Create to Destroy! Sam Lefebvre


October 15th, 2014 by

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MRR started as a radio show but is mostly known as a written publication.  I’m unsure if many of its contributors who write often or periodically consider themselves writers, but I consider Sam Lefebvre a writer.  In addition to MRR, Sam has been published  everywhere from our local papers to major magazines. I wanted to know more about what he does outside of our seemingly insulated world of writings from the underground…

Have you always been a writer?
Sure! I remember entertaining the idea of becoming a writer when I was a kid. Then I lost a spelling bee. The defeat rattles my writerly self-image to this day. I wrote a Russian alcoholic story in fourth grade, a psychosexual analysis of Dr. Strangelove in fifth grade, and a paean to the wind in sixth grade. Somehow, I have yet to exhaust embarrassing writing topics, thus my focus on punk.

SamLefebvre

When did your writing mix with music such as doing zines? What zine are you currently working on?
I wrote lyrics in my early teens, notably a conceptual protest opus about Karl Rove for my first band, and started a zine when I was about seventeen. I felt inspired to make a zine because nothing like that was happening in my peer group. The impulse sprang from a void. I worked in a record store, consumed music voraciously, and felt possessed to try to express how songs made me feel and examine them in their cultural context, which is the same thing I do today.

My main zine project is Degenerate (aka Etrenegade/Degenetrenegade/ Appendegenerate), though I prefer to call it a “mag” and tend to think of it as more of a persisting sickness than a “project.” As an ongoing endeavor, making Degenerate is equal parts self-harm, penance, exercise in writing style, and feverish outpour.

How’d you wind up getting involved at MRR and Alternative Tentacles?
I discovered MRR at the Che Café in San Diego, where I’d take the bus to from the suburbs a lot. On visits to the Bay, I’d call MRR HQ and come over to green tape records. Mariam Bastami encouraged me to move and become a shitworker. Before moving, I also went and saw Jesse Luscious play in his then-reunited Gr’ups and interviewed his bandmates. He mentioned that he ran Alternative Tentacles, I stayed in touch, and he offered me an internship once I moved. I haven’t volunteered at AT for years, and only contribute to MRR sporadically nowadays, but those opportunities initially inspired me to move.

How did you start writing for the SF Weekly and East Bay Express?
A friend passed a copy of Degenerate to the music editor at SF Weekly, who got in touch and asked if I’d be interested in reviewing a concert. I started contributing to the East Bay Express to diversify my outlets, where I became the music editor earlier this year, which ended my Hidden Agenda column and contributions at SF Weekly.

How’d you wind up contributing to Wondering Sound, Spin, and Consequence of Sound?
I pitched to national outlets because contributing to the weeklies mostly limited my scope to local music. Amusingly, one opportunity came after I felt like a well-known publication poached some of my reporting and angle on a local artist for their own story. Instead of getting mad, I reached out and pitched.

SamLefebvre_degenposters

How do you feel about bringing the underground to the masses? Do you feel that you’re doing any of the bands you cover a disservice by inviting people who are more mass consumers into the mostly non-corporate DIY world you cover?
What an accusation!

The traditional under/above-ground musical divisions are increasingly flimsy, definitely in the eyes of what music writers decide to pitch. Beyond that, once a recording is released, it’s severed from the artist’s intentions and enters into conversation with the surrounding culture. That’s the case for punk and pop and chip music. I try to engage in that dialog. I write about other genres, but punk is particularly resonant with me on an emotional and physical level, so my coverage skews towards it.

About doing bands a disservice, no. I actually don’t have that much power. Bands disservice themselves by acting foolishly.

As far as the “more mass consumers” bit, I don’t think we should pretend that punks somehow consume less or with more discernment than non-punks. People who just download pop music use a lot less plastic/paper/oil/trees than people whose apartments are full of records.

One of the coolest things about punk, to me, is that it reveres collective, ritualistic activities, like shows. Punk shows can be these amazing environments for celebrating deviance and momentarily subverting the power dynamics that mar the outside world. But a rare balance of venue, people, and sound is needed to make that happen. When punk shows are full of tourists, they’re less likely to tap that potential. I don’t think my writing has invited many tourists into punk shows; regardless, I hope that it has extended conversations instigated by punk to tourists.

These questions have an air of “what we do is secret” ho-hum. Recently, I interviewed a seventy-some-year-old theater organist. He’s played his entire life. He’s never been recorded. He performs with his back to the audience and doesn’t turn around. He’s always the opener. What he does is secret. What punks do is ego-driven and flayed on Tumblr, just like any other niche sort of music. It’s cool that punk retains regional character and homespun scenes despite that, but let’s not be precious.

What zines do you read?
I like some zines because they look great, others because I discover new things, and others because they have provocative ideas. As for recent publications, issues of Distort, Accept the Darkness, Ratcharge, Nuts!, and Make-a-Mess have combined all of those qualities. Honestly, I mostly read magazines lately. While I’ve never been very interested in perzines, I have tremendous respect for writing and self-publishing as a way for people to tell their story in their own words.

What music writers do you follow? 
To paraphrase Cranked up Really High, an unjustly ignored book about punk by Stewart Home (who’d maybe prefer to be plagiarized), I tend to reject the list as an organizing principle. I’ll take this opportunity to recommend Fvck the Media, which sort of falls outside both the zine and music writing camps, The Quietus for essays, and Collapse Board, where I look for good contrarian takes on hip bands.

How can we best keep up to date on your writing?
Well, I have articles basically every week in the East Bay Express. My freelancing activity varies, though I have pieces appearing in Wondering Sound pretty consistently, a site I recommend in general. Otherwise, I’ve capitulated to the usual social media platforms.



Create to Destroy! Earhammer Studios


October 1st, 2014 by

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Greg Wilkinson is an integral part of the Bay Area scene, which is fragmented and has its own scenes but is definitely connected. He looks like a wizard and he is easy to spot — you’ll know who he is when you see him. At his Earhammer Studios, Greg records bands from all the facets of the local scene. I thought I’d interview him for Create to Destroy as he recently recorded a band for my label here in Oakland. Here is the Evil Wizard of Rock…

What bands have you been in?
Current bands: BRAINOIL and DEATHGRAVE; and former bands: LAUDANUM, LANA DAGALES, I WILL KILL YOU FUCKER, PHT, CHRONICLES OF LEMUR MUTATION, JOHN THE BAKER AND THE MALNOURISHED NOTHINGS, GRAVES AT SEA (for a short stint), and many others…

Earhammer_Greg_CtoD_4

Who has recorded your bands, past and present?
Dan Rathbun, Noah Landis, Kurt Schlegel, Mykee Burnt Ramen, and myself (most recordings I’ve been involved with engineering).

How did you start recording bands?
To make a long story not too unbearably long, in my early teens I had a Magnavox stereo with an instrument jack. I would dub a bass line or something with a mic onto a tape. Then put that cassette into the play side of the tape deck and record that and another layer onto another tape on the recording side. Then switch tapes and add more. Obviously, this sounded pretty much like a wall of crap, but it was enough to pique my interest.

Then, I think it was in ’92, I wound up with a Yamaha 4-track cassette recorder I borrowed from a friend of the family. Soon after, I was hooked and convinced my band at the time (a short-lived band called HOLLOW that did nothing) to purchase a Tascam 4-track. A year later I ended up buying a Tascam 8-track, which I would use to record not only my own bands demos but some friends bands as well (mainly recording in my parents house, friends houses, garages, or whatever we could find).

The machine was used and abused aimlessly recording demos, mainly of bands I was in. This lasted a good grip of years until ’98. At the time, I was in LANA DAGALES, which was a two-piece project. We decided to go to school for recording. We were living in Jackson Street Studios, a defunct rehearsal space in downtown Oakland, at the time and therefore jammed a lot. By this point I was becoming really disenchanted with the limitations of the machine. Accessing better gear would really help LANA DAGALES stay DIY while achieving documentation to our liking. During this time, we tracked demos on the Tascam for EXIT WOUND who was comprised of Jason of STORMCROW and LID TOKER, Rubin of CRUEVO, Jake of BLOWN TO BITS and NEUROTOXICITY and Melony. INSIDIOUS at the time was Jensen of IRON LUNG, Sal of ASUNDER, Jason, Seth of SKAVEN and DESTROY JUDAS and Melony.

In the school, we tracked our second demo, which became our first 7″. In ’99, as an alumni, I was granted access to the school’s facilities and recorded the FLESHIES and BRAINBLOODVOLUME (pre-LAUDANUM). Shortly afterwards the school disappeared, which is a fascinating story in itself. I then began tracking at Burnt Ramen on Mykee’s 1″ Tascam while building up a setup of my own in a painfully slow fashion. Eventually, by the time Earhammer started, there was a decent amount of bands I had the honor of working with.

What was the first band you recorded and where? What equipment was used?
My own band, called GENISORE, I believe was the first actual band I recorded that played shows and made tapes. The aforementioned 4-track and cobbled-together mics of the cheap-to-free variety.

How important is mastering for vinyl?
Extremely!!! Can’t emphasize this enough!

I feel the same. It drives me nuts when things don’t get mastered properly — it sounds like garbage! What advice would you give to someone wanting to start recording their own bands or bands in general?
The awesome news is getting a decent recording setup requires less space and sounds way better than it did in the early ’90s (or even the early ’00s) in the base level market. As the old adage goes, “Just get out there and do it!”  Never forget that learning is mostly discovered through failure. Your first recording will most likely be like your first guitar riff. Somewhere between horrible and passabl,e but in no way a waste of time and effort. It’s a building block. Don’t be disappointed if it isn’t a masterpiece. If the recording comes out bad, you will have at least learned something to apply to make a better run the next round. Too many young engineers believe too strongly in post-production, which is dangerous. Crap in will usually turn into crap out. So if it doesn’t sound right before pushing record, there won’t be too much you can do to improve the sound. The best result you can hope for is, “Well, at least it’s not as crappy as before!”

What’s the best way to sound proof a room and get the acoustics right? Does this matter?
It does matter a lot, but there are books about this subject as it is a very complicated issue to tackle. Budget (tuning a room can run thousands and thousands of dollars), available square footage, proper tools, and knowledge are all factors that can get really expensive, especially when done properly. On the slightly affordable side, YouTube has tons of lessons on building diffusers that work pretty well, for DIY communities to help control reflections in your room. Soundproofing requires mass of different materials and space (like building a wall inside a wall is a common example and more high end places even get into suspending rooms). Read the rest of this entry »



Create to Destroy! Vespera’s Falafel


September 24th, 2014 by

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Eiji is an old friend from the Japanese punk band DSB. He currently plays in VESPERA and STEALWING. He had a vegan falafel food stall, but now he has a vegan restaurant in Tokyo called Vespera’s Falafel. He did it all in the name of punk and DIY. Radical (vegan) punks never die!

What is it like being vegan in Japan?
You can be a good chef or farmer soon. DIY is the best way to survive with being a vegan here.

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Are there a lot Japanese punks vegan?
Absolutely no.

Why did you become vegan?
To be honest, without reason. Just imitate the style of my friends who visited me in Tokyo 2003. Then I found reasoning in it. I’m not a vegan perfectly, trying to be though.

One does not have to be perfect to make a difference. What advice do you have to other punks who want to become vegan?
Have fun. Don’t think too much!

How hard was it to open a restaurant?
It was not enough, even though I worked for it from 6 a.m. to 2 a.m. I wished I could’ve had 48 hours a day. I played the rolls of a cleaner, a painter, a plasterer, a carpenter, a carrier, a buyer, a designer, a manager and finally a chef….while keeping up with two bands!

What are your most popular dishes?
Falafel hamburger and teriyaki soy chicken brown rice mixed with YAMAIMO potato mouse.

Why did you open a restaurant?
Punk rock is leading me.

Vesperas_falafel_plate

Where did the name “Vespera” come from?
Esperanto language. I’m serving borderless hybrid world cuisine. Esperanto language name is match with that style. Starting with “V” came from the film V For Vendetta, also “veganism.”

Does Tokyo have other vegan restaurants?
Yes! More than it used to.

What bands are you in now?
VESPERA, which started before the restaurant Vespera, and STEALWING, with members from DSB, KRIEGSHOG, CROW and ABIGAIL.

Any good new bands in Tokyo?
STEALWING.

How can we get in touch with you?
vegvespera.wordpress.comVESPERA’s Falafel is on Twitter (@KalaHenji) and Facebook. German language can be understood well.

If you want more on this restaurant, a recent Australian visitor did a neat piece on his blog here.

Arigato, Eiji!
ARIGATO.



Create to Destroy! Remote Outposts


September 3rd, 2014 by

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Greg Harvester is a punk I met at the MRR HQ when I first moved to SF. I had no idea he did a tape blog or what he describes as “a barely functioning record label” until I saw an ad he’s put in Mothers News, a rag out of Providence, RI. So, I thought after Robert Collins’ Terimal Escape tape blog interview why not cover another MRR shitworker and keep the tape blog love going? Here is Greg Harvester (who you may know from NEON PISS) talking about Remote Outposts for Create to Destroy!

Greg in Iceland

Greg in Iceland

What are your ties to the East Coast? How do you know all these rad people like FUNERAL CONE?
I guess it’s mostly from traveling a lot throughout the years. Besides going to NYC, I never really paid too much attention to New England for the longest time. A really good friend of mine, Mike Leslie, is from Worcester, MA, and I started making my way there to hang out with him. Over time, I just kept going back and I’ve fallen in love with the whole region. There’s so many great people and bands, such as CLEANSING WAVE, SKIMASK, THE TERRIBLES and all of those Boston bands that people always talk about (rightfully so). Plus, I just love the season of fall and if I could spend every fall there, I could die happy.

How’d you wind up in San Francisco?
I originally moved here in 2002 from Chattanooga, Tennessee, where I was living on a dilapidated houseboat. My time there had kind of run its course and I was ready for a change. My good friends in SF were starting a band called ALLERGIC TO BULLSHIT and they needed a drummer, so I decided to move out. The bass player, Cinque, and the singer, Ivy, were in town so I hopped in a van with them and a bunch of other maniacs and drove across the country with no money at all. I lived in a van on Alabama Street and at Mission Records (RIP) during that time. I left in 2003 to travel and do other stuff, but was drawn back here in 2008 and haven’t really wanted to leave since. I’m a fairly transient person, but this is the only place that has felt like home in years.

RemoteOutposts_grumpies_tape

How’d you wind up at MRR?
I hung out at the compound a lot in 2002 because I didn’t really have other places to go that were free. I did a lot of shitwork, like filing records, taking out the trash, doing the radio show, etc…. I did some book reviews, but they didn’t let me write record reviews because I told them that I hated all music, which was maybe true at that time. When I came back in 2008, I just showed up and insisted on being a part of the magazine again, because I want to be actively participating in print media…especially in a capacity that is so anti-corporate…for the most part…as anti-corporate as things can be in 2014.

Is the name “Remote Outposts” a reference to anything?
Yes. When I was first starting the blog, I didn’t think of a name until the last minute. At the time, I was obsessed with the idea of living in Antarctica (still am) and I loved this 1985 article from the Wall Street Journal about people losing their fucking shit while working there. The first line says, “It is Saturday night at one of the world’s most remote outposts…” I liked the sound of that. I liked that the title didn’t tie things down to any certain genre of punk or to anything at all, really. I guess that’s it.

Looks like you’ve been doing this since 2011. How has your “blog” changed since then?
I started the whole thing primarily to catalog and archive virtually unknown punk bands from the Southeast US, because that’s where I’m from…Alabama, to be exact. I think that, in my experience, some of the best punk has come from Alabama, Tennessee, North Carolina, Florida, Arkansas and Georgia. Mississippi too, but not South Carolina. I wanted to provide the back story and sounds of a whole scene of bands who may have only put out one tape and may have only made 20 copies of that tape. I think those bands are the best shit, and I realized that I’m not alone in that thought. I wish that the majority of the blog wasn’t just my perspective or my experience, but that’s just how it happened. I try to get other people to write for it as well, but people are slow or flaky or just not interested and that’s fine. Over time, I archived most of the southern punk tapes that I wanted to, but I still have hundreds of other tapes. I think the only way it’s really changed is that I spend a little more time on the writing because I don’t want it to be like, “Hey, here’s a band from Gnawbone, Indiana,” and not provide context. I realized that people actually read it, so I try to make it interesting. Also, I decided recently to stop posting any bands who use crowd-sourcing in any capacity.

Has Remote Outposts always had a presence on Facebook ?
Not always. I’m not even sure why I started the FB page, but I realized that people pay attention to it. Its only purpose is to tell people there’s a new post, but they could just as easily sign up for an email alert and get it that way. Or just bookmark the blog. I try to update it pretty often. Whatever works.

RemoteOutposts_SpawnSacs_DrillerKillers_tape

Why do you do it?
I think a lot of these bands are important. I looked at some music blogs before I started this and they didn’t provide a lot of context. It would just be a link to a download. I want to know the backgrounds. Where do the bands come from? How do they get by? Have they ever had to sell plasma to get gas money? Did they almost die from heat exhaustion while having to breastfeed their kids in a tour van in Mexico? Have they ever killed anyone? Were any of them placed in youth detention centers when they were growing up for trying to burn down their school? Besides that, a lot of music blogs I saw mostly covered metal or hardcore, which is great, but I wanted to also see the more melodic or noisy or arty or fucked up side of music being represented in some small capacity. Besides that, it’s fun. When it’s not fun I’ll stop.

How do you do it?
I’ve always said, “I don’t know what the fuck I’m doing,” and I mean that. There was a cord at my house that I plugged into my stereo which allowed me to digitize stuff. I don’t know what that cord is called. I’m not trying to be elusive. I really just don’t know. My house got a free scanner on Craigslist and I use that to scan any art that comes with the tapes. I use Audacity and iTunes to make the MP3s and then host it on whatever file hosting service works, which has been a real learning experience that I don’t want to discuss publicly.

Have you made new friends doing this?
Yeah, I meet people while traveling who like it, which is very encouraging. I haven’t, like, met my best friend in the world or anything, but most of the interactions that have come from this have been really positive.

Where do you get your tapes? Do you get a lot from reviewing demos for MRR?
I already had a fairly huge collection because I just don’t throw things away. I still have mix tapes from my teenage years and a VOMIT SPOTS tape that I originally got in 1989. I also hold onto tapes that I review for MRR, but only ones that either blow me away or have a few indispensable songs on them. Some people have given me their collection to sift through rather than trashing them. Some bands mail me their tape because they like the blog, which is amazing to me. I always buy tapes from touring bands that I like. I’ve found a few of ‘em on the street and in free boxes.

RemoteOutposts_PTC_tape

Not so much hardcore?
I fucking love hardcore. There’s a misconception that I’m not a fan of hardcore because I rarely cover it on the blog, but that’s just not true. I grew up on it and it’s still close to my heart. Also, the few times that I have posted hardcore on the blog, no one pays attention to it. BRAIN KILLER demo? No one cared. QUESTION? Nope. HARUM SCARUM? IRON LUNG? THE KNOCKABOUTS (Alabama’s first hardcore band!)? STOCKHOLM SYNDROME? Fuck it. Great fucking bands but I don’t think people read my blog for hardcore, because there are many other places on the internet that have that genre covered. Terminal Escape and Music Not Noize are much better outlets for that kind of stuff than me. Coincidentally, those are the only two music blogs I look at.

What is your punk forte, I mean like…what sub-genre of punk or genres do you mostly focus on?
I wanna just say “PUNK,” but the punk world has split off into so many sub-genres that I can’t (don’t want to) keep track anymore. Before I found punk, I stumbled into the world of performance art which was such a freak zone in 1980s Alabama. Because of that, I gravitate towards bands who are in true freak zones, whether they are arty, melodic, hardcore, drone-y, fucked up noise or whatever. That being said, I also love ultra-precise, no-fucking-around pop stuff like the MARKED MEN. I don’t care about grindcore. Is that an answer?

Zines?
I don’t even know what’s out there anymore. I like Asswipe, Cometbus, Spare Change and Absolutely Zippo, but honestly I’ve read Harper’s and journals more than zines in the last couple of years. I sometimes do a zine called Rice Harvester and another one called Disunderstood, which is just a journal of me writing down what I think hardcore bands are singing about at shows.

Tour stories?
So many. Two come to mind. Once, our van broke down in the South, so we left it at a mechanic with our roadie and just hitchhiked to our next show after sleeping on the ground in a gravel parking lot. The show sucked but we didn’t have to cancel it. Another time, I was in Jonquiere, Quebec, and the entire audience was on PCP. Our bass player quit mid-show because it was so fucked up, but we finished without her. At the end, the guitarist was passed out, dead to the world, and I had to carry him out like a little baby. On my way to the van, I had to dodge a dude who was crying and bashing himself in the head with a hammer, as well as a woman who was trying to make out with me. Oh, and in Budapest, Hungary, the audience ripped the pick guard and the bridge off of two of our guitars and then got upset when we couldn’t play any more. I’m afraid that I have stories like these for days.

That sounds very Quebec. Any last words?
Thank you. Look at the blog or don’t. Stay punk or don’t.

remoteoutposts.blogspot.com



Create to Destroy! Robin Wiberg


August 21st, 2014 by

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You may know Robin Wiberg as the drummer for DISFEAR, or from his Instagram account where he regularly posts his punk art. His drawings are stylistically very raw, which is fitting as he hails from Scandinavia, which is the birth place of “raw punk.” Here is an interview with Robin for Create to Destroy!

 

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What was growing up like for you?
Well, I was born and raised in a small town called Nyköping, Sweden. My childhood was good, I guess, with secure surroundings and supportive working class parents. But when I got into my teens I outgrew my small town…having long hair, wearing studs, ripped jeans and Doc Martens was not very popular among the older raggare (greasers) and skins who beat me and my friends up on a regular basis and tried to cut our hair. I sang in my first punk band called REVOLT when I was 12, and later began playing drums in various punk and hardcore bands until I finally ended up in a band called DISFEAR. We started to tour Europe on a regular basis and we had a blast! During this time (1997) I met my wife-to-be, Linda, at a party with mutual friends (Jallo from NO SECURITY/DISCHARGE and his girlfriend). We moved to Gothenburg, then a few years later to Stockholm. Now we live in a house with our 6-year-old daughter and we are pretty satisfied with our lives.

Did you grow up listening to Swedish punk?
Yes, I did! The first punk band I heard was SEX PISTOLS, when I was around 11 years old. Before that I only listened to bands like KISS, Iron Maiden, Wasp, Accept and Mötley Crüe. I was totally blown away by the simple structures and the roughness in the Pistols and wanted to explore what punk was. Some older friends introduced me to bands like ASTA KASK and THE EXPLOITED. Then I discovered DISCHARGE (we called it thrashpunk at the time) and I couldn’t believe my ears! I was amazed over how fast they played and how raw as fuck and bleak the production on the Why 12″ was. After that everything came natural, and bands like ANTI CIMEX, TOTALITÄR and MOB 47 became my gods. I was going to gigs as often as I could, and I lived and breathed punk and hardcore.

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When did you start drawing?
I started to draw at a very early age and drew very often as a kid, but when I was was around 14 years old I completely lost interest. It wasn’t until maybe a year ago when I rediscovered drawing and started to think that it was fun again.

What’s it like being a punk dad?
Well, it has its ups and downs for sure but it’s pretty awesome! I’m trying to introduce her to the scene and sometimes she likes the music I play and wants to “dance,” but mostly she’s like, “Why are you always listening to that angry music!?” Haha!

Does your kid draw?
Yeah, she draws more than me and she’s really good! I really enjoy the times when we sit down and draw together.

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When did your art start mixing with punk?
In the 6th grade I think…I always drew punks and crusters whenever I got a hold of a pencil.

When did your art start getting recognized internationally?
Maybe a year or two ago when I started to publish my drawings on Instagram and the response was very positive. I work with mentally challenged adults that like crafts and to draw. So I am very lucky to be able to sit at work and draw at a daily basis.

What punk artist has influenced you the most?
I have to say Pushead. He’s art is close to perfect if you ask me. But I try to do my own thing!

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Where was your art first used on a record release?
I think the first person who wanted to use my art was a guy called Martin (HERÄTYS, INSTITUTION). He wanted me to draw a picture for his hardcore/käng band named MISÄR-83. That release is not out yet though, due to his many other projects. The first band that actually released anything with my art on must have been WARVICTIMS. I have also collaborated with a couple of record labels who wanted my art for flyers/webpages/t-shirts and upcoming releases.

Where was your art last used?
The last commission was for a T-shirt design for the American band CHAIN SHOT.

What inspires your style?
The struggles in everyday life — the system, injustice, war, music and so on.

What are you currently working on?
I just finished a gig poster for the club Dead Rhythm with such bands as: DISTRESS from Russia, FREDAG DEN TRETTONDE, MYTERI AND UTANFÖRSKAPET. I have more stuff in the making but it’s to early to mention at the moment.

How can we best stay up to date with you?
If you need anything done for your band or label, you can email me at: final.agony {at} gmail(.)com
Check out my stuff on my Instagram account at username: fear_my_nerves

Any last words, punk?
This past year has been overwhelming with a lot of assignments from bands and labels who want to use my art for their releases. I really enjoy doing this, so don’t hesitate to contact me for whatever reason. Thank you for the interview, Amelia!