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FUCKED UP have returned from the UK just in time to turn around and head out again for their first full US tour in support of . before leaving on tour, however, the band will be playing the record in it’s entirety in Toronto at The Tranzac on June 2nd. This show has been dubbed ‘Hidden World Live’ and is not to be missed if you can make it to Toronto.

Also, during the tour, the band will be selling their new Year of the Pig 12" single, which will be properly released by in August. The tour begins on June 20th, but in the meantime, check out FUCKED UP’s on Radio 1′s Punk Show with Mike Davies. The web site for show includes a unreleased song entitled ‘Black Hats.’



06/02/2007 Toronto, ON Canada @ The Tranzac HIDDEN WORLD LIVE with AIDS WOLF
06/20/2007 Cleveland Ohio @ Now Thats Class
06/21/2007 Pittsburgh, PA @ Lawrenceville Moose
06/22/2007 Brooklyn New York @ 538 Johnson w/ THE DUSTHEADS
06/24/2007 Nashville, TN @ The Muse
06/25/2007 New Orleans, LA @ McWilliams Hall in Tulane
06/26/2007 Austin, TX @ Emos
06/27/2007 Las Cruces, NM @ The Farm
06/28/2007 Phoenix, AZ @ The Phix
06/29/2007 Los Angeles, CA @ 1269 E 6th
06/30/2007 Berkeley, CA @ 924 Gilman St.
07/01/2007 Long Beach, CA @ TBA
07/02/2007 Tijuana @ Salon Fiesta
07/03/2007 Los Angeles, CA @ TBA
07/04/2007 San Fransisco, CA @ TBA
07/05/2007 Portland, OR @ TBA
07/06/2007 Olympia, WA @ Manium
07/07/2007 Vancouver BC @The Ukranian Cultural Center
07/08/2007 Edmonton, AB Canada @ Teddy’s
07/09/2007 Regina, SK Canada @ The Exchange
07/10/2007 Winnepeg, MB Canada @ The Collective Cabaret
07/11/2007 Minneapolis, MN @ Triple Rock Social Club
07/12/2007 Chicago, IL @ Beat Kitchen
07/13/2007 Cedar Falls, IA @ The Boathouse w/ MODERN LIFE IS WAR
07/14/2007 Lawrence, KS @ Jackpot Saloon
07/15/2007 St Louis, MO @ TBA
07/16/2007 Chamblee, GA @ The Shop
07/17/2007 Virginia Beach @ TBA
07/18/2007 Washington, DC @ 1017 7th St. NW w/ GOVERNMENT WARNING
07/19/2007 Philadelphia, PA @ TBA w/ BATTLES
07/20/2007 NYC @ The Knitting Factory w/ LIMP WRIST
07/21/2007 Brooklyn, NY @ Southpaw w/ PISSED JEANS

The will be updated with the most current information and details as we get them.

And remember to buy the FUCKED UP ‘Owl’ T-shirt!


Fucked Up – Hidden World

Ok, Fuck Your Jetta isn’t so impetuous that it talks about records before it’s even listened to them, but listening to the newest record by Toronto’s Fucked Up has me wanting, nay, needing to sit down at the old typer and get a move on to try and pull some kind of Lester Bangs go-man-go while I feed off the high of this insane rock and roll album on first listen.

You know how your friends don’t understand that Appetite For Destruction is actually the best straight-up rock and roll record of the 80s because they somehow associate Axl and Slash with Brett and Bobbi and Gene and Paul and Jon and Richie? Not that they weren’t part right, since G n’ fuckin’ R is and always was sort of a cartoon show, but there’s just no getting around it – if you know what fucking rock and roll is, dangerous, joyous, dirty, and unapologetic, then you know that Appetite rules, full stop, no smirking and no winking, and if you think I’m wrong, you can fuck off and go listen to some more Black Sabbath or Zeppelin or whatever people who feel rock and roll in their brains and comic book collection instead of their balls and their hearts listen to.

Now imagine trying to explain Fucked Up to them. Because you’re convinced they will like them. You’re convinced that everyone who’s ever bought a record with distorted guitar will get into it. I mean, what you have here is a positively charged, major chord, mid-tempo band that has a lot more in common with the sound of the New Bomb Turks, upbeat Fugazi maybe, possibly Boyracer on a pissed off day. Yet they have the ultra-clean, ultra-compressed, ultra-loud and ultra-everything else production of most modern metal, and a singer who sings like he’s out of one of the modern "hardcore" bands that all the kids love these days. To the punks this is going to sound like hard rock, to the rockers it’s going to sound like metal, to the metalheads it’s going to sound like weirdly chipper emo, and to the emo kids, it’s going to sound like punk. I’m afraid that you won’t get it, and if there’s a record from the last ten years that everyone should get, hell, since the Pixies, it ought to be Hidden World.

The great thing is it’s not for any of those folks – Fucked Up is for you. Blaze of Glory practically rerecords the dramatic part of Won’t Get Fooled Again note for note, all windmilled chord hits while the empty space around it is filled with a bouncy bass line, practically grinning with fury. And then at the end screeches to a halt and finishes with strings that could be on a Tindersticks record; the next tune opens with a Casiotone for the Painfully Alone keyboard/drum machine riff until a starkly joyous major chord melody charges in and says, man, let’s go!

I just don’t even know how to describe it, that it sounds like the best in classic rock played with the volume and fury of hardcore, and before you balk, I know how bad that sounds. It’s more complex than that; this record is so heavily repetitive, both in structure and in the melodies themselves, it could be a Suicide record sometimes. All the songs sound the same, and are unusually long, such that it’s actually a blessing: it’s so cohesive, in and of itself, it plays more like a 70 minute mantra chant than a rock record, and like meditation, you lose yourself in time. And for a rock record of any stripe, that’s weirdly long – only technical metals of the death and Between the Buried and Me varieties, not counting all the flavors of doom, ever reach past 4 minutes. This fucking record has only two of its 13 songs clock under 4 minutes, and 5 are over six minutes long. I can’t think of any rock and roll record worth listening to that’s much more than half the length of this one, unless you count Lift To Experience’s transcendental Texas-Jerusalem Crossroads, which in fact may be the best comparison of this record in that they both reach out and want to fearlessly love life with an open heart, and play some songs along the way, but I dare not try and state the case of this band here and now; I promise faithful reader that you will hear from me about them yet.

Did I say that this was a metal record, a rock record, a Suicide record? Hell, it’s so poppy that I’m sure the tough-guy hardcore kids have no idea how to get pissed off to it and get worked up to bust some heads, but the punks who might listen to bands with this kind of sound are more used to a wink and a nod and maybe even a reference that only a college kid would get spat out with a delivery that any mall punk could chuckle at while he shops for a new Emily Strange deck at Hot Topic to pick up betties with. You know, I’ll see your NOFX and raise you a Turbonegro. Yet if you dug MBV’s Loveless, and you were riding your bike past a car with this blasting, you might do an aural double take and wonder what they could be listening to, and how could the people listening to a band that sounds as thick and impenetrable yet immersing as My Bloody Valentine look like those kids from the suburbs who go to shows and leave with a matching hooded sweatshirt, tee shirt, ball cap combo? This is a hardcore record that is positively joyous, but will make the most earnest posis among you blush with its unapologetic positivity, and makes ‘em all want to pound their fist in the air, bang their heads, and tap their toes like it’s a Smokey song.

And I’m not talking about that praise-the-lord or fuck-emo-we’re-smiling-and-going-bowling stuff that was popular "with the kids" a few years ago; we’re certainly not talking blissed-out indiepop, though this is a metal band that put out a 7" of Shop Assistants and Dolly Mixture covers, and the latter are obscure enough that me, your humble know-it-all record nerd never even heard of them, and this band is probably ten years younger than I am, and if they are, they’re way fucking smarter than I was when I was 21. It’s sparkling and inspired by light and truth and the fiercest empathy I’ve ever heard on an LP, and I can’t even understand the damn lyrics yet; my hardcore-to-English babelfish is in the shop, and as a grindcore lover, I know better than to pay attention to what the singer is saying, but I’m certain that this dude has something to say, and I’ll happily hear him out once I get to it with a bike and a pair of headphones.

If there’s only two kinds of music that we ever get worked up enough to write about, there’s the stuff that needs to be described in detail because it’s so odd and unexpected that you might not get past side one track one if you don’t have a little context for where it’s going to go and what it’s going to do – Butch by the Geraldine Fibbers, say, or the Vibracathedral Orchestra if you liked standard indie rock for the former or standard "hippie noise" or just regular noise for the latter. Stuff like that, you just talk about it and are half descriptive, and half poetic, and hope your words are enough to get someone to put on one of those records with an open mind and see the light.

But the other kind, it’s the stuff that actually sounds very familiar, it sounds so much like something else you know, and man, you know what I’m talking about? That kind of thing, articulating it escapes you, because there’s something about this sound, this band, but jeez, I sure don’t want to be the one who got you to listen to Phoenix’s It’s Never Been Like That because I convinced you it sounded like the first Strokes album, nor do I want to be the one who got you to listen to the first Strokes record because I couldn’t say anything better than that there was some Marquee Moon in there, however tenuous. It’s very rare that a record grabs you by the ears though, and then gives you a hug, and certainly not something this aggressive.

When you hear it though, you just know. And that’s from someone who knows the difference between getting intoxicated on a melody for a couple of days or weeks, or when it’s a balm to soothe or blister something festering, just a little passing music to soothe the savage beast. No, it’s usually the case when you like a record right off the bat that you’re probably going to get tired of it after a couple dozen listens at most. But there’s also another kind of record, a very rare one, that from the first chords of the first song, you know it’s going to be a keeper for the long haul, you’re going to be pulling this one out ten years from now, and not even dusting it off, because you take it out often enough that it can’t even be still long enough to catch a mote.

No, this inexplicably familiar yet incredibly resonant je ne sais quoi is the stuff of the best records if you’re not one for genre records. You know, if you’re into Nasum, you say "Swedish" and "grindcore" and you’re going to be happy, from Skitsystem to Sewn Shut to Regurgitate to Gadget, and that’s like, you know, saying the Swedish grindcore equivalents of Snapcase, Scum-era Napalm Death, the band that inspired insipid and sophomoric crap like Gut and XXX Maniak, and the grind equivalent of Metal Church or Dream Theater. Be that as it may, it’s still going to be hugely melodic, well-produced, expertly played grind that you will check out just knowing that, and you will dig it, because, well, it sounds like Nasum.

But outside of genres in that sense, just why would you pick up a record because it sounded like X? I mean a) whoever said that is probably wrong, it’s a sloppy shorthand that the reviewer or doofster overheard at a show doesn’t even know she’s using, because Spin and the Village Voice and Trouser Press and NME taught people my age that it’s perfectly ok to believe that "Kathleen Hanna pistol-whipping The Melvins in bathroom at a Slits gig" is a satisfactory description of a Babes in Toyland record and b) if you want a record that sounds like X, you’re probably not reading this review, you’re going to see the video and download it or not download it and play it in your car for a couple of weeks while you drive to the mall or whatever you do, and likely if you’re in the b) category, you can’t even know about a) anyway, and even if you did, you wouldn’t care.

So I’m not allowed to say that Fucked Up maybe kinda sorta sounds like the second coming of the New Bomb Turks, with a MacBook and a totally sweet studio suite instead of a 4-track, a two four of whatever was cheapest and some guy’s apartment after the hardware store below closes for the night. It’s so much more than that, and yet even if I try and describe it’s most obvious and signature elements, what does that say? Major chords and upbeat progressions that recall the best of The Who and Therapy? Midtempo in much the same way that anyone from Husker Du to Mastodon is? Shouted hardcore vocals without either the faux he-man Madball shit or the whiny woe-is-me Orchid shit, a rage that believes in the good in everyone so hard it would make a gospel singer go damn, now those boys are into it.

That’s just too easy. Oh-it’s-kinda-like-non-hair-band-80s-hard-rock-(think-The-Four-Horsemen)-with-90s-melodic-punk-flavor-(Millencolin-maybe)-and-sorta-hardcore? It’s not enough. This band is passionate, and they soar with chords that could be straight from the rocking part of Come Sail Away, except without the pomposity or schmaltz, and yet in the same tune, they are as fiercely punk (meaning pissed off, self-righteous, and more importantly, right) as the NOFX doing Perfect Government, and still have a sound that could turn the head of a Nugent or a Husker or a Mars Volta fan if it were blasting in a Camaro with a T-top. At least if we were writing about the mighty and elusive Drive Like Jehu we’d be allowed to use the F-word (Fugazi that is) and not get sent to the corner to wear the dunce cap for the rest of the period; even by Yank Crime, Fugazi had inspired a whole generation of bands to be punk in a way that simple anger and angularity couldn’t describe without saying Fugazi, and it sounded like Fugazi in some way, so that was ok.

This isn’t like that. I mean, really, I’m picturing how great this will sound in my brother’s car with his 300W speakers cranked and how amazed we will be that he thinks I like a band that could tour with Snapcase and he’s willing to listen to a band that has more in common with The Hold Steady sound wise than they do with Unearth. Fucking Manqueller Man starts off so damn happy that I don’t even know what to do with it but run out and buy flowers for a stranger and go volunteer at the old folk’s home to read them their favorite books. And yet, not only is it immediately familiar, it’s a riff that’s identical in many songs, just like every single band has a song that uses what would be in barre chords 3rd fret -> 7th fret -> 8th fret, with variations of sometimes going to the 10th after that, or jumping from the 7th to the 10th, or going down the neck instead of up it.

The rub is that in the best possible way, you’ve heard this, and in most familiar way, you’ve never heard anything like this. In a town that had a decent rock radio station, this tune could be up there with the top songs of the week, back to back with the latest from Creed or Nickelback or whatever the latest incarnation of that kind of junk is, sandwiched between Black Hole Sun-era Soundgarden and Cheap Trick and you’d go, "Yeah!" and turn it up and tap your fingers on the door with your left elbow leaning on the open window of your 1990 Cavalier. And the poor kids that learn to like My Chemical Romance and Marilyn Manson because they saw Vito’s kid in eye makeup and a spiked leather collar on the Sopranos last week, they’ll get it too. Your old school punk buddy who bought Pistols records when the band was still around and now only listens to free jazz will perk up her ear and go, "hmmm" and you indie rockers who pretend to get into Four Tet, but have a secret stash of Aisler’s Set records you put on when you’re doing the dishes, you will want to glue your hands to your sides and pogo. And this is from a band with a whispered and twice repeated, "broken down and beaten down, another day we’ll surely rise", and before you can roll your eyes and start typing "hardcore cliché", and trying to think of something nasty to say about Brampton or Etobicoke or wherever they’re from, though you haven’t yet understood a single shouted word through the whole first verse, you can’t miss that the dude is screaming at the chorus, "the triumph of life."

And it’s no fucking joke! Even better, you believe it. Because it’s true, and they are not at all hesitant in making their joyful noise unto the lord, that just happens to have the volume and snarl of the best of metal and the hooks of every would-be Beatles on the Yellow Pills compilations of power pop unknowns.

It’s the real fucking deal folks. It’s the record that captivates you until the last of the reverb on the last tune fades out and them makes you get up and walk around the room going damn, damn, DAMN! I have no other way to tell you. My only recommendation in particular is that if you’re going to check this out, listen to the whole album. I can hardly say I’d promise you the same if I was reading your blog, but when I first heard of these guys in an Exclaim review, I checked out a tune on their label’s site, and while it definitely got my attention, I couldn’t have possibly foreseen the force of this record from a single tune. This is a band that, at least by the torrents I started grabbing a couple songs in anticipating needing more before I’d even heard the whole LP, put out nothing but singles for years as if they were protesting the idea of a full-length album. Then they decided to make an LP, and the way that people who will espouse sitting and listening to a long-player all the way through as the only way to experience music, this record is definitely an LP and not a collection of songs. Now in the middle of my third straight listening of a fucking 70 minute record, I can not recommend this record enough. I promise I will report later and see if the wedding was hasty, but I’m confident, even hopeful that this record will continue to open up to me and me to it.

Whatever you do, seek the Hidden World; get Fucked Up.


Fúcked Up play hardcore music. It’s loud, and even they thought it was weird that they were playing it outside in the sun on that Thursday afternoon in Austin….

The show was definitely much less hardcore than they one they played later that week on the pedestrian bridge, but none of their shows were as hardcore as the one where Keith Morris (Black Flag, Circle Jerks) got up on stage and sang with them.

F’d Up’s next NYC show is opening for Art Brut at Studio B in Brooklyn on April 18th. Over the summer they’re doing a tour of the U.S. that includes three NYC dates. Those tentative dates below the rest of the pictures…

F’d up – 2007 Tour Dates
Fri JUNE 22 Brooklyn
Sat JUNE 23 Richmond
Sun JUNE 24 Nashville
Mon JUNE 25 New Orleans
Tue JUNE 26 Austin
Wed JUNE 27 Las Cruces
Thu JUNE 28 Phoenix
Fri JUNE 29 Los Angeles
Sat JUNE 30 Berkeley
Sun JULY 01 Tijuana
Mon JULY 02 Long Beach
Tue JULY 03 San Fransisco
Wed JULY 04 Oakland
Thu JULY 05 Portland
Fri JULY 06 Olympia
Sat JULY 07 Vancouver
Sun JULY 08 Calgary
Mon July 09 Regina
Tue July 10 Winnipeg
Wed July 11 Minneapolis
Thur July 12 Chicago
Fri July 13 Des Moines
Sat July 14 Kansas City
Sun July 15 St Louis
Mon July 16 Atlanta
Tue July 17 North Carolina
Wed July 18 Va Beach
Thu July 19 DC
Fri July 20 Philly
Sat July 21 New York
Sun July 22 New York

For more pictures and links visit the direct link to this article below.


Of the numerous FUCKED UP shows at SXSW this year, the show at Red Seven on Saturday was a special treat due to a guest appearance by Keith Morris, who sang ‘Nervous Breakdown.’ See the footage below. We apologize for the audio quality, but it’s the best we have.


For more footage of FUCKED UP from last weekend, see the site which features footage of the band playing an amazing show on a pedestrian bridge:


Fucked Up
Hidden World
[Jade Tree; 2007]
Rating: 7.5

It’s amazing that some original punkers either stray miles away from the sound and intent that gained them notoriety or simply put out the same records they always have decades after the fact, while Fucked Up (FU from here on out, pardon my decorum) show us how to grow up gracefully within the constraints of punk– and this is only their first full album. While they’ve been more known for EPs and seven-inches until now, Hidden World is the work of a band that sounds much older and more assured than it should.
But even as I type out punk, it doesn’t quite fit: You could call it hardcore, as singer Pink Eyes chokes out every syllable like Negative Approach’s John Brannon. You could call it experimental because the songs are longer and they have violins; you could still call it punk, as even with all of that, it doesn’t stray too far from home base, from four or five blissfully overdriven guitar chords. It steps outside just enough to show you how daring it can be, before reminding you one more time how its gonna fuck you up. Hidden World finds a sort of perfect balance between musical ambition and staying true to the formula, dishing out scads of overdriven three-chord punk pleasers while adding the barest traces of a band with more omniverous ears: Some violins close out "Carried Out to the Sea", a little spoken word adds some healthy pretension to opener "Crusades", and a fantastical element elsewhere to "David Comes to Live". These might sound like shoehorning or attention-grabbing on paper– truth be told, they’re bookends to these songs at best– but these small touches only serve to make these ambitious songs sound even more enormous.

In "Crusades", a single guitar chord sustains for eons over a twinkling new-age chorus, before their two-note bludgeoning and rabid-dog vocals begin and they maul the familiar formula, leaving those clichés beaten within an inch of their lives. They then run off to dig on some fantastic and impenetrable story about an impatient young boy named David who’s "gonna get to heaven tonight," but with an altogether different plan than your Meatloaf-inspired, dashboard-light-style pursuit. All that somehow clocks in at under three minutes; even at their most concise, FU songs like "David" and "Carried Out to the Sea" feel epic because of their extra flourishes.

Yet even at its most straightforward, the record still thrills, nowhere better evidenced than the gloriously confrontational "Baiting the Public", one of FU’s best singles: Six minutes of an indomitable guitar and double-bass-drum attack where Pink Eyes berates anyone within earshot, punching in his vocal from either speaker like a Devil on one shoulder and an undead fire-swallower who makes Satan look like a pussy on the other. Calmer and almost classical details follow, however, with a dollop of creepy whispering that introduces the bouncing guitar line of "Blaze of Glory", featuring the album’s catchiest hook that praises "small town hucksters, and big city freaks" with maximum fist-pump praise, as well one of the many appearances of Owen Pallett (Final Fantasy, Arcade Fire), handling all the album’s violin parts.

All this would fall flat on its face if FU didn’t do the traditional punk thing so perfectly; as is, their aspirations are just the icing on the cake– a cake with a file in it, with a grenade on the end of the file. The final chords of "Fate of Fates" grind off each other, echoing back and forth through their own purgatory, only to serve as a dramatic introduction to the spitting venom of "Two Snakes", a groove that never tires over its many permutations, including a muted violin-string pluck and Reich-like build-up in its last few seconds. Pink Eyes, meanwhile, never relents from his foaming, strangulated delivery throughout Hidden World, but not so hoarsely that you can’t make out his lyrical concerns, ranging from the Book of Enoch and saving our eternal souls to fucking your wife. No concept or approach is too lofty or too stupid; in fact, Hidden World is an incredible testament to the great art then happens when the two meet. Middlebrow hardcore rules OK?

-Jason Crock, March 12, 2007

Toronto’s F’ed Up bleed downtown on a Saturday night

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F’ed Up
Mercury Lounge
March 3, 2007

At some point during their set last Saturday at the Mercury Lounge, Damian Abraham, the generously-sized singer for hardcore band F’ed Up (the group’s full name is unprintable here), announced that it felt good for his band to be back in New York. "The city of big dreams," he joked before launching full-bodied into another song that was as subtle and calm as a train wreck. The shirtless Abraham, whose forehead gushed blood from a deliberate cut, prowled the stage like a large animal stalking his prey, and the audience couldn’t get close enough to him.

His band mates – all in various stages of perspiration – guitarist Mike Haliechuck, guitarist Josh Zucker, bassist Sandy Miranda and drummer Jonah Falco charged behind Abraham with stone-faced determination, rarely stopping for a breath during a set that included a large swath of the band’s 2006 sprawling debut album Hidden World (Jade Tree)

Softcore form: Abraham at the Mercury Lounge
Credit: Joe Pompeo

The obvious sarcasm aside, Abraham probably meant what he said. For it was a mere few months ago, in early November, when the band left their native Toronto for a round of CMJ shows in New York, only to be turned around by guards at the U.S./Canadian border. Those shows were to coincide with the release of Hidden World. But now, returning to the city and the U.S. this March, with the aid of attorneys, served as a tactical victory for a band whose every song sounds like a primal battle cry.

Since forming in 2001, F’ed Up has perfected a formula over more than 20 records of fast guitars, even faster drums and a voice menacing enough to impress the most notorious throat-shredding vocalists like Negative Approach’s John Brannon or Poison Idea’s Jerry A. and terrify even the most hardened criminal. But where most hardcore groups shoot out minute-long tantrums with obvious lyrical themes, F’ed Up songs are a little less orthodox: they can last an unheard-of five minutes, often have discernible and catchy melodies, have string arrangements by Final Fantasy/Arcade Fire player Owen Pallet, and often come with abstract lyrics.

It was interesting watching exuberant, stagediving fans attempt stern finger pointing and singing along with a song like "Crusades," one that bears the cryptic line "Ruderal roots/Telluric shoots in cahoots" and goes on to mention a "Chthonic breath meristem jubilee".

But for the fans who flooded the sold-out Mercury Lounge (a venue not commonly associated with hardcore or punk music) Saturday show, seeing F’ed Up not only satiated those who lamented missing them in November (myself included), it was also reminiscent of the bygone era of New York City hardcore, a time in the ’80s when bands with urgent names like Antidote, The Abused, Youth of Today and Bold and personalities with even more colorful and menacing monikers such as Raybeez, Paul Bearer and Mike Judge helped form an internationally-recognized scene in the corroded Lower East Side.

And with his considerable bulk, shaved head and construction boots, Abraham bears more than a passing resemblance to the intimidating Bearer or Judge. But during the show Abraham seemed to delight more in being the big, friendly dude with a microphone. He stopped to pass out water bottles to the audience, crack good-natured jokes, and he smiled wide while people sang lyrics back to him or hopped onto his back.

F’ed Up may have a popularity-restricting name, and an album that, because of its 70-minute length, takes dogged determination to finish, but none of that is material when the band’s live set is strong enough to convince listeners that this is the only band right now that matters.


Friday Night, Saturday Morning

First things last, thanks to everyone who came out to the Pull Out Method party that I "DJ’d" on Friday. I might post a partial set list later this week, but we’ll see how that goes.

As for Saturday night, that belonged to Fucked Up, one of my absolute favorite bands right now. It was really strange to see a hardcore band at the Mercury Lounge, and probably even stranger that I felt the need to slam dance during their set. Before the show, I was curious to see how the longer, more complicated songs from Hidden World (the ones with the violins, samples, etc) would translate to the stage, but once the band started ripping thru a series of stripped down, three minute hardcore songs, I just decided I wanted to thrown down, finger point and not give a shit if I messed up my Fred Perry polo. So I did.

Dig: It’s great to see a political hardcore band for smart kids (ala Born Against) getting some love these days. Be sure to check their blog and definitely make it a point to see them at SXSW if you are gonna be there.

And while you are at it, why not grab a few tracks from Hidden World?

Fucked Up March 3 at the Mercury Lounge: How good are punk shows?!

So punk shows are totally back in style, and we have to thank for that bands like Fucked Up, whose performance at the Mercury Lounge this past weekend was probably the best thing I’ve seen since I stopped going to punk shows. They played a killer set to a sold out crowd, and it was super fun running into like, 500 former scene-stars from days of yore, as well as getting bruises from moshing.

In case you’re not familiar with Fucked Up, they are this enigmatic and sometimes controversial punk band from Toronto who kind of sound like old-school, Negative Approach-style hardcore meets poppy British oi with a sort of Avail-esque thing going on as well. The singer is this bearish fellow who makes his forehead bleed during shows — he assured us on Saturday that he does not have any diseases — and they even have the requisite female bassist, which I for one think is pretty cool. Oh, and also, Jarvis Cocker is allegedly way into them. How weird/awesome is that?

Anyway, you should give them a listen:



There are pictures and videos from Fucked Up’s shows both at the Mercury Lounge and the First Unitarian Church in Philly. More of my photos — some with gratuitous "orbs" — after the jump.

Interview with 10,000 Marbles of Fucked Up

Despite their ominous name, Fucked Up’s genre blurring full length, Hidden World, released last October on Jade Tree, continues to garner attention from both diverse music fans and the mainstream media, most notably MTV. Late Night Wallflower spoke with guitarist 10,000 Marbles and he provided clarity on the chaos they caused at MTV studios, their relationship with the audience, apparent Heraclitian inclinations, and the impact the Internet will have on culture in the future.

You guys opened for Henry Rollins for an MTV special. How did that come about? Did he contact you with that initially?
It was some mixed up thing. We were supposed to be on MTV a month before but we couldn’t do it. They just back with us and said that Rollins booked a big tour with the Rollins band or something. It was just a coincidence. We didn’t set it up for him, MTV just got in touch with us to do it. A lot of weird indie bands do programs with MTV in Toronto. I guess it’s a lot different here than what MTV is in the states. Since he was speaking I guess they thought it would be good to have an aggressive band on so they got in touch with us to play. We only met him for like a minute and a half.

I thought it was an interesting pair up because I remember reading an interview where you said that you felt distant from the audience when you play, much like how Henry was when he played in Black Flag.
I mean I guess it would have been a good match like twenty years ago. But he is a lot different now. The whole reason he was there was that he was talking about his view of some tour he just got back from.

Oh, this was an interview and not a spoken word?
No, he does a TV show with him in front of a camera for a thousand hours, so, yea, he just came up and did an interview about what he has been up to. It wasn’t about music or culture. It was about him being in the Middle East.

When you guys performed on MTV the audience slamdanced which resulted in expensive damages to the set. Are you guys banned from MTV because of it?
I mean you got to figure that MTV?°¦they’re a big company and they know what they’re doing. We gave them fifteen minutes of really compelling television. They knew exactly what they wanted from us, and exactly what they were going to get. And that’s what they got. I think everyone surrounding the event sorta thought it was going to go really poorly, but, apparently while we were playing and things started to go awry, the Vice President of MTV stormed down the stairs and everyone that worked there thought he was going to try and shut us down but he was like?°¦ecstatic.

We were just making interesting looking television right? They were glad about what they got I’m sure. We’re not banned. We’re not interested in going back though because it would be boring to do the same thing twice.

I remembering reading somewhere where you guys said that you would do basically anything to make the band interesting. Currently, is there anything you guys are interested in doing?
We’ve always been interested in trying to do work with other mediums. I mean, its fun to make records but its fun to get people involved that know how to do things other than making records.

Like what?
I dunno. We haven’t really thought about it. We deal with stuff like that on a case by case basis. If someone approaches us with some interesting idea then we’ll do it. But so far we have just been doing records and the occasional radio or TV thing.

You guys are doing a score for a film too.
Yea but stuff like that is a long way into the future. That’s still music but it’s a different way of presenting it I guess.

Ok, so I’m really interested in what I initially said about the feeling of distance felt with the audience. We kinda trekked away from that. Where do you think it comes from?
I dunno. I think there are certain types of individuals drawn to punk rock. Usually the type cast of the person is like an antisocial loner so I don’t think its really surprising that there’d be a sort of hidden animosity between people who go to shows, bands and the audience. I don’t have a specific disinterest in our crowd but I think just generally we all just carry a general disinterest to other people.

Do you think it’s just a mass of people being disinterested and stagnant?
Well that’s how we’re all like. We’re just these punks that don’t really get along but we’re smashed into this culture together. So when we go to a show it’s not like “oh, here are a couple of hundred of audience members” Its more like “here are a couple hundred people”.

Can you almost predict how the reactions will be when you play?
I mean at this point we sort of expect what’s exactly going to happen. That’s why we’re trying to play different types of shows. The last show we played over the weekend was this thing called Wavelength. Every Sunday for the last seven years there has been a Wavelength show where any type of band can arrange to play on the show and every year they have a big year end festival. We played that on Friday and there weren’t any other hardcore bands on it but it was interesting because there were a lot of people there and a lot of different types of people as well which is nice.

Again with the idea of masses of people, what would make the audience individuals? By their aesthetic? Or does it even matter the type of people who make up the audience?
Sometimes playing is fun and sometimes it isn’t. I don’t think its so superficial in what people are wearing or what part of subcultures their from. Its just something that happens at a show that makes it good or makes it bad. It doesn’t really matter who’s there. It depends on how much energy people have and how enthusiastic they are and how enthusiastic we are. A lot of things can happen in the band that can put you off playing as well, especially with our band.

The lyrics from Hidden World promote the idea of opposites colliding to cause a fulfillment of life. Where did that idea come from?
I think we learned that just from being on one side of the equation for so long.

Is this just with music or is it with your personal life?
Like politically. A lot of us spent our formative years growing up in activism and sorta getting burnt out on it. Often when you’re on one side of something, you get burnt out and you immediately gravitate towards the other side. So, having been through that I think that we learned its important and more fulfilling politically, personally, or whatever to be able to see both sides of something because you’re just going to get more out of it. You’ll learn and know more if you know both sides of something. I also read that instead of telling people what to think you want to help teach them how to think.
Well that’s what the LP is about. We’re just a band and it’s really not our place to be telling people what to do. A lot of times punk bands will have this really guilty responsibility.

Do you think that by not standing for anything you guys can pretty much do whatever you want?
Yea, but I don’t think there is really any problem with that. It’s not like we don’t want to make a stand against anything to avoid being hypocrites later. At the end of the day we’re just people that play music and our responsibilities to other people begins and ends with making music because we’re just a band. It goes beyond our boundaries, I think, for us to start telling people what to think about certain issues. It’s just none of our business. Like, I don’t want to put a record on and have them tell me how to think about a certain issue. I’d rather read a book about it. That way you can formulate ideas on your own terms. Its not so laid out like how it is in songs. Yea, in a lyric or even in an essay in a CD jacket, people are getting just a small snippet of an issue. It’s almost irresponsible. It’s just too simplistic.

Do you think that’s the problem with people that listen to music now? They get all of their politics from a CD.
Yeah but it’s not just with music though. It’s almost in every idea. Culture now is a snippet of everything else. If you watch TV and flip through channels, you’ll get pieces of hundreds and hundreds of ideas but you don’t really learn anything. That’s kinda how our world works now. I dunno if its useful to belabor, its just the way it is. You can just download songs. Like any record I wanted to hear or any song, I could go upstairs and download it in five minutes. Or like any book. Soon you’ll be able to read any book on the internet. I was reading an article where Google is scanning every book ever published. They said it’s going to take ten years finish.

That’s horrible.
I guess the book’s days are numbered. I dunno if I want to say that I have a problem with that. Somebody like myself would have every idea imaginable at my immediate disposal. It kinda makes me really powerful. But then it’s not really that exciting if you have all of the information at your fingertips. Plus, with the internet you can change the idea of what is real with a click of a mouse. But I like that. That’s part of the reason why I like being in a band, I can change what’s true about my band. It enables us to make up our own myths and our own history. We can become more of a perfect band or a perfect idea. In that way, our ideas about our band aren’t tainted by anyone else’s.

Earlier you said that you guys are people in a band and are constantly changing your outlook on life. What would you say is the current motto of Fucked Up?
Well the one we had before was, I think, “You can’t really be something until you destroy it” or “you can’t destroy something until you’ve been it” which is sorta how we wrote the LP. I think we got it from the Matrix. Now we’re getting a lot more opportunities so our new motto has to be “Do whatever makes your life more interesting”. Kinda like the whole, “Do art thou wilt” crap.

You guys are playing South by Southwest too.
Yea, we’re playing almost a whole week down there in March. Supposedly, that will make our life more interesting for five or six days. We’re playing with Turbonegro so it should be real cool.


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Jade Tree’s FUCKED UP releasing album on What’s Your Rupture – TOUR DATES (NYC, SXSW, etc)

What am I supposed to do when a band name is as scandalous as F*cked Up? I don’t want this website to get blocked or however that works. I don’t want to censor anything either. Usually I’ll just throw an asterisk in the word. Does it do anything? I have no idea. Anyway, I left it uncesored in the title – asterisks everywhere else. Hopefully that doesn’t f*ck sh*t up too much.

"F*cked Up remains one of the most talked-about bands in hardcore and punk rock in both the mainstream media and underground outlets. Their brand of relentless, aggressive, yet highly melodic music has been mentioned on nearly every magazine’s top ten list of the year, regardless of the magazine’s musical preference. Punk rockers, hardcore kids and indie rockers alike all seek to obtain the band’s highly sought after releases, which are almost all on vinyl and in limited numbers." [JADE TREE]

F’d Up in London ()
I found the "indie rockers alike" part funny at first, but it’s so true. So many people have asked me about this Toronto band in the past month – mainly because of their upcoming shows at Mercury Lounge and SXSW – and I’m not talking about the people I would go see Sick of It All, Agnostic Front, or Scatterbrain & Ludachrist with – I mean people who you might even catch at an Andrew Bird show. It’s probably because F’d Up aren’t " the prototypical hardcore band. The songs on ‘Hidden World’ average five + minutes and have violins, acoustic guitars, samples, piano and other instrumentation." It’s also probably because VICE likes them, and has released some of their stuff (some of tons of stuff).

‘Hidden World’ is their debut full length – out now on Jade Tree. According to their blog, they’re next releasing "Year of the Pig" on What’s Your Rupture – home of Love is All and caUSE co-MOTION! (more indie cred). caUSE co-MOTION! is also who they’re playing with at Mercury Lounge on March 3rd. At SXSW they’re playing a ton of parties including the one I’m throwing with AAM.

I’ve never seen them live, but after seeing the pics and video, I’m pretty psyched to.


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So, they may not have made it to CMJ due to troubles with the authorities, but FUCKED UP has scheduled a couple of shows in March to satisfy those left with a longing for a taste of the .

The first show will be in Philadelphia on March 2nd at the First Unitarian Church with Government Warning, Cold World, and YDI. .

The New York show will be March 3rd at the Mercury Lounge and it will surely sell out, so it’s in your best interest to .

If you miss your chance to get tickets, keep your eyes peeled. No promises, but additional shows with short notice are always par for the course. In the meantime, check out how the band’s schedule is taking shape. More shows will be announced soon.

02/03/2007 Peterborough, ON Canada @ Underdog
02/09/2007 Toronto, ON Canada @ Horseshoe Tavern
02/15/2007 Vancouver, BC Canada @ Croatian Cultural Centre
02/16/2007 Vancouver, BC Canada @ Pub 340
02/17/2007 Surrey, BC United States @ Cloverdale Seniors Centre
02/28/2007 Toronto, ON Canada @ The Gladstone Hotel
03/02/2007 Philadelphia, PA United States @ First Unitarian Church
03/03/2007 New York, NY United States @ Mercury Lounge
03/12/2007 Houston, TX United States @ Walter’s on Washington
03/13/2007 Denton, TX United States @ J and J’s Pizza
03/14/2007 Austin, TX United States @ Lamar Pedestrian Bridge

See the for the most current information and details.

Did we mention the fact that there is a new FUCKED UP ?


Fucked Up remains one of the most talked-about bands in hardcore and punk rock in both the mainstream media and underground outlets. Their brand of relentless, aggressive, yet highly melodic music has been mentioned on nearly every magazine’s top ten list of the year, regardless of the magazine’s musical preference. Punk rockers, hardcore kids and indie rockers alike all seek to obtain the band’s highly sought after releases, which are almost all on vinyl and in limited numbers. The elusive personas that the band members take confirm that the music is more important than any image or gimmick. Their non-stop work ethic has led them on tours across the United States and Europe, creating a barrage of hype that is firmly backed up with a substantial dose of great fucking music and a highly energetic live show. Mere days ago, the band had the chance to perform live at MTV Canada with Henry Rollins, which resulted in utter chaos and some amazing footage that some would see as reminiscent of when Lee Ving and Fear had the chance to perform on Saturday Night Live many years ago. They will be playing at The Underdog on February 3rd with Montreal legends Cobra Noir, Kentucky’s Own Lords, Hamilton’s Sailboats Are White, and local favourites What the Shit?

“The elusive personas that the band members take confirm that the music is more important than any image or gimmick.“

Local music enthusiast and Trent student Nick Cunningham had the chance to interview Mr. Jo, the drummer of the band.

Arthur: How do you feel about the recent Globe and Mail article? In some circles, people are calling you the saviours of hardcore, but now the Globe is suggesting that you’re also creating a soundtrack for a new generation of underachievers. What’s the deal with this?

Mr. Jo: The Globe and Mail article was an interesting attempt to try and peg a new generation of youth culture losers, but I don’t feel it really had anything to do with the band. The fact that Damian is “postponing the inevitable” doesn’t have everything to do with any frustrations with the FU project. I mean, while postponing the inevitable, he and the rest of us [one of whom has had a successful career so far] have been able to travel the world for free and engage in an inordinately high amount of creative activity be it artistic, linguistic, musical, etc. … I mean, I think that releasing 20+ independent records, traveling across the United States, across Europe, and to the UK twice is more than your
average “under-achiever” can say they’ve done in the prime of their lives. It was just convenient for that journalist the D was able to play into some of the already allotted symptoms of slacker-dom.

 Arthur: When is the rock opera and movie coming out?

Mr. Jo: This project will certainly take some time, but some designs for the “David” musical are already being laid. You’d have to ask David [Eliade, the band’s elusive manager] about the film, though. Those are his connections, not necessarily ours.
 Arthur: How was Europe? Best moment of the tour? Any regrets?

Mr. Jo: Europe was great. I think band tensions were at an all-time low, we’ve never been tighter and we worked pretty hard. The best moment of the tour was definitely Fat Bob from Hard Skin singing “New Age” by Blitz with us on New Years Eve in London. He was dancing like that girl from the Cranberries and people were getting weak in the knees …The other highlight was Barcelona. I don’t think I could describe anything else

that would fit the bill of “perfect show.” People of every stripe, every band, were fantastic and possessed what almost every other band lacks, something uniquely Spanish and regional about their sound. More than just singing in Spanish, of course. I feel like these bands could not have come from any other place or from any other group of people. Usually the opposite is true for a lot of contemporary hardcore music.

I regret not spending 4 days in Barcelona instead of 9 days in Germany.

Arthur: How come Career Suicide (Mr. Jo’s other band) never ever plays anywhere but Toronto, Europe and Japan?

Mr. Jo: Like so many misunderstood artists, those are the only markets that “get” us.

 Arthur: If you could tour with three bands, living or dead, who would they be?

Mr. Jo: Killing Joke, Judgement, and the Rolling Stones.

 Arthur: Have your parents finally comes to grips with you playing in a band called Fucked Up?

Mr. Jo: Actually, they got quite forcibly re-introduced to the band’s name when the Eye article got printed. For many years I offered them peace of mind by saying the band was called “Jacob’s Ladder,” and to be perfectly frank, I think both parties would have been perfectly satisfied with that, but they stumbled upon the paper on the way home from dinner back in October and I had to do some pretty serious explaining. It’s not so much a censorship or anti-cursing conservative kind of attitude, but just like parental protection
kicking in because they don’t really understand that there is a context in which “Fucked Up” can exist as a band without attracting the most depraved, drug-addled, violent psychopaths on the planet. That being said, we’ve met some real weirdos along the way.

 Arthur: What are you listening to lately?

 Mr. Jo: Today I listened to Cock Sparrer, the Raxola LP like 10 times, and Lee Dorsey.

 Arthur: What’d you think of the whole MTV Live thing yesterday?

Mr. Jo: I thought it was awesome. Pretty chaotic, played well, and we got to meet Henry Rollins. I think it will be a nice little postcard from Toronto Hardcore.

 Arthur: Is there any truth to the allegations that you routinely go to Jamaica to buy “cheap reggae 45’s” to resell at record stores?

Mr. Jo: Nah, Jamaica’s tapped out. Most of the 45s are here and they are not that cheap.

 Arthur: What’s the deal with the split with Mind Eraser? Guest vocals by Dave Mustaine?

Mr. Jo: We just came up with this really heavy riff one day. Played with it for a while, even used it as an intro at one or two gigs, but eventually decided we’d shelve it. Mind Eraser are all friends, and we think they are an incredible band, so we just got to talking one day, and it turns out they also had these demoed songs that weren’t really their style, so we decided we’d write each other a song. I’m sure our riff isn’t perfect for them, and theirs isn’t perfect for us either, but I think once both bands adapt and transform the riffs, it will be devastating.


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FUCKED UP will be performing for MTV Live on Tuesday, January 16th and you can be there. Henry Rollins will also be a guest on Tuesday’s show, so this one is not to be missed.


For free tickets, call 1.888.491.6888 or email liveaudience@mtv.ca.


In the interview you did with me like four years ago, Pink Eyes said "For me I want Fucked Up to be looked at like the Nerves or The Melvins. A band that was never hugely popular but does have a lasting impact. The music that is ignored by one generation seems to shape the next."…. first, how did you feel about this at the time?

10,000 Marbles: That’s pretty much the way we still feel. Right now we’re flirting with a new kind of popularity, but it’s empty. It’s less frustrating to know that you’re opinions about your own band won’t have to inevitably be based on other peoples reaction to it. theoretically, I would rather take kudos for Fucked Up when the band is over, because then my input into the creative process won’t be influenced by what other people are thinking about it. We all read and hear things, and its like quantum physics – measuring the thing will affect its outcome, whether we like it or not, hearing things people think about our band is going to, in a small way, affect how we re-create the band. In a perfect world, if people ignore us while we’re around, they won’t be able to influence us. It’s hard to still feel that way when you’re in a semi-popular band though, because as soon as you get a taste you’ll do anything to get more.

I felt that for a long time you attempted to protect yourselves from this by making up your interviews / reviews, but lately that’s become a lot more difficult, right?

10,000 Marbles: Those early reviews and interviews we probably did for the exact opposite reason. It was like we were trying to project a simulacra of reaction onto our audience. It wasn’t really that we didn’t want people to pay attention to us, we just wanted trick people into thinking about Fucked Up how we wanted them to.

But by doing this you were controlling how you wanted people to think about you, and therefore controlling their reaction and your ability to "protect" yourselves from what might have happened if the MRR interview was done by some kid in SF asking you questions about anarchism.

10,000 Marbles: Yeah exactly.

I mean, the fact that you’ve attempted to protect yourself by doing shit like interviewing yourselves, but then admitting publicly that you’ve done this… anyhow, this extends to what I wanted to ask you about: neoism / anti-neoism… where did you first read about this shit?!

10,000 Marbles: A well-wisher pointed me to neoism. We’re trying to find a new philosophy. We got bored with what we used to believe in

Ok, fuck, let’s move back, what I really want to talk about through this interview is the idea of the cult band which is why I chose that original quote… could you talk a little about the "publicity" aspect of the band as late… for example, you’ve played CMJ festival.. you mentioned something on the blog about MTV, right?

10,000 Marbles: Well, our philosophy now is a bit more inward. The motto is sort of like "we’ll do whatever will make our lives more interesting". We’re sort of gambling the cult-band status a bit in order to stave off our own boredom. It’s cliche to say, but in the end you can only really commit to things that you personally get excited by. It was fun in the beginning making up the myths and mysteries, because that’s what I was into at the time, but it does get a bit tired trying the same tricks every few months, plus we’ve run out of good ideas at this point I think. To go back – we’re doing big music showcases and shit now because while we’ve always been into taking the piss, we’re also a sort of semi-serious musical project as well. Anyhow – about the popularity thing – one thing that’s bogged me down about the band lately is the dissidence and sort of annoyance towards the people who are into Fucked Up. Whenever we play shows I get that Black Flag vibe, where I’m feeling like I hate the audience and can’t really understand what sequence of events brought me onto a stage to play music for whatever bunch of cretins has been assembled. So the more popular you get it seems, less is the ratio of people you respect to people you wouldn’t otherwise give the time of day. And it’s reflected back – you figure "if I’m not making music for these idiots, then who am I doing it for?". And if it isn’t yourself, then you are fucked.

I always wondered whether using terms like "semi serious" / the myths are an attempt to avoid being accountable for taking your music seriously in the context of hardcore punk. Which a lot of people feel is… fucked up. You know what I mean? "fuck art", etc.

10,000 Marbles: Well. I sort of feel like one of the problems with punk is that it doesn’t take music seriously. And that’s fine to observe about a cultural phenomenon, but if you are a musician in that context, where are you supposed to get gratification from? Our attempts to be recognized outside of punk definetely have something to do with being taken seriously as people who make music.

I agree… I think too much emphasis is put onto hype.

10,000 Marbles: Yeah, but look at how there was never really a strong musical critique culture developed in punk. Rock music has music journalists, indie music has always had a really diverse and well written journalism. Punk has always tried it seems to be non-literate.

Definitely… look at the MRR review section… there’s no Lester Bangs or Richard Meltzers here… the closest we had was Kickboy?!! haha

10,000 Marbles: Exactly. It,s fine as a statement about the culture, but if you’re trying to make music within that kind of a context its really defeatist. I got excited about good Fucked Up reviews for about 1 minute. The rest have just been like "this is amazing" or something. "Good if you like…"

“Poison Idea / Negative Approach worship"

10,000 Marbles: I mean, it probably sounds trite for a musician to be lamenting this sort of thing, but I guess it answers the question of how we’re trying to stick our music into more diverse areas now. I can’t tell you how many times I’ve heard that. We don’t sound ANYTHING like Negative Approach.

Np shit. You DID sound like LAST RITES… I insist… but maybe that’s just because you both listen to BLITZ?!!

10,000 Marbles: I guess punk doesn’t really put much value on the actual music, because in the end punk is only a vehicle for things like music. Rather than being wholly about it.

I think that shit is just a cop out so people don’t have to actually express anything interesting with their music or their ideas.

10,000 Marbles: Well yeah. One thing we joked about a lot while we were mixing the record is how we hoped that Hidden World would "destroy punk". And then the other day I read a review about how the LP could be the "death knell of punk music"

Well, REFUSED said the same thing….

10,000 Marbles: They wanted to destroy punk?

Actually… damn, they said the opposite. I guess the joke is on me…

10,000 Marbles: We always said "to truly become something you have to first destroy it". Like in The Matrix. And I mean, the way we idealized the record towards the end was like this massive atom bomb that we’d drop on punk as a whole and hope to destroy it completely, forever. I think going back to the first question, my revised answer is that I’d like to be remembered as the band that put an end to punk.

Is this why No Pasaran led to Police led to Baiting? And the Baiting theme has been pretty consistent from then until HIDDEN WORLD?

no pasaran = punk as fuck
police = an iconic take on punk as fuck (almost a joke?)
baiting = anti-punk as fuck

10,000 Marbles: Baiting The Public was our ultimate punk statement. Baiting is supposed to describe our idealized version of what punk means. And yeah, the schedule of our releases sort of maps our cynicism.

I mean, Baiting is basically about manipulating and fucking with people, controlling them, which is decidedly anti-punk to acknowledge.

10,000 Marbles: Well I mean this politically correct conception of punk only materialized late in the game, I’d argue

Yeah… good point.

10,000 Marbles: I’d say if you could reconstruct it, "fucking with people" would be top of the list of what Punk is. I mean I’ve talked about this punk issue in a lot of interviews lately. My take is basically "punk" was created as a marketing ploy to sell abrasive records in the late 70s. And clothes. All this extra baggage got added way later. Like the politics, ect. None of that shit had anything to do with what it was meant to do in its inception. "Punk" I think was this label created to reel in this new and interesting subculture that had developed on its own. There were all these fucking crazy people, who existed within the history of crazy fucking wierdos, and all of a sudden they all became "punks", this unified mass instead of this fertile movement. And by giving it this name and this look, they were able to herd all these people towards whatever cultural symbols they wanted people to rally around.Which happened to be spiky clothes, being drunk, buying records and going to concerts. And I think it’s that simple.

Well, actually, "punk" had nothing to do with "punk rock" in its inception, if we accept what CREEM magazine / NUGGETS / etc. have to say,right?

10,000 Marbles: Yeah but I mean there is a difference between garage records from the 60s that sound like punk records sounded like in the 70s, and using words to define the malaise or attitude or whatever of this big segment of youth culture. I mean, there were records from the 60s that had distortion or whatever, but that doesn’t have anything to do with what I’m talking about.

I’d agree with you there… which makes us suckers in some respects because we’ve taken this joke for real… but in some ways, I like the idea that some people take that and run with it, and try to do something with it. Lke, fuck, what else is there to do when you grow up in the city?!

10,000 Marbles: I guess. But it’s like all these people who go through life being really religious and then eventually they have a crisis and stop believing in god. And then they’ve got no core. So this wierd punk movement is like that, it has no center, so it’s just sort of whirling around on its own with no grounding in reality. It’s like a chicken for those few seconds after it’s had its head cut off.

But there’s a couple of things there. 1. shit, what the fuck do you mean by "reality"? 2. fuck, what actual music or social movement has a grounding in "reality"? But, anyhow, extending out of that philosophical black hole!!!

I’d like to ask about why you think these politics, etc., were "tacked on" later?

10,000 Marbles: That’s an example of people trying to put meaning into the hole. Like how religious people invent god to be the center of their lives. Punks invent politics to inject their lives with meaning in the same way. Or what have you. I mean, ALL people do this, in whatever situation they are in. Life is pretty meaningless unless you invent meaning so it’s not like its a bad thing. People aren’t happy unless they feel that whatever they are spending their time doing is really important. So it’s like "why are you listening to that 7" – "because its political" or something, or "because no one else knows about it".

Sure. I agree. and, for those who shift from meaning to meaning there is definitely the phenomenon of the jaded individual, in all spheres, who blames the people who still believe in meaning they no longer accept for being the cause of the world’s woes. The ex-political punk who blames PC punks for ruining punk. The ex-christian who blames the religious righteous for ruining their life. The devout PC punk who blames their parents / whatever.

10,000 Marbles: Yeah and I mean that’s exactly what I’m doing. But I don’t think anyone "ruined" punk. I just don’t think it ever had any meaning.

Is FUCKED UP trying to RUIN PUNK by investing it with meaning, then?! Making little gestures like the Black Flag "wreck the cops" mean in people’s minds "baiting the public" etc.?

10,000 Marbles: Nah, I mean essentially I’m just talking shit here. We aren’t trying to give meaning to anything.

Well, your lyrics certainly aren’t "meaningless". You have an obvious intellectualism behind a lot of them, if you’ll forgive the term you’re suggesting in a lot of ways that punk gestures are loaded with meaning, and you want to manipulate that meaning like, even the name was an attempt to fuck with people, you know…

10,000 Marbles: Yeah but I’m just trying to put meaning into my own band. I want my band to be about real things and be associated with real concepts, but we don’t really care what goes on in our general vicinity.

You said earlier when you play that you often look out to these cretins you wouldn’t give the time to… describe what makes these people idiots, and what makes you wanna distance yourself from them. Because, this is seriously something most bands wouldn’t dream of saying, punk or otherwise… "you gotta love the fans", etc.

10,000 Marbles: I guess I just don’t feel like I can relate to them. I mean, it’s an easy thing to happen.

What do you imagine to be the daily concerns of a typical FUCKED UP listener, and how they differ from you?

10,000 Marbles: I don’t really have many friends or anything, so eventually everyone in the world has the same face to you, it’s all just this congealed mass of "other people". So I could be playing hockey against them, serving them, playing shows for them, whatever it’s all the same. I mean I see people slam dancing or something, and really taking some stupid band really seriously, and I can’t really relate to why someone would want to do that, anymore. Which is ridiculous to say, because I’m actively cultivating it by writing and releasing music. But I never said I was cohesive.

Of course, but I guess you’ve done interviews, read reviews and talked to people who like your band, and I was just asking what you felt their interpretation of what you were doing was… and whether that was part of why you’d feel so contemptous towards them…I mean… if all they hear is N.A./ P.I, etc. and, then extending back further, what the fuck do these people actually hear when they listen to N.A. and P.I.??!! Anything more than "loud music"? but, shit, that could go on for a while…

10,000 Marbles: I kind of feel that if people understood 100% what we were trying to talk about, I would still hate them. probably some wierd freudian performer-audience relationship i’m acting out here.

Ok, so I know this is probably something you’ve talked about for the past month solid, and I could probably interpret this my own way, but I gotta ask this: tell us about why you decided to call the record HIDDEN WORLD.

10,000 Marbles: Because it’s got so many connotations. It was originally going to be called "Crusades" but it sounded way too melodramatic. I thought of "Hidden World" in relation to the whole game that goes on just underneath of what is immediately visible, in all sorts of realms. And then I was reading an E O Wilson essay, and came across the words "Hidden World" regarding the biology of ant colonies, and that nailed it.

So, each song on the record seems like an attempt to explore a certain realm, right? I mean, let’s start talking about the song "Crusades": this seems to be about religion, the religious mentality, what it actually means to devote yourself to belief… right? Is Crusades an exploration of the Hidden Worlds of the faithful?

10,000 Marbles: It isn’t just about religion, it’s about the process of committing your life over to ANY belief, whether it’s god, politics, punk, ect. I’m not really interested in chastising religion specifically, so I tried to make the metaphor in that song as broad as possible. It’s about closing your mind to just one perspective or way of thinking,

Sure, I used the word "religion" loosely, I can see that the use of christian metaphor is probably the most convenient approach… anyhow, the closing lines of the song about being reborn again, is the idea here that commitment to belief on this level will perpetuate itself no matter what the actual focus of that belief is… just the devotion to belief above all else? I can’t really word this right, I’m sure you get what I mean… devotion to something separate from yourself is a constant, the only thing that changes is the object being focused on.

10,000 Marbles: Yeah, I mean, the metaphor is the plant world, and in nature all life is the struggle to perpetuate itself onto the next generation. The purpose of any organism is solely to pass its genes into the future, irregardless of if those genes are the best or not (obviously the best ones are the ones being perpetuated). But these political games, religion, points of view, you can see how in society they mirror the same process – as soon as an idea takes hold, the people who believe in the idea will expend their political energies in order to send that idea deeper and deeper into society and culture. So the song is supposed to be about how people can get so carried away by their own viewpoints that they get insidious and hard to control, and people aren’t really trying to move them along because they think they’ve got the best idea anymore, but just that they find themselves behind the idea, regardless of what it is and what it means. In the end of the song I tried to take the biological metaphor to it’s logical conclusion – when a particular gene gets too strong or insidious it becomes endemic in nature – like alien plant species that colonize the entire terrestrial environment because they’ve quickly eliminated all their competition – so instead of having these healthy waterway areas for example that are rich in biology and different kinds of species, you just have this one kind of plant, and the elimination of a rich ecosystem. The comparison is that as ideas in society get stronger and stronger, they choke the life out of other ideas, so you get these ridiculous polar opposites in culture, like in the US where there are basically 2 primary political ideas, left wing, and right wing, which is totally fucking absurd. I mean there are millions and millions of free thinking and interesting humans in the United States but the whittling down of ideas has happened on such a massive level that there are only two ideas that have been strong enough to survive – left and right. So crusades is supposed to be how dangerous it is to try and get rid of opposing viewpoints, even if you don’t agree with them.

Would you be able to define what the Fucked Up crusade is, then? Would you be able to define it? Are you attempting to develop an idea to choke the life out OF others? Or an idea that would, to follow the biological metaphor, enrich and strengthen the ecosystem of ideas, the process of engagement with ideas? That seems to be what, on most levels, FU are trying to do, from the confusion and obfuscation of the early records to the bold tome that is HW…

10,000 Marbles: Thats a good point. That’s why I’ve always said we aren’t a political band, and we don’t want to tell people what to think. I’ve always been careful not to talk in any specific terms – like, I don’t want to tell people WHAT to think, I’d rather tell them HOW to think, you know? I’m not interested in singing about like slavery, or racism or whatever, because it isn’t really my business getting involved in people’s opinions. I guess on one level it comes down to censorship – like I’m not into racism, but instead of like criminalizing racism, I’d rather just let it become overwhelmed by opposing viewpoints. And I want people to get involved with the FU project specifically to get ideas involved that I wouldn’t have been able to think up. i mean here is another metaphor – ideas can be like trains that you just get on and ride them where ever they go. I don’t just want to give people tickets to get on these trains, I just want them to know how many trains there can be, if you look hard enough.

Anyhow… was the title CRUSADES dumped before the artwork / design was finished? I wanted to ask about it’s significance to the HIDDEN WORLD theme.

10,000 Marbles: Yeah Crusades was long gone at that point. It’s funny about the art, it looks really great and cohesive but it was actually a real rush job. Jade Tree gave us pretty strict deadlines and we had to get everything in at once. So while we were mixing down the last few songs I was still getting rough sketches on email in the studio. I sort of threw a few ideas at Jay 3 weeks before it was all finished and told him ultimately what one to go with. The artwork relates more specifically to Two Snakes obviously and Crusades. It ties into Hidden World on the surface because it’s sort of got this inviting vibe like the woman is saying "Yo come join me in the Hidden World" but it’s not really about that. The middle artwork is more a mash of a bunch of different ideas discussed in the record.

Where does the woman tie in, then?

10,000 Marbles: It was supposed to be a sexless figure, like the combination of a woman and a man. Like the whole front cover is supposed to represent the union of opposites.

She seems a little less inviting and more statuesque.

10,000 Marbles: Yeah but I mean with the path between the snakes.

Sure… I thought it was a river! haha. Have you ever read Demien? That’s what I thought of.

10,000 Marbles: I read it when I was a teenager, but can’t remember anything about it. The piece could be like "if you can manage to survive these two battling view points and not get wrapped up in either side, and take your own course, you can join this naked woman in the hidden world" or something, haha.

OK, so Demien basically talks about all this shit, and I thought you’d defintely read it as you talk about Abraxas… but I guess you are quoting INTEGRITY there!

10,000 Marbles: Yeah the abraxas and goat/lamb shit is from the Integrity 10".

Before I forget, what’s the deal with the symbols on the archway? are there any specific meaning behind the patterns there?

10,000 Marbles: The symbols and the archway are totally the artist. He also told me he hid a "bunch of anuses" in there too.

Final artwork related question before I ask you more on that point and TRIUMPH especially… the overlapping circles is overlapping ideas and the space where they overlap is the hidden world?

10,000 Marbles: Yeah – it’s a gnostic symbol – you know that jesus fish? I read somewhere that if you extent the points where the fishes mouth would be, it makes these two circles that overlap. The gnostic idea was that heaven and earth where these two spheres that where at war for humanity. And in the center where they meet, that’s the earth and human kind. So its the same deal – it’s supposed to be how there is a richer life when you don’t stand to one side and don’t commit yourself to one sphere or the other. The other cool thing is that the overlapping part is also a Vesica, which represents fertility in the obvious symbol of the vagina. We’re gonna do a record later that’s obsessed with vagina’s and wombs and motherhood and shit, so it will be a cool tie in.


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With the accolades for Hidden World still rolling in, FUCKED UP has just landed in the UK for their first European tour in support of the album. Hidden World was not only nominated for a Plug Award (), but recently selected as the best punk album of 2006 by . The band is also steadily , MTV appearances, and doing . These guys aren’t going away anytime soon.

The European dates are below. Please consult the for any future updates and more info.

27 London England @ The Old Blue Last
28 Manchester England @ Star and Garter
29 Leeds England @ The Fenton
30 Sheffield England @ DnR Bar
31 London England @ Luminaire

01 Den Haag Netherlands @ Piratenbar
02 Brugge Belgium @ Bargehuis
03 Muenster Germany @ Gleis 22
04 Hamburg Germany @ Hafenklang
05 Kiel Germany @ Alte Meierei
06 Leipzig Germany @ Zorro
07 Berlin Germany @ Cassiopeia Skatehalle
08 Prague Czech Republic @ Klub 007
09 Munich Germany @ Kafe Kult
10 Saarbrücken Germany @ Kleiner Club Garage
11 MANNHEIM Germany @ Juz – Mannheim
12 Bielefeld Germany @ AJZ
13 Barcelona Spain @ La Papa

Track Listing:

1. Crusades
2. David Comes to Life
3. Invisible Leader
4. Carried Out to the Sea
6. Fate of Fates
7. Two Snakes
8. Hidden World
9. Manqueller Man
10. Blaze of Glory
11. Triumph of Life
12. Jacobs Ladder
13. Vivian Girls

Vinyl is available through

Fucked Up featured in Wonka Vision #36 – Top 20 Albums of 2006

Fucked Up – "Hidden World"

Toronto’s Fucked Up reinvigorated the importance of finger-pointing without sacrificing speed and intensity, or falsely exploiting ’80s hardcore. Hidden World included unconventional touches like samples, acoustic guitar, mandolin, piano, viola, and violin. Fucked Up turnedback the clock without ever looking back.


For nearly six years since their inception, Toronto’s hardcore darlings Fucked Up have remained one of the underground’s best-kept secrets. Playing to sweat-soaked crowds in cramped venues both at home and on international soil, Fucked Up have amassed a diehard following. But with the release of Hidden World, the band’s first full-length album, their obscurity is rapidly dissipating.

The album is a 72-minute opus, a daunting, almost blasphemous concept in the realm of hardcore; it’s also garnered Fucked Up the attention they’ve been waiting for. Hidden World descends on its listeners like a pulverising swathe of feral cries and rasping overtones. Not only epic in length but in presence, this album saw Fucked Up immerse themselves fully in boundary pushing as they embraced the cerebral and avant-garde.

The move to release a full-length album marked a transition from Fucked Up’s traditional formats of seven-inches and split recordings. Though they say they were rushed in the studio (the label was “flipping out” because Fucked Up originally said the album would cost about $2,000; it ended up totalling around $12,000), Mr. Jo says it was like “night and day” from their previous recordings. Used to smaller studios, this time around they had access to a broader technological playground, and producer Jon Drew was working his magic, giving the band their first experience with “an actual producer.”

But not only is Hidden World a new direction in format, it also demonstrates the band’s impetus to create a divergent identity for each song. “Lyrically, ?°»Triumph of Life’ was the song that represents our best efforts to try and ply something really sketchy into something really presentable,” says guitarist 10,000 Marbles. “When we wrote that song that was sort of the dividing line between the old and the new Fucked Up. We really stretched it out and it’s a good crossroads I think.”

The result of all these fresh directions is a masterful, evocative album that encapsulates the band’s evolutionary meanderings. “I think for all the weird stuff we did that it’s still a pretty straight-ahead record,” says Mr. Jo, pointing out that Hidden World is the most work Fucked Up have ever put into anything.

Part of what makes it so captivating is the first impression Hidden World creates, which is of a band that refuse to falter on their vision. Fucked Up aren’t afraid to transcend genres or play with tradition. Melding melodic nuances, unswervingly harsh vocals, and elaborate gleams of mid-tempo rock’n’roll, Fucked Up draw heavily on experimental aesthetics while at the same time sticking close to early ’80s hardcore, which has been a resounding influence throughout their career.

But there is the question of whether Hidden World’s overt ambition will alienate the cult following the band have amassed over time. And as far as the fans are concerned, 10,000 Marbles says he hasn’t seen Hidden World create much of a divide. “It sort of feels like at this point we could do the most insane, weird shit and it wouldn’t make any difference. It would still be the same six nerds at the front of the stage.”

#1 Punk Album of the Year


Ferocious Canadians who can cause you serious bodily harm.

On their debut album, this Toronto punk quintet speak volumes without playing a note: Just to utter their name is to be down, to sign up for a worldview that’s absolutely committed to uncovering how the world is, well, you know. And though vocalist/alleged schizophrenic Pink Eyes bellows in classic corpulent-hard-core-lifer fashion (shades of Poison Idea), lyrics referencing both Greek astronomy and the Old Testament, as well as guitar textures indebted more to Glenn Branca than Black Flag, reveal an art-rock ace up the band’s tattered sleeve. Which isn’t to say Hidden World won’t tear your head off regardless.


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FUCKED UP‘s full length album, Hidden World has been nominated for a Plug award in the "Punk Album of the Year" category. In their own words, " PLUG is about the independent music community coming together to recognize our own. This year, once again, we fans show our collective support for these artists: Be heard. Vote PLUG."

Be sure to cast your vote at the

In other news, FUCKED UP will embark on a European tour at the end of December. The tour dates are below. Please consult the for future updates and more info.

27.12. London (UK), Old Blue Last
28.12. Manchester (UK), Star and Garter
29.12. Leeds (UK), The Fenton
30.12. Sheffield (UK), DnR Bar
31.12. London (UK), The Luminaire

01.01. Den Haag (NL), Hague
02.01. Brugge (B), Bargehuis
03.01. Münster (Ger), Gleis 22
04.01. Hamburg (Ger), Hafenklang
05.01. Kiel (Ger), Alte Meierei
06.01. Leipzig (Ger), Zorro
07.01. Berlin (Ger), Cassopeia
08.01. Prag (CZ), 007
09.01. München (Ger), Kafe Kult
10.01. Saarbrücken (Ger), Kleiner Club Garage
11.01. Mannheim (Ger), JuZ
12.01. Bielefeld (Ger), AJZ
13.01. Barcelona (E), TDN

Track Listing:

1. Crusades
2. David Comes to Life
3. Invisible Leader
4. Carried Out to the Sea
6. Fate of Fates
7. Two Snakes
8. Hidden World
9. Manqueller Man
10. Blaze of Glory
11. Triumph of Life
12. Jacobs Ladder
13. Vivian Girls

Vinyl is available through


There’s something inherently intriguing about FUCKED UP. It’s a lot like watching a movie that you’ve seen a hundred times over yet it retains its luster as if you didn’t already know every plot point. FUCKED UP surely pays homage to the hardcore bands of yore like CIRCLE JERKS, BLACK FLAG, and even POISON IDEA. Hidden World pushes aside all the ex-member hoopla and hoists FUCKED UP into a light of their own.

There’s an element of inventive familiarity, if you will, to the songs of Hidden World. In short, these guys know how to make old sounding hardcore tunes sound fresh and relevant to 2006. By adding crucial melodic overtones to songs like the opener, "Crusades", one gets the impression these guys "get it". Though many will surely accuse the band of writing songs in the 5-6 minute range there’s plenty of hip-jolting rock ‘n roll to satiate even the most impatient of appetites. FUCKED UP is certainly no slouch when it comes to aesthetics. Just consider the melange of meaty vocals, twangy guitars, and steadfast percussion that comes stocked to the brim on this record.

There’s no need to read deeply into the music of FUCKED UP. I mean, honestly, their name is FUCKED UP. This is a hardcore record just waiting to be absorbed by fans new and old. With Jade Tree behind this one I don’t see this band losing steam any times soon. Recommended.


Toronto’s Fucked Up have shown themselves to be in constant states of limbo, always travelling through unpredictability. Their music glistens with aggression but clings tightly to artistry, shimmering with intense downturns and blatantly angular rhythms. Fucked Up have become highly influential within the underground and Hidden World is, for better or for worse, a highly anticipated release from the band. Since releasing their first demo in 2001, Fucked Up have managed to put out a staggering catalogue. Their discography so far includes several seven-inch EPs, split recordings, and a mix-tape series, as the band chose to shun full-length releases. Now, Fucked Up have stepped away from their approach to releasing music by signing on with Jade Tree. This full-length is not only a departure in format, but extends the esoteric intellect that has been growing steadily out of Fucked Up for the past couple years. While at once embracing the gritty, frenzied approach Fucked Up have become known for, Hidden World also sees the band reinforce the need to push each song in a distinct direction in both musical and mental capacities. One of the first things that comes to mind as this album kicks off with “Crusades” is just how good Fucked Up are. Part of the anticipation — and perhaps anxiety — of the release of this album was that it would see the band adapt into stretches of melody and unconventional structure, but this pivotal shift in style only builds on the band’s unsettled history. As the album tilts and groans under the unbelievable sound and fury that Fucked Up produce on tracks like “The Two Snakes” and “Hidden World,” the exhaustive level of intellect that this band exude is ever present and just as subversive as always.


After years of filling record store vinyl bins with singles and EPs, local hardcore dark horses Fucked Up release a full-length opus that’s like the War And Peace of punk rock. Subtextual, dramatically composed and philosophically complicated, Hidden World is also a demandingly long listen at 72 minutes. However, it’s brevity that gets the middle finger here, not the listener. Hidden World rips it up at the right moments like true hardcore records should – Two Snakes, Crusades and Manqueller Man stand out in particular. An impressive amount of original thought’s gone into raising this above your standard punk rock sucker punch. It’s weighty, sure, but give yourself over to this album, see it through, and you’ll be rewarded generously.


Best punk band


Punk’s most difficult children. No glossed-out Myspace site, a belligerent refusal to tour Canada, endless parades of limited-edition esoteric wax-only offerings, but not a single accessible full length CD — until now, five years after their inception. The only way get away with this kind of shit is when you’re band is that good. Hidden World (Jade Tree) is their defining record and will probably go down as a Toronto hardcore classic.


So much punk music is such utter bullshit that it makes me want throw a street party when I hear some that is genuinely feral and exciting. Canadian hardcore mentalists (one band member is schizophrenic, two others clinically depressed and they can barely stand to be in the same room as each other) Fucked Up, along with The Bronx, are some of the only North American punks worth taking seriously. Demented anarchist situationists they make bands such as Rancid look like the heritage industry garbage that they truly are.

After releasing a number of short, sharp and fast punk 7"s they managed to alienate nearly their entire fan base by releasing the 17 minutes long ‘Looking For Gold’ which featured 19 guitar tracks, a three minute long drum solo and four minutes of whistling. Their aggressively provocative nature led them to releasing records with anarchistic/socialist content but packaged with Nazi imagery. They were forced to publicly nail their anti-fascist colours to the mast after getting beaten up on stage in Toronto in 2004.

The artwork here is more Wagnerian than anything else, and the theme of the album appears to be the unreliability of human perception (although the lyrics are so abstruse and esoteric as to be virtually unintelligible). There is a direct line connecting The Ramones and The Damned to Fucked Up in that it is ostensibly just fast, tuneful, three chord garage rock, but just as the album is about the complexity hidden behind our interpretation of outside reality, musically this contains great depths. This is signposted by the appearance of Final Fantasy man and Arcade Fire arranger Mr Owen Pallet on violin on a couple of tracks.

Opener ‘Crusades’ is nearly seven minutes long and this allows the band time to build up leitmotifs and looping drum patterns. The epic ‘David Comes To Life’ even contains what sounds like a male voice choir (but is just band members singing back up). There is a particular gripe of many sound engineers at the moment and that most rock (and pop) is absolutely crippled with compression, which ‘evens out’ the sound on a track and makes everything loud. This makes the record sound great on the radio but terrible on your stereo. Fucked Up are a good example of how to make a really, really loud record full of dynamism and epic space without putting it through the compression grinder.

I could go on and on about this record but I won’t, other than to say any self respecting fan of punk or hardcore should not be without this album.