Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. I'm a speed game, you gotta hear me say I'm a speed game, speed game I'm a speed game, you gotta hear me say I'm a speed game, speed game I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say I'm a speed game, you gotta hear me say Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. White Riot. Rest in peace Joe Strummer. Anniversary of his death, 13 years. Unbelievable. Then we heard Church of Misery, a song called Brother Bishop. Then we heard Lucifer, a song called Sabbath off Lucifer. Then after that we heard a band called off Rise Above Records, Blood Ceremony, Eldritch Dark. And then we ended with a band some people might know. I mean, they're pretty good. I think the men to my left will like them. A band called Repulsion and a song called Acid Bath. Off their fucking iconic record Horrified. 1984. 1984. Fuck, I can't believe it. 86 actually, 1986. In 1984, I got a demo tape from a band from Flint, Michigan. And it wasn't Repulsion at that time. I think it was Genocide. Genocide, yeah. And before the term Grindcore, before the labeling, employees were employees of employees of employees of employees of employees of employees of employees of employees of employees of employees of employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees employees sexy men, so it's good that I can hold my own. By the way, what moisturizer do you wear? Because you look fucking amazing. It's called grease. One of the things that's interesting for me... Let's lower that bed music. Talk about fisting. One of the things that's very interesting for me... By the way, hey, yesterday was Happy National Fisting Day. Did you know that? No. What is it with this holiday? I mean, you know, it's revolutionary. I'm glad I got mine in. Yeah, there you go. 1984, one of the things that's interesting for me, Flint, Michigan. When you think of Michigan, when you think of Flint, Michigan, you think of bands coming from that whole era, like Bob Seger, Alice Cooper, Iggy, Michigan, Detroit. Down the road in Detroit. In Flint, we actually had Grand Funk Railroad, who are from the city of Flint. When you started playing music, what were your main inspirations at that time? When I started playing music or when I started making bands like Repulsion and Genocide? Well, let's start with both. What were you listening to at that time? I mean, 1984, that was a pivotal year for anyone in the underground scene. Okay, in 84, I was 18 years old. I was listening to a lot of hardcore. And by that point, I guess Metallica had her couple records out. Slayer had a couple records out. I was a first-day buyer on Kill Em All and things like that. I was into trading demos and I bought a lot of demos from fanzines. Remember Metal Mania? Oh, yeah, of course. Up in the Bay Area. I used to send away three bucks for, I think it was $3, and he would fill up a 90-minute cassette or something. Did he give you the shitty Maxwells or did he give you a good TDK? I think they were TDK, the cheap ones, though. The ones that, like, three-for-a-dollar TDKs. They weren't good tapes. But what was important was the music that he put on them, which was Merciful Fate live soundboard recordings and Metallica radio appearances from San Francisco and all of Metallica's demos and Megadeth demos and Exodus live gigs from down the road. That stuff was amazing to hear. It made you feel cool because you were the only guy in the neighborhood that had it because everybody else was just going to the record shop and buying combat records and Megaforce, and that seemed underground. And then when the tape trading thing came, when that came into the scene and started exploding with all the fanzines that sprang up. Remember Brian Slagle's fanzine called The New Heavy Metal Review? Oh, wow. You're really going back. And, you know, the magazine where I first heard of Cryptic Slaughter, Brain Damage zine and Guillotine magazine from Florida and Death and Destruction, all these fanzines, that sort of just got the ball rolling. And I think Metal Mania and Kick-Ass Monthly from New York as well have to be given early credit. Sledgehammer Press from Michigan. These were some of the earliest fanzines. And they covered all this underground music that wasn't on record. They were only on tape. Right. And that just sort of, you know, I was obsessed with that. It was like any time I came home from school and there was a package hanging out of the mailbox, it was like Christmas Day. Wasn't that a refreshing and very exciting era at that time? Because everything was not only so underground, but there was this whole connected network of underground fans that were really pre-internet. You had to work at it. Now you just go online and, you know, it's easy. I mean, I don't mean to sound like a crotchety old dude. I do it all the time. Feel free, please. Back in the day. But, you know, it's like, it's true. You, nowadays, you don't have to put any effort into finding information about, like, if you tell me about a band, Go on YouTube. I can find their whole discography by the time I get home. Yeah. Back then, it was like, you know, you'd hear about a band and it was like, you know, this spoke about in hushed tones and you had to find somebody who had the demo and then you found them and like you waited two weeks for the demo to come in the mail and your pulse started racing as it tore it out of the envelope and that sort of thing is gone. And also, you know, just music in general, back at that time in 84, 83, probably from like 82 or 80, start with the new wave of British heavy metal going up until thrash metal started to get stale. Every time you went to the record shop and bought something or got a new demo in the mail, the band could be, there was the potential there to just change the fucking world. Yeah. Change everything. Absolutely. You're not gonna hear a band today like a heavy metal band. There's still great heavy metal bands, don't get me wrong. But you're not gonna hear a band that's gonna blow your fucking mind and change the world. You're not gonna hear another Metallica or Slayer or Voivod or Hellhammer, Iron Maiden's first album, Def Leppard's first album, you know, Motorhead. Yeah, we could go on and on. All those bands, like every week there was a new record coming out that just completely leveled everything that came before it and changed the way music was gonna be made going forward. And I don't think that you hear that in, at least not in heavy metal. And in general, I don't think people's dedication to music, at least listeners, I know there's musicians are still very dedicated to music, but the listeners are not engaged, the way they were in order for a record to just completely take over the world. Now, let me ask you this. How do you feel when they mention you and Repulsion being part of that innovative, such a pivotal and inspirational band of that era that created what is now this whole grindcore scene? How does that make you feel? I'm just proud of it. At this point, the shock of being part of that, you know, the longevity is worn off. There was a time when I just couldn't believe it. You know, Matt and I would sit there and go, I can't believe people are still asking us to play gigs. I think it's gotten to the point now where we don't take it for granted, but it's like, it's just become part of our lives where as long as we wanna play Repulsion gigs, it seems like if we're capable of doing it, we should be able to just keep going, playing gigs and just keep going. And I think that's what's so important to me. I think that's what's so important to me. I've been playing gigs and we're both doing other things with music and yeah, but we always have fun when we get up to do the Repulsion thing. It's like, it's always a blast and it's always kind of the same in the sense that like we always keep it real light and fun and we always have a good time with it. The shows rarely go every once in a while you have a bad gig but it's hard to have a bad gig when the audience is so fired up, you know, Something about that music just really brings out the goofball animal in people, you know. And it's not in a negative way. People get, we have people heckling us, like yelling jokes. It's all in good fun. But it's like our audience is really goofy, which is cool because we're goofy motherfuckers. So we like that. Does it blow your mind, though, that the music has remained timeless? Yeah. And still inspirational till this day? Yeah. Because who would have thought that that type of music would have the kind of legs that it does? Like, you know, Scott and those guys, Cryptic Slaughter, they were there as well. There were these bands, Hyrex is still around. Oh, don't get me started with Caden. These bands that are, you would have thought would have been long forgotten by now. Not that they weren't good bands, but, you know, it's a different level from Slayer and Metallica. As far as pop music. Popularity and professionalism. Also, you know, part of it is that those bands had enough success where, you know, they became a business. And it just keeps growing where bands like Cryptic Slaughter and Repulsion never really got to that level. So you never, we never created a business out of it. You know, it just became like a hobby. And it is crazy that people still are influenced by that music. Or there's young people still picking it up. But, you know, I think we have to thank the internet for that. Because it's much harder for things, or it's more difficult for things to fall through the cracks. You know, like when stuff was on record, if it went out of print, you would never see it again. Yeah, it was out of print. Like the New York Dolls, for instance. I remember reading an interview with Kiss or Gene Simmons. This was probably in like 77 or 78 when I was a big Kiss fan. And Gene Simmons was talking about... Gene Simmons was talking about... How much the Dolls influenced them. It took me five years to find a New York Dolls album. I walked into a record store one day and I saw it. And I bought it. And in fact, I was not even into Kiss anymore. It was like, you know, probably in like 83 or 84, they reissued it on vinyl. And I was working in a coffee shop in a mall. And I walked into the record store and I saw the Dolls album. And I was like, I have to have this. I've always wanted to hear this. Gene Simmons liked it. Yeah, yeah. So, you know, that's the kind of stuff, you know, bands were... The Dolls were bands. Basically forgotten at that time. And now they're legendary, you know. And it's because people can find out about stuff and read about stuff and find out how important those bands were at the time. And, you know, when you listen to it, you understand why. You know, there's a reason why when you listen to something like Repulsion or Cryptic Slaughter or the New York Dolls or the Stooges or, you know, the MC5, you hear these bands and you go, you compare it to everything else that was around. And you go, wow, yeah, these bands were... Revolutionary. They were cutting edge and they were definitely doing shit in a much wilder fashion than most people were. One of the things that I've always enjoyed about your band and then when I had the pleasure of meeting you is the fact that you are an avid music lover. Meaning that I see you quite often at different level type of shows. From underground to quote unquote mainstream metal shows. Another thing is the fact that you're very humble. Which I think a lot of it has to do with... The reason why your legacy in the bands has this such an immense afterlife, so to speak. You've also been very active still. Talk to me about Church of Misery and Rise Above Records. Let's start with Rise Above Records. What's going on with that? Are you affiliated with this label? I am. How come I don't get no free shit? Let's start with that. Because you don't ask. Yeah, we can work that out. Well, I don't know. We'll have to talk off the air about that. We'll go out. We'll do lunch. How's that? We'll do lunch, Jimmy. We'll do the alley. Now you're official. You happy now? I'm very happy. I became affiliated with the label when... I have a long history and a friendship with Lee Dorian that goes back to the early 90s when Cathedral first started touring America. Incredible band. And Lee was in Napalm Death. So we're sort of kindred spirits in a way. We both sort of drifted away from really fast... music. And when I heard Cathedral, I was completely just blown away. Again, you know, we're talking about the era when there were still bands around that were game changers. Yeah. You know, Napalm Death. You know, I cut it off a little early. I said at the tail end of Thrash, but let's face it. Napalm Death, Carcass, these bands changed the game as well in the early 90s. That was still happening. All inspired by Rapalje. Yeah. Entombed. There were... Godflesh, you know, look what they did for... Incredible. Like, you know, industrial type of heavy music. You know, they took it to another level. And so I heard Cathedral and I was just like, this is the fucking greatest band on the planet right now. I was blown away. They were my favorite band. Favorite new band. And when they toured, I couldn't wait to see them. I went to the show, met them. We ended up, you know, they were on tour with Napalm, Carcass, and Brutal Truth. So I knew all those guys. The only band on that tour that I had never met before were the guys in Cathedral. So that night, I was living in Chicago at the time. We all went out and hung out at a disco club in Chicago. And I think Matt Olivo was in town at the time. Some of my friends from Michigan were out that weekend. And we all just went out and had a fucking blast and had a great time hanging out with Lee and Gaz. And shortly after that, they were looking for a bass player. After they had recorded their second album, they were looking for a bass player. And a good friend of mine, a friend from Detroit, was bugging me to audition. And I finally picked up the phone and called the Columbia Records. And they hadn't filled the spot yet. Wow, I forgot about that. Columbia Records, that's right. That whole earache, the failed earache Columbia experiment. That's when Columbia Records invested a lot of money in the earache, man. Yeah, I think they had the idea that earache was going to be the next sub pop or something. They were going to be able to sign up all those bands and make music. They were going to make millions of dollars off of them. So I ended up in Cathedral and I played with them for a few years. I was still living in Chicago. Lee was still living in Coventry at the time. So when we got dropped by Columbia, I had to make a choice to either move to Coventry, England or stay in Chicago. And no offense to anybody from Coventry that's listening out there, but Chicago just seemed like a better option at the time. And I was really bummed because I loved playing in Cathedral, but I didn't want to play in Chicago. So I ended up in Coventry. And it just really wasn't feasible at that time for me to stay in the band. I would have been like completely flipping my life upside down to stay with the band at that point. So I reluctantly left the band and kept in touch and stayed friends with Lee and Gaz over the years. The lineup flipped here and there. And a few years ago when they were getting ready to do their farewell, they announced that they were going to retire, to their cathedral. And they asked me to come back. Wow. So I dropped what I was doing, rejoined Cathedral, toured the world with them, made a record and was able to get closure on that part of my life that I was really unfortunate that I had to leave it in the first place. So it was amazing. It was a gift that those guys gave me an opportunity to come back into the band. And I was moved beyond words to rejoin Cathedral. I absolutely adore that band and I adore the guys in the band. And so after the band was done, Lee and I talk all the time. So he was looking for a new way of doing business in America. And previously the label was distributed by Metal Blade. And they did a good job, but Lee just wanted to kind of have a little bit more hands-on control Right. over how he was doing it. And how things were marketed and delivered in the States. So I sort of came in to just, I don't do a whole lot, but I kind of help just kind of guide things in the right direction in America. I found a couple bands here in California that we've signed and things like that. So it may get bigger. It all depends, you know. I haven't left my day job yet, but. Are you enjoying though the fact that you've, for the last 30, something years, you've been so involved in music. Are you enjoying this aspect of your life now with Rise Above Records as far as like the business element of it? Yeah, absolutely. Because I love, you know, hearing bands and helping them out. You know, there's a band that we just signed from Fresno. It's kind of like tape trading again, right? It's kind of like rediscovering the excitement of rediscovering new music, new artists, and exposing it to the masses. Absolutely. So, you know, finding bands and then just helping them, like, you know, not make bad decisions in the early days when they're just trying to figure out how to get their stuff out there and how to, you know, how to make that first move. Not that I've, you know, not that anybody really has a formula for that, for success, because, you know, if we could do that, we'd all be millionaires. But, you know, it's just kind of helping out. Some bands don't need it. And some bands do look for guidance. And that's fun. Church of Misery. Mm-hmm. Fantastic band out of Japan. Incredible band. I think they're highly underrated. Very influential here in the United States as well. Talk to me about your relationship with Church of Misery and what's going on now with that band. How are you affiliated with that? They're on Rise Above Records. So that's number one. When they went to, when they finished the tour cycle and everything for the last album, they, everybody sort of left. And Tatsu was left, once again, being the only member. When you say left, you mean they just bailed? Yeah, I think so. I'm not sure if they all left at once or if, you know, it was just one at a time. Does it have something to do with radiation poisoning or anything like that that's going on? Maybe Tatsu's just too heavy to handle. I think that sounds better. I'm not sure why, why they all left, but it did open the door for some fresh blood. And this new album just so happens to have a bunch of old, uh, middle-aged white guys in the band. So it's a little bit different for Church of Misery, this album. You've got myself, you've got David Sulkin, the guitar player from Blood Farmers, and also works with, uh, Grindhouse Releasing, the amazing, uh, Blu-ray DVD company that also distributes films. Wow. And, uh, Eric Little, uh, from Earth Ride, the drummer, um, you know, another American guy from another great band. So it's all great musicians. And then Tatsu wrote all the songs. And I gotta say, this is probably one of the riffiest, grooviest Church of Misery records ever, which is great for us because, um, we also had great players on it. The, you know, Eric's an amazing drummer and David Sulkin is just a fucking, you know, completely out there amazing guitar player. Now you're very gracious enough to bring us a new track. Talk to us about this track. We're gonna play it right now, but tell us a little bit about that. The song is called Confessions of an Embittered Soul. And, uh, that's the title of a book about the woman that the song is based on. And her name escapes me at the moment. Um, it's, uh, it's about a woman who, uh, went to see a fortune teller. These are true stories. All of the Church of Misery songs, if you don't know, are about serial killers. So this one happens to be about a woman who, uh, I should have written her name down so I could remember, but, um, it's been a while since I did this research for the record. But anyway, um, she went to see a fortune teller and she was told that, uh, her children were going to die. So she decided to make an offering. Wow. And she killed, uh, three of her friends, like, that were neighbors. She invited them over to, she was also a card reader herself. So she invited people over to, uh, get their fortunes told. And then she killed them and made them into soap and, uh, tea cakes. A perfect Church of Misery song. Yes. Why don't we listen to this track? This is off the Decibel Flexi? Yeah, this version we're going to hear right now is the mix from the Decibel, um, Flexi series, which, um, if you buy the new issue, if you can get a subscription issue of it, it comes with this Flexi disc. And a different mix of this song will be on the album that comes out in March, which is called And Then There Were None. All right, Chester, take it away. Okay. employees employees! employees! employees guitar solo From the gypsy Dark fortune told Your children all will die Before their own Paranoia mother Must descend their lives Protect the babies Through human sacrifice Now step inside And drink the wine My confession guitar solo You come seeking fortune Within these tarot cards Now take my sage advice You won't get far, darling My eldest son Said to die at war Black tasks upon these lands Even the storm You put in a trance I swing down the axe My confession On the cold cold cold On the cold cold cold On the cold cold cold On the cold cold cold On the cold cold cold On the cold cold cold On the cold cold cold An unrepentant evil plan With that barbaric inner pride Recover for it when they die I fought with my rusty axe Spoiled doubts give up the past I saved this child life Paid the price Consumed the blood of sacrifice And the blood of the dead I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior I'm a warrior Brought in from inside of Black dirt and grey Hail the radiant interviews Watch me engage Sending further radiance invasions on your mind How could I do it if I had been blind? Radiance and brilliance are blackened in night What about the dark that radiates in night? Tiny pockets in your bones Still alive Where your body faces you Now you die Sending further radiance invasions on your mind The way you burn makes you blind What about the dark that radiates in night? employees We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. We'll be right back. inkling we got of what it was like. And then we played Murderfest for Daniel Dismal one year. And we did it two years in a row because we had such a great time the first time we did it. So we were, you know, the curtain, it was at the knitting factory, the curtain was down and we were like tuning up and people started chanting repulsion, repulsion, repulsion. And Matt and I were looking at each other like, what the fuck is going on? This is weird, you know? Yeah, they're chanting for you. We had never played a show like that ever. And the curtain went up and the place went completely insane. The whole place, I mean, I just remember it looked like a human popcorn machine or something. The whole place was like, people were just flying through the air through the entire show. And we had the time of our lives, probably one of the best shows we've ever played. And the whole time we were just completely stunned. I don't even know how we managed to make it through the set. We were so complete. Completely blown away. So playing in LA is very special. We're going to probably keep playing in LA down to any town. We're not going to play anywhere all the time because, I mean, let's face it, we have one album. So we're not going to play, we're not going to come around every three months and play that set for you, you know? So if we can get out there and play a show once in a while in different towns that, you know, where there's a lot of people that want to see the band, it's always great. You know, like later on in the year, we're going to London. And playing in Manchester. We're playing at Roadburn this year, which is going to be really exciting. But the show in LA is especially, you know, very special just because it's our hometown. We haven't played here in a while. And also 2016 is the 30th anniversary of Horrified. So we'll be playing that album in its entirety. That's incredible. 30 years? Yeah, yeah. We recorded it in 1986. It didn't get released on vinyl until 89. But we recorded it in June of 86. So we're going to play it in the next couple of years. We're talking 30 years since that recording was done. In January of 1986, we did our first proper demo, which was the Slaughter of the Innocent demo, which featured a lot of the songs from the... Well, it's actually... It wasn't really called Slaughter of the Innocent. That was the first... Or actually, the Stench of Burning Death is what people call it, I think. But it was actually... For us, it was called like the WFBE demo. Because that's where we recorded it at this radio station in Flint. It was a public radio station called WFBE. And our friend Kenny Roberts was kind enough to take us into the studio and record us for the first time with microphones and tape and, you know, in a studio environment. So that was the first time we'd ever done anything like that. We laid that whole tape down live on two-track. And, you know, that was really what got the ball rolling for us. We'd had a couple, like, rehearsal demos circulating out there. But that was the first studio recording. That was the one that, like, drew the attention of Jeff Walker and Shane Embry and Lee Dorian and all these people that went on to, you know, kind of take little bits and pieces of it and incorporate it into their own bands and become worldwide legends. 30 years. 30 years. How is it when you think when you were back in Flint, Michigan, starting out and to think where you're at now and the worldwide success as far as real success. Obviously, you know, it'd be nice if you had the dough, too. But the success of that music where it's so timeless and so inspirational where there's somebody around the world listening to that and picking up a guitar and writing their own tunes, that's got to be rewarding in itself, no? Yeah, it is. I mean, what can you say about that? It kind of just leaves you speechless, really, in a lot of ways. But it's cool. What a legacy. It's cool. It's kind of interesting that that all came off of one record, you know? In a lot of ways, that may be the reason why it is that way. I think that if Repulsion would have stayed together, I don't think that we would have pursued that fast style forever. So maybe it's better that we broke up when we did. I mean, I know that Matt and I, the intentions were never to be that fast. There was a time when we were pushing that. That was the agenda at one point, just to be really extreme. But that sort of was born out of an accident. It would be interesting to hear what would have happened if we just stayed together. But I think it would have changed. We would have evolved into something else. We were definitely restless and crazy kids. So I can't imagine we would have stuck with one sound forever. You think there would have been a Turbo Lover type of transition in there for you? I think that's where we were headed. Yeah, definitely. Definitely, you know, a lot of puffy, plastic jackets and short slicked back hair and dangly earrings would have been in our future. Seriously, I don't think we would have stayed that way. So it's cool that for repulsion sake, it's cool that we stopped where we did because now it's just kind of frozen in time. Right. And because of that, a kid can go get a repulsion tattoo and he doesn't have to worry that the band's going to sell out. It's not like he went out and got it. He got a big Celtic Frost logo on his arm and then cold late came out. Two weeks later. How do you feel when you see these kids with repulsion tattoos? Because there's a lot of them out there. It fucking blows my mind how many there are, I guess. You know, the first time I saw one was still back in the 80s, I think, or like the early 90s. And the guy was from Russia. And he sent me a letter or maybe he sent the letter to Aaron, the guitar player in Repulsion. But I just remember we got the letter. It was probably around the time that Horrified was released on vinyl. And this guy had a coffin in his bedroom and he slept in a coffin and he had a repulsion tattoo. And he sent us photos of him laying in the coffin with the repulsion tattoo. And the guy was from Russia. So that was the first time I ever saw a guy with a repulsion tattoo. And it was mind blowing. That was probably like 90. Let me tell you, I had the, I was fortunate, I know it's hard to believe, but I was fortunate enough to have a bodily fluid exchange of the very, very young, heavy metal, young lady under 30 who had a repulsion tattoo on what they referred to as a tramp stamp. Wow. And let me tell you, Scott, it was very hard to concentrate seeing that fucking logo on her body. Did you match your one eye up with that other one eye? With the one eye zombie? Did you give her an acid bath? Let's just put it this way. I had to focus on other regions of the anatomy to finish. For me, I was like, I'm not exactly the sexiest drawing. He has a new love for repulsion, let's just say that. 30 years. You should have just placed an ashtray over it. Well, I could only imagine what it must look like now. 30 years have gone by. January 9th, you're going to be playing the whole album in its entirety? That's right. All 29 minutes of it in its entirety. How do you feel when you're playing those tunes? Do you get like a resurgence? A resurgence of excitement? Yeah, I mean, it's just exciting. Do you trip out on the reaction? Not any, I don't really trip out on the reaction. Like I said, that time we played at the knitting factory, we were tripping out. Like I said, I'm surprised we made it through the show because we were kind of like stunned. But after that, it seems like all of our shows have been like that. So like, you know, people just have a really strong, positive reaction to the music and we feed off of that. We're just like, oh, I'm going to do this. We're going to do this. We're going to do this. We're going to do this. We're going to do this. And we have fun. You'll see Matt and I smiling. You know, we're not like up there, like sneering at the, if I'm sneering, I'm sort of being facetious, you know? It's like I'm having a blast the whole time. And it doesn't take any effort. That's the weird thing. Like people go, how do you do that? How do you still play that music after all these years? And it's like, it's just comes natural. It's fun, right? Yeah, yeah, it comes natural. There's no pressure. Yeah, you go to the gig and you're hanging out. You know, it's time to go. It's time to play. You go up, strap your guitar on, plug it in, turn on the fuzz pedal. People start screaming and it's just fucking on. It's like the old days. Exactly. It's better than the old days because nobody came to see us back in the old days. The last time I saw you guys was at the first Grindcore Fest. Oh, yeah. And you guys were smiling at each other while you were playing, but there were people flying fucking everywhere, singing the songs, huge pit. Yeah. And I was there with Jimmy. And to me, I remember saying to him, like, it felt like an old show from the 80s. Yeah, that was a good one. There was no, you know, barriers or anything around the stage. It's always good. That kind of stuff just, you know, LA in particular is one of the more, you know, stronger audiences for us. But it happens when we play in London. Everywhere we play pretty much these days, these kids go fucking bananas. I think the reason why you have this reaction and why it's always so... productive and healthy and positive is because you're not going up there as a quote unquote performer. You're not on tour where you have the whole grueling touring aspect, the scheduling, the business side of it. You're going up there with your friends playing to a group of friends from different generations. Yeah, exactly. Who all love the music. You love being up there. It's an interaction. You love being up there. It's an interaction going on. And hey, at the end of the night, if we want to do it again, we'll do it again. If not, so be it. And there's no pressure. Have you ever thought about writing new Repulsion material? Or have you been approached or coached or... You know, Matt and I have gone back and forth about this subject. And I think he finally, he wanted to do it at one point. I think he just gave up on me because I've always been just sort of down on the idea for the most part. And he writes, you know, grindcore. He's very capable of writing stuff like that. He still writes. I think he's going to come out with some grindcore music in the future, very near future. I don't know where he's at with that. But I do know that he's recorded some grindcore stuff. And, you know, he's played me demos. It's great. You're going to love the stuff that he's working on. But for me, there's something about Repulsion that is like... More than music. It's a time and a place. And it's this little youthful thing that I had, this spark that I had at the time. Yeah. I still, I feel like I still have a spark in me. But it's focused in different places now. You know, like the Church of Misery record was a challenge that I looked at and went, yeah, that's something I want to try. That's different. And it's not that I think that it's a bad idea to keep making grindcore music. I don't think I'm going to keep making grindcore music in 2015 or 2016. It's just not in my blood, you know, to... I have like a handful of grindcore songs every once in a while when I'm writing. It'll pop out like a grindcore riff and I'll record it. And I've got some like, you know, three-quarter finished, two-minute grindcore type songs. And who knows, maybe I'll record them someday. But the idea of like putting them out under the name Repulsion seems unfair to the... Yeah. You want to protect that legacy. Just because, you know, people's expectations are so crazy. And there's old fans, there's new fans. You could argue both sides of it. You could say, who gives a fuck what people think? Just make something. On the other side of the coin, there's the like, well, you know, it is what it is. It's kind of like perfect the way it is right now. We can go back and visit it. And it's always the same. And it always... Yeah. It's the same. Yeah. And like I said, all those kids out there that have Repulsion tattoos, they have nothing to worry about. January 9th at the Regent here in downtown Los Angeles. Just listen to this, Bill. Municipal Waste, legendary Repulsion. Terrorizer, another fantastic band, head of their time. That's amazing live. Oscar Garcia. Ghoul. Grave Hill. Night Demon. And a bunch of other bands that are going to be on the end of the card there. This is a great event. Make sure you get your tickets for this. This will sell out. This is not only an amazing show to witness, but also to witness Repulsion doing what they do best live. If you listen to the album, you know what I'm talking about. But that energy live is something that you can never, ever replicate except on stage. So make sure you check that out. Real quick, Church of Misery. Talk to me about the record. Do you sing on that whole album? I sing on the whole album. I wrote all the lyrics. It was something that Tatsu and Lee came to me and said, hey, would you be interested in trying this? And I jumped at the opportunity. And I love Church of Misery. And I'd never sang on a slow, doomy record before. So I was like, yeah, fuck it. Let me try this. And then I realized, wait a minute, I have to write a bunch of songs about serial killers. So I had to go back and do a bunch of research. And I learned a lot. And I found my creative juices just started. You know, at first, it took me a little while to find the right gear to write lyrics like that. And then once I hit it, it was like, boom. I wrote all the lyrics in a couple of weeks. So it happened really fast once I got to that point. Do you think you'll tour with Church of Misery? I have no idea what's going to happen with the Church of Misery thing. It's kind of up in the air right now. I would love to see Tatsu have a Japanese band. But, you know, who knows? I'm not sure if Eric and David are into touring either. I really don't know. Because, you know, Tatsu's in Japan and the other two guys are on the East Coast, we haven't ever had a group discussion about the future of the band. And I'm not sure what Tatsu's plans are with it. So we'll just have to wait and see. When is this album coming out again? It comes out in March. Yeah. On Rise Above Records. It's called And Then There Were No Ways. And then there were none. And I'm really proud of it. I think it's going to be great. The Show Your Scars thing, I'd like to mention that tickets, definitely get your tickets in advance. You know, just type in Show Your Scars Fest. I'm not prepared to tell you the website right now. It's really easy to find. If you're on Facebook, it's all over Facebook, Show Your Scars Fest. I believe the tickets are sold through TicketWeb or AXS, one of those. Through whatever, however you go to the website. You can go to the Regent Theatre website and you'll find the ticket link. And it's only $25 for a fest full of amazing bands. Wow, with all those bands? That's a great deal right there. Yeah. It's a really good deal and the tickets are selling really well. So, you know, I suggest people, you know, grab the tickets. Makes a great Christmas gift. And a Hanukkah gift. All right. Let's listen to some music and then we'll come back and say farewell. Chester. Why don't you start us off with some Repulsion there. You're... You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. You're so good. I don't know. I don't know. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Say yes to drugs to the point of making others uncomfortable. Feel alright When the human decides He will shoot to the sky Only the love will bring you One more time I'm a crucial man I give you all I can He will never learn That's alright I'm a crucial man I give you all I can He will never learn That's alright I'm a crucial man He will never learn That's alright I'm a crucial man He will never learn That's alright I'm a crucial man I'm a crucial man I'm a crucial man I'm a crucial man I'm a crucial man I'm a crucial man The night employees of death Swept me into hell You were their breath It is a spell, lost all of the will Crucifixion death, no excuse to die I live with friends Even I know that I had, sparing dreams Blast out on you, never leave Now you begin to feel, unrelated to me My life is through I live with friends You got it seen Every good choice, death greets in Life's a variable, and it begins Screaming out lastly, until you're deaf The storybook comes to life, from the background On employees of employees On employees of employees On employees of employees On employees of employees On employees of employees On employees of employees On employees of employees On employees of employees Give him rest. And he's got the blues. All right. Scott Peterson, what did we hear? We heard Uncle Acid, a song called Pusher Man. Then we heard The Mighty Repulsion, a song called Black Breath from the album Horrified. And we ended it on The Mighty Repulsion, a song called Maggots in Your Coffin. All right. January 9th, the Region Theater, Municipal Waste, Repulsion, legendary Repulsion, by the way. Innovative, ahead of their time. Terrorizer, Ghoul, Grave Hill, Night Demon, and a bunch of other bands. This is going to be a great show. Make sure you get your tickets now. Do not miss this show because talk about such an eclectic group of bands, but also the legendary Will Pauls and we'll be playing this show. Only West Coast appearance of the whole year. Celebrating the 30th anniversary of Horrified. What an incredible feat. Scott, I want to thank you so much for being here and joining us. Real quick, make sure you check out Rise Above Records. Why don't you tell us a little bit about what's coming up with Rise Above? We have, let's see, in early 2016, there's so much good stuff coming out. We have the debut single by Fresno's Beat. Beastmaker. Oh, nice. A new doom band sort of in the vein of, you know, Witchfinder General and Pentagram. Fantastic songs, great imagery, great lyrics. They're coming out. We have another Los Angeles band called Tarkus is coming out with a single. I've never heard of that band. No one has. Uh-oh. Dun, dun, dun. The reason I love Rise Above Records. Exactly. That's right. You're going to hear them first through Rise Above Records. And we also have... We have the new Blood Ceremony album, Lord of Misrule, coming out. I just listened to it today for the first time. And if you like Blood Ceremony, this one is just going to blow your fucking mind. It's so good. Oh, incredible band. There's the Church of Misery record coming out. A new single from Admiral Sir Cloudsby Shovel, who are one of my favorite bands right now. Just an amazing, heavy rock band. So all of that stuff is coming out. There's a Dream Death Live album coming out. Nice. Rise Above in early. 2016. Legendary East Coast Doom band. So, you know, Mike Smail, their drummer, played drums on Forest of Equilibrium, the first Cathedral album. So a lot of good stuff. A lot of really exciting things happening on Rise Above in 2016. Repulsion's got a handful of gigs after the, you know, only West Coast appearance, which will be at the Regent Theater Show, the Show Your Scars Fest. And we're looking forward. We're looking forward to that. And thank you for having me, Jimmy. It's always a pleasure to revel in the sexiness that is Jimmy Cab's. Let's also mention this. Isn't it? Yeah. Scott Carlson and Jay Bennett from Ides of Gemini. They have an incredible, every Tuesday night at Footsies. This is incredible. Real DJs spinning amazing, eclectic, very rare jams on vinyl. That's going on tonight as well. So are you going to be DJing tonight? Absolutely. Every Tuesday for the past five years. I love that you just do all vinyl, man. That's so fucking, I hate going and seeing these so-called DJs and it's all with the same laptop and all that bullshit. You guys spin vinyl and then you spin some rare jams. Yeah. Is this off your collection? Absolutely. Incredible. Yeah, that bag and box that I have over there are probably worth more than all of my guitars and amplifiers put together. See, that's amazing though. Because most, as it being, the musician, you'd be like, oh, it's my gear. No, it's your fucking record collection. I have, one of the goals that I've had for 2016 is, thank you, by the way, for asking me to DJ there. As you know, as I mentioned to you off the record, now on the record, I have this whole social phobia thing. Where like I have... You can do it. We will be there. Since the age of six, my parents have been telling me what the fuck I am. I have this fear of just scratching a record and fucking shit up, you know. But I really want to DJ at Footsies, man. Because it's not only you guys, the real deal, but just the fact that that ambience that you create, real music on vinyl, cheap drinks, Footsies. Make sure you check that out. One of our goals is to have you DJ there. So we can both achieve our goals in 2016. I'm going to do that. For those of you who, for some reason, are going to hesitate, make sure you buy your tickets. January 9th, the Regent Theater, Repulsion. One of the most innovative, truly inspirational bands that have not only, inspired so many greats that are now world-renowned, but also great human beings. I want to thank you all for listening. Scott Peterson, thank you for sitting in. Mr. Scott Carlson. Thank you, Scott. Thank you so much. Check out Rise Above Records, an amazing record label. With that, Chester, take it away. Thank you for listening. See ya. See ya.! You are the eternity, the destruction, you are rotting magic in your stomach Words in your head, soon you'll know we meant nothing to be done in your fucking soul You are rotting magic in your stomach You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth You are rotting magic in your mouth I don't know. I don't know.