review: Terror--The Damned, The Shamed

When Terror releases an album, it's generally like they're preaching to the choir. On their excellent first record, 2003's Lowest of the Low, the group established their signature sound: high energy, slightly metallic, no bullshit hardcore with an old school vibe. On subsequent releases, with the exception of the odd hip-hop interlude, they've repeated themselves again and again. Imagine my astonishment, then, when midway through "Betrayer" from The Damned, The Shamed, I heard 30 whole seconds of clean (!) guitar. "March To Redemption" offers a similar surprise, while "Lost Our Minds" features a nifty little guitar solo and evokes more sadness than rage. If anything, the fact that such minor details feel groundbreaking only underscores how deeply wedded Terror is to its metallic hardcore formula. Nevertheless, while The Damned, The Shamed won't convert any nonbelievers, its relative departures will likely keep the Terror faithful engaged enough to come back for the next serving.

Terror
The Damned, The Shamed
Century Media

review: Century--Black Ocean

On Black Ocean, Century beef up their sound with thick production and a more pronounced metallic edge, though they haven't strayed far from the successful brand of progressive hardcore heard on 2006's Faith and Failure. There's a good helping of melody here, not in band mastermind Carlos Slovak's vocals, which always belch monstrously, but in the guitar work. "Monolith" shifts seamlessly between ethereal melancholy and thrash stomp. Drummer Matthew Smith, who anchors the record with powerful, meticulous beats, pounds so hard on tracks like "Erasure" that you almost miss the airy, rockin' lead soaring overtop. It's obvious that Century has been influenced by the metalcore explosion of the last half-decade. The lurching breakdowns recall acts like Norma Jean; some of the lighter moments echo Misery Signals. And yet Century never sounds quite like any of those groups. Slovak's band isn't trying to corner any one segment of the aggressive music scene and that in itself is refreshing. At the very least, this is worth checking out for "Equus," one of the meanest, catchiest songs released so far this year.

Century
Black Ocean
Prosthetic Records

Black N Blue Bowl: Interview with Paul Bearer of Joe Coffee and Sheer Terror

I talked to Paul Bearer backstage at the BNB Bowl. Paul is best known for his work with Sheer Terror in the '80s and '90s, but the for the past few years he's fronted Joe Coffee. Paul had a lot of funny, heartfelt things to say. This guy rules. Check it out, easily the best interview of the day.

--On Sheer Terror:

PB: Sheer Terror is dead. We put it to rest four years ago, when we did the two shows at CBGBs. The money was good and it was good to be reunited with my old band members and whatnot. To put it to rest the right way. I did it to bury it right, and it's buried.

--On his band Joe Coffee:

PB: There was a detective in New York City who was involved in the whole Son of Sam thing named Joe Coffee. But I just call it Joe Coffee because I like coffee. It's an easy name to remember. The merchandising possibilities are endless [laughs]. I've been doing it seven years at least. We've got one EP, one album, we pressed up a thousand. Ice Cream Records is gonna rerelease it, hopefully by the time summer starts. It ain't hardcore. It's punk by nature. I mean, we're all from the hardcore scene and whatnot. I've been going to shows for 26 years or so. You don't always have to hold onto the same thing and keep doing it over and over. The clinical definition of insanity is doing the same thing over and over and expecting different results. I can't do that. I'm insane enough, and I'm dealing with that in therapy once a week. But with Joe Coffee, it's more where my heart always was. It's rock n roll, it's punk. I want to bring more of a soul thing into it. Northern soul, with a horn section, eventually--I hope, I pray. But I'm still writing about growing up and trying to do your bit. All my friends are fucked up or criminals, and I would never turn my back on them, but I want everybody to do better. To put that into music. The girls are getting it more than the guys right now, which is cool. The guys are gonna' realize, 'hey, he's still one of us.'

I steal from old country and old r&b and soul songs. I'll be the first to admit it. I did that with Sheer Terror, but nobody realized it because they were too busy punching each other in the face in the pit. But with Joe Coffee, I don't want them so much punching each other in the pit. I want them to enjoy themselves. I'm not reinventing the wheel by any means, I just want people to enjoy themselves and have fun. And if I do strike a chord and they understand it, it's a bonus for me. I'm not gonna' give 'em Sheer Terror again and again, I'd feel like I'm cheating the audience. I'm a musician, I'm an artist, quote/endquote, I expand, I move on. If they like the songs, the music, that's all that really matters to me.

--On the song "Everything's Fine," by the Saints, which Sheer Terror covered:

PB: The Saints, one of the first, if not the first, punk bands out of Australia. That's from their third album called Prehistoric Sounds. They put out their first, (I'm) Stranded, their second album, Eternally Yours. The third album was more of a departure. They were punk, rock, r&b. I urge anyone to dive into the Saints, especially their first three albums. We did ["Everything's Fine"] live a couple times. Without the horns, it took away, but we played it because it's one of my favorite songs.

Chatting with Paul Bearer. Photos by David Hsu.

--On comparing bands like Blood For Blood to Sheer Terror:

PB: Y'know, the Blood For Blood thing, they bring that up a lot. Don't get me wrong, they were a good band for what they did. I know those guys. But I don't really see it. Maybe the honesty, or the anger. I'm not taking anything away from them. They cursed a helluva lot more than I did. I mean, "fuck" was every other word in their lyrics. I can see myself using "fuck" more in Joe Coffee, which is weird. As I get older, I'm cursing more. The desperation and whatnot, the hate. But I don't really see it.

The term hatecore, I cannot stand. I think it's fucking ridiculous. It's hardcore. And to just base your whole life on hate, hate, hate, hate. I mean, even the Nazis didn't do that. To not try or want to love, it's saddening. It's depressing. It didn't help me that my first record was called Just Can't Hate Enough. Didn't help. I love love, and I want to love love again, and I want to be in love with a woman who I love. I'm not a big fan of people, I don't like people as a whole, but the ones I do, I care for. For me to hate you means we had some sort of relationship and it went bad--whether it's friendship or business or whatever--and it turned to hate. I'm not priding myself on hating people because that's just redundant and ignorant and stupid. So, I mean, Blood For Blood--God bless 'em. Musically, I guess [it resembles Sheer Terror], but I don't listen to a lot of hardcore. As far as I'm concerned, the last great hardcore, heavy record that came out was Poison Idea's Feel The Darkness [released 1990]. Nothing can touch that album. Slayer can suck a dick compared to that album.

--On Joe Coffee potentially playing a Superbowl:

PB: A show's a show. If there's people, we'll play. We don't turn our noses up at anything. But we're not a hardcore band. The indie scene, or whatever you wanna' call it, they're like afraid of me. I don't even know these people. So we can't really get shows with them. We tried. We'll play with anyone! But with the Superbowl, we'd love to play. We'd stick out like a sore thumb. But you know what? That's not a bad thing.



----Well, that's everything from the Black N Blue Bowl. It was a fun day. I want to thank Dave Hsu for taking photos, and the Rockstar people for the beer tickets.

Black N Blue Bowl: Interview with John Joseph of Bloodclot and the Cro-Mags

Photos by David Hsu.

Backstage at the Black N Blue Bowl, I got a chance to talk with John Joseph, best known as the singer of New York hardcore/crossover legends the Cro-Mags, who was playing with his new band Bloodclot. Joseph talked about everything from health and fitness to screenwriting projects and his recently released autobiography, The Evolution of a Cro-Magnon.

--On his book, The Evolution of a Cro-Magnon:

JJ: The book's doing really well, we're almost sold out of the first pressing. It chronicles how I grew up, me and my brothers, in foster homes, on the street at a young age. How I got into music, roadying with the Bad Brains. A lotta' crazy shit. I just finished two screenplays and got an agent in Hollywood, so it's starting to manifest into other stuff.

The book took me seven years. I started working on it about 15 years ago, but I was using the material for screenplays. Then at the urging of my screenwriting partner, I chose to make it a book instead. I had memoirs and diaries from 20 years ago and I just finally put it all in a book and then I got an editor. Then we just decided to get a publisher and self-publish. It's just like music, you get ripped off in the publishing world. The movie business. Everything. So now when I come with something, I wanna' do it grassroots. Now I'm getting into the whole independent film shit, trying to work that whole angle in there where you're not selling out, selling out your life. My writing teacher told me you gotta' know about the business, because otherwise you'll get ripped off.

I work hard, I write everyday. Whether it's a screenplay or whatever the fuck, I'm constantly writing, I'm constantly training, working on music. And I'm ready to tour the fucking world with these guys.

--On his screenplays:

JJ: One's a comedy about a religious cult, and the other one's a drama, a boxing film. I studied under Robert McKee, he's one of the most sought after screenwriting teachers. I've been working about seven or eight years on films now.

I started writing with Morgan Spurlock who did Super Size Me--it was me, him and his wife--and they knew about Robert McKee and I took the course, applied his techniques to my scripts. They were like, 'We'd love to work with you, but you'd have to go to school.' So that's what I did.

Bassist Rick Lopez (Merauder) and Joseph perform with Bloodclot.

--On Bloodclot:

JJ: The band features members of Cro-Mags, Biohazard, Merauder, Pro-Pain, so it's the new shit. We just dropped a record called Burn Babylon Burn. Going on tour, South America, Europe. It's just starting to kick up now.

We know the record business is not what it used to be. Everybody downloads. We don't give a fuck. I put out my book on audio first and everybody downloaded it. So we don't care about selling a billion records because nobody does anymore. But you'll be able to get it on iTunes soon.

--On the state of the scene, and the world:

JJ: If ever there was a time for revolutionary attitude in punk rock and hardcore, now's the time, with what's going on in the world. That seems to be the aspect of this music that's been taken out of it. I've been going to punk shows since '77, when I was 15. I'm 45 years old. So I saw the whole evolution of punk rock, hardcore, the whole shit. The metal, the crossover, whatever. We don't sing about our relationship problems, or how tough we are, or how many tattoos we got. The message is conscious and we're out there to make people think about what's going on. I'm way behind zeitgeist, [radio host] Alex Jones and his film Endgame, and what's really going on with the Illuminati and the families that are taking over this planet. They're taking advantage of the people and milking this fucking planet dry of all its resources.

--On health:

JJ: I'm against meat. I got another book coming out called Meat Is For Pussies and it's a health book. It's the brother book to Skinny Bitch, number one on the New York Times bestseller list. People just don't know about health. I've been training, I'm a competitive triathlete now. I'm doing an iron man and the whole book is about health, nutrition, training, the vegetarian aspect. It's not about a quick burnout and take a bunch of fucking steroids and then you're getting your balls cut off 10 years later. I'm for longevity in training, I want to be racing when I'm 60 years old. And rocking the stage. I've been playing since 1981. 26 years, bro. And we bring it every night, it's like boom. High energy. What you put into health is what you get out of it.

--On playing the Superbowl in '05 with Fearless Vampire Killers:

JJ: It was the Cro-Mag reunion, the 20 year thing, but with all the politics and people talking shit, I just didn't wanna' call it Cro-Mags. I'm over all that bullshit, I never slam any of those dudes in interviews. It is what it is. I choose to remain positive and do my shit like that.

Kids going apeshit during Bloodclot.

Black N Blue Bowl: Interview with Vehement Serenade

The Black N Blue Bowl featured a surprise set from a new band called Vehement Serenade. The group, who was playing their first ever set, features some familiar faces. The band should have music up soon here, on it's Myspace page.

--On the new band:

Jamin Hunt: Mike was writing a little bit of material. We had been in a project back in the day as kids. He used to play in Sworn Enemy, now I play in Sworn Enemy. It's like we've just been missing [each other] so closely every time. And finally, tonight is the first time we've shared the stage since [we were kids]. It's beautiful. It comes back around.

Eddie Ortiz: At the end of the day, Mike was the mastermind. We'd all done tours together, we were all good friends for a long time, and he saw something in each individual. He brought us all together and now it's evolving from there.

--Who's who:

Mike Couls: On vocals, it's Karl [Buechner] from Earth Crisis, Path of Resistance, Freya. On the drums is Paulie [Antignani] "No Neck," formerly of Sworn Enemy, Everybody Gets Hurt. On guitar is Jamin [Hunt], currently in Sworn Enemy, formerly in Hatework and Placenta. On the other guitar is Eddie Ortiz, the Puerto Rican phenomenon. He plays in Subzero, he used to play in Cattle Press. He was with Candiria for some time. I'm Mike Couls. I used to play in Sworn Enemy, Cold As Life, Merauder, Agents of Man. I play with Danny Diablo sometimes.

Eddie: 25 bands between the five of us.

I ain't got any pictures of Vehement Serenade.
So peep these crowd shot. Photos by David Hsu.

--On Vehement Serenade's sound:

Paulie Antignani: I would say classic hardcore, classic '90s hardcore, with a good, hard, slow twist that gives it some originality. We all give it our own little twist. Not being afraid to play a riff that we'd use in one of the bands we've played in before.

Jamin: It's a plethora of different influences. We're gonna' do a little something different. We'll keep it interesting, keep experimenting, because that's what it's all about. There's not gonna' be any holding back.

Mike: We've only rehearsed four times as a full band. Karl came in for two sessions a couple weeks ago. Different people were on different tours, including him. Actually, it was funny, on the Firestorm Fest, Earth Crisis was on tour with Sworn Enemy, so Karl and Jamin were on tour together with different bands.

Jamin: A total of 12 hours, if that, we've played together in the same room.

--On recording an album:

Eddie: We've got nine or 10 songs, a little over an album's worth of music already. We're writing more stuff, so we'll have probably 20 songs by the end of the season. We're going for it.

Mike: In late May, around touring schedules, we're gonna' go into the studio with Joey Z. from Life of Agony. He's got his own studio here in Brooklyn, Method of Groove Studio. We're very stoked because he gets great sounds. He knows the hard side of music and how to keep things aggressive, and he knows the melodic side of music. A very good person to be at the helm of this recording.

Jamin: Joey's a great producer. He takes his time, gets in there with a fine-toothed comb, finds the right tones. Amazing guitar player, too. Amazing friend. Amazing studio, it's phenomenal. I'm so excited to be able to go back into the studio again with him working on something so experimental and off the cuff, knowing how we worked together [on the last Sworn Enemy record, Maniacal].

--On hitting the road:

Mike: When the music comes out and people get a taste for it, that's the foundation. After that, we'll start popping up everywhere.

Paulie: I can't wait to quit my fucking job. I've been off the road one year, I can't wait to go back. I work as a cook in Manhattan. I make bangin' food. I love it, but I like playing shows and traveling the world a little bit better. I can cook when I'm on tour. Garlic and olive oil, that's all you need.

Black N Blue Bowl: Interview with Armando Bordas of Fahrenheit 451

Photo by David Hsu.

I spoke with Armando Bordas, singer for New York's Fahrenheit 451, shortly after the band's set at the Black N Blue Bowl. Armando helped pick the songs for the New York hardcore radio station in Grand Theft Auto IV. "It's like my favorite hardcore mixtape," he said. Armando said Fahrenheit 451 has no plans of getting back together full time ("I'm an old man."), but they will play a couple of shows in Philadelphia this summer, one opening for H2O show at the Trocadero, and another at the This Is Hardcore Fest. Fahrenheit 451's complete discography, titled If I Knew Then What I Know Now, is available now (click here to order). It comes with a DVD that includes a documentary on the band, as well as the band's complete set from their 2005 reunion show at CBGBs. You can also check out Armando, on occasion, in his band Dominican Day Parade: "It's one-minute songs about smoking and drinking beer," he says.

--On playing the Black N Blue Bowl in New York:

AB: There's always a flavor here that's not comparable to any other place, anywhere. People say New York is dead? They can fuck themselves. They don't know what's up. This is a New York staple--I was going to Superbowls when I was a kid. I saw one of my first Superbowls with AF, Gorilla Biscuits, Quicksand. It was just amazing and I'm honored to be playing one here in New York.

--On CBGBs:

AB: People talk about CBGBs, they talk about the Ramones, Television, Talking Heads. Ten years after those guys left and were playing arenas and were on their New Wave shit, who kept that place open? It was hardcore. It was people like me coming down to the matinees on Sundays and hanging out. People don't recognize it, and this [the BNB Bowl] is the perfect place for people to look up and say, 'This is something.' It influenced people, it influenced kids, and it's still going. I don't see Talking Heads [anymore]. Yeah, they're in the Rock n Roll Hall of Fame, but what the fuck does that matter?

Black N Blue Bowl: Interview with Craig Ahead of Sick of It All

These are excerpts from a chat backstage at the Black N Blue Bowl with Sick Of It All bassist Craig "Ahead" Setari. SOIA did not play the Bowl, but below you can check out a review of the NYC show they played in February.

--On SOIA's latest album, Death To Tyrants:

CS: It's been out over a year. People really like it, we got a good reaction. People don't really buy records the way they used to, the way downloading is and all that, but people seem to like it. They like the aggression of it.

--On the effects of downloading:

CS: We were never a CD selling band. We were always a band that made our money off touring, so it hasn't really affected us. All the bands that relied on other people to carry their weight fell by the wayside, but we always rode our own boat. We never relied on anything corporate to carry us. We carried ourselves through the people, so we're one of the lucky ones that's been able to pull through all that stuff.

--On headlining the Superbowl in 05:

CS: That was a good, high energy night. I had my B-12, my Wheaties that morning, it felt good. I like playing for all my friends. Freddy and Joe put on this show and I think it's good that the people that are involved in this scene are the ones setting this up, as opposed to an outside source just looking to capitalize on it. So I 110% support the Superbowl.