We Built This City

The music of Dead City, a dark and melodic hardcore gauntlet of fierce breakdowns, low-end dirges and triumphant rock and roll soloing, will grab you and shake you as if reviving the true spirit of hardcore with every crash symbol and keyboard tone. It is absurd, and frankly, sad, that the more hardcore bands these days can't ditch the uniforms and pretense and represent the mood of their locale - in Dead City's case, the stunted Southland. The fact that any band is still able to cut through the bullshit and emerge as emissaries of punk's true spirit is surprising. Dead City's ability to face the absurdity of the human condition and America's resurfacing brutality with clenched teeth and fists is what makes their recorded efforts, and collective personality so stunning.

I'm not sure that Dead City will agree with all or any of what I just said. To talk to them, you find four modest guys, who believe in the ability of art as a catalyst for change, or at least to spark ideas. But I'm not sure they're full aware of the hand they've been dealt. In any event, it is refreshing to see a band that is less concerned with riders and more concerned with moving the kids at their intimate basement shows, indifferent to the "hot shit" bands of the moment, but willing to gush about Bad Brains and Living Color, and who are willing to extend an open hand in a scene that seems at times to be built on elitist attitudes and bad haircuts.

I was able to catch up with Dead City following their Winter tour to discuss the past, present and future of a band, that is in my humble opinion, reminding hardcore of its roots and reestablishing a foundation for music with meaning and heart.

Interview conducted via e-mail by Tim Anderl. Pictures provided by Dead City.

Band: Dead City
Members: Jonathan (keyboards, vocals); Dave (guitar, vocals); Marcus (drums, vocals); Chris (bass, vocals)

Bettawreckonize: Who is Dead City? How did everyone meet each other?

Jonathan: Basically we are just a heavy band from Memphis. I’ve been friends with Dave and Chris. I met Marcus through the untimely death of a good friend of mine, Thom Wright. I met an ex band and schoolmate of Marcus’ at the funeral. We all just ended up coming together and creating this mess.

Dave: Dead City is four guys out of Memphis who play music and love music and gets issues through lyrics and just playing. What we do is for us and if people get inspired by it in any way that's awesome and if not that's cool too. Some of us in the band follow politics but we don't have any agenda. I met Jon from going to shows that he was doing, even though I had been going to shows before that, but he was in a band called Remus and I was in a band as well but I won't go into that. When both our bands broke up Jon, myself and some other people formed People's War and then two people left that band and Chris came into the picture. When People's War broke up about a year later Jon and I tried other projects and then Jon and Marcus met and we started playing together and then Chris joined.

Marcus: Dead City is a band and a loose interpretation of the name Memphis. We met one another doing gay porn in Toronto Canada.

Chris: We met in our house, Jon and Dave had dragged Marcus into this practice with another roommate of ours on bass. When it kinda went nowhere, the bass player left and I jumped in instead and we wrote "Failure".

BW: Which came first, the name Dead City or the song "Funeral?" What is the meaning behind your name?

JL: The name came first, then the song second. The song, just like the name, is just a commentary on Memphis. Specifically Funeral is about some of the shady deals our city government has made in order to benefit themselves or the city’s influential families, not the general citizens they represent. Currently there is a lot of discussion here about hidden things our mayor has done… somethings don’t change.

DW: For a while we played around with names until we all settled on Dead City. The song funeral came after we already established the name. The name is basically what Memphis means in Egyptian language: “city of the dead” or just dead city.

MB: Everything associated with that first demo emerged all at once.

CC: Probably the name. For the record we pretty much HATE that chorus and don’t play it anymore. It was an old Peoples War tune I had written and never got recorded so it was just easier to just use that instead of writing another song. Now that we have more / better songs, we don’t play it.

BW: In the short time you've been together Dead City has already accomplished three demos. Where and under what circumstances were these recorded?

JL: Really those three demos are just us working out material for records. Well except the first demo, which really was just a starting point for us as a band. It’s so much nicer to have tried songs out once before you actually try something more permanent.

DW: The first demo was recorded at the loft that Jon and Chris used to live at. Stan (from Deathreat) was living there for a while and had some recording equipment and we recorded the first demo. We recorded the other two with Jason Potter.

MB: I don’t know about the rest of the band, but I recorded most of these demos during sporadic coke binges and my brief stint as a park ranger trainee. All were recorded in Memphis, the last two on weekends when we could get time in an actual studio.

CC: Made the first demo in the house, on Stan Wright's gear. The other two were made at Jason Potter’s studio in Memphis. Best guy ever.

BW: Dead City has written both fast-paced, more traditional hardcore style songs (like "Reflection" and "Truth") and slower and more dynamic numbers (like "Eulogy" and "Fallout."). Is there a style or sound that Dead City is becoming more comfortable with? Is this difference the product of individual members' backgrounds?

JL: We are trying to create songs that fit moods, emotions, and subject matter. There is variety, but I feel it all flows and sounds like one band. I like when we mix the slow and the fast together. I think the variety keeps us all happy with the material in general. So far I don’t think we’ve written a song that doesn’t fit the band. No matter what we play heavy hardcore. Simple enough.

DW: I think we are more comfortable with whatever comes out. We all have different influences and almost similar tastes as well. Jon is into a lot of weirder stuff and Marcus is too and I'm sure everyone can elaborate a bit on that. As far as I know Chris is pretty much into everything (like hardcore with breakdowns) and myself I'm into the older kind of punk and hardcore and also ambient stuff really influences us which I think is why we have the dynamic stuff as well as the fast stuff.

MB: Well, like most bands, we’ve grown musically and personally since we’ve been together. When we first got together, it was under conditions of extreme sadness and this comes across in those first songs. As we’ve played shows to the same 5-8 friends who come to our shows and don’t have old beef w/ some band member, that sadness turned into frustration and that frustration into anger. Then it seemed kinda silly to be angry, so we just went for all out 4/4 rock and roll. Shit, who am I kidding, the slow songs are an excuse for Jon to play keyboards, period. I’ll be up front, I’m not a hardcore drummer. I am not a technical drummer. Frankly speaking, I don’t have all that much range. All I do have are two things: 1) an ear for knowing what element(s) need to be added by me in order to make the song(s) interesting and 2) enough experience to know my own limitations and work towards my strengths rocking out and playing hard. What is consistent from song to song for me is passion. Whether the song is fast or slow, with dead city you’re going to get passion. You may not always like what we have to say, but it’s fueled by a fire in our belly and if you catch us on the right night, you’ll get burned.

CC: To be honest. It's just awesome to be able to make a song out of what you happen to be rocking that particular day. Whether it be riffing sick mid tempo hardcore or pounding some slow bumout stuff. I don’t feel held back by genre or a presumption of what we should be or sound like. I think it’s less of a product of our different backgrounds as much as it is a product of us not giving a fuck about what kind of band we are.

BW: How are the lyrics for your songs written? Does the band do this collectively since all of you provide vocals?

JL: I write most of the lyrics with the exception of Hopeless, which Chris wrote. Most of the time I wait to write the lyrics for each song till the music is actually near completion. Then I scratch out a few ideas and take it home to work on. Usually the core of the lyrics are written pretty quickly, based on how many words I want to use with the rhythm of the song. But lyrics get picked a part from the day I write them to the day we record that song… slowly figure out what works best. The lyrics are just an extension of how the music makes me feel and what current themes I associate with such a feeling. The lyrics are all pretty specific and topical, politic if you will, but first and foremost they are based on feelings.

DW: We sort of do, if one of us has an idea for lyric or a song we work with it until we are satisfied with it.

MB: Usually, our lyrics are written pretty quickly by either Jonathan or Chris. Certain members of the band kind of take on the persona and attitude of a new song and, well, it kinda becomes there’s if you will. This doesn’t mean that people are just left to say whatever in the hell they want to say, but that this song or that song just has a different attitude than member a, b, or c could ever write to. As for vocals, I do one line in one song and that’s it. Unless we write a song where someone actually sings, I’ll feel fine doing my lil bit and sitting in the background.

CC: We all sing because we all want to sing. I can’t sing over fast stuff and play at the same time so I sing mostly on chorus's and slow songs (1600) and Dave sounds too awesome... if we let him have more than a line here or there people would die, and we can’t have that now can we. I really don’t care so much at all about vocals or lyrics in this particular band. We play some stuff that just kind of demands having vocals over it... so we write lyrics. If you're going to write lyrics it might as well be about something so most of them are topical or personal.

BW: It is ironic that "Fallout" and "Hopeless" bookend your latest demo. In "Fallout" the lyrics are "These words, I breathe/To you, from me/my heart, my hands/one love for every man," which could be interpreted as a message of hope and conviction. "Hopeless" on the other hand seems to trumpet failure, doubt, and uncertainty? Where does this dichotomy come from?

JL: All our songs are comments on the bleakness of this world we live in and the depression that can set in the wake of realizing that bleakness. But almost every song looks for a glimmer of hope. The lyrics also are almost always about something local, something that can surface daily in Memphis or the Southland. Fallout however is an exception. It is a song about waging an unjust war in Iraq over oil. It’s really violently depressing material, but in the end there is that demand for something better… that cry for change that Marcus added.

DW: I think it comes from experience-for me, anyway, that's how it has been. I think that even in the most fucked times there is always hope even though there seems to be no way out and I'm not trying to preach positivity here because that's not the kind of band we are.

MB: It comes from me, I have hope. The lyric you lifted from Fallout is mine, I wrote it and I scream it at the top of my lungs every fucking show. Basically, if I hear another song about how crappy things are in the world I’m going to fucking punch a squirrel, present band included. I know that when I go to shows I don’t go to get preached at or learn some lesson, I’m there to rock out, drink beer, and try, if for just a few fucking hours, to leave all of that shit at the door. The world is shitty enough as it is without us reminding people of how shitty it is. It’s easy to complain, but it takes courage to cultivate and maintain one’s hope in a better and brighter tomorrow. But even with that said, I don’t feel the need to try to force my outlook on other folks… that’s a job for the fundamentalist of god, edge, DIY, or whatever to do, not me. See, I’m lucky I’m not from this scene… the Memphis hardcore scene specifically, or hardcore in general. In the music *community* that I was a part of, there was no need to make such distinctions. We were the only people playing independent music, and all we had was each other. Therefore, we supported one another… period. The reason why I say that I’m lucky is that I have no one here to impress or to call me out for shit I did or said in 10th grade. I don’t have to force my outlook on people because I live it. It fuels the core of who I am. Whether I’m playing drums or writing papers for school, it’s just who I am.

CC: Umm... that’s a school word. Jon wrote Fallout, about war, but the part you quoted is just something Marcus always screamed over his drums on that bridge and it wouldn’t have been right to not incorporate it into the records... regardless if it makes any sense or not. I wrote Hopeless. It’s about the people we all know... who drop out and fade away. Every so often popping back in as if nothing ever changed. As if nothing is wrong. Coming back into your world, your life, and just creeping you the fuck out. Making you think... "Did I mosh like that in 95?"... or "Wow... would I get all thin too if was a junkie?" Fuck those people... let me finish forgetting you.

BW: The song "Truth" is a pretty scathing indictment of religion? Is this a reflection of having grown up in "the Bible belt?"

JL: I personally find it impossible that a god exists. But beyond that belief, religion (setting aside its positive contributions) historically has been the moral justification for all sorts of atrocities. And this still continues today, be it George Bush’s move to take away a woman’s right to choose or religious terrorism around the globe. That song just throws that excuse back into the faces of those that can’t come with a more honest reason. I also find it really depressing that so many focus so much time and energy on dying. Hell it’s hard enough for me to deal with the day to day without worrying about some magical place where I’m going to have a final judgment made on my life. We are all dying… fucking live!

DW: I would say it is in some ways but I think reflects different things for different people. For me just having religion shoved down your throat is reflected in that song, but really it's not just about that, but rather just a statement of how full of shit religion is and how dogmatic people can be. That's not to say that we are down on anyone who believes in that, but more less of what we think of it.

MB: For me, it’s a reflection on thinking for one’s self. Whether it be god or the DIY high council… don't let others dictate your actions and beliefs. Make your own decisions, question the status quo ESPECIALLY WITHIN YOUR SCENE. Just because you are playing punk music doesn’t mean you can’t be as full of shit as any fundamentalist. Why are kids up north wearing colored bandannas in their back pockets? Why the white leather belt sonny? Why won’t you rock that Rage Against The Machine t-shirt anymore? THINK for yourself, ACT for yourself, and for the benefit of those closest to you and FIGHT to protect what you have going on, no matter how lame it may seem. And if, at the end of the day, you feel that Christianity is a forum and arena in which you can be an individual, speak your mind, and have a gay lover… then more power to ya. And for all of you all who like to just bash that which you don’t understand, read the fucking bible before you open your mouth. See, I went through a period in my life where I posed questions to my Christian beliefs and, in the end, there just wasn’t much left for me to hold on to. I’ve got no beef with anyone who holds onto those beliefs, just have my back if those skinhead move back into town, because turning the other cheek might get you knocked the fuck out and your scene might get stolen right from under you.

CC: FUCK CHRISTIAN HARDCORE.

BW: It is pretty obvious that Dead City's music comes with a message. Do you think that music can still be a catalyst for change?

JL: Yes it can be. It will continue to be. It always will be. Music, literature, art, and communication can change the world. Maybe just one person at a time, but revolutions start in culture. I don’t think Dead City will change the world, nor do I want to have that power really, but I know for a fact we’ve inspired thought and conversation… even action. That’s all I could hope for.

DW: I don't know if music can change the world or save the world. I think it changes a person's world and I think that by not just reading lyrics but looking into the subject matter itself. I think music can and has done positive things for people. As far as being a catalyst for change I think one can put on a record and be able to relate to what is being said and if it does that's awesome.

MB: Jeez. Please, please, PLEASE don’t buy into any “Dead City message”. I’ve talked to, farted next to, and ridden in a van with these guys. TRUST ME, you’re better off following the age old wisdom of Jessica Simpson. Simple Point. Messages aren’t a catalyst for change, ACTION is the catalyst for change. Get off your ass and DO SOMETHING!

CC: If by change you mean "Christians walking out of our show after paying 5 bucks and buying a t-shirt when we play Truth.” Man... that’s all the change I need.

BW: Not to sound cliché, but are there bands who've change your lives?

JL: Too many to list really. Depending on where I’ve been in my life, what I was dealing with, or what was happening in the world, different records have made huge impacts. A few punk releases would be: Embrace LP, Los Crudos / Spitboy LP, Faith “Subject to Change” 12inch, any Amebix record, any Rorschach record, Universal Order of Armageddon 12inch, Ottawa / Jihad LP, the Constatine Sankathi 7inches, and a long list of others. I can think of a few Bruce Springsteen, Bjork, Fugazi, The Cure, and Joy Division records that have had impacts, not to mention various jazz and electronic records as well. I’m not even necessarily listing my favorite records / bands as much as I’m listing records that really hit me hard at certain points in my life.

DW: I think as far as just music goes I would say the Stooges and the Mc5 were life changing. Particularly for I would say the funhouse record really blew me away. I'm not trying to say that in a "whoa dude that blew my mind" kind of way but for me it really opened doors. As far as message goes I don't know, but I think there are a lot other bands that have been life changing which is too many to list but I would say the Stooges and Mc5 are a few from that list.

MB: The Descendents, and All. You kids may nor remember this, but there was a time when punk wasn’t cool. When being different wasn’t something you could get on sale at Hot Topic. Back in the days of jocks and weirdos, prom queens and rejects, those two bands gave me the strength to be myself and give everyone who didn’t like it the middle finger. And if Pep Talk isn’t one of the most brilliant songs… Jesus fuck! Oh, and believe it or not Living Color and Bad Brains. Brothas just throwin it down on the rock and punk rock tip. Yo, can somebody get back to me with info on a punk or hardcore band that’s around now and has all black members. Just wondering. Oh, and (fuck you if you laugh) the Carpenters and Roy Orbison. If it hadn’t been for those two, I would have probably slit my wrists when I was in high school. Sometimes you just need to know that you’re not alone in the world and that others have or are going through what you are.

CC: Earth Crisis. Chokehold. Integrity. Pulp.

BW: Don't you also have plans to release a split with Funeral Diner? Do you have any other future releases planned?

BAND: The split LP with Funeral Diner is out now and has been for a little while. You can order it from Ebullition Distro, So Much To Give, or Old Glory. We hopefully have a full length on Deathwish Inc sometime soon… we are waiting to get studio time for that. There is also talk of doing a few projects with other labels, but nothing confirmed so no reason to mention specifics.

BW: You recently finished a two week winter tour? What was Dead City able to accomplish during that tour?

JL: We accomplished not killing each other. Winter was cold and snowy. But it was incredible seeing friends and playing shows. Doing a few days with Rats into Robots was fun. Tour is always the best of times for me. Wish I could do it all the time. The highlights for me were Boston, Passaic, and Richmond.

DW: I think we got to play with a lot of awesome bands and we were able to play new places and actually inspire people in those places.

MB: Frostbite and more debt.

CC: I love tour. The worst day on tour is better than being at home for me. We went to some new places, some old ones. Saw old friends and made some new ones. And I think I now have thicker and more luxurious body hair thanks to the prolonged exposure to the cold.

BW: How did this tour compare to other tours Dead City has been on?

JL: I loved summer tour. It really inspired me. Got to play with tons of great bands. Did little sections of the tour with Light the Fuse and Run, Transistor Transistor, The Fiction, Welcome the Plague Year, Wolves, and Cursed. Got to see lots of friends and meet tons of incredible people. Playing shows just really had me feeling wonderful. Portland Maine was the highlight for me… the kids there really got into it and got involved in conversations with us. Both Boston and Long Island shows were great… Columbus, Reading, New Brunswick, and Richmond all real fun as well.

DW: I liked both tours but I think whether or not a tour has been good or bad it's always fun to be on the road, yeah it sucks when something goes wrong or we are at each other's throats, but we work through it and we have fun. Even though I liked both tours I liked the summer one not because it was warmer but that we got to play smaller towns like Portland, Maine-who have something going and really take pride and appreciation for their community. Like I said even when a tour doesn't look like it's going to turn out, there is always something that makes it all the better when we play and when someone is moved by what we do.

MB: Tour sucks, period. Well, Boston rules with an iron fist, but I’m not a huge fan of touring. And when I say that, I’m NOT talking about the people we’ve gotten to meet and hang out with. I’m still amazed that people like this crap. Simply put--along the way, I’ve met some really great people and I look forward to hopping on a bus and visiting them some day in the future… alone.

CC: Last tour almost every show was pretty good/average. This time it was either just AWESOME or completely terrible. Did I mention I love tour?

Dead City will be recording their Deathwish Inc. debut full length the first half of March 2004. Check www.deathwishinc.com for more info.

Editor's Note: Dead City will be recording their Deathwish Inc. debut full length the first half of March 2004. Check www.deathwishinc.com for more info. or visit Dead City at www.deadcitymemphis.com. You can also hear the songs from the split lp on www.deadcitymemphis.com.