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During my extensive conversations with Earth Crisis for our recent Destroy the MachinesHall of Fame I got the vibe that the band felt its most recent record, 2014's Salvation of Innocents, had been a bit overlooked. And upon revisiting this animal liberation-themed epic I had to admit I personally hadn't exactly given the record its full due six years ago. (Sorry, dudes!) It's actually a really diverse, intense record full of these intricate structures and a great, nuanced, multilayered vocal performance from Karl Buechner that fuses his 'classic' era roar onto melodic vocals that split the difference between the (absolutely overlooked) 2016 Freya record Grim and 2000's divisive Slither. (For those interested, my defense of the latter is here.)
I suppose in a way it's a good problem to have — that is, possessing a back catalog still so relevant and seared into fans' minds that you're forced to compete with yourself, essentially — but the Candlelight reissue (out this week) should nevertheless be taken as a welcome second crack at Salvation.
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- Tracklist Forced March Born From Pain Destroy The Machines New Ethic The Discipline Deliverance Inherit The Wasteland Asphyxiate The Wrath Of Sanity Fortress Due to the spreading impacts of COVID-19 we are operating with limited functionality.
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Legendary Earth Crisis/Sect guitarist Scott Crouse was not only up for a short chat with Decibel about the reissue but also sent along a couple pages from the accompanying Liberator comic made in collaboration between the band and Black Mask Studios.
Is it a challenge at all to do what this record does so well — namely, honoring the legacy while carrying the sound to new places?
We are all very proud of Salvation, but I think we all also understand that people who appreciate our songs from 1993 may not be on the same page as us these days. Ultimately, we make music for the love and creativity of it. That being said, yes we are all happy to see a little life pumped back into something we put a lot of hard work into and still think holds up today. I think it's a mistake to try and write songs based upon how you think they'll be received. It's impossible to predict what people want to hear from you, and — especially with a band like us who have touched on various sounds throughout our years — it's nearly impossible to guess which of them are still relevant today. We write what is honest at the time and hope it connects.
It's amazing how the songs on Salvation have such an organic flow and distilled power despite the intricacy. Do you think coming back to Earth Crisis on your own terms and timeline in 2007 was a boon to the band's creativity?
I do think we were fortunate to have some years to reflect on our previous albums — and even reconnect with them — before starting to write new songs. While we were going full-time in the 90's, the previous albums were always pushed aside to make way for a fresh perspective. It wasn't a bad way to operate as I think it made sure we never wrote the same album twice, but looking back sometimes I think the style changes were a bit to drastic. Gommorah's is a real outlier of an album — my personal favorite of ours — but only very subtle elements of that one made it's way into the songs that followed it. Looking back and noticing that helped make our three post hiatus albums maintain a common element that keeps them all identifiable as the same band I think.
Some of the melodic elements and grooves actually feel like perhaps a more fully actualized and integrated callback to Slither. Is that all in my head or did you find a less turbulent way into the sound you were looking for on that album?
There is definitely an intentional nod to Slither on Salvation. I could take the mystery out of the post hiatus albums and break down which were callbacks to which of our 90's era records, but in an effort to get people to listen to them more, I'll see if people can figure that out on their own.
Considering the band's rep, it might come as a surprise to casual listeners or the uninitiated that this record was the first to focus solely on animal rights. Was there a particular reason you chose to so strongly reaffirm that conviction at this point in your career?
It is a common misconception amongst the bands critics that most of our songs are about straight edge and veganism. Truthfully, usually only one song an album was dedicated to each topic. We've covered a lot of territory lyrically in our 20 plus years, so I think Karl enjoys being given a box to stay in these days. He really enjoys a theme based album, and we wanted to dedicate something to vivisection. It's a practice that is still widely regarded among the medical science community, and we wanted to draw attention to that. Salvation was sort of our 'Let's never forget animal testing and vivisection in this conversation.'
Actually, it's fitting — in a tragic way — that the album is reissued now, in this pandemic moment born of 'de-desentization' and 'depraved indifference,' no?
Sadly, I think a lot of the things Karl wrote songs about are more relevant now than they were when originally written. Climate change, Native American struggles, and the opioid epidemic are all things we touched on and have become increasingly worse over the years. We have a song on Neutralize the Threat called 'Askari' that attempts to paint a picture to why The Black Panther Party for Self Defense was a necessary and successful vigilante group. We see all to well now why such a group was — and still is — needed.
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Actually, it's fitting — in a tragic way — that the album is reissued now, in this pandemic moment born of 'de-desentization' and 'depraved indifference,' no?
Sadly, I think a lot of the things Karl wrote songs about are more relevant now than they were when originally written. Climate change, Native American struggles, and the opioid epidemic are all things we touched on and have become increasingly worse over the years. We have a song on Neutralize the Threat called 'Askari' that attempts to paint a picture to why The Black Panther Party for Self Defense was a necessary and successful vigilante group. We see all to well now why such a group was — and still is — needed.
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Talk to me about the Liberator comic and how that collaboration came about. The visceral visual element is a force-multiplier for the visceral sonic element, obviously, but were you surprised and/or gratified by how much synergy there proved to be?
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Karl had always wanted to do a comic to tie into one of our albums. It was always a pretty far fetched idea — until I stumbled upon Matt Miner and his Liberator comic series, which was about ALF activists. We reached out to Matt and he agreed it would be fun to work together so we made it happen. The issues really came out great and we are so grateful to Matt for helping us out with that.
We would, of course, be remiss if we failed to ask what Earth Crisis is currently up to. The band has been very active and just celebrated the twenty-fifth anniversary of Destroy. Are there plans?
Well, right now we are wishing we could play some shows! We unfortunately had to cancel a European run we had booked this summer and we also had some very cool plans for fall that are now put on hold as well. There seems to always be whispers of potentially doing an EP — maybe that will come together sooner than later? It's hard to say with the other guys being so busy, but Karl and I stay pretty active doing our other bands. Karl just released an album with his band Apocalypse Tribe on Indecision Records and I know Freya is working on new songs. I stay pretty busy with Sect and I'm also working on some new music with Daniel from Die Young on vocals, James Chang from Sect and Cameron Joplin from Magnitude on drums. That's called Tooth and Claw and should be poking it's head out of the sand pretty soon!
You can't talk about 90's hardcore without devoting a substantial part of that conversation to the boys who put the sleepy town of Syracuse, NY on the map: Earth Crisis. For anybody who wasn't in the hardcore scene back then, it's hard to describe the impact they had or how controversial they were. You either loved them or hated them for bringing both metal and veganism into the hardcore scene, and I definitely loved them. I'll save the discussion of their politics and all that for another time, and focus on what's more important to me these days: their music.
'Forced March,' my personal favorite ExC song– the intro riff is so sick!!
With a career spanning 1989 to the present, they've got a lot of material to choose from, but to me 1995's Destroy the Machines LP is their definitive release. It's basically five hardcore kids' take on the Pantera/Exhorder/Prong school of late 80s/early 90s 'power groove' thrash, and if you ask me, it's pretty fucking great. I still think this album has one of the best guitar sounds ever recorded (as I recall from what they told me ten years ago, Scott Krause had an ESP played through a Rocktron Chameleon preamp into a Mesa Boogie tube power amp and Marshall cabinets, and Jim Winters played a Jackson Soloist into a JCM-800 and a Marshall 4×12, if you are curious), and the songwriting still sounds very fresh today.While I'd be surprised if they were actually an influence, they arguably beat Machine Head to the Burn My Eyes punch by a couple of years, but never really got credit for it.
'Dimensions' was what I thought the followup to 'Destroy The Machines' should have sounded like– instead we got the underwhelming 'Gomorrah's Season Ends'
By the way, if you are wondering why this album sounds so much like Believer's third album Dimensions, it's because the both feature PA hardcore/metal legend and overall weirdo Jim Winters on guitar (who also played in Conviction, Starkweather, and probably a bunch of other excellent bands). Rumor has it that he wrote a lot of Destroy the Machines, but I've never asked anybody in Earth Crisis so I can neither confirm nor deny this. If nothing else, I definitely suggest that any EC fans check out Dimensions and vice versa.
Hilarious and awesome 1995 news segment on Earth Crisis and the Syracuse vegan straightedge hardcore scene– a good introduction for anyone who wasn't around back then (yes, it's fucking weird), and a nice dose of nostalgia for those who were. If nothing else, please note how huge everybody's pants were! Also, the live version of the One King Down song in this video is soooo fucking good!!!!!
Anyhow, I can't believe I'm being Mr. Old School about a record that came out in 1995, but to me, this is what metalcore should be — not cookie-cutter breakdowns with passionless, phony screaming on top or boring, riff-salad deathcore, but tight, heavy songs that you can actually sing along to. And while I am the farthest thing from vegan or straightedge these days, I definitely miss the sincerity and integrity that bands like Earth Crisis had during that time. And while most 90's hardcore has not stood the test of time, Destroy the Machines will always be on my playlist!
Stay tuned for an interview with EC guitarist Scott Krause — in the mean time, buy Destroy the Machines on iTunes, cop the newest ExC record To The Deathon Century Media, and relive the 90s through my earlier post '5 Things I Miss About 90s Hardcore' for Stuck In The Past.
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-Sergeant D.