THE CASUALTIES
Politics. Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings.
Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination.
Subjugation. Deportation. We argue with each other while the rich get richer and cruelty
is normalized. These are just a few of the reasons why the title of The Casualties’ new
album is Detonate.
“It stems from being overloaded,” drummer Marc “Meggers” Eggers says. “You feel like
your head is about to explode, which I think is what everybody is feeling these days.
You’re pounced on day by day with terrible news and social media, and you just feel like
you’re going to snap.”
“Not too long ago, we were stuck in COVID,” guitarist Jake Kolatis adds. “Now we’re
trying to get back to normal life, and the world has gone crazy. There are continuous
wars and internal political battles here. Everybody’s tearing each other apart. Detonate
is saying we’re tired of all this division. With this record, we have a chance to say
something and promote some type of unity.”
Detonate is the second chapter in a new epoch for The Casualties. As their second
album with David Rodriguez at the mic, it solidifies the vocalist’s partnership with
Meggers and Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that
Dave is here to stay.”
As the follow-up to 2018’s W ritten in Blood and their first record for Hellcat
Records—the Epitaph subsidiary curated by Tim Armstrong of Rancid—Detonate sees
this new version of The Casualties locking into place. “We were in the studio for W ritten
in Blood about eight months after I joined,” Rodriguez says. “With this new record, we
really grew together. For me, it’s the proud moment where we clicked the three Legos
together.”
“We’re really proud of this new record,” Meggers adds. “On the first record with a new
singer, you can get a little bit of leeway, but on the second record they’re really going to
judge you.”
With the unblinking eyes of the punk world on them, The Casualties pulled the blinds
and did what they do best. “There was a degree of pressure, but not from outside
sources,” Rodriguez says. “We just wanted to do the best record that we could that
honors The Casualties name and history without playing the same song over and over.
But it wasn’t that we even had to go out of our way. It felt natural to write this new
music.”
The title of Detonate’s first single, “People Over Power,” speaks for itself. “We’re getting
kind of smushed by the world, by government, by the bad news,” Rodriguez says. “We
want systemic change, total transformation, degradation to the state. ‘People over
Power’: It’s as simple as it sounds. You keep pushing, and something really bad is going
to happen that none of us want. We’ll burn it to the ground eventually.”
“It’s a protest song through and through,” Meggers says. “We want the vibe to be: You
listen, get angry, get your gang together, and get out on the streets.”
Speaking of the streets: “Brick by Brick” features a cameo from Agnostic Front guitarist
and all-around NYC legend Vinnie Stigma doing some spoken word. “His voice is the
embodiment of New York City, the Lower East Side, where the Casualties are originally
from,” Kolatis points out. “So, it made all the sense in the world to have him do that. But
just having him on there was fun because we’re great friends with Agnostic Front.”
“The song has a very New York hardcore kind of sound to it, so I knew Vinnie would be
perfect,” Meggers says. “Agnostic Front just happened to be in LA two days after we
came up with the idea, so Jake and our engineer went down to the show and gave
Vinnie the lines to record. It just fell into place.”
Native American punk band 1876 contribute guest vocals and percussion on “Ashes of
War.” “As long as I’ve been listening, I’ve felt like The Casualties always spoke up for
people in society that didn’t have as loud of a voice,” Rodriguez says. “The Casualties
have always had some Spanish in songs, but it just seemed like such an important time
to have loud Native voices. You don’t hear it that often. We were out on the road with
1876, and the more we spoke together, the more we really found out.”
1876 flew down from their home base in Portland, Oregon, to perform on the track.
“Their sacred drum had to be out in the sun—it was a whole ritual,” Rodriguez explains.
“It was a very serious moment.”
Meanwhile, “Pigs on Fire” is a trilingual track sung partly in Spanish, partly in English,
and partly in Portuguese. “My dad was very involved in the Chicano movement, and my
wife is Brazilian,” Rodriguez says. “When I would go down to Brazil, I would see another
side of what’s going on. Just like the United States, it was colonized and had a large
slave trade. And a lot of people don’t realize that it’s the only South American country
that doesn’t speak Spanish. It was another piece of the puzzle to speak loud for voices
that aren’t as loud as the mainstream voices.”
In fact, Rodriguez visited Brazil right before The Casualties recorded the album. “When I
was down there, I kept seeing this graffiti: ‘Set the fascists on fire,’” he says. “I thought
that was such a cool line. I took my notebook everywhere I would go and I just put the
pieces together. I would listen to some news that was going on here and news that was
going on in Brazil, and it came together with some really cool imagery.”
“Because it’s in Spanish, English and Portuguese, it’s in the languages that Chicanos
and Latinos speak,” he adds. “It’s about us coming together against the powers that be.
But for the people that don’t understand, we’re just telling them it’s a barbecue song.”
Ultimately, Detonate amplifies the punk ethos that The Casualties have embodied since
1990: A raised fist in the face of oppression. “I want people to feel empowered when
they hear this record,” Rodriguez says. “I want them to feel like they have a voice. I
want them to feel like they’re with like-minded people when they come to a Casualties
show. They can be themselves and not watch the show but be part of the
show—scream with us, jump off the stage. We want them to feel like they’re part of
something.”

Negative Approach is an American hardcore punk band, formed in Detroit, Michigan in 1981. The band is considered among of the pioneers of hardcore punk, particularly in the Midwest region. Like most hardcore bands, Negative Approach was little known in its day outside of its hometown. It is now idolized in the Detroit rock underground and the punk subculture, considered to be one of the elite bands of the “old school” era, and continues to be influential

Last False Hope are some city slickers from the mid-western suburbs of Chicago. Their unique sound of underground bluegrass imbibed with their roots in punk and metal is a loose bull in a china shop. This clash of genres that they have dubbed “Brutal-Grass” has quickly earned them a name in the scene. The band was cooked up by Jahshie P. A long time veteran in the Chicago music scene, best known as the former frontman of Failed Resistance, My Vengeance and later, Neverland. In the past few years, Jahshie P. developed an intense interest in country western and blue grass music, along with his new found passion of the mandolin. Come the Summer of 2009, his new skills began to translate into songs. His first step was to bring his wife, Kristina Nutting, a new comer to the Chicago music scene, along for the ride. She would rapidly warm up to the banjo. Quick to the draw, they set forth to include a track to the Outlaw Radio Compilation, volume one. To fill in the blanks, they recruited Producer, Shawn Connors, best known as the drummer of death metal band, Bound And Gagged and later, Jashie P.’s band mate in Neverland, as well as a number of other fly-by-night acts. To fill in the line-up, Arcadia Kust on fiddle, Sean Moriarty on guitar and Dave Beneventi on bass from a local irish punk act, The Fisticuffs, as well as former My Vengeance members, Steve Stepien on drums and David Wiegers, who also played guitar in Neverland. This line-up would go on to record “Two Dollar Pints” for the comp. Over the course of roughly the next year, the seven of them would go on to write more songs and play several shows Come September 2010, they re-enlisted Shawn Connors to begin work on the debut EP, “The Shape Of Blue Grass To Come.” Four songs, “Giving Up God For Lent,” “Drag Me To Hell,” “You Drink, You Drive, She Wins” and “Dying and Diseaed” would make the final cut. The EP was released on March 1st through Pint Of Happiness Records. After the conclusion of the “The Shape of Blue Grass To Come” sessions, Sean, Arcadia and Dave B parted ways with the band. Shawn Connors has since joined to fill the open guitar position, along with Scott Farruggia, also from Bound And Gagged and Neverland on bass and friend of friend, Colleen Mary on fiddle. The new line-up was debuted on a track for the Southern Independent, volume one compilation, titled “Guilty Until Proven Innocent.” They new line-up is currently working on a versus split with Nellie Wilson & the Hellbound Honeys on Jahshie P.’s own, Solitary Records. Since their their inception, l/f/h has shared the stage with the likes of Star Fucking Hipster, Those Poor Bastards, .357 String Band, Hellbound Glory, The Goddamn Gallows, Rachel Brooks and Six Gun Britt. They were also, named the Best Country Bandin the Chicago Reader “Best of Chicago 2011” reader’s poll. They will continue to play shows with the line-up in support of “The Shape Of Bluegrass To Come, while crafting new material for a debut full length, hopefully to be released in early 2012.

Punk rock from mean streets of Chicago’s Southside
Creep / Niko / Cope / Mando