Grand Collapse: There is Always a Yearning for Change Just Beneath the Surface

British hardcore punk thrashers band Grand Collapse have become a household name in the DIY scene since their inception in South Wales (now based in Bristol, England) ten years ago in 2011.

Grand Collapse’s third album Empty Plinths was released in August and contain eleven blistering new tracks built upon steamrolling hardcore punk rhythms, top-notch metallic riffs and Cal’s recognizable feral vocal style. John Abell’s artwork for Empty Plinths celebrates the toppling of Edward Colston’s statue in Bristol and places it alongside historic uprisings and rebellions such as the Poll Tax Rebellion of 1381 and The Diggers. Other important topics for the band include Sarah Everard’s murder, the National Detective Program where the police asked neighbours to spy on one another, supporting animal rights and ensuring migrants & refugees safely crossing into Europe.

Following their album release tour for Empty Plinths, we catch up with singer Calvin Sewell and guitarist Jon Powell to discuss band’s history, current affairs and state of the hardcore punk scene in post-Brexit United Kingdom.

What was the reason and motivation for creating Grand Collapse? Did you have any sort of a blueprint for how you wanted things to run?

Calvin: We had another band before this called Obscene which lasted only two gigs and was pretty awful! We all stayed good friends though, and a couple of years later decided to have another go. This time things just clicked. We never had “a plan” or anything like that; we were just all into fast punk and had something to say. I never would have thought we’d go ten years and make three albums that’s for sure. It just developed year on year.

Jon: The story goes something like this: Cal told everybody involved that everybody else was up for doing this band and so everyone agreed on that basis! We had something else going a few years before which didn’t work out as I was in too many other bands but the timing for this one was perfect.

You have recently released your new album called Empty Plinths. What influenced you writing these songs and what issues do you deal with lyrically?

Calvin: We played the last record to death so it was time to write a new one. Dave left the band soon after the last European tour and Blag stepped in so it seemed like a good time to start a new project. This was end of 2019 into 2020 when there was so much discontent here in the UK, politically and socially, so there was plenty to write about.

The nationalist and far-right was on the surge because of the Brexit result which gave them a new impetus. We were still seeing the result of the Syrian refugee crisis and the hostile receptions those people were getting here. Everything just felt bleak and futile so that informed the tone of the record. Then we had the surge of Black Lives Matter protests around the world and in our city which gave us hope and a real sense of resurgence. It’s wild how one day can invigorate you and make you feel more optimistic about the future. There was real togetherness and momentum there and the flash point during our protest was the removal of Edward Colston’s statue from its plinth which was then rolled into the harbor. This was an iconic moment in Bristol’s history and I wanted to document that somehow.

The title obviously relates to this but also muses about a future without these gross monuments and the oppressive institutions we’re subject to such as the monarchy, clergy or bullshit politicians.

Jon: Musically, it was the Sound of Perseverance era Death, plus Leatherface, Slayer and SNFU. I think we’ve found ourselves musically on this one because the metal that we’ve all always listened to has finally seeped into the fabric… Lyrically, that would be Cal’s to answer but it’s mostly political topics—refugees crossing the channel, the so-called National Detective Programme (look it up), charlatan preachers and religious types, despotic politicians and the right-wing clinging on to the idea of ‘Britishness’, and ultimately exploiting this to energize their voters.

Your 2017’s record Along The Dew had this distinct animal rights message that’s been historically strong within the hardcore punk scene in the UK, especially some more specific topics like hunt sabbing. Is direct action still strong in the UK in a time when outreach and social media activism has exploded in recent times?

Calvin: Absolutely. We can always do more but there are plenty of good people out there who are stepping up when they see injustice. We can’t rely on the state or the police as they’re often complicit anyway so we have to challenge authority where we can. Take sabbing as an example; hunting foxes is illegal in this country but it happens week in week out across the country side. The police are not interested in controlling it and the hunts know this. They’re probably all pals somewhere down the line. It’s only the determination and tenacity of some really awesome people who give up their weekends to get up early and run around after these pricks that prevents them from running wild and murdering wildlife. Without public protest, too, where would we be? A passive public only encourages the ruling class.

Jon: Yes, I would say it’s present but the main thing that’s kind of hit mainstream consciousness over the last 18 months is the Black Lives Matter demonstrations, the Kill The Bill demonstrations and just recently the outrage over the rape and murder of Sarah Everard at the hands of a Metropolitan Police officer… There’s the ongoing Extinction Rebellion stuff, which, for a time I thought was really exciting. It seems to have cottoned on to the mainstream; and lots of other ideas have too, including veganism—which I never thought I would live to see!—so it just shows that given the right time and place, there is always a yearning for change just beneath the surface.

As for specific campaigns, there’s the ongoing Spycops stuff, the direct action against the completely unwanted HS2 rail-line… there’s all sorts going on, really. I think it takes a government like this for ordinary people to stand up and do something, or anything, to stem the madness.

I love the linocut style of artists like Frans Masereel, Clifford Harper, Eric Drooker, etc. Can you talk a bit about the continuing collaboration with the artist John Abell on your records? How important is the visual representation of your work for you?

Calvin: John’s style has become synonymous with the band which is really cool. When we started out we just needed some art for the first EP because none of us could draw for shit. I’ve always loved his woodcuts and it just seemed like it would work on a record sleeve so we went with that and it came out great so we’ve worked together ever since. A lot of John’s work mirrors the bands ethics too, so it’s a good fit. I usually provide him with some lyrics and he interoperates that in his own way.

In my formative punk years, I was influenced a lot by the ‘80 anarcho-punk scene, including a band like Icons of Filth. It was mind-blowing to witness the amazing level of support and tribute tracks that came out from all over the world when Stig, Icons of Filth’s singer, passed away in 2004. Cal, can you talk a bit about the relationship you’ve had with your father and the influence of anarcho-punk on Grand Collapse’s songwriting and way of doing things?

Calvin: First and foremost he was a wonderful person and father; a truly caring and loving human with a wicked sense of humour. I miss him dearly and I am grateful for the support of the wider punk community since his passing. That really helped me a lot when I was younger and trying to make sense of it all. Only after he died did I really get a grasp on what his band were like and the ideas that came from that. Those basic principles were taught to me as a child but here it all was in black and white on a lyric sheet and put to music. Although he wasn’t around anymore I had the songs to hold on to and they went on to influence what I’m doing now with grand collapse. On the back of Icons I got really into Crass and that polemic approach of the anarcho-punk bands of that era. I guess they’re all just calling for honesty and integrity which my dad had in abundance. I hope we can take that on and adhere to those principles.

Which aspects of hardcore punk culture do you feel most impactful on today’s society? Is it possible for punk to keep innovating and not become stuck in a specific musical or ideological framework?

Calvin: This is happening I reckon. The transient nature of punk as a genre means there’s always new stuff coming through and the boundaries are always being pushed. One of the things that irritates me is when people grow a bit older and belittle what comes next, like as if their era was special and everything that comes after is phony. It’s really self-centred and ignores all the good work that’s happening now.

Punk continues to innovate, not just the bands but the movement in general which always finds creative ways to challenge authority and root out injustice. For me punk is an extension of activism and pressure groups. It’s a subculture like any other with a dress code and music style but it crosses over with politics and resistance to the ruling class. I realise that isn’t for everyone and that for some it’s just about the music but that’s what it means to me. It’s a place where like minded people go to let loose and exchange ideas.

Jon: Punk has always been tied in with certain ideologies and so it’s intrinsic in many ways to a radical counterculture. Off the bat, I’d say animal rights, which of course was made into a militant issue from the mid-’80s onwards. I think maybe punk is a good tool for getting ideas across. And at the same time, it has always attracted outsider types and people who don’t fit in.

Grand Collapse was featured in the amazing book The Scene That Would Not Die: Twenty Years of Post-Millennial Punk in the UK by Ian Glasper, covering pretty much all the important hardcore punk bands coming from the UK in recent time. Can you talk a bit about today’s scene around you? What are the best places? Your favorite current bands, zines, etc.?

Calvin: We have just returned from a UK tour where we got to travel around the country for the first time since the pandemic. We weren’t sure what to expect because it’s been so long but the shows were great and we got to play with loads of awesome new bands, so I think the scene is in a healthy place. Even the midweek shows were awesome. I always enjoy going up to Scotland and Manchester never disappoints. Where we live in Bristol there’s always something happening, which can fragment things a bit sometimes but it shows that punk is thriving here. Some news bands we caught were Going Off from Manchester and Feral State from Leicester. Our mate Fergus has started a new band in Sheffield called Stray Bullet who everyone should check out too; they’re mint!

Jon: Bristol in particular has about four different punk scenes, so it feels vibrant here at the minute and lockdown ending probably has something to do with the good turnouts at gigs, haha. Since the Exchange went into public ownership, we’ve had a left field, accessible space with two good sized rooms in central Bristol which is really exciting. Favourite bands for me at the moment are Rat Cage (Sheffield), Feral State (Leicester), Killing (Canada), Black Mass (Boston).

In your interview with Ian Glasper you mentioned your new bass player, Blag, who is also a fellow Bulgarian by origin. I think that a huge portion of today’s hardcore punk scene in the UK consists of first or second generation migrants. Can you talk about the post-Brexit migrant situation in the UK? Why all the reactionary bs from some punks against refugees and migrants in recent times?

Calvin: I haven’t heard of those sentiments coming from within the punk scene, personally. I tend to surround myself with like minded people so perhaps I’m missing something but for me the punk scene often leads the way when it comes to fighting for the free movement of people as well as that firm anti-prejudice stance. I can’t say the same for the general public, unfortunately. I find it really depressing that so many people have this fear complex over immigration. The UK has spent hundreds of years colonising the world and projecting their ideologies, religion etc so it seems a bit rich to oppose the arrival of others here. I think that attitude is linked with an imperialist past that breeds arrogance and elitism. Where would we be without this multicultural society? How dull would the world be if we all stayed in our little boxes? As well as the resentment that would grow from seclusion? It’s a bizarre standpoint born from trepidation of other cultures. The referendum result only encouraged the right wing and gave them a mandate to spew their bullshit publically. It was really disappointing from that perspective, even if you disagree with the European Union from an anticapitalist stance (I understand this) the movement of people is far more important, I fell, than the movement of goods.

There’s been a lot of reactionary, knee-jerk reactions about Covid vaccines from some punks, too. Do you think that today’s scene can just as easily fall into reactionary ideas the same way many punks joined the National Front in the ‘80s?

Calvin: I don’t trust the government one iota, but this isn’t coming from politicians. It’s a health crisis so I’m listening to experts in virology and that entire field is advocating the use of vaccine to stop the spread of Covid, so that’s what I accept. I think that anti-state stance has spilled over for some and they won’t even go along with this medical advice because it’s been expounded by politicians. If you don’t want to take it that’s your choice of course; each to their own. As for people turning to far right politics; it does happen from time to time. Some people go down a rabbit hole with so called ‘radical’ politics and get very confused. There are plenty of right wingers who have switched to being ultra lefty too. People get older and grow out of certain ideas. I’d like to think it’s more the latter though.

Jon: The anti-vax thing is tied very closely to the far right if people do their homework—I’m speaking specifically about the UK here—and I find them worrying, personally. Insecure, helpless people always get drawn to narcissistic types who purport to have the answers for complex issues… or issues that take more than a minute to work out. I went out to counter their demo one day and saw quite a lot of punks, crusties and alternative types on it, which I found very confusing. I guess some people get crossed wires with it. It is a genuine health crises that has been handled horrifically and the governments cronies have benefited off of it. That’s the only conspiracy, as far as I’m concerned. It doesn’t surprise me that Covid deniers and anti-vaxxers have suddenly come out from under their rocks to exploit the situation themselves, because, ultimately, they’re cut from the same cloth as the Conservatives.

Do you believe that DIY punk can still be a place for important conversations and organizing to happen? If you’re to define what DIY punk means to you today, what would that be?

Calvin: It shaped most of my opinions and attitudes that I hold dear. The music achieves this of course but it’s more the people you meet along the way. If I see someone wearing a Propagandhi shirt there’s a pretty good chance I’m going to get along with them even after we’ve talked about music because a lot of these records mean something that goes beyond a tune. We’re lucky that we get to tour every now and then and some of the people and groups you come across are really inspiring. One minute you’re head banging the next you’re engaged in a fascinating conversation about local activism, pressure groups or creative projects. The two things go hand in hand and that’s the beauty of the DIY scene. It’s fiercely independent and attracts honest people who want positively contribute to their community.

Jon: Yes, of course. I’m always trying to learn and listen, even though I’ve always struggled with that haha! Punk was my gateway to going to demonstrations and all the rest of it, so speaking for me, it certainly gave me a well needed kick up the arse in that regard. What punk means to me today? A lot! It was a game changer for me and still is for many people. I’d like to think that it’s changed the world in many ways…

Snag your copy of Empty Plinths from TNS, Epidemic Records, Don’t Trust The Hype, Mass Prod., or Urinal Vinyl.

Source: diyconspiracy.net