10 Years Queensday Fesitival issue
With the Oude Garde punk collective we annually organise the Queensday Festival. Back in the days this collective used to organise many concerts in and around the nice city of Venlo and we had our own fanzine. The last issue dates back years already.. .. don’t think anyone can recall. Now we deciced to publish a final fanzine because of the tenth edition of the Queensday Festival. A special: all about this Queensday Festival and the previous editions. If you recoup the festival over the years there are many unforgettable memories. Think of Nine Pound Hammer. These cowpunkers played the festival four years ago and now they announced their final European tour in September. A good reason to ask them some questions. Looking back to the past we find a lot of Stardumb Records bands on our bills. That’s why we asked the notorious Kevin from The Apers and Will de Niro from The Zatopeks to write a nice piece. Also the Oude Garde fanzine would be nothing without the cartoons of Hades Hans, so you’ll find a new one in this issue too! Looking back full of nostalgia can be fun but what lays ahead might be even more thrilling. What will happen to Banner Pilot, one of the best signings Fat Wreck Chords has done in the last years? They better speak for themselves. Find an article in this zine. Last but not least this years program can be found as well, some descriptions and the showtimes. We hope you enjoy this Oude Garde fanzine and have even more fun with the festival! See you in the pit! We would like to thank Perron 55 for their full cooperation and thinking along! Oude Garde crew
When Jair, Gijs & Jorrit, a.k.a. J Garde, Gregor Gamble and Lolly asked me to write a little piece for the 10th anniversary of Queensday, I thought they was fuckin’ with meeeeeeeeee brain! 10 years? Arriverderci. They were, however, right. Times goes fast when you’re having a drink or two. I have been attending 8 out of the last 9 Queensday parties in Venlo, skipping one year for a horrible party somewhere else. My bands The Apers and The Jizz Kids had the pleasure of rockin’out and last year I gave new meaning to the word DJ. Dronken Jongen? Anyway, time goes fast, people chance, but the Queensday = Queensday. From a little punkrock freakshow at The Splinter to the massive punkrock extravaganza with food, skateboard ramp, acoustic performances and hundreds of visitors, the feeling stays the same. People that attend the party don’t wanna walk around in R&B infested Rotterdam, or join the other 2 millions idiots at some flea market in Amsterdam. Those people wanna drink and watch a zillion bands. Local bands, bands that have played Queensday many times before, international super stars and bands that suck ass. People from Germany and Belgium come down to honour Beatrix and pound big self-brought cans of pilsner. Is it unique? No. Do I think it’s unique? Yes. I’ve been to so many shows, but the Queensday Festival is special. Special because it’s free, special because it’s always fun, special because it’s diverse and still loyal to the underground. Special because it’s from the punkrockers for the punkrockers. Peace out people, enjoy the party and get wasted! Oh, and congratulations! 10 more years please.
The US band Banner Pilot released their latest album ‘Collapser’ on Fat Wreck Chords last year. They describe their music as ‘Jawbreaker, Alkaline Trio, Dilling Four and Screeching Weasel in a blend on high for one minute’. We spoke to Nate, who plays bass and sings in the band that is one of the headliners on this year’s Queensday festival. You didn’t have time for an interview over the phone. What kept you so busy? ‘Well, I was in the studio for about 15 hours a day. I was recording with another band I play in, called The Gateway District. Because we didn’t have a ton of days we ended up cramming a lot into each day. However, I think it turned out great! And what about Banner Pilot? You stated on your Myspace that you were working on some new songs, how is that going? Really great, actually! We’re still in the early process, but so far so good. I’ve been coming up with rough ideas at home. I then send them to Nick, who plays guitar and sings, to see if he has any ideas on the melody, and after that we bring them to the full band for fine-tuning. I guess we have done around fifteen songs this way, but probably only half of them will end up being used. There no recording plans on the short term, but I like what we’re coming up with. So there are no plans for releasing a new full length? I feel like we’re on pace for recording a new full length in December or January. It’s just a guess, but it seems worth shooting for. When we get back from our European tour, which will last until early May, I plan to really getting into songwriting and demo-ing mode. How are the songs, compared to your earlier work? So far, there are no dramatic changes. I’m guessing that only one or two songs will be completely different from our earlier stuff, while the other ten or eleven songs will be similar. I don’t want to venture too far outside of our comfort zone solely for the purpose of saying we did something different. Your latest full length ‘Collapser’ has quite some interesting artwork, with the very old pictures of men pulling a boat on the shore. Why did you choose these photos? A friend of my mom picked up an envelope of random film negatives at a garage sale for 25 cents. They turned out to be super awesome photos from around 1904. We know the year, because one of the pictures shows a poster for the 1904 World Fair. We don’t have any idea who took them, but the quality is amazing.
And why is the album called ‘Collapser’? I came up with the album title when we were still writing the songs. During this time the US economy seemed on the brink of collapse, and the word seemed to sum up the mood at the time. The cover photo in turn seemed kind of fitting. Uncertain and sketchy, but also sort of hopeful beneath that in a vague way. There’s not much to it beyond that: I just thought the photos were cool and seemed to fit the album. You’re playing the Queensday festival this year. What do you expect from it? I had not actually heard of the festival before, but it looks great. My only stay in the Netherlands ever were some great days in Amsterdam. I’m excited to be back, I think the festival is going to be awesome! Interview by: Andy Leenen
Aah, Queensday, a right royal celebration and the start of the summer... the sun splattered like a fat blob of melting butter against the pale blue sky and all the wet, drab greyness of winter is far behind us like a stalker with an injunction slapped in his ugly face. And down in the south of Holland, the continued existance of royal parasites is not heralded by birdsong and chirping crickets, but is either forgotten about or is mocked and abused by a gathering of the tribes and by fuck-off loud guitars !! Every time I make my annual pilgrimage to the QD festival in Perron 55, I do it with a shitload of anticipation... there’s always bands I’m looking forward to seeing, and with a genuinely mixed bill every year (punk, stoner, garage, power pop, some mod and soul) I usually get to hear some great stuff that’s normally off my particular radar. Some highlights from the past few years would, for me, include a spirited set from 2nd District when they were a man down, the insanely groovy 60s vibes of The Madd, as well as Radio Dead Ones, The Dead Weights and the legendary TV Smith playing three sets, one of em ably assisted by Pascal Briggs, whom I’d missed the previous year due to car trouble.... and then there’s the many, many more who I can’t remember due to my usual extremely drunken state !! God bless the Queen.. hic ! But perhaps the real highlight was when I played there with my own band. It was the last gig of a small tour and we were, if I do say so myself, on top form. A few years before we’d played our first real show at the P55 and so we all have a soft spot for the place... we hit the outdoor stage at the perfect moment... the sun was warm and bright when we started, halfway through the set we were under natures’ own mood lighting and by the time we sweatily said our goodbyes and crawled off it was dark. Afterwards, the whole band were buzzing... the way bands do after one of those special gigs. Needless to say (but i’ll fucking say it anyway cos I wanna..) we were well looked after by all the wonderful people from the Sedate / P55 crew. Seriously, I don’t know how they do it !! I mean, this is no micky-mouse affair... this year they’ve got yet another great international line-up in store for us, culled from Holland, Germany, America and the U.K. with the fabulous Bouncing Souls geared up to close the festivities. So, here we all are again... it’s 2010 and, once again, there’s a slew of knockout bands here to prove that gutsy, from-the-heart rock ‘n’ roll will always prevail against insipid piss-water like the Pussycat Dolls and the James Blunts of this world. Boys and girls, the summer starts here... and it’s up to us to make it a great one !!
The whole meeting had the air of an illegal gathering. There were about 25 of us sitting in a small attic room in St. Petersburg, Russia, watching black and white Beatles movies and surrounded by massive Beatles flags, posters and memorabilia. Occasionally a giant John Lennon or Paul McCartney board would drop from its hinges onto the head of some unsuspecting guest. In fact, until around 20 years ago, this kind of thing was illegal here. The organiser, Kolya Vasin, is a Soviet underground legend who converted his St. Petersburg apartment into a Beatles museum in 1966 and has never looked back. He was the only Russian to exchange correspondence with John Lennon, and a founding member of the first Soviet Association of Rock Musicians in 1971 (which collapsed when one of its members was arrested and imprisoned). Now he’s spent the last couple of decades trying to get the world’s first Beatles Temple built on Vasilievsky Island at the mouth of the River Smolenka. In the meantime, his office/apartment is the temporary home of the temple. With grey hair, wild eyes and a big Woodstock-style beard, Vasin takes the microphone and rambles on cheerfully about John Lennon for a bit. He uses the Russian diminutives, affectionate nicknames for friends and family, when referring to the Beatles. Johnik, Paulchik, Georgeik and Ringochik. In Vasin’s worldview, John Lennon was sent by God and now lives in a monastery in northern Italy. (This theory, if it were ever proven, would have interesting legal repercussions for Mark David Chapman, his killer). Then he suddenly emits an ear-splitting yelp into the microphone; the audience’s collective heads practically explode. Everyone ducks and winces. Vasin grins. If you’re the type of person who dedicates their life to building a Beatles Temple, I guess you’re allowed to do things like scream annoyingly into microphones without people getting upset. Then the musical entertainment appears, an American named Jan Britten Owen who plays Beatles tunes on a 12-string guitar. He’s all decked out in a Sergeant Pepper’s Lonely Hearts Club Band suit, and would seem rather eccentric himself were he not sharing a stage with Kolya Vasin. After an hour or so of belting out the hits, the show is over and the guest star is besieged with requests for autographs and photos. I’m introduced to Mr Vasin, who tells us that they’re going to the temple in a minute and we’re welcome to drop by. “Sounds fun,” Olya tells me. “Expect indoctrination, though.”
I wasn’t quite sure what form Beatles indoctrination would take. Enforced ingestion of LSD? Sticking pins into Yoko Ono voodoo dolls? As we trudged down the 5 flights of stairs and back into the snow, we resolved to find out. At any rate, it wasn’t far to walk. The gig, like the makeshift temple, was on John Lennon Street. Vasin successfully convinced the local government to rename the city’s smallest street in Lennon’s honour. The sign on the little door announced: In the name of peace, love, music, and John Lennon We knocked and it swung open from the inside. It was a bit like the scene from Being John Malkovich where he steps inside his own head. Every single spare inch of the small office was covered with Beatles pictures, life-size cutouts of every member of the band, a papier-mâché����������������������� ������������� model ���������������������� of the proposed temple on Vassilievsky Island, badges, stickers, tapes, books, coffee cups and homemade memorabilia. Jan Britten Owen, tonight’s guest of honour, sat in the VIP armchair at Vasin’s insistence. Another member of the church gathered up some mugs and filled them with dry red wine. It’s difficult to find good red wine in Russia- if they drink the stuff at all here they usually go for the sickly sweet variety- but then I suppose you’d expect good taste at a Beatles Temple. They handed drinks to everyone and we drank the health of the Italian monk John Lennon and his associates. The American guest jammed some more classics on an old acoustic guitar and then our hosts turned the stereo on. Even Beatles fans need a bit of variety sometimes, so this time it was a John Lennon solo record. If you had told me when I was 17 years old that at some time in the future I would be dancing around in a temple with a bunch of hippies banging tambourines and singing Give Peace a Chance, I would have probably thrown myself under a bus. But back then I was much younger, so much younger than today. Tonight I was drinking the blood of Christ, or Harrison, or one of the other Lads from Liverpool, and happily singing away. I glanced around. There was a badge on the wall that said, “We have the temple, now we just need to build it.” Paul McCartney stood behind me, frozen in 1963, observing everything through his black fringe. He looked on with his cardboard gaze as the VIP guest stood up to say his goodbyes. Kolya Vasin hugged him vigorously. The architect refilled our mugs and chatted a bit about the design of the future temple. Vasin announced that anyone who wanted to catch the last metro had to leave now. We hung around a bit longer. After all, there are last metros every night, but how often there are Beatles religious ceremonies? And then, finally, it was time to quit. We thanked our hosts and put on our coats, scarves, hats, gloves, thermal shirts and all the rest of our arsenal for keeping out the violent Russian winter. I shook Vasin’s hand and felt like I should say something profound. I am English, after all, a resident of the Mother country that spawned the Fab Four. I decided to stick to the rules and repeat something I’d heard earlier.
“All you need is love,” I said, as soulfully as I could. “Love is all you need!” Vasin exclaimed. Not a bad mantra, I must admit. Then the door closed and we were left outside in the snow. Cold has a very sobering effect, both physically and emotionally. Had it all been a dream? We walked out towards the main road, past the giant, three-dimensional yellow submarine and the Revolver-era Beatles images engraved into the walls of John Lennon Street, past the proclamations of peace, love and music. It was definitely real, and it’s still there if you want to find it. I guess, to paraphrase the English World War 1 poet Rupert Brookes, There’s some corner of a foreign field That is forever Beatles. Weirdly, that’s quite a reassuring thought.
It ain’t no secret Nine Pound Hammer is a Southern band; they’re from Kentucky, everybody knows that. If you’ve seen ’em play on the 2006 Queensday Festival you also know this: these boys are a rowdy lot. Thus, I was kind of expecting my interview with singer Scott Luallen to gravitate towards beer, barroom brawls, guns, hookers, hunting deer and all that. Wrong! Turns out Scott’s into history and politics; he knows more about the Dutch royal family then we do! Pretty cool huh? I mean: this is the guy who fronts the band responsible for Run Fat Boy Run and Rub Yer Daddy’s Lucky Belly… First off, do you remember the gig at the Queensday Festival in 2006? “Oh yeah. That was a rough day because we had to play two shows that day. We played around two or three o’clock that afternoon and we had to play again that night, so that was kind of though but it was a good show. Surprisingly good for the afternoon, you know. Too bad we couldn’t stick around.” You guys postponed last year’s European tour, what happened? “Well, last year has just been kind of crazy. There were a lot of uh… a lot of changes in people’s personal lives and stuff. You know, family stuff, jobs, it just wasn’t working. But we’re looking to come back.”
The Hammer is still swinging right? “Well yeah, but it’s a part time thing. Blaine [Cartwright] is doing Nashville Pussy and that’s his focus. The rest of the members have their own businesses and I just got a new job… But we’re finishing up a covers lp at the moment. We’re doing some country covers and some new Nine Pound Hammer songs: bluegrass, country style. Some original songs and covers like Dwight Yoakam, Charlie Daniels Band.” The Devil Went Down To Georgia? “No, it’s Drinking My Baby Goodbye. It’s a great song, really rocks. We’re playing it like straight up, cowpunk.” What do you think of that term? “I think it’s good. I don’t mind it; we use it. It’s pretty accurate for us and Jason And The Scorchers and some other bands like that. Jason is really not that much punk anymore but anyway, they were considered the founders of it.” Do you consider yourself punk? “Well yeah, I mean we definitely cut our teeth. We started this band because of the Ramones and Johhny Cash basically. Just outlaw country and punk rock. I’d describe us as the Ramones in a pickup truck.” I’d call Nine Pound Hammer a punk rock band, despite the southern influences. “We’re not a Southern rock band no. As much as Blaine wants to try and make us be one, we’re not one. Ha-ha-ha.” But you do have a certain image among fans. They want you to be hillbillies! “Ha-ha-ha, yeah. I’d call us ‘suburban rednecks’. I mean really, we grew up in suburban neighborhoods with farms in our backyards. Owensboro, Kentucky is like a country town but with suburbs. I only know Kentucky because of its fried chicken. “Oh yeah, it’s very agricultural based. Obviously we have a good music scene but it’s still a very rural state. Very poor, very uneducated unfortunately. The people here still love George Bush.” Talking about politics, what do you think of Obama? “Don’t really like Obama. I mean I did at first but he’s turned out to be a disappointment. For true liberal progressives in this country yes, a big disappointment.” And what do you think of our queen? “Queen Beatrix? She a Bilderberger.”
I didn’t know, what’s that? “It’s the group that runs the world basically. Her father, Prince Bernhard started it at the Bilderberg Hotel in 1954 or something. That’s where their first meeting was, they’re kind of a fascist movement.” Interesting. Our queen Beatrix is three quarters German and our next monarch, Willem Alexander, even 87,5 percent… “Oh yeah man they’re all inbred. The same bloodline, they’re all related. People don’t realize that Queen Victoria The First couldn’t even speak English.” How do you happen to know all this? “Ah just... I like history a lot.” Cool thing to hear from the guy responsible for Run Fat Boy Run. “Yeah you know: some of our songs – if you look at ’em – are kind of intelligent. We throw some politics in here and there.” There’s a lot of humor also. “Yeah, gotta keep it kind of funny; not too serious.” So what’s Nine Pound Hammer about? “Well, for a while it was a lifestyle, for sure. I mean, for the first fifteen years it was classic: sleeping on peoples couches, working twenty jobs, heavy drinking, quitting jobs to go on tour, living hand to mile you
know. It was a lifestyle and we developed; we call it like a cult. We have a cult following around the world. There’s a, whatever you may call it, redneck, hillbilly kind of image, but like I said: we’re not dumbasses. It takes some kind of brainpower to write a song like Run Fat Boy Run or Feeling Kinda Froggy. There’s a method to the madness, you know.” Then again your music is pretty straightforward. “Yeah. It seems simple but it’s not. Like the Ramones, writing a two chord song is harder then you think. Ha-ha-ha.” There’s quite a bit of the Ramones in Nine Pound Hammer. “Oh yeah for sure. They were the main influence. Growing up where we did and getting into music in the late seventies was like Aerosmith, Van Halen, Ramones, Sex Pistols and then all our parents, like all our dads, listened to country. My dad listened to Johnny Cash, Blain’s dad was into Willie and Waylon and Hank Williams and all that. It all morphed together into one thing, and I think it’s unique. I think we have our own sound.” You do. You’ve been around for quite some time, will The Hammer last much longer? “We have our 25th anniversary this year so we’re working on some things. We gonna try to get some stuff done, get this album out and get back over to Europe and kick it one more… no I’m not saying one more time: at least one more time. We still got it. Nobody knows. You never know, the sun might blow up tomorrow.” Tekst Willem Voorn - Pictures Arny Zona