Reviews & media stuff

REVIEWS:

GIG REVIEW – THE STATION PUB, ASHTON-UNDER-LYNE, 5TH MARCH 2016

“Next up Healer of Bastards. I had never heard these lot before but had checked them out online and was expecting them to be good. However not this fucking good. On the Hardcore of hardcore punk with a passion to make the world a better place. A three piece with the drummer doing vocal duty. I am impressed. Tight, catchy and inspired. Healer of Bastards have some important stuff to say from ‘Killed By Catwalk’ through ‘Who’s To Blame’ to ‘Wage Slave’ they care, have a heart, have a passion for change and musical ability by the tonnage. As tight as a fucking tight thing, as solid as a fucking solid thing. The second band today to blow me away. And they do an anti drones number – good lads. For me punk has always been more than music. Bands like Healer of Bastards are important because they remind us that we are not alone in striving for a better world they also give us a great soundtrack to do so to. Top fucking notch. – Eagle (Punk 4 the Homeless).

Fungal’s Thoughts – “I know the stickman via his old band RAM-MAN and via the superb Angry Scenes Compilation CD’s (the best, the very best) so trusted this to be exceptional. The CD promised much, when I found out the guitarist from Slab was in the band the promise escalated and what I witnessed was fuckin’ bang on the mark. Pacey, punishing, drilled home with a thirsty efficiency the band cruised through their set and left me wanting more – the simple answer to that is to book em’ again – and so I fuckin’ will!” – Fungalpunk Dave

HEALER OF BASTARDS – WAGE SLAVES 7″

INITIAL SURFACE REVIEW – Band from Birmingham, formed 2014, liable to numb your knackers with the electro-pulsations that primarily pour forth on torrents of hardcore toxicity and wired up frustration.  I have reviewed 1 CD and witnessed a  lone ‘live’ showing.  I have been very much impressed.  Here we get a 3 song splatter, I don my steel-capped boots and kick out another review.  It goes something like this.

INNER CACOPHONIC CORE

Assessment one – Soundbite, fuzz fuck wire manipulation intro, twanged adornments minimal.  The first verse comes, reveals a loathing for the systemised situation many find themselves in – closeted away, in a rut, pounding the hamsters wheel – ultimately exchanging hours for the coin.  A certain restraint is abandoned and the roared sub-hardcore chorus nails home the true intent of the matter.  A saturated and incessant ploughing against the day to day head-pecking pressure ascends and the thermalised ill-temper follows suit.  Recommendations here are of immediate ‘replay’ button attacks so as to fully digest the discordance.  ‘Wage Slaves’ grows, add a bit of volumised fertiliser and a bloom will ensure – a bloom to appreciate in your most disgruntled moments.

Assessment two – A prepared start, followed by mechanoid oral utterances that peel away to let the first eruption of savage abuse invade.  The bleak bladed knife of sound cuts into the flesh with spiteful twists and vulgar brutally that seems borne of a cold and calculated creator cum destroyer.  The murdering machines under scrutiny in ‘They Are The Drones’ are unremitting, unapologetic bastards of the sky that come, take life and leave behind many innocents dead.  The frustration spills from the hearts of the band, a mean delivery is par for the course and of course the crew add their own sci-fi/futurised subtleties – nice.

Assessment three – ‘What Is This Place (Not On Your Own)’ is a song built on a bewildered fascination at the fuckwittery out there that bleeds from the gaping wide-eyed maw of the moronic masses who can’t think outside their own tightly sealed brain boxes.  Think and do things your way and be forever castigated by the cretinous tribes who think they know best.  The song here is the longest of the trio and my favourite – a surprise indeed thinks this lover of the short and sharp.  The ethos and straight ahead drilling combined with the cute touches and sing-a-long embracing chorus will no doubt make this an ‘in the flesh’ favourite.  The corrosive edge initially hinders acceptance but stick with it, the whole mush works and gives hope to the outsider – always a good thing.

LOWER UNDERSIDE FINALISATION – I have booked the band for another gig, this should explain where I am at with them and what I think of their produce and attitude.  I don’t take these sonic sensations lightly – and neither should you.  Go support these minstrels!

By Fungal Punk

HEALER OF BASTARDS – SELF-TITLED DEMO CD

“Only formed in 2014 and describing themselves as an electro-hardcore punk band, three-piece H.O.B from Birmingham have certainly embraced the DIY spirit with this release. Recorded on an old BOSS recorder with free mixing software they say it’s the music and message which counts not slick production. I actually think they’ve done a decent job with what they have at their disposal! Tuneful, intense, driving Punk with their lyrics of social injustice and struggle for a better future make for six tracks of really listenable stuff. The Clash sang about being a Garage Band – well HOB have not signed to CBS and truly make punk music in their garage! ..or lock up! Same thing but let’s not split hairs and knock old BOSS recorders as this is a quality DIY production from a good new band!” (Gaz) – SUSPECT DEVICE

HEALER OF BASTARDS – SELF-TITLED DEMO CD

“The dude responsible for chucking this 6 track avalanche of electronic hardcore my way is a chap I have been dealing with for many a moon now. He is a darn good trier and has put in more than is two-penneth worth with those Angry Scenes Compilations memorable exhibitions of the quality of noise out there. Here we see the chap in question involved with 2 other gents and producing a mix and match melee of wired up/wired out noise that stretches all concerned and makes for…well that would be telling wouldn’t it! The best way to see what comes is read the following assessment of these Birmingham Blastsmiths and see what this initial fuck-up of noise throws forth. And so…

‘Who’s To Blame’ is a smattering of angularity that opens on cross-wired electrocution that pulses hard with ‘not my responsibility’ ramblings infected the sonic showcase. Another pre-intro burst, this time with a synthoid 70’s sci-fi inclusion before catapulting sub-hardcore anger is unleashed. The fast trundling flow is hot roasted, happening and just shy of being totally hectic. Tonsils are worked over, the sticks dictate zested levels of animation and the string swingers do well to hold all aspects tight and keep the riffery roaring. Slight metalised tints are added, numerous slapped down splashes thrown and deep scarring strokes added to create an end composite with many textures and tastes. A rough-house art slop to perplex the aural onlooker but one done with such talent and sincerity as to raise a nod of positivity. ‘Bastard Species’ is an equal spillage but this time opening with rave-oid accents borne from a sweat laden club hopefully free from the second rate hippies that ruin a scene. Do not panic dear spiked swine, the band are back into their usual feisty furrow and kicking up much sonic shit with a direct screwdrive of tense and enraged vomit splashing out onto laps that better take heed. Very pertinent lyrics here placing the human populace on the dung heap and quite clearly reiterating the whole fuckin’ mess we are making of this planet. I like this kind of defiance, a delivery that deals with the desperate idiocy taking place and even before the music melts my mind I am convinced. The rhythm is, as said, direct and to the point and doesn’t fuck about. Listen up and roar with the reasoning – it will do thee no harm at all.

‘Half Price On Humanity’ deals with the financial farce we currently find ourselves in where the poor man takes a bigger whipping and the rich shits stay secure. Injustice is a consistent trend in a world of trickery and selfish fat cat twattage and so the Healer of Bastards have every right to vent their spleen. The 4 wired weapon commands the day here with a seducing weave of melodic thrumming that paves the way for a more than an adequate foundation upon which the crummy scuzz guitar and slap bounce of the tympanics can operate. The throat is sandpapered as per and so we get usual schizzle from a crew who have already found their modus operandi. A neat and tidy, tidy and neat (oh Mr Men how grand ye were) expulsion that is, for me at least, the pick of the rasping pops. ‘Pit Bullshit’ chases, is a controversial subject I am not thoroughly in agreement with (hey it happens) but reckon the sizzling noise will get people sitting up and taking note of the point made. It is a buzzsaw moment that frazzles the receptors if played at a heady volume level and the more typical thrash and fuck hybrid certainly have their moments. Biting hard into the flesh with fiery jowls whilst shaking your carcass into attention is the route taken – ouch! To add, I think dogs are too often used as a symbol of status, have been, over the years, bred into all shapes and sizes due to our petty desires and for me I feel most need to be stopped from breeding and let to go into non-existence. All these vulgar abnormal obscenities that walk with arthritic gaits, breath with difficulty, have protruding eyes or weakened frames are frightening examples of our almost Frankensteinian desires and I for one don’t like it! Give me a good old regular cur any day (just my personal thoughts and as you know I gotta chuck em’ out there as I don’t get paid enough to keep quiet – harrumph).

Last two – ‘Killed By Catwalk’, has material I very do much concur with and think the stinking propaganda out there that dictates to many what they should look like is a disease that needs constantly exposing. An electro-snigger, a waffle, a deep throated war warble and into the straight ahead tear up. The verse sections are a trifle tamed and don’t tickle my tonal testes but the stagger chorus and drift dream float add character and rescue this dittified dog from the gutter. Average for me with a few moments to savour further. ‘Blinded By Simple Tricks’ is the least effective runt of the litter with a somewhat blurry pathway taken that sees the song not run as truly as it should do. The lack of liquidity, the echoed similarity to all that has passed, the overly jerked and perhaps fussily worked orchestration leaves me a little on the outside although the song does develop a little more towards the latter end. Just one of those ya know!

In the final overview I feel that this CD starts well and offers a cutting, scathing sound with much political gutsiness. Towards the latter end I feel the tracks waver slightly and just run out of alternative gas and leave one frustrated and wanting the band to venture forth into realms promised – I await to see where the crew go from here! I trust they will do themselves justice!” – Fungal Punk.

INTERVIEWS:

Interview by Tim Forster, for Echoes and Dust, December 2017

“Melodic hardcore 3 piece Healer of Bastards comprising of Paul (drums and vocals), Jake, (guitar and vocals) and Simon (bass and vocals) formed in December 2014 and quickly released their self titled debut EP in May 2015. Just over a year later they released the 3 track EP Wage Slaves which engaged with working class experience in Neoliberal Britain “MPs would have us work to death, Retirement age at your last breath, Life reduced to bills and fees, Economic slavery.” (Wage Slaves), the evolution of warfare “Asks no questions, obeys all orders, No need to think what is humane, Not all wars are fought in defence, The Iraq war showed them this” (They are the Drones) and alienation“What is this place? – Why does that meal still have a face? Words fall on your ears – but the meaning seems to disappear” (What is This Place? (Not on Your Own)). H.o.B.’s mix of social concern and hardcore punk had one reviewer comment “… I had never heard these lot before but had checked them out online and was expecting them to be good. However not this fucking good… hardcore punk with a passion to make the world a better place… Tight, catchy and inspired. Healer of Bastards have some important stuff to say from ‘Killed By Catwalk’ through ‘Who’s To Blame’ to ‘Wage Slave’ they care…have a passion for change and musical ability by the tonnage” (1).

Early 2018 will see the release of their debut album Justice which aims to capture their live sound and was described by Paul as  “thrashy, catchy, angry, and doesn’t give you any time to catch your breath!” All of which sounds pretty exciting!     
   
(((o))): I caught you at a Punk4TheHomeless gig at The Sumac in Nottingham where you played an amazing set!! Could you give us an overview of Healer of Bastards? How did you meet? When did you start?
Thanks very much indeed, Tim. It was really nice to meet you there. We always enjoy playing and supporting those gigs, and the Punk4TheHomeless crew do an amazing job raising money and awareness for the cause.
In terms of our history, I (Paul) have played in a few bands for a number of years and became friends with Jake (guitar) many years ago via gigging with his other band SLAB. He ended up joining my old band ‘R.A.M-M.A.N’ for a time, and we always got on really well, so working together again was just a matter of time I suppose. I met Simon (bass) through a mutual friend who asked us to be part of his band/project for a while. That was fun but only lasted a short time, so I decided to work on a solo project, which I wanted to call Healer of Bastards. I wrote a couple of songs, using drum machine patterns I wrote, samples I made, and playing bass/guitar over the top. I told Simon about it, and he immediately wanted to be part of it, so it quickly became a joint project. I also showed Jake some early stuff, with the idea that he might help flesh out some of the guitar parts and do guest vocals etc. He really liked the lyrics and arrangements, so we suddenly found ourselves being an actual band! It all happened so fast, but it’s been a blast ever since.

 

(((o))): Did the band come out of a shared politics, shared musical interests?
I think the first and most important factor was how well we got on. I believe that a band can only be truly fun if you like and trust your band mates, which we are lucky enough to have with H.o.B. In terms of shared politics, the lyrics we had created was one of the reasons we asked Jake to collaborate on joint vocals in the first place. I had written a song called ‘Pit Bullshit’, which is about the absurdities of the Dangerous Dogs Act, an act that effectively means innocent animals that have done nothing wrong are destroyed, simply because of how they look and their measurements etc. I knew Jake hated the injustice of this, so he jumped at the chance to help, but ended up embracing the idea of the whole project. As for Simon, he was really into the messages from day one, but also liked the idea of working on something that had potential to sound a bit different. We are all so open-minded about what our songs can sound like, which was such a great feeling and one of the reasons I think we have worked so well together. We will turn any idea that one of us has, no matter what style it is, then ‘Bastard’ it up into a H.o.B song.
(((o))): How did the name come about?
Ha ha, yeah, people are always interested in the name, which I think is a really good thing! I wanted something people would remember, and also something that would never be questioned in terms of what our intentions were i.e. we are a DIY band that are interested in saying important things and having fun, not trying to play Download Festival and being featured in mainstream media. That’s fine if people want that, but we just want to play music, have fun, and express ourselves. Also, I had been in bands before where the names never stuck with people, or 10 other bands had chosen the same name, even though you didn’t realise it. With the H.o.B name, the story goes that I was doing one of those stupid Facebook quizzes once (don’t judge me), and one came up once called What is your Game of Thrones name? You simply typed your full name in and it would put your name in graphics and included a description for you that sounded Game of Thrones-esque. It described me as a ‘Healer of Bastards’. It seemed fitting, because I am always writing about social injustice and wanting a better world. Healing this world of all the bastards that ruin it appealed to me, so that was that.
(((o))): Who would you admit to you as musical influences!
Wow! How much space do we have? Ha ha! We have such varied tastes, all of which I think spill into the music. However, the variety of influences means we have ended up with a band that sounds like a blend of hardcore, thrash metal and pop-punk. I’d say that there is some influence from Sick of it All, Entombed, Pennywise, Dead Kennedys, Drongos for Europe, SLAB, Satanic Surfers, Rise Against, R.A.M-M.A.N, and Motorhead.
(((o))): You formed in late 2014 and had your first release out in April 2015! You must have the ground running! Did you have a fairly clear idea of the sound you were aiming for from the start?
Not really to be honest! I had an idea of what it was going to be like if it were my solo project, but the additional styles, influences, and enthusiasm that the others brought to the table just meant that songs came together quickly and organically. In short, it just ‘worked’ really quickly and was never a chore. I guess that’s what happens when everyone is into the project and loves making music. There are no passengers in the band and everyone wants to do it.
(((o))): How has it evolved? On your Bandcamp page you advise people to listen to your second release Wage Slaves to get a better idea of your current sound…
It’s evolved a lot since those early days. It started out with me as a lead singer, and we played to the drum tracks I wrote electronically, with samples etc. I loved diving around the stage and being the front man, but everyone kept saying we would be so much better with a live drum sound, which we agreed with. Every good drummer we knew was already in quality and busy bands, so I decided to pick up some sticks and try playing again, something I had not done for a number of years. We played our first show with me drumming and singing at the Brum Punx Picnic in 2015, and we loved it! Also, people said that it was nice to see a drummer-singer, as it is not especially common. Wage Slaves, our second EP, was the first with me drumming and singing, but we have improved dramatically since then and are much tighter these days. Our debut album JUSTICE is coming out very soon, and I think people will notice that we have taken things up a notch.
(((o))): You describe Healer of Bastards as playing ‘angry, but catchy songs about social injustice and the struggle for a better future’. Could you talk us through the subjects you engage with?
Sometimes a message in a song is pure anger towards the injustice of a situation or occurrence, but the songs usually aim to make you think more about something and decide how you feel about it. For example, we have songs about how ridiculous homophobia is; the cruelty of blood sports; the heartlessness of austerity; the responsibility that fashion industry has for negative self-image; and about how the insanity of this world can drive you to dark places, but that you are not alone in how you feel. We challenge negative views and events in the world, and almost demand a person to reflect on what to do about it.
I despaired with the state of the world when I was younger, and I educated myself about important and moral issues. Feeling utterly powerless to change the world, you have to start with yourself and then try to inspire others. Sometimes, direct action is required, but fighting with words, music, and dialogue has an important place too (music and lyrics made me turn vegan 20 years ago). That’s what all the songs are to me. They are a challenge to read the words and think about what you want to do about it. If the words don’t affect you, then at least the tunes might make you dance….. I’ll work on the politics some other way, perhaps over a beer!
(((o))): What resources do you draw on in your lyric writing? Personal experiences, other sources like films and books?
It’s all from the news, books, personal experiences, individual politics, and those light bulb moments whereby something occurs to you about life, and you just have to share it in order to feel sane. Hopefully, some of it resonates with others, or maybe even changes the way someone sees an issue. Nobody is perfect and we are always learning, so that is why reflection is so important! None of us should go on just doing and thinking the same things we always have, so we need to learn from each other. I am not the same person I was 20, 10, or even 5 years ago! We live, we learn, we share, we try to improve. The lyrics we sing about are just our two pennies worth. However, the music is just as important to us as the message, and we always enjoy what we play. We just don’t know how to sing about anything else!
(((o))): John Holloway talks about our sense of self emerging from our acts of collective creativity (2), do you think that-plus community-is the key to maintaining an alternative narrative and resisting the pressures to conform and consume?
I have studied Sociology a lot in the past and had heard of John Holloway, but I was not really aware of his work to be totally honest. However, I know there’s a Marxist influence there, and the ideas you outline above sound really interesting. I will genuinely read more about this when I get time.
Anyway, to try and answer your questions as best I can, I think that everyone is completely different, so I believe our sense of self is probably way more complex than scholars can explain. However, I think a lot of what is being said there resonates with me. One of our very recent songs, as yet unrecorded, is called ‘Connect and Reflect’. To explain, this song warns against being insular in your own points of view, and being unwilling to consider others’ opinions and experiences. In short, the point of the song is that engaging in debate, thinking, reflecting, and then re-shaping how you think and feel can lead to better awareness of who you are, what is going on around you, and what may or not be utter bullshit. We can’t change the world from our keyboard, or through Facebook, so we have to get out there and work together. Along the way, we should all challenge our own thinking, and the thinking of others.
Music has a part to play in this but, ultimately, it’s all about communication and reflection. Being part of a punk rock scene is about this for me. Even if other punks might not agree, I think we are all unconsciously shaped by the people and communities we engage with, and part of that in the punk scene is to challenge, question, and resist. There’s a certain love for non-conformity, possibly because there’s such a strong desire within us to please, to follow suit, and not rock the boat. Deciding to tip the boat over, instead of start rowing too, appeals to everyone somewhere deep inside, even if it makes them feel uncomfortable. Community can help us with self-awareness and thinking differently, but they are only extensions of the people that make it up, so they can also be toxic and lead to being close-minded. Part of human nature is a need to know what to do, so being told what to do by huge groups of people is why religion still exists. You can’t necessarily find your own ‘self’ in these communities, but you definitely cannot find yourself if you don’t talk to anyone, or leave the house.
I may well have missed the point of your questions and talked a lot of shite, but it’s the best answer I can give without really looking at his work. However, I enjoyed thinking about it, and it’s given a few more ideas for future work, ha ha.
(((o))): How does a song take shape in H.O.B.? Is there one main songwriter or is it very collaborative?
We don’t really have a set way of writing, at least not consciously anyway. Sometimes we just start with a cool riff and develop parts to extend it into a full song. I’ve always got lyrics lying around, so we will either fit some to go with the tune, or, if they won’t fit, I’ll write new ones to match the tone of the song. Sometimes, I’ve got an idea of how I want to sing something and then we will write riffs to go with them. It’s extremely collaborative and no one person dominates the song-writing process, which I love about the band. In terms of lyrics, I suppose I usually write most of the them, but there is also input from the other guys on this. They may add lines, sections, or even come up with concepts we might write about.
(((o))): You’ve got an album out soon called Justice, can you talk us through it? What sort of subjects and ideas are you engaging with on it, how would you describe it musically?
Musically, it’s relentless, fast, varied in terms of styles, and true to how we sound live. It’s also got a lot of our heart and soul in it. We recorded it DIY style in our own lockup with our mate John. We set a goal of wanting it to sound just like we sound live, and think that’s what we have ended up with. There was no “fixing” of drums and guitars etc. If we made a mistake on our respective parts, then we started the track again. That was partly because the old school portable studio we used doesn’t have many tracks, so we had to get the songs right! I think that’s what really makes it sound authentic. If I missed a kick drum beat or a cymbal hit, then that’s what it sounds like on the record. I refuse to play to a click track too, so it feels extremely human and you can hear and feel it when we are getting into the music. It also sounds live in that we play at the tempo we play at during gigs. Sometimes, bands play faster live and the album sounds slow in comparison. Not with this album! It’s thrashy, catchy, angry, and doesn’t give you any time to catch your breath.
The themes we cover in the album all seemed to be about injustice in the world, so we asked a UK artist (Shindy Design) to draw a simple logo for the band that signified the powerless fighting back against their oppressors. Seeing as we sometimes sing about the injustices that non-human animals face in the world, the bull goring a matador was perfect. That really sums up the essence of the album. With songs about the powerful dictating austerity, nepotism, the decline of our environment, and how the self-interest of capitalist society means that the people are forgotten, this album is us yearning to see a paradigm shift.
(((o))): How would you say the UK DIY punk scene is doing, is it in a healthy state? Are there plenty of opportunities for bands to play?
I think DIY punk is doing really really well these days. There are certainly lots more gigs than ever before, but I can’t say that it’s easier to get gigs. We always put our own gigs on in Birmingham, so we play locally whenever we want, but it can be harder to get shows around the country sometimes. There are loads of great DIY people working hard all year round, but there are more bands than punters. In fact, the punk fans are the bands themselves, for the most part! The majority of any DIY punk crowd is made up of cool and appreciative band members. The bands are all so good too, so it is not always easy to get gigs during busy periods. We mainly have to rely on mates to help us out, and we use gigs as a nice excuse to spend time with the people we like, but it’s a huge bonus when you constantly make new friends too. Some DIY scenes have become so big that I can’t really figure out how anyone gets on some of these bigger DIY festivals. There are so many great bands to choose from, so it’s hard for DIY promoters to be fair to everyone that wants to play. However, I can’t imagine any other way of doing things, and DIY punk extends across the globe, which is magical. I have given DIY gigs to bands all from all over Europe, and even the USA, plus we have had similar help from great DIY people too. That’s how we organise our Euro tours, with all our mates helping us when they can. The DIY scene is not perfect, and the left are too divided for my liking, but it’s still pretty fucking great.
(((o))): Obviously H.o.B. are an overtly political band- how has your politics developed? What were the influences? Where would you place yourselves politically or is it a continual evolving of thought?
It’s all from personal experiences, books, music and gut feelings about what is right and wrong. We do not go out of our way to be overtly political, but as I said earlier in the interview, we really don’t know what else is worth singing about, ha ha. Music is passion and emotion, and we all care about this world and the creatures that inhabit it. In my younger years, I would have happily tried to categorise the politics of the band, but I would now contend that there are some seriously fucked up problems in the political left, which has led to unacceptable divisions. This, as well as many other problems we have with pigeon-holing, means I frequently refuse to identify with established positions. We all have our own political positions, and there is no one person in the world that I agree with on every issue. The best answer I can give is that I think we try hard to be nice people, we hate unkindness, hate prejudice, hate the oppression of the powerless, and would love to see everyone unite in a shared of sense of creating a better, fairer, kinder, and more compassionate world. Whatever that standpoint is called, then that’s what we aspire to be.
(((o))): What bands and writers have you been enjoying lately?
There are too many books to mention, as we all like everything from fantasy to crime, but some recent good reads we enjoyed are: ‘Pirates, Punks & Politics’ by Nick Davidson; ‘The World Without Us’ by Alan Weisman; and ‘The Year Of The Flood’ by Margaret Atwood.
I hate to single out bands, for fear of missing any out, so we’ll just stick to mentioning what is genuinely right next to our stereos at this moment – ‘The Storytailor’ by Bambix (Netherlands); ‘The Dusk in Us’ by Converge; ‘Suas Torres Douradas Entraráo Em Colapso’ by Killbite (Germany) and Odio Social (Brazil); ‘United States of Horror’ by Ho99o9; ‘To Live and Die in West Central Scotland’ by The Kimberley Steaks; and ‘Appreciate your Concern’ by Brassick.”

JULY 2015, with Gaz from Suspect Device:

1, Healer of Bastards! Great name but who are the HOB members and when did you get together? ..any band members have previous convictions with other bands?

Cheers mate! I’m glad you like the name. It seems to amuse a few people, which we are pleased to hear :)

Although the idea of H.O.B started in late 2014, I guess we didn’t really become a proper band until early 2015. H.O.B was only supposed to me writing songs at home, but I knew Simon through a band I was asked to join that never really went anywhere. He liked the idea of H.O.B and asked if he could join. I wrote a song called Pit Bullshit in late 2014 and when Jake heard it he said he wanted to play too! I’ve known Jake for years through the scene, as our bands had played and toured together numerous times.

We do indeed have previous and current band links: I (Paul) was the original bass player, and then later singer, in R.A.M-M.A.N until we finally called it a day in 2013. I was the drummer for Contempt between 2005 and 2010, and I was also the drummer on the debut album for Scarred Society (2011-12). Jake is the frontman and guitarist for SLAB, a brutal metallic-hardcore band from Birmingham. Simon is pretty new to playing with live bands, but that works really well because he not yet jaded by years of plugging away with very little reward, ha ha.

2, You describe yourselves as a ‘Three piece, melodic, electro-hardcore punk band.. I like your sound a lot but how did it come about?

Thanks! I had taken a break from playing in bands, because I had been trying to do too much all the time and wasn’t taking very good care of myself, but after a while I felt like I still had things I wanted to say, and melodies in my head that I wanted to hear out loud. I’d always wanted to write some electronic beats and combine samples & effects with raw hardcore punk too, so that was something I’d wanted to try for a while. Simon wanted a new challenge, so asked if I’d consider trying to turn it into an actual band, so we went ahead with the idea that we would play as a two-piece. However, when Jake heard the first song, he loved the lyrics and the sound and said he’s love to help out!

So, in January 2015 we had our first proper practice, and we sort of hit the ground running! We played a local gig, one in Portsmouth, released our first 6-track EP in May, and played 5 gigs in Europe. It’s all happening a bit fast, but it is loads of fun.

3, How about the lyrics? You say you play angry but catchy songs but what gets HOB angry?

Most things get me angry, ha ha. The funny thing is that we are all very personable people and just like to get on with most people where possible, but some shit in the world just drives us crazy. We are all different in the band, but there are many shared views about things we hate. Our songs often talk about our frustrations regarding injustice, prejudice, racism, misogyny, cruelty, hunting, greed, corruption, and ultimately how we need to unite as much as possible to fight these problems.

4, I actually know you’ve only been together a short time despite the opening question – how have you done for gigs in the time you’ve been together and how has the HOB sound gone down live?

The local, UK, and Euro gigs I mentioned have all gone really well so far! We have couple more local ones lined up, plus we are on the Birmingham Punx Picnic in September, so we are quite pleased with how people and promoters have responded to us so far.  In truth, the gigs and release we have done have gone down a lot better than we expected. Because we have electronic elements in the band, some punks can be a bit dismissive of the sound, but we have found that most people have seen past it, and just enjoyed the songs for what they are. We have a lot of fun on stage, and it is clear that we enjoy ourselves when you see us perform, so I think some people appreciate that and can get into it (there’s nothing worse to me than watching a band on stage that are miserable, or take themselves so seriously that they seem incapable of having any fun with the crowd).

5, You debut self titled release was recorded by the band in a totally DIY way – How did you do it and is DIY the way to do it?

I think DIY is a fantastic route to go, especially these days because so much free software is out there, and all the old recording equipment that is no longer sought after can be bought second hand for very little. The main downside is how it can sort of ruin the songs for the person that records them. We only recorded 6 songs, but I was a bit sick of hearing them after the 100th time, ha ha! However, the main advantage is that allows you to afford to do it! We couldn’t afford to pay someone to record it and also release it, so we opted to record it ourselves. Of course, it also helps that the drums were (painstakingly) programmed, because recording acoustic drums is not easy!

Overall, having recorded and mixed your own stuff means that you put 100% of your heart and soul into the music, which I do believe comes through when you hear it.

6, Where would you like to see the band going to from these beginnings?

We have started as we mean to go on in many ways. We meet when we can, always enjoy playing, have a laugh, and play gigs when we all feel ready to play gigs. We just want to keep playing songs and generally enjoying everything we do. It is a bonus if people enjoy the music as much as we do, and if our lyrics about fighting for a better world are taken on board by anyone, then that is great too!

The biggest change is going to be us trying out me playing live drums and singing at the same time. We have tried it a couple of times in practice and really enjoyed the sound, so we are going to do our future gigs that way, and see if we still get a good reaction. We will still keep the samples and some electro parts, but the live drum sound is so much better, if we can pull it off.

For the remainder of the year, we will put a few gigs on for other bands, play a few places in the UK, record again, and there has been talk of us doing a split 7” with SLAB. Next year, we might do an album and, without a doubt, we will head to Europe again! The tour in May was so much fun and we made some great new friends, and were told that we were welcome back, so that will be ace.

7, HOB are from the cosmopolitan metropolis known as Birmingham – What’s the Punk scene like there.. Any new bands like HOB worth a shout?

Birmingham is still very much alive with live music, and punk, metal & hardcore are very active in the city. I do not actually live that close to Birmingham any more, and I do not get into town to see as many bands as I would like. However, there are lots of punk bands coming through, and loads of old ones still holding their own against the best of them as well!

Some of these bands are not that actually new anymore (how time flies!), but Brassick, Malarkey, Angry Itch, Fear Insight, and No More Numbers are all doing really well, which is great to see. Check ‘em out! Also, I saw a band last weekend called Dead Happy, who were a crazy metal/punk/dance/disco band. I had not seen them before, but if anyone wants to see something different then give them a go :)

8, …and lastly! Anything to add or HOB news not covered in the questions.. Gossip and vicious rumours are OK too!? 

I think I have probably bored you enough, lol. However, we’d like to thank you for the interview and for reviewing our CD. Without people doing zines, gigs, and DIY labels, there would not be much of a scene, so keep up the great work. Cheers!

PODCASTS:

CHECK OUT HEALER OF BASTARDS ON THIS ‘BLACK VOLVO SPECIAL’ PODCAST. IT FEATURES ‘HALF PRICE ON HUMANITY’, PLUS LOADS OF OTHER GREAT BANDS/SONGS.

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