7:10:7

April 29, 2020

Interview with SPO-IT'S

I interviewed Scott Corkern (aka King Spo-It) from shock-rock/noise legends The Spo-It's. He was nice enough to provide quite detailed, smart and funny answers (as well as a plethora of visual documents) about The Spo-It's history, their numerous and unsavory antics, musical trajectory, the art of wrecking havoc to a stage, his multi-disciplinary artistic pursuits and more.

King Spo-It living it up

7:10:7 - Hi there Scott, what's up?
I'm sure many people out there are somewhat unfamiliar with Spo-It's, could you introduce the band for our readers and give a quick chronology of your musical/artistic activities?

King Spo-It - I started the band on St Patrick day 1990 with E Jason. We were both into Noise but we were both writers and we were looking for places to make a mess and a huge violent noisy performance. The idea is that if we were asked to play a venue again we had not gone far enough. But not being shit heads we would never do anything we were asked not to do. We would just think up something worse that they had not though of.
None of us played much at first but we all sort of learned our instruments, also as we got bigger real players asked to join. I really miss the days where we were playing noise with no formal learning players. But, that is the kind of thing is great when it is natural and kinda lame when you try and set it up.

I have always been a fan of the big performance. I always thought the “BAND” and music was second hand to the performance. Also with my love of chaos and Anarchy I would let the other Spo-it’s go all out with their own stupid wrong ideas. Often people would come to me and ask if they could cut themselves up at our show on stage, or eat the book of revelations while being beaten, or tie up audience members and pee on them. I said yes to all those things and we did them and more. I always say yes.

As far as the time line early on 90-92 we played a lot of Noise festivals like Lofty Aspirations in Pittsburgh and we got some plum opening gigs like Jad fair at the Khyber pass in Philadelphia PA. 93 we played CBGB’s for the second time and got an NYC following and we toured the west coast this lasted till about 95 or so. We were sounding like a super punk band at that point with some great players. The show was getting more out of hand all the time.

96 we got the gig doing “shock rock” with the Mentors and Gwar on the Jerry Springer show. In this time of the early internet TV was one of the few ways to get out to a larger audience. With the springer show vhs tape to send out we got actual gigs for large money.

1999 I had the thought that i had taken Spo-it’s as far as it could go. We stopped regular touring and only played a few large shows a couple of times a year.
2010 got the band back together for a 20th year anniversary show and tour. I tried to get Kirk to play the whole tour but we only got him for the Raleigh show.

As far as recordings we were selling cassettes recorded at practice then live show tapes video and audio all along. In 1991 we did a vinyl single “handgun” only 300 were printed. 1993 we went up to loho studios in NYC and recorded “ and your little dog too” that cd also included the tracks and extra tracks from the single. Then in 1995 we went back to LOHO and recorded “Free Sex”. Robert Williams from Captain Beefheart flew across the country to play drums on about half that CD. Those tracks were improvised in the studio. Rik Surly being our regular touring drummer did the other tracks we had worked out on the road.
Our “song writing”technique was to do improvised songs during our shows. Then if something sounded good i would have a recording of it and we could work on it.

I think it would be safe to say The Spo-It's are mainly a live band, correct?

Your live shows are quite, ahem... unique. Featuring everything from chainsaws, fire, strippers, breaking shit and wreaking havoc everywhere; that must be quite the fun (and also trouble sometimes).

What are some of your best/worst memories from playing live with the Spo-It's? Any crazy/interesting stories to share? If I should take a guess, I'd say by now you must have been banned from pretty much every local club.

More of a moving riot than a live music show.

I once booked bands at the bay street bar in Savannah GA and the only band i could not book was my own. After i had been the booker for about a year i talked the owner into a halloween show. We were on our best behavior and the show was a sell out so he let me book Spo-it’s again. That show we did rockets, nudity, and a live mouse canon. The home town crowd was worse than we were and broke every piece of furniture in the bar. After the show i went to the owner and he paid me. I asked if he wanted some help with the broken furniture “NO we made 6000$ at the bar”. Thus i was the booker again and Spo-it’s were banned from future shows.

The Scumfest shows at the Caboose in Raleigh NC were some of the best we ever played. The venue had been very supportive of us. They had a few things they did not like in our shows but they gave us more freedom than anyone. A lot of the stuff we did there was straight up illegal in North Carolina. Out last scumfest show was the best. Dick Delicious and the tasty testicles was our opening act and rhythm section. We added our crazy beating and pee show to their strippers in a venue that was so packed that there was no room to move. There is a great video of the whole thing on Vimeo.

Some of the great shows were when the venue had no idea who was playing. We played the cage in Ridgeland SC. It was a mexican bar during the week days and on the weekends they did all ages metal shows for the regional metal kids. We were asked to play by this local metal act Sheldon in support of them. They had a big following and the young kids had no idea who we were. During our show it was like we had cast some sort of satanic violence spell on the crowd of 16 year olds. One of the big doughy guys started a fight with this little Guatemalan guy who beat his damn ass. We played over it all not stopping just getting more violent ourselves. After the show the kids were looking at us with these huge eyes. I ended up having some oral sex with this girl who looked to be 18 on the pool table right in the middle of the bar. I got a tap on my shoulder. It was our guitarist Blake saying the barkeep asked nicely if i would stop.

You're based in Carolina, as far as I know anyway. Please tell us a bit about your surroundings, any comments about the musical scene there?

I've heard a few local musicans praising the Spo-It's, such as Dixie Dave (Weedeater), Kirk (Buzzov*en), and people from Sourvein.

I worked as an architect in Charlotte NC 1984-5 when i got out of Clemson. When i was there i was at every show at the Milestone Club and that is where i met a 17 year old Kirk. At that point he had a band called Sewer Trout. I still have the cassette he gave me. Myself i was a music fan at that point and i was doing drawings of the bands during the shows. i have a large pile of those sketchbooks.

Antiseen was the big punk band at the time. There were a lot of new wave stuff going on like Fetchin bones. Then i moved to Hilton Head again to do architecture. At the time there was NOTHING going on. I started booking shows so that I could have shows to attend. We did lots of locals like Porn Orchard, Bedlam hour, roy g biv and Dead Elvis. As far as touring bands we did The Circle Jerks, Agnostic front and Government issue. While i was doing those shows i met a 17 year old E Jason who used to deal acid at my shows. I would let him in free and he would pay me the cover charge on the way out. At that time the art school in Savannah was just starting up and it was drawing artistic weirdos to Savannah. Bars started doing shows but there were only a few bands and they all did a various degree of suck. I met up with E Jason again. He had been in Athens GA for a year or two and had been in a noise band Peach Of Immortality.

drawing of Dixie Dave by Scott Corkern

Our first gig in town we got the booker fired and ourself banned. Then we moved on to one failing bar after another one until we got too notorious locally to surprise a bar owner. Then i started booking shows at the Lamppost which had been a strip bar but had fallen so far as to not have any strippers just old women begging the punters to buy them drinks. It was also a front to distribute Heroin. I booked that venue for years. In that venue i booked Momento Mori for the first time with 17 year old Phillip Cope of Kylesa and Damad. I told him his band sucked, but he was young and i would keep booking his band as long as they would play first of the night for free. Then there was Damad. Victoria had a problem with the sexual content of our show (most likely sex in general). We did not play so much on the same bill but we went to each other’s shows. There was this band GAM with this great front man Keith Kozel, their music was kinda old school 70 rock with a pinch of everything that was going on at the time musically thrown in. In two words it had been done. Two more things they had in common with us: Kevin F. Rose was an architecture student ( now architect) like me, and they did a theatrical show. But i will say their shows were ok but very very safe. When i was booking i would book us on the same night, them playing the velvet Elvis, us at Kevin Barry’s or the bay street bar. One tour we did in the midwest we ended up playing the same venues as Gam. They were in support of some out of the country rockabilly band. We were headlining. Kevin (who got drunk and bit me one time) i heard got very tired of playing in our shadow and having to answer lots of questions about us.
When Velvet Elvis got sold we ended up playing one show in the renamed Jynx club. The murder junkies with Jeff Clayton was on top of the bill with the 10th GG death anniversary show. And of course we got banned.
There was this other great band Clown Knife. With the Safer brothers playing together. Today Adam Safer has a two piece band Jewwop. They are two fucking geniuses and the records are well worth looking up. Both Brutal and expert playing.

As far as the entire music scene in savannah in the 90’s there were about 100 people who might show up at your show. When we did DRI and Acid bath with Spo-it’s and Damad we did 330 paid. That was the biggest show i could remember. But there were lots of players in town and a lot of crazies both of the art school type, the gay military type and the trailer park white trash type.

How would you define the kind of music that Spo-It's does, and what are some of your influences? Musically I'd say you have a quite unique sound that is close to noise rock and no-wave.
Any past or present favorites to recommend?

I always wanted to do something unique and original, so there would not be a genre as such. However i found once we had played a city once or twice there would be Spo-it’s clones on the underbid. Two of the great ones were Badluck 13 Riot extravaganza, and meth 25. One time we had this band from texas open for us. Then a year later i got this music mag in texas when we were on tour. They had stolen all of our act they had seen. That would be fine but they just sucked so hard at it.
My personal influences are in random order Einstürzende Neubauten, Faust, Can, Captain Beefheart, Velvet underground (mostly for the show), Zappa, GG, Killdozer, the butthole surfers, Black Flag, Fear, Circle jerks, Ornette Coleman, Joe Coleman, charlie parker, John Coltrane, Lisa Suckdog, Lydia Lunch, james black and the whites, Nick Cave, beastie boys, Public enemy, Nwa, Black Randy and the MetroSquad ( very underrated ), the Mentors, the child Molesters, Crash Worship, Jon Wayne, and Johnny Cash.
But with influences toward the band we all came from very different places. Chuck our producer was a clash head and a genius guitarist, blake another of our guitarist could only barely play metal solos, John dunn (truckadellic) had a funky bass sound. Icy mike cannot play bass and has no musical sense. We have him play through a delay and a super fuzz sounds great live. Ash our sax player loves archenemy and Ornette Coleman.
So we all play what we like all at once and loud.
Recommendations …….. Big Lurch ….. motherfucker ate people. There is a great podcast of his legal case / story .

Aside from music, I noticed you have other pursuits like sculpture, plastic arts, and even stand up comedy.
Talk to us a bit about that side of your activities, any good jokes to share?

I went to school for architecture. That is how i make my cash. I have my own practice and it gives me a lot of freedom to do what i want. So i am trained in all of the visual arts during school and have kept up with them throughout my life. Currently i am doing nude paintings, lost wax casting in aluminum and wood carving. I am also doing a comic book with my friend elvis chicken and my nephew parker.

"Elvis Chicken" comicbook

I designed this house in Spring Island:

architecture by Scott Corkern

I did comedy for about five years during the last recession to make a few dollars to eat on. I really liked it and made money promoting shows. My shows were very pornographic and rude. Got lots of people walking out and lots of people seeking it out. A lot like my music.
Here is a new joke i wrote:
During the plague i have had lots of time to develop new interests.
I have developed three
Film making, astronomy and pornography…
My new film "white dwarves entering black holes. "

What about the future of the band? Any recordings in sight?
Playing live will be on hold for a while obviously. Any live activities planned after this pandemic shit goes away?

Well i have a new record written. It is going to be called “ Full Retard”. No idea when i will get the time / money to record it. I guess i would just press a vinyl and put it online for free.
I have been doing sax / vocals with this Swedish band “ Gran Mal X “. I like it because i just record my shit , send it off and Mattias fucks it up good. Mixing is just a full on migraine pain for me. We have been thinking of doing a european tour for Spo-it’s. My buddy / Bass player John Dunn was on Finish TV two years ago. Mattias can hook us up in Copenhagen . It would be a slim list of Spo-it’s to fly out. I know i will cause hurt feelings for everyone i have to leave. We would have to live off the land to get some foreign whores for our shows. I was thinking of the line up with Me, Chuck on guitar, John on bass, Rik on drums, and Ash on Sax.
We almost toured Japan in support of the Boredoms but the shows went sideways like they sometimes do. But one thing i am getting old. Last time i went out it took three days in bed to recover from the shows. So perhaps i could perform like Dave thomas of Pere Ubu in a wheelchair. Also Pere Ubu is a great influence and i forgot it. That is what happens when you make a list. I would have to rent equipment and build a grinder tar once i get into europe.
Another recommendation is Rik Surly’s New Band “Thunderchief” Very brutal!!

Thank you Mr. King Spo-It for this interview. Be well.
Any closing comments/shout outs/fuck offs?

Last thing i would say is that people need to participate in their own damn lives. Get out and do something. If you come to one of my shows bring something to break. Better a old style tube tv.

"3 woman in masks" painting by King Spo-It

interesting Spo-It's links (provided by King Spo-It):
Spo-it’s live at Scumfest 98
Some weird X-rated shit
More footage from Scumfest 98

other links:
King Spo-It's youtube channel
Spo-It's @facebook

April 27, 2020

Interview with STARKWEATHER

Interview with reclusive Philadelphia experimental metal/hardcore institution Starkweather - one of the most singular and unique entities in the extreme music panorama, that has been active on-and-off for the past 30 years. Rennie Resmini, vocalist/lyricist and founding member of the longrunning avant-me(n)tal Philly pioneers, provided in-depth and nicely interactive commentary about Starkweather's history & output, their creative process and influences, the city of brotherly love, and past & present musical endeavors.

artwork by Lev Sloujitel

7:10:7 - Hello Rennie, hope you're doing well.
To start things off, would you share an overview of Starkweather's history? Looking back, what are your thoughts on your past musical output?

Rennie Resmini: Yes, I'm doing well considering the shelter in place state we're in and not being an essential worker. From the jump let me apologize for being long-winded and rambling. Right now all I have is time on my hands. Hopefully you guys are doing well where you are.

Honestly I really don't look back on what the past recordings are. I've moved on as soon as the whole process for a release is complete. Each recording to me is capturing a performance at a specific time. We were fortunate in a sense that the music isn't confined to a certain sound or period of time. We never followed a formula that was conventional. When I do listen back I'm critical of things, moreso recording issues than the actual songcraft. Sure, there are things I would do differently, but, that's the case with any band that wants to evolve their sound and playing ability. For that end I'm somewhat satisfied. There is always the next phase of sound construction.

Ok, as to history... Todd and I met at Temple University by chance at entrance exams in 87. I saw he was wearing a Descendants shirt and asked whether he was at Uniform Choice the previous night. He had the same opinion - they were awful - and we started bouncing bands back and forth. We were into a lot of the same outsider bands: Voivod, Celtic Frost, Amebix, Articles of Faith, Void, die kreuzen, sheer terror, prong. My friend Sean Roberts was also going to Temple University and he and I really thought about putting together a band. Sean was into similar heavy underground bands as well as things like Fields of the Nephilim, the Mission, Sisters of Mercy which I really had no knowledge of until he played it for me. By 89 we had Todd and Michelle fill out the roster.
Our original drummer who was on our first recordings, Len Emrick, had influences ranging from hardcore to industrial and metal. We picked up Harry once Len was getting deeper into school work and couldn't commit to playing. Harry and his brother Vince were playing in a local prog metal act Netherworld that happened to rehearse at the same spot and we were able to poach him.

The original recording core from 90 to 99 is Todd, Shell, Harry and myself. Further down the line after we had written a lot of music with that core we would acquire Jim Winters and Liam Wilson for the recording of Croatoan. We had a couple shows with that line up. Liam you know was recording both croatoan and miss machine. So, given what this band is there is far more opportunity to roll with Dillinger Escape Plan. The secret weapon we have is Bill Molchanow for lead guitar. He was in bands with Harry and Vince. His first recording with us is on the definitely not the majors compilation.

As for the current state of things, what's been going on lately in the Starkweather camp? You have yet to release any music with the new line-up, any plans on an upcoming album?
Since you don't tour and are a rather slow-moving band, has the current confinement situation affected you much?

We have a bunch of songs written that we've been playing out for over the past 5 years. The problem with this line up is we don't have time to rehearse adequately to go into a studio and record. The shelter in place actually is a hassle as we can't get to the rehearsal room and ratchet things down. If it isn't one thing - whether it is a family issue, work issue - it's another.

Vince is at a Dow chemical plant that is an essential manufacturer. He's been rolling a ton of overtime as they ramped up production since the plant in California was idled more than a month ago due to the pandemic. So, even if we weren't shelter in place we wouldn't be rehearsing.

I've actually been sitting on one song that we started recording when we did the song for the split with Concealment. I've let the rough mix out of the box from time to time on soundcloud. It is the complete opposite of "Divided by Zero". Far more open space. Todd and I would jokingly refer to it as the Ved Buens Ende Space Jam or the no chug zone. Probably the most open and expansive thing since "Wilding" for us though not utilizing acoustic guitar textures as that song does. I don't want to release this before the material we've written with the newer line-up. Though with the way things are mired it may have been the wrong idea.

Are you still working with Oktopus? I was absolutely stunned by his production job on "This Sheltering Night", with this dynamic and immersive sound.
Any other producers/studios in sight for the next recordings?

I think each recording we've done with Alap has improved upon the last. I think there's a world of difference between this sheltering night and the splits with Overmars and Concealment. I'm particularly happy with the Concealment recording and the mastering. We had so much trouble with the mastering of that song until Filipe (Concealment and Wells Valley guitarist/vocalist) steered us toward Nelson Canoa. Even Alap found that to be next level. We had several masters and they all felt one dimensional and flat to me. Nelson really did a spectacular job - the spacious sections sound enormous, the dense sections are massive and retain clarity. I'd enjoy having Alap engineer again, but, the thing is right now Alap is in a different mental space. He's more on a production angle with building beats as well as mixing. I don't know if he'd be the proper person for to get immersed in a metallic project. I love the drum room that deadverse used to have in Union City, NJ. I'm not even sure if that facility is even a studio any longer. It used to have a shared space with Found Soundation (Jesse Cannon) but I believe Jesse is in Brooklyn now. The obvious choice would be the thousand caves. I'm rambling. All of it is up in the air as we have to get back to rehearsing. We haven't done anything in months. We really don't have the means to do things remote as our equipment is in a rehearsal studio.

Your music is rather complex and elaborate, there is attention to detail without being overly technical. Same goes for the dense & stream of consciousness lyrics which are almost oneiric.
Mind to share some insight into the band's writing/composition process and how it has evolved over the years? What are some your most important influences (musical, artistic/literal or ortherwise)?

Todd and I were more musically informed by things like Celtic Frost and Voivod, Mercyful Fate and Venom as well as noisier hardcore the likes of Void, die kreuzen, swans, aof, black flag, coc, amebix. He and Michelle were also into post punk husker du, killing joke, cure, joy division, the jam. So all of these touch points we're bouncing off each other. We're self taught so when your influences are a little off kilter and atonal that could be a strange spring board to start from in 89. When we got Harry in the band he's coming from a far more disciplined, theoried style. Even though he is self taught, he and his brother Vince were learning Rush, Iron Maiden, Fates Warning, Queensryche, Van Halen which would lead to Dream Theater, Watchtower, Atheist, Cynic, Confessor and the like. Plus, Harry is into classic rock, r & b, jazz. He has a wide musical vocabulary to pull from.

If anything, we dummied him down in order to catch up to him. He really helped us to be able to execute things seamlessly in terms of making our barbarian approach sound technical. Jim has a similar background as Todd and I but has broader knowledge of music and is technically more sound. He's closer to Harry and Vince in that sense, but, again probably more expansive when it comes to certain genres. He and I have similar interest in contemporary classical. The rest of the guys have no reference with that.

The way Jim writes is different than Todd and I. He's more fluid, jam oriented. Todd and I sculpt things. We'll have a skeleton outlined and work off that. Todd and I are more concrete riff with variations to tails whereas Jim has an EVH flair where his guitar parts morph in subdivisions. He likes to cycle riffs and get a feel for how things will evolve. Let matters run their course or until they sound right to him.

My end of writing is different. I'll recycle lyrics in the rehearsal room - even live - until it's time to record. I try to get all the math worked out in a live setting then I'll do the original lyrics in studio. I used to write a lot and simply edit. I really haven't been writing. So, in a sense it will be stream of consciousness. Maybe dream related as you're thinking. My favorite lyricists were definitely Vic Bondi in Aof and later Jones Very, Baron/Amebix, John Kedzy - Effigies. They wrote intelligently, practically poetic given their peers. A lot of it personally based. For me a lot of political lyrics are too time specific. Especially if you look at 70s punk and 80s hardcore. It is so rooted in time and place. I like writers that are timeless. Plus, I will reference certain authors, artists, films from time to time.

The split with Overmars has Thomas Ligotti references. His writing style isn't at all like mine. He's way more exact, clinical. Yet full of menace and dread. As you can see I'm a rambler.
Bradbury's october country and something wicked this way comes and John Gardner's grendel were probably the most impactful to me growing up. I had a teacher in 7th grade who pulled me aside, handed grendel to me and told me to not let any teacher know I got it from him. Again, you take this sort of writing and mix it with the lyricists I like and that's the petri dish. I remember first reading Mark Richard's Fishboy when it originally came out in 93 and felt what he's doing is a lot like what I was doing with things I was writing for into the wire, "mainline," and things that would be on croatoan and this sheltering night.

Even song structure I'll try to mimic things. When we were originally writing "bitterfrost" I was thinking a lot of composer Giya Kancheli, specifically symphonies no 6 and no 7 and his use of complete quiet interrupted with explosions. Then we were thinking in compositional terms with "bitterfrost," "taming leeches" and "machine rhythm." They share similar elements but each arrangement is an expansion or contraction of theme. Even "nightmare factory" I view as a more complex, compact introduction of themes explored on "divided by zero."

Judging by your social media presence it seems that you process an incredible amount of music, I've discovered a good number of awesome bands/projects thanks to the stuff you post. What are some of your current favorites? Any recommendations past or present?

Current and lesser known Haeiresis, Avezuha and Sleepwalker immediately spring to mind. Honestly I think Haeiresis - Emanations is one of the greatest things I've heard since the Dodecahedron debut. When Dodecahedron came out my thought was this is the best thing since Gorguts - obscura.
After Gorguts - obscura I think DsO's kenose was the next evolution. It was if all of these people who were informed by Voivod began taking things to an almost chamber orchestra, modern classical level. For instance after Voivod there was Ved Buens Ende taking those jazz, discordant chords and implementing them in a black metal setting and incorporating theatrical vocals of Nick Cave or even Nick Blinko for Written in Waters. Probably something the likes of Blut Aus Nord and Axis of Perdition to really change things up until Kenose came around.
Sure, there were things like Atheist, Confessor, Cynic, Watchtower doing jazz-ed up technical metal, but, they sonically weren't bringing dissonances the likes of Voivod. I'm really a mark for things with dissonant, progressive edge. I jokingly call a lot of it the sons of the Steeve Hurdle sonic cloth. After Piggy I feel he really brought an alien intelligence to playing. Maybe Adam Kalmbach/Jute Gyte is the next evolution.
For me right now there's Pyrrhon, Ulcerate, Nero di Marte, Zhrine, Baring Teeth, Jute Gyte, Coma Cluster Void, departe, portal, ploughshare and the like bringing their own sensibilities and skill sets to the table. Chaos Echoes were really special. And, in a way they remind me of Voivod in that they morph direction. Sometimes a listener may like it, other times not so much. Voivod is definitely my favorite band but I don't think every record is great.
Again, I'm droning, I'm definitely forgetting things, but, if you follow this evolution from Voivod that, to me, is the slipstream where my favorite acts of the past and current tend to reside.

You're from Philadelphia, any comments about the city of brotherly love? From what I saw it's a rather special place with this kind of feel you don't get anywhere else. There's a striking class division, and you can encounter grim poverty and luxurious wealth on the same sidewalk.
Lots of crime over there too... Does 'Mean Streets' (the song from your first LP, that is) still stands true today, or has ir calmed down a bit?

Yeah, this city is special all right. You're exactly right, neighborhoods here can turn from corner to corner. One block can have housing that's half a million dollars and the next block is in shambles. Next one even more expensive or desperate than the last.

You would think a city under quarantine would be less violent. Not the case. When that song was written the city was in the midst of an extremely violent period. A lot of drug gang violence, internal violence with mob families. But, yes, here in 1990 we had our most homicides at 505. the lowest it's been the past 30 years is 246 in 2013. It's been on the rise again. We've already passed 100 for the year. Again, we're in shelter in place as of yet without curfew and there is a lot of gun violence. Some communities are absolutely ravaged by drugs. Scenes from a Bosch hellscape only replace medieval plague masks with N95 masks.

What about the musical scene there? Any Philly bands/artists worth mentioning?

I'm not really up on things as I should. I don't go out to see many shows so I'm not totally current with what is going on. But, yes, there are a lot of diversity in music and great bands. We also have a number of exceptional artists working out of here.

For bands in the area, and I'm going to forget a shit-ton of them, at the tip of my fingers you have Rosetta, Hyve, Teeth Engraved with the Names of the Dead, Tides of Emptiness, Supine, Dark Blue, Done Deal, Horrendous, Pissgrave, Witching, TheEndAD, Veilburner, Crowhurst, among more.

We've been fortunate to have worked with Philly artists like Paul Romano, Mike Wohlberg, Alex Eckman-Lawn. Then you have people like Darla Jackson, Caitlin T. McCormack, Jeremy Hush, Judith Schaechter, Andrew Pinkham, Adam Wallacavage, and many, many others.

Starkweather emerged among the early 90's hardcore scene but quickly developped a more personal sound, that I always found closer to metal (even with progressive tendencies).

Nevertheless, the band is still often refered to (somewhat idiotically if you ask me) as metalcore. What do you think of this rather disparate appellation? Do you feel closer to one genre or another, and how would you define Starkweather's music today?

We always felt our music was far more metal than hardcore. Not a lot of hardcore bands were diving into the Mercyful Fate playbook, utilizing dynamics of going from sudden distortion to acoustic passages. It's difficult to even recall much early hardcore punk I grew up with that broke the verse/chorus mold.

We were always distanced from traditional songwriting and leaning into multi-riffed songs and foregoing repetition. It was always arranged like a metal band. Our drummer is a metalhead. He has no reference to hardcore other than bands we play with.

Rhythmically we were tribal - that's a lift from Swans and Amebix. We used to joke at the time our first record came out that we were "tribal metal." This was long before Sepultura took up that phrase. Plus we had the weirdo chords of things that straddled both outsider metal and hardcore.

Vocally I'm as apt to lift something off Geoff Tate, King Diamond as say John Brannon, Blaine Cook and Sinead O'Conner.

Our work ethic and mindset is definitely more akin to hardcore. But, sonically, not so much. I'm not sure how bands after the initial crossover wave of CoC, Leeway, Ludichrist, Crumbsuckers, Beyond Possession, Carnivore, dri, the Venice, cali bands and so on and so forth got lumped as metalcore.

To me Stigmata, Overcast, Converge, Arise a bunch of us that pre-dated the nonsense that would truly define the worst aspects of the category. You know, simply a metal guitar sound and downpicking style and beatdown hardcore dynamics. We've none of that. I couldn't even wrap my head around it then. Forget about it now.

All said and done we've been fortunate that we could play with a wide variety of bands. We could play with Morbid Angel, Overkill, Fear Factory as well as Disassociate, Laughing Hyenas, Amen Ra. Define it as evolving atonal narrative songcraft.

Besides currently planned activities, how long do you see Starkweather continuing as a band?

You've never had any side-projects as far as I know. Do you see yourself playing in another band/project full time, or will your musical endeavors end when Starkweather does?

Starkweather is my main thing. Yet, it's not a full-time thing as you can see. It goes into stasis now and then. I'll do vocal spots here and there. Too many for me to remember without looking them up. There is something I'll be lending voices to shortly. Once that is set in motion and I have recorded we'll make an announcement if we feel good about the fit for the project. I'm not even quite sure yet until I physically do it. Vince does stuff with End Christian, Jim does things here and there that we don't even know about as he's an international man of mystery. But, people will know him from Believer - dimensions, Turmoil, the Promise, Vigil, to doing roadwork for Kiss It Goodbye and Earth Crisis.

Thank you for taking the time to answer this interview, really hope to hear some new Starkweather soon. Any closing words/shout-outs/fuck-offs?

Thank you, Milton for entertaining this. As I mentioned at the beginning under current circumstances I have nothing but time on my hands so I've spent it on being long-winded at your expense.

Starkweather @bandcamp
Starkweather @facebook
Starkweather @soundcloud

April 26, 2020

Interview with Rob Nabbe (BLIND TO FAITH)

In the wake of their long awaited sophomore LP Unstoppable War, I caught up with BLIND TO FAITH main man Rob Nabbe to talk musical activities, influences and some other stuff. If you're still unfamiliar with BTF or any of Nabbe's other bands, don't be a wimp and check them out ASA fucking P.

photo by Nabbe

7:10:7 - What up Nabbe, what's popping mang?
You're mostly known as the drummer/songwriter for Blind To Faith since 2008 or so, but have a long history of underground activism behind you including several bands, projects and fanzines.
Mind to do a quick introduction of your history with underground music, and share any reflecting thoughts?

Nabbe - Hey mangz, been a while! Sure thing, I've been playing in bands for about 30 years now. Some of the most well known are probably Insult, Bile/Skullhog, Lifespite, Acid Deathtrip, HSML and of course Blind to Faith. So all over the extreme music spectrum stylewise. I've come in contact with Punk and Metal in my very early teens through one of my old neighbour's and cousin's record collection that exposed me to all those early Combat and Noise records bands. Venom, Hellhammer/Frost, Voivod etc...Mixtapes included MDC, Dead Kennedy's, COC. You know. Later on I was a mulletbanging, pimple popping teenager that went nuts for anything early Earache or Peaceville related. That was my gateway to the likes of Slap a Ham, Dark Empire, Pessimisser and all those more underground 90s recordlabels, plus 90s Hiphop really left a huge impression on me to this day.

Last time we spoke (and drank) in the flesh was during the Coffins / Skullhog tour back in 2012. You played the now-defunct Miroiteire punk squat in Paris' seedy zone, that was a hell of a night.
Any memories from the Skullhog tour? While we're at it, any other interesting tour stories/anecdotes to share?

That tour with Coffins was great. Ever since that tour we try to do at least one show with Coffins when they come over here. The tour was a total blast. We were supposed to tour in support of our 'The Evil Dead', that Will Rahmer ( Mortician) put out through his Redrum records, but it turned out we only had a box of record covers in the mail in time to hit the road. Shit happens I guess. It was cool to play Spain, Portugal and France and get wasted with friends. Good times for sure.

More recently and after several years in the trenches you've been recording the new, long-awaited Blind To Faith record "Unstoppable War" - I've been avoiding preview tracks and just wait for that shit to drop in the mail so I can do some "spontaneos renovation works" while blasting it full volume. How's the recording process been going? You and Vince still write everything? You also enlisted the bassist from Skullhog/Inhume, does he still rock his chain bass strap?

Yeah, Vince and myself are still the main songwriters in order to keep our style as raw as ever. For this record Cedric stepped up to the plate to contribute some riffs and throw around wild leads all over the place, which really enhanced this record. Loek has been in the band ever since Colin's main focus was on Amenra and yes he's still rocking the chain. I'm really pumped on how this record turned out. It was time to do a new album and I think it was worth the damn wait.

At this point BTF have been firmly established as a driving force in heavy and extreme hardcore, receiving praise from such eminent gentlemen as Mike Cheese (from which I actually found about BTF in the first place) and Dwid among many others. All this on the grounds of the first LP alone!
However, from your rather meagre discography and sparse touring I get the feeling you don't rush things too much and just let things play out naturally, and also many of you are busy with other projects. Do you consider BTF your main band today? Is it sometimes too much of a struggle to maintain musical/artistic activities with "mundane" life?

BTF is the kind of band that only moves when it feels like it and now was the time. We've never rushed our writing process and are all very busy individuals playing in tons of different bands, so whenever we crawl from underneath our rocks we try to make it count. Yeah, the first record really got the ball rolling and it still blows my mind Dwid picked us up instantly and released it through his Holy Terror records, since it was intended to be just a demo to try things out. It got picked up really well and I'm honoured some of my favourite musicians (including Mike) were stoked about it. Sure we don't play too often or shit out records every year or whatever, but that's how we roll. I don't consider any of my bands my fulltime band, since I love them all equally and put in the effort each band needs when they need it. Being in multiple bands is a pain in the ass and a constant struggle. I still enjoy it very much though. An outlet and escape from "mundane" life if you will.

How are you dealing with the current confinement situation, with this fucking virus?
We're not gonna get into any conspiracies here though (let the social media leeches suck shit at that... and inject themselves with bleach, ha!) but as a musician it must be a pretty tough blow financially... On a more general note, are you able to sustain any sort of monetary profit from music, artwork/tatto and touring?

Strange times for sure. No bandpractise, no shows, no getting fucked up at bars. That's the way it is now, we just need to stop whining and deal with it. I haven't tattooed in 2 months which absolutely reeks, but I still have work since I also work with people with mental disorders. So I get out of the house to go work my shifts. I still draw a lot of artwork when at home having a beer, so that's cool. Hans from Liar recently started his very own Skateboard company called FX7 SKATES and he asked me to jump on board (get it?) and draw skatedeck art and merch for his deck brand. I'm superstoked about it, since he really digs my stylo and wanted to go for a more punk related thing like Zorlac or Dogtown. Keep your eyes peeled for that shit. Some really sick stuff coming up soon enough.

Did your musical influences evolve over the years? I'm well aware of (and share) your reverence for the almighty GEHENNA, Mobb Deep, and old rotten death like HELLHAMMER, Autopsy, Winter... Do you listen to much new music, or rather tend to touch base with the classics? What kinda stuff have you been blasting lately, any recommendations (old & new)?

My musical influences are still the same and that list is also spot on. Especially Gehenna and Mobb Deep are always on heavy rotation over here. Always. During the writing process of 'Unstoppable War' I listened to mostly 90s Hiphop, so that doesn't affect our sound as a band. Obviously there are no MC's or turntables used on this record, although some violent breakdancing would be nice at our upcoming shows. I listen to a lot of stuff, especially since there's not much to do during this pandemic. There's tons of great new bands and records coming out. Slavemaker from Belgium are easily my favorite new HC/Powerviolence band and Melbourne's Internal Rot just released the most Grinding record in the last 10 years. So look them up if you need your ass beat.

You're a quite brutal drummer, to put it midly. Your style is very primitive, percussive and simple yet very effective. From what I saw and heard you beat the shit out of those things, especially the snare... How challenging is your drumming, does it take a toll on a physical level?
Also, what drove you to drums in the first place? Any favorite skin-beaters to share?

I'm a pretty lazy drummer in terms of innovation or progress. I just do what I do and that's that. I haven't progressed in years and actually played a lot faster in the late 90s/early 2000s. I don't give a shit. I'd like to think I have developed my own flow/style and the key element is a savage delivery. Hit hard or fuck off. Does it take a toll on a physical level? Of course. I'm not the most healthy dude out there, so yes it wears me out sometimes. What or who drove me to play the drums? I dunno. It sure wasn't Jesus. Favorite skin-beaters? Justin Greaves (his work in Iron Monkey and Hard to Swallow really influenced my style) and Christoph Winkler (total maniac. Blazing 1 foot blasts for days).

What are the next plans for Blind To Faith and/or your other bands? Any new projects in the works? I guess touring will be on hold for a while obviously, any composing/recording/artwork or other activities on sight?

As far as plans go, all of my bands would like to start playing shows again when this Covid19 shitstorm is over. Lifespite is releasing a discography CD through Bones Brigade records very soon and will be writing a full length and a new split 7". Ronny, Willem (both Lifespite) and I sporadiccaly do some jamming in the vein of early 16 and Unsane to keep ourselves entertained since vocalist Tim lives in Paris. Logically he only comes over when he has shows planned with Lifespite or Reproach. Skullhog is another slow moving beast that is in the excruciating process of writing it's next full length, which will be worth the wait, of course. BTF will be focussing on playing a bunch of savage shows in various countries. No full blown tours, since Vince and I both have kids and are boring fucks that rather get zoinked on the couch than travel this stupid planet for weeks at a time. That train has passed.

Nabbe, thank you for this interview mang. It was nice catching up after all these years.
Any closing words/thoughts/shoutouts/fuck-offs?

Always a pleasure my man. Cheers for your interest and shout outs to your mom.

Blind To Faith @ facebook (official)
Lifespite @ facebook (official)
Skullhog @ facebook (official)
order "Unstoppable War"