SPIRIT OF INDEPENDENCE

Rip It Up, Issue 247, 1 March 1998, Page 11

SPIRIT OF INDEPENDENCE

'I'II underground is, by nature, inherently autonomous and self-contained, managing to ‘ e operate outside the rock mainstream and thus remain mostly unaffected by drought - periods, venue shortages, and industry politics. It is a subculture fuelled by those whose efforts go largely unnoticed by the general population. Of the many (unrelated) components of the local underground — scenes that include dance, experimental, and free noise — the longest established and consistently supported is the hardcore scene. Thriving in out of the way community halls, with its own communication network of self produced fanzines and word of mouth, and a fiercely independent ethic the apparent motivating force, local hardcore has recently undergone a boom period. More bands are becoming involved, larger audiences are being drawn, and an increased number of album and EP releases are appearing on the shelves of record stores across the country. Balance, prime movers in local hardcore for the last eight years, have just released their - debut album, naturally, on their own label. ; " One Existence is 11 heavy duty slices of speaker withering hardcore, recorded at Auckland’s York St studios by Andrew Buckton, with the now stable line up of Rhys Williams on guitar, Ben Lythberg on drums, Dean Cameron on bass, and vocalist Mike Hall. In the past Balance have released demo tapes, a 7 inch, and contributed to compilations, and Williams explains there’s a simple reason why it’s taken so long for a full length album to eventuate. “Now’s the only time we’ve had a bunch of songs that fit a certain genre we’re happy with.’ I hate having 10 songs that all sound different, it’s just more focussed now.” That focus doesn’t necessarily mean that Balance are bound by the stringent requirements of hardcore, as they’ve been playing long enough to be influenced, but not overtly guided, by their choice of listening. : “I’s a balance between two types — punk and hardcore, the old and new,” says bass player Dean Cameron. “We’re possibly a little faster and more : aggressive now, but there are melodic bits buried under heavy - guitar.” - ;

- Being totally independent, Balance were able to do whatever they wanted with the album, and Cameron has only slight misgivings about the possible disadvantages of total autonomy. ‘ “It could’ve helped to have a record company to get video funding, but I think the way we did it was the best way. If someone else put it out, they might market it completely wrong.” And, of course, the band know best how they should be presented, he adds. “We’re a live band, and that’s a big aspect of our songs. Now we’ve got the CD out, it’s a matter of selling it to the people who come and see us, and people who are able to come and see us, rather than going through 20 record stores in the States and Europe because that really doesn’t mean anything. ” Still, Williams agrees with Cameron about the video issue, and gets irked at bands with a lesser following who are consistently successful in their NZ On Air funding applications. “Propeller and Second Child will have a CD release party with 100 people on the guest list, and still only 10 people will turn up — but they get all the video funding. Surely, if we get 250 people they’d rather see videos from the bands in our scene than those others with Shortland Street stars waltzing around.” Balance have not been immune to animosity borne of assumption and misunderstanding — particularly about the - straightedge philosophy, which is an important part of the HC scene. Inspired by a 1983 Minor Threat song, straightedge is a ; lifestyle choice of being free of alcohol and drugs (including tobacco — bands have been known to stop mid set if somebody is smoking). Not all of the band (or the scene) are adherents, however. : “Mike’s not straightedge, but a lot of his lyrics have similar ideas. He’s just a really positive, ‘seize the day’ type of guy, but he’s stubborn and won’t stop drinking,” laughs Williams. Both he and Cameron are quite defensive about attacks on straightedge. “The thing that really fucks me off is that outsiders, maybe older, so-called in-the-know about music in general, will slag off straightedge bands without listening to them, refusing to go to the shows because they can’t drink,” says Cameron. When asked if it may be the zealous, preaching angle that could keep these people away, Williams immediately turns it around. “What about going to a Pennywise show where they say, ‘how many people smoke pot, take mushrooms?”” Good point. Ultimately, Balance say the only way to get an accurate idea of what the whole scene is all about is to go to one of the shows, which they say are reaching more and more people. “The hardcore scene has really gone off,” enthuses Williams, “and I think there’s a really positive future.”

TROY FERGUSON