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Almighty Uprisers – Systematically Screwed Interview


Redstar73 Blog: Please can you introduce your band. When was it started? What about your name?
Almighty Uprisers: Started in 2015, the name sounded the best from a list of half a dozen most bands create before settling on a name. There’s the political notions and the drive to “rise up” that we all posses but few do anything about, unfortunately.

Redstar73 Blog: What are your plans for the future?
Almighty Uprisers: Write new material, Record and tour/play live

Redstar73 Blog: How is the scene in your area?
Almighty Uprisers: It’s survives and it’s thrives. Like most scenes it fluctuates as bands form and bands move on or disband. There’s a distinct lack of ska/reggae bands but definitely the scene and interest to support it. Like most scenes everyone looks out for each other, despite what type of genre you play. it’s like a family.

Redstar73 Blog: How important is for you the DIY idea and politics?
Almighty Uprisers: DIY is a tremendously important to us and is the backbone of what drives the band. There’s very little help from outside sources and unless you’re incredibly lucky, it’s what you do that determines your success, nothing is handed to you on a plate. Politics influence everyone and everything around us whether you like it or not. Everyone has a voice, why not use it.

Redstar73 Blog: Give us your Top5 Punk, Reggae & Ska songs.
Almighty Uprisers: I think it would be sweet to end up with a list of not run of the mill/well known tracks here as opposed to anarchy in U.K. – sex pistols etc so it makes for an interesting read. Obviously it’s impossible (or at least we find) to have an ultimate favourite song in any genre so a cool list of tracks people may not have heard will be better for the reader. Here’s three from me as a starter:
Sparra/Vocals/Rhythm Guitar
Ska: Dry Acid – The Upsetters
Reggae: Jah Jah Give Us Life To Live – Wailing Souls
Punk: Tube Disasters – flux of pink indians.

Scott/Lead Guitar/Backing vocals
Ska: Hooligans – Wailers.
Reggae: Come into my parlour – Bleachers.
Punk: Big a little a – Crass

Ska: soon you’ll be gone – blues busters
Reggae: talking blues – bob Marley and the wailers
Punk: cheat – the clash

Ska – toots and the maytals, 54-46 whats my number.
Reggae – Bob Marley – iron lion zion
Punk – iggy pop – The passenger

Ska: Skatalites “Sakaravan”.
Reggae: Culture  “Natty Never Get Weary”
Punk: Subhumans “Animal”

Redstar73 Blog: Last words!
Almighty Uprisers: Plug the facebook/social.
Look out for us.
Destroy Fascism and Unite.


Interview with Neco – Tango 14 and Recuerda tus Raíces Fanzine

Redstar73 Blog: You are playing in the band Tango14. When did you guys started? Tell us the band story.
Neco: Tango 14 started in 2005, in the suburb of Boulogne, in the northern part of the province of Buenos Aires. The boys were playing five years, released an album “Un Abrazo para Tango 14” (2008), after a few lineup changes, only followed in the band Tomas (vocals) and Fernando (Bass).
In 2010, I became to play the guitar with Adrian who started to play the drums. We knew Juanjo by playing in his rehearsal room, the glorious Salas Qhispikay, he enter the band at the end of that year. And that’s the line up to this day. A band of friends that played Oi! music.
We recorded an album in 2012, “Esto Es Nuestro”, and we were lucky to play in some Argentine cities like Mendoza, Rosario, San Luis, Cordoba, a lot in Buenos Aires (city and province) and to travel to Brazil (Sao Paulo) and Uruguay (Montevideo).
We like the Oi! classic bands (Cockney Rejects, Angelic Upstarts, Blitz, Nabat, Garotos Podres, 4 Skins-the old-, Cock Sparrer, Sham 69, Decibelios -the old-) and the old Argentineans Punk bands like Violadores, Attaque 77 -first releases- , 2 Minutos, Mal Momento, etc.).

Redstar73 Blog: What’s up next for the Tango14, any new releases on the Horizon..?
Neco: We arrived to play in Uruguay this weekend with our friends of Antibanda, very good guys. We are recording a new album with some new songs (“Loca Obsesión”, “Es mi vida”, “Che Barrabrava”, “Argentina”, “En la Barra del Bar”, “Los Mala Leche”), some old songs (“Que se Manejen”, “Brasil 2014”, “Recordar”) and a cover of 2 Minutos (“Copetin al Paso”).
I hope we can finish the album this year, we are very lazy haha. We are not professional musicians, nor do we want to be. Plans for the future are to play, drink and have fun.

Redstar73 Blog: How is the scene in Argentina? Seems like you have lot of great bands like Staya Staya or the Aggrotones.
Neco: Mmm, the scene in Argentina the scene in Argentina is still small but is growing a lot in the last 7 or 8 years. La Cultura del Barrio, a cultural center that is in the neighborhood of Villa Crespo, helped a lot to make people aware of as it was our scene. There are small groups with relation to each other, but not if you could say it’s the same scene. Staya Staya, is the best Ska band of the country, Aggrotones are excellent but have little to do with them except me.
There are many good bands out there like Espíritu Callejero, Los Proletas, Los Disckolos, Los Mareados, Ración Doble, Que Risa!!, El Desagüe and Terapia Intensiva (all good bands Oi! and Punk with clear ideas). And also good bands playing Jamaican music as Los Casettes, No Hay tu Tía, Avellaneda Ska Club, Ambassador, Satélite Kingston, Skadicts Foundation, Rustic Mode, El Golpe and Sombrero Club.
I personally respect people who takes charge of the Skinhead culture, which for years was filthy and manipulated by people of shit. I would like SHARP reach throughout the country. (it´s my personal opinion)

Redstar73 Blog: Tell us about your fanzine. How many issues have you done?
Neco: The fanzine started in 2006, with my great friend Juanfa (now bassist of Staya Staya). We were very often see Ska gigs, we’re very into the Skinhead scene in Buenos Aires, so we decided to start the Recuerda Tus Raíces. After the first three numbers, he decided to devote himself to working with some things leaving to me the “responsibility”.
In these nine years we release fourteen issues, and the next month I hope that the fifteen issue will be on the streets. Fanzines are an essential tool for any street scene, around here there are not many (En la Cancha se Ven los Pingos, La Fuerza de los de Abajo, Skatan, etc.). It is a taste that occasionally can give me keep doing Recuerda Tus Raíces.

Redstar73 Blog: Any other projects? You dan’t wanna start a record label?
Neco: Projects… now find a job hehe, because recently left unemployed. Would be great to start a label, I have much respect for labels like Redstar 73, Liquidator, Grover, and whoever fights for the street music  El Paso, Jewells/Red Head Man, Interrogator, etc. Here we only have Una Isla Club Records, a label run by an old friend, El Chino, that edits Jamaican music and Union y Difusión, a label run by Adrian (Tango 14) that who co-edited a lot of much music of different styles.
Ah!, and some guys of La Cultura del Barrio are running a pirate label of bootlegs with good presentation and low prices.

Redstar73 Blog: Last Words
Neco: Thanks Jan, for the space. When I get ready, I’ll send you copies of the fanzine!!  Long live the people trying to keep alive his scene, maximum respect. If you come to Buenos Aires, reminded and had a few beers.


Pilseners – Acer Roent

Redstar73 Records
LP disponible en breve.
01 Acer Roent
02 Stalingrad
03 Nits De Gloria
04 Pengem-Los Ben Amunt
05 Cavalcant
06 Assassi A Sou
07 Exili

08 Dole Angel De La Mort
09 Desesperat
10 Nomes Per Tu
11 No Ho Pots Haver Oblidat
12 El Pi De Les Tres Branques
13 Terra Lliure


This is a translation of


Once more the Greyzone will be the number one topic of this summer’s festivals, especially with those who won’t attend them anyway – because they don’t feel like partying with those that partied with Nazis the weekend before and only came to enjoy songs with pub level debate lyrics in a subcultural setting. So why do Greyzones get more and more accepted in “alternative” surroundings? This question inevitably leads us to the topics alternative/subcultural business, aesthetic criticism, men’s worlds, skinhead cult and to the search of meaning behind political labels.

The increasing establishment of the Greyzone means a decrease of emancipatory values. Oi-festivals provide a stage for defamation of “asylum seekers” and gays, Hardcore-concerts are stomping grounds of testosterone gym gorillas and shouting the names of the firm they belong to. It’s a subject that polarizes. Antifascist watchblogs like Oireszene are busy collecting information while being critized for filing too many bands as Greyzone. Those being criticized by Oireszene feel they are being wrongly accused and go digging for “mistakes” in publications in order to discredit “The Antifa”.

Public discussion was entered in October 2008 by “Rotes Hetzpamphlet” (“red agitation” pamphlet”), a (polemic) text highlighting and documenting the involvement of a self-proclaimed “antiracist” band in (extreme) right wing circles. Stomper 98 are shooting stars of Oi, still they are only an example of dozens of bands who are not only structurally intertwined, but also share major images and characteristics. Especially Tattoo-cult and (male) brutish aesthetics are the meeting points of rightwing, anti-rightwing, and “unpolitical”. We will be looking at these kinds of aesthetics in detail in issue #92.

“Rightwing Environments” are protopolitical levels where a persons own actions and conduct are often not only perceived as “political”, but rather apolitical, but is still are determined by patterns and values that can only be considered rightwing. “Greyzones” are social environments within (Music-)Cultures that pretend to be apotilical or even “anti-rightwing”, but are intertwined with the (extreme) Right structurally, socially and as regards to content. The Punk and Oi Greyzone is a heterogenous structure of cliques and fan-circles with fractions and boundaries, but nonetheless in mutual contact. It has its own network and common grounds: staged masculinity, values ranging between conversative and reactionary transported by lyrics, statements, symbols and aesthetics. In our opinion, having shared the stage at festivals once or twice with bands fitting that description is NOT enough to be considered as belonging to the Greyzone, same goes for having the odd dodgy facebook-friend. “Guilty by association” can only be one indication in a line of argument. Focussing on (assumed) friendships does only lead to a fruitless clash of opinions of what is allowed and what is “verboten”. It also obstructs the view on the contents that are being represented – by Stomper 98 for example, who we’re gonna look at in the following article.

“Unpolitical” band Gerbenok are going to play the “Back on the Streets” festival on the Loreley. According to their own statement, they play “Oi music the way it has to be”. Here’s a sample from the lyrics of their song “The new Hippies”: “It may sound racist, but that much is true: asylum seeker selling drugs in train station loos. Long hair and tanned they lean against advertising pillars, make children work the streets (…)”
In 2009 Gerbenok was scheduled to play a festival in Greifswald that was self-labeled “Love Music Hate Racism”. Antifascist intervention prevented the gig. This is just one example of how devoid of meaning such labels are being used. Labeling yourself “against Racism” has advantages: it takes the wind out of critics’ sails, and works as a mood enhancer for social workers at the youth club in charge of okaying a location for an event. And sometimes one self genuinely believes to be “anti-rightwing”.

Increasingly, and not only in cultural scenes, we come across an understanding of politics that reduces “politics” to those who define themselves politically (political parties, parliaments, “the antifa”) and can at the very most find something “political” in unmistakable Neo-Nazi slogans. Government-decreed “Anti-Extremism”, the equation of the left and the right and defining right-wing by focussing on self-confessed out-of-the-closet Neo-Nazis is on the rise in subcultural environments. There’s less and less awareness of the multiple levels and ways in which social discrimination and exclusion expresses. Rock-against-the-Right concerts are too often only a way to enhance the image of a municipality or institution, or a band or a promoter, and are a way to prove the endeavour to “do something against the Right”.

This is how the (extreme) Right infiltrates “left” environments and locations: by coding their racism and homophobia or keeping them on pub talk level. According to himself, veteran english Skinhead and “Pub Musician” Frank Marshall aka Franky Flame who also sings in Oi band “Superyob” claims to make “music under no political banner”. “Our shows aren’t political gatherings, they’re entertainment for working class people like ourselves. But that doesn’t keep him from naming “massive uncontrolled immigration, “economic migrants” and race war between different ethnic groups” as Englands problems in an interview with fanzine “Der Trinker”. Asked by right wing Fanzine “Feindkontakt” why he is wearing a Thor’s Hammer (pendant) he answers in the diction of the volkisch Right: “„(…) and I am aware of my history, the traditions, the language and script (runes) and the origin and development of the peoples of northern europe. I am one of them and they are my people! (…) What interests me is our heritage, not hating others because they aren’t like me, but first I take care of my people, because it feels right and natural to do so!” Asked why he became a skinhead Franky explains: “The Hippies and the peace, love and drug culture they brought about made us sick and we wanted to be different, do something against that and lead our lives the way we wanted: proud of ourselves and our country, and staying smart, fit and hard!”

There is indeed hardly a photo of Franky Flame without him obviously hammered and with a beer in hand. One can picture Franky and his boys rambling the city, pissed and bawling Oi-hymns („Knock it back, have another one, drinking and driving is so much fun“, The Business), getting sick at the sight of hippies smoking pot at the bus stop. The glorification of legal, masculine drunken stupor and demonization of illegal, hippiesque use of Marihuana is the primacy of the ultraconservative at the regular’s table.

In 2007 Franky Flame played an “Oi-Meeting” at the Conne Island in Leipzig, together with Stomper 98. In 2009 he played the Conne Island again, then a St. Pauli Fan Pub in Hamburg, and also “Endless Summer Festival”. Between those concerts he also played several gigs in Neonazi-locations “Skinhouse Menfis” in Thuringia, and the Kastelein / Moloko Bar in Brugge, Belgium. For 2011 he is announced for “Back on the Streets Festival on the Loreley, one of the sponsors being Punk Mailorder “Nix Gut”.

Some fans of “unpolitical” Oi have a wardrobe that can be adjusted to the flavor of the event. Hannah who belongs to the circle of right-wing Oi-Band “I don’t like you” wears a Skrewdriver Shirt when she goes to Skinhouse Menfis and chooses a shirt with a smashed swastika for Punk Festival “Force Attack”. She is only one example.
Sometimes, the label “unpolitic” is only a means to camouflage a right-wing fun fair that would otherwise be subject to repression and law enforcement.

To illustrate this method of false labeling this issue of AIB features an article about “Bootboys Hildesheim”, leading organizers of “unpolitic” right-wing rock-events, and another one on Neonazi band “Endstufe”, who also play at “unpolitical” parties. An event labeled “unpolitic” is easier and less risky to arrange than a right-wing rock (i.e. RAC) concert – there’s no need for conspirative mobilization or alternative locations in case of prohibition by the authorities. Those legal events reach more people and enable the RAC business to break into new markets. While the number of Neonazi-concerts drops, the number of right-wing or greyzone events rose significantly over the past few years. But interpreting the phenomenom of subculturally-orientated right-wing extremists turning to the “unpolitical” as moral fraud and tactics only would fall short of the fact that the extreme Right is changing. NPD and Kameradschaften (militant Neonazi groups or “Brotherhoods”) are losing ground and coherence. Less and less scenesters subscribe to a ideological frame dictating all aspects of life. While the NPD bore their audience with political speeches in between band’s performances, Oi and Hardcore meetings provide an excessive party experience without police monitoring the event and enforcing bans and regulations by the book.

“The Cult” is a movement turned to stone. It offers self-assurance and on top leaves no room for doubts, questions, development, changes. It surrounds itself with anti-attributes and is never in favour of anything, except a nebulous “Way Of Life” and free beer. The Bands and Fans of the cult summon their scene, but as soon as criticism pops up it is being discredited as an accusation from an external source. Greyzone band “Combat 77” whose name refers to the founding myth of the Punk movement (1977) say making an issue of the Greyzone is “a witch hunt, and certain promoters or bands seem to forget the real enemy and are dividing their own scene without reason”. Stomper 98 see themselves as “always standing in the dock” and badmouth their critics as “brave stalinists”. The purely fictional accusation of their critics “holding a whole scene responsible by means of “sippenhaft” (a form of collective punishment practised in Nazi Germany towards the end of the Second World War) works a charm to close their ranks. It wasn’t the photo of the band’s singer arm in arm with a well known Neonazi that enraged their fans. It was the fact that it was commented („Reclaim the Scene and kick out Stupidity“) and circulated as a sticker by Antifa. The mere highlighting of contradictions becomes illegitimate and a threat to internal peace. They seal themselves off, stage themselves as victims, feel affirmed to be outcasts and wallow in smugness.

Delusion of grandeur and paranoia are the stuff that right-wing environments are made of. The resemblance to role-models “Boehse Onkelz” is striking.

There’s one trait all exponents belonging to the Greyzone have in common: they are staging a rebellion that isn’t rebellious and isn’t meant to be. Punk, Oi and Hardcore are selling a rebellious image that comes at no cost for the individual, creating the possibility to reproduce a petty bourgeois way of life while pretending to be counter-culture.
A quote from an 2011 interview ( with Combat 77 illustrates that kind of nonsense perfectly: “„Nowadays a lot of people seem to forget that Punk is just rebellion and not extreme left wing propaganda.“ It’s the paradoxical construct of Oi that dwells on rebellious attitudes while preaching “unpolitical”. By the way: rebellion is by definition resistance against authority, thus it is opposes – political – circumstances. The actualities of musicians from that scene have some peculiar similiarities: marriage and relationships with traditional gender roles, work ethic and being proud of being accepted as a Punk or Skin due to being a labourer – self-stylized “outcasts” almost begging for participation and recognition – because they have no alternative draft to offer.

No more beating about the bush – those who knowingly distribute CDs like the 4skins 2010 CD “The Return” containing a song with racist lyrics are spreading hate speech. This does not only apply to “Greyzone” labels and mailorders like Bandworm Records or Randale Records. Those who provide a stage for Gary Bushell, singer of “cult” band the Gonads and candidate of right-wing part “English Democrats” in 2008 are sponsoring a radical political right-winger, even if’s he’s only booked for making music (at 2009s Punk and Disorderly Festival).

In the end the Greyzone is only a subcultural mirror of public mainstream that has over time spread to alternative milieus. Commerce, Anti-Extremism, Fit for Fun, anything goes, which also means to always be able to take the path of least resistance. The appeal for well thought through actions remains unheard, the Left’s new openness becomes randomness. Antifascist circles mingling with hooligans create the need for a music culture providing war chants and an aesthetic for a collective battling on the streets. It’s plain to see why even political bands like Slime do play festivals with bands that reek of Greyzone: Broader audience, more fans, more money.

The establishment of the Greyzone in environments labeled “left-wing” is a result of commercialization and a drift of left-wing subcultures towards the bourgeouisie. To stop these developments we need forces that fill “leftist” logos and environments with values and live – not label – radical criticism of society.

Fuck The Greyzone Festival 2010

Am 29.10.10 schreibt Stuttgart mit dem Fuck the Greyzone Festival
mal wieder Geschichte!
Statt uns, wie viele andere bedeckt zu halten,
wird hier wieder Flagge gezeigt
und der (rechtsoffenen) Grauzone der Mittelfinger!

Den Flyer gibt’s hier:

Wir haben eure Wischi-Waschi-Szene satt und reißen wieder den erforderlichen Graben!

Freilich haben wir hiermit schon jetzt gut Wellen geschlagen und so manch einer macht sich doch auch schon Sorgen um seinen bisher prall gefüllten Geldbeutel.
Somit bellen hier auch wieder getroffene Hunde durch das Internet,
die ihren beschissenen Lifestyle mit Fehlern anderer begründen wollen,
doch lasst euch nicht blenden und erkennt die Zeichen der Zeit.
Uns geht es hierbei nicht ums Geld, sondern um Ideale,
die der Eine oder Andere unter uns traurigerweise schon aufgegeben hat.

Wer sich jetzt mit dem großen Thema Grauzone auseinandersetzen will,
weil man bisher noch keinen Durchblick geschoben hat,
zu faul war seine grauen Zellen wieder in Gang zu bringen,
oder einfach auch erkannt hat,
dass die Oi-, Hardcore- und Punkrockszene
mal wieder nach rechts zu kippen droht,
dem liegen hier einige Fakten, Definitionen und szeneinterne Skandale offen:

R.A.S.H. Russia

In recent days, the battle to stop the destruction of the forest in the Moscow suburb of Khimki has heated up. Activists have been protesting the building of an $8 million high speed toll highway between Moscow and Petersburg. This highway would destroy beautiful forestland around Moscow. Environmentalists say the highway can bypass the old oak forest.

The flashpoint has been in the city which is called Khimki, right outside Moscow. There is a history of violence sponsored by the local authorities in this town. In the most famous case of political terrorism, in November 2008, Mikhail Beketov, outspoken editor-in-chief of the regional «Khimkinskaya Pravda» (Khimki Truth) newspaper, was savagely beaten in front of his home. The attack was clearly related to his criticism of local authorities and the highway being built. As a result of his injuries one of his legs was amputated, and head traumas he suffered during the attack have left him unable to speak. Current reports on his condition indicate that his second leg may have to be amputated.

Foro RASH León & Asturies

Foro compartido León & Asturies

Desde RASH León y RASH Asturies
queremos dar a conocer nuestro nuevo foro, el cual será compartido por
ambas secciones, además de como herramienta de comunicación interna,
como un espacio de debate y actualidad. En él encontraréis un apartado
para tratar temas generales, otro de debate político, histórico, etc.
También habrá uno para comentar las noticias y la actualidad, además de
otro para anunciar convocatorias y para dar a conocer eventos. También
habrá espacio para la música, en el que se hablará sobre todo tipo de
sonidos: Oi!, hardcore, rap, rock&roll, ska, metal, etc.

Os invitamos a tod@s a participar activamente!

Red & Anarchists SkinHeads Sección León
Red & Anarchists SkinHeads Sección Asturies
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