A Hardcore Heart author David Gamage loves hardcore music, of this there is no doubt. A veteran of obscure, U.K. hardcore bands of the ’90s, Gamage decided to document a decade of experience.
In A Hardcore Heart: Adventures In a D.I.Y. Scene, released February 14 on Earth Island Books, Gamage reveals a world of tours, demos, and tape trading at the heart of an underground, D.I.Y. scene in an age before Twitter, Google and Spotify.
Musician, fanzine editor, record label owner, gig promoter… How smooth was the transition to being an author?
Pretty straightforward, actually. I like to keep busy and creative and have been meaning to scribble down a bunch of notes about my earlier bands’ gigs and adventures for my sons for some time.
The COVID lockdowns gave me a bit more time to think about that and then get in and do it. I developed the Hardcore Heart book from that. Noone needs to be or do any one thing; you can do whatever you want to do. Just get on and do it.
For those who grew up in the internet age, can you paint a picture of what it was like discovering bands and music in the late ’80s/ early ’90s?
It was fun, but it was hard work. Basically, it was a mixture of printed fanzines and word of mouth at shows, as there was no internet and no mobile phones. But that was great. People had to speak with each other and discuss things, share ideas. Obviously people still do, and the developments can make things more efficient, but they can also be an easy distraction, too. It’s just good to find a balance with it all.
How easy was it to recall all the stories in the book?
I had kept tour diaries, gig booking diaries, stuff like that. I spent about a year and a half chatting with my bandmates and friends who were also there to go over the stories and fill in any gaps.
I’ve always been a hardcore geek anyway, so knew a lot of what I wanted to share about lesser known bands, but added to it from my friends’ comments too as getting extra opinions on stuff is usually good.
The process took time, but it was such fun. I’d be cracking up over some of the things we got up to but have managed to mention most of it.
Did you take inspiration from any particular music biographies when you were writing A Hardcore Heart?
No, purposefully not. I really didn’t want it to be like anyone else’s story. I knew it wouldn’t be. The bands I was in weren’t popular enough for anyone to give a shit really, but I also wanted to provide a true first-hand account of what really happened in a scene that no-one seemed to write about. I’m very glad I have, and I wish I could get more people to read it. I really appreciate this interview or any coverage to help get the word out there. Thanks!
What was it that drew you towards hardcore, and which were the records that really inspired you to play yourself and become part of that scene?
I was into punk and metal, gradually focused on hardcore as I found out about the classic bands, many of whom I still turn to now for inspiration, others I know would let me down. But there are new bands all the time that inspire me every day.
I mention certain bands in the book that really did have an effect on my playing style, such as Hot Water Music, Lifetime, Chamberlain / Split Lip, etc., and those bands were vital, but there’s just so many positive influences, and I think it’s the overall positivity and creativity of the scene that inspires me the most.
How important was the fanzine culture you were a part of, and how do you think that’s developed in the internet age?
Absolutely vital. I read loads of fanzines and even started my own. My first book, Punk Faction, is about my own fanzine–just a naïve collection, really, but it showed me what could be done and gave me confidence to write a proper book too.
Fanzines were the hardcore scene grapevine and that has developed with the websites, blogs, and podcasts now taking on that mantle. Interviews like this, reviews of new releases, these are all so vital for spreading the word if we ever want to actually have an ‘alternative’ scene.
There’s a lot of traveling in the book. How important was it to connect with people in other countries and find like-minded people outside of the UK?
I love traveling. I always have, and I think it gives you perspective. I’d meet and speak with people all over, not only at gigs (as conversations can be hard with the music blaring), and the more you travel, you more you realize that we are all the same. The more, too, you realize that you need to be able to have a strong, creative, local community to come home to as well.
Back in those formative years how significant was exchanging letters and tape trading to getting integrated into the international Hardcore scene?
Again, massively important. I find myself repeating things about exchanging letters, reading fanzines, sending demo tapes, etc. in the book. I could have cut a lot out (I actually did) but left a lot as it was so important. The sharing of ideas was so fundamental. Not the sharing of set opinions, so much as ideas, options, learning. It was much more flexible than it seems to be now.
The social media side of the internet worries me as it is so polarized. There needs to be more discussion and debate rather than fixed opinion. We’d put gigs on locally, to help bands tour internationally, and only ever needed verbal agreements really.
You can build your network for more effectiveness, and if everyone gets involved it’s easier work too with less risk or cost. It’s basic stuff; you can’t over-simplify it, really. It even affects how I run my record label now.
In the book, you mention your status as a record collecting nerd. In case of house fire what are the records that you’d have to retrieve before all else?
Ha, it’d be records, books, my guitar, and my wedding photos that I’d have to run back into the house for! (Also, my cats and family, of course!) but if I had to grab a few essential releases they’d definitely include: Fate’s Got A Driver by Split Lip / Chamberlain, Forever and Counting by Hot Water Music, Start Today by Gorilla Biscuits, Something to Write Home About by The Get Up Kids, and 3,482 Miles by The Atlantic Union Project.
What lessons do you think young musicians now can draw from the experiences you document in the book and how much do you think the landscape has changed for musicians now?
Tenacity. And hard work. Just the will to keep at it. In theory it should be easier now, but actually it’s even harder as creation and interconnectivity is easier but overall (and) individual quality seems lower so everyone can drown in wannabee mediocrity.
The few shining lights bob along and need to be picked out. Of course, some bands can work hard forever and still be no good. Others can have genius but never share it effectively. Try to find that sweet spot between the two, and create a network of friends to help spread the word.
Ha ha, I’ve made music sound like religion there. I guess it can be for some.
Is there one anecdote you can pick out from A Hardcore Heart that you think captures the spirit of the book?
There’s loads; the book is packed with anecdotes and true stories. Every chapter has plenty of enlightenment about some better known acts as well as unheard of bands, and also lots of basic scene info for anyone not already a hardcore nerd.
I wanted anyone interested in rock music or touring bands to be able to read and understand what the ’90’s Hardcore scene was all about and what it meant, as it is so relevant to now.
It could be any scene at any time, whatever you are into, wherever you are; just get off your ass and create it. Humanity. Humour. Creativity, Positivity. I hope that’s the spirit of the book.
Buy A Hardcore Heart here on Earth Island Books.
Images courtesy of David Gamage
