Saturday, December 31, 2011

Posted by xCHIPxSEM |
Well its that time of the year. I know many of the other sites have already posted theirs but hey better late than never. This is just a glimpse into what we've been digging on this year. I hope everyone has had a safe and happy holiday and hope that everyone is safe tonight.

In no order:

-Foundation "When The Smoke Clears": Bridge 9 Records
-Ghost "Opus Eponymous": Metal Blade Records
-Take Offense "Tables Will Turn": Reaper Records (I don't care that it came out in late December of last year)
-Sick Of It All "Nonstop": Century Media Records
-Death "Reissues": Relapse Records
-Heartsounds "Drifter": Epitaph Records
-Lich King "World Gone Dead": Stormspell Records
-Earth Crisis "Neutralize The Threat": Century Media Records
-Morrissey's 3 new songs
-Axis new tracks/Deathbed new tracks

1. Envision - s/t
2. Harvest - Years Of Defiance, Years Of Disgust
3. Indecision - Unorthodox (remaster)
4. My Dying Bride - The Barghest O' Whitby
5. Deathbed - Oppression
6. Anthrax - Worship Music
7. Axis - Rites Of Passage
8. Earth Crisis - Neutralize The Threat
9. Foundation - When The Smoke Clears
10. The Nick And Artie Show

In no order:

Integrity- detonate worlds plague
Rot In Hell- as pearls before swine
Rot In Hell/ Horders split 7"
VA- No Peace/ War
Cold Cave- cherish the light years
Cults- Cults
Prurient- bermuda drain
Glassjaw- coloring book
Seven Sisters Of Sleep s/t and DVD
Peste Noire- l'ordure a l'etat pur

In no order:

Vice - Get Down, Stay Down demo
Abolition LP
Thornz - demo
Accept The Change - Escapism Is A Dying Art LP
Foundation - When The Smoke Clears LP
Wolf Down 7"
Goldust - Soir tape
Soul Control - Get Out Now 7"
Oathbreaker - Maelstrom LP
State Of Mind - Knowledge Of Self 12"


1. Big Love season 5
2. Your Favorite Trainwreck - "The Brilliance" video
3. Wyatt Earp and the Holy Grail: The Tale Of The Three Gates
4. The Big 3 podcast
5. Miles Davis - Bitches Brew Live
6. ZappaCast podcast
7. Beastie Boys - Hot Sauce Committee Part 2
8. all the Starbucks that I hung out at most of the day for the 5 and a half months that I was living in Hemet
9. the Orange County Hardcore Scenester screening at The Yost Theater in Santa Ana, CA on 5/12/11
10. The Big Bang Theory (yes, I'm serious)

Thursday, December 29, 2011

Posted by XhcnoirX | File under : ,
Here's a release which was requested in the 'Requests and Reposts' box on the righthandside of this blog. Springwater was a German metalcore band and this MCD was released on Unsubmissive Records in 2000. This would be the last release on this label while using the name Unsubmissive Records, afterwards the label renamed itself Incendiary Records and continued under that name for a while. Before this MCD Springwater did a 3-way split 7" with Linsay and Deamon's Jaded Passion, and they also appeared on the 'Emotional Outburst Assisted By Technical Supply' compilation CD, both of which were also released on Unsubmissive/Incendiary Records. Springwater played metalcore in the vein of other German bands such as Caliban and Jane mixed with some H8000 influences. Members moved on to I Despise. Enjoy.

Springwater - ...Another Trip Inside MCD

Saturday, December 24, 2011

Posted by xjustinx | File under : , , ,

Here's the Excessive Force - Vengeance Is Mine 7" from 1994 when they were using the alternate spelling of 'Xessive Force'.  Three tracks with great production.  I always loved how punchy their recordings sounded.  It was perfect for their mosh laden jams.

Excessive Force - Vengeance Is Mine
[1994 - Life Sentence Records]

Wednesday, December 21, 2011

Posted by Anonymous |
If you see anything you like please reply with your offer:

Tuesday, December 20, 2011

Posted by xCHIPxSEM | File under : , , , ,

You may or not have heard that I am doing a new band with members of Culture, As Friends Rust, Shai Hulud and Glasseater. Well our record comes out on February 14, 2012 and we have uploaded a 2 song sampler from that record. We have a blog to keep you guys updated on what's happening with us so if you have a free minute, check it out and see what you think. We're also on Facebook

On Bodies - 2 Song EP Sampler

Monday, December 19, 2011

Posted by Anonymous |

Thursday, December 15, 2011

Posted by xCHIPxSEM | File under : , ,

Someone had asked for the first two Built To Last records a few weeks back so here we are. Members went on to Over My Dead Body and Boxcar Racer. I never got a chance to see them and I really don't remember much about them so if anyone has info to fill, please let me know

Built To Last - Loyalty And Betrayal

Built To Last - And Knowing Is Half The Battle

Tuesday, December 13, 2011

Posted by Anonymous |

A very special thank you to for providing us with this recording. Speaking of which, if you haven't already gotten a copy of the hate5six diaries: volume one DVD, click here to purchase one.

Saturday, December 10, 2011

Posted by Anonymous |

Click here to download their 4 song LP coming out on Panic Records early next year.

Tuesday, December 6, 2011

Posted by xjustinx | File under : , ,

The new 12", titled "Fifth Season", from Set Adrift is now available for pre-order over at One Truth Records.  They've been holding down the 90s sound in the Ukraine for a little while now, and I'm sure this record will be a great listen.

Monday, December 5, 2011

Posted by Anonymous |

How did you get into hardcore music?

I started going to ska shows when I was like 14 and through friends I met, and mixed genre shows, I was introduced to hardcore. I came in during the era of Backside Disaster, Portland's first metal influenced hardcore band... and early on in Trial's lifespan. The intensity of mid-nineties hardcore was undeniable and super alluring for me.

Have you been in any other bands besides Olde Ghost? If so, what band(s)?

Yeah, an all girl hardcore band called To See You Broken (1999-2003?), a crusty hardcore band called This Time Tomorrow (2005-2007?) and now Olde Ghost.

As a singer and as a songwriter, who/what are some of your influences and why?

I don't write lyrics for Olde Ghost. When I joined the band, it was with the understanding that it would be a really low intensity project for me. So no touring, only a few shows a year and the only writing I do is laying my own vocal parts into the song once Chris does the initial vocal writing. In previous bands, I feel like I've written the same way as most singers - influenced by books, current events and politics.

Do you play any instruments? If so, what?

I play the violin and viola and am just starting to mess around on guitar. I can play three whole chords now. ;)

Discuss your experiences (good and/or bad) both being a woman in the hardcore scene and being a frontwoman for a hardcore band.

Initially, it was an uphill battle. In the late nineties, it was extremely rare for girls to be in bands and the reason my first band was all girls was because no boys wanted to start bands with any of us. I think even today, an all girl hardcore band would be a spectacle. We got the full range of reactions, from people being really excited (girls asking us to sign things) to boys yelling "show us your tits". Mostly, I felt that people decided whether they were going to like the band or not based more on our gender than our music. In TTT, it was a really different experience. We were playing music that was more punk influenced and women have always been more accepted in punk rock than hardcore. That band had two girls and we played to a mostly vegan straightedge crowd, which is also generally a feminist crowd. In Olde Ghost, I don't think people even notice that there is a girl in the band. My general take on it has always been to minimize the attention that I get being a girl in a band, with the theory being if I treat it like it's normal, maybe everyone else will too. You know, just act like you belong there.

How long have you been vegan and why did you choose to become vegan?

I have been vegan for around 14 years. I initially made the decision because of animal rights issues but now also do it for my health and the environment.

I'm a staunch animal rights supporter and a very proud caretaker of 3 rescue dogs. However, I'm also a lifelong red meat eater and while I could certainly see myself giving up the more expensive red meats (i.e. steak and filet mignon), I just don't think that I'll ever be able to completely stop eating ground beef in one form or another. As a vegan, what are your thoughts and opinions on this conflict of mine?

I will just never understand anyone's belief that one kind of animal is more important than another based on their personal preference. It seems like a really illogical thought process. The idea that we keep certain domesticated non-human animals as "pets" and bring them into our houses, let them sleep in our beds, buy them toys and special treats, and shape our lives to fit theirs simply because we feel like it. Whereas others are forced to stay outdoors, receive no special treatment and are, in fact, treated cruelly in many cases, and we eat their flesh simply because we feel like it. It's fucking crazy. Seriously, I don't get it. Humans are so illogical and egocentric.

How long have you been Straight Edge and why did you choose to become Straight Edge?

I've been straightedge for 15 years. I am definitely one of those people who could say straightedge and the straightedge scene probably saved my life. Or, at the very least, led it down a very different and more productive path. That's probably the main reason I will never turn my back on the labels even if I no longer NEED them the way I did as a teenager.

What are your thoughts and opinions of Straight Edge hardcore bands whose core members are no longer Straight Edge, particularly those bands who do reunions shows, tours, records, etc.?

You know, I don't really care. I think reunion shows and tours are stupid in general and I think playing reunions with like one original member just so you can sing straightedge songs is stupid, so this is probably not a great question for me. ;) It's over, move on.

Discuss your Vegan Sara Beth website.

I'm a baker & cooking instructor and I'm writing a cookbook - is my business website. I also have a Facebook page -

Feel free to shamelessly plug any of your other musical or non-musical endeavors here.

That's all I got. Thanks. :)

Thursday, December 1, 2011

Posted by Anonymous |

Today, the first 130 Fugazi show recordings from 1987 to 2003 were made available to the general public on the Dischord website as part of the website's Fugazi Live Series (all 800+ Fugazi show recordings in the band's vault will eventually be released over time). This being the case, I decided to include a bit of commentary on the one and only Fugazi show that I attended at the Hollywood Palladium on 9/8/91 (flyer above).

This show was quite significant for me for a few different reasons. First and foremost, however, is the fact that it remains BY FAR the biggest hardcore show that I've ever attended in my almost a quarter of a century of going to hardcore shows, both in terms of venue size and attendance. The Palladium holds 4000 people and not only were there, in fact, 4000 people (at least) there that night but the show also sold out well in advance. Another significant thing about this show was that almost all 4000 people were fixated on Fugazi as they played and moving in time to the music. Needless to say, it was quite an unbelievable spectacle to behold. I had never seen anything like it before and I have never seen anything like it since. The third and final reason why this show was significant for me is because less than 3 years after opening for Fugazi at this show, The Offspring would go on to sell millions of records and become one of the most popular bands in the world. To me, however, they will always and forever be just another one of the many, many bands that got blown off the stage by the sheer raw intensity that was Fugazi.

Tuesday, November 29, 2011

Posted by Anonymous |

enter promo code BIGTEN at checkout

52 pages of photos of Guilt, Unbroken, Trial, 108, Threadbare and more from the Burning Fight book release show at The Metro in Chicago, IL on May 2 & 3, 2009.

Saturday, November 26, 2011

Posted by XhcnoirX | File under : , , , ,
6 Ft. Underground was a short-lived German veggie/vegan hardcore band from the first half of the 90s. This self-titled 7" is the only record of theirs I'm aware of. It was released by the band members themselves in 1995. Pretty decent mix between old school/melodic hardcore and more 'new school' hardcore, including a 'Meat Free Youth' anthem. Members also played in a number of other bands such as Universal a.k.a. The Mental Toilet, Diavolo Rosso, Fear Is The Path To The Dark Side, Repugnant and Dead Beat.

6 Ft. Underground - s/t 7"

Wednesday, November 23, 2011

Posted by xjustinx | File under : , ,

As you may recall, I remastered the Unorthodox cd a while ago, but the fine gentleman at Bitter Melody Records has taken it the extra mile by having the recording remastered from the master tapes and repressing it on vinyl.  He went the extra mile by producing two color versions and a 180gram black vinyl version with a screen printed cover.

They are all currently available for ordering over at the Bitter Melody page on Limited Pressing, and there is also a price discount when you order the 3-pack.

Monday, November 21, 2011

Posted by Anonymous |

Sunday, November 20, 2011

Posted by Anonymous |

1. By A Thread - Fashion
2. Shook Ones - Pheasant
3. Down To Nothing - Higher Learning
4. Bold - Looking Back
5. Judge - Bringin' It Down
6. Shai Hulud - This Song: For The True And Passionate Lovers Of Music
7. Dag Nasty - Twisted Again
8. Will Haven - Carpe Diem
9. The Movielife - Single White Female
10. Elliott - Drive On To Me
11. The Nerve Agents - Fall Of The All American
12. Texas Is The Reason - Back And To The Left
13. Sense Field - Building
14. Farside - Audience
15. Inside Out - No Spiritual Surrender
16. Quicksand - Omission
17. Gorilla Biscuits - New Direction
18. Chain Of Strength - True Till Death
19. Youth Of Today - Break Down The Walls
20. Sick Of It All - It's Clobberin' Time
21. Down To Nothing - Where It Went

Wednesday, November 16, 2011

Okay so it's pretty common place that since the 80s people have been printing and selling straight edge tshirts. Hell I have quite a few myself (most of which don't fit anymore but that's neither here nor there) and to be quite honest, there have been some bad but also some good. Some of these may look dated now but they were pretty hot items back then. Let's take a look back at some of the good and bad from the 90s. Please not, I have not included Cabal in this as we've covered them pretty extensively. If you'd like to go back and see what we said, click here: Cabal Clothing.

No post on straight edge tshirts would be complete without the famous "Sesame Street" straight edge shirt. I was told who printed this but I can't for the life of me remember who though Jav did tell me that it printed in Buffalo. This was printed in 1995 though as the shirt shows.
One of my personal favorites was the Andrew Thomas Company. I've done a few posts on them in the past, two of which you can see by clicking on the 1995 catalog and the 1997 catalog. Being that I've already covered them in past, Ill just post a few images of theirs.
Devil's Head was another company/label that printed shirts...some good, some...well not so good. You be the judge
The Attitude Shop began under a different name which escapes me now but they printed up some great designs as well as a bunch of ARA (Anti-Racist Action) designs. I think they were based out of Pennsylvania. I have a few more of their shirts but for some reason I can't find the photos.

While some people ran "clothing lines", labels and distros that also considered themselves straight edge and printed up shirts.
Victory Records sold this design throughout the 90s and into the early 2000s before finally retiring it. If you went to shows in the 90s, there was always at least 1 person at the show with this shirt.

I remember seeing Ray from Tension (FL) wearing this on the insert of the full length "Agent of the People". I scooped this up in a lot I bought. Not sure who printed it though.

This one was also sold by Victory. I really don't think we need to go anymore into this. There are also Pepsi and Coke designs

This one was sold through Very Distro in the late 90s.

The notorious "Kill Your Local Drug Dealer" shirt. This is the original before it was changed and reprinted by Seventh Dagger. I don't know who printed these but they came out of North Carolina if memory serves.

Finally, what post on straight edge shirts would be complete without something New Age related. Probably the most well known design they did. Id love to get my hands on the circular "Proud to be Drug Free" design so if you get at me if you have it and want to unload it.

Posted by Anonymous |

From the Straight & Alert about us page:

Straight & Alert is a French independent distro born during 2009 summer from our addiction for vinyl records and Hardcore music. Import hard to find records, introduce new bands to friends, share knowledge, have more records…always more records.

Here are our motivations to get ahead.

Hardcore, punk, metal, indie… Straight & Alert’s musical landscape doesn’t cease to change and evolve, as ours, and isn’t gonna stop.

Straight & Alert has started in a scene, where strong values and ideals are shared. Stand up for them is one of our struggle.

Take a stand, Take a new look at yourself.

You have to be STRAIGHT & ALERT.

Tuesday, November 8, 2011

Posted by Anonymous |

the hate5six diaries: volume one DVD

(100% of the proceeds will be donated to One Hundred for Haiti)

Featuring nearly 4 hours of live footage of:

Black Kites
Damnation AD
Have Heart
Iron Chic
Kid Dynamite
Pulling Teeth
Ruiner (from the last show)
Suicide File
The First Step (from the last show)
The Rival Mob
Touche Amore

[Running time: ~240 minutes, 16:9 widescreen]

Friday, November 4, 2011

Posted by Anonymous |

If you haven't already done so, please consider making a donation to if you're able.

Sunday, October 30, 2011

Posted by Anonymous |

Even though America is on the brink of a double dip recession with no foreseeable end in sight, the very brave duo of New York hardcore legend Jeff Terranova and his partner Beckey Salg have recently opened Long Beach Vegan Eatery, a restaurant which specializes in all manner of vegan comfort food (as Jeff himself told me, "people still gotta eat, even in a recession"). If you live in the Southern California area or if you ever find yourself there, be sure to stop in and get your grub on. They are open every day from 11:00 AM until 8:00 PM.

2246 N. Lakewood Blvd. (at Stearns Avenue)
Long Beach, CA 90815

Thursday, October 27, 2011

Posted by Anonymous |

Discuss your new film, Wyatt Earp and the Holy Grail: The Tale of the Three Gates.

EJ: Wyatt Earp and the Holy Grail: The Tale of the Three Gates (WEATHG: TTOTTG) is a look at humankind's relationship to the elements which surround them. Oftentimes, these elements encroach on them in a way that is not normal. WEATHG: TTOTTG attempts to explore this as well as study how a man who is lost ultimately finds himself. It's a big story, which is why there are two more films coming, which will bring the total length of the series to 3 hours.

JN: Yes, yes. However, it's also a study in circular lineage. As I'm sure you can tell after viewing the film, at least 1/2 of the story is noir rooted but there is also an ode as to what makes a human being, in fact, a human being. Wyatt is lost, true, but the emphasis for the viewer shouldn't be the typical tonal dissection of "who?", "what?", "when?", "where?", "why?" and "how?" but instead, it should take a more "if?", "or?", "but?" and "will?" direction.

I've watched the film twice now and while I'm obviously not in a position to actually review it (and I wouldn't even know where to begin if I tried to review it), one of the things that I really liked about the film was the beautiful visuals. What specific effects in the editing of the film did you use?

JN: I can’t really speak for the equipment that was used; the cameras, the film, the dollies, the cranes, the boom mics or the editing system. That’s not really what I am about as a film maker and, for that matter, a man. What I will say is not a lot of people have the mental capacity to make movies. That is why only a select few of us ever soar. The only advice I can give to young, aspiring film makers is follow your dreams.

EJ: The film was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7, which both Joe and myself were more comfortable with. We consulted Walter Murch's legendary book In the Blink of An Eye so we wouldn't be constrained.

Discuss the film's sound editing. What specific effects did you use for that?

EJ: The goal was to create a mood, an atmosphere, and I think we have achieved that. We wanted people to not only get in touch with this character but also with themselves. In this way, they could see how they were constrained. However, it is eventually these constraints which allow us to be free.

JN: For me, the most important derivative of the whole scope is the tonal alchemy. Evan has really come into his own as a true soundman in the essence of the craft. To me, Joe Nelson, Wyatt is Evan's greatest work when it comes to the dialect of rations and pitch layering. It grabs you from the get go sonically and one hour later, you’re thirsting for more. Audiophillicly speaking, of course.

In what ways does the first and original draft of the screenplay differ from the completed film?

EJ: I will just say this - Joe's original draft was more linear. Wyatt was called Shaw, Arthur was called Max and the script actually took place in present day Las Vegas. I told Joe that to truly tell this story, he would have to abandon the constraints of narrative, plot and other such devices and just allow the story to breathe. Since he was playing Wyatt, he gladly complied.

JN: Originally, the film was called Wyatt Earp and the Holy Grail – Perditions Window. However, the main character was, indeed, named Shaw, and Wyatt was more of an underlying idea throughout the film. When you view the film, you can see why we changed it to The Three Gates, but you will still feel "Perditions Window" subtly shifting within the context of the body. However, Evan is 100% correct when saying that the story followed more of a linear arc, too much actually. His recommendation to take a more obtuse path is what got us to where we are today. Once we went off the grid, so to speak, it was desperately necessary for the Shaw character to be cut from the story completely and what I refer to as the "Wyatt Idea" to become the major focus of the journey.

Why exactly is the character of The Outlaw an outlaw? Or is he, in fact, an outlaw?

EJ: The Outlaw is a man who rules a realm known as the sound. He is trained in the art of audio and he treats it that way. Wyatt has obviously done something to offend that sensibility and that is how he ends up 3 dimensions from the rest of us.

JN: To side step a little, I am currently working on a feature length 3 minute cartoon short film based 100% on The Outlaw’s life circa 18 years of age. Can you imagine an 18 year old Outlaw, carefree and loose upon the world? Well, the world he currently occupies, that is? Or does he? HA HA HA... you’ll actually have to watch the film to get what I mean by that little inside joke but boy is it true and, dare I say, relevant for this age that we live in socially, politically and spiritually. Mankind’s peripherales are what hold him back, you realize. The Outlaw knows this. Does Wyatt? Okay okay, I am giving away too much of the film. Next question please?

How did Isaac Golub (singer/frontman for A Chorus Of Disapproval and A18/Amendment 18) become involved in the film?

EJ: Isaac, not many people know, is classically trained in the classics. He doesn't talk about it much but he and I are friends, so he told me about this. I told him that I wanted to stretch his persona. In X CHORUS X, he was one thing and in A18, he was something else but he was always Isaac. In Wyatt, he plays a man who knows no boundaries within himself.

JN: I was originally against having Isaac involved but after I saw his screen tests, well, let’s just say not only was I hooked, I became a fan of the man. I became a fan of his words. I became a fan of his charisma. I even became a student on the compository make up to the very grassroots of Isaac’s soul. In fact, Evan and I were so moved by his audition that we both felt his screen tests were just too strong as is. Therefore, his scenes in the film are the screen tests themselves, as is, uncut and verbatim.

What direction, if any, did you give to Jay Cee, who wrote and composed the original music score for the film?

JN: Evan knows Jay Cee better than I do. This was actually my first encounter with the man. Skeptical? Yes. Due diligence? Forever, and a day.

EJ: Jay has scored a bunch of my other films. Basically, I give him a copy of the film without the audio and he does a bunch of scratch recordings. Then he comes to the studio (a.k.a. THE LAB) and we go from there. Music is his department and he actually has final say in regards to music cues.

How much of an influence, if any, was the work of actor/writer/director Vincent Gallo on the film?

EJ: I am sure it is in there somewhere. Joe is a big Terrence Malick fan and I have always admired Stan Brakhage. We merged those two worlds.

JN: We actually met, Evan and I that is, at the Orange County Terrence Malick Fans Of Stan Brakhage Films Fan Club, back in 1992. We became immediate pen pals, and from those letters grew a friendship, and from that friendship sprouted Wyatt. It was almost as if God's hand led us to be.

How much of a challenge to understand and/or appreciate will this film be for fans of each of your previous music and film works?

JN: This is the first real work of art that I have been a part of. I am 41 years old now and for 10 years, I have worked feverishly on nothing but this film. I’ve spent every last penny I have on it and if somebody handed me more pennies, I would gladly, and without prejudice or hesitation, give them to Wyatt.

EJ: I think people will see it and be able to appreciate it for what it is. I like being able to bounce between writing movies for people like Kevin Sorbo to making very personal films like ORANGE COUNTY HARDCORE SCENESTER to making a movie like WEATHG: TTOTTG, which is made for the pure pleasure of getting together with creative people and making a movie. Alex Cox would be proud.

What can you tell us about the upcoming Wyatt Earp and the Holy Grail films?

EJ: Well, we are going to go bigger production value wise and we are currently locking down locations. However, before we even start thinking about that, Jacobs/Nelson will be making a horror film that is heavy inspired by APOCALYPSE NOW titled NIGHT OF THE JAKE 2000. It is going to be a sequel to a short film that Joe made in 1989 titled NIGHT OF THE JAKE.

JN: I don't want to give too much away for what is coming in the next Wyatt installment. However, as you will tell after completing the first undertaking, the space is wide open and the air is ablaze.

Monday, October 24, 2011

Posted by Anonymous |

Thursday, October 20, 2011

Posted by xCHIPxSEM |

I apologize as its taken me some time to do this update but our friend and dedicated follower Jason has started a podcast. I told him I was going to have it posted last week but hey better late than never. Check out it....good mix of new and older hardcore.
Click here to check out the site and download the first episode

We Gotta Know Podcast

Wednesday, October 19, 2011

Monday, October 17, 2011

Posted by Anonymous |


From the Revelation Records Vimeo:

This is what we could salvage of the documentary "EDGE DAY 2000: The Last Show Of In My Eyes." Hope you enjoy it! Here are some words from In My Eyes' guitarist, Anthony Pappalardo:

For the entire existence of In My Eyes there were always three words used to describe us that made us cringe: Youth Crew Revival. Most 'zines that were covering Snapcase and Chamberlain would mention we were "great at being a Youth Crew Revival band" and it drove me fucking insane. The Youth Crew was Youth of Today's crew, not a style of music and certainly not relevant to a band formed in 1997. We all loved Youth of Today but we weren't setting out to revive anything. That phrase always made me think of a bunch of kids in varsity jackets standing over a drawing of the Step Forwards record dude with wires hooked up to him like Weird Science. Suddenly he rises out of the pages of Boiling Point and He's Alive... the Youth Crew had been revived! Let's all pose in the street a la We're Not In This Alone and bleach our hair!

In My Eyes accomplished infinitely less than many of the bands that were our peers in Boston. From Bane and American Nightmare to Converge, Isis, Jejune and Piebald; we'd toured less, played less and never committed to the band full time but it didn't mean it wasn't our lives or that we weren't happy with what we had left behind. We weren't able to be a "full time band" and that made things fun. We had an outlet to pour ourselves into every weekend and it made even the smallest show special.

We didn't revive the Youth Crew, we lived our crew. Some of us listened to Juvenile, while some listened to Stereolab. We could be found wasting our money on sneakers, jackets, unhealthy vegetarian food, gambling or video games. We combed the streets of Boston looking for fun, records and girls… girls were the hardest to come by. In My Eyes was our way of avoiding the September to June College Malaise that defines Boston.

Initially we were a handful of kids crammed into the first floor of a poorly insulated Mission Hill apartment with a Subway table in the vinyl floored kitchen. By the end of the band our friends inhabited about 43% of the neighborhood, formed twenty thousand bands and record labels and we all found time to hang out on each other's porches and stoops no matter what was going on.

In My Eyes was convinced to play a final show, as the band had run it's course. We were exhausted, broke, and all facing different directions while still being best friends. Matt Galle, Tim Mailloux and Ray Lemonie aka DHU were responsible for most of the all ages punk and hardcore shows in Boston at the time and they wouldn't let us go out with a whimper. They booked an all ages, $5.00 show in Haverhill, MA, where Ten Yard Fight had once played as well as 108, about 7 years prior. Haverhill was about ten miles from where I grew up. I spent my teen years there in coffee shops, grinding and sliding the curbs in the town's parking garage. It was part of the Merrimack Valley, an area responsible for Cave-In, Piebald, Converge, Ten Yard Fight and other notable bands. It was nice to end where I started.

The show wasn't going to take place in Boston so we could have an all ages show with no barriers, without giving a cent to club owners that hated us the other 364 days of the calendar year.

DHU asked me who I'd wanted on the bill; I remember asking if American Nightmare could play... they didn't and I'm not sure why but Wes sang the ending of Through The Motions which is part of this documentary. In viewing the video again I realized how much this song aspired to be a Moondog song though it's mid-paced tempo was modeled after Inside Out.

I'm not sure why my memory is so sharp for some things and so vague for others but I'll run down the last time In My Eyes played together:

• A few weeks prior we played a last show in Riverside County in California at the Showcase Theater. I liberated a pair of gold Air Max 97s from Niketown as an homage to Civ's obnoxious creepers at the last GB shows.

• As In My Eyes was fading out, a lot of us noticed the focus on NYHC folk-lore and generally being "hard" in hardcore 2000. We purposely chose to cover A Time We'll Remember and Bottled Violence, two songs without mosh parts that are as energetic as any songs recorded to keep an emphasis on stage dives and sing-alongs... things we saw as the core of the band.

• Friends from all over the world came, a lot of our friends hadn't been to a show in years or ever, some of them liked Limp Bizkit and others, House music. It was rad to have such a mix of personalities and backgrounds there in one place.

• The show was $5.00; I'm not sure how many people paid but I know for a fact that no one I knew was asked for even a dollar. Clevo mentions there being 500+ kids there, I'm sure at least 200 were on the "guest list." I have no idea how many kids were actually there but it felt like at least 501.

• The palm tree background was pretty calming, and later, Jeff and I joked about starting a new band, "Veggie Burger in Paradise", a Leisure Core band inspired by the backdrop.

• We all knew Sweet Pete was tight with Porcell but didn't believe he'd really show up to sing Straight Edge Revenge. It kind of blew me away how kids didn't give him a little room to do his thing, I always thought he was pretty incredible on stage and would have liked to see him have a little more space.

• There was one In My Eyes song we all thought sucked so we didn't play it but I'm not sure 11 years later what it was, maybe it was Overlooked.

• Dudes ripping down the ceiling cost us $400.00, which is 80 paid customers. I might start a Kickstarter to recoup the costs retroactively.

• There were a lot of humans there not wearing shirts... I'm pretty sure 11 years later they'd keep their "Hanes Beefy Tees" on.

• None of us could even get near our amps to look at our tuners due to the amount of Edgemin on stage, we gave up and tuned by ear. Al Quint once complained that we were always out of tune because we "jumped around so much", I'm surprised how in-tune we actually sounded.

As for the actual documentary you're viewing now, it was supposed to be this multi-angle, multi-camera, semi-mega production packed with ephemera, interviews and insight. Instead, it sat somewhere for years until a short sample tape and an invoice arrived in my mail box years later. There was a lot of confusion about what really happened with the movie, I wanted to work with the editor and really make this different but instead the film crew disappeared and we all forgot about this until Larry Ransom found this 30 minute cut.

I wish I didn't swing my arms around as much when I talked but I'm happy with this slice of In My Eyes and I hope everyone enjoys it.

Thank you to DHU for booking the show, everyone who came out as well as Shark Attack, The Killing Flame, Mouthpiece, Fastbreak, Bane and Ten Yard Fight who played for next to nothing to be a part of the day.

I never went to my senior prom and spent 15 minutes at my college graduation because In My Eyes had a show booked at a shed in a New Jersey backyard with Ensign which I played with a 100+ degree fever but I had this day no matter how bad my memories of it actually is.

Despite this show being an endpoint for In My Eyes, I see many of the people on that stage weekly, monthly and at weddings and other celebrations to this day. We share tweets, texts, emails, Facebook wars and other social media connections and we all agree it was a great time that continues into our (gasp) adult lives.

Thank you.
-Anthony Pappalardo 10.17.2011

Friday, October 14, 2011

Posted by Anonymous |

Here we have a video of newly signed Mercury Records' recording artists The Gaslight Anthem covering the former Revelation Records' recording artists Farside song "I Hope You're Unhappy". Now, major label bands covering songs by indie label bands (even hardcore bands) is, of course, nothing new. However, I felt that this particular case warranted a post due to the fact that Farside are from my beloved hometown of Orange County, California and singer/guitarist Popeye has been a good friend to my brother and me for 20 years this year. Oh yeah, almost forgot the best part - it's another middle finger to the "nobody cares about '90s hardcore" naysayers. Yes they do, assholes.

Tuesday, October 11, 2011

Posted by xCHIPxSEM | File under : , ,

My dudes in Atlanta's Deathbed just recorded 2 new songs for a split with True Life. You can check them out here and you can order their 7 inch here. If you dig bands like 108 and Harvest, chances are you're probably going to like this.

Sunday, October 9, 2011

Posted by XhcnoirX | File under : ,
Formed in 1995 and quitting in 2006, Stampin' Ground was one of the biggest UK metalcore bands, not to mention one of the best metalcore bands to come out of the UK period, or even Europe as a whole IMHO. Their self-titled MCD on We Bite Records from 1996 compiles the first 2 7"s of this band, the 'Dawn Of Night' 7" on Days Of Fury Records and the 'Starved' 7" on Too Damn Hype Records. Both these 7"s were recorded at the same recording session in late 1995, and the 7"s were released in 1996. Great stuff. On these releases, they were still more on the hardcore side of things, the metal influences took over more and more on their later releases. After these 7"s they did a number of releases, all of which are great. Their best release in my opinion was the 'Carved From Empty Wounds' album from 2000, that one is absolutely vicious, and comes highly recommended, tho really all of their output does. Anyways, as I also own both 7"s, I've included scans of the 7"s as well with the download. Check out this band if you haven't done so already.

As a side-note, for those who are interested in the origins of UK punk & hardcore, Stampin' Ground's bass-player Ian Glasper has written 3 books about the UK (anarcho) punk and hardcore history, 'Burning Britain - A History Of UK Punk 1980 to 1984', 'The Day The Country Died: A History Of Anarcho Punk 1980 To 1984' and 'Trapped In A Scene: UK Hardcore 1985-1989'. Check those out as well.

Here's a cool video from that time about a Stampin' Ground roadtrip to Belgium's Goodlife fest '97:

Stampin' Ground - s/t MCD