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CAREER SUICIDE Hard-hitting punk that pushes the past towards the future.


INCE their formation in Toronto, Canada in 2001, Career Suicide has been blazing a burning trail of direct and hardhitting hardcore punk across the globe that never fails to hit the spot. Whilst they are unashamedly inspired by the initial energy surges of the first waves of punk and hardcore, this ain’t no nostalgia trip. Career Suicide sounds vital, powerful and now. In 2015 the band returned to the UK for the first time in seven years for a short blast of incendiary shows and they unleashed a razor-sharp new track called ‘Cut And Run’, our first taste of new material in as many years. Now they finally have a new album, titled ‘Machine Response’, due later this year and we caught up with frontman Martin Farkas to find out more.

There’s been a long gap between this and the last release, does it get harder to dedicate as much time as you’d like to the band as you get older and real life gets in the way? “Committing the time to a band that regularly practices, records, plays shows and goes on international tours is never easy when you need to coordinate between fourfive people that have busy lives, but we’ve always



managed. I suppose we’ve never been particularly good about practicing, so that makes it easier. It does take a bit of sacrifice, but we’re all in a position that we can be relatively flexible --none of us are chained to a desk-- and most importantly, we all really enjoy being in the band, so we make it work.”

You’re sometimes labelled a ‘retro’ hardcore band and are certainly influenced by the early waves of punk and hardcore. How do you feel about the current punk and hardcore scenes with so many old bands reforming? Is nostalgia healthy?

other hand, when I saw the Saints, it was so embarrassing that I couldn’t bare to listen to their music for years afterwards, despite how important their music had always been to me.”

Your recent UK tour was the first time you’ve been over in about seven years, did it go to plan? The performance at DIY Space in London saw you constantly having to wrestle your microphone back from an unfeasibly tall skinhead! All par for the course? “We had such a great experience on our UK/ Northern Ireland tour that we’ve long wanted to return, the timing just never quite worked out. We must have invited us a hundred times since that tour, but we could never make it work. As far as mic theft goes, it’s par for the course. I’m so spoiled by the wild interaction between the audience and band at punk/hardcore shows that I can barely sit through a normal band that just plays at their crowd. At our shows, the crowd is such a huge part of what makes the gig, so I really appreciate it when people are enthusiastic and go nuts. That’s not to say it can’t be annoying, but I would be lying if I didn’t admit that witnessing someone losing their mind to some stupid song we wrote wasn’t one of the greatest compliments.”

“I think nostalgia is not only healthy it’s requisite. As for old bands reforming, I approach it with a sceptical optimism, though my bar is quite high, so I am usually disappointed. As someone in his mid-30’s it would be pretty funny if I started yapping about punk just being young person’s game, but I do believe that you need to hold yourself to a high standard and be able to deliver a performance worthy of your music. In other words, if you’ve let yourself go and are just going up on stage for old times’ sake, you won’t be able to hide it behind some stupid outfit, or rest on your past glories. When I see a band like the Kids from Belgium, that are clearly putting in the work to put on great James Sherry shows, and they hit the stage with a totally furious intensity, I count myself lucky to have gotten to see them despite BRINGS IT LIKE: BLACK FLAG / PAINT IT BLACK / MINOR THREAT that I was fifteen years too late to OUT NOW: ATTEMPTED SUICIDE (Deranged) catch them in their heyday. On the

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