The Damned (Zip Vinyls #4)

I got some bits of issues 1-4 (from Dirk Michiels Punk Etc) of what was probably the first punk zine in Belgium. Bobel Simplex editor Stéphane Maes (who also donated #3-5) informed me Zip Vinyls was done by P. Sarfatee (Patrick Sarfati), ‘Krom’ Patrick Van Crombrugge (pseudonym ‘Morny Grave’?) & ‘Klaus Milian’ Etienne Verwilghen [later Romantik recs]), in 1977. The www mentions the zine (from Brussels) was written by Mark Loge and P. Sarfatee, both “based in London” (?)…

The five pages of #1 (Feb ’77) reviews the ‘Ramones’ Leave Home album and more vinyl, gives info on Joe Strummer, reports on live shows (e.g. ‘Chainsaw‘). #2 (Mar ’77) features ‘The Adverts’, ‘Iggy Pop’ & ‘Eater’; there’s reports on a couple of London punk shows and vinyl-reviews. #3 (Apr ’77) has a cover that exemplifies the editor’s love for ‘The Clash’; there’s bits of an interview with Klaus & Jerry of ‘X-Pulsion’ (or does that come from another zine?) and a feature on ‘The Jam’. #4 (May ’77) contains a talk with ‘Brian James’ and ‘Dave Vanian’ (‘The Damned’), lots of reviews and an item about ‘The Saints’ vs ‘ Eddie & The Hot Rods’. #5 (Aug ’77) was finished with P. Sarfatee and starts of with a column on “the new era” of punk (demise of the ‘Sex Pistols’). There’s also an interview with ‘Television’ and a lengthy piece on ‘Yank versus Brit’ punk.

Brob

I’ve been living near Beer-Sheva in Israel since 20 years…

The editors…? ‘Morny Grave’ was a very active writer and lover of London gigs (mid-1976), he lived in Schaarbeek (avenue du Diamant) with Nénène. I haven’t seen him in years. Mark Loge is a radiologist (no joke!) nowadays.

You can see Patrick Van Crombrugghe a.k.a. Morny Grave, among others, in a video presenting a very interesting documentary [Gisteren Zullen We De Pogo Dansen; 1978] in Klaus Milian’s recordshop on Rue Van Artevelde in Brussels, where there was a 4-metre high poster of Johnny Rotten…

When Californians started to produce, let’s say, nervous music, I wondered how a bunch of tanned people could have committed this kind of reaction in 1977. After the first album by ‘The Clash’ (and other bands from that time), I mainly listened to reggae (which I still do today), not electronic music [like many Brussels ex-punks] or hardcore punk!

Mick Jones, guitarist of ‘The Clash’ most certainly has a copy of the fanzine (as wel as many others). It’s probably in Mick Jones’ Rock ‘n’ Roll Public Library…

Patrick Sarfati

‘Brian James’ and ‘Dave Vanian’ of ‘The Damned’ were interviewed in London…

[Translation below]

Brian ‘James’ [Brian Robertson; guitar] and Dave ‘Vanian’ [David Lett; vocals] wellcomed us in their room, ready for an interview. ‘Rat Scabies’ [Chris(topher) Millar; drums] isn’t there (We’ll see him later.); ‘Captain Sensible’ [Ray(mond) Burns; bass] still has to return from Amsterdam with the equipment. Dave is all in black, as usual, very calm, almost arrogant. Brian is the one who will answer our questions most often, ‘Vanian’ approving what he says. By the way, rather than a real interview it’ll be a discussion, We find the questions to be the usual ones, too trivial, Everybody knows the facts and gestures of ‘The Damned’, their debut…

How was the Anarchy In The UK Tour for you guys?

Brian: Very bad and very short. You know, Malcolm McLaren (‘Sex Pistols’ manager) is a jerk. Initialy this tour included the ‘Pistols’ and the ‘Ramones’. Malcolm asked us to participate too and we accepted. (Subsequently, ‘The Heartbreakers’ and ‘The Clash’ were also scheduled.) Then, before the first tour-date, there was this TV-show with Bill Grundy – You know about that? – so, after that scandal, the ‘Pistols’ made it to the frontapges of every newspaper, a lot of publicity… And then McLaren didn’t need us anymore and kicked us out. We played with them just one time. The tour didn’t last very long anyway. The ‘Pistols’ are great you know, but their manager is a real jerk. I believe that al London managers are more or less jerks, too much business. They don’t like other bands than their own, while us musicians, we do like other bands. Look at Paris: we played with ‘The Clash’, in a small club, late at night; it was good.

What d’you think of U.S. bands now that you just completed a tour there?

Brian: The scene in the States is very different than in the U.K., it’s much more underground. Talking about ‘Blondie’: I find Deborah [Debbie Harry] very good but the band is not up to it. As for ‘Television’: on stage they’re boring, yet I love the LP. They played Satisfaction [‘Rolling Stones’ song] and Bob Dylan stuff; horrible! The ‘Dead Boys’ are nice though. Big fun, they’re are already more like English bands. As a matter of fact, the reactions of the audience there, as in France, have been very good. In Paradiso (Amsterdam) aswell; although it was full of hippies. You know, in England we encountered a lot of violence at our concerts, especially in universities. We got glasses, beercrates etc. thrown at us… Especially in the beginning, it was terrible; we don’t like that.

How do you think new-wave will develop?

Brian: Towards more fun, I believe. We are a fun band you know. We don’t care about politics. Other bands do what they want, like ‘The Clash’ who try to change the world by being political. We just want to make music. The new-wave of ‘77 is a little like the mid-sixties, when ‘The [Rolling] Stones’ wanted to change the music.

You are the new ‘Stones’?

Brian: We are ‘The Damned’.

What d’you think of ‘The Stones’, ‘The Kinks’?

Brian: They don’t do anything nowadays, they’re relying on their reputation. I love the early ‘Kinks’.

How’s the atmosphere at Stiff [record-label]?

Brian: Siff Records is a small company, there’s a lot of work. It’s also very different than E.M.I. or any other major label. We do what we want, the people in charge too. If you want to go for a drink, you go. It’s very nice…

Your projects?

Brian: A single soon: Stretcher Case Baby, which we’ll play tonight; and on the B-side: Picking Spot. And within two months an LP.

After this interview, ‘Rat Scabies’ and ‘Captain Sensible’ joined us. They threw themselves on the copies of our zine we’d brought – an example of their flair.

(Below: ‘Billy Idol’ as seen by ‘Captain Sensible’.) We kept talking and ‘Rat Scabies’ came back to review some singles for us.

The ‘Sex Pistol’s God Save The Queen (Virgin?): it’s the first time I hear it. I like the ‘Pistols’; it’s a good single.

The Ewings (Genöcide #4)

Bert Gysemans from Booischot (near Heist-op-den-Berg, in the Antwerp province) did this fanzine. The biggest part of the content were interviews and reviews.

I got #2, 4 & 5 in my collection. #2 (with Riccardo Gomez as co-editor) featured ‘No Numbers’, ‘Negazione’, ‘Heibel’, ‘Taartje Aardbei’, ‘Hate Crew’ & ‘Ear Damage’. #4 was with ‘Cryptic Slaughter’, ‘Indirekt’, ‘The Ewings’, ‘Kina’, ‘Upset Noise’, ‘Attitude’, ‘Ceresit’, ‘High Circle’, etc. #5: ‘Desecration’, ‘Scoundrels’, ‘Fire Party’, ‘Disgorge’, ‘Ripcord’, ‘Atrox’, ‘Bad Influence’, ‘Cry Of Terror’, ‘Destitution’, ‘President Fetch’, ‘Mind Exit’, ‘Satanic Malfunctions’, and more.

In ’89 Bert did another zine entitled Het Goed Leven Fanzine!? (“the good life fanzine”): #1 was a split with Funfirm #2 (done by Tom van den Bruel)…

The HardCore band ‘The Ewings’ originated from the Kempten area (south of Germany, near the Swiss/Austrian border) but moved to Berlin. I met them in the summer of 1988 (when touring with ‘Hate Crew’ in Germany) and invited them for a show later that year (88-12-18); they split up shortly after. In the band: Carlo Kallen (drums), ‘Ant’ Lager (bass), Walt(er) Molt (guitar; originally bass, replacing Klaus Recher) and ‘Role Rotze’ Roland Wagner (vocals).

 

Deadly Serious (Doodt Illegaal #6)

Diego Rooman (from Temse) edited this zine. There were 7 issues in a period of about 2 years. There was also a band with that name but they had little or nothing to do with the zine…

I found these in my collection:

#4 (’87) contains a column on democracy by Thomas ‘Kikkerspuug’, a lengthy interview with ‘Lärm’,  info on civil service in Belgium, a report on anti-military action against a Belgian US Army base, a talk with ‘Heibel’s guitarist Steven and more.

#5 (’87) includes talks with ‘Disorder’, ‘Youth Crew’ (Belgian sXe) & ‘Bambix’; opinions/info (elections, the 4th world movement, human rights, abuse in psychiatry).

#6 (’88) has interviews with ‘Hate Crew’, ‘Carcass’, ‘Deadly Serious’ (Belgian rap), ‘Instigators’, ‘Mind Exit’ (Bel), ‘No Fraud’ & Het Roze Geweertje (“the little pink gun”, an action-group for gay rights); there’s mail-art info, a piece entitled Graffiti Is No Crime, etc. etc.

#7 (July ’88) was a ‘fat fucker’ because it had the Gotcha Graffiti Zine as attachment. Besides that Diego wrote a column entitled Ik Pik Het Niet Langer (“I won’t take it anymore”; about societal norms), had a brief chat with the Japanese ‘Sic’;  there was a self-interview of mail-art networker Ruggero Maggi, an article on the extreme right & fascism, a report on the Belgian zinester-gathering, an interview with ‘Scraps’, a letter-section, an article on genetic manipulation, zine-reviews and more. In the editorial Diego announced the next one was gonna be a collaboration with Snotjoenk. (That was the work of ‘Bolle Gijs’ from Muizen.)

Johan ‘Snotgurk’ borrowed me that split-issue… It was filled with articles/opnions on local/national/international politics (e.g. indigenous resistance in Brazil, strip-searching, voting for guest-labourers; the threat of male power), poetry, letters & some reviews (e.g. a book on Marinus van der Lubbe) and loads more. There’s also an interview with the Dutch ‘Lego 5’.

Brob

I just remember the feeling and the pleasure of doing zines, the communication, etc. The first issue was by Geert ‘Macho’ [De Decker] (Someone who was not actively involved in the punkscene; he thought it was all too macho.), after that I took it over. Geert continued with mail-art and another friend was passionate about grafftti. I was mainly interested in the resistance-culture of anarchist punk. Later (in the squat-movement) I did (in collaboration with a few other people) a couple of other zines, a poetry-collection and De Gelukkige Werkloze [“the happy unemployed”] that was eagerly sold at dole-offices!

“How do I look back at doing a zine?” I was driven by idealism, the passion and quest for a self-determined life; there was the non-conformism of late 80s/early 90s. Now, 30+ years later there’s the same struggle/passion for ‘non-compliance’ to the imposed standards/narrative; but with more life-experience and deepening…

Diego

The music ‘Deadly Serious’ produced was dubbed ‘rapcore’. ‘D.S.’ was a funny hiphop/punk/rap-core project (“the local ‘Beastie Boys’…”). The gang (from Helchteren) was: ‘Veld’ Edwin Vande Velde a.k.a. ‘The Big Blaster’ (drums; later a drum-computer TR505), ‘Swat’ Steven Schepers a.k.a. The Mighty PhD (vocals/guitar) & Mark Thijs (bass). Also ‘Swat’s girlfriend (Vicky Hoogmartens) got involved briefly at a certain timepoint. They appeared on a bunch of compilation-tapes and released a demo entitled Music For Half Assed People in 1989.

[Translation below]

ABOUT 2 YEARS AGO A BELGIAN BAND, THAT WANTED TO EXPRESS ITSELF WITH RAPCORE, AROSE. HERE’S A VERY NICE INTERVIEW WHERE SWAT (THE ONLY REMAINING MEMBER FROM THE EARLY DAYS) INTERVIEWS HIMSELF IN A PLEASANT WAY; SWAT IS ALSO THE CREATOR OF ZELFKRANT ZINE! THANK YOU VERY MUCH! THE NAME ‘DEADLY SERIOUS’ COMES FROM AN ANTI-CRUISEMISSILE POSTER WITH A SMILING REAGAN AND UNDERNEATH IT SAYS: IT’S DEADLY SERIOUS MR REAGAN.

DIEGO ASKED ME, ‘SWAT’, A.K.A. MC SWAH TEE, TO SEND SOME INFORMATION TO PUT IN DOODT ILLEGAAL. TO KEEP IT A LITTLE MORE READABLE, I USED THE FORMAT OF A DIALOGUE FORM. A SELF-INTERVIEW AS IT WAS. BUT I’M GRADUALLY BECOMING A SPECIALIST IN THAT ANYWAY, SO…

IT’S OF COURSE EASY TO INTERVIEW ONESELF, BECAUSE YOU CAN ALWAYS AVOID VICIOUS QUESTIONS AND YOU NEVER HAVE TO ANSWER THINGS YOU DON’T LIKE…

Right! Hopefully fanzine-writers will also start to see that and they will come up with some interviews…otherwise I will keep being be obliged to take care of my own advertising, hahaha.

BUT THIS TIME YOU WILL HAVE TO WATCH YOUR STEP BECAUSE YOU WON’T BE ABLE TO TAKE IT EASY!

Must, have to; “That’s a word I don’t know!” my mom always says.

AH, YOUR MOTHER IS ANARCHIST TOO!?

Oh yeah, I mean, no. One would to go on believing that, but I think she’s yet a typical result of the brainwashed generation from just after the war. A time where the dictatorship of catholicism reigned and where the word anarchism was only known by 10% of the population. She’s rather a darn good woman, let there be no doubt about that, with the typical gullibility and wisdom of the dear housewife. No, not anarchist, all in all!

BUT YOU ARE?!

Yeah, you can safely put it that way. Well, I know a lot of people laugh at that. They either think it’s just another label or they don’t understand it at all!

THAT YOU’RE ANARCHIST? OR ABOUT ANARCHISM ITSELF?

Both! I don’t care much about the later. More about the first. You often hear that you’re “dangerous” or “unrealistic” or even “unwise”! That’s why it would be better if people would seriously inform themselves about what anarchism is and especially what it’s nót. Because prejudices are of no use to anyone!

SO YOU’RE OPEN ABOUT BEING ANARCHIST, BECAUSE OTHERWISE YOU WOULDN’T GET THOSE PREJUDICES?

Indeed. Although honesty compels me to say that I’m not doing that everywhere.

LIKE WHERE?

Well, I’m a qualified teacher; you can imagine that I don’t drop in everywhere with the fact that I’m anarchist, or feel that way anyway. You know how conservative most schools still are. Although people always seem to quickly understand what I think about it in general. People often inform you quickly that “it could be a while before a place becomes vacant again”, etc.

AND HOW DO YOU ACT TOWARDS THE CHILDREN IN YOUR CLASSROOM?

That isn’t always easy to fill in according to the principles of anarchism. Children are ‘educated’ from kindergarten on to be sweet, well-behaved and who have to listen carefully to the teacher in the classroom, because otherwise they deserve (?) punishment. So we’ll also be standing in front of those children and in fact they expect a similar attitude from the teacher. Not consciously, of course, but in practice there can hardly be full participation, because some children can no longer do without a ‘leading’ hand! Not because that would be their specific character, but simply because they’re molded that way. But I try to be as little pushy and authoritarian as possible, and sometimes that works, sometimes it fails. But that’s life, so…

AND HOW DO YOU ACTUALLY STAND IN LIFE. I MEAN: WHAT ARE YOUR IDEALS? WHAT DOES ANARCHISM MEAN TO YOU?

An uncle of mine once asked me: “How do you know what anarchy is? Have you ever read Bakunin or Godwin or something?”. I said no and that I didn’t intend to either. He laughed. According to him, that was not possible. He also has rightwing ideas (liberal) but every person with rightist ideas is looking for leaders, for people who, so to speak, know it all so well. My thinking – also according to my uncle – is on the far left. Probably, but I’m not looking for a leader or anything. ‘The Apostles’ once said that nicely in a song of theirs (Hello, Black Flag): “You say you got no leaders but you’re all true believers / Your head is locked away in a prison from yesterday / Your life is clearly defined, your attitudes have been outlined / You believe what you have read, written by heroes long since dead. Godwin and his mates are dead / Who cares what Bakunin said?!”. I can’t be any more clear. For me, anarchism can be summarized like this: “Trying to be the best possible, for everything and everyone, and to be able to expect the same from others.”.

ON TO SOMETHING ELSE THEN: RAP IS SUPPOSED TO BE TENDENTIOUS AND TOTALLY COMMERCIAL.

Aaaaarrrrrggggghhhhh!!!

YOU WERE SAYING?

That might be true in many cases but it also goes for hardcore and punkrock. ‘Crass’ was also commercial, because they sold a lot of records and so they were commercial. ‘Suicidal Tendencies’ also sold a lot of records before their Virgin period and so they were also commercial then. However, the big difference between said bands is their attitude and how they got to these sales-results. I think the same goes for rap/hip-hop. You have bands that sell well or bad, you have un- and credible people. Oh well, this is actually too stupid to talk about.

AND WHEN VIRGIN OFFERED YOU A CONTRACT TOMORROW, THEN WHAT?

Everyone has their price. Myself too, I have no illusions about that. But there’s a…’But’… I’m working on turning ‘D.S.’ into a not-for-profit organisation. Or rather: I’m setting up a not-for-profit organisation where ‘D.S.’ may function as a moneylender. The intention will be to raise money for various charities, especially regarding animal-liberation and everything related to it. That way (hopefully)  I won’t not be hassled about taxes and such, and I can also remain credible to myself. If it ever happened that ‘D.S.’ would be so profitable that I could live on it – which I actually dream of – then I could work as an employee of the not-for-profit organisation!

SO YOU STAND FIRMLY BEHIND ANIMAL PROTECTION?!

I once said: “People have rights ánd obligations. Animals only have rights. Mankind will therefore remain beastly until it will fulfill its duties towards the animals.”, or something like that. I’m bad with quotes, even my own, but I still stand by that!

AS A VEGETARIAN?

Yes, because consistency is necessary and often far from desired, even with so-called animal-protectors. In my opinion, as an animal-lover you’re a vegetarian and if not you’re a hypocrite! Someone once told me he loved animals. I said: “Ah, you’re a vegetarian?!”. He said no and that he just loved animals. I said: “But if you were really hungry, you’ld eat your dog, wouldn’t you?”. He was shocked. “These are the cows and other animals that are killed in slaughterhouses every day.”, I said. He took off and mumbled something about that it wasn’t the same. I shouted that in China and in the Philippines, dogs were a delicacy. He shrugged but never said another word about his so-called love of animals in my presence. That proves that many more people actually have remorse about slaughtering animals for human consumption, but they are either too lazy or too afraid to become vegetarians. ‘Eating meat is normal, being a vegetarian is abnormal!’ And you know the people…

I HAVE THE IMPRESSION THAT AT THE END OF THIS CONVERSATION, THERE MUST BE SOME THINGS YOU’LD RATHER NOT BE WILLING TO ANSWER.

That’s true. There are at least 10 more things that you could ask and that might make me blush. It’s up to the media to try and reveal these; so I’m not gonna do that!

SO FANZINES: JUST WRITE!?

True and veritable!

YOU REMAIN A CHAMPION IN PROMOTING YOURSELF.

(blushing) Uh, do you think???…

Big Banana Products – B.B.P. (Noisy Neighbours #1)

Noisy Neighbours #1 was a publication of Subvert Products (Kortrijk). It was a donation of editor Nico/Nick Decock (‘Vergaene Glorie’, ‘XXX’). After that there were 2 issues of Subvert.

The 20 pages contain short flashes (feminism, ‘Moral Demolition’, B.B.P., ‘Snix’), opinions (punk, the military), articles (nuclear power) and other info (reviews, scenereport from Italy)…

As an example here’s the bit about Big Banana Products; a tape-label started by ‘Gogs’ Stephen Parsons (R.I.P.) and two friends in 1981; while still at school, aged 14… The name came from vegetarian meetings (called ‘veggings’) they had. (Veggies extended into fruit.) It was a rejection of stylish corporate company-identity.

[Translation below]

Big Banana Products is a tape-label (soon to be a record-label) founded in December 1981 by Mr Gogs at a gig by the ‘Subhumans’. Very soon after that there were three tapes released. Three months after founding the label, the two people who helped Mr Gogs left and the label was at a standstill for quite a while, until Claire and Sam started helping out. Since then everything has become much more professional and by 1986 they want to have sold at least one tape in every country around the world. So far they’ve already sold stuff in Belgium, Germany, France, Italy, the U.S., Canada, Switzerland, Greece, Poland and even a few in the U.S.S.R. Their intention is to really expand the label but they don’t intend to exploit.

The whole idea of the label is to give bands – that don’t get a chance to sign to major labels such as EMI and CRS – the opportunity to make and release a recording. Interested bands can write to the address below with a tape (4 songs) and some information about the band. You will be contacted very rapidly.

Very soon, the tapes will be copied by a special company. Until now, this was done by hand. And if all goes well, we can expect a first record soon.

These tape are currently available:

cat N° 0000.001 – COMPOSED BANANAS – This is a compilation-tape with tracks by ‘Zoundz’, ‘Conflict’, ‘The Snails’, ‘Flowers In The Dustbin’, ‘Omega Tribe’, ‘The Stuff’, ‘The Sinyx’, ‘The Apostles’ and ‘Cold War’. The cassette has a cover with photos and you get a whole bunch of pamphlets and posters from organisations such as C.N.D., B.U.A.V., N.N.M. All this costs £1.50 + an addressed envelope. (C90)

cat N° 0000.002 – 14 MONTHS TO GO – This live-tape was recorded at the Stratton youth-club and features the ‘Subhumans’ and the ‘A-heads’. It costs £1.00 + an addressed envelope. (C90)

cat N° 0000.003 – A-LIVE – This is another live-tape, but this time featuring ‘Crass’ and ‘Poison Girls’. It was recorded in Bristol with ‘Crass’ P.A. and is of very good quality. It’s limited edition of 1.000 copies which are now almost all sold out. You pay £1.50 + addressed envelope.

cat N° 0000.004 – OMEGA TRIBE LIVE is a tape by the band with the same name and contains both live- and studio-tracks. This tape also costs £1.50 and an addressed envelope.

Expected is another tape by ‘The Apostles’ and a flexi by ‘The Snails’.

If you would like to have one of the cassettes or would like to send a tape of your own, please write to:

B.B.P. records & tapes / 90 Grange Drive / Stratton St Margaret / Swindon, Willts, SN3 4LD / U.K.

 

Doodt Illegaal (The Indignant Youth #1)

This zine was done by Bart Van Belle (brother of Wim, who did Non-Conform!). They frequently attended our Smurfpunx concerts. The guys (from Roosdaal, between Aalst and Brussels) were sXe but that’s not really an issue in the zine. My copies seem to have missing but luckily Johan ‘Snotgurk’ borrowed me his…

Bart wrote he did the zine because he wanted to be active in the scene, get to know new people and just had a big interest in zines…

#1 (1988) has interview with ‘Emils’, and Belgian bands ‘Doodt Illegaal’, ‘Creep Insanity’, ‘Rough Justice’ & ‘Belgian Asociality’; there’s also info on the meat-industry, religious sects, rights as a minor, etc. #2 (1989) contains a talk with ‘Vernon Walters’ Hans Engel, with ‘Union Morbide’, ‘Instigators’ and ‘Political Asylum’; there’s info on the Chilean dictatorship, the French action-commitee SOS Racisme, political racism, the League Against Cruel Sports, Greenpeace; letters and more…

Brob

There were only 2 issues… My motivation at the time was to contribute to the ‘scene’ of course. Even though my brother had his own fanzine, I wanted to deal with other topics and give a platform to other bands – the more ’emo-core’ ones, such as ‘Vernon Walters’ (of which I distributed the records for a while), ‘Political Asylum’, etc. I must say it was an exciting period for me, and great fun to put it together and get in contact with bands. I quit around the same time as Non-Conform! because we lost the drive to put in all the effort. We had taken the Straight-Edge path with its typical scene which fanzines were perhaps less a part of, but more the recordlabels and posing (snobbery, in hindsight), etc. – brought to us by ‘Kokie’ (who lived in our area). Besides that we were also completely absorbed in the S.E.-philosophy (together with Guy Simon, Bart & Lieve Van Mulders, and others). We were even planning to get our own S.E.-band together but nothing much has come of it (fortunately maybe 🙂 because none of us could actually play an instrument).

I have to say I never lost the D.I.Y. attitude and “There’s no authority but yourself” way of life – even until now. So the whole Belgian 80-90s HC/punk-scene has had a serious influence on my way of living/thinking and is one of the best periods in my life. I look back at it with great pleasure (nostalgia). I think your initiative is wonderful and offers a nice archive/overview!

Bart Van Belle

‘Doodt Illegaal‘ (“kill illegaly/unlawfuly”; named after Diego Rooman’s zine) was a HC/punk band from the Sint-Niklaas area. The singer was Mick(e)y/Mike Delafontaine, ‘Rik’ Erik De Ryk played guitar, ‘Jackies’ did bass and ‘Pats’ hit the drums.

[Translation below]

For the following interview with ‘Doodt Illegaal’ (from Sint-Niklaas) the questions were answered by Erik!

WHY DID YOU START ‘DOODT ILLEGAL’?

We started to play music and to have some fun actually! Also to get to know a lot of people. I can state here that we want to make people aware but everybody says that already! People have to think autonomously and not just adopt what lyrics tell them anyway. You have to ask yourself if you really agree with the lyrics, even if they come from from ‘punk bands’!

YOU GET A GIG SOMEWHERE IN BELGIUM AND WHEN YOU GET THERE, MOST OF THE AUDIENCE ARE NAZI-SKINS. WHAT DO YOU DO?

First we will check who the organisers are. If they have fascist tendencies or are not anti-fascist, we won’t play. That’s obvious! If the organisers are people of our movement, then they can’t really do much about it! Unless they don’t let them in! I still think we would play and if they’re looking for trouble: beat them up!!!

THE VOEREN ISSUE [area contested between French-speaking Wallony and Dutch-speaking Flanders]: HAPPART [French-speaking politician who wanted to annex Voeren] HAS BEEN AT IT AGAIN. YOUR OPINION ON THIS?

José Happart is just the same as Luc Vermeulen of the W.N.P. [Westland New Post; Belgian extreme-right & pseudomilitary organisation] Both say that Belgium is of no use. Supposedly Belgium is already superseded for 100 years because in the 1930s fascist organisations such as Rex & V.N.V. said exactly the same thing! They call themselves nationalists but that means fighting for a flag, not Wallony or Flanders separately! The government plays along in this hypocritical game easily because then they can hide all kinds of scandals and economic/social problems. If there would be a little good will from both sides, the problem would be solved in 3 days!

TELL US A BIT MORE ABOUT SINT-NIKLAAS.

Sint-Niklaas is the stupidest city I know! There are some nice villages surrounding it. The movement here mainly consists of us, if I may say so! Though there are some people at a free-radio here (Radio Progress; no advertising!!!), who have very good ideas but they don’t all have to be people from the punk-movement, right? (Ed.: Quite right!)

DESCRIBE US THE IDEAL SOCIETY. WOULD THIS SOCIETY CONSIST OF A GOVERNMENT OR WOULD YOU CHOOSE FOR A MORE ANARCHISTIC POLICY?

I partially agree with Bakunin on this. (Anarchist at the time of Marx!) I think the best government is ‘no government’! The ‘state’ should consist of a set of autonomous units. There the people would decide what to do! Nationality should be abolished without question, since it’s the cause of many conflicts! Money should also be abolished and one should start with barter-trade. (Ed.: So, back to the stone-age!!!) If money must exist anyway, I suggest abolishing V.A.T. (That is obvious without a government!) People would respect each other how they are. If I don’t steal something from anyone, I do it because I respect the person and not because it’s forbidden! I also think that people who want to abuse anarchism should be outcasted!!!

YOUR OPINION ON OUR MOVEMENT?

It’s pretty good nowadays but still there are a huge number of ‘stupid’ people, that don’t know what they’re saying or who dress the way they do just because of the music, or to fit in! I find people who try to make money out of our movement soul-destroying!

HC/PUNK IS AGGRESSIVE MUSIC. (ED.: CLEVER REMARK OF US.) SO PEOPLE WHO PLAY THIS KIND OF MUSIC ARE QUITE THRILLED ABOUT CERTAIN THINGS. IS THAT THE SAME WITH YOU GUYS?

The fact that the music is aggressive doesn’t bother me. One should be able to have a good time, I think. (Ed.: I agree, let me get out my English vocabulary; shine, shine!). The fact that people are aggressive is stupid. One ought to listen to other genres of music every now and then, I think; otherwise you become narrow-minded! I don’t know what we should be excited about. What do you actually mean by that? (Ed.: Well, about the abuses in the world, hunger, animal suffering, politics, etc.; get it???)

WHAT DO YOU THINK OF NAIVE SLOGANS, FUCK THIS…FUCK THAT, ETC.?

If you can demolish everything, then you should also be able to put something in its place. I blame a lot of people for that. The ‘Dead Kennedys’ have very good lyrics on this subject; which cannot be said of all US bands! ‘Dead Kennedys’ break something down but immediately put something in its place. I advise everyone to do some reading, as tedious as it may sound. Read up on anarchism, fascism, marxism, etc. Then you will get a clear insight and you can compare, and that’s how you form your opinion; not by just taking something over: because that wone’t last anyway!!!

ISN’T THE POPE PRO-APARTHEID AND IS HIS ‘CONCRETE-KISSING’ NOT JUST A PROPAGANDA-STUNT?

About the Pope: yes! The pope is against apartheid and against oppression (Ed.: He says he is!) but the man is very conservative! Incredible! Propaganda? I don’t know because I don’t feel any better when he kisses the concrete of Zaventem [Brussels national airport]! The pope should rather spend time among young alternatives instead of with those dressed-up frogs! A while ago I saw [reverend] Harrold Morris on TV (on the E.O. [Dutch “evangelic” TV-channel]). I just think this is ridiculous. The man preached the CVP [christian democratic party] -mentality: good boys and girls who study well, find one girl/boy and get married, and live happily ever after! He forbid premarital sex, marijuana and alcohol for youngsters by making cheap comparisons. He had experienced it all himself! He was able manipulate the youth in such a way that they came to congratulate him afterwards, and one boy started crying because he (Harrold Morris) was such a cool person. Hypocrite!!!

IDEALS WITHIN THE BAND? DESCRIBE YOUR MUSIC.

Our ideals, I think that’s already clear. (Ed.: And or read the previous questions!) Our music is a bit more punk than HC. You can still understand the lyrics. Nowadays everyone plays HC with changing rhythms all the time! That’s nice but something quiet every now and then is OK!

ARE YOU ACTIVE OUTSIDE THE BAND?

We try to participate in demonstrations when we can! I’m a bit cautious because I had a bad experience with the cops at the A.F.F. [Anti Fascist Front] -demonstration last year. We also want to support people who are active. ‘Pats’ is working for the moment, so is ‘Jackies’, but he’s starting his civil-service soon! Me and Mickey are still in school.

SOMETHING TO ADD???

Soon there will be a new load of demos so if you want more: write! Stay active! Good luck with your zine, thanks for the interview. Greetings.

‘DOODT ILLEGAAL’

 

The Ex (Omdat Mensen Belachelijk Zijn)

As far as I know the last in the series of zines that Mark W. did. I already informed about his former work. A group of people in Courtrai (French for Kortrijk, only a few km from the border) – ‘Persons Unknown’ (p.o.box 80; responsible editor was “A. Vandekerkhove”, a pseudonym) – were involved with concerts, bands and zine-making… Ludo Halsberghe did Insipid & Bizar Poseur, Nico Decock did Subvert; and Mark W. put out (Message To) Persons Unknown (‘8x), België In Dromenland (“Belgium In Dreamland”; Dec ’83), 19AT4 (Feb ’84), Humdiddledumhoowahaya (Mar ’84). This one here – Omdat Mensen Belachelijk Zijn (“Because People Are Ridiculous” – got out in June ’84.

‘Persons Unknown’ had organised an evening where the Dutch bands ‘The Ex’ and ‘Morzelpronk’ (with Dolf Planteijdt) in the bar/youthcentre Reflex (April 21st ’84). Another one with Belgian bands ‘No Numbers’, ‘Pigs In Blue Glue’ & ‘War Risk 3’ was announced for June 9th. (The latter didn’t make it.) Some items relate to these. There’s also info on zines, a letter about coorporation amongst punx, ‘The Dirty Scums’ write about their experiences organising gigs, brief info-bits on the German bands ‘O.H.L.’, ‘Herbärds’, ‘Mottek’ & ‘Slime’, and the British ‘Conflict’ & ‘Xpozez’; and a lengthier pieces introducing the Roze Actie Front (support/action-group for gays and lesbians) and Amnesty International.

Thanks to Dirk Michiels (Punk Etc) for borrowing his copy.

Here’s the interview with ‘The Ex’. That was at the time their double-LP Blueprints For A Blackout (which I recall purchasing from the band). I think the line-up at the time was Jos Kley a.k.a. GW Sok (vocals), Terrie Hessels (guitar), Sabien Witteman or Kat(herina) Bornefeld (drums),  Bas Masbeck or Luc Klaasen (bass) and Joke Laarman. I guess Cobie Laan was there too.

[Translation below]

Interview with ‘The Ex’ conducted on Saturday, April 21st (1984)

– The first thing I would like to ask, is how it comes that there’s so little information about ‘The Ex’?

* I think it’s because we’re not affiliated with a record-company. These like to send out neat leaflets of course. So we have to do that ourselves. And we’re not going to send out info-sheets telling you how interesting we are.

– Is there anything left of that Wormer [small town north of Amsterdam] scene [punk; late 70s, early 80s] of Oorwormer [compilation released in 1982]? Isn’t that getting a bit exaggerated?

* Yes, there were a lot of bands in Wormer at that time and we thought it would be fun to do an album together. One doesn’t have to go to an expensive record-company to do that. Of course, some bands have broken up now and others have taken their place.

– Did that initiative come from you guys?

* No, at a certain point it grows and you decide to make a record together.

– What strikes me is that in The Netherlands so many bands rehearse in a squat. You don’t have that in Belgium.

* I think that has to do with the legislation. I think The Netherlands is much more flexible in that respect. The police often only come to get to a look. As soon as they see there’s a table and a bed, they just leave. They can’t really do much to you.

– You guys are quite active in terms of squatting. I’m thinking about that company closing [paper-mill Van Gelder Zonen goes bankrupt and is demolished in 1980; squatters occupy the director”s residence ‘Witte Villa’ (“white villa”) – Villa Zuid, which becomes a creative hotbed for punx].

* It was also só obvious how that factory was being fucked up. We just wanted – through that box [Dignity Of Labour (1983); a box of four 7″ singles with somewhat industrial music inspired by the rise and fall of the paper-mill] – to tell the history of that factory a little bit. The company was just getting cash-drained. But we’re not really very active in the squatting movement. There are people who are much more involved. We are more sympathisers.

– What is the function of ‘The Ex’? Is it just good entertainment or is it more?

* I think… We just want to show that if you organise things yourself, it does work.

– In one of your articles, you attack independent labels rather sharply. You also keep changing labels.

* Yes, I just notice that there are a lot of small labels that just want to be a big label. Then they are the boss and tell who can and cannot do recordings.

– Isn’t that where the difference lies between let’s say, the Punk & Disorderly series and the records released by ‘Crass’?

* Crass only lets the bands release one record on their label and for the rest you have to manage for yourself. That’s still OK. I just notice that if you release a record on the ‘Crass’ label, you get a lot more attention than if you release your record on your own. While that Punk & Disorderly series has just become a follow-up series.

– How do you guys actually feel about interviews?

* I think an interview for an independent magazine is OK. Those people are actually doing the same thing as us, only on paper. You might as well start a shop with stuff you’ve made yourself.

And the conversation went on…and on…love-hate relationships, pigs and psycho-neurotic relationships were dragged in like it was nothing. Needless to say, we can’t publish all these revelations. If you want to know more, just write to them: ‘The Ex’ / Galgenstraat 4a / Amsterdam

Incertitude (Snotgurk #2)

Johan Temmerman from Temse (south of Antwerp) did Snotgurk (not to be mistaken as Snotjoenk). He did 2 issues of his zine when he was about 16-17, after having discovered zines (sold by ‘Bad Influence’s singer Herwin De Winter at the Antwerp record-store Brabo) and seeing examples in his neighbourhood such as Bert Gyseman’s Genöcide (to which he contributed) and Diego Rooman’s Doodt Illegaal…

In Bonds Of Friendship 5, Johan had it recorded that his main motivation was “to protest against the stupidities in our world, to get to know other people and because it’s fun of course to make a zine!”.

#1 (1989) features local bands ‘Doodt Illegaal’ (Temse), ‘La Jolie dame’ (Westerlo), ‘Ronald Ruck’ (Hoboken); and ‘N.A.O.P. / ‘Noisy Act Of Protest’ (NL), ‘Risikofaktor’ (Ger), ‘Bambix’ (NL). In #2 (1990) there’s interviews with local band ‘Zero Positives’; plus the Dutch ‘Aphrodite’s Lawyer’, ‘Eitilop Pots’, ‘Total Loss’, ‘Incertitude’ & ‘Crivits’. There’s also a reprint of an article on antisemitism/holocaust, a column on Flemish nationalism, info on the Groninger Rafko (revolutionary anarcho-feminist) collective, poetry and more.

Nowadays Johan is a teacher and he runs a not-for-profit organisation, Ron Jaluai, that makes/organises street-theatre and visual acts.

‘Incertitude’ was a Dutch HC band (Eindhoven area). This here’s an interview when they still had first line-up (lasted about 7 months): Maarten Van de Ven (drums; ex ‘Hund Als Waffe’), Roland Molengraaf (guitar; later ‘Quite Fresh Phobia’), Antoine Adams (bass) & Patrick van Schaijk (vocals). Later Micha de Vries joined to do vocals and Niels van Beers played drums.

[Translation below]

INTRODUCE YOURSELF!

‘Incertitude’ is the follow-up to ‘Hund Als Waffe’ (which formed in June ’86 and released a demo in ’87, the line-up was Walter [Withagen] – vocals, Maarten [Van de Ven] – drums and Roland [Molegraaf] – guitar). After Walter left the band in June ‘88, Patrick [van Schaijk] replaced him and the new name became ‘Incertitude’. After some gigs, the band enters the studio in February ‘89 and records their first excellent demo. When it is released in April ‘89, it gets a lot of good reactions, also abroad (including MaximumRocknroll and Final Holocaust). A number of gigs with bands such as ‘R.K.L.’, ‘Disabuse’, ‘Contagious Disease’, ‘Guts’, ‘Hard-Ons’, ‘Afflict’ and ‘Swampsurfers’ followed. In the summer of ‘89, ‘Incertitude’ appeared on 2 compilation-LPs, namely Threshold 002 (that includes ‘Instigators’, ‘M.F.D.’, ‘President Fetch’); and the Hard To Find LP on Swaddle records (that includes ‘Shooting Skippies’, ‘Bambix’ and ‘Scoundrels’). Musically, at the time of the demo, we were sometimes compared to ‘Heresy’ and ‘Excel’. Now we play somewhat slower but sound a lot more powerful (if I may say so myself). Our lyrics are about religion, nazis and everyday things, and items we’ld like to see different (fur coats) in everyday life. As for ourselves in everyday life: Ronald is cutting the hair of all of Veldhoven’s inhabitants, Antoine [Adams; bass] is still at school, Niels [van Beers; drums] is applying for a job and myself (Patrick) am also still at school and co-publish the fanzine Puke, and besides that I also work at the Willem-2 venue in Den Bosch.

LISTENING TO THE SONGS (CHRISTIANITY & PRAY AND OBEY), YOU REALLY SEEM HATE CHRISTIANS! WHY IS THAT? EVERYONE BELIEVES IN SOMETHING!…. WHATEVER IT IS, FAITH IS SOMETHING PERSONAL AND ONE DOESN’T DO MUCH HARM TO ANOTHER PERSON, DO THEY? WHAT DO YOU BELIEVE IN?

We don’t hate christians (they are only humans too) but we’re annoyed that people are kept stupid in the name of god. Moreover, we find the church quite discriminating against homosexuals and we disapprove that an author should killed in the name of allah for criticising their religion. Faith may be personal but we think ‘Believe In Yourself’ (Ed.: Indeed!) because if you don’t do that, you’re really far from home.

OVER HERE IT SEEMS LIKE IT’S NOT THAT COMMON, BUT WITH YOU IN THE NETHERLANDS IT APPARENTLY IS… CHRISTIAN-PUNX… YOU KNOW, WEIRD TYPES WITH ‘BIG NEWS…CHRIST IS COMING BACK’ ON THEIR JACKETS! WHAT DO YOU GUYS THINK OF THAT?

We’ve never met any ourselves – if they still exist. I don’t think it’s right that the punk movement – that always shouted ‘Think For Yourselves!’ – would be associated with a religion. Personally, I don’t think it’s right but I guess it could be a publicity-stunt. Those bands that can’t seem to get noticed any other way so let’s hope it’s over with these soon.

WHAT DID YOU THINK WAS THE BIGGEST EVENT IN THE PAST DECADE ON POLITICAL, SOCIAL, ETC. LEVEL? (NATIONALLY & INTERNATIONALLY)

The fall of the iron curtain between East and West of course. Although I do think it all happened so quickly all at once. A united Germany e.g.: I don’t know what to make of that. Otherwise, I think all the downsizing on the defensive front is very positive! I hope that in the future more will be done the about hunger in the world, apartheid and world peace!

1989 WILL CERTAINLY GO DOWN IN THE HISTORY BOOKS. THINGS HAVE CHANGED HERE AND THERE! LIKE IN ROMANIA, FOR EXAMPLE! CEAUSESCU… WHAT DO YOU THINK OF SOMEONE LIKE THAT? WE CANNOT IMAGINE OURSELVES IN THAT SITUATION THERE… THE HATRED OF THE POPULATION… WHAT DO THEY DO WITH SUCH A MADMAN? SHOOT HIM??? (AND WHAT ABOUT HIS ENTOURAGE!)?

Although I’m usually against the death-penalty because someone who’s dead can’t learn anything from her/his mistakes anymore; in Ceaușescu’s case, I thought it was justified! The situation in Romania is indeed hard to imagine but under such a dictatorship, you must have been destroyed. That’s why I understand the anger of the people.

AND HOW WOULD YOU LIKE TO SEE YOURSELF IN 2000?

Ten years wiser (not older)!

PHANTASISE A THRILLER/ ESSAY/ ROMAN/ WITH THE FOLLOWING WORDS…: THRASH-CAN, CONDOM, BMW, COP, CURTAIN (NUMBER OF WORDS INFINITE)!

There was a black bloodthirsty pedal thrash-can that had had enough of always swallowing condoms. It staggered towards his boss and bit him in the crotch, pulling everything out. Intestines were everywhere and his appendix was splattered against the windscreen of his BMW. There came the cops already! It grabbed them! No mercy for those who serve the law, our little thrash-can thought and every cop in the whole area was devoured. Blood and brain-juices everywhere. (Ed.: Do policemen have a brain?) The thrash-can retreated behind his kitchen-curtain and listened to The Dead Cop Rock.

TELL US A TYPICAL DUTCH INTELLIGENT JOKE!

A riddle! Any good? It is green and round? Answer: a blue square.

ANYTHING TO ADD (APART FROM THE 5.000 BELGIAN FRANKS FOR THE INTERVIEW!)?

Yeah, everyone who likes fast HardCore should write us sometime. We have a 10-track demo out. Costs 100 BeF [2,50 Euro] (postage not included). We’re also on the Threshold compilation-LP! And we’ld like to play in Belgium very much, so make the connection! Greetings. Incertitude / Roland / Rapportstraat 62 / 5504BR Veldhoven / The Netherlands

Counter-Attack (Psychosis #4)

When I got know him (started corresponding), Yvan Meers was still in secundary school but very mature for his age. He was quite philosophic and obviously thought/read a lot about the state of the world and life… Y. originated from Val-Meer (Riemst) in Limburg but came to live in Ghent and got involved in the anarchist/squat scene there. He became the drummer of ‘Counter-Attack’, and later ‘Visions Of War’.

The first issue of Yvan’s zine got out in 1995. For that he had translated some of my columns (Branches Of A Root; D.I.Y., Now And Then) back to Dutch. The same for an opinion on squatting by Wouter Biesemans (a social worker who did an internship at the Vort’n Vis). There was also info on non-violent resistance, boycotting the oil-industry & McDonald’s, and PETA. He was also announcing a benefit-tape to help expose questionable practices of certain companies… The second issue seems to gone missing from my collection.

#3 (’96) & 4 (’97) were in English. For the 3rd issue he interviewed ‘Hiatus’; and he wrote about misunderstandings concerning anarchism, ecology, etc. There’s also an article by Willy Nollomont on squatting in Liège; and he poses myself and Forkboy’s Joris Willekens some indepth questions… In the 4th issue there’s interviews with ‘Unhinged’ & ‘Counter-Attack’. It also included the story about the squatted Pariaschool (near Eindhoven, NL), Yvan’s analysis of the bible and his thoughts on the organisation of our society, info on EuroDusNie, stories in power and poverty in the third world, supporting class-struggle prisoners (Anarchist Black Cross), etc.

In 2016 Yvan went traveling (with his Berlin friend) in South-East-Asia, where they went missing after a kayak-trip on the Indian Ocean: they were last seen on the island Sumatra (Indonesia)….

‘Counter-Attack‘ was an anarcho-punk band, orginally from Alken, Limburg (but gradually ‘embedded’ in the anarchist/squat scene in Ghent). They played anarcho-peace-punk influenced by ‘Crass’, ‘Flux Of Pink Indians’ & ‘Dirt’. Originally they had a female singer but the line-up became ‘Groovy’ Jochen (vocals), Stef ‘Irritant’ Heeren (guitar/vocals; later ‘Katastrophobia’ drummer), Wim ‘Simsallabim’ De Neve (bass) & Jeroen (drums; later replaced by Yvan Meers).

Sovjet War (Het Schandaal #2)

Het Schandaal (“the scandal”) was an important zine in the history of Belgian HC/punk. I already wrote about the later stages of it (search in content) but this is about the earlier period: the start up by Marc Heindrijckx and joining of Bart Steens (‘A.M.F.’ vocalist, ‘Koyaanisqatsi’ drummer).

Dirk Michiels (Punk Etc) borrowed me the first two issues, plus a “special edition”. In the very first editorial (1983) Marc wrote “I’m sick of hanging arond in pubs and getting drunk, I need to keep myself busy with something.”… He printed presentations of ‘Crass’, the Wormer bands ‘Svätsox’ & ‘Zowiso’, ‘Cold War Embryos’ (Utrecht, NL) and ‘Pléémobielz’ (Bruinisse, NL), did some collages and reprinted an article entitled “the new fascism”. The second issue mentions Marc and Ivo Cloetens as editors. It features ‘The Ex’, ‘A.M.F.’ (Haacht, Bel), ‘Vopo’s’ (Meppel, NL), ‘Red Zebra’ (Brugge, Bel), ‘Sovjet War’ (Wilsele, Bel) & ‘Flux Of Pink Indians’.

The “special edition” was a collaboration with Punk Etc, intended to promote the Second Time Around compilation-tape (1983). It contains info on and lyrics by the bands on it (‘More Action’, ‘Zyklome-A’, Subversion’, ‘Krank’, Fixator’, ‘The Dirrty Scums’).

Brob

Looking back, issues 1 & 2 look rather amateuristic; I made them all alone in my bedroom. I wanted to keep busy because there wasn’t much “punk” where I lived. My mother then made some 50 copies where she worked… That was still possible then. I dsitributed them myself by putting them in recordshops (such as La Strada in Brussels and possibly also  JJ Records in Leuven). I got contact with Bart Steens who give me some info on his band ‘A.M.F.’ for #2. He lived in my neighbourhood and we got together to work on the zine from #3. After that issue the printrun got too big and we xeroxed everything in a copyshop. We got a lot of good response and people were asking to sell it in their area so we sent out a bunch of zine on consignation (people sent us the money – concealed in a letter sent by post-mail, imagine – when they were sold). We also sold it in The Netherlands.

If I remember well Ivo Cloetens [who became the vocalist of ‘Koyaanisqatsi’] – he attended the same school as myself – contributed some info for the first 2 issues.

After #5 Bart and me lost track of each other; I had to do military service and after that, I went more in the new-wave direction (not the mainstream kind à la ‘Simple Minds’ but  rather te darker side. 🙂

I still have all the original cut-and-paste stuff. Also a load of letters, posters, and domestic and foreign zines. I never could bring myself to get rid of them…

Marc Heindrijckx

‘Sovjet War‘ was a (post-)punk band from the Leuven area with (at the time of this interview): Rudy ‘Rieck’ Berges a.k.a. Bergy (vocals), Rudi ‘Zip’ Vanderzeypen (drums), Eddy ‘T(h)irre’ Thiriart (bass) and Leon ‘Swoi’ Letellier (guitar).

[Translation below]

THE BIG ‘SOVJET WAR’ INTERVIEW

‘SOVJET WAR’ are: Rudy ‘Rieck’ Berges (vocals), Rudi ‘Zip’ Vanderzeypen (drums), Eddy ‘Tirre’ Thiriart (bass), Leon ‘Swoi’ Letellier (guitar)

roadies: Bart Crabbé, Werner Sempels

How did the band come about?

It all started in the early 80s, when there were only two of us and we played for fun. That guitarist is no longer in the band now. After six months the bassist joined, then came a new guitarist and the singer. At that time we played under the name ‘Sovjets’ (for about ten months), then the guitarist quit. After having kept silent for a while, ‘Swoi’ joined; from then on we started playing different music and the name was changed to ‘Sovjet War’.

What do you find most important in your songs?

We think both the lyrics and the music are important. Our lyrics deal with things we have experienced ourselves and how we see life. We speak out about small things but also about serious problems such as the crisis, the emerging computerworld, nuclear weapons, …

Where do you usually perform?

We’ve most often played most in Leuven, but also in other places such as Gent, Tienen, Aarschot and Erps-Kwerps.

Do you also perform at demonstrations?

Yes, we played in Gent at an anti-militarist rally at one time.

What do you expect from the audience?

There are punx who only come for the fast music or to fight. We don’t want any of that. We’ld like the audience to come to listen to our lyrics and that they would understand what we have to say.

Do you have connections with other bands?

We don’t have much communication going with other bands. But when we’re asked for a gig, we try to make sure that ‘The Cultural Decay’ [post-punk/cold-wave band from Leuven] can come along, and they do the same for us.

What do you guys think of the word ‘suppor-act’?

We think it’s ridiculous that such a word is used. It’s a kind of discrimination. We think all bands should be given equal opportunities and that it doesn’t matter who plays first at a concert.

Do you experience competition from other bands?

There’s no real competition because every band plays a genre that, even if it’s not a lot, is different from all the others.

What genre of music do you play?

We don’t think the music we play can be classified under one particular genre. All our songs are different from each other. Sometimes we make songs that lean towards rock but other songs lean towards cold-wave.

Have you already released any records?

No, but we have already released a cassette under the name ‘Sovjets’. And we might have a single coming soon.

How will you guys manage to release that single?

Well, we’re not going to beg with record-companies to be able to record a single. But we did already get in touch with ‘Svätsox’ [Dutch punk band from the Wormer scene] to record there. But first and foremost there has to be money.

What do you think of Dutch punk?

We think it’s good that in the Netherlands compilation-albums with starting bands are released. The same should happen in Belgium.

And what about the Belgian music scene?

There are some good bands like ‘The Scabs’ [(punk)rock; Diest], ‘Melody Massacre’ [rockabilly; Brussels], ‘The Cultural Decay’, ‘AA’ [post-punk; Hasselt], … But we regret that ‘The Scabs’ have adopted a commercial approach.

Do you think there’s still ‘fun’ in Belgium?

If you want fun in Belgium, you have to make it yourself: Belgium is dead……..yes, completely dead.

‘Sovjet War’ can be contacted via: Eddy Thiriart – Albertwouterstraat 16 – 3010 Wilsele

The Razors (AD8406)

Nadine Bal (from Brussels) did 7 fanzines, each with a different name/title… She was assisted by various people from the Bxl Underground scene. Stéphane Maes provided scans of AD8406; Coax & Hoax. I found a few pages of Carbona Not Glue (’77) in the Punk Etc collection. Nadine tells me the right chronology (from 1977 to 1981) is as follows: Carbona Not Glue, Trespass, AAArrrggghhh, Hoax, Coax, AD 1984 & Mystère.

Hoax (Oct. ’78) opens with a presentaion of ‘The Jam’; there’s also interview with ‘Bizzaros’ (Akron, Ohio) & ‘Rendez-Vous’ (ex-‘Stress’; from Liège); Jean-Marc Loffet writes about his favourite rock’nroll band ‘The Clash’ and interviews the ‘Buzzcocks’, etc.

Coax (Jan. ’79) has a lengthy feature on ‘Siouxsie & The Banshees’ (with interview conduted by music-journalists Annik Honoré & Pascal Stevens), chats with ex-members of ‘X-Pulsion’, a presentation of ‘Digital Dance’ (Bxl new-wave with Stéphane Maes & ‘Jerry Wanker’), and various odd bits, pics, new.

AD8406 (Apr. ’79?) contains presentations of ‘Streets’, ‘Mad Virgins’ & ‘X-Pulsion’; interviews with Iggy Pop (by ‘The Broll’), ‘Thrills’, ‘The Razors’ (Namur), ‘Métal Urbain’ (Paris), etc.

To grasp the spirit of that era, here’s an interview with another proponent of the Bxl underground scene: Nadine Milo (music journalist)…

Brob

I was really 200% involded in the [underground] music world in the late 70s and in the beginning of the 80s: shows on free radio-stations in Brussels [e.g. Radio Capitale], manager of local bands [e.g. ‘Digital Dance’], participation in concert-organisation (e.g. at Plan K [venue in Molenbeek/Brussels where Ian Curtis’ love-interest Annik Honoré (R.I.P.) was the programmer]), co-organisator of the first and only Rock Against Racism festival [79-04-21&22; with ‘Mad Virgins’, ‘Spermicide’, ‘The Passengers’, ‘Jo Lemaire + Flouze’, etc.] in Brussels, journalist for the local mag En Attendant [“in the meantime”; “first Belgian music-mag defending the punk & new-wave scenes”], etc.

Regarding the fanzines: I decided to make some for fun but mainly to share music with friends. I changed the name of each fanzine and sold them for ridiculous prices. I liked the creative side of it (lay-out, total freedom). D.I.Y. at it’s best!!! Anarchy. Rock is rebellion. Clichés but at that time is was a way of life and music that was so interesting – exploring new ways of expression – creativity without limitations…

Contribution from friends was encouraged – it was a true plus for the fanzine!

Improvisation is still my creative way, after all these years. I’m still singing in ‘BeNe GeSSeRiT’ [industrial/electronic/experimental duo consisting of Alain Neffe & his wife, i.e. Nadine Bal].

Nadine Bal a.k.a. Patrica Unk a.k.a. Barbara Montgomery a.k.a. Ella de Beauquoy a.k.a. Benedict G.

‘The Razors‘ (from Namur) were singer Chris(tian) Azoeuf a.k.a. Chris Toulouse (R.I.P. 2012; he also did the fanzine Barbapapunk). The others were drummer Jean-Pol Sohet a.k.a. Bob Fuckly, bassist Pascal Gabriel a.k.a. Gaby Siclet and ‘Max Well’  Rudy/Rudi Peret (guitar) [plus Jean-Louis Pierlot (sax)].

HOW DID THE BAND COME ABOUT AND WHO IS IN IT?

We know each other for several months already but ‘Bob Fuckly’ and ‘Max Well’ were in ‘Fuck’ previously, then there was ‘The Fuckers’ (with the same guys!), then the ‘Ordures’ [rubbish/thrash/filth] (with ‘Fuckly’ + ‘Gabi Siclet’ + ‘Peter One’).

And finally in December ’77, there were ‘The Razors’: ‘Gabi Siclet’ (guitar + bass), ‘Max Well’ (guitar + bass), ‘Chris Toulouse’ (vocals) and ‘Bob Fuckly’ (drums). A bunch of friends! The Belgian Punk Contest was our second gig, we had played at Le Magic Bus [venue in Charleroi] supporting another band and we made a huge mess there. We were playing without giving a fuck! It was a blast!

WHAT ARE YOUR FAVOURITE ARTISTS AND BANDS?

‘Chris Toulouse’: Maurice Chevalier [50s French singer], ‘Ramones’, ‘Peter Schläger’ [Pedro Ramis; ‘X-Pulsion’ vocalist], …

‘Max Well’: ‘Misstinguett’ (…) [“Queen of the French Music-Hall”], Gorgette Plana [50s French singer], ‘The Stooges’, …

‘Gabi Siclet’: Ray Charles, Fats Domino, ….

‘Bob Fuckly’: ‘The Spootnikks’ [???], ‘The Stooges’, …

WHY DON’T YOU SING IN FRENCH?

‘Bob Fuckly’: [jokingly in poor French] Well, you know, because we’re not, well, anyway, but because it’s not like that, you know, how to put it?. You know what I mean, right?

‘Chris Toulouse’: As Bob just said, there are vocals, styles of music that go very well with French; I was going to sing in French also at the beginning, we tried, but it didn’t fit. So we gave up and wrote in English. (The sound of English words is nicer.) And as I consider my lyrics to be very important (otherwise I wouldn’t write!), I’ll pass on the most interesting ones to you for publication.

HOW DID THE CONTEST AT THE VIEUX ST-JOB GO? [venue in Uccle/Ukkel (Bxl) – First Belgian Punk Contest, March ‘78]

First of all, I think it was a very good initiative, it allowed a lot of bands, especially from the province, to make themselves known in the capital, which is still too much – alas – the main centre of Belgian rock music; since [music journalists] Gilles Verlant, Bert Bertand, [Piero] Kenroll [Pierre Vermandel], etc. were present and you will never see these at an amateur concert in the province…

The jury was not very objective when it came to ranking the bands. Only ‘The Passengers’ and ‘Mad Virgins’ [both from Brussels] deserved their place. You’ll think I’m saying this because we didn’t even get ranked – not at all: it’s because I know there are people dumb enough to trust the ranking of a jury of which we know almost nothing: who are they?

Apart from that, the organisation wasn’t too bad, neither was the idea of the LP [compilation with ‘P.I.G.Z.’, ‘Cell 609’, ‘Mad Virgins’, etc.]. Several bands didn’t get recorded; why? It’s a question of honour, brand-image. “You have to stay punk, you see, madam!” We don’t give a fuck. We’re not in London, we don’t have all the recording-facilities the English have; who can say when ‘The Razors’ will be able to record a single? At the moment we’re all pretty much broke, even in debt. So, you see, it’s not going to happen anytime soon.

DO YOU HAVE ANY PLANS?

A concert with ‘The Kids’ in Namur on April 13th [1978], then several others in the Namur region, then Le Grimmerin [venue in Grimbergen]; and we are looking for other contacts. (Please help us!!!) Contact: 59 rue Dethier, 5002 Namur. We would like to release a single but we don’t have any money!

‘Max Well’: We’ld like to become famous, become superstars, earn a lot of money and fuck a lot of girls!

‘Bob Fuckly’: I’m planning to buy a new pair of drumsticks.

‘Gabi Siclet’: I think I’m going to go to bed because I’m tired!

ANYTHING TO ADD?

Yes, I have a lot of things to say but I have keep it short: what we want is to get the province (not only Namur) ‘moving’ because I’ve noticed that in Brussels people are jaded, they get offered a lot more things. (Yes, I know, what about London then!) They have their pubs, clubs, concerts, B-Side [distribution/shop], etc.; while in the province, the kids are bored to death. They are isolated, feel lonely, forgotten, sometimes suffer various forms of repression; like in Namur a few months ago where there was a big fight between the ‘Saturday night thugs’ and the punks. And that’s why we prefer to play in the province.