Showing posts with label Grindcore. Show all posts
Showing posts with label Grindcore. Show all posts

Saturday, January 18, 2025

Charcoal Human


ORIGINS: Wollongong, NSW
GENRE: Grindcore, Tyrant Crushing Goon Core
YEARS ACTIVE: 1997-2002
 
MEMBERS:
RELEASES: 
  • Live Demo (1999) 
  • Demo (1999) - Download Here.
    • 1. Band Aid
    • 2. ERA & Friends
    • 3. Winner is Wealthy
    • 4. Lop It Off
    • 5. 5686
    • 6. Law of War
    • 7. Mole
    • 8. Thief
    • 9. Dissdent
    • 10. White Guy
    • 11. Worth More


  • Self-Titled (2001) [split with Upside Down Flag] - Download Here.
    • 1. Churches and Bricks
    • 2. Mass Walrus Suicide
    • 3. Perceptions
    • 4. Clock In Clock Out
  • Compilation-only Tracks and other - Download Here.
    • Mole (2000, different version to one on demo) - on Necrotardation (Deplorable Records/Ghostmeat compilation)
    • Dissident (2003, different version to one on demo) - on Personality Liberation Front compilation
    • Cops and Robbers (2002, live) - on Hells Driveway 2 (compilation video)
    • Sex Dragon (2002, live) - previously unreleased, recorded by Tegan Morrison.
    • Cops and Robbers (2002, live) - previously unreleased, recorded by Tegan Morrison.
SUMMARY: Starting in the Wollongong punk/hardcore scene, Charcoal Human were a dual vocals grind/hardcore band. In 1998 they parted ways with original vocalist Adam and eventually added a second guitarist around the time of their tour to Queensland. In 2002 Charcoal Human had a residency of sorts at anarchist venue The Midnight Star, playing every weekend. The band ended when their drummer Brett unexpectedly passed away.

SHOWS: 
  • Wollongong Youth Centre, Wollongong - 15th April, 1998
  • Bulli PCYC, Bulli - 10th July, 1998
  • Barbwire Ball, Thirroul Neighbourhood Centre, Thirroul - 17th January, 1999
  • The Rex, Thirroul - 28th January, 1999 
  • PCYC, Hornsby - 5th February, 1999
  • Thirroul Neighbourhood Centre, Thirroul - 2nd May, 1999
  • Senior Citizens Centre, Coledale - 6th August, 1999
  • Iron Duke, Alexandria - 7th August, 1999
  • Senior Citizens Club, Thirroul - 17th October, 1999
  • St Peters Studios, St Peters - 18th December, 1999
  • Iron Duke, Alexandria - 7th January, 2000
  • Senior Citizens Centre, Coledale - 9th January, 2000
  • PCYC, Hornsby - 20th February, 2000
  • Wollongong Youth Centre, Wollongong - 28th February, 2000
  • Senior Citizens Centre, Coledale - 19th March, 2000
  • Hunter on Hunter, Newcastle - 28th April, 2000
  • Wollongong Youth Centre, Wollongong - 5th May, 2000
  • Senior Citizens Centre, Coledale - 21st May, 2000
  • Iron Duke, Sydney - 22nd May, 2000
  • PCYC, Hornsby - 2nd June, 2000
  • Animal Liberation Benefit, Iron Duke, Alexandria - 30th June, 2000
  • Wollongong Youth Centre, Wollongong - 28th July, 2000
  • Newtown Neighbourhood Centre, Newtown - 5th August, 2000
  • Senior Citizen Centre, Coledale - 6th August, 2000
  • The Arthouse, Melbourne - 8th September [VIC]
  • Pink Palace, Melbourne - 9th September, 2000 (DAY SHOW) [VIC]
  • The Tote, Melbourne - 9th September, 2000 (NIGHT SHOW) [VIC]
  • Punx Against Globalisation, Pink Palace, Melbourne - 10th September, 2000 [VIC]
  • Punx Picnic, Sydney Park, St Peters - 7th October, 2000
  • Newtown Neighbourhood Centre, Newtown - 18th November, 2000
  • PCYC, Hornsby - 24th February, 2001
  • Green Square, Zetland - 16th March, 2001
  • Bat and Ball, Surry Hills - 21st April, 2001
  • Iron Duke, Alexandria - 30th June, 2001
  • Senior Citizen Centre, Coledale - 6th August, 2001       
  • Newtown Neighbourhood Centre, Newtown - 19th January, 2002
  • Hunter on Hunter, Newcastle - 2nd March, 2002
  • Newtown Neighbourhood Centre, Newtown - 9th March, 2002
  • Green Square, Zetland - 31st March, 2002
  • Green Square, Zetland - 6th April, 2002
  • Midnight Star Social Centre, Homebush - 13th April, 2002
  • Midnight Star Social Centre, Homebush - 19th April, 2002

Photo by Elissa Fletcher

ORAL HISTORY:
NATHAN: Charcoal Human was the first band that I put any effort into. I'd jammed a bit with friends, etc., but Charcoals was different. I was hanging out with Barney (who was doing vocals in Navel Graveyard) at a party in Coniston and there was a couple of guitars there. We jammed on a pretty basic riff and it steamrolled from there. I was good friends with Brett from Standard; we asked him to play drums and Adam (who drummed in Frontside) jumped on vocals.
Nathan Player (Guitar), Noise Levels correspondence, 2024
 
NATHAN: The name was decided when we had our first jam - it came from the idea of burning shit humans. I guess we were pissed at a whole bunch of shit that was happening at the world at the time and it was a passing comment, 'Someone should burn those shit humans', and a response, 'Yeah man, charcoal humans'. And we went with that. I think the name was actually decided on the day that Brett and Adam joined - we were all partying, 'Hey, join our band, it's called Charcoal Human'. I was actually a bit worried about the name at first but we just went with it.
Nathan Player (Guitar), Noise Levels correspondence, 2024
 
AD: The Wollongong punk scene at the time was really tight. Punk in general at that time was unreal - shows everywhere; it was sick. I played in Navel Graveyard with Barney and Boogs, and Brett I knew from my home town, and Sophie I'd lived with in the 155 Punk House in the 'Gong. Lots of us lived in that house, there were seven or so of us living there - we held shows in the garage out the back. So from that Charcoal Human just came together really. I'd done heaps of backing vocals in other bands so I found it much easier to just scream rather than having to drum at the same time.
Ad Rukus (Vocals), Noise Levels correspondence, 2024
 
First show. Pic from Barbwirepullthru newsletter.
 
NOTES: Charcoal Human are a new Wollongong band who play powerviolence/chaotic emo. 
Refuse to Accept #7, 1998

NATHAN: We did a couple of shows with Adam on vocals. Sophie was in a band called Vomit and I had seen her on the train going to Vomit rehearsal - I was like, 'you should jump on and do some songs with us'. I always thought dual vocals was great and I had only ever seen Arms Reach do it. Honestly, I don't know if I asked anyone else in the band about it but everyone was cool with it. The South Coast had a tight scene in the '90s.
Nathan Player (Guitar), Noise Levels correspondence, 2024

SOPHIE: Charcoal Human had played a few shows with the first singer Adam and I was singing in my first band called Vomit. They asked me to join to do dual vocals with Adam. Dual vocals was very popular in the '90s! But Adam left not too long after and then I was the vocalist for the rest of the time until May 2002 when the band ended, which was when our drummer Brett died. RIP.
Sophie Jay (Vocals), Noise Levels correspondence, 2024

AD: My life was on a bit of a downward spiral around then. I've not many solid memories from the mid-'90s into the 2000s. Everything blurs together... it's a shame because that era was insane for Australian punk. I was heavy in addiction at that point so I left all the bands I was active in 'cause I wasn't able to function, basically. A move I regret dearly. Lost friends, lost opportunities, lost memories, lost myself. Everything is okay now, I joined Rukus on drums in late '06 - had to have a six month break due to nearly losing my head again but I've been with that lot since then. Most know about my struggles - I've nothing to hide, it's all a teaching moment.
Ad Rukus (Vocals), Noise Levels correspondence, 2024

Pic by Elissa Fletcher

NATHAN: It was probably about 3 months in when Adam left. He was doing Naval Graveyard and was also in Frontside, who were busy recording and touring. We just kept rehearsing when Ad couldn't make it and it eventually just turned out to be Sophie on vocals.
Nathan Player (Guitar), Noise Levels correspondence, 2024

SOPHIE: Our songwriting was definitely heavily inspired by the anti-capitalist movements of the time, also movements against mining and logging of old-growth forests. We did also have a song about oppressive Christianity and some commentary on gender and patriarchy. I think my identity (being anti-racist and feminist and queer) connected me to punk in high school and then being part of punk connected me to my lifelong chosen family, which reinforces my identity now. So it's all wrapped up together.
Sophie Jay (Vocals), Noise Levels correspondence, 2024

REVIEW: Charcoal Human impressed with their unique fruit violence blend, slowly getting a decent set length - keep an eye out for these crusty bums!
Review by Maris of Barbwire Ball show, unknown zine, 1999

NATHAN: Our first release was a live recording from the Rex, which was a pretty beat-up old pub in Thirroul. Now it's some middle age hang-out with a bistro and that type of thing. I think there we only made about 50 tapes; it had Bill Clinton throwing the horns on the cover. I don't have a copy and I would like one, to be honest!
Nathan Player (Guitar), Noise Levels correspondence, 2024


REVIEW: More Wollongong grind/death with dual vocals (including Sophie's screams to help you get to sleep). Music ranges from gut-wrenching slow bits to unannounced blitzing grind. For lovers of 88 roots in 20 second epics we have 'Winner is Wealthy'. I love their sputtering riff style, mad vocals, rumbling bass, and the way they create atmosphere with amazing drop hooks (I just made that up). One of my favorites.
Review of first demo by Con, Bar Code the World Issue #20, October 1999

REVIEW: A drunk and sloppy Charcoal Human got up to play and as always they rocked. For a lack of practise they played so well, I can't describe them without using the words 'chunky', 'thrashy' and 'metal'.
Review of show at The Arthouse in Melbourne, No Longer Blind #8, 2000

REVIEW: This fucking rips! I hate myself for not having great expectations for this band but shit was I wrong. Get this now losers!
Review of demo, Mindless Commodity #3, 2000

NATHAN: I had moved away to Melbourne in 2000 and Barney had asked Aaron to fill in on bass while I was away. I moved back to Sydney and started playing bass in the band again and Aaron was then on guitar. Aaron became our second guitarist when we were playing shows in Queensland with Conation and Iron Sausage. Aaron was at the shows and that was my introduction to him. By the time I got back to Sydney, Aaron was dating a good friend of mine and they had a spare room and I moved in.
Nathan Player (Guitar), Noise Levels correspondence, 2024
 
 
AARON: I used to go everywhere with Iron Sausage, which is how I met and became friends with that Wollongong crew (Navel Graveyard, Charcoal Human, etc.) I remember getting both Charcoal Human demos at Thirroul Neighbourhood Centre at the Barbwire Pullthru South Coast Massacre show and loving them! Ended up living with Sophie in a few houses. I did guest extra vocals on a song at a couple of shows, then they asked me to join on second guitar. It was right before the 2000 tour to Queensland with Conation and Iron Sausage. I had joined but didn't play on that tour as we hadn't jammed yet. Was a fun trip regardless!
Aaron Clarke (Guitar), Noise Levels correspondence, 2024
 
SOPHIE: Highlights definitely include playing with Dystopia at Thirroul! The shows at the Midnight Star were always so fun too... and that was the era of shows at the Green Square Hotel, of which there was a lot. I also remember when Schifosi first came to Sydney and we played together at the Lord Gladstone Hotel on Regent Street. My most enduring memory of Charcoal Human shows was asking each other on stage, "How does that one go again?" We never took anything too serious!
Sophie Jay (Vocals), Noise Levels correspondence, 2024
 
AARON: I travelled up with Iron Sausage. It was a mad trip - met the legend Neil Bramley for the first time, he was doing vocals in B.A. Baracus at the time. I mostly remember having a hell fun time, mad vegan food, seeing Biceptasaurus, buying tonnes of records...
Aaron Clarke (Guitar), Noise Levels correspondence, 2024
  
On tour in Queensland

NATHAN: The Queensland tour was a blast. The whole Charcoals band went to Queensland without organising accommodation. We found somewhere to stay in Fortitude Valley with mirrors on the ceiling. We also played in Ipswich in a place with stripper poles on the stage. I don't recall who arranged it but we were doing a split with Upside Down Flag so possibly it was Aaron Borg, who was running the In League With Satan record label. He now does Bad Habit Records. The Queensland tour was with Conation and Iron Sausage - we played with those guys a lot; lots of fond memories.
Nathan Player (Guitar), Noise Levels correspondence, 2024

BARNEY: The Brisbane tour for Charcoals, Iron Sausage, and Conation was called The World Tour of Ipswich. It was when Pauline Hanson was in the media and we hated her. We thought it would be funny to play in Ipswich because her fish and chip shop was there.
Barney Franks (Guitar), Noise Levels correspondence, 2025

SOPHIE: We had a ripper of a show on Saturday night in Newy - we played with Fifth Column Collective, Mike Hunt, and Conation at the Hunter on Hunter. We arranged to go up convoy style early Saturday morning to go swimming and have a barbie and stuff like that... I got the swimming bit down but Nathan got bit by a venomous spider and had to go to hospital for about 5 hours... Later on we got to the Hunter and I went to check out the alleged 'caved-in roof' and, sure enough, the rood had collapsed in the back bar. So the bands were set up in the front bar kind of looking at a wall but it was actually really good, very intimate. 
Sophie Jay (Vocals), Charcoal Human website, 25th March 2002

Rare variant cover for the 1998 demo

AARON: Playing Charcoals was mad fun! The songs were pretty simple, so I could rock out like a dickhead with a low slung guitar, ha! There was a point where people were really into it too, so the crowd was active as hell. I miss it. I did one recording session with Charcoal Human that resulted in the split 7" with Upsidedown Flag, some tracks for the Necrotardation and Personality Liberation Front comps, and a couple of unreleased songs.
Aaron Clarke (Guitar), Noise Levels correspondence, 2024

Lyrics found in Personality Liberation Comp zine #4, 2003

SOPHIE: The way I remember it, we parted ways with Aaron because the songwriting / genre aspirations weren't aligning. Aaron went on in the direction that Pure Evil went in, which was perfect and amazing for that band.
Sophie Jay (Vocals), Noise Levels correspondence, 2024
 

 
AARON: The band had broken up already and then reformed without me. The band had fizzled a bit, I recall. I was pretty busy with Pure Evil Trio and The Spitz at the time. I think maybe Brett had lost interest too, and Barney was pretty busy with GECO/forest blockades and just general mayhem. It was a while later when they got back together - I did play a couple of songs with them on bass during that time (I had also been bassplayer during the time Nathan was living in Melbourne). Sophie told me later that they were going to ask me to re-join, but then Brett passed and it never happened.
Aaron Clarke (Guitar), Noise Levels correspondence, 2024
 
NATHAN: Honestly, I never really thought we were a part of a scene in Wollongong. I thought it was just a bunch of friends playing music to a bunch of other friends. When Aaron told me that he and a bunch of people would travel from Sydney to Wollongong to watch us, I thought it was bizarre, like, 'Who the fuck would travel to watch us?', haha. Thinking about it now, I guess we were part of a scene. I hope it had some positive impact on people - it would be humbling to know that we were looked at in that way.
Nathan Player (Guitar), Noise Levels correspondence, 2024


SOPHIE: In May 2002 Brett suddenly died, which was a huge shock and trauma for all of us but I don't think we would have had the words for that back then. Nathan recently reminded me that Barney, himself, and I just sat in Sydney Park not knowing what the hell to do with our emotions. I was 23, Barney was probably 21, and Nathan is a couple of years older than me. We didn't know what to do - but decided we wouldn't play any shows in the meantime. Then in about September or so I left for the UK and that was it really. We never officially ended.
Sophie Jay (Vocals), Noise Levels correspondence, 2024

AARON: Brett's passing was sudden and unexpected. We all got a horrible phone call.
Aaron Clarke (Guitar), Noise Levels correspondence, 2024

NATHAN: Brett passed away on May 25th, 2002. It was my birthday and we were booked to play Melbourne that weekend. We played our last show (not that we knew it at the time) at the Midnight Star just three weeks earlier. It was a shit go for all of us. We stuck tight for a while and then drifted apart. We never really said we were no longer a band, we just haven't played again. I was way younger than the others at the time and for a while I felt resentment towards the band (not the people in it). It was a pivotal time of my life being in Charcoals; I felt grief and who knows what else. Looking back now it was all because I missed my mate - Brett was an amazing musician who could pick up any instrument and master it. Also an amazing artist. It was great to play alongside a great drummer, it really helped me develop as a bass player.
Nathan Player (Guitar), Noise Levels correspondence, 2024

SOPHIE: This band was for formative for all of us - Barney, Nathan, and Aaron I would consider family even if I don't see them all the time these days. Also, the people in the bands we played and toured with, I'm thinking Conation and Iron Sausage in particular, left a permanent impression on me and John from Iron Sausage is still one of my best friends to this day over 25 years later.
Sophie Jay (Vocals), Noise Levels correspondence, 2024
 
RELATED BANDS: Navel Graveyard, Frontside, Rukus, Standard, Vomit, Black Fucking Eye, Had It, Scum System Kill, Walrora, Grey Places, Tocsin, Exposure, Rocketboy, Pure Evil Trio, The Spitz, Things Fall Apart, Suicide Rap Orgy, Masstrauma, Grimm Tongue, Turds of Prey, Hee Haw, Occult Blood, Ether Rag, It's Science, Thorax, Coward, Bone Turd, No Doz, Bad Scene, TBX, Tank O Piss













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Monday, December 2, 2024

John Madsen

John Madsen

  • Subversion (1993-1996) - Bass
  • Twin City Faction (2003-2007) - Bass
  • Frank Rizzo (2007-2011) - Bass
  • Unknown to God (2010-2016) - Bass
REGION: Sydney, NSW
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Tuesday, November 12, 2024

Orstralia: A Punk History

It's hard to believe that a 'definitive' history of Australian punk had simply never been attempted before now. In his two-volume magnum opus Orstralia, Tristan Clark more than attempts such a feat - he manages to successfully synthesise three decades of multiple subgenres into a comprehensive narrative. 
 
It's impressive to see such a diverse and multifaceted history hammered into a recognisable shape of sorts.  
 
Orstralia not only shines a light on bands that are often obscure and inherently resistant to documentation, it also makes sense of a cultural movement that has endured well beyond the realm of gimmickry or faddishness. A huge part of what makes this text such a cultural touchstone is Clark's ambition in telling what amounts to six separate but interrelated stories - prior to 1901, Australia was (politically speaking) not a nation but a collection of colonies. Much has been written about the 'tyranny of distance' that characterises Australia's history and social development, however, Orstralia ponders the eruption of punk in each of the six states that grew out of these colonies and (on at least a subconscious level) considers the question: how did punk manage to happen in a country so large and isolated?

Orstralia began as a single volume but, as Clark's research took him deeper and deeper he eventually found himself six years into writing and with more than enough material for probably three books. I was curious how someone could plan and pull together something so audacious. 

Here's an interview with Tristan Clark to help answer this question! 


What drew you towards attempting something as ambitious as Orstralia?

I really began from a place of naivety so I'm not sure I grasped the ambitious of such a project. Nor was I cognisant of just how much of my non-working time would be consumed in the years to follow. I'd recently reread Inner City Sound by Clinton Walker which, while a cool artefact, was limited in its scope when documenting early Australian punk. I also read David Nichol's history of Australian rock 'n' pop, which kind of dismissed the post-70s wave of punk. It became apparent that there was need for a comprehensive history like that which already existed for most of the other nations who were early adopters of punk. Given I was working a loathsome customer service job at the time it seemed like something meaningful to undertake.

What was your primary method of collecting testimony and documenting these bands? How did you figure out which bands to focus on?

I initially just messaged people through social media and thankfully nearly all of them were receptive to an interview. My planning was minimal at best, though, so I had no real formula for what those would look like. I knew, however, that I didn't want them to follow a rigid question and answer format. Most interviews were conducted by phone, the remainder split between in-person and email. My method quickly evolved into fairly loose questioning that lent itself to more conversational interviews which yielded far more engaging responses.

I tried to keep the parameters of who would qualify to be in the book quite broad. As to which bands I sought to specifically focus on, in the beginning it was just whoever was willing to speak to me. As I collected more interviews it became a bit more targeted; some was for my own curiosity or fandom, but also acknowledging there was a set of groups that people would desire attention be given to. But I was very conscious of not limiting it to the most obvious bands and locations and desiring to see what I could excavate beyond that.

I was especially impressed that the book made 'space' for a range of different people... I feel like the intersectionality of punk subculture and LGBTQ identities is rarely looked at, so it was great to see this in the '90s volume. Did you set out to shine a light on the extra-marginalised within an already marginalised community?

It's no great revelation to describe punk in Australia as having been predominantly white, straight and male. I tried to balance the desire of acknowledging people who fell outside that characterisation with the hazard of it becoming disproportionate and not reflecting the reality. To be honest, I was actually a little anxious that the books would be critiqued for a paucity of voices beyond its dominant demographic so it's nice to hear that was not your impression. It would be great for the area of more marginalised people within Australian punk to be explored with serious, but as a white, straight male it is definitely for someone else to take up such a project.

Something else I've noticed is that you've managed to capture a few voices of people who've passed away in more recent times. I'm guessing this is one of the bittersweet things about spending six years working on such a project... was there ever a point where you felt like you could spend six more years on it? How did you decide when to stop?

Just from the people I interviewed, twelve had died by the time the books were released which, without looking at mortality statistics, seems an inordinate number out of two hundred-odd people. That sense of temporality maybe propelled me to get the project concluded both as a tribute and through desire to not have it remain unfulfilled. There was no specific target I sought to reach that would indicate the end, but instead a simple realisation that there was already way too much material. Having been about five years and an incalculable number of hours by then, I just wanted to have it finished and be able to move on with my life. Little did I know it would be a further few years of editing, collecting images, waiting, more waiting, and then the responsibilities that came before and after the realise. But I don't wish to portray all that negatively or as overly burdensome. I most;y loved the experience and it's been a thrill to see it come out and the response to it.  

What's the strangest or most surprising thing you uncovered in your research?

While writing the book I began a job where I work with a sizeable number of neurodivergent young people. From my interactions with them, I began to detect similar characteristics and traits in the people I was interviewing for the book - others even divulged their diagnoses to me. I still go to shows fairly regularly and I made the further connection that so many of the people who are currently involved in punk, or who I have known when they did so previously, have some form of neurodivergence, IE. Autism and ADHD. I'm unaware if someone has ever formally studied neurodivergence in punk but my hunch would be that it has quite a disproportionate presence.

I remember reading that Orstralia was originally planned as a single volume but that the size led to it being split into two. How difficult was this to do? Is there a neat division between the two eras?

The original manuscript ran to over 250 000 words. PM Press said it was fantastic and agreed to publish it but also that it needed to be half the length. Given that '90s Australian punk doesn't possess quite the same cachet overseas as the earlier stuff it seemed an obvious decision to excise it. I was then left with this entire unused section and the decision of what to do with it. I tried recording it as an audiobook/podcast but my pronunciation of every 'p' sounded like I was violently spitting into the mic (in a book where 'punk' occurs repeatedly) and kind of ruined it. After ignoring the issue for a while, I finally settled on self-publishing that section. In terms of a division between the two eras it does feel like there was something of an interregnum moving between the decades. The late '80s was the waning of the hardcore period and the number of bands seemed fewer. Then into the '90s you had the beginnings of what would become grunge and alternative which had something of a revitalising effect on punk given the resurgent interest in heavier, guitar-driven music.

Do you have plans to look at the '00s era at all?

I feel that maybe not enough time has elapsed - or at least since the 2010s - to justify writing that history just yet. Punk also became so big and diffuse post-2000 that it would be quite an arduous task to gather it all together. Given these two books consumed near eight years of my life I don't desire to continue. But I'd certainly love to see someone else take on that project one day. 

So what's next for you? Any other creative pursuits in mind?

I'm actually attempting to write a novel. Which if you informed my high school English teachers would likely humour them given my disinterest at the time. It's historical fiction based on the New Guard who were a right-wing paramilitary group in NSW in the '30s. Is possibly a terrible idea but is enjoyable at the least.

Thanks Tristan, I've enjoyed hearing about your process!

Thanks heaps for the interview.

Read more »
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Saturday, August 3, 2024

Daniel 'Dano' Ryan

Daniel 'Dano' Ryan

  • The Panic Attacks (2003) - Guitar
  • ROFL (2003-2007) - Guitar
  • Fallopian Butcher (2010-2012) - Guitar [U.K.]
  • Joythief (2013-2016) - Guitar [U.K.]
  • The Divorcee (2013-2016) - Guitar [U.K.]
  • Indigo Cult (2020-2021) - Guitar
REGION: Mid-North Coast / Sydney, NSW
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Friday, June 7, 2024

Omnicide

ORIGINS: Sydney, NSW
GENRE: Crust, Grindcore, Punk
YEARS ACTIVE: 1993-1995
 
MEMBERS:
RELEASES: 
 
  • Wartorn (1994) - Download Here.
    • 1. Devastator - Omnicide
    • 2. Breath of Destruction
    • 3. Horrible Pleasure
    • 4. Under the Blade
    • 5. Wartorn
  • Keep On Babble On (1995) [Compilation] - Download Here.
    •  Cops For S & M
  • Worst Case Scenario (1995) [Compilation]
    • Devoured
    • Programmed At Birth
  •  The Core Sessions (1995) [Compilation]
    • Insult
    • Drug Fucked
    • Frozen Existence
    • Dissector 
  • Discography (2020) [Anthology]
    • All above tracks plus:
    • Squat
    • Darren's Song
    • Shit Creator
SUMMARY: Forming in November 1993 after drummer Dubbo moved to Sydney from Melbourne, Omnicide fully solidified after adding second guitarist Juma in April 1994, with a lot of the music being written by Dubbo to go with Glenn's lyrics. The band lived together for some time at the Gracelands squat and toured Melbourne a couple of times and also played in Adelaide. The band began exploring a more grindcore sound after a couple of years and recorded 17 songs in 1995 (only a few of which ended up being released at the time) before breaking up. Some members then went on to form Noisam.
 
 
SHOWS: 

 
ORAL HISTORY:
DUBBO: I'd jammed with Grant before, with Nathan Summers. Grant used to live around the corner from Glen and Darren in Surry Hills.  
Dave Dub (Drums), Noise Levels correspondence, 2024
 
GRANT: Dubbo was the main instigator. I knew Dubbo when he lived in St. Kilda. I remember a massive party at his place after the D.R.I. show - we had now both moved to Sydney but hadn't had any contact for a few years. I didn't know many people in Sydney and I started going to a few shows at Newtown Neighbourhood Centre. Dubbo and I started chatting for a bit and then he asks if I want to have a jam with a couple of young guys he met from the southern suburbs. By this time I'd moved into Gracelands on Cleveland St, which had bedrooms big enough to set up a band in. Glenn and Darren came over and we all hit it off. I thought these two were absolute gold from the minute we met. 
Grant (Bass), Noise Levels correspondence, 2024
 
DAZ: The motivation behind starting Omnicide probably came from our love for early UK crust and grindcore bands. We started in a run-down terrace on Lord Street in Newtown. Then we moved to a squat called Gracelands in Chippendale. That place was dodgy as fuck. There were people coming and going all the time. Junkies too; heroin was bad around then. 
Darren Bottom (Guitar), Noise Levels correspondence, 2024

GRANT: We were all definitely influenced by UK crust, the smellier the better. Our first gig was at the Bowlo... I remember the sun was still up and the majority of people were spread out and not too close to the stage because we stunk. 
Grant (Bass), Noise Levels correspondence, 2024
 
JUMA: I'd known Dave Dubbo for years, we had a D beat thrash band called Compost in the Melbourne punk scene that we formed back in 1987, so he and I played very well together. I moved to Sydney not long after Omnicide formed and the guys asked me to jam with them to add an extra guitar to the band. I instantly got on with all the boys and it sounded so good that they asked me if I wanted to joint he band. I loved the sound they had already created and I fitted in very well.  
Jamie Davidson (Guitar), Noise Levels correspondence, 2024


GRANT: Our sound was so much better with two guitars. Dubbo was killing it with double kick and I had so much distortion on my bass it sounded just like a rumble.
Grant (Bass), Noise Levels correspondence, 2024
 
DUBBO: The band name means 'Kill all'. I determine it as 'murder to extinction', which is basically the way it's going with the world. The destruction of rainforests, logging, ozone depletion - everything! - pollution. Most of the lyrics are about devastation. Songs called 'Omnicide', 'Breath of Destruction', 'War Torn'... I've also just written a song called 'One World Nation', which is about Class War. It's about smashing some people's heads in. When I first got into punk it was about caring. There were heaps of vegos about, there were people who used to protest all the time and that was basically what punk was ages ago. It's changed a lot these days. Our band is into saving the environment and we're pretty much all anarchists.
Dave Dub (Drums), Loaded to the Gills Issue 7, February 1995

JUMA: The drummer Dubs and Grant (bass) used to jam around a bit and the other two guys just met in the same area and they started jamming together. They did a tour of Melbourne just before I joined this year and that really went off... What we do is grindy, you know. It's got a metal edge but I think it falls somewhere in between and the songs are all... well, they go with the name really. They're about the way the planet is at the moment - just really, really fucked up.
Jamie Davidson (Guitar), dB Magazine, 1994

 
REVIEW: As usual Omnicide are as tight as ever and have since gained a substantial following. Fortunately for the listener we have not been totally immersed in their ever-present voice of gutteral anguish.
Review by Matt of Core Sessions Compilation CD, Loaded to the Gills Issue 7, February 1995

GLENN: Omnicide is best described as crusty grindcore crossover. The scene that we play around with consists of a lot of death and grind bands, like Persecution for example. There are also a few crusty sounding bands like Unclean and Subversion. On top of that there are a lot of American-sounding hardcore bands up here like Minute Minder and Blitz Babies. A lot of gigs are happening and a lot of new bands are forming so everything is pretty promising, it's going well. But the scene doesn't get much publicity because all bands are doing it themselves and it takes a while to get out a record, CD, or tape. It is difficult to raise the money yourself. There are people that are into this scene and there are a lot of them, but the bands get missed out on by the mainstream street papers up here. And so you don't get to hear as much about it because it's a bit more underground.
Interview with Markus Koch, dB Magazine, 1994

JUMA: There's a lot of different people that come and see us. A lot of surfy types. They may not of had the same hassles as we've had so it's good to tell them what's happening. We've been squatting heaps and have been hassled by the cops. A lot of these people in our audience are still really young and haven't had any of that. They see this really fast, noisy, loud, aggressive sort of music and they're able to release some steam. I think that's what they get out of it. It all depends where you live. If you live at the beach suburbs you'd probably be going to the surf clubs and if you've lived out in the suburbs you'd probably end up... going to the pub every Thursday after work.
Jamie Davidson (Guitar), Loaded to the Gills Issue 7, February 1995

DUBBO: We did a good tour with Beanflipper through Sydney, Canberra, Melbourne, and Adelaide. The Crown and Anchor show in Adelaide was my best show. 
Dave Dub (Drums), Noise Levels correspondence, 2024

FEATURE ARTICLE: This is Omnicide's first major tour and there's no question as to whether they're ready. The question is: are we? They've played the Sydney circuit for just over a year now, hailing originally from 'the subversive streets of Newtown', and just to fill you in, they've played with bands like Subversion, the excellent Blitz Babiez, Downtime, Flycop, Persecution, Armoured Angel, Magnacite and Unclean, to name but a few. This time, it'll be with Beanflipper here in Adelaide. If we want bands of this calibre to keep coming back we'd better make it worth their while, so get the hell out there!!!
Nazz, dB Magazine, 1994

On the Street, October 1994

JUMA: We toured Adelaide and the crowds were completely mental. It was insane and so much fun. We then went from there to Melbourne with Beanflipper. Those gigs were great. We actually caught the train to the get to Adelaide. It was pretty messy, I remember I almost got kicked off the train a few times... I was very naughty indeed, smoking and taking some substances. Drugs and the punk scene and squatting was a way of life back in those days. 
Jamie Davidson (Guitar), Noise Levels correspondence, 2024

GRANT: We went to Melbourne a couple of times. The Adelaide show with Beanflipper and Price of Silence was definitely one of our better shows. Also, the McLibel Benefit Show at the Lewisham was a great show. We had a bunch of new songs that weren't on the demo and have always thought they were technically better and it made Dubbo proud 'cause I was using more than one finger to play. The McLibel show was to help some people who had made flyers in the UK that said "McDeath McMurder"... Maccas got so pissed 'cause they knew it was true. It went on for years, was fucken' crazy.
Grant (Bass), Noise Levels correspondence, 2024
 
FEATURE ARTICLE: Sydney's Omnicide describe themselves as 'grind metal and hardcore'. They've been together for a year, and recently added a second guitarist. In this time they've built up a steady following in Sydney, toured Melbourne, and recorded a number of songs. Five of these will feature on a demo which they'll be bringing to Adelaide... The band members have tastes that range between metal, rap, funk, jazz and grind - so there's plenty of variation. Whilst metal and hardcore form the basis of their music, "some of our songs are really heavy with distorted guitars but they'll still have a sort of dancey feel. There's a couple of songs like that." The doom style vocals mean that you'll have to wait for a lyric sheet to actually follow them. Live, they describe themselves as grindy and fast, with some songs sounding along the lines of Extreme Noise Terror, some black metal, and early American hardcore with doom vocals. And a good time was had by all.  
Daniel Kearney, dB Magazine, 1994
 
DUBBO: I left first because of personal reasons, and then I left Sydney. Some of the other guys from Omnicide formed Noisam but I was gone to Queensland by then.
Dave Dub (Drums), Noise Levels correspondence, 2024

DAZ: We disbanded after a few years due to conflicting ideas on which direction the band was heading.
Darren Bottom (Guitar), Noise Levels correspondence, 2024

JUMA: I'm glad we were able to entertain so many people. The bands that were around back then were awesome, in both the Sydney and Melbourne scenes. I remember when I first came up to Sydney with Compost and played with bands like Tutti Parze, it was all very politically-motivated angry punk thrash, but we all looked after each other as well - if anyone fell over in the slam they were instantly picked up by others. I did however leave all this behind in '94 and got clean and sober. I needed to get clean and sober as I'd been an addict for years by then and had been squatting for 10 years. I'm not ashamed of saying this because, as I said, we were all family and living on the streets came at a price with drugs. I've been clean and sober since '94. We've lost a lot of beautiful people from drugs and I have an 18 year-old son now and he wouldn't be here if I'd just kept using and drinking but again, that's how we all were back then. We were from broken homes - hence why we were all family and looked after each other.
Jamie Davidson (Guitar), Noise Levels correspondence, 2024

RELATED BANDS: Compost, Warpspasm, Noisam, Unknown to God, Sordid, Smash & Grab, Crust Fund Kids, Coffin Fly, Mountain Depression, HuggaMugga, Cachexia, Devious Kickback, Subversive Intent, Consumers of Greed, Dancing Outlaws






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