Tuesday, July 14, 2015

Interview with Michael Phillips from Escapist Records

As the music industry has continued to change over the last decade or so, and as major labels have in large part stopped sniffing around the hardcore and punk scenes to find the “next big thing”, it’s been a lot of fun to watch the almost meteoric rise of bigger indie labels like Deathwish, Bridge 9, No Sleep, etc. While I certainly respect those labels tremendously and enjoy a lot of their artists, few things get me more pumped than when I discover a smaller, up and coming label that consistently puts out quality releases. One such label is Escapist Records out of Cleveland.

Having dipped my toes in the waters of running a small DIY label myself, I know first-hand that it’s usually the case that more money is going out the door than is coming back in (or maybe that’s just me, haha). Anyway, Mike at Escapist has steadily built up an incredibly solid roster that should appeal to all kinds of people in that it pulls from all across the spectrum. He’s got indie bands, he’s got melodic hardcore punk bands, he’s got more metal leaning bands. Some of his artists are comprised of established vets, some are brand new up-and-comers; some of his bands tour a ton, others mostly play locally. It really represents an awesome cross-section of the DIY scene, and as such, serves as almost a microcosm of the underground community. And the bottom line is, you can tell the guy is in it for the right reasons; he fucking gets it.

One month from today he’s throwing a ten year anniversary show in Cleveland at The Foundry which will feature most of his roster (Light Years, Harvey Pekar, Foxfires, Reverse the Curse, Wasted Blood, etc.). In addition, there will be an exclusive split 7” available from My Mouth is the Speaker and Reverse the Curse, as well as giveaways from many local businesses he partners with on different aspects of production. So hey, if you’re in the Midwest, get your ass to Cleveland!

Anyway, we’ve been chatting it up about all things Escapist over the course of the past couple weeks. Check it.

  


Talk a little bit about your roots, how'd you become involved in punk and hardcore?

Growing up, I had a neighbor down the road that was a couple years older that me. He skated and I was just getting into that whole world.   He listened to a lot of metal - Slayer, Iron Maiden, and Faith No More - but also punk and old school hardcore - Black Flag, Operation Ivy, Husker Du. He would always be playing music that I had never heard.  To me there wasn’t really a difference between a Slayer song and a Black Flag song; they were both fast and loud.  At the time, I had no idea there was a world of smaller DIY bands out there, let alone in my own city.

When I went to high school I met a few other kids that were super into punk and hardcore.  We would hang out at lunch and talk about bands we heard.  They would talk about going to small DIY shows at local places like The Euclid Tavern, The Grog Shop, Peabody’s, Speak N Tongues, etc.  I tagged along to one and was hooked.  I started to immerse myself in Cleveland’s underground music scene and making friends with faces I recognized from going to shows, many of whom I still know to this day.

So Cleveland has always had a little bit of a notorious reputation in terms of its hardcore scene….OLC, Integrity, obviously. I know for me coming up in Detroit there were times when I felt a little intimidated at shows from time to time. What was it like for you cutting your teeth in the hardcore/punk scene in Cleveland?

For me, it was one of those things that I heard about when I first started attending shows. People would talk about avoiding certain shows or venues, but I never really thought to take those warnings to heart. This was probably because I didn’t really get mixed up in scene politics or any of the drama that went along with the Cleveland hardcore scene. It’s funny because I had/have a lot of friends that ran in different circles within the hardcore and punk scenes here and some of them didn’t get along with each other for whatever reasons, but I was able to float between them with ease. Maybe I was lucky in the people that I met and the ones I avoided. Haha. But yeah, I definitely witnessed my fair share of fights and for the most part I kept myself clear of any violent situations. Even when going to shows in nearby cities - Club Laga in Pittsburgh, The Shelter in Detroit, Forward Hall in Erie, etc. - I did my best to avoid the riff-raff and make friends with the sincere kids involved with the scene for the right reasons.  In the end, a lot of what happened was hyperbole but there certainly crazy things that happened, which you’ll be able to hear about in the Destroy Cleveland documentary that is coming out this year.


I’ve been involved of a couple very humble label ventures of the years so I’m always curious what motivates others; how did the ball get rolling for you at Escapist? Was it something you’d be pondering for a while, or was there a particular band you saw or heard that made you say “Fuck it, I’ve gotta do this thing”?

Starting a label was something that I always wanted to do from the time I really started getting involved with the scene - writing for zines, doing a college radio show, and booking shows.  Seeing that other people could do it locally and in smaller cities and not just in Chicago, New York, and Los Angeles really inspired me.  It seemed like the next logical step.  I was living in Pittsburgh at the time and booking shows, and the topic of covering Integrity came up.  I knew a lot of bands that were heavily influenced by them, not just because I grew up in Cleveland but all over the world. And yeah, it basically became a “Fuck it. I’ll do an Integrity tribute album.”  I reached out to Dwid and he gave me his approval to do so and at that point the ball was rolling with talking to bands I knew and others that I thought would be fitting. It sucks that a few that had intended to do something fell through or never materialized - Pulling Teeth, Shipwreck, Bleeding Through, Dead Wrong - but I still feel it is a very solid release and helped set the label on its path.

Your roster is really diverse, running the gamut from dirty hardcore bands like Withdrawal to more indie punk oriented stuff ala Reverse the Curse with a lot in between. Do you tend to pursue bands you’re friends with, work with bands that send in demos, or a mix of different things?

Diversity is something that I feel makes Escapist unique from most labels.  I grew up listening to my mom’s Beatles and Bob Dylan records and checking out any record I could find from my local library.  Duran Duran, Weird Al, Billy Joel - it didn’t matter what genre, I just wanted to hear new music and look at the layouts. As I was discovering music I never restricted myself to one genre. In the 90’s and early 00’s it seemed that a lot of kids were just hardcore kids, just metal kids, or just punks.  But I didn’t feel that it should be that way, which is reflected in the variety you find on Escapist. There isn’t an Escapist sound and I like that we aren’t pigeonholed like many other labels are with regards to that.

When I first started the label, releasing primarily CD’s, I was pretty naïve.  I worked with bands I pursued on my own or discovered through various message boards, so I didn’t really know them well.  I didn’t really put much thought into how we would sell the albums and promote the bands and get them on tours.  I got lucky with a distro deal, but the rest was a crapshoot.  The lifespan of the label bands was pretty short and it made it difficult to push a band that either broke up before or shortly after releasing their album.  There was a brief period where I thought about completely stopping the label but it was the idea of working with a band I was friends with that inspired me to revive Escapist.

So I went vinyl-centric and I began working with friends - Light Years, Harvey Pekar, Foxfires.  As things have developed and grown I have begun working with bands that I have either pursued myself - Territory, Sworn Vengeance - or ones that have reached out to me - Purgatory, Wasted Blood. At this point in the label, it’s kind of a mixed bag. The Internet has made the world a much smaller place so finding new music is no issues now.  Before you had to go to shows and see the opening bands or look at the liner notes to albums and see whom your favorite bands thank. Nowadays you can just go online and find a hundred similar bands in the blink of an eye.

Related to the web, we’ve talked before about how the Internet can be a double-edged sword of sorts….on the one hand it makes it easier to get stuff out there, on the other hand bands and labels are judged on silly things like number of likes or whatever. From your perspective, what are the most effective ways for bands and labels to use the internet and social media to promote themselves?

I have a love/hate relationship with technology.  When I started the label there was pretty much only Myspace and message boards. There was no Facebook, no Instagram, and no Twitter. There are so many resources nowadays it's unreal.  It is very easy to get your information out to the masses.  But as the Internet has grown the attention span of fans seems to have shrunk.  You can’t rely on everyone seeing what you are doing at any given moment.  So the most effective way to stay relevant is to constantly be active, both on and off the Internet. If you book a tour, you better promote it online. But you also better make sure you have local bands passing out flyers and promoting it. You have to have a presence and you have to find ways to stay relevant or you’re just going to be forgotten just as quickly as you were noticed.  The music scene is vastly different from the one I grew up in. You no longer have to go to the shows to discover new bands and make friends. Everything is at your fingertips and only a tap away.


I think I speak for a lot of older hardcore kids when I say I was beyond stoked last year when I saw you were re-issuing Turmoil’s classic “The Process Of”. Talk to me about how the re-issue came together. Also, do you know if they have plans to do more, or was it the re-issue, TIHC, and then they’re putting it back to bed?

The Process Of is one of my favorite hardcore records of all time. Everything about that album - from the music, the lyrics, the production - is flawless.  The original pressing that Trustkill was long out of print and although there was a repress on a European label, they changed the artwork, which I felt was iconic to that album.

As for the process, I reached out to Century Media about the possibility of re-issuing it on vinyl and they put me in touch with their licensing department and the band.  We discussed what my vision was for the release and how we could make it into something a bit unique and special seeing as it was 15 years from its release.  They liked what I had in mind and gave me the go ahead. In the midst of that discussion they informed me they were asked to play This is Hardcore the upcoming year, so it would be a great combination to have those two things happening at once.

In addition to re-issuing the LP, I was able to secure the rights to release the final three songs the band recorded and released (though never on vinyl).  We made this a limited 7” to accompany the release for the diehard fans.  I had a lot of fun working with this 7”.  I got a friend that works for a local screen printing company to make screens for the covers and we hand screened the covers.  I made all the inserts on a copy machine.  Everything was cut and folded by hand.  It harkened back to the 90’s DIY style of releases, which I thought was cool considering the band and release.

As for what the future holds for Turmoil.  I know they had hoped to do a few more shows but managing the schedules of individuals with full-time jobs living all over the US can be difficult. I attempted to lure them out of hiding for my ten-year showcase this August but they had prior commitments.  As far as I know they haven’t laid it to rest.  Hodges told me that if they got a European offer they’d be there in a heartbeat… so there is hope for more.

I noticed you have been doing most of your pressing through Gotta Groove who I believe are based right near you out of Cleveland. How do they compare to other plants you’ve worked with and how much of a big deal is it to have a plant pressing records for you locally?

Everything I have done since the label went exclusively vinyl has been done with Gotta Groove and I have been extremely happy with everything.  I remember reading about the plant when it opened in 2009 and thinking to myself how great it would be to be able to work with a local company, something I try to do with as many aspects of my releases as possible.  So in 2011 when I started planning the Light Years EP it was a no-brainer.  They have been an amazing partner and always handle every release perfectly. It’s awesome to see them getting these huge pressing jobs after seeing them essentially start from scratch.

As for how they compare, I can’t speak of other companies but I know there are a lot of gripes with pressing plant turn around times.  However, I have never had anything take longer than I was originally quoted.  It really boils down to planning and time management. Additionally, I know Gotta Groove have taken steps to speed up the process and make sure there are as few delays as possible.  I have a number of friends that run labels who use other pressing plants and often vent about being frustrated with turn around and quality issues.  I’ve suggested to a few that they give Gotta Groove a try.  And when they do they tell me they’ll never go back to any other plant because of how smoothly things went with Gotta Groove.


Besides the sonic diversity on your label, you have some artists that seem to hit it pretty hard in terms of touring and others who I assume have a lot of life responsibilities who play locally and maybe do some weekends occasionally. For you, how do you balance marketability, a bands level of activity, and how you feel about them as musicians and as people when you decide whether or not to work with artists?

I think you hit the main point of contention for me with your last statement.  Before working with a band I usually have a long string of emails and phone calls.  In these conversations we end up talking about what my vision for the label is and what the band is looking to do.  I know the reasons I got involved with the hardcore scene and what fueled my passion to be involved. When I work with bands - whether they are hardcore or pop punk or indie - I look for that same passion and sense of sincerity.  I’ve been contacted by a number of bands and either initially or over the course of the conversations I could tell we were in different worlds and that it just wouldn’t be a good fit.  When a band comes into the fold of Escapist Records I refer to them as part of the “Escapist Family,” which is exactly how it feels.  I’ve become such good friends with the members of the bands that are on the label, even the ones I didn’t know prior. We all talk regularly and hang out when we can, even if we are in other cities.  After all of that, whether a band is “marketable” or not doesn’t really matter to me. Whether they want to spend nine months a year on the road or just playing locally/regionally isn’t something that sways me too much.
 
You’ve got a new Foxfires LP on the docket, as well as new releases and/or re-issues from Reverse the Curse, Wasted Void, Purgatory, etc. Talk a little bit about each release, why you’re pumped on it, and what those bands are bringing to the table that people should be stoked on.

The Foxfires LP has been a long time coming.  It wasn’t long after The Golden Age 7” was released that they told me they were already writing new songs.  And I was like, “It has to be an LP and I want to do it.” The new songs are so damn good, and they have built on that rock and roll meets hardcore vibe and added nuances to their sound to make it sound fresh and modern.  And the recording quality of the LP is so far superior to anything they have had before - both Will Killingworth and Carl Saff did an amazing job with the recording and mastering. I’m extremely excited for people to hear the entire record and I know the band is itching to get out and play the new songs.

I am digitally re-releasing the Reverse The Curse LP that the band put out in 2011, Hither & Yon.  Escapist released Existent earlier this year and that was supposed to be released by their former label but the label just never pressed it. The band got the rights to both releases and we made Existent happen and now we are making Hither & Yon available digitally. Reverse The Curse is a band with so much talent when it comes to songwriting. It blows my mind that they aren’t huge; they should be opening for Brand New.  It’s unfortunate that they lost some stream with the label issues but I think their next release is going to be the one that takes them to the next level.

Wasted Blood is a band that reminds me of when I first got into hardcore.  They’re a bunch of young kids from Ashtabula - a town about an hour from Cleveland that also gave us Homewrecker - playing heavy hardcore and having the time of their lives. It is insane how driven these kids are for their age; most of them just graduated high school this year.  The VOID LP deserved a proper vinyl release in addition the cassette (Toxicbreed) and CD (Black Void) release it was scheduled for getting and I am proud to be making that happen. A lot of kids into newer hardcore - Code Orange, Expire, Harms Way - are going to love this record when they finally hear it.

Purgatory is a band that actually came to me about releasing a record together. And the funny thing is I had already said, “No more records this year” before they hit me up.  But the songs are just so damn good I couldn’t say no.  I literally just got the masters for the 7” and I am totally floored by how heavy the songs are. Old school hardcore fans into All Out War and newer kids into Xibalba will be eating this up. Can’t wait to get this out and have them tour in support of it.

That’s all that is on the books for now, but I do have hopes to do another reissue in the future assuming I can secure it.  It’s not quite as old as the Turmoil LP but an album that I feel defined an era of hardcore and has never been released on vinyl.


Lastly, you’ve got the 10 year showcase coming up in August. I’m guessing you’re thinking of it as a celebration not just of all the bands you’ve worked with, but also the people who have supported the label and hell, your own hard work! Looking back on a decade of doing records, what are you most proud of and what would you say have been the biggest lessons you’ve taken from it?

Celebration is absolutely how I would describe it. I wanted to do something fun and involve as many bands as possible.  Plus, a lot of friends have helped me with the label over the years and I think this is a great way to say thank you to them.  Initially it was just going to be a show with as many label bands as possible but it has turned into so much more thanks to the awesome sponsors I have partnered with - all of which have been extremely supportive of the label for years.  Now on top of an amazing lineup we are able to offer a free split 7” thanks to Gotta Groove to all that attend plus a bunch of awesome raffle prizes: free records, My Minds Eye Records gift certificate, and more. I’m way stoked on how it turned out.

Reflecting back on the past ten years is a bit surreal.  I can’t really say there is any regret or any one moment I am most proud of.  If I am proud of anything it is the friendships formed as a result of the label. When I started I didn’t know how long it would last and there have certainly been moments where it hasn’t been easy and I thought about just giving up on it.  In the end, its something I am extremely passionate about and I continue to focus on the positive experiences and friendships it has given me.

Thank you so much for taking the time to ask me questions about the label and the bands.  Meeting people like you who understand and appreciate what goes into running a label and being in bands at this level makes doing this so rewarding. So thank you so much for your support. It means the world.


Tuesday, July 7, 2015

Interview with Stephen Bucklin from Mere Phantoms

I first came into contact with Stephen after my good friends in Hollow Earth began working with him. They were having some issues in the drummer slot, so he was helping them as they worked on the early stages of what came to be their LP "Silent Graves". Shortly thereafter he came through Detroit with his band Mere Phantoms and I got to meet him in person. I was impressed by his genuine warmth and enthusiasm. Last year he booked my band in Pittsburgh while we were out on a little weekend run, and it was again awesome to see him.

In the time I have known him his band Mere Phantoms has grown from a more straight forward crusty hardcore band to a multi-faceted beast that incorporates hardcore, grind, metal, sludge, noise, and power electronics. This culmination has reared itself in the form of their soon-to-be-released one-sided LP entitled "Famine For a Slow Death", which should be surfacing at some point in the next couple months via Anthems of the Undesirable. A truly colossal work, I firmly believe this record will turn many heads. 

I've been going back and forth with Stephen the last couple months about the band, their politics, his work as an environmental educator, and the interconnections between all those things. Stephen is truly a pleasure to talk to, and a gem of a human being. 

Read on. 


So you guys recently announced the release details for your upcoming one-sided LP "Famine For A Slow Death", a batch of songs which undeniably pushes your sound forward in every possible way. What was the writing process like this time around and at what point did you decide to enlist the services of Nyodene D to help flesh things out?

First off, I want to thank you for the kind words and for taking the time to interview me and Mere Phantoms for your blog! The writing process for this album has been unusual for a few reasons. The songs were written and fine-tuned over the course of two years. Two of these tracks have appeared on previous releases, but are significantly different this time around. We spent a lot of time revisiting songs and analyzing them and rewriting them until they felt right. Most of these songs are what we have been playing live for the past two years so we have really invested a lot of time into getting them just right and I think the work we put into them shows.

We first met Aaron of Nyodene D when he moved to Erie, where I'm from. He was new to the town and found out about Mere Phantoms and our politics and reached out to us and we all started hanging out and quickly became really good friends. Cody and I had talked about incorporating elements of electronics and noise into Mere Phantoms from the beginning because we are big fans of bands like Neurosis and Sonic Youth. After seeing Aaron perform live and considering our vision for the band, we talked with him about joining Mere Phantoms to complement our music on recording and perform with us when he could. So we started practicing together and played a handful of shows together while he and I were both living in Erie. He has since moved to Cleveland and I have moved to Pittsburgh along with Cody and that has made practicing and performing together live a bit more challenging, but we are planning to hit the road with him for a weekend or two following the release of "Famine..."

I know the recording process was completed with Dave from Blood Red/Hounds of Hate and you guys took a long time in terms of getting everything just right. How was the experience overall?

Recording with Dave overall couldn't have been better. We had been wanting to record with him for a while after being impressed by some of his other work. On top of that, his studio is only a few blocks away from where we practice so it just made a lot of sense. He is an incredibly nice person and an absolute pleasure to work with. I think he did a great job of capturing our sound and not over-polishing it. Part of the reason it took so long to record was that Aaron rewrote a lot of his material and had to fit everything to the album as compared to the more fluid live setting we were used to. I think the time he took to really nail his parts on the album paid off.


So you briefly alluded to the band’s politics...I'm curious if you could talk a little but about your own personal politics and some of the factors that have come to shape your perspective on things.

I want to start by saying that my personal politics today are not what they will be next year and maybe not even tomorrow. The one thing I've realized is the importance of growth which can only truly happen when you don't entirely close your mind off to alternate perspectives or ideas. I think the things that have had the most impact on my political development are politically charged hardcore/punk/metal bands, reading a lot of books, and surrounding myself with intelligent and passionate people.

My politics are largely based on environmentalism because that has been something important in my life as far back as I can remember. In the 4th grade I can recall telling people that if I could vote, I would vote for Al Gore because I thought he would do something about global warming. My views became radicalized as I continued to learn about the expansive and never-ending onslaught against our planet, and I started to branch out politically. I think hardcore music played a big role in that. My senior year of high school I became straight edge and this eventually got me into some bands that had a more radical/political message. I think Verse, Trial, and Earth Crisis all played a big part in my "political awakening" of sorts.

Around this time, I started to make a lot of connections between the animal industries, environmental destruction, and climate change and thus became vegetarian. I started to read a lot more and a few books had huge impacts on me. I read "Eating Animals" by Jonathan Safran Foer and immediately stopped eating eggs and began transitioning to veganism. I followed that up with a series of books by Derrick Jensen (“Endgame”, “A Language Older Than Words”) that connected a lot of dots for me. The ideology of anarcho-primitivism became really appealing to me because I felt it was the only solution to environmental destruction. Reading Jensen helped strengthen my analysis of capitalism and brought me to the conclusion that the root of all issues our society faces (poverty, sexism, racism, war, environmental destruction, homophobia, wage slavery, so on and so on) is indeed capitalism.

From here I began to explore different schools of feminism, particularly ecofeminism, which also helped bring me to the conclusion that all of our struggles for liberation are interlinked. In the past few years, I've read a series of books by Daniel Quinn which helped expand on my views in the sense of what has caused our version of humanity to fail and what can we do to create an alternate, sustainable human existence. I've also become more prone to socialist ideology through my discussion with friends and activists in Pittsburgh. I've become somewhat involved in a few political organizations in Pittsburgh (ANSWER Coalition and the Party for Socialism and Liberation) and started attending rallies and protests last year and being involved in that has only continued my personal political growth.

The lyrics to "Famine..." seem to revolve around capitalism's exploitation and disregard for both Earth and worker. For me the most striking line on the record is "Our heads grow quieter everyday as the clandestine wars rage on." I was wondering if you could expand upon the lyrical themes as a whole and that line in particular.

The lyrical themes as a whole definitely do revolve around capitalism's exploitation and disregard for both Earth and "worker". Each song has a more specific focus and I could provide an analysis of each one, but our record will come with a zine that will do a much better job than I can do in a short summary. The album is about the isolation and emptiness created by our individualistic society and the ceaseless desire for more, the crushing despair created by the overwhelming power and destruction of corporations and the US's imperialist wars, and the stark contrast between the prosperity and bounty surrounding us and the multifarious famines we as "workers" experience and witness every day.

That line in particular is in reference to the US's use of drones in its imperialist conquest. Our heads grow quieter literally because we do not hear the incessant hum of drones flying overhead, and figuratively because the mainstream media does not inform us as readily about such occurrences. Our government no longer seeks consent from the people before engaging in acts of war. Drone strikes hardly make the headlines and it is clear that ultimately those in power wish to keep the public unaware and uninformed, bringing their operations ever closer to being clandestine warfare.


So to take things from the theoretical to the more practical, I know you have spent the last few years working with kids at an environmental education center. Talk a little bit about your experiences there, what have been some of the most powerful moments working with young people?

So I currently work as an environmental educator at a botanical garden and an environmental center. My experiences have ranged from teaching summer camps mostly based on crafts and games for pre-school children to leading high school and middle school classes in park restoration work (like planting trees) and collecting data on forests and streams to evaluate their health. Although my work is relatively varied, it all has one purpose: to connect people to their surroundings.

I've had so many powerful moments as a teacher in this environment and I think that is largely the result of both nature being awe-inspiring in its intricacy and beauty and young minds being great tools for seeking truth and knowledge. Some of the moments are seemingly insignificant but simultaneously profound. As an environmental center in a city park, we teach mostly urban youth. I've been fortunate to have a part in getting students, some as old as middle school or high school, to step into a stream, to hike through the woods, and to experience other aspects of the outdoors for the first time in their lives. These experiences are so vital to connecting people to their environment and getting them to become responsible stewards of our shared resources.

My most powerful moment to this day came during a middle school program I developed about making sustainable food choices. I went over how eating food that came from far away, was heavily packaged, or was higher on the food chain (in other words, animal products) contributed to higher greenhouse gas emissions. At one point during my short lecture before we played a game and designed posters with "low impact" meals on them, I asked the students "Why should we care about our impact on the environment?" They all answered with some rendition of "This is the only planet we have and it is our duty to take care of it and preserve it for future generations". Hearing young people say something that took me until much later in life to figure out filled me with an overwhelming sense of hope for the future of humanity. On top of that, by the end of the program, all of the meals that the students came up with were vegan and I didn't use the words vegetarian or vegan at all, which I was personally very proud of.

I'm curious about the juxtaposition of your work as an environmental educator in which you are exposing people to the beauty and serenity of nature, with your work in MP, where the music you’re creating is incredibly chaotic, oppressive, almost industrial sounding at times. The two things are almost polar opposites, and yet I know the motivation for doing both comes from a similar place. Do you have to enter a different headspace so to speak for each thing or do you see them as overlapping or being a natural extension of each other?

That's something I've never really thought about before. To me, doing both seems very natural. I don't consciously prepare myself to act a certain way in either situation, but there are obviously some pretty stark contrasts between each environment in how I act and what I say. The people I work with or who only know me outside of the punk community are always pretty shocked when they find out I'm in a band that sounds the way we do because I am generally a cheerful person. I guess they have a hard time seeing someone who smiles all the time and hangs out with kids talking about plants and bugs hanging out with a bunch of punks and screaming about smashing the capitalist state. But your analysis of the motivation behind both coming from the same place is correct; they are both deeply rooted in a profound love of all life.

Love comes in a multitude of forms and can spur people to a multitude of actions, some more peaceful and some more violent. We live in a time and place where we experience beauty and temporary moments of serenity while simultaneously experiencing and witnessing the oppressive and chaotic realities of capitalism. Mere Phantoms is obviously sonically a representation more of the latter, but I do see a lot of overlap between the band and my profession as well. Both have a focus on making connections with people and educating them or encouraging dialogue.

With Mere Phantoms, we strive to give information through our lyrics, our zines, and in what we say at our shows. We always encourage dialogue and often spend time after our set talking to people who are interested in discussing political matters. Education is truly the key to making our societies more just and our world a better place. My work as an environmental educator and the music I make in Mere Phantoms are both a natural extension of each other and overlapping in the sense that they are two ways of channeling my desire to change the world through education.


Pittsburgh seems to be a real hotbed of awesome stuff these days, and you guys have been able to play with some super sick bands the last couple years. What makes Pittsburgh special and what have been some personal highlights for you in terms of shows you've been able to be a part of?

Pittsburgh is really a unique city. It fulfills the role of both "metropolis" and "small town" in a strange way. It has some of the perks and infrastructure of a big city while still maintaining a lot of green space and some of the small town home-y feeling. What makes Pittsburgh really special to me though is the abundance of activism and radical political discussion. Perhaps my vision on this is a little skewed after living in a town with essentially no radical political activity, but to me, there's a very high level of class-consciousness in Pittsburgh right now. As the steel industry collapsed, the middle class did with it. Now young professionals are flocking to the city due to a lower cost of living. Some of the wealthiest neighborhoods are next to some that are experiencing extreme poverty. Those who have little to lose are quick to fight back to protect what they have as they face the perils of gentrification, racist police terror, and the other ills of our current economic and political system. This leads to a lot of political organizing.

As far as the punk/hardcore/DIY community, Pittsburgh has a ton of really hard working people booking shows, a pretty good variety of venues, a bunch of people who record bands, and a thriving group of young people creating awesome bands. That seems like a pretty good recipe for a healthy "scene" to me. Clearly no place is perfect and there's always room to be more inclusive but other than that, Pittsburgh is pretty great. We have gotten to play a bunch of sick shows since moving down here! Some of the best and most memorable shows we've played in Pittsburgh to me have taken place at The Sickhouse. That house and the people who live there are wonderful, and house shows have a vibe that I am fond of. 

We also got to open for Thou & The Body's stop here, which completely redefined heavy music for me. Playing with Yautja was also sick and their drummer blows my mind and plays in too many bands that I like. Another show we played recently that has stuck with me was with Torch Runner. Not only does that band absolutely kill it live, but they are very up-front about their politics and this lent to a pretty intimate set when they played here. I am always looking forward to what's to come though. We have a show coming up at the end of July with Thou and False which is going to be sick!

To wrap things up, I know "Famine...." Has been recorded for quite some time and should hopefully be out this Fall at some point.....what's on the docket in terms of possible tours, new jams, etc.? What sort of shape or direction do you see the band heading in going forward?

It has been recorded for far too long. We actually just received the test presses though! Hopefully the wait for the release isn't much longer. We are working on putting together the zine and getting the insert together. Once that's all done I think we will have the records together pretty quickly! So keep your eyes peeled.

As far as tours, unfortunately nothing extensive is in our immediate plan due to work and other complications. We are in the process of booking two weekends of shows in August and we intend to have records with us for those. We will certainly hit the road in the future the moment an opportunity is available.

We have quite a few new jams in the works! We actually had five songs for a 7" written and decided they weren't really the direction we wanted to take the band. We've reworked one of them and started writing a few more. They all take the black metal elements of "Famine..." and refine them to an icy sharpness, while also plunging into heavier and more chaotic realms without totally severing our roots to hardcore. We also recently performed a few shows with entirely different material written with guitar, synths, and auxiliary percussion due to an injury I had which kept me from playing drums for two months. We may come back to that at some point down the road because it was a lot of fun and challenged us in different ways.


Our main goal with this band is to challenge ourselves intellectually and musically and our songs will continue to reflect this I hope. It may take us a while to write new songs and get them recorded, but I can guarantee we will always be pushing ourselves and striving to bring new things to the table.


Burst Your Eardrums: https://merephantoms.bandcamp.com/
Anthems of the Undesirable: http://theundesirable.net/