Honey Honey (unpublished)

September 5, 2018 at 11:55 am | Posted in (Tilt! # 10) | Leave a comment
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Interview with Wendi of ‘Honey Honey’ * 1997-98

‘Honey Honey’ is a band that I would release some vinyl for if I would have the money. Not because they are ultra-political or ‘all-over-the-place’ but because they’re nice people who play touching music. Their Limburgs ‘easy-does-it’ accent is also charming. Reason enough, no? Some people see this band a bit as the ‘underdog’ of the Belgian HC/punk-scene but hey, underdogs are my favourite kind of people…

Answers by Wendi; unless otherwise indicated: additions by Gert

Bart Elen: bass / Edwin Gielen: drums / Gert ‘Gonzo’ Hermans: guitar / Pat Broux: vocals / Wendi Geuens: vocals

Contact: The H.H. House / xxx / 3940 Hechtel / Belgium

Can you tell us a bit about the history of Honey Honey? What’s the idea behind the name? How would you describe your music to a martian who doesn’t have a clue about labels like punk, hardcore or emo? Who would you say has influenced your music?

It all started by the end of 1994. Edwin and Gert were sick and tired of playing heavy metal… After searching for other band-members a short while, Wendi and Sven [Cuypers] joined. A year later we taped our first demo and soon after that we did our first tour with Anomie (F) and Marker (UK) through France. Our second demo was recorded at Gilles’ (Anomie) studio in Orleans. Later we did two short tours in the UK (great times…), in 1997 we had a few disagreements within the band and things weren’t going that smoothly anymore: our interest went in different directions. Finally Sven decided to leave us (he’s still a good friend though) and Bart (‘De Huiskes’, ‘1664’, ‘Déja Vu, Mon Paraplu’, ‘The Lovebuzzkillers’) agreed to take his place. A little while later Pat (ex ‘Universal Spares’) joined us as second ‘honey’.

So far we have a track on a 7” compilation called Ambala (UK) and four tracks on the Screams From Belgium 12” comp. We should be releasing our first 7” ourselves in 1999.

The name ‘Honey Honey’ was the result of an evening drinking and talking bollocks in a local pub. We don’t even remember how we got the stupid name but we’re used to it now.

A description of our music? Well, let’s just say it’s a mixture of everything we’re into. Everyone listens to different kinds of music, from pop and soul to extreme punk-noise.

What’s the raison-d’être for the band? Are you a bunch of friends that wants to make music together or do you want to bring a message to the people? Do you play concerts in the HC/punk- scene by coincidence or because you believe in the ideology behind it?

We started of as a bunch of friends. Everything we do, we do together. Even outside of the band we hang out a lot, together with mutual friends. The only message we want to bring is “Be yourself and do what you think is right; and for god’s sake enjoy life!”.

Not all of us were part of the HC-scene before we started off but through playing there and getting to know a lot of people involved, we started to feel very at ease. It also changed us all a bit (In ‘98, the last meat-eating member turned veggie e.g.). We do think there’s lots of hype in the scene and that’s something we don’t want to be part of. We try to keep and open mind; which means not accepting the ‘trendy’ slogans without thinking.

You’ve done quite a few concerts in Belgium and even a couple of short tours in the UK but besides a few tracks on a compilation-LP, you don’t have anything out. Why is that? I doubt it that there’s no labels that are interested… Which ones would you want to be on? Or are you waiting till you gathered enough money to do it yourselves?

As we said before, we will release a 7” in ‘99. We know 4 years is quite long but we’re catching up on things now. Having a good time together was always more important than achieving something. It’s about time we change that. We’re gonna put the 7” out ourselves. In the first place because no label asked us and we’re too shy to ask them; secondly because we also like the feeling to have it all under control.

Is it important for you to know where you’re playing, with which bands, what the entrance-money is used for; would you ever ask an agency to book your gigs? If you would put a record out on a label, what would be the things you want to control; do you care if material is distributed by people who are making a living out of it?

Most gigs we play are in the scene but we also like playing in local pubs, etc.; for people who’re not involved in the scene. We’re quite open for anyone who asks us to play. Only fascist crowds are out of the question. We did that once before knowing in advance… Never again!!!

‘Honey Honey’ (Brugge; 97-07-26) – pic courtesy Laura W.

Gert: Well, not all the people in there were nazis. That’s why we did play. It was a gig with our English friends ‘Songs Of Praise’ (RIP). We got the gig through another venue who couldn’t organise one on that date. It was a bikers-bar. Some friends of us showed up (which was good). Oh yeah, you were there as well and warned me that it was kind of a dodgy place. After the gig, the guy behind the bar started drawing swastikas on our drink-tickets. We got pissed off and left (We didn’t wanna fight, we were outnumbered and those people were twice our size.). Anyway, I don’t think you can call them real nazis; just some morons who think that it’s tough to act like that.

We never used an agency to book us in the past. We might do it in the future, we might not. We’ll have to see how our stress-level is in a few years time.

Gert: This sounds a bit weird. But let’s talk about doing a tour. England is good for us to tour because we know many people there who we trust. And we know that we’re not gonna loose too much money on it. But we would love to tour somewhere else for a change. Like this year, we could tour along with ‘Charlie Don’t Surf’ in Spain. ‘C.D.S.’ split up about a month before the tour. Kurt of ‘Charlie Don’t Surf’ gave me the address of the guy who organised the tour. At that time we’d already found a van and we were all into going there, so I rang to Spain but nothing was organised. After a week or 2, the organiser called saying that it was better to cance the tour (which is OK). But you hear a lot of stories about bands going on tour, thinking they can play about – let’s say – 6 gigs and once they get there, it turns out that 2 have been cancelled and 3 were organised a week before so that nobody shows up. So the financial hangover can be catastrophical. That’s something which is killing the DIY movement. If a gig gets cancelled, please inform the band or the tour-organiser. And be honest about how much money you’re able to give. With an agency you got your contracts so bands know a bit what’s gonna happen. But these contracts leave a bad taste in my mouth. I think it’s nicer when everything can be based on trust, and in many occasions it can.

If we ever put out a record on a label, we definitely want the record to be sold at reasonable prices. We would never sign contracts that could take away our control over ‘Honey Honey’. We do understand why people want to make money out of their hobby because working a shitty job every day is fucking hard. They can distribute our stuff (if they want to) as long as the prices are reasonable.

I never read an interview with ‘H.H.’ anywhere else. Are you such shy people? I also had to insist quite a few times to read the lyrics. Are they autobiographical and don’t you want anyone to go into them? How d’you feel about exposing personal feelings in the lyrics (like in Hit And Run or Happyland, I guess?) and people asking questions about them?

This is one of the few interviews we do. Not because we’re that shy but we’re terrible with deadlines. So hereby our deepest apologies to all interviewers. We’re not uncomfortable talking about the lyrics but even for those who wrote them, it’s not that easy to explain them in a few words. Only a few songs are autobiographical (indeed Hit And Run, and Trip; also ‘Barstool’ and ‘Alone’ are personal). Most songs are just a mixture of thoughts, words, feelings, frustrations, story-lines, moods, …

In Waltz you describe a world where you can feel free to live, with no restrictions. I guess it’s kind of a utopia? Like many of us, you all work and participate in the capitalist society; does a world free from capitalist oppression remain a dream or do you strive for it one way or another? Did studying ‘readaption-sciences’ give you any indications Wendi?

Waltz is indeed about cutting loose from all restrictions there are, not only in our capitalist society but in every aspect of society. It also describes the prejudiced behaviour that groups of people, scenes, social cliques have towards each other. It’s hard to be objective when you only socialize with one type of group. So we think it’s better to stand in the middle and choose your own way.

Living completely free is a utopia; you yourself have your own restrictions and your own littte prejudices of course. But you can at least try to change life for the better your way.

We don’t believe it’s possible nowadays to live in a world free of capitalism; unless we have that big revolution that would kill most of us. Besides: after that things might be better or worse. I chose social studies because I wanted to understand people better but I can’t say that I learned much during those 3 years; I’m still learning.

I read “trust in yourself” (in Waltz) and “l’m fighting my own war” (in Nothing Changes). Do you believe the individual has the power to determine its own destiny or are we just a plaything of fate?

The individual has the power to determine its own destiny upto a certain level; then fate takes over.

Gert: Fate can be many things, like: the environment you grow up in, coincidences, getting involved with people who make your life good or crap in a way, etc. This can also determine your destiny. How much? I don’t know. It’s a good topic to philosophize about. The same thing can be said about destiny.

Wendi and Pat, do you think that you can be a role-model for other girls/women in the scene? How d’you feel about it when people say you are? Isn’t it awkward that’s what is always asked to female and not to male members of bands? Who’s ‘Miss Right’ in your song Ode? What do girls have to do in order not “to take this shit (i.e. demonstrations of macho insecurity) no more” (from the song MMM)?

I don’t think Pat or me qualify as role-models. We don’t even want to be taken seriously (OK, maybe a bit). We’re just glad that we have the chance to do this; we want to make the best out of it. I have the greatest respect for girls who can make a statement by doing what they do. And l’m so glad we live in a time where everyone (allmost everyone) gets opportunities, especialiy girls. This is our time, girls; let’s take things over!!!

Why is this always asked to female band-members? I don’t know, maybe because girls are still under-represented in the music-industry… But when they are, they’re mostly very confident and intelligent women. I’m not talking about the sexy singers hired by record-companies just to produce a new hit-single but about the singer-songwriters who want to make a difference nowadays.

‘Miss Right’ is Alexandra Colen [Brob: ultra-right, pro-life, diehard Christian bigot and member of parliament for the Belgian fascist party Vlaams Blok] and everyone like her. They are a disgrace to all women because they accept the man-made rules that don’t allow women to decide for themselves. This also applies to MMM: don’t take shit from anyone ‘cause you’re worth much more than that. Don’t be afraid to leave someone who treats you badly. It’s not that bad to be alone for a while.

Am I right to think the story told in Going Home starts off as a date-rape and then turns into something where the woman takes control and dominates? Is this a way of saying women shouldn’t let themselves be victimized and have to realize/learn they have power too?

Going Home is about hurting someone in the same way as they hurt you. In this case a date-rape, I don’t believe in turning the other cheeck, I believe in payback-time.

Wouldn’t it be magnificent if a girl in this situation was able to turn the tables, to let him feel what it’s like to be dominated and not enjoy it.

Women have power but it’s hard to fight back in a terrifying situation, I’m sure there’s no girl that ever really asked for it. If you ever are the victim, I hope you react and fight back. Don’t let him get to your inner-self.

In Inside’ you ask “Don’t you want to know where I’ve been? Aren’t you dying to know what’s goin’ on inside my head?”. Can you give us a short list of things we need to know about each one of you to have an idea what you’re about and what brings you together in this band?

What brings us together is our mutual interests, having fun, being creative, expressing ourselves. To give a short list of what we are about is difficult because not everyone is present at the moment; but here are a few things we say about each other… Edwin is our beast, the back-to-basics kind of guy, he likes to solve his own problems and minds his own business but he’s oh-so sweet. Pat is our junior and the artist of the band, sometimes a bit spacy, natural and doesn’t swagger [Gert: show off]. Bart is always late, clumsy and funny, an allround musician, the boy-who-lives-nextdoor kind of guy. Wendi is very persistent, the love-doctor of the band. Gert is freaky, the PR-guy; he’s social, intelligent; our nutty professor and the most reliable of us all.

Aren’t they cute?! The teletubbies of HC/punk; haha…

Honey Honey (band-presentation Tilt! #8)

Honey Honey (Bel) demo (1995)


Dissent (1989 interview on tape)

June 20, 2018 at 2:36 pm | Posted in (Tilt! # 10) | Leave a comment
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‘Dissent’ was a band I really liked (muscially and attitude-wise). They were supposed to tour Europe (with the help of Reitner Mettner, Double A recs) and our Smurfpunx-collective was getting ready but they never made it over. They split up after I’d done this interview (in 1989) – intended for Tilt! #5. I wrote it out by hand but never actually published it. Since history has got its rights: here it is for those who want to give it a listen…

The people in the band (from Rapid City, South-Dakota) at the time of the interview were: Todd Smith (drums/vocals), Bob Baker (guitar/vocals) & Tim Popa (bass). Earlier on they had Sean ‘Skip’ Nagel on vocals and a few other bassplayers (including Tanja Bjork).


Dissent (1989 interview on tape)

Brob interviewed in You & Me #2

July 29, 2017 at 7:13 am | Posted in Interviews | Leave a comment
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Interview by Teo Petričević (from Mursko Središće, Croatia) in 1997

Brob interviewed in Maximum RocknRoll #175

June 20, 2016 at 2:03 pm | Posted in Interviews | Leave a comment
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Brob MRR 175 cover

Interview  by Matt Average (for the Zine Of The Month section in Maximum RocknRoll) in 1997

Brob MRR 175 aBrob MRR 175 bBrob MRR 175 c

Brob interviewed in Seba Odhalenie #1

April 9, 2016 at 6:40 am | Posted in Interviews | Leave a comment
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Interview originally done by Matt Average (for the Zine Of The Month section in Maximum RocknRoll) in 1997; translated in 1999 to appear in the Slovakian zine Seba Odhalenie (Expose Yourself) #1

(translation below)

Brob Tilt (Slovakian zine Sebaodhalenie #1 '99, ori MRR) aBrob Tilt (Slovakian zine Sebaodhalenie #1 '99, ori MRR) b

Please start off with a history of TILT!.

TILT! was started to inform the local scene in my native town about various other scenes elsewhere (in Belgium and outside). I introduce(d) bands from our own country and elsewhere in interviews but I’m always trying to remain critical (a band has to ‘deserve’ me being a fan – and I do not only mean musically – but if I become a fan I can be very ‘dedicated’) and trying to look at things from different angles (I’m not so much interested in the musical aspects of a band in se but more in the ideas of the people in the bands – or distribution, label or organisation). I think it’s important to get to know a band before actually interviewing them. I also try to let my own ideas shine through. Besides that I review zines, tapes and records; and publish articles on political items. I do everything myself mainly but during all those years various people have written a piece here or there. After #1 I moved out of my native town. I got more and more contacts and people outside Belgium wanted to know about what was happening here (and vice versa for me and my friends) so I started doing it in English from #3 on. I did 8 issues between ‘84 and ‘95, I sold over 1000 copies of #8 (people keep asking for it but I don’t have the money to print more). I don’t print ads that are payed for (I want to re-main totally independent and critical), I take the money from my savings; the zine basically pays itself. Sometimes I publish free ads for stuff or people I really dig (when there’s space left). I always have lots of things in my head (some in my computer) for new issues. I’m currently finalising #9. It should be out late summer ‘97. Here’s a short content of the former issues:

#1: Scoundrels (Hol), Jan Kuypers (‘psychiatric’ dissident), anti-fascist info, travel-report Denmark, reviews (movies + records),… /// #2: Concrete Sox (UK), K.G.B. (Ger), Ludichrist (USA), Dawn Of Liberty (Bel), Get Stuffed (Bel), Hageland Recs (Bel), reviews (zines + records), letters,… /// #3: Negazione (Ita), Anguish (Bel), Lärm (Hol), Hate Crew (Bel), Mike Muir (Suicidal Tendencies), letters, reviews (zines + records + tapes),… /// #4: So Much Hate (Nor), Desecration (USA), L.U.L.L. (Den), Positive Peer Pressure (USA), C.O.C. (USA), Heibel (Bel), Mental Disturbance (Bel), Chronic Disease (Bel), reviews (zines + records + tapes), apartheid, squatting,… /// #5: 76% Uncertain (USA), White Rose Collective (USA), Political Asylum (UK), Th’Inbred (USA), Aldous Huxley, Nabate (Bel), cultural conflicts, reviews (zines + records + tapes),… /// #6: Sofa Head (UK), scene-report Poland, F.F.F. (Ger), Decadence Within (UK), Born Against (USA), Econochrist (USA), Zero Positives (Bel), reviews (zines + records + tapes + books), … /// #7: One By One (UK), Sons Of Ishmael (Can), Turbo Reanimacija (Lit), X-Mist (Ger), Belgian Vegan Society, scene-report Spain, Blindfold (Bel), For Mother Earth (Bel), HC-activists over 30, reviews (zines + records + tapes + CD’s),… /// #8: Acme (Ger), Graue Zellen (Ger), Fabric (UK), Shortsight (Bel), Undone (Fra), Voorhees (UK), interviews with women in the international HC-scene, radical D.I.Y., major labels, re-distribution of labour, free love, reviews (zines + records + tapes + CD’s),…

What was your inspiration for starting the zine and what keeps you going at it through the years?

Like I said, the original concept was to inform our local punk-community about things happening elsewhere (other parts of Belgium and other countries) – musically but also politically. Around ‘83 I started my band REPULSIVES, which went through 2 line-ups and died in ‘87 after a whole bunch of gigs (we were quite popular at that time) and recordings for a split-LP with the brazilian band Cólera (which never got out due to the fact the label folded). My second band YUPPIES’ DEATH only existed for about a year. In the meantime I had started to set up gigs in my native town. When the venue there was closed by the police, I was asked by my friends in the band Hate Crew, who had just started a gig-collective in another town, to join them. With that collective – SMURFPUNX – we organised well-attended gigs with loads of national and international bands until the early ‘90s. After that I joined the autonomous centre VORT’N VIS vo-lunteer-crew. I left that behind because of ideological differences but soon after we set up the NEWLAND-collective. Around ‘84 I had also started my zine TILT! and in ‘86 I started doing tours for foreign bands. At first I tried to inform locals (that’s why the first 2 issues were in Dutch), later it became also a means to communicate with people every-where. Because I worked a job and set up gigs & tours (especially during the SMURFPUNX-days), TILT! only appeared irregularly. At the same time I started to sell (mailorder & at gigs) vinyl and zines because nobody was selling DIY stuff in my neighbourhood… Through all this activity, you can imagine I got in touch with a lot of activists and other interesting characters all over the world. I was learning a lot, I was networking and I noticed what was possible because of all this, how we could orgainse a whole underground world where people with subversive (to the mainstream) beliefs and ways of living could take their lives a bit more in their own hands and spread their ideas. I wanted to share that notion, to learn even more and to encourage others to get involved aswell. I truely belief that the HC/punk-community is a breeding-ground for ‘revolutionary’ ideas. It’s probably never gonna overthrow the global capitalist society but is sure can be a shelter and a school for people who’re looking for and trying to establish an alternative to the vulturous, greedy, consumist world we live in. Even today, with the extreme commidification and commercialisation of HC/punk, I regularly still run in to people who wanna engage in creating that alternative: intelligent and caring persons with an ethical feeling and believing in solidarity. The scene still isn’t 100% what I want it to be so I go on…

What is your involvement with the zine NEWLAND?

The collective and it’s zine is set up to provide those people who are fed up with and frustrated by the increasing commercialisation within the Belgian (and international) HC/punk-scene, with a forum and platform to vent this frustration, discuss and hopefully find ways to deal with this. It has expanded into questioning and discussing subjects known as the ugly forms the capitalist society (racism, sexism, homophobia, violence, etc.) manifests itself in and that our scene tries to get rid of. Some of us are straight-edge (even though we don’t label ourselves as such) but there’s also people who are open to other music- and lifestyles (anarcho-punk, emo, crust, ska-core, etc.). I believe I can say the common denominator is the fact that we want to keep this scene (that we built up) in our own hands. Outer appearances and lifestyles (or gender or age) don’t play a role. When we first got together, in the spring of ‘96, we didn’t really reach a consensus of how to deal with things like bands signing to commercial labels (not necessarily majors), labels getting involved in commercial distribution-deals, bands touring with agencies aiming for profit and playing in commercial clubs, people making a living of HC/punk, etc. In fact not everyone understood (understands) that this has nothing to do with the original ideology behind this subculture, that it goes against trying to keep everything in our own hands, that this is a potential threat to the very existence of this scene. Most of us however did see the increasing sexism, homophobia and even racism, especially in those elements that are only attracted to the scene because of the ‘trendy’ means of expression like the ‘hard’ music e.g. It is my opinion that both these things – the aiming for profit and the lack of respect for those differing from the ‘norm’ – enhance one and other. It’s clear that we have to act if we want to stop this. But how? My way of doing things has always been confrontational. If something is not the way you think it should be then ask questions, be upfront about what bothers you, try to open up a discussion, give arguments. The problem with an approach like this is that some people might say they agree to avoid the confrontation, some will try to weaken your arguments by trying to isolate you and those who feel threatened and have no arguments are gonna choose for personal, sometimes even physical attack. Some of this might sound pretty scary to someone who believes deep down that she or he’s right and will scare her/him and cause her/him to keep quiet about it. This, off course, makes them loose the chance to alter things into the way they see things fit. But for some in our discussion-group it was the reason why didn’t want to adopt my idea of writing some sort of pamphlet explaining what we thought was going wrong in our scene. Peer pressure is also still a very actual thing in our scene and that’s why some people in our group didn’t want to support this kind of pamphlet because it meant speaking out against, or at least not in favour of, ‘friends’ or ‘friends of friends’. After the first meeting we agreed to put our complaints on paper to be able to compare them and find common ground. It turned out practically no-one dared to, even though all said to agree (more or less), with those things that I told them bothered me. The problem seemed to be putting names on these things we thought didn’t fit the ideology by giving specefic examples in order to make our ideas clear to the rest of the scene. Another reason why some of us did not want to make up a pamphlet, was the fact that they did not want to sound as preachers or “make up some rigid hardcorepunk-law”. It was their opinion that the ideas they had were open for adjustment, were not fixed and should be up for discussion in order to let them evolve. Even though it was agreed upon that this could happen in a series of pamphlets aswell, the proposition of doing it in a collective zine where outsiders (to our discussion-group) could join the discussion aswell, was cheered by all… We put out one issue so far and are planning a second one. We get together regularly to discuss and plan things. Some also organise gigs every now and then and various people do distribution-work so we try to help one and other.

From reading your zine and contributions in NEWLAND, I know you take a very strict and outpoken stance against the commodification of punk culture. Has this attitide cost you many friendships?

To understand why I’m so strict and outspoken, you’ld better read the answer to the next question first. Some people assume that I do what I do and what I say is because I want to be in the centre of attention, that it’s my own little ego-trip. What can I say to that? Of course it would be a lot easier to float along with the current but my self-respect and my ethical feeling tell me that I shouldn’t opt for this, that I should stick to my beliefs. It’s the old story about the message and the messenger. Those that feel criticised or attacked by what I have to say don’t come up with arguments, they just attack the person who confronts them with their actions, their insolidarity, their egoism, their lack of courage. It’s a thing that happens in the mainstream aswell: the businessmen, those who benefit from the vulturous system try to blacken people’s reputation by spreading all kinds of rumours or by blackmailing or bribing them. They don’t address the actual problems, they don’t get into discussion about the facts; they go of on a tangent, trying to divert people’s attention. It happens to me regularly. It would affect me if I’ld realise I was alone with my ideas. But I know I’m not: there’s people all around the world that think the same way, they might be not as outspoken or argumenative as I am but they’re there. True friendships can stand criticism and discussion. If someone turns away or breaks with me because of my outspoken ideas, I think they weren’t very good friends in the first place. Sure, there are people that don’t deal or talk to me anymore because of my strict views but looking back, many of these ‘friendships’ appear as abusive to me now. There are also people turning away from me without even having seriously talked to me (because of rumours or my socalled ‘reputation’) but I don’t believe people like that can really be your friend. On the other hand, there’s still many people who do want to communicate and be friends. There’s also people who find that my thoughts are valid when they actually listen. Lots of people agree but just choose another way of expressing themselves (not as direct or confrontational) or some don’t feel confident. Remember, the businessmen in the scene have power and don’t fear threats. I’ve been beaten up already once and threatened physically many times. People also steal from me or just treat me bad. It’s the way of the world… Sure it affects me but I’m surviving. And most of all: I know I’m not alone… What does bother me is the fact that certain people claim I’m the leader of NEWLAND and that the others in the collective are just blindly accepting what I say… As if they can’t think for themselves. That’s insulting my friends’ intelligence. Everyone in NEWLAND has his own opinions and no-one is forced to say things they don’t want to. There’s no pressure. People are free to join us or not and they can also contribute without coming to the meetings.

What is the importance, from your point of view, to remain underground and D.I.Y.?

Well, let me start to tell you what my frame of thinking is, what I believe HC/punk is about… (You might have read this already in other pieces I wrote.) The HC/punk-scene is supposed to be an alternative to the capitalist music-industry and the rock’n’roll-circus. This industry attracts and tries to bind young people to a consumist lifestyle (which guarantees them their profits and thus more power) by commodifying what plays a big role already in young people’s lifes: music, fashion and an ‘alternative’ lifestyle (their “alternative” is a superficial and temporary reacting against parents, school, etc. but it doesn’t attack the real powers). Our (HC/punk-)alternative aims to be a profound, honest and lasting struggle – based on solidarity – against those that want to control our lives, dictate their rules of power and greed and destroy our world. I believe it’s impossible in the given situation to win this fight (not in this era, where egocentrism rules) in the mainstream, in the global capitalist society. That’s why I think it’s much more appropriate and feasible to teach, to show people what can be done on a smaller scale, i.e. in the HC/punk-scene – where the atmosphere is leaning much more towards coorporation and where there’s already a global network of likeminded people established. A network that is existing for 20 years now and that has accomplished at least a few things. Maybe now you can understand why I react so passionately and fervently against people who want to adopt the capitalist ways of doing into our subculture. People who (try to) make a living of any of the aspects of the HC/punk-scene (bands selling out, agencies and commercial clubs cashing in, distributions marketing music + merchandise as just another commodity, shops trivialising the honest efforts and messages of people who work for our alternative, etc.) are greedy vultures that are abusing & exploiting the weaknesses and vulnerabilities of people constructing our scene. They don’t feel part of a bigger whole, they don’t feel solidarity. That’s why I fulminate against people running commercial record-stores (especially when they also sell major-label merchandise). It’s not about making profits that I worry in the first place (but of course these should be minor in order to keep the prices as low as possible). I worry about what the profits are used for, if one re-invests in the scene there’s hardly a problem. People who want to make a living from commercial activities in the scene, have the intention to survive and make it their only source of income by doing this. They drain the scene of the energy and money it needs so badly. It also means they will have to compromise with the capitalist system and it’s bureaucracy controlling activities within the HC/punk-scene to such an extent that it strips the subculture of it’s essence. We all compromise but it’s my strong belief that people making a living off it, cross the limit. HC/punk is – for lots of people that get into it for the first time – a music-scene; music and the ways it is presented and handled is very directive for people like that. I mean, if they see it’s bein’ handled in a way different from the mainstream it can show them the way to an alternative way of thinking and living. If they see this scene is just copying the capitalist ways of promoting and selling, the competition, they won’t change the attitudes spoon-fed to them already by the system. People that are running distributions & record-stores have a very big responsibility towards the scene. Unfortunately very, very few of them run their businesses in a solidary way but many – practically all – are just hypocrite, selfish and greedy pawns of capitalism. I don’t see any harm in running a small solidarity-based (cooperative) record-store outside of the capitalist system though. The latter make an essential contribution to the scene. But anything aimed at profit in the first place is condemnable! Thus, HC/punk can set D.I.Y. an example, an alternative on the way to an non-exploiting society. You know the slogan “Cooperation, Not Competition”. I still keep urging anyone involved with HC/punk to stay away from the mainstream, to stay underground. “We might reach more people.”, I hear some say. Well, it’s my conviction that the ones reached this way are mostly only attracted to it because of the fashion, the hype, the trend and easily leave it all behind once they sucked out the energy/time/money of those really working and trying to turn this ideology into reality. I’ve seen it happen way too many times. I hear others claiming “We’re ghettoizing ourselves.”. As far as I know a ghetto is imposed on a population. We (at least people who follow my line of thinking) – contrary to people living in real ghettos – choose to go underground because that’s where we can organise the resistance more freely. At least there we have a bigger part of our lives in our hands. There we have more space to develop our thoughts. Young people who already go against the grain or who might have revolutionary thoughts are gonna find their ways into the underground. They’re gonna search and search till they find a way in. That’s what I did and that’s what some young people do. Regularly I get letters of people saying we heard you say this or do that and I wanna know more ‘cause that’s how I feel. That’s because I do my own publications, because I organise my own distribution (with the help of others in the underground of course). So fuck the mainstream and their mediaslaves. Organise your own underground world!

Mainstream interest in punk is fading out. What longterm effects do you see the previous interest leaving on the scene as a whole?

Mainstream interest has always been there since the beginning and will always stay. Maybe the interest for the current styles, formats or hypes will disappear but it will take another form. Remember, the mainstream capitalist society will always try to keep controlling that part of the ‘market’ they fear loosing. They jump on it, try to modulate it into something they can handle, package, market and finally throw it away when they sucked it dry. Like I said before, the music-industry is the tool the global capitalist system uses to seduce and try to hook teens and twens to a consumist lifestyle (which allows them to make more profits and thus gain more power) by marketing what is already important in their lifes: their music & fashion and hence recuperating their ‘alternative’ way of living (the ‘alternative’ of the kids is usually inspired by the generation-gap: a form of teeny-bopper rebellion against the authorities that restrains their freedom – the narrow-minded, egotistical view of it – but it isn’t really anything revolutionary or subversive). What we try is to create a niche where they can develop themselves politically and as persons, while teaching them to be aware of the fact that one only gets as much freedom as they leave to the other person, that boundless consumption has to lead to annihilation. (Yeah, I know I sound like Crucifix.) I think it’s important to show them what can be done on a smaller scale, i.e. in the HC/punk-scene – where so much more has already been accomplished through co-operation, solidarity and networking with likeminded people. We have to stay underground! The history of HC/punk has proved that anytime people in the scene have cooperated with the mainstream has been disastrous and HC/punk-activists had to clean up the mess and start from zero again. Values like solidarity & respect disappear from the scene once HC/punk-businessmen forget about the ideology behind it all and realize they can gain profit. If we don’t succeed in controlling even that chunk of our lifes, I think more and more young people will adopt the mindless “consume-and-shut-up” mentality. Less people will have access to knowledge on different forms of sociological and political organisation from a young age. We can feed them these through the music but if the music is in the hands of corporations, the ‘youth of today’ will surely turn in to the assholes of tomorrow…

In what ways do you practice your politics in daily life?

I try to avoid the traps of capitalism as much as possible. Of course I also live in the global capitalist society; I have to participate to some extent if I don’t want to marginalize myself. I have a car, a fridge and a stereo but I don’t lead a luxurious life. I try to keep aware of how my lifestyle, my consumption-pattern, my behaviour affects the world and the people around me. I try to pollute and waste as little as possible (select and recycle garbage, dumpster-dive, ride bike, consume very little unnecessary products). I try to make as much as possible conscious choices that will not endanger anyone or anything (I don’t drink alcohol or use tabacco or other drugs – not because I wanna belong to some peer-group but because I see it as a way to emphasize my anti-capitalist stand). I eat vegetarian and try to use as much cruelty-free products as possible. In my relations to other people, I try to stay clear of racist, sexist, homophobic behaviour. I’m aware of all that but I’m not sure if I can get rid of it a 100% yet (my education, mainstream media, etc. may still affect me sometimes), I’m not perfect. Politically, I don’t follow any dogmas. I don’t call myself anarchist or communist or socialist; I have sympathy for these and I take elements of all but I’ld rather stay autonomous. I’m also atheist. I’m not member of any political group except for an independent, pluralist anti-fascist group. I do coorporate a lot with people in the anarchist scene (like going to and organise info-nights, discussions, demonstrations, etc.). My tools are leafletting, demonstrating, informing, direct action,…

What do you look for in a zine that will make it great?

Personality. I always hope a zine will stand out from the crowd, that the opinions presented will be original and challenging – not just copying what has been said before. In interviews I want to read about people’s ideas, their way of thinking and how they apply it in their day-to-day lives; I don’t wanna know about what strings a band’s using and in what studio they recorded. I also hope an editor dares to go against the grain, to be critical. It’s good to read an interview where a band is actually questioned and not just worshipped. Editors should be analytical and be able to make a point and get a view across. I’m looking for dedication, I’m especially looking for zines that choose for a radical D.I.Y. attitude – not beating around the bush when it comes to business in the scene. I hate editors who choose for an easy way out. I mean I’m disgusted by ads for commercial labels and distributions and by reviews of mainstream or sell-out bands. I want zines to look good but not slick. I don’t like zines that have layouts like they were made in a professional graphics-workshop with the newest fonts and all the tricks in the book. I also don’t like messy layouts; things have to look good and be readable but that doesn’t mean they have to be done with computer. The cut’n’paste-style can do wonders if you try to be a bit creative and take your time for it. Oh yeah, you Americans: I’m not so much into newsprint. I know it’s cheaper but it also looks cheap. A zine is not a mass-product, is it?

Any parting comments? What does the future hold for TILT!?

I don’t know, I really don’t know what the future holds. I’ve always been busy with so many stuff, that’s why TILT! got out so irregularly. My activities have also been jeopardized because of legal and financial problems more than once and these are still affecting me. Recently, I’ve also been diagnosed with a chronic illness which means my energy-level has gone down to a point where I have to slow down if I don’t want to end up vegetating. I’m the kind of person that can’t stop his brain from working, I’ve constantly new ideas, come up with things to try and do so it’s very frustrating to not be able to be as productive anymore. I’ve stopped doing tours and only pass on contacts for gigs nowadays. I think I’ll always keep writing; not just letters (they’re my lifeline, a way of communicating with likeminded people) but also other stuff (for other zines and hopefully NEWLAND will also keep going). I’m not really sure if there will be another issue of TILT! after this #9; maybe it’ll take me 3 years to get one done if the situation remains as it is. The way it looks now, the mailorder/distribution will go on: I just won’t let it grow over my head and I’m getting some help of friends already. So if anyone is interested in zines and political literature, don’t hesitate to get in touch. If you put together an interesting zine that you wanna see distributed, drop me a line. I want to take the opportunity to show gratitude for the long-lasting support I got from various MRR-people – especially Matt Average! Thanx. A big FUCK OFF to all the parasites in the HC/punk-scene!

If anyone wants to discuss any of the above, please write.

Brob interviewed in Toinen Vaihtoehto #74

February 21, 2016 at 7:08 pm | Posted in Interviews | Leave a comment
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Interview by Petteri ‘Peku’ Mikkilä (from Tampere, Finland) in 1995

(translation below)

Brob Tilt (Toinen Vaihtoehto #74) aBrob Tilt (Toinen Vaihtoehto #74) bBrob Tilt (Toinen Vaihtoehto #74) cBrob Tilt (Toinen Vaihtoehto #74) d

You have quite radical opinions of bands like ‘Chumbawamba’, ‘E.N.T.’, ‘Fugazi’ or ‘NoMeansNo’. These bands are widely appreciated in our scene so could you explain to people in Finland’s HC-scene what’s wrong with those bands? Should we support all bands that ‘market’ themselves as DIY-supporters, when at least a certain percentage of them are potential sell-outs/opportunists when they get a chance to make money and fame? After all, is it possible to recognize such bands (like what happened with you and ‘Napalm Death’…)? What do you think of labels that distribute Epitaph-stuff?

Well, that’s a whole bunch of questions. Some of them you’re anwsering already by yourself, more or less but I try to explain shortly my views on all this… It all boils down to what the basic ideology of HC/punk is (or should be). I see it as a youth-subculture that is trying to offer an alternative to the capitalist music-industry. The latter is brainwashing young people into adopting and accepting a lifestyle of ‘consume and shut up’; favouring only the powers-that-be, oppressing a vast majority of the world’s inhabitants and destroying our environment. Organising a subculture, using music as one of the most powerful tools to communicate a subversive (to the mainstream) ideology implies the denial of the music-business’ ways of working: no major labels, no commercial distributions or (chain-)stores, no commercial/mainstream clubs, no use of mainstream media-channels, no agencies, etc. In short: D.I.Y. and I mean that in the strictest sence. Any compromise to this endangers the sincerity and revolutionary spirit of this movement. Anyone who tries to make a living of HC/punk will at some point compromise this true ideology. The history of HC/punk has proven this all too many times. How many haven’t grown into accepting the industry’s ways and sold out?… The examples are numerous (I’m sure everyone can think of his/her own examples).

For the 4 examples you mentioned, I think anyone reading this will be able to figure out why I don’t consider them belonging to our scene or fighting to reach our goals. Chumbafuckthat is playing big commercial clubs through money-grabbing agencies; any eventual message is watered down and/or stripped from it’s truely revolutionary edge by the bussiness’ gardian-angels. Music has become the only thing that counts and to me their socalled message doesn’t reach anyone in the clubs they play. The same thing goes for ‘E.N.T.’ who obviously became a farce. ‘NoMeansNo’s agency (the dutch Konkurrent) dictates them which clubs to play (the ones where they can make most money, obviously outside the HC/punk-scene) and ‘Fugazi’, while pretending back home they play independent shows for a $5 enterance, actually play big mainstream-clubs for at least $10… They refused to play the Vort’n Vis, making up all kinds of silly excuses… These bands are totally alienated from the true, underground HC/punk-scene. It’s my honest opinion that there’s a few basic rules (I know, this doesn’t sound very anarchistic…) that shouldn’t be fooled around with. Everyone who does (bands/labels/distro’s/promoters/editors/…) should be denounced as ego-tripping, hypocritical bastards. The sell-outs are more rapidly accepted as such; at least to a larger extent than the opportunists: those who speak out loud how D.I.Y. they are, how truely HC they are but are in fact raping it’s very ideology. It’s not always easy to recognize them as such but therefore it’s important to get to know someone very well before working with them. Writing letters, asking people’s opinions and confronting them with you own, visiting persons, etc. will tell you how someone really is. doing so, hypocrits will be revealed as such. Yes, I agreed on ‘Napalm Death’ coming with ‘Ripcord’ on their first European tour in 86 without knowing them. ‘Ripcord’ were the best lads I could imagine – I really wanted to do a ‘euro-tour’ for them, whereas I soon discovered what assholes some of the ‘N.D.’ guys were. I told everyone what my opinions about them were so they thought they’ld give me the ultimate proof by beating me up… It wasn’t the last time I got threatened… Maybe I can expect something from Brett Epitaph or Bruno (Genet/Good Riddance) ‘s ‘death-squad’ aswell; but how can someone seriously believe that they’re D.I.Y. and independent when they’re distributed through Sony or sell major label shit respectively???

Your zine Tilt! has got a lot of pages; wouldn’t it be easier to put out thinner zines more often than to do almost a book once in a couple of years? Why did you choose it to be this way? HasTilt! always been so thick?

I started to do my fanzine Tilt! in 84, at first to inform people in our local scene about what was happening outside our region (the first 2 issues were in Dutch) but soon enough I wanted to tell them about the whole Belgian scene and communicate with HCpunx worldwide (so I started to write in english). The first 2-3 issues were about 40 pages because I was able to put it out regularly enough. In a later stage Tilt! grew bigger and bigger (first around 60, later about 80 pages) because I was involved in so many activities (gigs, tours, distribution) that I wasn’t able to work on it all the time. If I would have all my time to myself, I could put it out more regularly which – I agree – would make things more effective and Tilt! more actual. I did not choose it to be this way. I need a normal job to survive (I can’t get any unemployment-benefits) and to pay the fines I got imposed on me (juridical problems). This job allows me also to ‘invest’ some money into something I really believe in: the D.I.Y. HC/punk-scene. However I will always be in need of time; I have so much ideas, so much things to talk about, I’ld need 7 lives…

Could you tell Finnish people something about the Vort’n Vis? If someone from Suomi-Finland comes over there to see some gig, can this visitor sleep and eat there, for example?

I’m one of the volunteers of the Vort’n Vis. The Vort’n Vis (which means ‘rotten fish’ – the pub is located where once used to be a fish-market) is the name of the pub and location of our autonomous centre (the only one in Belgium) in Ieper, a small town in the northwest of Belgium, near the French border. The legal structure is a non-profit association which has to have a ‘president, secretary and treasure-keeper’ (of course that’s only on paper, to blind the authorities). We ‘elect’ those but there’s no real hierarchy (allthough some people are manipulating things to install one), things are decided in a democratic way at ‘meetings’. It started as an alternative hangout for local people who don’t feel attracted to mainstream pubs and clubs but because of the HC/punk gigs we regularly organise it became the main centre for HC/punk in Belgium The pub can hold up to 200 people and there’s a hall at the back that can hold 800 (maybe 1000?; we only use this in summer for big festivals). People from all over Belgium and even France (Lille, a big town, is only 25km away), Germany, the UK and practically the rest of Europe, sometimes even the States and Canada, come to the gigs. Since people often try to get home by public transport, we usually start quite early (6 p.m. saturdays/4 p.m. sundays) but people can spend the night if they want to; so can bands that are touring. We also have a small kitchen where we cook vegan meals. Bands are payed a share of what comes in at the door (the entrance is usually about $9 ($7 if you’re a member) for 4or 5 bands. The bar pays our rent (it’s not a squat), which is quite high because the V.V. is in the centre of town. The owner doesn’t take care of the building either. Therefor we’re always in need of money. Because of that we can’t always do what we plan. We’ld like to set up an info-shop and organise more non-musical activities (debates, exhibitions, political activity, regular vegan cafe,…) but this goes slow. There’s a lot of work to be done to improve the building. We also sell membership-cards (200 BeF [5 Euro]) which gives you a reduction at gigs and 3-4 times/year you get a copy of our V.V.-‘zine Fifi (in which I also contribute). If you’re into supporting us write to me or to the V.V. directly (P.O.Box 42/8900 Ieper/Belgium). Like I said there’s a (varying) group of people helping out (some more regularly than others) with shitwork, accountancy, administrative paperwork, cooking, cleaning, booking gigs, etc. There’s also some rehearsal-spaces where local bands (‘Blindfold’ e.g.) practice. It’s one of the best spots for HC/punk-gigs and autonomous activity in Belgium but of course there’s always room for improvement. I’m very critical and demanding about the whole V.V. set-up because I believe in it’s potential: if some people acted more responsible, we could achieve so much more. Some are also only doing things to get better of themselves and to promote their own ego’s. I’ld also like to see more non-music activity, a different way of doing gigs (music is important but so is politics and communication) sometimes, better financial handling, more motivation of locals (half of the volunteers are non-locals, myself e.g. (I live 90km away), etc. We also have to be aware of the potential danger of ego-tripping and try to avoid too much hierarchical structuring… Still, having said all this, the Vort’n Vis almost became my second home… I hope it stays that way: lately lots of people are getting burnt out and there’s a lot of hassle from the community and police. The winter of 95 promises to be crucial…

Finnish people, just like anybody from any nationality, can sleep at the Vort’n Vis but they have to bring their own sleeping-bags of course. There’s no problem whatsoever to spend the night after a gig or during one of our festivals, as long as you behave in a responsible way and respect the other guests. If you’re in a band you sleep on a seperate floor where we provide matrasses. Bands also get free drinks (not un-limited!) and free vegan food. Guests have to bring their own food (sometimes we sell some when there’s plenty being made) and if they ask politely, they may even use our kitchen. If you’re financially limited, you can always give us a hand in exchange for free entrance or free food. Talk to us!

You have a quite large amount of books and literature for sale; do you read all of them? Any recommendations? What’s AK Press?

No, I haven’t read all of the books on my list (yet). Some I read from beginning to end, others I’ve just read chapters or parts of and others I’ve just glanced through. I also don’t agree a 100% with everything in them. Concerning political literature; I try to look at things from different perspectives: anarchist, communist, socialist, anarcho-communist, syndicalist, etc. I don’t corner myself politically; I mean my political beliefs are a mixture of elements of all of these. I suppose I don’t have to tell that I don’t want any fascist, racist, sexist, homophobic ideas being spread. I also don’t have room and patience for religious crap. Concerning fanzines; the criteria are the same, only I’m quite critical when it comes down to taking a radical stance in favour of D.I.Y. and against any business- and major label-crap. I have (had) some art-stuff (drawings, poetry, pictures) and cartoons but these are rather limited. I stil; sell some vinyl aswell but I’m very choosy about this… I can recommend everything, otherwise I wouldn’t distribute it. If you want a list and/or any information, just drop me a line and I’ll try to help…

I take stuff on consignement (sale or return) and sell at gigs and through mailorder. I get vinyl from the bands directly or·from small labels. The fanzines I get directly from the editors (I’m always asking people to present me their material) or through a fanzine-wholesale a friend of mine does. The books, for the largest part, come from Active Distribution (run by my mate Jon Elliott) in London. He gets them from small, independent publishing-companies like Attack International, Elephant Editions, Freedom Press, Phoenix Press, Rebel Press and AK Press. You’ll understand that most of the things I sell are in English (as I aim for an international public), some of the fanzines are in French and some in Dutch (our country’s 2 languages). At the moment (autumn 95), I’m establishing more contacts with publishers and distributions who carry political literature in Dutch because younger people here don’t always master a foreign language yet.

AK (Ann Kanaan) Press is a small publishing company and distribution (mainly books but also some fanzines, T-shirts, tapes, badges,…) set up by my friend (and ex-‘Political Asylum’ vocalist) Ramsey Kanaan. It all started some years ago in his flat in Edinburgh but soon AK Press became a ‘co-operative ltd’ and has now ‘offices’ in Edinburgh, London and San Francisco.

I’m sure that you have been to many countries. Is there any country where the scene has felt like the best in the world? Do you think that you could come to Finland some day? Do you think that Suomi is an interesting country? Can you tango?

Ha! … Well, I’ve travelled a bit in the past yes; visiting friends and correspondents or touring with bands. The last few years I haven’t been able to because of financial problems. Luckily there’s always people from almost everywhere visiting me from time to time. I’ve very much enjoyed my stay in San Francisco in 1989; loads of people in bands there of course, the MRR-house, several gigs almost every night,… I also liked the warm-hearted atmosphere in Edinburgh during the summer of 91 and have good memories about a little tour of Denmark in 87, I think it was… But short stays (even if a few weeks) can never give you a full understanding of a scene. You need to be there a lot longer and see/meet everyone in everyday-life… At the end of the 80s, my friend at that time – the german tourpromotor and ‘Double A Records’-man Rainer Mettner, who’s travelled a lot more than I did – told me that the best ever scene (for him, at that time) was the one in the Blitz in Oslo, Norway…

I very much liked the scenery and the people in Denmark when I was there; and I’ve always felt attracted to Scandinavian countries. I’ve planned a visit to Norway before but never made it up there ‘cause I got fired and lacked the money. Suomi is also part of Scandinavia so I’ld like to visit it too someday. The scene in Finland is for most people over here synonym to crust-punk or ‘Discharge’-clones but I know there’s other bands too. I’ve always been a teeny-weeny bit more favourite to melodic (but energetic) stuff like ‘Turun Tauti’ and ‘Juggling Juggulars’ (both bands that I invited over here). What puts me of, is the amount of alcohol that some Fins can swallow and their behaviour afterwards. I once spent a weekend with some of the ‘Selfish’- and ‘Uutuus’-dudes during a festival here in town and it seemed like they wanted to absorb as much alcohol as possible as if they would never get the opportunity anymore…

I recently tried to tango with a drunk French punk during an ‘Unhinged’-gig and nearly busted my head…

Could you imagine yourself playing in some band again? Do you still have the equipment and skills?

Sure, I can imagine myself in a band again… Allright, it’s been since 88 since I played in a band (I played guitar in ‘Repulsives’ – an immensely (hm,hm) popular band in Belgium between 84 and 87 – and later in ‘Yuppies Death’ with an intermezzo on bass in the second line-up of ‘Repulsives’) but I still play every day. I’ve got both a guitar- and a bass-amp in my small flat and frequently plug in my guitars to release my anger and frustration (to the dispair of some of my neighbours). I’ve never been a guitar-wizzard but I do know how to put a song together… Some people think that because I’m a bit older I can’t play that fast anymore but I think I still could amaze them. There’s regularly talk of starting a band again but until now it’s not happening yet (due to a lack of time, a lack of rehearsal-space and/or personal differences)…

What’s your favourite vegetarian food, recipe (I do the ‘Eat Wheat Not Meat’ section with recipes in Toinen Vaihtoehto, you see…)?

I’m not a very good cook, actually I hate cooking but I do love to eat. I try to get invited or go out eating in one of Gent’s many veg(atari)an restaurants. There’s a real good healthfood-store closeby and a friend of mine owns one in another town so I don’t have trouble getting what I need. I can’t give you any recipes; the times I do prepare a real meal are very sparse. Some friends are really good cooks so if you want some foreign recipes, I can get you in touch. There’s also several booklets with recipes been published in the international HC-scene (check e.g. Soy Not Oi or the different issues of Bark And Grass). My favourite food definitely would be desserts: cakes and things like that. Yummie! My zine-queen Vique Simba is a master in vegan cake-cuisine, I’m told. Get her to bring me one next time; I’m too shy to ask…

Any message for Finnish people?

I would like to encourage everyone in your country (just like I’m doing with people over here and elsewhere) to (re-)evaluate their involvement in the HC/punk-scene, to consider what the ideology behind all this is and then to adjust their attitudes and behaviour. I hope this leads to a decrease of their tolerance (for some even acceptance) towards the increasing commercialisation and marketing in this scene. If they don’t agree they could start discussing what I said above (amongst each other or with me) and if they do: go out and spread the message, try to convince others. We all have a responsibility!

Brob interviewed in Sorte Rose #9

July 29, 2015 at 1:30 pm | Posted in Interviews | Leave a comment
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Interview by Jakob Nielsen (from Alborg, Denmark) in 1988

Brob (Sorte Rose 9) aBrob (Sorte Rose 9) b

Brob interviewed in Fear #1

July 4, 2015 at 7:23 am | Posted in Interviews | Leave a comment
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Interview conducted by Eddy Moerenhout (from Tildonk, Belgium) in 1989

Fear 1Fear 2Fear 3 (-)Fear 4Fear 5

Holefiller (band-presentation Tilt! #9)

October 8, 2014 at 2:23 pm | Posted in Tilt! # 9 | Leave a comment
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Band-presentation by ‘Holefiller’ * 1997

(from Gent — David (drums), Karel (bass), Leffe (guitar) / + Billy (electronics) = Hellfiller


Katastrophobia (band-presentation Tilt! #9)

September 9, 2014 at 1:50 pm | Posted in Tilt! # 9 | Leave a comment
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Band-presentation by ‘Katastrophobia’ * 1997


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