Seanocidal Fury — Haisha’s Sean Hogan Goes Off (Interview with Sean Hogan / Haisha)

01.12.2001  :: АрхивАрхив интервью Автор: Chris Alfano

After staring at this blank screen for over thirty minutes, I have come to the conclusion that characterizing Sean «Seanocide» Hogan is like pulling teeth with a pair of tweezers. In fact, half the battle is knowing where to start. Shall I begin by describing his role as the mastermind behind a Los Angeles-based thrashcore outfit known as Haisha? Or would it be better to start off with some comments on Traitor, his semi-periodic fanzine which rivals Chris Dodge’s Short, Fast, and Loud for brutally honest reviews and sharp-tongued commentary? Then again, there’s always the little prank that Sean pulled on Relapse Records a few years ago…

For some time, Sean had been bothered by the tendency of certain labels to preach the underground/d.i.y. ethic, yet practice just the opposite. In response, he decided to have some fun with the Relapse community by impersonating co-founder Matt Jacobson on the label’s message board. With his guise firmly in place, Sean posted a «farewell» message in which he announced that after many years of dedicated service to the underground, Relapse was closing its doors permanently. He even went so far as to post a «final releases» schedule, which surely fanned the flames of panic among the Relapse faithful.

As expected, Sean was booted from the message board and banned indefinitely. Then came a series of admonishments and borderline threats (none of which came from Jacobson himself) that culminated in a personal message from one of Relapse’s marketing representatives. At one point (among his attempts to defend the label’s business ethics), the rep made reference to Relapse’s supposed «target audience».

Target audience?

What label are we talking about here?



Geffen, perhaps?

If you are missing Sean’s point in relating this experience to us, it’s quite possible that he considers you a part of the problem. And if you have to ask «what problem?», this interview will perhaps serve as an underground/d.i.y. «primer» of sorts.

Getting back on topic, I hope the following discussion will open some eyes and ears to the more subterranean reaches of the extreme music scene. As you will see, Mr. Hogan is definitely not short on opinion. However, there is much that separates him from the average elitist with a loose cannon. Namely, Sean’s opinions come with perspective, which can only be gained through many years of intimate involvement in a scene that can seem a bit thankless at times.

Before we delve headlong into the mind of the inimitable «Seanocide», it’s worth mentioning that Haisha’s latest release is a 7″ which has the following words printed on the centerpiece of the vinyl:

«Ich zerstoerte die lebensflamme… versteckte schmerz mit gelaechter… hier steh ich nun alleine… ungluecklich fuer.»

It doesn’t matter if you can’t translate this, but being aware of it will make the humor behind question #18 a little easier to understand.

— (CA) I hate to start this off with a cliched, boring interview question, but I don’t know much about your history. Can you fill us in on why/how/when Haisha was formed?

— (SH) FUCK YOU TWINK!!! This interview is OVER!!! (Sean once again stomps away from an interview like the sissy primadonna he is). [And for the first of many times during this interview, I bust a gut laughing. —CA]. Jus’ joshin’ ya, my lil’ nigga! HERE’S A BUTTERFLY KISS TO MAKE UP FOR IT!!! [can I decline? *lol* —CA] Well, right about now I am listening to MY DYING BRIDE’s «Symphonaire…» CDEP and am in a rather somber mood… therefore I’ll give ya the ULTRA-SERIOUS version of Haisha’s Hollywoodesque biography. Basically I used to suck cock for cocaine on the streets of San Francisco… oh, wait a minute… that’s the story of Josh «I’m a fucking wannabe hippy» Bastard and Blowjob «I’m a fucking mainstream poser» Joe [these two gentlemen were Sean’s bandmates in his noise/ambient side project Mizuko. —CA]. What I MEANT to say was that Haisha was originally named NUCLEAR ADDICTS (after the title of a record by an excellent Japanese band called CONFUSE) around 1995, when I swore to myself that I’d FINALLY erase the hideous history I had with a band called DISINTEGRATION (my first band around 1992 when I was 19…we were a «grind» band and a really awful one at that). I was 110% inspired to start writing sonx (regardless of my ZERO musical talent/abilities) after both getting a super-rare split LP by a band called LARM (grandfathers of fast hard/noisecore… really the first «real» modern sounding fastcore band) and also discovering a Connecticut blastbeat-crust band called DEFORMED CONSCIENCE. I was enamored with LARM’s hellish «braindrill» distortion and proto-grind speed, and also with D.C.’s amazing riffs which were nearly melodic without sounding so (oh, and their drummer is one of the most entertaining I’ve ever heard, mixing speedy blasts with superb Swedish «d-beat» and also TONS of punches and nifty lil’ snare fills). So I pretty much floated through the last six years borrowing/stealing equipment and totally teaching myself how to play bass (cuz I thought it was «easy», and I also loved (still love) classic REPULSION bass-earthquake distortion tones!) and refining my sonx. I learned entirely through copying SIEGE and DEFORMED CONSCIENCE riffs (several bits of SIEGE riffs were outright stolen for a couple sonx off the split cd with MIZUKO… I’ll leave the truly «hardcore of the hardcore» to figure them out… the (Haisha) song «Moral Coma» is also an entire unreleased SIEGE track (from a live show they played in 1985) that I rearranged the riffs to my liking). I’m still not an «accomplished» musician today even by the hardcore scene’s standards and I really don’t give a fuck likewise! Anyhoo… I floated and refined and dreamed of doing the band until entirely by accident (fate) I ran into my «producer»/guitarist and friend Arthur Partida at a local coffee shop. Arty was friends with DISINTEGRATION’s bass player back in the day and I fucking swear that nigga Arty has a photographic memory, as he totally recognized me some 8 years later! Never mind that when I originally met that nigga in 1992 it was ONCE and I had fucking short hair then! Arty remembered the cupped-mic vocals that I did for DISINTEGRATION and wanted me to do them for his metalcore band AGGRESSIVE PATHOS (I ended up yelling hoarse Kam Lee style for both A.P. and Haisha). About two days into recording for the Aggressive Pathos CD, he asked if there was anything I wanted to jam out for myself… i.e. if I had any «dream» projects (ha!) for «fun». The rest is history, nigga!!!

— (CA) Many of our readers associate the term «thrash» with thrash metal. However, people such as yourself apply it to an entirely different genre. How do you define «thrash»? What distinguishes it from the other punk/hardcore sub-genres (i.e. grind, power violence, crust, etc.)?

— (SH) Well, when I use the word «thrash», it’s usually in regard to fast and noisy hardcore or classic chaos-punk… as both those genres used that term to describe their noise, as well as the thrash metal bands in the early 80s. I think that the word «thrash» is the only pure term left in the scene, as it’s fairly cross-genre, and is appropriately applicable to both scenes. Unlike «grindcore» (which I consider a hardcore-crust term), I’m not nearly as possessive of the word «thrash» and will throw it around for describing BOTH scenes… after all, all those forms of the aforementioned music are extremely conducive to some sort of epileptic fit, so why not use it?

— (CA) Ha ha, point well taken! You know, if there’s one thing that irks me about any given metal or punk sub-genre, it’s those whiny bands who bitch about being «categorized». You know, the types who say (insert high-pitched nasally tone): «Why do you have to pigeonhole us? Why can’t we just do away with labels altogether?» I mean, no one’s trying to «label» them! But without some kind of descriptive term, how the fuck is someone supposed to explain what a band sounds like to someone who has never heard them before? What do you say, Sean; should we abolish genre names altogether, and just start writing formatted reviews, like: «Band X hails from Snowshoe, Pennsylvania. They are a five-piece. They play really loud and really fast. Their singer screams a lot.»?

— (SH) I think we need the terminology… it’s just that too many peeps misapply the terms, which throws everyone else! I’ve heard niggaz call old EXTREME NOISE TERROR «grindcore» (WHAT THE FUCKING FUCK???)!!! Although I fuck around with terms myself… both creating new ones (i.e. «braindrill» guitar tone) for my own amusement, and also for labeling HAISHA shit, like «ghettocore slopgrind/hyperthrash». The main problem lies in that so many bands are fucking cross-genre nowadays… WHICH IS GREAT, as I also consider Haisha a cross-genre band (well, I PRETEND we are a cross-genre band)… but as I said you’ve got kids who were maybe into «normal» hardcore like NEGATIVE APPROACH, and once they introduce blastbeats or hoarse vocals, all of a sudden they are «grind», or «emocore», or fucking «virgin punk», or «christians against christ» [wow… so which «Christians Against Christ-Core» bands would you recommend starting out with? *lol* —CA] …ad nauseum. These bands (that complain about labelling) shouldn’t bitch, as they have done some amazing things to fuse genres together (therefore making their music more complex to describe)… it’s these bands’ arrogance in thinking that they are «pushing the envelope» and these other uninformed kids that fuckin’ misuse terms that fuck up/confuse the rest of us, and make us screw up our musical purchases. I firmly believe that whatever main genre a band is pulling from (it’s main influence) is the term that you should use FIRST, and maybe add that the band uses «hints» of another genre in their music. Case-in-point… Haisha employs blastbeats (used to employ… but possibly more on that later) and hoarse vocals… so therefore you could call us a grindcore band. HOWEVER my riffs are based in chaos-punk and hardcore… so you could maybe call us a fastcore band. A phenomenal band from Japan called SWANKYS (a Haisha influence to boot!) has screaming vocals (proto-grind in spots) and the noisiest guitars ever… I consider them a fucking chaos-punk band though (as do the old punkers out there). We’ve reached a point where peeps are either forgetting their roots, or aren’t bothering to do the research as to WHERE these old bands came from… so they end up totally fucking up their descriptions. When somebody uses generic/lame descriptions such as the ones you mentioned (and I HAVE seen descriptions like that)… well fuck man, that could literally describe ANY band in ANY fucking genre out there! I had a nigga call a CITIZEN’S ARREST LP «garbage disposal-core», when C.A. are really «normal» hardcore! So in closing, we NEED the fucking terminology IF the new breed of scenesters can be educated enough to use the shit right!!! And oh yeah, ALL bands that are cross-genre need to get off their high-horses, because they AREN’T changing the fucking world by «pushing the envelope» [Amen, brother! —CA]. I’m ONCE AGAIN firmly convinced that ALL the genres which are possible to fuse into tangible/distinguishable genres have ALREADY been created and refined/recognized in their own right a billion times over… NOW it’s just a matter of time in creating GREAT music in said genres, not «pushing the envelope» like an art-phaggot dickhead. [You gotta love this guy! —CA]

— (CA) You may have covered this already in a previous question, but but can you elaborate a bit on the bands you grew up with? Do you recall a specific moment when you just said «Fuck yeah, this stuff is the shit; this is music I can relate to»?

— (SH) I could (and HAVE for MENTAL FUNERAL zine) write a fucking novel-length answer to this question, man (I’m not kidding, this is a super-complex story), and to tell you the truth I HATE this type of question as it’s fairly exhausting to talk about (and I ALWAYS manage to leave some sort of crucial detail out)… but since yer my nigga I’ll give ya a condensed version!!! I barely got into ANY musical genre at all until I was 14, when I picked up MEGADETH’s 3rd Lp «So Far, So Good, So What?» (Good choice, actually. —CA] and was fucking blown away by the «speed» and «subversiveness» (hey, I was only 14, fuckers!). Being a loner even when I was young (and ALSO being blessed with a generous allowance) within about a year I had torn through the local cool «mom and pop» record store’s collection of thrash metal and crossover, and was still thirsting for something more. I seemed to go from following extremely complex bands (all the classic speed metal like METALLICA, EXODUS, ANTHRAX (I fucking ADORED old ANTHRAX) [Me too… what the fuck happened to them after «Persistence of Time»??? —CA] and early-mid era SLAYER (REIGN IN BLOOD and SOUTH OF HEAVEN), to following the more «simplistic» bands (i.e. the «crossover» bands like FEARLESS IRANIANS FROM HELL, old CORROSION OF CONFORMITY, D.R.I., M.O.D./S.O.D.) until I finally arrived at grindcore and fast hardcore. The store I went to as a kid was called LOVELL’S (they’ve sucked for years now), and they had some pretty ballsy buyers who’d take a dare on some real obscure gems. They stocked the first and only 12’s by the WILD RAGS Texas-based band ANIHILATOR, although the Canadian one RULES too! «ALICE IN HELL»!!! [Agreed — though I hated the second album! —CA]. I noticed that WILD RAGS was based in Montebello (a next-door-neighbor city to my home town), and decided to take some trips out to the owner’s store (Richard… for all those who only ever read about this guy… YES he is just as huge an asshole in real life as the rumors state he is). LOVELL’S had stocked the 2nd NAPALM DEATH LP in 1988 when I picked it up (the amount of sonx they had on F.E.T.O. led me to believe they’d sound like D.R.I.), and that is also around the same year I started taking trips to WILD RAGS. So pretty much it was NAPALM DEATH, and my acquiring a FEAR OF GOD promo tape («What’s Wrong With McDonald’s???» — that DESTROYED ME!!!) from Richard’s store in 1989 that led me into checking out the «strange xeroxed magazines» that Richard carried, and checking out the bands that both the zine mentioned, and that Richard had the balls to stock [Note: The band Sean refers to here is NOT the same Fear Of God that was fronted by the late Dawn Crosby (ex-Sentinel Beast), but rather a classic 80’s Swiss thrash-core band. —CA]. I’m sorry nigga…this is probably the ONLY question in the universe I HATE getting into as it’s even TOO INVOLVED for me to attempt writing on! I know I’m notorious for epic answers to questions, but this one always involves me attempting to condense the first 6 years of my descent into the scene, and it’s just pure overload even for ME!!! In a nutshell, both NAPALM DEATH and FEAR OF GOD were my favorite bands for YEARS afterwards, as ONE: they’re BRUTAL, and TWO: they were bands that were into «normal» fast hardcore… so through listening to those bands and reading their thanx lists (in the liner notes of their albums), THAT is how I got into hardcore and realized that U/G music was the way for me… ‘TILL I FUCKING DIE!!!!!!!!!!!! [Fuck yeah!!!! hehe… —CA]

— (CA) What do you think of some of the better known thrash/power-violence labels, like Slap-A-Ham and Sound Pollution? Are their intentions in the right places?

— (SH) They serve their purpose. I don’t specifially agree with SLAP-A-HAM and 625 THRASHCORE’s ideologies and how they are representing hardcore (I.E.: SLAP-A-HAM’s propensity for the goofy «Leave it To Beaver» attitude and 50s graphics in their ads/descriptions… Max of 625 is a fucking thrash fiend but tends to put out «formula» bands most of the time, and always fucking goes off on how all these new bands are so «80s sounding» when they’re NOT), but they ARE keeping fast music alive and available to the kids. SOUND POLLUTION… I’m really not that familiar with them, outside of picking up the (excellent) first KRIGSHOT 7″ [For those who don’t know, this band is fronted by Mieszko of Nasum. —CA]. Those 3 labels are pretty interchangeable in their output and enthusiasm… and though I talked a lot of shit on those labels (Max in particular) in the past, it was mostly for my own amusement (of smashing scene godheads), and the fact that I’m a REALLY picky fuck, and that I don’t like most new bands, regardless of the label they’re on! These are labels that will NEVER «sell out», and have megatons of respect and enthusiasm for the genre… therefore, I give them my respect in kind. Basically, I like what they are doing for that scene as a whole, I just don’t like the minor details. Then again, I’m not EMPEROR OF TERRA… yet! Haisha was actually going to be on the first Slap-A-Ham «Short, Fast, And Loud» comp until I pissed off Chris Dodge… I really don’t blame him either, considering that I said he should be covered in shit and set on fire! [Yup — nothing will get your band dropped from a comp faster! *lol*—CA] I begrudgingly give props to Max/625 for trying to keep kids aware of classic fastcore roots, though he is a little too inconsistent about his own past for me to take him seriously as someone who has been «down since day one». Fuck, as jokingly arrogant as I can come off myself, I’m not one to «brag» about my own past in the scene… so Max needs to watch his ass just for the sheer fact of how much power he wields in that scene (being a godhead).

— (CA) It’s a well-documented fact that you have a stronger affinity for the thrash/grind bands of the 80’s than you do for the current crop. What did the 80’s bands have that the newer ones don’t?

— (SH) Style, substance, catchiness… every release seemed a happy accident or experiment in ferocity and speed (not to mention they could write CATCHY riffs, even when played at blinding speed). Case in point: spin the DEATH SENTENCE 7″, or SIEGE demo next to the latest 625 clone… okay, so the 625 band is «faster» but how CATCHY is the song and how sincere is the «musicianship»? Too many 80s-style «tribute» bands are forming as an EXCUSE to play that style of music, without just playing the music because they FEEL IT! (Sidenote: even Haisha isn’t above this (i.e. paying tribute to 80’s style thrash), but I certainly don’t pretend I’m writing dead-on 80s riffs or sonx). Also, many of these older bands, if they weren’t busy CREATING the genre they were playing in, were lucky enough to be «2nd wave» bands, who were still recognizing the root bands that their main influences were derived from. It’s like that old analogy: the more times you copy an old demo, each successive copy of a copy of a copy (into infinity) of that demo is gonna sound shittier and shittier. Now I’m NOT saying that EVERY 80s band was fucking brilliant (a ton of them sucked… I hated every blastbeat speed song HERESY ever did, but their split LP with CONCRETE SOX is INSANE!!! — that’s also my taste and pickiness though). I try not to be a dinosaur and pine away for the «old days», as I can’t legitamately claim a real «membership» (for lack of a better term) to the 80s scene (well, maybe first-wave EARACHE bands *LOL*)… But I am a true fan. I attempt to be a historian of sorts to that era, and I don’t want to see it completely fade away into some warped misrepresentation; like how «new» fans perceive that scene today. For the kids: PLEASE don’t forget WHO and HOW the respective scenes were born from!!! One more thing: nobody acknowledges the fact that new fastcore bands have «blastbeats» because their drummers were influenced by NAPALM DEATH! Not fucking SIEGE, or RIPCORD, or whoever… No 80s hardcore band was totally «blastbeat-fast» (like Napalm Death, though some were pretty damn close). Also, EVERY new band tries to be like CROSSED OUT (demo was the best 80s-sounding thing ever compared to their other releases) or new fucking Japcore (which isn’t that mindblowing). I’ll take sincerity and catchiness over «we’re so crazy and influenced by so and so» anyday… and YES — again, I am WELL AWARE that Haisha has used similar tactics… to which I ONCE AGAIN say «CHUG A COCK»! I coulda answered this whole thing a helluva lot better man… but my terminal jaded cynicism is already well wearing in.

— (CA) Actually, your explanation was quite clear (not to mention entertaining!). And hey, «terminal jaded cynicism» can only be a good thing, IMO! Moving on to your artwork… you’ve done drawings not only for your own bands, but for several others as well. Tell us about some of your more recent projects.

— (SH) «FUCK ART LET’S FART!!!» (The FARTZ… an «80s» band). WELL, new art I’ve just finished were color covers for pop-punkers SANKTIO and fello-Finns BUD JUNKEES (Sanktio ROCKS for that genre… Bud Junkees… I’ll have to get back to ya on them when I’m not feeling quite so misanthropic)… just did this crazy fuckin’ DVD-case package (AND booklet) for terror-crust kings KATASTROFIALUE also from Finland (I’ve known the band and have done art for them since 1995). THAT is gonna be a SICK fuckin’ discography man! Erich Keller/FEAR OF GOD keeps saying he wants my serious art for a release (which I already provided for him), but let’s see when THAT cd is coming out! I’ve doen a shitload of hush-hush bootleg artwork that should be out soon. I’m in «retirement» for art now, as I am completely burned out, and bands have been asking more and more and more (TOO MUCH MORE!!!) from me, and (doing) the packaging of releases (i.e. KATASTROFIALUE) killed me. I’ve also ALWAYS done this shit for free, and after having the chance to take part in some dream projects and also doing dozens of pieces of artwork with no other compensation (then maybe 5 copies of a record) it’s time to take a breather (I’ve been doing like 5 releases a year for the past 2-3 years). My art’s been suffering too, as I am in a transitional phase with my style, and would prefer to give bands «Mona Lisas» 100% of the time over «Beetle Baileys» (and I’m not even that great of an artist — I’m like at STEVO/IMPETIGO’s level anyway!). I’ll do the odd piece for a friend or something simple, but I am officially retired full time until I decide my next move.

— (CA) You seem to have an interest in Japanese hentai-style illustrations. Why does this style appeal to you? Is it just the prospect of putting young, doe-eyed Asian girls in compromising positions, or is there something more?

— (SH) Hentai artists are some of the most amazing I’ve EVER seen (natch: 99% of the Hentai art that’s even done by the Japanese sucks… but sometimes you DO find a gem!!!)… coupled with the absurd subversiveness of bascially showing «cartoons» (i.e. characters) getting raped and mangled is just too over the top. The female form is very intriguing, and it’s not necessarily sexual to me (from an artistc standpoint) when I render said form, or find some gorgeously pre-rendered artwork to steal for whatever project I am involved in. That was my «profound answer». Maybe I REALLY just want to cut woman up into teeny tiny pieces.

— (CA) I’d like to compliment you on your excellent interview with Digby from Earache in Traitor #1. What was your overall «feel» for his personality? Is he a capitalist pig, or a decent guy who has just made some questionable decisions over the years?

— (SH) Well THANX nigga! How about a BLOWJOB!!! :0 [Uhh… do I have a choice? *LOL* —CA] The overall feel I got off of Dig was that he always was into making a buck. I’m basing this presumption mostly on the fact that he DID start EARACHE with intentions of making it a «business» (a fact that he’s at least hinted at in other interviews through mentioning the small-business scheme that the U.K. used to run), and also an interview with Dig in MAXIMUM ROCK N ROLL (around 1986 or so) where he didn’t seem to make quite as many «punk rock» idealistic comments in reagards to that scene, even way back then. I’m 99% disappointed with Earache, as he just ended up putting out boring bands (sans SCORN, which I think was a great way for (Mick) Harris to escape into a fresh genre all his own). At least Dig is honest in basically inferring that he «got out of hardcore». In a sick way, I have much more respect for him, (especially his) being so open about being a greedy pig (his doublespeak is MUCH more lucid to ME at least) than a label such as Relapse (who have superior bands), but pretend that they are so fucking U/G and «doing it» for the U/G. What it all boils down to is that Dig is probably as «rich» as an average small business dude who owns a chain of pizza parlors. Shit like «Earplugged» and sponsoring skate events though is beyond retarded.

— (CA) If Haisha were offered a spot on the Earache roster, would you turn it down based on principle? What if total artistic freedom was guaranteed?

— (SH) First-wave Earache… certainly not now. It doesn’t feel right «making a buck» off my scene. I know it’s a dream for any artist to be able to live off their work, but something deep inside me just doesn’t feel funadamentally right about doing it with extreme music (I’ve entertained this notion before, and it ALWAYS feels rather confusing to confront). Breaking even and being able to maybe pay a little rent is cool, but not above that. If yer not in it for the sheer love of the extremity then why be in it at all? Now, I hold those feelings ONLY for music born of the underground… I don’t see a problem with peeps who play mainstream music just to spin a few bucks out of those genres, as that is what that kind of rock n’ roll has always been about anyway… also I AM doing GK-AMBIGUOUS with Arty [This is Sean’s pop-punk side project —CA], and Arty has every intention of trying to blow us up big. I highly doubt it (will happen) , but stranger things such as EARACHE signing with SONY happened, ya know. So I’d look like a complete hypocrite (though I am, and so is EVERYBODY else in the world, so what does it matter at this point) to be TOTALLY against it. Never for Haisha though… I’d rather kill the project completely. I don’t feel the same way at all about my artwork though… I’m still waiting for «my Metallica» to make t-shirt royalties off of like PUSHEAD did.

— (CA) Name five active bands whom you admire. Feel free to comment on each.

— (SH) I’m into quite a few genres other than «fastcore/grind» but here goes, eh!

1: LAURENCE PARMA: Not a band at all… he’s a DJ acquaintance (spins «trancey house») but is really at the top of his game (this guy could/should command some intermediate salaries). As of this writing, I’m spinning his latest demo-cd (like a mixtape on cdr), and have the subtle head-nod in effect man!

2: 324: Fucking INSANE deathcore! I’ve NEVER been so excited to check out a serious grind band since I eagerly awaited the newest first-wave EARACHE bands back in the day!

3: GORE BEYOND NECROPSY: Ditto… these fuckers are SICK and have maybe disappointed me with ONE release??? TOTAL NOISY GRINDCORE!!! The SICKEST grind I’ve EVER heard that used REAL riffs!!! FEAR OF GOD raping the first XYSMA demo!!!

4: DAYBREAK: Well, they just broke up this year, but I had barely heard of them a month ago (they shared a split LP with GODSTOMPER — who I did artwork for, and the art SUCKS too). They played really super fast blastcore (on the hardcore side) and were just so fucking FUN to listen to. Bizarre (and fun) analogies in their sonx… this band really took me on a journey, man!

5: GLOBAL GENOCIDE FORGET HEAVEN: Satanic and warped death-dance INDUSTRIAL! I just heard they are MAYBE gonna reform (they’re an «80s» band… kind of) so I thought I’d mention them here! SICK AND CATCHY shit!!! They like to sing about raping little kids, so HOORAY!!!

[Sean apparently lost count and sent us an extra selection, but we’re not complaining —CA]

6: DJ TRON: This dude’s mixtapes suck mongoloid cocks, but his own output is the fastest and most violent gabber «techno» around. If this nigga ever blew up mainstream, I’d shoot myself (and I’m sure the world would rejoice in the process). It’s been nearly 2 years since I last heard anything cool from him… I dunno if he just isn’t recording, or if I’m out of the loop really bad.

— (CA) If a young kid told you that he was interested in thrash/crust/power-violence, but didn’t know where to start, what albums, labels, and distros would you recommend to him?

— (SH) I HAVE!!! And that niggaz name is DAN MORALES!!! Usually when a kid comes to me for help, I offer to tape them shit (if they provide the postage and blanks) to get them started, and then I spin them around into SLAP A HAM or 625 THRASHCORE. They’ll end up there ANYWAY, since I’m such a picky fuck and I’ll tell them that EVERYTHING sucks. HARDCORE HOLOCAUST distro seems cool… they have «Seanocide taste».

— (CA) Has Haisha ever performed live? If so, describe a typical gig. If not, why? Do you plan on doing gigs in the future?

— (SH) It’ll never happen for the sheer fact that ONE: I can’t play and sing at the same time (yeah, I’m a pussy… I AM WOT I EAT, NIGGAZ!!!)… TWO: We use a drum machine and Arty erased all the drum patterns [Bastard! —CA] …THREE: We DO have access to TWO live drummers who can more than aptly pull off our non-blast material, but… FOUR: I’m busy playing bass for GOOK KILLAZ with Arty and the aforementioned drummers (G.K. is the party-punk band I do with Arty so we can be rock stars who get to fuck hookers and snort coke. The rest of the band can have the hookers though… I’d rather attempt to romance my stalking-victim Tigercow and snort ALL the band’s coke). [Tigercow is a sweet little vixen whom Sean has been trying to get a date with since… well, fuck… it’s been a long damn time. —CA]

— (CA) Does this interview chug a cock yet?

— (SH) Truthfully, this is THE most entertaining and thorough interview I’ve done yet man! [Yikes! We’re blushing! —CA] And OH, only Josh Bastard and Blowjob Joe chug cock… ON EACH OTHER!!! (FOR REALS!!! Blowjob Joe molested Josh Bastard when they were kids!!! Blowjob Joe was like 15 and Josh Bastard was 11!!! But that’s a story for another another decade). [**LOL** Damn — Sean’s really out to smear these guys! If you happen to be reading, Sean — feel free to send us the scoop on this for our the next Deluge update, okay? Haha! —CA]

— (CA) What is the most memorable live show you have ever witnessed?

— (SH) Oh, fuck man! Considering that I’m such a picky fuck and that I actually totally missed/blew chances to see some legendary shows (either because I was too young/wasn’t in the true U/G yet, OR my friends were cocks and were too lazy to go to a gig), here’s a rough breakdown of some truly great gigs, either from «violence», or their all-around phenomenal vibe!!!

AUTOPSY/ENTETY (Waters Club), 1991: This was one of my first gigs EVER, when I was like 17 (yeah, so shoot me… I didn’t have a fucking car until I was 17). Hey man… (it was) 1991 era AUTOPSY, and BOY was the pit outta control! Some fat guy who was Autopsy’s bouncer/friend kept shouting «AUTOPSY!!!» as if the crowd wasn’t worked up enough!!! ENTETY are legendary classic «Sickness…»-era CARCASS style wannabes (with MORE blastbeats!!!) out of L.A., and had a huge death-swirl going on!!! The singer puked on my buddy Dave, and can be seen doing so on one of the videos of the gig floating out there.

NAPALM DEATH (Country Club), 1991: I actually wore a homemade NAPALM DEATH shirt I had made in my high school art class to this gig. Dude… pits (were forming) ON THE FUCKING STAGE, and Harris screaming MORE out of control than on the classic Lee/Bill PEEL SESSIONS!!! Barney had pneumonia and passed out twice backstage. This is another show that got taped, and I was in it. This was on the ND/GODFLESH/NOCTURNUS tour, where some gang member got stabbed in the parking lot (I missed GODFLESH as my friend was being a pussy and wanted to leave cuz he was «tired»).

NAUSEA L.A. (Waters Club) 1991 (’91 was a banner year for me!): NAUSEA L.A. is post-TERRORIZER, and there was the biggest death-swirl pit EVER man! I was just stoked to see Oscar Garcia in real life… he even screamed like a raped hag on some sonx! I think EXCRUCIATING TERROR closed that show… they NEVER seemed to get a good turnout, or good sound at any of the larger venue’s gigs.

Hmmm… years later getting to see DOGMA MUNDISTA (GREAT/Legendary L.A. crossover-punk with members of GLYCINE MAX) at THE HONG KONG CAFE in 1995, and doing sing-alongs/ locking arms next to my friend at the time (Sean Cole/F.Y.P.). Great fucking show man!!! Hmmm AGAIN… playing my first/last ever gig inging for MALFUNCTION (who went on to become GASP, and had an LP on SLAP-A-HAM… thanx (to them) for NEVER giving me credit for naming the band and designing their logo, assholes)… there’s a video of this floating around somewhere too (I only sang on 2 sonx)… but at the same show I got to mosh to DEAD AMERICA and their slurring grind/hardcore so THAT’s why I mentioned THAT gig! Trying to fuck Monique The Mongloid in the bathroom at KOO’S CAFE while MAN IS THE BASTARD played right before ASSUCK around 1995 (I’m in a video of THIS one too! Though it’s (shot) in the front of crowd, and not (while I was) making porno in the bathroom) [Damn… I was just about to ask for a copy! *lol* —CA] and also going apeshit singing along to the ASSUCK song «Blindspot». Getting my back fucked up when two stage divers landed on me AT THE SAME TIME during NEUROSIS at the TWIN PALMS (with CRASH WORSHIP) in 1995 (and then going home and kicking in my roomate’s car doors and pissing on his pet rabbit cuz he was/is an asshole twink). I also got to see SWANS on one of their last gigs. Singing a DROPDEAD cover song (even though I hate DROPDEAD) for the Cerritos band ABSTAIN in 1997 (to a crowd of like three, even though EXCRUCIATING TERROR played as well). Shaking the hand of CHAOS from CHAOS U.K. in the middle of a riot between cops and punks at this anarchist center in East L.A. around 1995. Oh, I got to see EXCEL, KREATOR, MORGOTH and THE ACCUSED in 1991 (and the very next day, I got to see ND at the Country Club in Reseda… it was a cool weekend). Last gig I can REMEMBER was around November 2000 when WHAT HAPPENS NEXT played with TOTAL FURY. I didn’t care for the bands, but the vibe was unparrelled. There’s surely tons more… even coffee shop and backyard gigs (like when I was in DISINTEGRATION at an East L.A.backyard and some fat cholo on PCP was «warning» me that we’d better play some BLACK SABBATH), but as I said, I can’t quite remember right now (translation: TOO MUCH BOOOOOOZE). I’m forever kicking myself in the ass for missing DEFORMED CONSCIENCE out here… only for them to break up after that tour. DISINTEGRATION playing GAZZARI’S in Hollywood was the WORST gig I was ever at (except for seeing a revitalized ENTETY atomize the audience at the same gig). Ah, seeing Paul Barfo of GODSTOMPER and his brother Danny get annhilated from over-zealous moshers blew my mind too. The list is endless nigga!!! Too many tales to tell!

— (CA) Sean, I think it’s about damn time that someone turned one of your own interview tactics against you. You will be the first Deluge interviewee to undergo a session of pseudo-Freudian grilling. That’s right — it’s time for a round of word association! You know the rules — don’t ponder, just fire off the first thing that comes to mind, okay?


— (CA) Lee Dorrian.

— (SH) Should never have left NAPALM DEATH (Bill too).

— (CA) Dolcett.

— (SH) Really awful Euro-fetish art.

— (CA) Death metal.

— (SH) I miss the classics… just like modern hardcore, the new shit sucks (HATE ETERNAL anyone???).

— (CA) Japanese school girl.

— (SH) To which I say «Tigercow DRESSED AS a Japanese School Girl (YUUUM-YUM!!!)»???

— (CA) Manowar.

— (SH) Womanopeace.

— (CA) Poodle.

— (SH) Pug.

— (CA) Gilman Street.

— (SH) Fell asleep alone on a couch there waiting to catch ANAL CUNT (they didn’t show) just to be woken up two hours later by literally 50 crustys staring at me wondering WHY I was sleeping on the couch. [I know the feeling — the same thing happened to me last month when both Mortician and Exhumed decided not to show for a gig after I slept through a couple of shitty local bands. —CA]

— (CA) Bill Yurkiewicz.

— (SH) Who? [I was referring to the «other» Relapse co-founder, who was also a member of Exit-13. —CA]

— (CA) What do you think of ridiculously grotesque album covers? I only ask because in Traitor #2, you refused to review one band’s half of a split 7″ because their artwork featured a kid’s ass covered with boils. (Good call, btw!)

— (SH) LOL! Yeah I remember that shit… I only refused to review the band as it was so typical to see, and their fuckin’ logo was just like, cut out and slapped on the (poorly) Xeroxed pic!!! Honestly, I’m too lazy to pull out the 7″ and give the band’s name… they were typical trashy goregrind I think (I did end up spinning the record). I have NOTHING against over-the-top covers… «art is art» to me, and when a band is «serious» and is trying to evoke a true commentary/vibe on their music, then so be it! Oh wait… the band was called CADAVER FEAST, and they were as retarded as their cover!!! The sickest cover I’ve ever seen was the cover to the 2nd EINLEITUNGSZEIT LP (which sucks… their demo destroys… sickest and most evil harshtronics on the demo I’ve ever heard) which showed a (supposed) Bosnian women who had been blown open by a mortar blast… she was like 8 months pregnant and the fetus was still lying connected beside her. I think I’m intelligent enough to «get» the concept they were going for («war sucks», and so does life), but more and more nowadays, bands who aren’t goregrind, (which is SUPPOSED to have sick grfx) do it merely for shock value and have no redeeming social commentary. I’m a hypocrite though, seeing as the 2nd issue of my zine TRAITOR had endless pics of snuffed-out Japanese «anime» (cartoon) girls being torn apart. HEY! I’M A FUCKIN’ FREAK!!! CHUG… MY… COCK.

— (CA) There’s this persistent rumor going around, and I was hoping that you might be able to help us figure out if it’s true or not. It seems that a German distributor of illegal porn is marketing his flicks in the U.S. with several underground thrash bands acting as his «middle men». From what I hear, this stuff is beyond sick, with titles like «To Rim A Mongloid» and «Short Bus Money Shot» (parts 1 and 2). Potential customers can supposedly identify the bands involved by the design of their 7″ records, which contain a German slogan printed on the centerpiece of the vinyl (on one side only). Help us out, man — is this true, or just a smear campaign?

— (SH) ESSEN MEIN SCHEISSE!!! LECHE IN MI PINOCHA!!! [Translation: «Eat My Shit, Suck My Dick». —CA] It’s all semantics nigga!!! I used to rim a mongoloid version of Jennifer Lopez once… her name is Monique. [Any video available? Hehe. —CA]

— (CA) Please add any closing thoughts, contact info, death threats, suicide attempts, etc. And hey — if you want to ask me a question, feel free! Haha.

— (SH) Well, I had a fucking BLAST doing this interview! It was a pleasure to get my «own medicine» in return! For once, I ACTUALLY don’t have much to say (then again, it’s now 7 in the morning and I haven’t slept all night… AGAIN)!!! Peace, love and BUTTERFLY KISSES to my thug-pugs (ESPECIALLY Tigercow)! HAISHA might be doing a split 7″ (with a LIVE DRUMMER) with an AMEBIX-doomcore band called EQUILIBRIUM from France… so keep yer tentacles crossed for us!!! PEACE OUT niggaz… keep hatin’ on ANJELINA JOLIE and SEE YA IN THE NEXT DIMENSION!!! Oh, and Chris… Josh Bastard likes to brag about how he «blew it» wanting to rape his next door neighbor… wanna help me rape Josh Bastard? :0

— (CA) I must admit that the idea forced sexual encounters has never appealed to me, especially those which are perpetrated against members of my own gender! But if it’ll make you happy, Sean… *lol*

Snail-mail contact:

E-mail Sean @ SHogan6742[AT]

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