Hardcore, and D.C. hardcore in particular, has a rep for being stuck in the past. But it stays fresh by continually creating new pasts to draw from. A few years back, bands like Coke Bust brought the early ’80s thrashy style of hardcore back into vogue. But there are others reviving the mid-’80s melody of Dag Nasty, the late ’80s aggression of Swiz and the late-’90s chug of Damnation A.D. Soon there will be late ’00s tribute bands to Coke Bust, too. The logical endpoint is to be, to paraphrase The Onion, nostalgic for bands that don’t exist yet.

This Was My Night & This Was a Lot of Other Nights is another chapter in the scene’s love affair with itself, though an entertaining and necessary one. Editors Tim Follos and Hussain Mohammed compile show reviews and interviews from Follos’ blog Day After Day DC, covering the past decade — the most recent era of harDCore. It reads like a blog, in good ways and bad: The energy of the house shows reviewed (though “lovingly described” is more accurate; Follos has hardly an unkind word for anyone) is palpable, and he draws from a depth of knowledge and eye for detail only a true fan could.

At the same time, the long personal asides, shout-outs and inside jokes (most involving Sick Fix‘s Pat Vogel) remind you this was written by and for a small group of friends who all hang out and play in bands together.

This Was My Night isn’t so much about a particular city or era, but rather a particular crowd of 20-something, group-house-dwelling, radical politics-having, dog-walking, (ex-)vegan straight edge punx dedicated to putting on shows in makeshift spaces on shoestring budgets.

So the 12-page review of the 2013 Damaged City Fest that opens the book is kind of overkill. And for a book aiming to document an era that produced hundreds of local bands, a lot of the same ones show up again and again — Ilsa and The Max Levine Ensemble, both terrific bands, but reflective of the authors’ personal preferences.

There are a lot of others from that period that don’t appear, either for taking a different punk-derived trajectory, or just being in different social circles. They include Deathfix, Mass Movement of the Moth, The Apes, The Shirks, The Cassettes, Medications, Imperial China and the whole Sockets Records roster. Today, as always, there isn’t one D.C. punk scene, there are many scenes, and they don’t always communicate well with each other.

‘This Was My Night & This Was A Lot of Other Nights,’ back cover

This Was My Night isn’t so much about a particular city or era, but rather a particular crowd of 20-something, group-house-dwelling, radical politics-having, dog-walking, (ex-)vegan straight edge punx dedicated to putting on shows in makeshift spaces on shoestring budgets. And in that sense, it’s really about one band, Coke Bust, whose members and fellow super-promoters Chris Moore and Nick Candela (aka Nick Tape, who’s since moved to Brazil) held this scene together mostly by themselves through sheer force of will.

Thus one of the best pieces in the book is by Nick Tape, in which he describes the benefits of booking shows at the Corpse Fortress, the famously filthy, hot, dilapidated Silver Spring house that put on memorable shows until the neighbors finally got sick of the ruckus and got them all evicted.

“As a promoter, access to a venue with no rules and no set fee is enormously helpful,” Tape writes. “The lack of a fee allows promoters of shows with mediocre turnout to still pay bands somewhat respectable amounts at the end of the night.”

The second half of the book is made up of interviews with familiar punk figures, some of which are more lucid than others (Bad Brains’ H.R. is, predictably, in another world). There’s a bittersweet chat with the now-deceased Dave Brockie of Gwar. There’s a theological discussion with Positive Force co-founder (and fellow scene historian) Mark Andersen. There’s the requisite Ian MacKaye interview — a surprisingly unique one given the man must give dozens of interviews a month — in which he takes a deep dive into the history of Georgetown.

Follos is a skilled interviewer, able to draw out rich personal stories without being too much of the fanboy that he is (and most of us who read the book are). He can also be mischievous, asking Brian Baker, “Why is it necessary for Bad Religion to have three guitarists?” and getting Ian Svenonius to accidentally agree with conservative columnist George Will.

It’s fair to wonder whether a book like this needs to exist, especially for a genre saturated in self-documentation — and especially today, when many of the bands documented still exist, and a lot of the material is already accessible online. But I’d say it does. Given the book’s ultra-insider perspective, the target readership seems to be the 50 or so people who already appear in the book.

But only an insider could tell the story of the Bobby Fisher Memorial Building, another DIY space that the Borf graffiti collective jury rigged and briefly put on art installations and punk shows before it inevitably got shut down: “Towards the end, they cut our power, because we were stealing power from a neighbor who was also stealing power,” writes Chris Moore. “We ran over 15 shows on generators. Cops never shut down the shows… Seeing 20 people installing soundproofing and insulation… that’s awesome.”

The authors of This Was My Night & This Was a Lot of Other Nights host a book-release party Monday, April 25 at Black Cat with Scanners and Mirror Motives.

In a little more than a year, the website — with its insider jokes about scene clichés, browbeating frontmen, mosh pit faux pas, austere lifestyles and so on — has become a hit, racking up pageviews and earning guffaws from people who instantly find humor in headlines like “Ted Nugent Begrudgingly Inducted Into Straight Edge Hall of Fame” or “Henry Rollins Driving App Tells You How Hard It Would Have Been to Get There in the ’80s.”

Gags like those, of course, would be impossible without the nearly four-decade legacy of D.C.’s hardcore scene. A dive into The Hard Times’ archives reveals that the site, based in California’s Bay Area, owes a debt to ideas and trends that can be traced to the Washington region.

Matt Saincome displays his postcards from Ian MacKaye. (Matt Saincome)

Founder and editor-in-chief Matt Saincome freely acknowledges that debt. One of his first pieces for the site was “Ian MacKaye Prepares For Another Long Day of Documentary Interviews,” which skewers the Dischord Records co-founder’s status as a punk figurehead and an accomplished conversationalist. It was an early sign that the Fugazi and Minor Threat frontman — and progenitor of straight-edge culture — was hardly off-limits.

“The truth is, I’m a really, really big Ian MacKaye fan, and the reason why I wrote that story is because I was seeking out and watching so many punk documentaries… and Ian MacKaye was popping up in all of them,” Saincome says. “I love Ian MacKaye interviews. My Ian MacKaye interview was a highlight of my life. He sent me postcards afterward — I still have them on my wall. But I do think it’s funny how often he pops up [in documentaries].”

Saincome interviewed MacKaye in 2010 for his zine Punks! Punks! Punks!, and he says it was a “life-changing conversation.” (Another, more recent fanboy moment for him: when Brian Baker — of Minor Threat and Bad Religion — started following The Hard Times on Twitter.)

Saincome, 25, says he’s been straight edge since high school — no alcohol and no drugs, in particular. “For me it doesn’t have anything to do with sex or the type of food you eat, or anything like that. [It’s] an addiction-free type of lifestyle” for him, he says. Two other people on The Hard Times team are also straight edge, he says.

Inside out

Saincome doesn’t consider himself particularly preachy about his lifestyle, but straight-edge adherents generally are known as some of the most sanctimonious characters in punkdom. For that kind of thing, nothing is better than self-deprecation, Saincome says.

“We found that … the most pointed and funny articles come from people from that particular subgenre. So if you’re writing a straight-edge article, it’s always best to come from a straight-edger,” he says. “‘Cause if you are something, you kind of know what’s silly about it.”

That instinct gives The Hard Times an undertone of love instead of self-loathing. For Saincome, it colored his exploits prior to starting the website. As frontman for the hardcore band Zero Progress, he assumed the persona of The Champ, a blowhard egotist whose costume included thick chains. The point was to mock hardcore’s macho tendencies from the inside, even if it made punks uncomfortable. The behavior of punk singers, naturally, is a big target — especially their reputation for haranguing crowds. (See: “Hardcore Frontman Running Out of Generally Well-Accepted Beliefs to Share.”)

“It’s different for everyone, but I do think that when people get up on stage, they like to present themselves in a certain light and in a certain manner, and in a lot of times in punk, it’s in a moral crusader role, and they’re preaching to the choir a bit,” he says, equating the tone of the site’s anti-frontman jokes to the ball-busting that happens in the van when bands tour together. The public face of punk doesn’t always show that jokey side, though.

“I think a lot of people appreciate what we’re doing because punks do like to joke around and have a good time,” he says. “It just doesn’t always get the spotlight.”

And that self-awareness, Saincome says, is a vital part of what separates The Hard Times from its most obvious comedy antecedent, The Onion.

“I think a lot of their tone has to do with hating life — it’s funny as f**k, I love the Onion — but we don’t hate hardcore and we’re writing about hardcore. So a lot of our stuff definitely has a lighter touch to it than theirs,” he says.

At one point he did a deep dive into The Onion’s archives, and it helped him make an important distinction for his own content.

“Crust punks… maybe get an unfair helping of satire from us. Straight-edgers, too.” —Matt Saincome, founder and editor-in-chief of The Hard Times

“It wasn’t gonna be punk satire, it was gonna be ‘alternative lifestyle’ satire,” Saincome says. “The way music people live their lives, not just at the concerts, but the way we live our entire lives as an alternative underground culture.”

The satire establishment has taken notice: The Hard Times is now part of The Onion’s advertising network, meaning that “they package together a bunch of websites and pitch that whole network to advertisers,” Saincome says. The Hard Times’ contribution? Saincome says that his site has as many as 1.4 million unique visitors a month. There’s also a project in the works with Vice’s music site, Noisey, he says.

His D.C.

Although The Hard Times draws on D.C. hardcore’s influence and history for inspiration, Saincome says he sees the area’s current scene through a different lens: friendships, particularly with the band Coke Bust and all its related projects. Saincome says he’s never been to Damaged City, the ever-growing annual festival founded by Coke Bust members, but he views it as a beacon for a lot of other scenes. (The 2016 version of the fest kicks off April 7.)

The Coke Bust guys “did a good job of not eating their young, of supporting younger people in the scene, and playing in bands with them … and I feel like that doesn’t always happen in the Bay Area. We’re a little bit more fractured. [Coke Bust] seem to keep it pretty tight, which I think works to their benefit.”

One trip through D.C. with Zero Progress gave Saincome an anecdote that summarizes another pillar of The Hard Times’ comedy: edgy or extreme characters operating in totally normal situations.

“When we went on tour, we stayed at a friend’s house, and it was in a fancy D.C. suburb, and all the hardcore kids were hanging out, like, in the decked-out basement of his mom’s place. Which I thought was awesome, you know? Dude, I don’t mind,” Saincome says, noting that he grew up in the suburbs, too. “But I remember his mom was like — in the morning when we woke up, because we’d played a show — like, ‘OK, I made you guys some sandwiches, oh, here’s some cereal with vegan milk.'”

Saincome likes to cite examples of that dynamic, including “Family Prepares for Another Horrible Thanksgiving With Vegan Punk Son” and “Black Metal Guitarist Spotted Celebrating Gammy’s 87th Birthday at Old Country Buffet.” Another target for fish-out-of-water jokes: the vehemently DIY, dumpster-diving “crust punk” lifestyle.

“We try to spread it out, but the more extreme of a personality type that your particular subgenre of punk has, the easier it is to pick it apart a little bit,” Saincome says. “So crust punks definitely maybe get an unfair helping of satire from us. Straight-edgers, too.”

Keeping things fresh hasn’t been too difficult, he says, because the site has dozens of contributors and the editorial team rigorously vets story ideas. Being able to chart the audience’s reactions via analytics and social-media activity helps, too, Saincome says. He half-jokes that The Hard Times is now entering its “Fugazi phase,” and branching out a bit more. (Recent headline: “Audiophile Neighbor Pounds Ceiling to Demand You Adjust Midrange.”) Consider it a nod to another important facet of D.C.’s punk culture: intelligence.

“We have a really intense drive in us to not be ‘basic’ or ‘simple.’ A lot of the basic and simple ideas work the best, but we try to do things a little bit differently,” Saincome says. “In our editorial meetings, it’s one of the main things we think about. And I think it’s been part of our success, because I think anyone can make jokes — but to make a couple of smart jokes once in a while, I think that’s part of the reason why a lot of people like us.”

This weekend the two musicians, who play in Northern Virginia pop-punk band American Television, are putting on the inaugural Breakin’ Even Fest at Songbyrd Music House & Record Cafe in D.C.

“As we’ve gotten into our 30s and life has progressed,” Flowers says, “it’s gotten harder and harder to do some of the touring and other things that bands do.” But that doesn’t mean they’re bowing out of music altogether.

Taking place March 4 and 5, Breakin’ Even Fest will feature more than a dozen bands from across the D.C. region, including local favorites Lilac Daze and Loud Boyz, as well as New York rockers Iron Chic and Timeshares.

The fest focuses on tuneful punk rock, a style Flowers says he doesn’t encounter enough in the D.C. scene.

“There’s a lot going on in D.C. already,” the drummer says, “but we saw a little bit of a void in the music that we really like — melodic pop-punk with a little bit of a hard edge.”

D.C.’s biggest punk festival, Damaged City, specializes in a faster and more aggressive side of the music. Flowers says that fest “is really great, but it’s not really the music that Steve and I like.”

To help pay for the event, Rovery and Flowers have arranged a number of local sponsors, including Mobius Records and vinyl-pressing company Furnace Manufacturing, which have each donated merchandise to be raffled off over the course of the weekend. Rovery says each “mystery merch pack,” given away a few times each night, will be worth around $200.

In addition to the ticket prices — an affordable $27.50 for the entire weekend — proceeds from the raffles will go directly to the bands. Rovery and Flowers won’t be taking any for themselves.

“We came up with the name Breakin’ Even is because our goal is to break even,” Rovery says, “but first and foremost we need to make sure the bands get paid.”

Breakin’ Even Fest takes place March 4 to 5 at Songbyrd Music House and Record Cafe in Adams Morgan.

Returning for its fourth edition April 7 to 10, the all-ages fest will take place at All Souls Unitarian Church, Calvary Methodist Church, Black Cat and the Pinch, all located in Northwest D.C.

Organizers are also adding 10 more bands to the already robust schedule. (See a list below.)

Tickets can be scooped at Ticketfly, D.C. record stores Smash Records and Joint Custody, Celebrated Summer Records in Baltimore and Vinyl Conflict in Richmond. A limited supply of discounted three- and two-day passes are also available.

Damaged City Fest has grown both in size and reputation since it debuted in D.C. in 2013. Bookers Chris Moore and Nick “Tape” Candela have stepped up their game for this year’s round, flying in Japanese hardcore legends Systematic Death for the occasion.

Also on the docket: lots of vegan food.

Latest additions to Damaged City Fest’s 2016 lineup in bold:

Zero Boys (Indiana)
Systematic Death (Japan)
The Avengers (California)
Sheer Mag (Pennsylvania)
Tau Cross (England)
Youth Avoiders (France)
Disguise (Ireland)
La Urss (Spain)
S.H.I.T. (Canada)
Blood Pressure (Pennsylvania)
Coke Bust (D.C.)
The Goons (D.C.)
Eel (Pennsylvania)
Caught in a Crowd (Massachusetts)
Dame (Massachusetts)
Torso (California)
Post Teens (Florida)
Rubbish (Florida)
Stalled Minds (France)
Triage (Canada)
Gaucho (Canada)
Busted Outlook (California)
Genocide Pact (D.C.)
The Pessimists (Brazil)
Sem Hastro (Brazil/U.S.)
Holder’s Scar (North Carolina)
Digital Octopus (France)
Firing Squad (Virginia)
Protester (D.C.)
Depths of Reality (Massachusetts)
Firewalker (Massachusetts)
Drug Control (California)
Odd Man Out (Washington)
Bricklayer (Washington)
Stand Off (D.C.)
Homosuperior (D.C.)
Radiation Risks (New York)
Bust Off (D.C.0
Kombat (D.C.)
Collusion (D.C.)

Organizers announced today that Damaged City 2016 will take place over four days, from April 7 to 10, at venues to be announced. So far, 33 bands are booked to play the fest’s beefiest lineup yet, with notable performances from Japanese hardcore legends Systematic Death and classic California punk band The Avengers.

Like past Damaged City headliners Negative Approach, Infest and The Mob, both Systematic Death and The Avengers date back decades. But festival co-organizer Nick “Tape” Candela says he and partner Chris Moore “made a strong effort to include a lot of fresh blood and newer bands” for next year’s edition. Philly rockers Sheer Mag, French punks Youth Avoiders, straight-edge Californians Torsö and grubby Irish punk band Disguise are among them. (See the rest of Damaged City’s preliminary 2016 lineup, below.)

As Bandwidth writer Ron Knox pointed out in 2014, Candela and Moore deserve much of the credit for reviving the District’s fabled hardcore scene, and they’ve done it without tweaking the formula. In the purist tradition of D.C. hardcore, Damaged City remains all-ages and strictly DIY, aided by a legion of volunteers.

“[Moore and I] are the only two organizers,” Candela writes in a Facebook message, “but there are dozens of folks that help out with everything.”

Volunteers clean up, provide equipment, pick up bands from the airport and — critically — open their homes to out-of-town bands. That’s a task Candela says he’s happy to delegate.

“In the past, I learned not to let too many people sleep at my house,” Candela writes. “In 2014, I got home around 4 or 5 [a.m.] from cleaning up and found that there were punks everywhere in my house.” He’d been left with nowhere to sleep.

“I didn’t have the heart to kick our foreign guests out of my room so I just went back outside and slept in my car,” Candela writes. “Lesson learned: Don’t do that again.”

Check Damaged City’s Facebook event page for ticket information and schedule updates.

Damaged City’s preliminary 2016 lineup: 

Systematic Death (Japan)
The Avengers (California)
Sheer Mag (Pennsylvania)
Youth Avoiders (France)
Torsö (California)
Disguise (Ireland)
La Urss (Spain)
Obstruct (U.K.)
Blood Pressure (Pennsylvania)
The Goons (D.C.)
Eel (Pennsylvania)
Caught in a Crowd (Massachusetts)
Dame (Massachusetts)
Post Teens (Florida)
Rubbish (Florida)
Stalled Minds (France)
Busted Outlook (California)
The Pessimists (Brazil)
Sem Hastro (Brazil/U.S.)
Holders Scar (North Carolina)
Firing Squad (Virginia)
Protester (D.C.)
Depths of Reality (Massachusetts)
Firewalker (Massachusetts)
Drug Control (California)
Odd Man Out (Washington)
Collusion (D.C.)
Stand Off (D.C.)
Homosuperior (D.C.)
Radiation Risks (New York)
Bust Off (D.C.)
Kombat (D.C.)
Spite (D.C.)

More than three decades after Flex Your Head came out, it finally feels that another moment is taking shape, thanks in part to a new D.C. hardcore compendium called The Red Line Comp.

Featuring 12 of the best and most interesting NWODCHC (New Wave Of D.C. Hardcore) bands active right now, the right time for a project like The Red Line Comp feels like it’s been bubbling up for the last 12 to 18 months. While annual D.C. hardcore festival Damaged City has helped put the spotlight on what is going on in D.C.’s contemporary hardcore scene, it’s the bands’ recordings that have made the biggest impact outside of D.C., with excellent releases from Protester, Public Suicide and Red Death, among others.

D.C. hardcore musician Ace Mendoza, who plays in a number of the bands featured on the release (Red Death, Stand Off, Jåvla, Pure Disgust) assembled The Red Line Comp. He says the collection’s timing was just a matter of circumstance. 

“Last year was mainly a demo year for a lot of these bands, so this year marks the beginning of the NWODCHC’s record debuts,” Mendoza writes via email. “Nine of the bands on the comp are putting out either a 7-inch or an LP, meaning a lot of [them] are also either starting extensive tours or playing out more in general.”

With bands like Red Death releasing a record on hardcore label Grave Mistake — which also released an LP from D.C. hardcore band Coke Bust in 2013 — and Pure Disgust putting out a 7-inch with Brooklyn’s Katorga Works, the comp feels not only vital today, but also potentially important years from now as a document of the scene, much like Flex Your Head.

Listening to The Red Line Comp, it isn’t hard to hear how diverse each band is: There’s the relatively straightforward hardcore of Public Suicide, the hard oi! of The Defense, the death metal sludge of Genocide Pact. What makes this recording sound essential is how high-impact each band is. You get the sense that all of them wanted to make a statement, and did.

But Mendoza didn’t necessarily aspire to put out a nouveau Flex Your Head. When asked what compilations influenced The Red Line Comp, Mendoza mentions two now-legendary New York hardcore compilations from 1989: Where The Wild Things Are and The New Breed, only citing Flex Your Head in passing. But with each track, The Red Line Comp writes a new chapter in D.C. hardcore history — a much-needed update to a story that many know by heart.

Pure Disgust distinguished itself from the start with a 2013 demo that aimed for the gut, relying on defined riffs instead of speed — not too different from influential English Oi! bands Combat 84 and Blitz. That was essentially what Watson set out to do when he and his bandmates decided to start what he calls an “Oi!-type band with D.C. influences.”

Then last year, the band released an even stronger 7-inch record that moved beyond the confines of Oi!’s stereotypically thin guitars and simple riffs, borrowing from anthemic mid-1980s New York hardcore.

In late April or early May, Pure Disgust plans to release what I consider the best 7-inch from this new wave of D.C. hardcore bands. (I got an early listen.) The Chained EP is set to come out on the labels Quality Control and Brooklyn’s Katorga Works, an imprint that’s become a tastemaker for certain segments of hardcore and indie.

Before Pure Disgust plays The Pinch as part of D.C.’s Damaged City Fest Saturday night, I talked to frontman Rob Watson about the band’s influences, his thoughts on D.C. hardcore and why he doesn’t consider Pure Disgust a remotely political band.

This interview has been edited for clarity and brevity.

Bandwidth: What was it like recording that first demo?

Rob Watson: The demo was rushed. Connor, our original drummer, learned the songs that day. Rodrigo, a guitarist we picked up when Connor couldn’t play the first few shows, decided he would try to record something for the first time. The demo sounds great, and Rodrigo did a great job with it — especially for his first time.

The D.C. hardcore scene just keeps growing in the best ways possible. Bands seem to not only be starting left and right, but also making punk and hardcore that’s forward-thinking. What are your thoughts on this new breed of DCHC? And what about it seems exciting to you all?

The NWODCHC [new wave of D.C. hardcore] is so powerful and on the rise. It’s great to see young kids being in the center of it all as well. It’s even cooler to see that all my friends are [getting] on bigger labels, putting the name of D.C. back on the map. You’ve got Protester putting a record out on Triple-B Records, Stand Off putting one out on Youngblood, Red Death putting something out on Lockin’ Out and even bands like Genocide Pact putting something out on A389. I love it all. My friends are what keep me here, and I love every single one of them and what they’re doing. Be on the lookout for Jåvla and Spite.

I couldn’t care less what white people think of my lyrics. I don’t write it for them. I live to make white people uncomfortable. —Rob Watson, Pure Disgust

What really interests me about Pure Disgust is how direct the lyrics are. On “I.D.O.Y.S,” you say, “You need to listen when we speak our lives/ You must forget what you know/ Don’t reinforce that privilege you hold/ You know it’s keeping you safe.” I think it’s a great move to call out this kind of privilege. Would you say Pure Disgust is a political band?

Also, with a song like “Race War” calling out appropriating culture, how important is it to you for listeners to hear about these issues?

I would absolutely not say we’re a political band. My lyrics come from my life and what I experience. My life isn’t political, it’s just my life. Pure Disgust’s lyrics are just reflections of it. … I would like [white] people to come to understand what it’s like to be a punk/person of color, but honestly, I couldn’t care less what white people think of my lyrics. I don’t write it for them. I live to make white people uncomfortable.

The new 7-inch is a co-release from Katorga Works, a label that has released records from buzzy punk bands Merchandise, Dark Blue, Wart Hog and Sheer Mag. How did that come about?

Adam [Whites], who runs Katorga Works, tried to book us on a show in Brooklyn with Ajax, Jock’s Blood and Leather Daddy last July and it was a good show except it wasn’t all-ages. We don’t like playing [non-all-ages shows] so we dropped, and a thing sort of came out of that.

Adam then later invited us to play another show in Brooklyn in October with Blazing Eye, Hank Wood and Savageheads, and that show was most definitely all-ages. We played a killer set, and pretty recently actually, Adam told me that it was very important for us to play that show because it let the New York punk rockers know that D.C. is not to be ignored. After we recorded the record, we asked and he was more than down to do it, and he’s been doing a great job with it.

Musically the band seems to take aspects from everyone to Negative Approach to Blitz to hints of early Madball and Breakdown. The demo, and even the last 7-inch, is very heavy Oi!. That last 7-inch did seem to mark a sort of turning point that showed the band could hit harder in different ways. Then the Chained 7-inch seems to really take all these influences and spits them out in a way that’s fresh and hard to pin down. Is the direction of the new single where you see Pure Disgust going?

Honestly, we’re not sure what direction we want. I feel like with this 7-inch we got the sound we wanted nailed down. We got a little bit of everything ranging from pogo-punk stuff to straight-up D.C. hardcore. As for what’s next, who knows? But I told the guys for our second LP we’re going in the Second Empire Justice direction.

What I love about Pure Disgust is how commanding the vocals are without overshadowing what’s going on musically. Is that something you think about when writing and recording?

Nah, not really. We just ask for the vocals to be turned down when we’re mixing because I’m too loud. I think that’s what it is, though. Loud actual vocals being turned down.

What are you looking forward to on your upcoming tour?

We’re super excited for tour. All the dates are straight-up bangers and we’re touring with some of our good friends. I’m stoked for being on the road with Barge and Hard Stripes from Richmond, FURY from California and Social Damage from Indianapolis. I take pictures a bunch, so I’m excited for those long roads in the Southwest and the amazing scenery in the Northwest. We’re all just excited to be on the road for five weeks. Hopefully we don’t kill each other.

How about Damaged City Fest, the D.C. festival you’re playing this weekend? How important do you think a fest like that is to the health of the D.C. hardcore scene?

I think fests should be abolished. They make bands lazy, and in other scenes people start bands to be on That Big Fest 2kwhatever… I’m not a big fan. Fests are fun to play, don’t get me wrong, but they stress me out. Then again, here we are playing several fests in 2015. I’d rather have big shows happen than a fest.

Pure Disgust plays The Pinch April 11 as part of Damaged City Fest.

Moore, prolific punk-show promoter and drummer for D.C. hardcore band Coke Bust, is a key component in the engine that makes Damaged City go. He and bandmate Nick Candela booked the bands and the venue, and now here Moore is, in the packed chapel walkway that doubles as the festival’s marketplace, trying to make sure the whole thing stays on the rails. As fast as the band plays, Cülo has a reputation for slowing things down. So Moore heads back to the stage to make sure the band of mutants—and everything else—is keeping pace.

Damaged City is too important to go off course. The weekend-long all-ages festival, held two weekends ago primarily at St. Stephen’s and Columbia Heights dive The Pinch, is a celebration of hardcore in the city that birthed it and continues to embrace its ethics with more zeal than any other punk scene in the country. Alongside bigger headliners like Infest and Crudos, 10 D.C.-area hardcore bands played the fest, many of them part of a wave of surprisingly young musicians that their older peers say may be the greatest hope for D.C. hardcore in a generation.

But a dozen-odd bands doesn’t necessarily make a scene. What makes a scene are the few people who bring it all together. So there Moore stands, dutifully watching by the stage while Cülo sets up, sound-checks for maybe a tick too long, and rips into its set.

* * *

“Honestly, the best hardcore punk bands are kids between the ages of 13 and 19,” says Moore, a relative elder statesman at 27. “And there’s a ton of them. And they’re all [freaking] awesome. It’s crazy.”

Right now, D.C.’s hardcore scene has one of the most promising assortment of bands it’s seen in a long time, and many of their members are still in high school. The young Vile Faith put out an outstanding seven-song tape before disbanding last month, and some of its members—including drummer Robin Zeijlon—formed Pure Disgust and Public Suicide, the latter of which has its own EP coming out later this year. Nuclear Age released a blistering demo last fall. There’s Misled Youth, whose new album is already streaming online and should be released physically in a few months. Longer in the tooth are Red Death—whose January demo will probably go down as one of the year’s best D.C. hardcore recordings—the more metal Genocide Pact, straight-edge band Protester, and scene mainstays like Sick Fix, Give, and Moore’s own Coke Bust, among others.

Warning: Explicit lyrics.

In a way, the young kids have an advantage, because they’re more likely to live with their parents and they don’t bear the brunt of an increasingly unaffordable D.C. But those kids could also disappear from the area soon, as they go off to college or try their fortunes in another city. Moore—along with Candela—is part of the force that keeps the home fires burning.

Moore books and promotes dozens of local DIY shows a year. He hauls his PA from show to show. He stands outside of venues and hands out flyers. At Damaged City, he was the person running drum-kit components to and from the stage, depending on what the band needed. He also started a practice space behind his Takoma Park home that bands can use for as long as they need. “As far as I know, [it’s] the only affordable place you can just go and pay, like, $10 an hour and use a drum kit there,” says Priests drummer Daniele Yandel. “That’s so important for people who want to start bands.”

Moore tries to offers the kind of guidance he struggled to find when he first got involved in D.C. punk a decade ago.

Born in Montgomery County, Md., Moore was first introduced to punk rock around age 13. His mother was into ‘80s new wave and had punk friends from her days growing up in D.C. “That inadvertently exposed me to that stuff,” he says.

With his mom’s support, he started his first band in middle school, called Munk Petal, a spoonerism of “punk metal,” neither of which really described his band. Moore starts to characterize it in musical terms, then stops. “It’s what an eighth-grader’s first band would sound like,” he says.

Chris Moore

Moore and his Munk Petal bandmates played their first show at his high school, just across the street from his family’s home. It went off as well as it could have, with his friends moshing in front of the stage. But midway through the set, the school’s security guards broke up the pit, saying it was too dangerous, and shut down the show.

Moore had an idea. He called home and moved the gig across the street to his mom’s basement. Over the next few years of high school, Moore says, he and his friends put on 30 or 40 shows in that basement, including performances by regional and national bands. “It started to become a regular spot for suburban Maryland kids to come to shows,” he says.

By 2005, Moore had already carved out space in the D.C. hardcore scene with his high school band, Magrudergrind, which started when Moore was 15 and went on to tour with bigger punk and metal bands across the country.

“I think it’s important to involve younger kids,” says Chris Moore. “It’s what makes D.C. special.”

But back at home, the scene wasn’t great, Moore says. When he first began booking gigs, there weren’t many active DIY venues, and music tastes were different: People were listening to screamo—which, for all of its punk influences, didn’t always adhere to the same value structure as hardcore. The older D.C. punk community had also wound down considerably, and by then “the majority of the older people in the area were [jerks], or I thought they were [jerks],” he says. “They were really alienating to younger kids.”

If that particular crew had been his only exposure to D.C. punk, he might have lost interest and dropped out, Moore says. But around the same time, he met Matt Moffatt and Pat Vogel from Crispus Attucks, a band that anchored the city’s hardcore scene at the time. They welcomed Moore and his teenage friends. Moore says they answered questions, got them gigs, and generally helped out however they could. That stuck with Moore. Ten years later, when kids ask for his advice or guidance, Moore does what he can to help. It’s his way of perpetuating an all-ages tradition that started with the days of harDCore and the early Dischord scene.

“I think it’s important to involve younger kids,” he says, whether it’s getting them shows or involving them in the process of booking shows themselves. “It’s what makes D.C. special.” Plus, he knows if he doesn’t help those kids—if he and folks his age are dismissive or cold—“the scene kind of dies with those older people.”

* * *

Just before Give takes the stage at St. Stephen’s, Ray Brown sits in the chapel’s pews, his elbows on his knees, and thinks about what hardcore in the city means to him.

“Community, definitely community,” he says. Brown is the 16-year-old bass player for The Black Sparks, another teenage group with as much potential as any in the scene. And he says the young bands are a big part of that community. Among them, he says, “in the past year there have been, like, 10 demos recorded.”

Brown appreciates the fact that his band’s relative success is made easier by D.C.’s hardcore tradition. “D.C.’s probably the only place where it’s almost impossible to go to a show at any age and be denied, like you can’t come in,” he says. “And that’s all because of Ian MacKaye, doing everything he did to make sure shows were all-ages.”

The resurgence of young, talented bands coursing through the scene is refreshing, says Tim Mullaney, singer and guitarist for D.C. death-metal band Genocide Pact. For years, he’s used his portable, door-to-door recording kit to tape demos for punk bands, including some of the young ones. Mullaney says there were some lean years earlier this decade, when all-ages spaces were in short supply and bands weren’t as numerous or active. But while it’s had its slumps, hardcore punk has never completely died here—and people like Moore help make sure it continues on for decades. “I don’t ever see those guys quitting booking shows,” Mullaney says. “There hasn’t been a year since I’ve started going to shows that Chris hasn’t been booking four or five big shows a year.”

Meanwhile, Mullaney sees new kids picking up the baton, like Robin Zeijlon, who books shows at Tenleytown restaurant Casa Fiesta and elsewhere.

The scene is in a different, healthier place than it was when he started out, Moore says. “I do think it’s important and it’s cool that this younger crop of D.C. punk bands is getting attention,” Moore says. Some of them are planning tours this summer, too—and that’s how the music and the message spreads.

“If I were a teenager, and I saw this ripping teenage band play my town, I’d think: Oh [man], I could do that. I want to do that.”

This article has been updated to emphasize the fact that Nick Candela also booked Damaged City Fest alongside Chris Moore.

Top photo: Cülo at Damaged City Fest. Image of Chris Moore courtesy of Chris Moore.

Damaged City Fest
Thursday, April 10 to Sunday, April 13 at the Dougout, St. Stephen’s Church, The Pinch, and Dance Institute of Washington

The Damaged City Fest, D.C.’s DIY punk extravaganza, returns for its second year this weekend, boasting a jam-packed lineup at St. Stephen’s in Columbia Heights on Friday night and all day Saturday, plus a pre-show tonight at The Dougout, after-shows at the Pinch and a Sunday matinee at the Dance Institute of Washington. The lineup is insanely packed, from California powerviolence pioneers Infest to D.C.’s Priests and Give, but the real draw—especially for locals—is a reunion of Government Issue‘s 1980 lineup, featuring John Stabb, Jon Barry, and Brian Gay, performing early demos and the “Legless Bull” EP. Presales are now all sold out, but there will be a few tickets available at the door (tip: get there early!).

Title Tracks, Passing Phases, Cane & the Sticks
Friday, April 11 at Comet Ping Pong, $10-plus donation

After the passing of Windian Records founder Travis Jackson in January, there have been a number of benefit shows for his wife and 1-year-old son. This is another (so donate freely at the door!), featuring John Davis’ power-pop project Title Tracks, pop-punkers Passing Phases, and fuzzy rockers Cane & the Sticks.

Vanguard Festival
Saturday, April 12 at Union Arts, $20

Put on by the noise-embracing collective Select DC, the inaugural Vanguard Festival brings together artists, producers and DJs to showcase “outstanding explorations, tastes, and talent.” Highlights include electronics guru John Wiese (who in addition to his own projects has also toured with Sunn O))) and performed with Wolf Eyes), Earcave/Peoples Potential Unlimited founder Andrew Morgan (who put together this exclusive mix for Bandwidth), ex-Black Eyes member Ital, and local electronic duo Protect-U.

Tereu Tereu, J. Flax & the Heart Attacks, Mattress Financial
Saturday, April 12 at the Beehive, by donation

If you missed Tereu Tereu‘s headlining show at the Black Cat a few months ago, here’s your chance to see this offbeat rock band play a much more intimate venue. Also performing are Norfolk surf-punkers J. Flax & the Heart Attacks and a Two Inch Astronaut solo project called Mattress Financial.

Over N Out, The Oddities, Threads, Arkestry
Saturday, April 12 at the Electric Maid, $5

Despite having a fairly active concert calendar, the Electric Maid always seems to slip under the radar. Reacquaint yourself with the Takoma Park space for this pop-punk/emo/hardcore lineup featuring Baltimore’s Over N Out, D.C.’s The Oddities, West Virginia’s The Threads, and D.C.’s Arkestry.

GoldLink and Lakim
Saturday, April 12 at U Street Music Hall, $15

Who is GoldLink? While the Virginia-based MC has released a string of increasingly promising recordings—culminating recently with his new EP “The God Complex”—he’s remained anonymous. In a recent interview with Bandwidth, the “future bounce” artist wouldn’t divulge his plans for Saturday’s release show, which you’d think would involve donning a mask à la MF Doom. Then again, maybe this will mark the first time he lets fans see behind the veil. (Ally Schweitzer)

Warning: This track contains explicit lyrics.

Carcass, The Black Dahlia Murder, Gorguts, Noisem and Coke Bust
Sunday, April 13 at The Fillmore Silver Spring, $26.50

This tour, sponsored by Decibel Magazine, puts together two death-metal bands who released comeback albums last year: Carcass, whose “Surgical Steel” was the group’s first album in 17 years, and Canada’s Gorguts, whose excellent “Colored Sands” broke the group’s 12-year silence. Michigan melodic death-metal band The Black Dahlia Murder and Baltimore’s death/thrash youngsters Noisem are also along for the ride. As an added bonus, if you don’t get enough Coke Bust at the Damaged City after-party Friday at the Pinch, this is your chance to see them again on a significantly larger stage.

Beds, Sellout Youth, Curse Words
Wednesday, April 16 at CD Cellar Arlington, by donation

Shows at a record store are always awesome because you have time to browse between bands. This show is a benefit for the DIY festival Fest Too, happening in June at the Lab in Alexandria, and the bands performing are Sterling, Va., emo-punk outfit Beds (who are apparently basketball fans, given that one track on their “Michael Jordan” EP is called “Dunking on Patrick Ewing”), Alexandria’s garagey Sellout Youth and D.C. punks Curse Words.

Cloud Nothings, Ryley Walker
Wednesday, April 16 at Black Cat, $15

Cloud Nothings’ “I’m Not Part Of Me” is one of this year’s catchiest rock anthems. But instead of sticking it on the A side, the band made it the final track on its recent third album, “Here and Nowhere Else” (out now on D.C.’s own Carpark Records). Getting there is no slog—the album is full of good cuts—but once you’re there, you’ll probably understand why they made you wait. (Ally Schweitzer)

These and other show listings can be found on ShowListDC.