Renegados (Os Impregnantes #10)

Don’t die while you live! While you’re standing there (doing nothing much), a lot of people are taking action!

This anarcho-punk zine is the work of Armando Tomé from Curitiba (south of Brazil), with support of other punx from the Fazendinha district. “We still have pretty much the same ideals, showing that critical thinking wasn’t a passing fad. Better still: it shows that we haven’t turned into those ridiculous conservatives.” Os Impregnantes could mean something like “we, who’re full of ourselves” (see Armando’s explanation). The following issues are available online:

# 9 (1995): text about atheism, anarchist punx against racism, a presentation of ‘Crude S.S.’, columns about urban violence, squatting & military service.

#10 (’96): interviews with the Brazilian bands ‘Renegados’ (Curitiba) & ‘Mentes Ativas’ (Piracicaba), the story ‘punks del maata’ (“punks from the woods”), Viva la Pinga (“long live pints”) show, etc.

#11 (’96): interviews with Brazilian bands ‘Ação Positiva’, ‘Besthöven’ & ‘Metropolixo’; report on the Maio Negro (“black may”) gig commemorating the general strike that took place in Chicago (110 years before) in the fight for 8 hours of work per day (several anarchists were killed), news from Curitiba, and more.

#12 (’97): presentation of the band ‘Offense’ (Curitiba), report on an a fascist attack and eviction of Czech Squat, info Blitz squat infogroup (Oslo), texts written by the Impregnantes & Libertários cooperative (racist violence in Curitiba, police violence in Salvador).

#13 (’97; in Spanish): scenereport about Curitiba, an article on atheism and presentation of the band ‘L.A.I.’.

#15 (’97): interview with anarchist poet Reinaldo O. Hening, info on the centro social alternativo autogestonado (squat) Casa Encantada (Lisbon, Por), Polenta Frita punk festival VI in Caxias do Sul, talk with the band ‘F.H.C.’ (Fome, Histeria e Corrupçao; Minas Gerais, Bra), meeting with indigenous people in Joinville (Bra), chat with the ananrchopunk band ‘Resistência’ (Uruguay), Austrian scenereport, and more.

#16 (’98): edito on the punk-movement in Fazendinha with info on the Castro Alves cultural centre, reviews (concerts/tapes/zines), homebrew recipe; interviews with (cartoonist) Marião (SCAB Lomhlaba zine), ‘Difekto’ (Curitiba), ‘Sistema Criminal’ (Bilbao, Bizkaia, Euskadi) & ‘Cojoba’ (Porto Rico); Italian scenereport, Payol squat (Curitiba), etc. etc.

Armando played guitar in the anarchist HC/punk band ‘L.A.I.‘ (‘Livre Associação de Ideias’; “free association of ideas”) in the second half of the 90s. He tells me the band is still active (still the same line-up). They promote the ideas of their collective Cooperativa Impregnantes e Libertário. Members participated in other band-projects such as ‘Offense’, ‘The CO2’, ‘Tratores de Luxo’, etc. They also released Cooperativa Impregnantes e Libertário tapes. Armando also has a distro going (Attack Social Records).

Brob

I started doing the zine in 1993. The aim was to disseminate anarchist ideas and the punk ideology, writing about punk activities (shows, demonstrations, protests & meetings). There were interviews with bands from our scene and with people we were in contact with via (snail)mail around the world… The zine is in Portuguese and has always mainly been distributed in the Brazilian punk scene.

The literal meaning of ‘Impregnante’ is a sticky substance that penetrates a body or environment. In our local slang it also has a figurative meaning: an ‘impregnant’ person is someone who is overly insistent, generally uncomfortable, annoying and clingy… Referring to someone with that word is definitely not giving them a compliment.

The zine was started collectively by punks from the Fazendinha neighbourhood, the suburbs of Curitiba. Our initial idea was to disturb, to impregnate the society with our ideas. Using the resources that were available: magazine-clippings, handmade drawings and texts written on a typewriter. After the third or fourth edition I started doing it alone and there were 16 editions between 1993 and 1998. It appeared irregularly; sometimes there were three editions in a year, other times just one… The format and number of pages varied; I kept the last editions to some 20 pages.

At the time, zines were a very efficient way to promote the counterculture, to spread information that is relevant for the punk movement. With the growth of the virtual world and access to the internet, physical fanzines diminished from the 2000s onwards. Now it has gained relevance again. I think the new generation is realizing that the smartphone does everything but is not everything. It’s giving value to physical material, something that for them, digital natives, is new. Currently [spring 2024] I’m doing new editions of the zine in physical format, distributed mainly at local shows but also release them as PDF for wider dissemination. I talk about old and new scenes…

The collective produced many other zines such as: Utopia – a zine created collectively (only one issue), Já Sem Dentes (“already without teeth”) – 1998/2004, a comic zine that I made together with another Brazilian punk who had gone to live in London, Sociedade Auto Destrutiva (“self-destructive society”) – distributed widely in the early 2000s.

Nowadays I dedicate myself to digitally archive my city’s punk history from the 90s on blog impregnantes.com.br [flyers, photos, recordings, video, etc.], for entertainment and research purposes. Most of my zines are available to download. I believe all these are historical documentation, countercultural records that shouldn’t get lost. It’s voluntary work, no intention to make profit, as punk should be. No ads…

In 2020, I participated in the Feria Del Libro Punk [“punk bookfair”], where I gave a talk (in Spanish) about my zine-work in the 90s.

Stay rebel, stay anarchist, stay punk!

Armando

[Translation below; thx to Armando]

‘Renegados’ (“renegades”)

Since when does the band exist and who are the members?

We have been around since February 1995 but rehearsals only began in April. The members are: Moska (“fly”) (vocals), Elvis (guitar) and Fábio (drums).

How do you define the band’s sound?

Punk noise.

Are all the band’s members punks? What projects do you have going?

Yes. Elvis does the zines Berro HC (“HC scream”) and Ação Subversiva (“subversive action”), Moska plays in three other bands: ‘Quebra de Padrões’ (“pattern breaker”), ‘Sobreviventes da Desgraça’ (“survivors of disgrace”) and ‘Nojo Social’ (“social disgust”). He also works on the zines Berro HC and Discórdia (“discord”). Fábio also plays in the bands ‘Nojo Social’ and ‘Sobreviventes da Desgraça’.

Tell us in a few words about how the access to shows, rehearsals, etc. is?

We rehearsed at the house of a mate of ours and at Kaaza squat (play on words: casa means “house”). A space for shows is not avialable.

What is the band’s objective?

To spread and encourage punk culture, resist, annoy and be the thorn in the side of the bourgeois, the clergy, the military and all fascist parasites.

Is ‘Renegados’ influenced by other bands?

We enjoy the music of some activist punk bands but there are no direct influences.

The band is featured on the compilation-album Maldita Repressão (“danm repression”). Can you tell us about that?

It was something unexpected, it was a stimulus to continue with the band-project.

How can people contact you?

P.O. Box 1094 CEP 80.020-970 Curitiba/PR. People who think punk is a joke or a fashion shouldn’t write.

Plans for the future…?

Recording for a compilation-tape with the activist bands from Curitiba: ‘Desajustados’ (“misfits”), ‘Transgressão’ (“transgression”) and ‘Livre Associação de Ideias’ (“free association of ideas”). It will be titled Bêbados, Pobres e Contestadores (“drunks, poor and contestants”). And continue resisting and revolutionizing within the punk culture.

Any messages?

No more ‘77 punks. Fuck fake punks, death to the bourgeoisie and idols. God does not exist! Smash fascism!

Lixomania (Factor Zero #1)

David ‘Strongos’ Cintra Sobrinho, from São Paulo, did this “first Brazilian punk fanzine”. He became co-owner of  the label/store New Face recs – together with Fábio Sampaio (‘Olho Seco’ vocalist) – and played guitar in the band ‘Anarcoólatras’ (1980-82). Later he became a jourrnalist and nowadays he’s a press-officer.

In an interview David told that Factor Zero was born out of a talk with Fábio (founder of Punk Rock Discos) about the fact there was no information in Brazil about what was going on in terms of punk. Fábio had contacts abroad (Europe) and David searched through some major (European) mainstream music-mags.

The name of the zine came from a book by William Oscar Johnson (referring to a theory about the thing that all U.S. presidents who took office in years ending with a ‘zero’, died during their mandates). His motivation was to publish about bands that he liked and the true ideas behind punk. “It was only after publishing issue zero that I discovered this universe of fanzines.”… The intention was to always have a interview with a Brazilian band in every issue and, as far as possible, promote new albums that were released abroad.

Issue zero came out in 1980-81. After that it took a while, there was no definite periodicity. “Getting the money together could take a while.” There was #1 & 2 but “When I saw that Factor Zero had spawned several other (better) fanzines, I thought its mission was accomplished: I was 15/16 year and didn’t want any commitments… I also played in a band and I thought it was more important to dedicate myself to that.”…

On his blog David writes: “The third and last Zero Factor is one of the many mysteries in my mind. I only remember that it was the most complete of the three and the one that sold the most. Money was a problem, since I spent it all on drinks, records and tapes. So I gave up the adventure. And I didn’t keep anything, not even originals, not even a single copy.”.

#0-2 can be downloaded from his blog. David”s words: >>Issue #0 was a “little newspaper” to show that there was punk in São Paulo. There was a comic-strip (taken from MAD magazine) that is a satire about punk. At the time, some people didn’t understand why I put it in, since it “hated the movement”. I don’t think so, it’s just humor. My opinion about ‘Cólera’ – and almost everything else – changed a lot. (I admit that I was unjustly harsh with them.) A mistake but that’s what I thought at the time. My zine, my rules… The concept of punk at that time was very different from today… That first edition was an experiment. At that point I had discovered that there was a whole ‘fanzine’-culture in other countries.

The second (#1) was superior to the first in terms of content. But I still had the problem of sources to get pictures and information about international bands. The New Musical Express and some other magazines became a source; only the English Zig Zag had some punk / new wave / post-punk content – but that fitted the zine’s purpose. [presentations of ‘Killing Joke’, ‘UK Subs, ‘Discharge’, ‘The Cure’] There were also national bands of course. This time I did bits [not interviews] about ‘Fogo Cruzado’, ‘Inocentes’ & ‘Lixomania’. I also tried to write political articles and reflections about the ‘movement’. The ideological message became more substantial. It was the best selling issue. I remember having a print-run of 50 copies that sold out in a few days. I believe that it’s a historical document of a period where punk was gaining ground in Brazil and bands started appearing non-stop – and, unfortunately, the first bullshit too…

In the third issue (the last), I wrote quite a bit about matters regarding sexuality. There was a certain sexism and underlying machismo present. After all, we were all teenagers and “politically/socially correct” wasn’t even in our (or my) thoughts. Basically, I wanted to pay attention to the fact that in Brazil, at that time, punk was absolutely a male thing. Where were the girls? Soon after the publication some girls came to question me about the poking; e.g. regarding what I wrote about the ‘Go-Go’s’: “There should be bands like this in Brazil but we don’t have girls here, not even in the audience, let alone on stage!”. They were furious… But that was a good thing, because after the discussion I ended up with one of them. All in all, the editing showed a small evolution… [Other bands featured in this one: ‘Theatre Of Hate’, ‘Plasmatics’, Chron Gen’, ‘Olho Seco’, ‘Desequilibrio’, ‘Adolescents’, ‘Guerrilha Urbana’, …] By the way: if my memory doesn’t betray me (and this is doubtful) I started to make a fourth issue, but didn’t finish it… So, this was the last FZ published.<<

‘Lixomania’ were (in 1979): ‘Adá’ Adauto De Andrade (bass), ‘Tikinho’ Edson Lopes (guitar/vocals) & ‘Zú’ João Aparecido Moreira (drums); in 1981 Alê left the band and ‘Moreno’ Mauro Bento De Oliveira took over the vocals, ‘Zú’ was replaced by ‘Miro’ Valdomiro Santino De Melo (ex ‘Guerrilha Urbana’). With this line-up, ‘Lixomania’ recorded the EP Violência E Sobrevivência (released Sep. ’82).

[Translation below]

LIXOMANIA IS THAT BAND THAT HAS A DANCER

It’s amazing how this band is improving in terms of sound, every time I see them they’re better. I’ve seen them three times and they got better each time.

They started this year (I think) with just three members: the guitarist and vocalist ‘Tiquinho’, Adauto on bass and Zu on drums. Later Alê joined as vocalist. Tiquinho is a good guitarist and from what I’ve seen, he must be the leader of the band, I just don’t like the drummer; perhaps he’s great but you can’t please everyone, right? That doesn’t mean their sound is bad, the vocalist is good. However don’t go thinking that they’re a band with the potential to match the English ones, they’re a starting are garage punk band.

And it’s a band that if they insist, and if they continue on the same path, they’ll still give something to talk about, determination and will is what they don’t lack and capacity too, but money is lacking. And the support depends on you!!!

I DON’T WANT TO LIVE AND I DON’T WANNA DIE.

Lixomania

We’re a band of the future.

We’re a noise band.

Let’s manifest our sound to the bourgeoisie.

We’re a band that says and that acts.

We’re a band that can’t take it anymore and we love producing our sound in the suburbs.

Our band is Lixomania.

Our band is from the suburbs.

From the suburbs of Brazil.

Moral Suckling (Cryptas #9)

This was a zine edited by Luis V. Cruz a.k.a. Luis Cryptas from Mexico City. The first issue was published in the second half of the 80s. Since #14 the printrun is 1.000 copies (distributed throughout Latin-America). #18, the last of the previous century, got out March 1999. It keeps going but more irregularly…

Luis also released tapes (Mexican and other bands) and runs Cryptas recs, a D.I.Y. HC/punk – crust/grind label (e.g. a benefit album for an anti-fascist bookshop). He was also the drummer of the band ‘Regeneración’.

Some content? #9 (’94) has interviews with ‘Fobia Estatal’ (Haltillo, Puerto Rico), ‘Naked Aggression’ & ‘Disaster’ (Bradford); presentations of ‘Chancro Duro’ (Quito, Ecuador), ‘Los Crudos’, ‘Ezin Izan’ (Donostia, Euskadi) & ‘Moral Suckling’; info on the A.L.F. and more. #10 (’95) contains talks with ‘Simbiose’ (Lisbon), Profane Existence, ‘Subversión X’ (Spa), ‘Hylkiö’ (Fin); presentations of ‘Cara De Hambre’ (Panama), ‘Karroña’ (Spa); scenereports (Finland, Austria, Spain, South-Africa, Peru, Argentina); articles (drugs, guerilla in Nicaragua), etc. In #14 (’96) there’s interviews with ‘Cripple Bastards’, ‘Under Threat’ (Bra), ‘3-Way Cum’, ‘Força Macabra’, ‘HomoMilitia’ & ‘Active Minds’; plus a report from the Czech scene & an account on the Colectividad Fronteriza gathering.

Brob

Cryptas fanzine started more or less by the end of 1986 but the first issue got out in June ’87: Mexican punk, hardcore, thrash & death-metal (photocopied). The first issues were xeroxed copies. #1 contained mostly music; after #3 there was social, political & ecological content… Since #20 I also distribute the zine in the U.S. and a few cities in Europe.

Escena Mexicana is a booklet that came with the HC/punk compilation-LP with only Mexican bands that came out in 1996. [content: presentation of the band, articles on neoliberalism/anarchism in Mexico/military service & insubordination; PDF donated by the Centro de Documentación y Fanzinoteca of the Museo Universitario del Chopo]

The tapes, vinyl & CDs I release are in support of a few bands from Mexico, Latin-America & other parts of the world. Any records are benefits for valuable projects in international scenes.

Luis V. Cruz

‘Moral Suckling’ was an anarcho-punk band from Salt Lake City (Utah). The line-up: Randy Thompson a.k.a. Tom Sin (vocals), Kaj ‘Ky’ Valentiner (bass), Joe Jewkes (drums), Troy Christianson/Christensen (guitar). They did a 7″ (No More War Toys; ’90) and an LP (Reach; ’92). More info in an interview in Profane Existence #15 (summer ’92)…

[Translation below; with help of Rossana T.]

We chose the name ‘Moral Suckling’ because we reject the systematic suppression of our individual knowledge and certain skills by the governmental institutions, religion and their own social formulas which are designed to control others for their own benefit, through conventional and oppressive morality, traditions and traditional rules of conformity. These are imposed on us from birth and are intended to constantly regulate our opinions, ideas, personality and worldview, and give us their blueprint for safety and comfort…which is merely a front for manipulation and deception. A path in which this is carried out through non-freedom of expression. Freedom of expression exists only within the narrow confines of this society and is only allowed if it’s seen as ‘non-threatening to their authority’.

Through this band we intend to express our deepest thoughts and encourage others to do the same. Those who are moral sucklings are being suffocated inside a silent tomb, at least until they choose to break with their programmed lives. We believe that this condition is not a ‘real life’, we believe that all of us have many things to share with lots of other people.

‘Moral Suckling’ is: Joe Jewkes (drums), Troy Christianson (guitar), Randy Thompson (vocals), Kaj Valentiner (guitar); Brooke Murray & Kaj (additional vocals)

If you have any questions or comments, please write us; we will answer all letters you send, and you can ask about our records and T-shirts. Thank you.

(From the Latin ‘bene’: good, and ‘facere’: to do). Inclination to do good. Action of doing good to someone. The practice of doing good. The habit of doing good. Virtue that pushes us to help our fellow-men. The person who does good is the one who by her/his advice, encourages her/him, supports her/him with his money, helps his fellow-men. The word beneficence is often confused with the words ‘charity’ and ‘philanthropy’. The things that are said to be charitable have, in effect, the same origin, the same characteristics and the same purpose [charity, beneficence, philantropy: three different sources of support] – which are called charity and philanthropy. Beneficence, in our social environment, where misery abounds, isn’t (most of the time) more than a cynical calculation or an abominable hypocrisy. It may be a calculation of the rich, who seemingly give a few crumbs to guard their wealth and thus calm the just anger that the unashamed display of their luxury can arouse with the poor.

True beneficence leaves hypocrisy behind. It doesn’t employ or use those tactics. It has a thousand ways to put this in practice in a useful manner, in a discrete and unselfish way. Without it being necessary for her/him to look for them, the benefactor finds thousands of occasions to help his fellow-men. A good word, an affectionate gesture, a wise advice, a timely encouragement, are sometimes more charitable and effective than alms; and when that encouragement, that advice, that gesture, that term accompanies a donation in money, that gives the latter an inestimable value. It is under these multiple forms that the propensity to do good will manifest itself in a libertarian society, that is, to help the weak, the sick, those who suffer, in order to lavish on them the support, care and consolation that they need.

It is true that then beneficence, charity, philanthropy, will be expressions with other meanings; and that all the feelings and acts that inspire the present material nudity and moral misery of our fellow-men will only apply to the ups-and-donws and setbacks inherent to nature. The current forms of beneficence will have disappeared and will be replaced by solidarity.

Beneficence. This is the name given to organised and planned alms-giving, a typical form of the bad bourgeois conscience, arising at the moment when capitalist exploitation gets felt most acutely by the working masses. Some of its manifestations are secular or neutral and are linked with bourgeois positivism or radicalism. Most of it is, however, religious and appearing under the inspiration of different churches and sects. Nowadays there are very few intelligent people of good faith, religious or not, who continue to believe in beneficence as a solution or even as an considerable attenuation of the ills of our society.

Olho Seco (W.C. zine #3)

W.C. zine was done by Rafael – the bassist of the band ‘W.C.H.C.’ (São Paulo) – together with a guy named Antonio. As far as I know there were 3 issues (1986-87). I have a copy of #3 (which I probaly got from ‘Redson Cólera’).

Bands featured in these three, are Brazilian bands such as ‘Excomungados’ (São Paulo), ‘Lepra’, ‘Leucemia’, ‘Ereção Fatal’, ‘Tropa Suicida’ (Santos, São Paulo), ‘Virus 27′ (São Paulo), ‘Dever De Classe’ (Salvador, Bahia), ‘Desordeiros’ (Rio De Janeiro), ‘Skarnio’ (São Paulo), ‘Espermogrãmix (Rio De Janeiro), ‘Kaos 64’ (São Paulo), ‘Olho Seco’ (São Paulo), ‘Dizintiria’, ‘Grito Surdo’, ‘Blokeio Mental’, ‘Karne Krua’ (Aracaju), ‘Submundo (Santo André); and the non-Brazilan bands ‘Condemned 84‘, ‘Public Enemy’, ‘Nabat’, ‘The Idiots’, ‘Anti-Cimex’, ‘Raw Power’, ‘Fear Of War’, ‘Crude SS’, etc.

Brob

Fábio Lunardi was the vocalist of ‘W.C.H.C.’ (he died in 1991 in a car-accident), his cousin Edson was the drummer of the band. I was the guitarist (also played in ‘Dizintiria’).

Aldrin Silva

‘Olho Seco’ (“dry eyes”) – also from São Paulo – are interviewed here when the band’s line-up was Fábio ‘Zvonar’ Rodrigues Sampaio (vocals), Sartana (drums), Luis (guitar) & Alexandre (bass). In the band’s early days (1980) ‘Redson’ Edson Lopes Pozzi (R.I.P.) played guitar and Val(demir) Pinheiro bass some time later. The latter two also played in ‘Cólera’.

[Translation below; thanks to Renata Lacerda]

ARE YOU POSITIVE OR NEGATIVE ABOUT WHAT’S GOING ON HERE?

O.S.: As for the music-scene we’ve always been negative; the same for our style. We don’t have adequate equipment to record our type of sound, we don’t have a place to play, we don’t get publicity; in short: every band that tries to play a more radical sound gets this, even here.

WHAT ARE THE QUALITIES FOR A BAND TO PLAY EXCEPTIONAL H.C.?

O.S.: Creativity, willpower, grit and knowing how to play a little bit.

HOW DO YOU LOOK AT THE CURRENT AND OLD ‘OLHO SECO’?

O.S.: As for the audience: it’s same as in 1980. There were about 20 people who really liked it. And now, in 1987, we have another 20 people who like ‘Olho Seco’. As for the style, we currently have more creative freedom.

HOW DO YOU DESCRIBE YOUR CURRENT SOUND?

O.S.: As a snowball and avalanche.

ARE YOU PLANNING TO RELEASE ANOTHER LP?

O.S.: As long as the record-industry doesn’t normalize its issues with independents, we won’t do a record. There’s no fun in recording an album at one point and listening to it the following year.

WHAT’S THE CURRENT LINE-UP OF THE BAND?

O.S.: Sartana (drums), Fábio (vocals), Luís (guitar) and Alexandre (bass).

WHAT IS THE MOTIF OR CENTRAL IDEA OF THE BAND?

O.S.: Antimilitarism, current skepticism about the future.

WHAT’S YOUR OPINION ABOUT CAPITALISM?

O.S.: No type of economic and political system has worked in the world, an example of this is poverty and hunger. Some are less miserable, some not.

HOW DO YOU LOOK UPON THE POLITICAL, SOCIAL AND ECONOMIC SITUATION IN THE COUNTRY? IS THERE A SOLUTION???

O.S.: Not at all, because people are idiots and the government is a joke.

ANY FINAL COMMENTS?

O.S.: That the bands that have something to say, don’t fall into this underground frame of Madame Satã, Rose Bom Bom… [Renata Lacerda: Madame Satã & Rose Bom Bom are underground venues of the 1980s. The latter doesn’t exist anymore. The first was closed for a while, re-opened in the same location and is now called Madame Club.] Do the same as bands from abroad or here: organise your own shows and record your own albums, tell these sons of bitches of the mafia to go fuck themselves.

NEW FACE RECORDS / P.O. Box 20030, CEP* 02597, São Paulo – SP – BRAZIL.

[label / store owned by Fábio Sampaio (‘Olho Seco’) and David ‘Strongos’ Cintra S.B. (‘Anarcoólatras’ / Factor Zero zine)]

Dekadencia Humana

I do two blogs (Dekandencia Humana & Punkzinoteka). The latter is about zines that were published on paper from 1980 until today. Because of my interaction with the global punk-scene I have more than 2.500 zines. The punkzinoteka is part of the anarchist space (Biblioteka Popular Juventud Moderna) in my city (Mar Del Plata, the ‘California of Argentinia’). We have zines from the Philippines, Japan, Europe, the US. I talk/write only a little English but understand it well. I’m in touch with people from the squat-movement/collectives and zinesters/bands in Europe. If people want PDFs of zines, they can get in touch and I can send them… [Spanish-speaking people: check it out!]

Dekandencia Humana started in 1985 as a punk-zine, nowadays it’s no longer on paper. Because the economic situation in our country has been chaotic (!!!) it’s too expensive to do a paper version.

Ge(d)rardo Ernesto Barboza (a.k.a. Gerardo Dekadencia or Dekadencia G)

The intro on the Punkzinoteka reads: >>Sharing the expressions of the heart from the diversity of the wonderful world of punk and anti-authoritarian ideas. Books, fanzines, diaries, notes, files of all times and eras, as well as from the most inhospitable corners of the world. SHARE – READ – AGITATE *** DO IT YOURSELF!<< Unfortunately there’s no overview of the content and all is in Spanish only.

The same goes for Dekadencia Humana (no easy links per issue)… The first issue got out halfway the 80s. This and the early issues (#1-5; 1986-90) are archived on archive(dot)org. Ge(d)rardo had been sketching and archiving material and his “punkzine came to life on paper around ’86” when he was living in Ushuaia (the most southern town in the world, in the Argentinian province Tierra del Fuego…

Gerardo describes himself as “A romantic dreamer with anarchist and punk ideas about the rights for animal/human life, a brick pointed at your hypocritical society…” . A piece by the Dekadencia Humana collective about The Rise of Punk in Argentina (originally in Profane Existence #48, 2005) is on diyconspiracy(dot)net.

Brob

etc. etc.

Massacre 68 (Armagedon #8)

This is part of the Punk Etc collection. The editor was Jesús Jiménez Martínez (a.k.a. Gato) from Mexico City (who later got involved with Puro Pinche Ruido). Nowadays he runs Sade recs: a label/distribution for metal/HardCore/thrash; & booking-agency. In the editorial he seemed to be aware of the divisions between metalheads and punks, the problems with drugs/alcohol and sexist behaviour of some punks but now ‘Gato’ seems to have adopted a rather commercial attitude…

This issue n° 8 (dated 1987) features bands such as ‘F.C.D.N. Tormentor’ (L.A.), ‘Condemned Attitude’, ‘Depression’ (Oz), ‘Death Zone’ (UK; with Steve D-Fekt), ‘Ataque Frontal’ (Peru), ‘Massacre 68’ (Mex), ‘Tankard’ (Ger), ‘Vortex’ (Bel), ‘A.R.R.’ (Arizona), ‘Pazuzu’ (Mex), ‘The Dehumanizers’ (Seattle) & ‘Slaughter’ (Can); there’s also reviews and piece on punk in Europe.

Brob

The first issue was in February 1984. Armagedon was the first thrash/crossover fanzine in Mexico. After 10 issues I joined my friends to do P.P.R.

Jesús Jiménez Martínez

Armagedon was a thrash/metal/crossover xeroxed fanzine. Not a lot of HC in it. Just music, no socio-political issues. As most of the 90s zines here. Just intended to get free stuff hahaha… The guy’s a rip-off now, has a very bad reputation over here. He didn’t contribute to P.P.R. that much.

Miguel Ángel Cortés

‘Massacre 68’ (still) is a HC/punk band from Mexico City. At the time of this interview they consisted of July(o) on drums, Miguel ‘Virus’ on guitar, Sergio ‘Aknes’ (vocals) & ‘Thrasher’ Miguel Ángel Cortés (bass; also ‘Histeria’, ‘Atoxxxico’, ‘Anarchus’, etc.).

[Translation below; with help of Miguel Ángel Cortés]

‘Massacre 68’ is a new band playing hardcore/punk mixed with a bit of thrash. Despite being a new group, they have a lot of experience among their ranks: the members were part of other decent bands: people who were in ‘Histeria’, ‘Descontrol’ and ‘Kaos Subterraneo’. They started doing concerts and have a demo out (which is already for sale); they’re the first straight-edge band in Mexico. Here’s an interview that we did the bassist.

WHO’S IN ‘MASSACRE 68’?

The band’s made up of July (ex ‘Histeria’) on drums, ‘Virus’ (ex ‘Kaos Subterraneo’) on guitar, Almes (ex ‘Descontrol’) yelling/cursing and myself (‘Thrasher’; ex ‘Histeria’) on bass.

WHEN DID THE BAND FORM?

We’ve been together since the beginning of April.

HOW WOULD YOU DEFINE YOUR MUSIC?

In order not to set ourselves goals (motherfuckers) we play Mexico City HardCore.

WHAT ARE YOUR INFLUENCES?

All of us are influenced by our former bands (‘Descontrol’, ‘Kaos Subterraneo’ & ‘Histeria’) and we also have different tastes. Some bands that like, are: ‘Wretched’, Ratos De Porão’, ‘Rattus’, the original ‘Discharge’, ‘Desecreation’ and 2-3 more.

WHAT DO YOU THINK OF METAL/PUNK UNITY?

Personally, I quite like bands in this direction, but currently there are a lot of bands that just label themselves HardCore to attract attention and there are also many that make you wonder about their drastic change in musical direction, for example the current ‘Discharge’, ‘D.R.I.’, Agnostic Front’, ‘C.O.C.’ and many more.

ARE YOU STRAIGHT EDGE?

We don’t really consider ourselves S.E. but rather we sympathise with this movement: we’re anti-drugs, anti-alcohol, etc. Currently there are a lot of assholes taking drugs and getting high until they drop; as if they wanted to prove something. I don’t blame them because they all have their problems but drugs and alcohol only make things worse. Besides: drugs are given to you by the system to keep you calm; plus: the police steal your money, it’s a real pain in the ass and if they catch you with any shit, they’ll take it away and give you a beating!!!

DO YOU THINK THAT IN MEXICO THE FANS KNOW WHAT THE S.E. ATTITUDE MEANS?

Very few and those few become assholes!!!; that’s why we take the ‘XXX’ of the S.E.-movement but only to distinguish ourselves from other groups and other people.

I KNOW THAT YOU ARE AN ACTIVE PART OF THE COLECTIVO CAMBIO RADICAL, FUERZA POSTIVA [‘Radical Change, Positive Force’ Collective]. HOW DID THIS COME ABOUT AND WHAT HAS BEEN THE REQUEST?

The C.R.F.P. collective formed to claim the name of punk and everything related to it. Performances are being organised to raise funds, and to be able to organise more concerts and put out our first fanzine. We’ve had some internal problems but it looks like the collective will be going for a long time.

WHAT ARE YOUR LYRICS ABOUT?

Everything that concerns us but we don’t get stuck in a single topic and we continue looking for new and positive things.

WHAT DO YOU THINK ABOUT THE WAR?

It’s the most stupid thing but those who participate in it are the biggest idiots.

YOUR FUTURE PLANS?

We will have a demo coming out very soon (now) and we will try to play frequently to distribute it.

ANY MESSAGE FOR THE READERS OF THE ZINE?

Keep supporting the local scene with your bands, fanzines and more!

ANYTHING YOU WANT TO ADD?

All those who want to exchange ideas, opinions or want more info regarding ‘Massacre 68’, write to Miguel Angel Cortés […] Mexico City. (Send a stamp to help for postage please – Send an IRC for more info)

 

 

MASSACRE [Tlatelolco massacre]

They’re not one of us, they’re not peasants

They don’t wear a uniform, just a white glove

The Olimpia battalion [paramilitary counterinsurgency group] is waiting

Hundreds of innocents will be your target

October 2nd, I forget!!!

Like a wild beast, going after its prey

Soldiers attacking on the square

Kicking with bayonets, machineguns

They demonstrate us the abuse of their power

chorus:

Hundreds of well-armed soldiers

There’s no escape, we will be massacred

Mutilated defenseless bodies, desecrated

We will be called political prisoners

An indefinite numer of dead people

Whose bodies will be hidden

chorus:

Hundreds of well-armed soldiers

There’s no escape, we will be massacred

 

 

THEM OR US?

I’m desperate, this is my frustration

I see you here waiting for our destruction

Damned murderers that, in the name of science

Invented projectiles to blow up the earth

Who’s more dangerous: them or us?

Them or us?

Them or us?

I said what I think, how happy I am

I’m locked behind bars, I’m going against the system!