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After spending the last couple of days trying to think of another grind band comparable to Captain Three Leg, I’ve once again been failed by the miserable porn-sponge I call a brain. Probably because C3L has zero interest in listeners’ expectations and have instead spent the past couple of decades doing whatever the hell they’ve felt like doing – whether it’s rabid blasts of noisecore, Hawkwind-esque space rock, proto-‘gorenoise,’ instrumental surf rock, or ferocious, idiosyncratic grind. If you spend even a few minutes dicking around on their impressive Bandcamp page, you’ll quickly figure out that – weirdly enough – they’re pretty fucking great at all of it. Even stranger, they’re arguably better now than they were 20 years ago – how many grind bands can you say THAT about? (Answer: none.)

As if that weren’t already enough, vocalist/guitarist/bassist Andy runs one of my favorite grind/noisecore labels ever, Mortville Records. What follows is a conversation we had while sitting in front of Andy’s fireplace, listening to classic Sockeye 78s, sipping Appletinis and wearing luxurious, matching Sete Star Sept bathrobes.

Captain Three Leg have been in existence for over 20 years now. What’s the biggest hassle when it comes to keeping a band going for so long?

Most of the time the band consists of just Brian and I, so I’d say it’s been dead easy keeping it going. With the exception of these last few months when we resumed playing out, we haven’t had to maintain a set of songs. We get together four or five times a year to write and record drum and bass tracks, then I spend the rest of the time fleshing it out, writing lyrics and mixing. Brian comes over to record his vocals when I’m ready for him, then we move onto the next thing when it’s done. It’s the best possible arrangement, I think. It seems to work for us, anyway.

You have an enormous number of releases available on the C3L Bandcamp page dating back to 1995. Throughout those releases, you guys never shy away from experimenting pretty drastically with your sound, going from noisecore to Hawkwind-esque space rock to goregrind to surfy instrumental rock, and covering a lot of bases in between. Did the idea of making extreme/abrupt changes in your sound ever make you guys nervous or second-guess yourselves, as far as how people familiar with C3L might react?

Maybe in the very beginning, but that didn’t last long. We decided early on that we just wanted to make music and didn’t care about fitting within the confines of a scene. The changes weren’t so abrupt at first, though. Even on our earliest noisecore material, at least half of each song was a musical set-up for the noise part. Those set-ups kept getting longer until the noise parts (sometimes) disappeared altogether.

It’s been musically liberating, but I’m sure it’s affected our fanbase somewhat. If we played live or were making any money doing this, we might have strayed less often, but maybe not. When I gave up on physical releases and didn’t have to worry about breaking even on releases, it opened even more doors for us. With literally nothing to lose at this point, we can do whatever. Something like “The Monkey and the Blue Jay” would never have happened without Bandcamp.


If you had to pick three or four of your favorite C3L releases, either due to the material or just nostalgia/good memories of the recording, what would they be? Least favorite C3L release?

I have a lot of great memories attached to the “Reunion” and “The Last C3L Tape” albums because they were so much fun to record. We had everything set up in my bedroom and would play for hours at a time, several days in a row, making things up and recording as we went. The results weren’t always great, but the process was very enjoyable. That might have been the most fun I’ve ever had making music.

“3516” was a more focused, more realized version of those sessions and it’s probably the best piece of music I’ve participated in. Our guitarist at the time, Cole, really brought the best out of Brian and I on that release.

“Coming Up Short” turned out really well, too. Better than I had hoped, in fact, but the recording process wasn’t much fun. We did it after recording our songs for the Wadge split and had completely run out of steam at that point. I’ve been threatening a follow-up for years, now, but we haven’t gotten around to doing so.

I’m pretty happy with our side of the Short Order split, too.


C3L is one of the very few bands where I look forward to reading your lyrics almost as much as hearing your new release. After so many releases, how do you manage to still find subjects to write about? Does it ever get tedious trying to find new shit to write lyrics about?

I have a note on my phone that I add to whenever ideas for lyrics come up. It’s usually small, everyday annoyances that I write about, so I add to it often. It’s getting harder to find subjects I haven’t already covered, but I usually have more ideas than songs I need to write for.

Sometimes I’ll try to write for a specific sample/intro I already have saved because it’s easier to do that than find a suitable sample to fit a certain song, but that doesn’t always work out. Lyric writing is easily my least favorite part of being in a band. We’ve farmed some of that out in recent years. Those releases Brian and I don’t sing on happened because we were too lazy to write lyrics.

You run an incredible label, MORTVILLE, which has one of my favorite Bandcamp pages in existence. If you could pick three of your favorite non-C3L releases you’ve done on MORTVILLE, what would they be?

It would be easier for me to pick three of my least favorite releases. I feel a connection with nearly all of my releases, so it’s impossible to choose favorites. It’s a cool thing to work with people whose music you love.

Have any bands you’ve dealt with for a MORTVILLE release turned out to be a total pain in the ass to work with?

I almost never work with people I don’t know on some personal level, so I’ve avoided a lot of bullshit. There have been a few troublesome instances, unfortunately. I was horrified to learn months after the Dahmer / Parade of the Lifeless split 7″ was released that the label I co-released it with never sent Dahmer their 100 artist copies. He, of course, claims to have sent them, but conveniently didn’t have tracking of any sort or more copies to send as a replacement. If this was an isolated incident with this guy, I might have believed him, but some sketchy shit went down soon after and I’ve since ceased all communications with him. Luckily, this fiasco didn’t soil my relationship with Dahmer as he believed I was innocent in all of this.

There was another incident where I was so excited to work with a band that I let them choose the band for the flipside. Other than sending me their material, I had no contact with them until the record was finished. Their vocalist emailed accusing me of ripping them off when he saw the record listed in another label’s distro list when he hadn’t received his artist copies yet. I had sent the ten distro copies airmail and his 100 artist copies surface rate, so there was a gap of a few weeks before he finally got his. He ended up apologizing once he had his copies in hand, but I’d be lying if I said the accusations didn’t soil me on their music somewhat.

Most recently, one of the bands C3L did a split with threatened litigation if I didn’t remove their tracks from our Bandcamp after I unfriended him on Facebook. It was easily the most ridiculous situation I’ve encountered in my 20+ years of doing this.


C3L has been playing live recently, doing instrumental/non-grind material – any future plans to do a grind/noisecore set live?

Lack of like-minded musicians in our area is preventing that from happening. It isn’t something I want to do unless we can do it properly. There’s a certain level of expectation people have with a band of our age and I wouldn’t want to half-ass it. With just Brian and I in the band, we’d need more people on board to pull it off. Nate and Andrew from Traffic Death would probably do it if we approached them about it, but they live 90 minutes away and rehearsing would be difficult.

Even then, if we could get our shit together, it would likely be a one off thing and too few people would be interested to make it worth the effort. Nobody in Iowa cares about this shit. I wouldn’t hold your breath waiting for it to happen.

What’s your least favorite aspect of the current grind/noisecore ‘scene’?

Format fetishism, people in their twenties, and bands with more shirt designs than recorded songs.

You are pretty well known for being strongly opinionated. Pick a band and talk shit about them: go!

Tying into my answer to the above question and without naming names, I’ll just state that I can’t figure out why certain bands find relative success with noisecore while better bands live in obscurity. There are bands with dozens of records on labels I respect and every one of them I’ve heard have been terrible. Like, fucking awful, zero-effort garbage. I’ve been listening to noisecore for going on 30 years now and felt like I had a pretty good idea of what good and bad noisecore was, but these bands with ever-growing discographies at other people’s expense have shown I haven’t the faintest idea. The numbers speak for themselves.

You could argue that constant touring and screening your logo on every possible surface for people to buy plays into it, but a band’s recorded output is all I take into consideration. It’s all that remains when the touring ends and the messenger bags have sold out. Your recordings outlive all of that other shit, so maybe put a little more effort into that.

On a more positive note, name a band that’s been around awhile that you think deserves more attention than they get.

I think Doug Long flies under the radar for a lot of people because he has no online presence, but I’m a big fan of his various projects and he’s been absolutely killing it these past few years. There’s zero hype surrounding his stuff, which is a shame, because they’re consistently good. Success hinges so much on image, networking and all of that other bullshit that has nothing to do with the actual music. He’s recording when he wants and is releasing stuff at a steady clip, so he’s successful in that sense and that’s all that matters. I think more people would be into his stuff if they were exposed to it.

Ok, here’s a series of brief, stupid questions:
Cassettes vs CDs:

The compact disc is the greatest, most practical, most durable format for music ever, boasting consistent playback and maximum portability. It should be the obvious choice for anyone that cares about music.

Sete Star Sept vs Foghat:

Foghat, without hesitation. Don’t fuck with Foghat, buddy.

Chili dogs vs burritos:

Chili dogs if I’m sitting down, burritos on the go.

Testament vs Heathen:

Yuck! Neither!

Fossil Fuel vs Sockeye:

I lived with my parents until I was 27, so they were exposed to all kinds of heinous noise while I was under their roof. Fossil Fuel were the only band they ever complained about. My stepfather hated it and would come into my room to let me know how much it annoyed him. That they evoked such an extreme reaction puts them slightly ahead of Sockeye for me, but I had the very same reaction to “Beefing Ting Ting” from a line cook when I worked as a dishwasher.

You’re trapped in an elevator with Will Rahmer with no hope of escape. Who’s gonna be eating who?

This question reminds me of the time I called Will in 1995 or so. His number was listed in an issue of “Book Your Own Fucking Life” for some reason, and I called him just to see if he would answer. To my surprise, he did, and it caught me completely off guard. I don’t remember what stupid questions I asked him, but he cut me off saying “Can we wrap this up? I’m in bed with my woman.” I hung up laughing really hard thinking about Will Rahmer with a hard-on.

Thanks for taking the time to answer this stupid interview! Please let us know about any upcoming C3L or Mortville releases.

On the horizon…
C3L / Vanishing Cities – split CD-R
C3L / Dysmorfic – split cassette
C3L / Zombie Hate Brigade – split CD-R
C3L / Slowdance – split 7″
C3L / Beelzebukkake – split
C3L / Guro – split
C3L / Traffic Death – split 7″

Denak – “Complete Studio Sessions”
Vomit Spawn – Discography

Mortville Noise Bandcamp
Captain Three Leg Bandcamp




Interview by Rado/Deathfist Zine   

Hi Tom, how are you doing? Something interesting happened to you last days?

Hello. I am fine with my kid and wife. Not lately, but most happening event for me was my baby born. Some weeks after we (Tom & Rado, who was touring with Sedem Minut Strachu in Japan) met in Japan, he was born very healthy.

If you don’t mind I’d focus on SLC mainly in this interview, because I have never see one. Have SLC ever been interviewed?

Oh, yes. As for as I remember I answered several or more interviews in mid to late 90’s. I think those zines were not well-circulated, or very small numbers were printed.

Looks like the interest in SLC (and CUM) is back, you are in the process of reissues of your old releases so how do you feel about this?

Yes and no. I have been doing and thinking about something to do with the old materials to be released on CD or something in digital format while on hiatus. Our case is not a “reunion” or “comeback,” as we never said that we were finished with either band. The hiatus is due to mental and physical problems. Back to your question… I am very happy about re-releasing our older materials, especially for many newer fans of this kind of music. I think we are not very famous band(s). So if you haven’t heard us, just try it for yourself.


Tell me how, when and why SLC have started?  who is who in the SLC, who of you two brothers do what, who is more creative on SLC?

SLC consists of two brothers, Yuzin and Tomoaki, and with drum machine, the notorious same member of Catasexual Urge Motivation. We wanted more violent, more chaotic, and more extreme form of musical style, but that is not fit for CUM. So we started another project called Sadistic Lingam Cult to express aforementioned musical style than CUM in 1994. At the very beginning of SLC, we just played like grind/noise, short and fast, with gurgling growls and high screams. It’s fun to play like A.C., early Meat Shits, etc.

Basically, my younger brother figured out our titles and concept and he showed it to me. Then I manage to create noise part of concept that coming from the idea of my brother. He was more aggressive to spew out the philosophy of SLC than me.  As far as I remember after the second recording session of SLC, we changed musical style to more avant-garde style than grind/noise, noisecore. We hadn’t heard this kind of music so often, and sometimes we got bored of listening noisecore bands, so we wanted step out into avant-garde style from typical noisecore band. After the release of first album, SLC became a more pure ‘noise’ band with less grind/noisecore influence.

People consider SLC like just a shadow of the CUM, like it was your “side project.” Is it simply because people were more interested in CUM or was SLC really meant as a side project and was not propagated that much on purpose? What place takes SLC in your life?

SLC is just a side project of us. We took SLC more serious year by year, but obviously it is a side project to let our stress out. SLC is not as well known as CUM because I guess noise music is not as popular as grindcore or death metal. And mostly SLC didn’t have label distribution. SLC’s first album was released by ourselves and we spread flyers and stuff. We thought death metal and grindcore fans would not be interested in bands like SLC at the time, so we didn’t spread our name enough to death/grind zines, labels or people.


Is SLC something that you do when you have no taste for / or are tired about CUM, or is it like you work on something based on your mood and feelings and just than you decide if you use it for one or another band?

SLC is another expression form of music for us. That could not be played with CUM, but we wanted to represent another form of music style other than CUM. At that time, we were not very much into playing or listening to noise music, and didn’t know how to ‘control’ noise to play. Our early stage was very much like grind/noisecore.

What’s your main inspiration for SLC?  musically, visually, conceptually?

SLC’s inspiration came from trying to describe something we had never heard of. Coincidentally, the result turned into the music that consists of black metal meets harsh noise. More detailed analysis is that black metal like high screaming, delay effected guitar/bass/drum wall-of-sound and gurgling low growls are all together. We have never heard noise music that featured high screaming vocals in the past. I think we succeeded the procedure to play this kind of music for our own originality.

The visual concept was to be much like Japanism. We wanted to use visually image from Oni (devil), Kongou-Rikishi (Vajradhara) and ancient religious art.

 Is there any basic set up for your releases or you always use different tools?

On all of SLC’s recordings, I used the same equipment. Fender guitar, drum machine, and some effects pedals. I now use a completely different set-up from our older recordings, though.

Early SLC recordings like those demo tapes sound very different to later stuff, more like mix of SLC and CUM, what do you think and how do you feel about these early recordings now?  And which SLC release you like the most.

Really? Is there any CUM music you can hear? I think that is because oldest SLC recordings were like grindnoise or noisecore than our later ones. It sounds like A.C., or some Final Exit. Those early demo tapes are like spontaneous noisegrind. It was like live recording. I have never seen the final result while the recording session. And most of all songs have intros. We choose most fitting intros, and/or made intros for each tapes.

As I said earlier, I didn’t know much about creating noise at the beginning. After I  researched it more, SLC’s song structures became much longer and more complicated than before. My personal favorite is “Triumph of the Will,” and the first demo, “The Rites of the Lingam Cult” follows.

You did many splits, which band of those you did splits with is the most close to you, which one do you like the best?

Yes, we did many many split releases. Allegory Chapel Ltd., Final Exit, Deep are very original band.

Tell me something about Satyam 666 Studio, Meat Fuck Semen Studio, Hargakure Studio … all these is the same place or every one is different?

Yes, they are the same place. We call it different names based on the sound, character, or content of what we were recording. “Satyam” was taken from Aum Shinrikyo (Aum Supreme Truth), a Japanese doomsday cult, which spread Sarin (chemical nerve weapon) on subway train on March 20, 1995 in Tokyo, and they called their base “Satyam” to training something religious. Our split tape with Final Exit was recorded in Satyam 666 because our material was inspired by Aum Shinrikyo. I was using that same train, but on that day I was working the night shift instead, so I was lucky to not get on same train.

“Hagakure” was taken from Yukio Mishima’s novel, “On Hagakure, The Way of the Samurai”. At that time my brother was really infatuated with Japanese nationalism and bushido by Yukio Mishima. “Hagakure” is good expression of samurai (bushido). We choose good name for the studio as occasion demands what’s inside of philosophical content.

I know you never play live, but if you can set up your own, ideal show / festival for SLC, how it would looks like, who would play there, where would it take ..?

We talked about it before. My brother would dance like madman and take some technical support for me. I would play noise guitars along with tape-recorded rhythm sections.


I know you have some old unreleased / never released stuff, are you planning on to do something with these?

Yes, we have some. I contributed a few songs to compilation CD, so remaining unreleased songs are only 4 I think. I want to release it anyhow. I let a label guy listen, so maybe someday they will see the light of day. (Note: this material will be released on cassette by Noise Not War Records in 2017.)

I would try another SLC recording in the future. My equipment is totally different than old stuff, so time will tell.

Are you working or at least planning on to release some new stuff with SLC or is it all just a question of reissues?

I am not working on new material on SLC now, but I have will to create something new noise. Reissues of old stuff is nice to me, as a few of them are not officially released properly. We recorded the songs, we found bands to do splits with, but then nothing happened – at least three splits fell through.

Have you ever had any serious trouble wit the Japanese authorities because of your music’s attitude / image ?

So far, we have not had any trouble. But if authorities listened our split tape with Final Exit, it would be a trouble. Because we parodied “Aum Supreme Truth” as “Cum Supreme Truth” and talked about killing someone in between the songs as dogma. 

Is still your Cum Thicker Than Blood ?

Yes, it is.

I was so happy to meet you in person and hope to see you again soon, thanks for the interview and all the best.

Yeah, I too was happy seeing you in person in Japan and hope to see you again. Thanks so much for this interview and your interest in SLC.





Too often bands are rewarded with attention for their slavish emulation of older, better bands, so it’s always a great relief (and something of an anomaly) to encounter someone too possessed by their own deranged vision to settle for shitting out a mere replica. For a few decades now, Doug Long has proven to be one of those anomalies. Whether it’s venomous, classic hardcore in HELLNATION, or BRODY’S MILITIA blitzed fusion of thrash, 70’s rock and Antiseen-esque punk depravity, or -more recently with ERECTILE DEMENTIA- conjuring up the sound of Sore Throat and Deep Purple fistfighting in a dumpster full of C.H.U.D. jizz, Doug is endowed with a mad scientist’s zeal for juxtaposing shit that probably shouldn’t work (fact: he once called me out for being a pussy after I deleted his harmonica solo from a REEKING CROSS track) into a mutant throng of fucking excellent, unique, gloriously noisy records. Doug fucking rules, and as you’ll probably notice, trying to cover all of the shit he’s done over the years in one pitiful interview was a lost cause from the start.  Here’s the interview, anyway.   

You’ve been involved in a ridiculous number of bands and projects over the years; PRAPARATION-H, HELLNATION, BRODY’S MILITIA and ERECTILE DEMENTIA, just to name a small handful. What keeps you motivated to continue making music after so many years? Do you ever find it difficult to keep up the enthusiasm to create new material or does the urge to create new shit come pretty naturally to you?

Yeah. Sorry about all that shit. I’ve been obsessed with music since I was a kid. Started making weird sounds using my dad’s reel-to-reel tape recorder and a Radio Shack mic as soon as I could figure out how to get everything plugged in. Never got much more than competent at any musical instrument, but I really enjoy the tinkering process. Still doing the same thing some thirty years later. Enthusiasm comes in waves. Creating horrible underground music isn’t some heroic endeavor so it would be pretty fucking pointless to keep doing this sort of thing if it was no longer fun. The day I find myself more interested in golf or hard drugs, I’ll do one of those instead.

The excellent BRODY’S MILITIA discography CD just recently came out. What was it like for you to revisit the considerable history of that band while compiling all of that material and lyrics?

I was mainly wondering why I bothered to type out all those fucking lyrics! Who still reads lyrics? Come to think of it, who still reads interviews? Listening back to all those recordings, I was reminded of how much I really enjoy the rocked out stuff with Poopy Necroponde (SOCKEYE) on drums. I love playing music with that weirdo. Some of the other drummers may have been a bit faster, but any fucking halfwit can learn to play blastbeats. Poopy is highly proficient in the art of real-deal hairy scrotum rock n’ roll. Those tracks really smoke!


Do you have any particular favorite memories from touring or recording with BRODY’S?

One time we played at a pay fishing lake in Seattle and the guitarist of WIDESPREAD BLOODSHED ended up with a can of corn meal dough balls shoved up his ass. The whole scene was supposedly filmed but I’ve never seen the footage myself. Our bass player used to enjoy spending quality romantic time with well-endowed men dressed like Marie Antoinette whenever we were in New Orleans. I guess they let him eat cake?

We once played an abandoned Go-Cart track just outside of San Francisco and the whole band got stabbed to death by Hell’s Angels during our first song. Then there was the time that I got arrested for biting the head off an animatronic Davey Crockett puppet at the Alamo. It’s been a long way to the top.


HELLNATION is obviously a pretty legendary hardcore band, with a killer discography. How did you come to join?

One thing I’ve learned during my career in underground rock music is that a band can only achieve authentic legendary status after breaking up and getting back together to play the reunion festival circuit. That is what solidifies a legacy. Having a decent back catalog of music is only a viable factor if it can be reissued as some sort of elaborate vinyl box set. You ain’t shit if you ain’t got a wide selection of merchandise available to the current generation of punks. Back when the legend was just getting started, HELLNATION could never find a drummer who would buckle down and play fast all the time. There were always compromises with the occasional funk metal breakdown or power ballad intro.

At some point in the mid-90’s, the bass player bought a drum kit and locked himself in his grandmother’s garage in rural West Virginia and refused to come out until he could play non-stop blast beats. Everybody reconvened back in Kentucky and the “really fast” era of HELLNATION got underway. I just happened to be standing there with my homemade three-stringed bass in hand so I got to be the bass player.

How did you later re-join the band again after initially leaving?

I never left. I was always back there playing my bass behind a curtain while Chris Dodge pantomimed at the front of the stage doing all his choreographed martial arts maneuvers and slapstick comedy routines. It was all just a short-lived gimmick cooked up by the Sound Pollution Records marketing team to try and pull in some of those juicy teenage powerviolence dollars.

What is your favorite HELLNATION release that you were a part of?

Your Chaos Days Are Numbered” and our side of the split album with CAPITALIST CASUALTIES are both excellent punk rock records. If you’ve got the time to invest in the sprawling complexities of a more nuanced piece, the “At War With Emo” EP is also a savage ass ripper.


You handle all of the guitar, bass, drum and vocals in ERECTILE DEMENTIA. After having been in a number of bands over the years, was the idea of doing a project where you didn’t have to deal with anyone else’s opinions or input particularly appealing?


What inspired you to begin ExDx in the first place?

Food Fortunata was putting together this amazing compilation of weird bands covering well-known seventies rock tunes and I thought a noisecore version of “Aqualung” seemed like a good idea. Inept, fucked up noisegrind and smooth mainstream seventies rock are two of my favorite things in life. That recording rang a bell in my brain that still resonates today.

You did an awesome project with Food Fortunata called PESTILENT ENDEAVORS. How did that project come about? Will there be any more P.E. material in the future, or any other collaborations with Food?

Food wanted to do something similar to DEVO mixed with RUDIMENTARY PENI but I’m not talented enough to convincingly ape actual musicians. I don’t know if there will be any more PESTILENT ENDEAVORS recording sessions but I always enjoy making music with Food. He’s like my Elvis.



FUNERARY BOX is another one of your projects, and is a unique mix of styles that leans more toward metal than many of your other bands. What was the genesis of FB? Will there be more material in the future?

Just trying to record something that we would want to hear ourselves. I love death metal but don’t particularly dig the sterile studio sounds or boring technical proficiency that tends to be involved. The drummer and I share a love of the “blood lust over technicality” approach of classic bands like VENOM, AUTOPSY, IMPETIGO, NUCLEAR DEATH and loads of questionable black metal bands so we started drinking goat semen cocktails fucking pronto. There’s no stringent adherence to any genre parameters involved with FUNERARY BOX but we do scoff mercilessly at double kick drum and triplet picking. Been working on a full length album for several years now but I haven’t had the proper hate in my heart to finish the vocals.

One of my favorite aspects of FUNERARY BOX are the lyrics and overall visual aspect of your releases. I love reading the lyrics and examining the artwork while listening. It’s rare that I encounter albums like that, where it’s kind of an immersive experience. Not just something you throw on as background music. What was your inspiration to take that kind of approach?

Thanks for noticing! I get bored with all the pretentious coffee shop art house crap in modern metal and wanted to go for more of a “horny retarded kid obsessed with all things morbid, unpleasant and generally Satanic” vibe. Trying too hard to over-intellectualize metal can result in a glut of dweebs pretending to be dead serious about cornball mysticism, geometric shapes, howling wolves, song titles written in viking runes, vague-yet-tasteful references to “the occult” and phony nihilism.


Two more awesome projects you were part of: RARE FORM and STABBED TO DEATH! What was the genesis of these particular projects and is there any chance of new material from either at some point down the road?

One of the other guys from BRODY’S MILITIA was on his way to audition for a new drumming gig and he stopped by my place for a warm up. We tossed around a few microphones, Poopy Necroponde got involved and RARE FORM was the eventual result. Totally fun recording session! That tape is one of the few things I’ve played on that I can listen back to and really enjoy instead of just hearing a collection of mistakes and missed opportunities.

STABBED TO DEATH was exact opposite; an ill-fated attempt to keep playing music with an old friend who wasn’t up to it anymore.

You did one of the best zines I’ve ever laid eyes on, INVOCATION OF OBSCENE GODS. What was the biggest challenge of doing a zine?

Getting the thing printed was fairly difficult. The dude who handled the first issue ended up bailing when it came time to print the second issue. I had doubled down on the adult-oriented content and, seeing how grindcore is now a safe space for conservative family values, a couple of naked titties and a few swaths of pubic hair were deal breakers. Fortunately, the good folks at Econopress stepped up and didn’t hesitate to print photos of RUPTURE molesting dolphins while dressed up in Gestapo uniforms or whatever awful sketchy stuff I sent their way!

What ultimately lead to your decision to end it?

Older dudes are mainly interested in nostalgia. They’re into scrapbook collections of old ‘zines from back in the day reprinted with hardbound covers. Younger people seem content posting the same YouTube links back n’ forth to each other on Facebook and making lists of bands they find overrated. I lacked the proper marketing skills to tap either of those lucrative demographics so “Obscene Gods” was more focused on semi-obscure bands that no one gave a shit about. After a few issues, my enthusiasm waned and my budget dried up. Seemed like an appropriate time to bow out. What more was there to accomplish after interviewing GOATPENIS and FOSSIL FUEL?

The most important thing was giving Dr. Jason Wade a platform to spread his wisdom. Someone should publish a coffee table compendium of all his sex advice columns with spot varnish cover enhancements. For the kids!


Praparation H


You’re going on a long road trip. Name a handful of CDs you’re probably going to be grabbing as you head out the door.

The TONDRA / NORDIC MIST split, BLUE OYSTER CULT “Club Ninja”, the new NEKRO DRUNKZ disc, a rough mix of the latest SEWAGE GRINDER recording, METEOR HAMMER’s self-titled debut, DICK PANTHERS “Archives, Volume 1”, CATHEDRAL “Forest of Equilibrium”, a compilation of old Colombian black metal bands, a compilation of my favorite ZZ TOP songs and the last GOATMOON full-length are all sitting out in my car right now.

What is your worst or most annoying band experience to date?

I’d have to say that time we all died in a chartered plane mishap right after our classic “Street Survivors” album was released. That sucked.

You tend to avoid social media, Bandcamp, and digital releases of BACKWOODS BUTCHER material. How do you feel about digital releases and the new landscape of social media bullshit/maintaining an ‘internet presence” that almost seems to be a unavoidable part of bands/labels these days?

I don’t have any moralistic opposition to digital music formats; I just don’t use any of it myself so it’s not very interesting to me personally. I’ve been meaning to make a new Bandcamp site (note: he did), but I always get sidetracked by unshaven black lesbian teens whenever I sit down in front of the computer. Not participating in social media has been a trade off; I’m spared the constant reminder of what a bunch of self-important blowhards most folks have become, but at the same time I’ve fallen way behind when it comes to the relentless used car salesman routine needed to “move product”. He who projects the most exaggerated sense of self-worth cultivates the most marketable gimmick, right? I’m too far out of touch at this point so stay the fuck off my lawn. #LOL

You also do vocals for REEKING CROSS. Is doing charitable work with mongoloids part of your prison work-release program?

I’m the reigning king of the “Make-A-Wish” foundation when it comes to mentally-challenged grindcore. I have a great time replacing all the lyrics you guys send me with later era SKREWDRIVER gems, but I would be better suited as your manager. That song you did with Lori Bravo should have been a cover of “Islands In The Stream” with Chris Reifert singing the Kenny Rogers parts!

You just released a tape by your most recent project CEMETERY FUNGUS. It fucking rules and it’s a slightly different vibe than other material you’ve recently released. I could definitely hear hints of VENOM, TANK and even MERCYFUL FATE mixed in to the onslaught! What inspired you to start this project?

I spent the holiday season listening to nothing but DEATH STRIKE and drinking out-of-date eggnog to the point that I was having visions of Paul Speckmann coming down my chimney with a big sack full of freshly-aborted fetuses. I recorded that CEMETERY FUNGUS demo in an attempt to clear my head, but probably should have just stayed better hydrated. Glad you enjoyed it.

Favorite beer?

Miller High Life! (Unacceptable answer!)

Best wrestling match you’ve ever witnessed?

In person? The late, great Ivan Koloff versus Chief  Wahoo McDaniels in the NWA at the Cincinnati Gardens when I was about ten years old. The Dudley Boys versus the first ten rows of the audience during an ECW show at the Hara Arena in Dayton, Ohio was pretty awesome. People were seething and it seemed like an actual riot was about to break out due to all the verbal abuse! Loads of stupidly brutal IWA Mid-South matches with authentic lunatics like Necro Butcher and Nick Gage giving each other all kinds of brain trauma and AIDS.


Worst movie you’ve ever sat all the way through?

The only movie I can ever remember actually walking out of was “Lethal Weapon Part 4”. I’m not sure. Maybe that “Godzilla” movie featuring Ferris Bueller and an emotionally-scarring musical collaboration by Puff Daddy and Jimmy Page?

Any final words?

Many thanks for wasting so much of your time and energy doing this shit, amigo! If anyone would like to get in touch, fuck off instead. God bless!





Interview with Jason Hodges/SUPPRESSION


With this pitiful excuse for a webzine/blog/whatever having largely been motivated by filthy, DIY, noisy grind, it’d be difficult to come up with a more fitting way to begin than with an interview with Jason Hodges from SUPPRESSION.


SUPPRESSION released your first demo in 1993. Twenty-three years later, you’re still going. What’s been the driving force to continue over the last two + decades? What’s been the most difficult aspect of keeping a band going for so long? 

It’s still fun for me. It’s the only band I play bass in, and I started out as a bass player so it’s always a blast. Pissed off music seems to be the drug of choice. Me and Ryan Parrish (drums) have been Suppression for 16 of those 23 years, he’s a lot of fun to make music and noise with; he can handle and riff off of anything you throw at him.

No real difficulties come to mind actually, other than wishing there was time to do even more shit, ya know?

Your label, CHAOTIC NOISE, is in the process of re-issuing some of your original tape releases from the 90s. What prompted the decision to do that? Could you name a few of your favorite CNP releases (either due to the actual content or just good memories of assembling the material/dealing with bands)? Is there a particular release that fell through the cracks or didn’t turn out the way you’d hoped?

Screen shot 2016-11-19 at 10.39.22 PMA lot of people have asked me over the years to reissue that stuff and I’ve been meaning to get around to it forever. I think I’ve just become way more organized in recent years, to be able to get it together, and that old stuff compliments the direction the label has mutated into in recent years.

Favorite CNP releases? Hmm, I love all of the Rectal Pus tapes because they were so fun to make, The Earwigs “Gyngerella” tape, Building Of Gel “Cube,” because his stuff was so harsh and dynamic, and the original “Audio Terrorism” compilation tape because from putting that together I made a lot of pen pals that I traded tapes with and collaborated with for the following years. Some of those folks I still know today!!

One release that didn’t happen was the Tinfoil/ Rectal Pus split…Tinfoil were a Richmond, VA band that were my friends Steve Chisholm, Martin Deal, and Chris Stein (who was later in Suppression for 2 U.S. tours). They were all in sick bands over the years, but Tinfoil didn’t last long and Rectal Pus didn’t survive the mid-90s. There’s a Tinfoil track on the “Audio Terrorism: The Soundtrack for Weirdness and Blind Hostility” compilation CD that you can still download from Grindcore Karaoke…

You have a few other bands/projects happening, too – can you share some info about OOZING MEAT, BROWN PISS and BERMUDA TRIANGLES? 

Oozing Meat is a newer band with Eric Tomillon (Fake Object, Conflation) on noise and vocals and myself on drums and vocals. Scummy noisecore from the sewer. Brown Piss is me doing solo electronics, I do a lot of harsh noise, rhythmic noise, moist loops, cassette manipulation, sci-fi/ horror synth weirdness, and some gorenoise.

Bermuda Triangles is a drums, saxophone, fried-electronics three-piece with my old friends Bill Porter (on percussion, synth, and contact mics) and Sean Cassidy (saxophone, percussion, contact mics) and I play a full drumkit and handle the vocals. It’s got elements of a bunch of our musical interests. I’m also in a harsh, beat-driven, electronics two-piece called Mutwawa with another old friend Gary Stevens (Head Molt). All have multiple releases on Chaotic Noise.

ritcrFor a period of time before you returned to grind/noise with the “Rats in the Control Room” tape, SUPPRESSION had incorporated some experimental, non-grindcore elements into your music. What inspired that, and what kind of reactions did you get from people expecting the ‘classic’ SUPPRESSION sound? What’s your favorite release from this period of the band?

After 1997, I thought Suppression was over with. I was floundering in Roanoke, VA, wasting time and drinking and then I moved to Richmond in 1998. Right when I moved here, me and some new friends started a new three-piece which was going to be called Suppression; we opened for Melt Banana as Suppression, but changed the name shortly after to Irreversible Neural Damage.

In 2000, I was hanging out with Ryan Parrish and he brought up the idea of starting a new Suppression, and at the time I was listening to a lot of weird bands like Arab On Radar, Crom Tech, Melt Banana, 70s/ 80s no wave and post punk bands, Load Records bands, and Butthole Surfers… not much fast hardcore or grindcore really, so it just seemed natural to experiment with our interests. We definitely encountered a lot of people who were like “yeah, that was cool I guess, but what about the old shit?”

Around 2011, we were asked to open for DESPISE YOU here in Richmond and we thought it would be fun to learn some of the tracks from the old Suppression/ Despise You split.  After practicing that stuff and playing it live again, I knew that it was time to do it again. Plus I was listening to a lot of noise again, digging out my old Sore Throat, 7MON, Siege, etc. tapes, records, and just in general I was in the mood for brutal shit in my personal listening habits.

On your last couple of releases, you’ve incorporated pitch-shifted vocals. What inspired you to introduce that into SUPPRESSION’s sound? What kind of reactions have you gotten?

Hmm, I’d have to say listening to early Carcass and Last Days Of Humanity a lot. I know Andy/Capt. 3 Leg isn’t a fan of it!


You have one of my favorite bass sounds. What kind of gear do you typically use? Do you have a favorite combination of amps/pedals?

I’ve always used Boss Turbo Distortion pedals. My friend Bill Mahone (ex-Suppression, Rectal Pus, and Expendable Citizen) gave me my first one when we were young as shit. I also use a few other pedals. I’ve been using a Gallien Kruger bass amp forever, and I prefer Fender Precision basses.

Five CDs that are in your car right now….

I don’t have a CD player in my van, but I have a tape player, so these tapes have been in there for awhile:

  1. The Fall- “Palace of Swords Reversed” 
  2. Rudimentary Peni- “Death Church”
  3. Kiss “Ace Frehley” solo record 1978
  4. D.O.C. “2015 Demo”
  5. G.O.D. “Body Horror” 

How has social media and Bandcamp effected SUPPRESSION and your other projects?  

I don’t know, it was such a gradual thing for me. I’m really slow to jump onboard of things, and especially with technology it’s something I ease into. We have our music on the Chaotic Noise Productions Bandcamp page, and sometimes people buy it. I’m sure people are getting it for free, too, and I don’t really care – it’s not like we make money from this and that’s not why we do it, anyway.  

SUPPRESSION went on tour a few months ago; any particular shows stand out as being especially memorable? 

Midwest Harshfest and Discontent Fest were sick. We met and played with xABRUPTx who were fucking brutal, The Mousetrap in Chicago was great, Now That’s Class in Cleveland was a great, great night of seeing old friends, getting to play a couple of times with the filthy and brutal SULFURIC CAUTERY was fucking awesome, playing with MELLOW HARSHER was a treat… all of it was great!!! The Mockbee in Cincinnati was a crazy building!! Pittsburgh, New York at The Acheron, was a great trip! Except that I somehow contracted mono, so I felt like shit for half of it. But I tried to ignore it and have a good time, which I think I managed to do! Thanks to everyone who made that trip what it was! (Kids, don’t catch mono!!)

Ending with a couple of brief, dumb questions.  Favorite current beer?

Allagash White.

Worst album by favorite band(s)?

Anything that C.O.C. did after “Technocracy.”

Fossil Fuel or Sockeye?

Sockeye forever, baby.