be a fool not to share it. Enjoy, J.D.
Sometimes it’s hard to keep track of all of the new bands 
out there in the sea of constant new releases. It’s nice to run across one that really stands out. Radkey has been around for about 5 years now and have released a series of ep’s and singles, but “Dark Black Makeup” marks the full album debut from the Midwest trio consisting of brothers Solomon,Dee, and Isaiah Radke who all range in age from 17 to 21, the fact of which is more of an interesting side note than a novelty.
Those just discovering the band will find that they capture a garage rock vibe with an emphasis on heavy fast melodic punk with a healthy dose of straight up rock and roll all wrapped up together in an incredibly catchy package (See: title track, Feed My Brain, Romance Dawn). If I had to pick one term to use for them, I think “skate punk” would be an apt description.
The vocals are inescapably Danzig-esque, a comparison Dee (vocals/guitar) likely embraces as can be seen on the rather Vampira-esque “Le Song”, but it comes off as more of a tip of the hat than an attempt to copy or a one trick pony. It’s actually an interesting choice to go with clean sung vocals rather than screaming, which has become the norm. Not that there’s isn’t a time and place for that, but I think it makes them a little more approachable and works well with the band as a whole, especially for the harmony parts. Their obvious dedication to their music is refreshing and their youthful energy makes them a must see live band. -J.House
Radkey will be appearing w/ Soda Bomb + The Teen Age at The Studio@ Webster Hall 10/7/15
Some audio samples
Dark Black Makeup now on Little Man Records. Available through the band’s website, record stores, and Itunes.
http://radkey.net/
https://itunes.apple.com/us/artist/radkey/id437421826
Kim Wilde – ST Wow, my luck made a major comeback with this one. Kim Wilde’s self titled 1981 debut is a time tested synth pop classic that has both New Wave appeal, a bit of Blondieesque pout and street wise punch. While those beautiful eyes and pouty lips always seemed to take center stage in a sexist, male dominated and manufactured music industry. Wilde’s music output was nothing to fuck with. The album opens with the undeniable classic Kids in America. A track that’s been the opener to a number of mix tapes, CD’s and podcasts over the last hundred or so years. I myself have bookended Kids in America with Berlin’s The Metro and Gary Numan’s Cars on numerous occasions. I’d imagine a trip to the mall being less of a trip to hell if they started sparking the loudspeaker with this one. This was the first time I’ve listened to the album uninterrupted and in it’s entirety since forever. As I reach the albums final track Tuning In Tuning on. The only conclusion I can come to is, I’m glad I did. Considering it’s release date and the fact that I found my copy in a dollar bin. The record is in impeccable condition. ***** J.D.
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