I'm the first to admit that we were totally dependent on a particular place and time... for us, seeing Minor Threat at the CBGB hardcore matinee was just as necessary a force in our lives as the Treacherous Three at Club Negril or the Funky Four + One More at the Rock Lounge.
I was a fan of One Direction when I was 16, but I was also a fan of Bring Me The Horizon and hardcore bands.
Take a ride on heavy metal, it's the only way that you can travel down that road.
Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.
I don't know how old I was when I first started going to shows, maybe 14 or 15, but very quickly, I discovered Dischord Records in D.C. and loved all the music on that catalog. I was a big Rites of Spring fan, Minor Threat, of course.
On our first album, 'Sounding the Seventh Trumpet,' we were listening to more obscure heavy metal bands and hardcore bands.
Hardcore bands were coming out with names like Urban Waste and The Mob, you know, a lot of kind of tough names. So Beastie Boys was the stupidest name we could come up with. And unfortunately, it stuck.
Our album 'Show No Mercy' came out in late '83, and we did three or four shows in San Francisco after the release. That was our first experience with stage-divers, crowd-surfing, people walking on people across an entire crowd.
My radio, believe me, I like it loud, I'm the man with a box that can rock the crowd. Walkin' down the street, to the hardcore beat While my JVC vibrates the concrete.
Me and my friends in high school were the only girls who went to hardcore shows. It was three of us, and the rest of the audience was male. We didn't really think about it. We weren't thinking we were alienated or whatever, but eventually, as there started to be violence in the scene we were in during high school, we started to be turned off by the violence.
I wrote music. I was in a hardcore band when I was 14, and I wasn't good enough to play anyone else's songs, so I had to write my own.
Traditional songwriting, to us, is where the experimental nature comes in. We're all involved with so much outside activity with really hardcore, experimental music-making.
We were at the dark end of the L.A. punk scene, and that scene was full-on and violent and aggressive and wild and intense.
High school and college were my punk, formative years. I was playing hardcore, learning to be a musician. In bands, you tour, but you're paid nothing; you're playing to 50 people in a basement, sleeping in a van, and you love it.
I have a special place in my heart for the Straight Edge Society. Never reached its full potential.
Growing up, I always wanted to be in punk bands, so I'm really enjoying the harder, heavier element. It's always been my dream to have people moshing at my gig, kind of that really feral element of the music coming out more. I love crowd-surfing.
Straight edge came out of the hardcore scene. I don't necessarily believe, as some people believe, that you have to be a part of the hardcore scene to share that philosophy and stance against recreational drug use. But it is where it came from, and it is where it influenced me to be a part of it.
I've never been in a moshpit. I think I'd get smashed to bits.
I'm really not the biggest metal fan as it is. I'm more of a hard-street-punk kind of kid, but I also loved hip hop and reggae music, so we have always sort of refused a street style that is something that we are used to. Something that makes us comfortable and sounds good to us.
In terms of content and instrumentation, I feel we have been extremely ambitious on every one of our albums going back to high school. We were the first screaming hardcore band to put a big ballad on our record.
When I was a kid, I was into hardcore music. The scene in New York was tiny. Every person hanging out was in a band and played at the A7 Club. There was not much rehearsing or anything. Just doing.
I loved Fugazi, the D.C. hardcore band, because they always did everything themselves. They had their own label, and the CDs always cost nine dollars, the T-shirts always cost eight dollars, the shows always cost five dollars, no major label.
Junior Blender is a hardcore dancehall head. He's in Supersonic, which is one of the top soundclash sound-systems in Europe.
Slipknot is about integrity and reality!
Bad Brains is one of my all-time favorite punk bands.
