Monday, September 22, 2014

Greg Willmott Interview pt. 1 (Mental broke up, U2 did not)



I'm sure at some point I've probably said something stupid like "I'll never post my paper zine interviews online" and "blogs are killing zines" and "everyone younger than me is dumb" etc. etc. Time and experience tend to iron out the craggiest of crags and well...here we are. I still think that zines and blogs aren't interchangeable entities, but I've also loosened up on my stance that blogs have no merit (obviously). They do. They're accessible, and I do this for the working man. The monkeys with computers doing SEO and copywriting and whatnot. Those who spend more time in front of a computer than they do with their children and families. 

I'm going to bleed in some of my old Drug Dogs interviews little by little since they'll likely never be re-printed in their original form (never say never though) and you know what? I'm proud of them. I'd like people to see them. Know your history and whatnot. I've seen a few zines and podcasts go up with Greg Willmott in them recently, and maybe I'd just like to throw my hat in that ring.

Drug Dogs zine was my attempt at making a "good zine" (i.e. the kind of zine I'd want to read) and not just reprinted garbage from the internet. I'd made a crappy zine before (In Low Carb) that lasted 10 issues and NO ONE read it because it just wasn't very good, and Drug Dogs was going to change all that. It was all done by hand, illustrated and with photo contributions by a guy I met on B9 named James Campbell and the writing was heavily influenced by Hardware and Bullshit Monthly. It was also released during one of hardcore's "rebuilding" years (2009) when it seemed like all of the good bands from "my" era were disappearing and it was my first real experience dealing with "younger" people and bands now dictating the direction of where things would go. (Predictably: when I was first going to shows, I was constantly told how much better everything was in the 90's, how much "realer" and punker it all was and how me and my group of bafflewit chat-room yahoos were going to ruin it all, so...you know). Personal biases accounted for, I feel like 2007-2010 represented a particularly "dry" era in hardcore when there were very few exciting new bands, few good zines, and a whole lot of derivative shlock. I was a huge fan of Trapped Under Ice's 7"s and full-length, as well as Bad Seed's stuff because to me, moshy hardcore was JUST about to become over-saturated when those hit but that style was still kinda in a sweet spot. Also, not withstanding any cred I may get for saying, TUI just wrote great stand-alone songs...but this is all for another post. It was also where I saw the "fests" starting to become a core staple which was exciting then, but seems kind of silly now, and we see how far it's come already.  I guess I'll call it an "interesting" time to be diplomatic, and one the bebs will probably remember a lot more fondly than me. 

Anyway, this Mental interview was conducted over the course of several weeks. Lockin Out hadn't really done much in a while (as you'll see later on in the interview) and more than anything, I was still kind of mourning the loss of Mental (in a Trumbull Escapades blogpost that's no longer on the internet) Morgado summarized the "Lockin Out Era" as the time period between Mental's first show and the Planet Mental record release in 2005. If that's the case, then by 2008 we were well into post-after-party status and so now, in 2014, where are we? Revival time? Someone ask someone on that giant ass Lockin Out thread on B9. 

I was a nervous little mark talking to Greg. I had the opportunity to interview him on their tour with Justice, but I was a dumb high school senior and didn't have the wherewithal to make it actually happen (but I did get to see this tour in 3 different cities). He was great to interview, and didn't make fun of me when I asked dumb questions.



This is the web-version, so you aren't getting the FULL EXPERIENCE (i.e. the meticulous hand-layouts I did, and the illustrations which I see getting shared [without my credit] all over Tumblr) but oh well. Does anyone really read words anyway? Here's part 1, where we started things out talking about Willmott's life post-Mental and about working with U2. Enjoy.

The interview was conducted in 2008 and printed in 2009. Some of the content has likely changed in parts. All illustrated content by me. More to come. Enjoy. 

Was the edge break what killed Mental?
No, that's not why the band broke up. Dookie and I broke edge but the other dudes in the band didn't really give a shit. We were all straight edge when we met and started the band, but none of us were really judgmental like that. We were just straight edge. It wasn't what really defined us as people or as a band. We kept it moving once Dooks and I started being wastoids. The band broke up because Dookie didn't wanna do it anymore. I'm not sure the reason, but it wasn't a problem with any one of us. It was just what he wanted to do with his life at the time. I can't speak for him, but that's the gist of it. When I talked to him about it, I was like "fuck it, let's call it a day." We had a good run and didn't wanna wear it out. I think a lot of bands stay around way too long and don't ever realize it. We had also agreed, way back, that we would never do the band with different members. WE defined the band and all had our own things we contributed, so without Dookie there really was no Mental. We just played our last show at the end of our tour with Blacklisted and Iron Age, which was a ton of fun. There was never any moment where we were playing shows that we didn't want to. When we got to Atlanta it was just like "this will be our last show." We played it and never really thought twice about it.

How have your opinions of straight edge "evolved" since Mental?
I just keep it moving man. It's not anything I consciously think about, but I'm sure a lot has changed. I've grown up a lot, I've learned a lot about "real life" you know? I'm 25 now, not 19. I've been around the world a few times, met some inspirational people and been through a lot of shit. Sure that's changed me some, but I've still got the same heart. I still feel like a fucked up 16 year old kid. I think people who know me well will say I am still the same person.

At the time, I heard so much stuff about what happened after that. I heard some rumor that you were in a band that sounded like Black Sabbath (laughs). There was definitely a lull in Lockin Out activity, right when Mental broke up.
I went away for about a year to work on the crew for Robbie Williams and then U2. It was just a good opportunity. I took a job at a small tech company in Massachusetts and they basically taught me all this shit in a month or so, then sent me off on the road. They hired me based on my experience from touring with Mental and shit, not so much my technical experience. I still work with those dudes, I don't plan on doing a tour any time soon, but I have to go to a lot of shows to set things up. I'm finishing this interview from the production office in Miami for the Jay-Z/Mary J. Blige "Heart of the City" tour.

Working on the U2 crew? Damn. Did you like...meet Bono?
I saw the dudes and met them, but I wasn't hanging out with them or anything like that. Bands on giant tours like that have a whole crew of people working to set up their concert all day and the artists usually roll into the venue an hour or so before they hit the stage. The crew is very tight with each other, but the artists are definitely on another level.

I mean, obviously it's a job not like you were trying to work with U2. Did you have many thoughts on them before hand? Perceptions that were changed after working with them?
They killed it on that tour. I don't fuck with them personally, but I respect the hell out of how gigantic they are. Those dudes are PAID.

Yeah, I mean likely THE most globally recognized band ever. Did anyone give you any flack for it? Some punk flag-wavers or anything ridiculous? 
Nah, no one has ever given me shit, but I doubt many people know or care (laughs). I don't really know what working for U2 has to do with my label. I literally could have been working for anyone in the world. It was just a job. A way to make money. I didn't set out to be on tour with U2 per-se, I just had an opportunity and jumped on it. 

It had to be a shock though, going from touring with Mental and then seeing how these, you know...iPod rock business men are peddling their wares.
It was really touring on that level. Indeed, it was a dramatic contrast to touring around in the Mental van, but I got that job from being able to function at that level of shitty touring.

Final U2 question. I'm not a huge fan, but my Dad likes 'em. I listened to Achtung Baby a lot as a kid. My Dad saw them on the ZOO-TV tour and told me they had the most elaborate stage set-up he'd ever seen. Exploding TV's and paper machete statues and stuff like that...anything cool like that?
Yeah man, they had a crazy set up. Lots of political shit going on, but to tell you the truth I don't think I watched the whole show even one time. Like I said, U2 isn't really my shit. They had a lot of typical political footage like your Dad probably saw. The cool thing about their setup was just that they had these huge Marshall cabinets stacked up, like 100 of them. Maybe more. THAT was the shit that impressed me.

Now that Mental's broken up, can you see yourself ever being in a band again?
I'm still hoping to start a new band, I just don't have time to get it going. For now I'd rather just not say anything about that.



Stay tuned for part 2! 

Friday, September 12, 2014

Zine Seizure 7.15.14: Out for Blood #1


Out for Blood is the next step behind the sordid mind(s) putting out Excitement Level Zero and the band Cretins, and announces itself on the cover as a zine that'll "shit-talk."



A great aesthetic and layout, not too different from ELZ really. Unfortunately, I found the John Evicci interview to be kind of softball, which was a bummer because (like the rest of the world) I love Out Cold. No matter because the Jon Westbrook interview picked it back up, tracing Knife Fight's history with a few things nerdy and nuggety here and there, and because the dude is always willing to talk about cool shit from their era and he's not afraid to pontificate on California's weirdness and KF's outcast status.


Honestly though, the zine's real identity lies in its (as suggested on the cover) outspoken reviews. The author has a serious thing against "dangly earring punks" and makes fun of Tumblr almost as much as I do. I'm also a big fan of the term "chain posers" because...who doesn't agree that this is kind of getting out of hand here? Also, I like that he disses The Flex and Obstruct, just because I (still) think it's funny when popular hype bands get shit on, regardless of my own feelings on them. Contrived or genuinely angry, it was an entertaining read, and as anyone who's ever tried to write about music knows, it's way more fun to talk about that which sucks than that which gets your approval. 

I got mine here. By the looks of it, you can too. 

Friday, August 22, 2014

Crossover Quarterly #1: 5 Nugs of Metal Mania for Norman Coreman


We luv u dark continent--goodnight.
1. Power Trip's Future in Film Scoring
After SXSW 2012, my GF became the first member in our relationship to see Power Trip live. She describes the experience as "horrifying" because she saw a 12 year old get brained with a trash can. This was all it took to get me to set up an interview with Riley, their vocalist. We talked all manner of nuggety shit, namely: Monster Magnet and LSD. Here's an excerpt for a "forthcoming" interview which has been in development hell since iOS 5.
 If you could lend one Power Trip song (let's just say "Hammer of Doubt") to any film scene what film do you choose?  
I'd either replace Cannibal Corpse in Ace Ventura Pet Detective with us performing instead of them, or redo the soundtrack to Wayne's World with all our songs so Wayne and Garth come across as actual metal-heads and not two assholes who listen to Aerosmith. -Riley Gale
Beyond the realms of DEF
2. Bob Belmonte Beyond the Realms of Death
Because Rock N' Roll Disgrace is the best label ever (The reaper logo, rubber stamps and the Battle Ruins EP make it so) I conducted an interview with CEO/head honch Bob Belmonte where the conversation quickly drifted from Mott the Hoople and The Bruisers to mustachioed rockers of seasons's past. Who doesn't have an opinion on Judas Priest though? Here's Bob's. 
Judas Priest or Iron Maiden? 
Priest = Stained Class = bottom of the gene pool kids try to blow their heads off to it and now one looks like gonzo = I listen to this once a day = when I'm buried, a cassette walkman will be on my head playing “Beyond The Realms of Death” = if I was gonna be the "point of entry" for some dude it would be Bob Halford! (laughs).
This is a MAAAD world
3. Reed Mullin and The Obsessed getting salty about punx + signing to Metal Blade (feat. Slayer)
In the time I've written for music mags, I've never really gotten too "star struck" (except when I interviewed Wyndorf ). When C.O.C.'s self-titled record dropped, I got to chat with Reed Mullin and the discussion was every bit as nerdy and nuggety as I could've hoped. Talk of Void, Pushead, DC hardcore and a ton of other material that didn't make it to print. Here was one of my favorite anecdotes, transcribed by me from a digital recorder. Read the piece that made it online here

Me: I dig all the different "eras" of C.O.C, but honestly Animosity is my favorite. I heard it when I was super into Metallica and DRI and it just fit while my cement was wet. And since Animosity came out on Metal Blade... 
Mullin: (laughs) I've got a good story about Metal Blade. We'd done some touring off of Eye for an Eye, and for its time it was pretty "crossover." When we played live, it sounded pretty heavy and it was a weird thing for an American Hardcore band to have as much metal influence as we did. For one song we used the word "cornucopia" and the song "Redneckkk" is just a Black Sabbath song sped up! We did lots of touring and became friends with that first generation of thrash bands like Death Angel, Dark Angel, Metallica, Slayer and Anthrax. Their scene was still in the beginning ages, relatively small compared to how big it got later. We were friends with Slayer and got a show on their first American tour, I think it was Haunting the Chapel, in Baltimore. At the time we were pretty popular in Baltimore and the bill was The Obsessed, Slayer and us. So we get there and we're all stoked because we usually have good shows in Baltimore, and this is when Slayer was touring in a Trans-Am and a U-Haul trailer. But there's some hubbub because the Obsessed refused to headline for a "punk" band, so there was some drama. The place was packed anyway, but it made Tom [Araya] and Dave Lombardo and the rest of those guys mad like 'we don't know these fuckin' Obsessed guys!' and we were kinda like 'who cares? let's just play. The place is packed.' It was a great show and as we're packing our stuff and the Obsessed is setting up, Slayer and their roadies took the stage. 'Now we're gonna play so you don't have to play with a 'punk' band.' Anyway, Slayer plays and it's like a popcorn machine with people flying all over the stage. After the show they're loading up their trailer and Lombardo and Tom were like 'dude, you guys gotta get signed!' and getting signed back then was an anomaly for a band like us. They offered to talk to Brian Slagel for us. It was nice of 'em, but I didn't think anything would happen. Sure enough though, Monday morning in my Dad's office fax machine, there was a contract with Metal Blade … and that's how we ended up putting out Animosity. Slayer hooked us up!
"WTF! Cinderella?!"
4. This drawing of Jorge Merauder watching Headbanger's Ball with "Bong in Hand."
The title pretty much "speaks for itself" here (-Stigma), but for background context: somewhere along the way, I conceptualized a zine that exclusively dissected metal/HC vids from the Headbanger's Ball era. The project fizzled out (mostly because the other writer was flakey) and since I had too much on my plate I scrapped it. Videos we had planned (including corresponding illustrations): Morbid Angel "Rapture," Pantera "5 Minutes Alone", Biohazard "Punishment," Voivoid "Astronome Domine" and of course Merauder's "Master Killer". The above image of Jorje was to be the cover, though we never really did come up with a title. It was the spiritual predecessor to Crossover Quarterly though (itself a paper zine that will probably happen once every 8 years). For now, just enjoy the image and think about what could have been. Seriously. Imagine Jorje, seated in his throne from the "Master Killer," throwing shit at his TV every time Rachtman made the call for Poison's "Satisfaction."   

"This next song is called 'Chopped in Half', and it's about the price of fettucini alfredo every Tuesday."


5. This crayon drawing of Obituary
I hate going out to eat at "nice" places. I hate getting dressed up. I hate paying $68 for soup served in a bowl no bigger than a sacrament cup. I hate how they don't put "$" next to their prices in the menu (fooled us guys!). Essentially, I just hate every facet of the whole GD experience. On occasion I can talk my girlfriend (you know, the one who saw Power Trip before I did in the first paragraph?) into eating at dumpy suburban chain restaurants like Olive Garden. I dig these joints. They don't bat an eye when I ask for crayons and a children's menu, and you can bet your ass that unlimited breadsticks and a Ginger Ale isn't going to run me an entire day's wage. Here's a good, waxy memory from a weird time in my life. Indeterminate members of Obituary (it's actually based off a "Threatening Skies" vid I found on Y-tube) scratched out entirely in shitty Rose-Art crayons (more wax than actual pigment) that restaurants always have. My girlfriend is perpetually embarrassed of me and my (lack of) taste...and this is certainly no exception. Unbenownt to her though, this drawing is hanging up at an Olive Garden somewhere in Sandy, Utah and so that's basically like having it hanging on Guido God's fridge. 







Saturday, August 16, 2014

Y is for...Youth Attack Records

JERKBOOTH

The blackest toothed of HC enterprise: shameless shit schillers of style > substance howling right to the bitcoin bank. What dreams may come? Does your label produce candy? Garbage bag tees? Full-length LPs?

Thursday, August 14, 2014

Cleveland Roxx #1


An Intro 
“Cleveland hardcore is an infestation of termites that swarms your brain, rotting the foundation and creating a lust in the listener that can only be satiated by more low-budget 7”s, more weird pressing variations, more ridiculous stories, just fucking more! The more pieces of the puzzle you put together, the more so much of the senselessness of that scene starts to make sense.” – Life’s a Rape fanzine “90’s Cleveland” column. Issue #2

Cleveland hardcore, namely 90's Cleveland hardcore, sticks out like a blighting, malignant mole on hardcore history's shaven head.  A seething, mutant punk-metal amalgamation, gummed together in a sordid soft-serve swirl of things most evil, perverse, petty and macabre. It's a sound nourished by the nasty brawling feeling that only a city of perpetual losers un-connected to anything "cool" and "coastal" can cultivate (minus Jim Brown of course), insulated and unsullied by the the Beaver Cleaver-isms and jingoist idealism that made so much other 'core from that era saccharine and unlistenable.  

Of course, none of this shit would even be worthy of discussion (let alone blog-worthy) were it not punctuated with a revolving cast of legitimate freaks (re)emerging in various iterations to beat the shit out of each other and join each other's bands. Weirdos who X'd up at one point and then went straight to inhalants. They owned Severed Survival, Left Hand Path and Love Gun. They wrote cryptic faux-satanic songs about air Jordans, used pro wrestling imagery unironically, publicized their beefs with the rest of the country's hardcore (both real and imagined) and gleefully pissed into hardcore's PC punch bowl for a few years when it could really still be done.

Here’s my (biased and subjective) take on a gaggle of Cleveland HC records you should absolutely embrace, many of which you may have not heard (and one you DEFINITELY have), for when your next faith crisis hits and you finally acknowledge that Insted were boring and lame. 


Part 1
The Mormons – On the Trail West EP 
A delightsome name for a snotty, yet equally delightsome band. The Mormons weren't anything too different from the usual crop of Cleveland wildcore bands, but the name + EP title seal it for me. Also luv to the Ghetto Blaster sound quality, and a band who has their own theme song (er, hymn?) to lead off a record (see "March of the S.O.D...if it led off the record. Never mind). Kinda just a little bit melodic (if you can pick it out) and not too far sonically from H-100s legit-level psycho goofsanity, just a little more PONK. Note it especially in "Your Shit" wriggling beneath the tumult. Yes, according to EP layout, they did actually employ a white shirts + ties gimmick. Easy to find on discogs (as in, you won't need to spend 10% of your annual "increase" to get a copy...) but it's rare enough that any dorky/autistic-grade fans of that era would still kind of want to have one in their collection. Oh, and get a chortle off a track named "Bring 'Em Young," a title which probably laid the groundwork for an entire porno series. 

Wednesday, August 13, 2014

Indulgent Writing about Hardcore #1 (Ancient Heads)

Ancient Heads - For My Brothers
Though an unapologetic yank thru n’ thru, I did a brief tour of childhood duty in the rainy climes of the United Kingdom (‘92-97) while my Dad worked for the Dow Chemical company. It’s a great place, birthed Black Sabbath and the Stones, but for summer fun? Not really my glass of Shloer.


That’s why the concept of summer jams always sikes me. See, back in those days, when the sun seemed to retreat behind grey whitewash for 14 waking hours of the day, when ‘Blue Peter’ and ‘The Big Breakfast’ tried (and failed) to wet my whistle and most brit cuisine turned my yankee stomach into a quivering hunk o’ gelatinous goop (no offense, but seriously...what the fuck is up with Bisto gravy?), it was my Dad’s collection of tapes and records that buoyed the sunshine up in my soul, a meaty connection ‘tween dumbing power chords and sunny midwestern shores. Ramones “Too Tough to Die,” Blue Oyster Cult “Some Enchanted Evening,” Alice Cooper “Billion Dollar Babies,” may incite the disaffected journos to talk of “punk” and “prog” and “shock” and other meaningless buzz-words, but for me? That shit sounds like the breezy swing of summer fun.

So, when Ancient Heads, a band who really doesn’t sound like any of the aforementioned, releases a tape of three summer jams, I’m immediately transported back to that wide eyed time when shit seemed so important, and some song seemed to punctuate every facet of my life. Per Matt Laforge, this triple serving of AH delights is the band’s most ‘Floorpunch-esque offering to date’ and I can’t help but agree.


Short, punchy and nary a second spent hemming and/or hawing around the point, For My Brothers makes for essential [summer] core without resorting to goofy Tumblr tomfoolery like cartoon drawings of wigger cats in sunglasses or moshing burritos or whatever wannabe LOC bands from Florida are schlepping.  “For my Brothers” is a perfect opener, gang chant in effect, while “Fight Back”’s clarion declaration that “WHAT DOESN’T KILL ME ONLY MAKES ME STRONGER” mean that this here’s a cassette you can/should listen to while driving your broken down Camry with windows rolled down, stopping only occasionally to pelt the odd simpleton with a water balloon and maybe skank around your car at a red light.

Summer, if you’ve learned nothing from  Spicoli, Ringwold and the other cretins of Reagan-American cinema, is a time of pregnant possibility. A time of forging love and friendships, of taking trips and of whittling away long pointless hours in pursuit of cheap grub and/or a place to chill...and though some of us have had to trade swimming pools and cut-offs for desk jobs and stock options, it’s these little rippers, solid bursts of unrequited, unabashed truth n’ mosh, which draw me back into this “thing.” The core is relevant to all seasons, but I’d like to think it’s somehow more alive in the sweltering days from Mid June-Late Sept. If for nothing else, this lil’ one-two-three is an honest reminder of everything I love about the core: short, fast, loud and CATCHY. Maybe summer for you means listening to Sublime and having to visit your girlfriend’s parents or some shit, and that’s fine...but throw this one on a few times, let the tunes grab you by your lapels and fuck you up with some serious truth.


***This issue of indulgent writing about hardcore was originally printed in Mosher's Delight fanzine and written by Dylan Chadwick***



Tuesday, August 12, 2014

15 (Biased and Subjective) Thoughts on Righteous Jams

Pic from Start Today #5
Only band with 2 full lengths on Lockin Out. Does that matter? I don't know. Given today's crop of Tumblr Loc-Jock bands, I miss RJ's more and more. Those riffs.

1. The events at Posi Numbers 2005 was messageboard fodder for a minute.

2.  I saw them in Richmond once, and my clearest memory was that at one point, Joey C said something like "We're definitely a straight edge band, but we think some of you should smoke some weed and chill the fuck out." It may or may not have been in reference to a fight that broke out during an Iron Boots set. (Pic of said show below.)
Those who were: that's my knockoff X-Swatch
3. There's really nothing redeeming about the Boston Beatdown DVD, except for the fact that you can see Joey C with a lot of gel in his hair, a little bit of live RJ's footage and Colin of Arabia saying "Death metal is fake. The core is real."  

4. The best RJ's song is "Iron Mind." It just is. All iterations of the song are great, but the Sweet Vision one is definitely the hardest. Per a reliable source, the sample at the beginning is from a Dorian Yates workout VHS in which he's doing leg presses and grunting really hard.
SMOG

5. Despite the stigma of Lockin Out merch and ebay and all that, RJ's really only ever had one aesthetically appealing design, and that was the Def Jam rip (IMHO). Most of their other merch was pretty wack. Look at the cover of Business as Usual for the general idea. That being said, I do own the shirt below because I'm a sucker for clever wordplay. Yeesh though.


Euro Barge

6. Business as Usual is weird. I definitely don't hate it, but I don't think I'd call it "good." There's a lot of great riffs on there, and I enjoy "Thought Vacation." The vocals just sound "off" and the songs just...whatever. Cool riffs though. 

7. The weirdest place I ever know of them playing was at the Elizabethtown Kentucky board of tourism. This is indeed the same Elizabethtown that had a dopey Cameron Crowe film made about it. If you don't know anything about E-town you won't understand the absurdity of it all but...it was definitely a mindblower for a band that "cool" to be playing in a city that wasn't. It's my hometown. 


Come back y'all

8. I saw them in '06 at one of those Gorilla Biscuits reunions (Cue: "Start Today is Age of Quarrel for girls. LOL I know!). I remember very little from their set, but after the show I found an online review of some herb complaining that he didn't like them because they were wearing Nikes and Abercrombie. (Edit: Found the review here). 

9. I've seen them covering DYS "Wolfpack" online, but in the multiple times I saw them, I never witnessed it live. :(

10. In Town of Hardcore Joey talked about the name Rage of Discipline and how it was inspired by Rollins Band and a house that one of them lived in where everyone slept in one bedroom and filled the other bedroom with weights. P cool. 

11. You may not know/care, but if you watched the FSU episode of History Channel's "Gangland" then you heard the song "Scream n' Shout" on cable TV. That means a Lockin Out band/song was on cable. WHAT NEXT?

12. I bought the Boston Straight Edge EP (basically just a vinyl pressing of their demo tape) from Very distribution using a money order, and it seems very archaic to me now. It was the last thing I bought before leaving home for college in 2005. 




13. "Punch your roommate in the face, and get ready to get righteous" is really the best intro to a WERS set.

14. My real introduction to them was from the Mental WERS set in which Greg dedicates a song to them with the couplet "if you haven't heard this band, I feel sorry for you."

15. There's very few HC LP's that are good all the way through, but Rage of Discipline is one I enjoy through and through.