96-08-17 Voices At The Front – Kindred – Sektor – Saidiwas – Regression – Timebomb – Burning Defeat – Congress – Racial Abuse – Despair

Introduction => 96-08-16&17&18 Hardcore, The Next Generation

Since I (Brob) was rather disgusted with and had commented on the increasing commercialism, violent/sexist/homophobic attitudes, I spent most of the time I was there (for my literature-distribution) talking to fellow “PC emo-morons who stop everyone from having a good time” (as mentioned in the Hate 8000 Zine) in the courtyard and therefore hardly saw any of the bands, I reprint a review I found on the internet:

>>The next day started with ‘Voices At The Front’. I didn’t really check them out but what I heard was heavy metal. ‘Kindred’ had a good sound and played OK heavy metal (à la 8000 crew). ‘Sektor’, another local band, played extreme death-metal, the audience was so stupid I left after 2 songs. ‘Saidiwas’ was probably the best band on the festival. Dog knows I dislike emo but they were damn good. (I’ld probably hate them on a record). Very young kids from Sweden playing American style poppy emo with lots of things to say between songs. No more tough guys here and the crowd was just wondeful, pogoing and slamdancing wildely. They were all so cute. Wonderful. Back to heavy metal with ‘Regression’ and their OK but boring brand of New York influenced music. ‘Timebomb’ were powerful but not as good as last year. They have great lyrics but it seems like they thought it was unnecassary to explain any of them on stage. ‘Burning Defeat’ were good too, very melodic and emotional, but the crowd took a long time to get into it and started dancing only on the 2 last songs. ‘Congress’: I liked the music as always, brutal death-metal, it was the kingdom of the bare-to-the-waist (tough) guys (singing along to choruses they didn’t even know what they were about). ‘Racial Abuse (Austria) were funny. I kind of enjoyed the music: modern HC, a drummer who’s only 12 years old is quite impressive. A lot of people were wondering how a band on Lost&Found ended up playing the V.V., and it was funny to see the Austrian crew making fun of them too! Last on were ‘Despair’. I totally loved their ultra powerful metallic HC, excellent sound-quality, but the audience ruined it all and I left in a bad mood…<<

The “H8000 Press” (‘Ringmaster’ Nicholas Malfeyt) highlights that Vik (‘VATF’ vocalist) spent more time in the crowd than on stage, ‘Kindred’ (‘Unbroken’-style SxE heroes) played a nice set, ‘Sektor’ started a fairly modest pit… “While I was outside, I heard the Swedish band ‘Saidiwas’ was playing with a naked – as in ‘no clothes’ – drummer. It was time for the emo-faggot brigade to spread their message of peace, love and animal sex. A friend told me the singer was talking about the day before and mentioned the ‘fucking windmill crew’… Imagine a feminine guy with eye-shadow (!!) saying that… Since these wimps obviously had a thing against violent dancing, we had the bright idea to start a bloody windmill-pit… All the emos were crying their hearts out up-front… When the ‘Saidiwas’ set was over, the drummer – still butt-naked – got from behind his kit and stood there shaking his john in front of the audience. Next thing you know, the singer was giving him a French kiss. [Brob: A case of macho insecurity, Ringmaster?] ‘Regression’ did a very brutal set; too bad their 2^nd guitarist was there. ‘Timebomb’ rocked the stage. When ‘Congress’ played, the place exploded once again… I could hear bones breakin’, everything went almost as violent as the night before. A fantastic show with singalongs and pile-ups… ‘Despair’ got on stage way past midnight. They rocked… Before their final song the singer summoned everybody to do the ‘pizzamaker’…”<<

It wasn’t the first time at the Vort’n Vis for ‘Voices At The Front’ (96-05-12). Vik Bulik (vocals), Stefaan ‘Merel’ Merlevede [R.I.P.] (guitar), Vincent Theeten (guitar), Sim ‘Simtje’ Meersseman (bass) and Gaëtan Golvet (drums) were locals (from Poperinge).

‘Voices At The Front’ (pic taken by Steve Lammertyn)

‘Kindred’, the SxE outfit from Limburg (metallic style of HC, often compared with ‘Unbroken’) were here before too (96-05-12). The guys in the band were Jan Beckers (guitar) and Maarten Beckers (drums) – Jan had been in ‘Acoustic Grinder’ (read: 93-02-27), ‘Strength Of The Will’ (92-09-06, 93-09-19); later, ‘Enemy Of The Sun’, ‘Kabul Golf Club’) – Eric Sefton (vocals) & Walter Beckers (bass). Another pre-‘Kindred’-band was ‘Churn’ (95-08-20) feat. Jan, Maarten, Raf Gielen, Peter (ex ‘Acoustic Grinder’) and Raf ‘Thrasher’ Gelenne… I believe Raf Gielen still played 2^nd guitar here. The recordings for the LP on GoodLife recs (File 01) were done in October ’96 without Raf. They would be playing again 97-08… A split with ‘Culture’ got out in ’97.

‘Kindred’ (photograped by Sarah Van de Mosselaer)

‘Sektor’ had played their 1^st show at the V.V. a few months before (96-05-12). This vegetarian straight-edge metal-core band (from Beselare, near Ieper) was: ‘Lenny’ Wouter Cael (bass), Bert Guillemont (drums), Piet Cardoen (guitar), Vadim Vandekerckhove (guitar) and Jeroen Therry (vocals). They had done 2 7”s on Hans Verbeke’s Sober Mind recs: Ultimate Threat (1995) and a split with ‘Vitality’ (1996); later there was also a 12”/CD (Human Spots of Rust, ’97).

‘Sektor’ (photos 1-2-3 by Valerie Afschrift, 4 by Roel Brals)

‘Saidiwas’ was an “anarchist vegan straight-edge” band from Umeå in Sweden. “They got alot of attention because of their political lyrics and also because their drummer used to play naked.” In 1996 their first self-titled mCD was released By José Saxlund on his label Desperate Fight recs. “They made a big impression on the Belgian kids by refusing to play for a violent crowd.”, one can read on the www… I believe Anders Johansson played bass, Erik Åsell-Johansson hit the drums & sang, Philip Sundberg guitar, Peter Hellqvist guitar, and Michael/Mikael Berg was the vocalist. Sara Almgren (guitar; ex ‘Doughnuts’) also played for them later… “After that, they kicked their singer out, because (according to the rumours) he dropped sXe/veganism. Their former drummer switched to vocals, which left the band without a drummer for the recording of their debut full-length.” (All Punk Cons; released April ‘97, also on Desperate Fight recs. This was described as “art-punk” or “post-hardcore-new-wave-influenced-alternative-rock-with-occasional-emotional-ranting/yelling-but-oh-so-many-keyboard-and-piano-parts-core”.) I think Ludwig Dahlberg became their drummer later…

‘Saidiwas’, photographed by Patrick Federli (1), Sergi E. Costa (2), Philippe Tuffet (3) & Jean-Paul Frijns (4)

‘Regression’ (from Menen/Roeselare) played H8000 style, crunchy metallic (vegan) straight-edge HC: “Perhaps the most heaviest of all the ‘edge-metal’ bands: uncompromising death-metal mixed with straight-edge hardcore spirit.” Hans Verbeke wrote about them that they “created their own style of technical hardcore/metal with ‘Carcass’ and ‘Machinehead’ influences”; other people compared them with ‘Earth Crisis’. They were Bjorn Lescouhier (drums, ex ‘Shortsight’; replaced Raf -who was in ‘Liar’ too- around July 95), Kristof Taveirne (bass; nowadays in ‘Spoil Engine’), Niek Jacobsen (vocals) and ‘Stuutje’ David Decoutere (guitar). It was their second V.V. show (after 95-03-25) They had recorded a demo in ’95, then did the x-Heartless-x CD on GoodLife recs (‘96) and a split-CD with ‘Breach’ from Sweden ‎followed (also GoodLife recs, ‘97). Early ‘96 they had taken ‘Lookmulle’ (Davy Vanlokeren of ‘Deformity’) as second guitarist but he didn’t play here… I read that later he was replaced by Laurent (who used to sing for ‘Deformity’).

‘Regression’ (shot by Sergi E Costa)

‘Timebomb’s second appearance at the V.V. (95-08) They were a Roman communist, vegan sXe band band playing metallic HC. The guys in the band: Cristiano Suriano (drums; later ‘Opposite Force’), Daniele Marini (guitar), Giorgio Fois (vocals; later replaced by Emiliano; also drummer of ‘Comrades’), Marco Ciccone (guitar; later also ‘Opposite Force’) and Simone Marini (bass; Kill For Love zine). In 1993 they did a demo and a 7” (Fury) released by SOA recs. Paolo Petralia also did their Hymns For A Decaying Empire CD (released January ‘96) and in 1998 The Full Wrath Of The Slave got out on Genet recs (last recordings with Giorgio). They also came back for the fest the next year…

‘Timebomb’ (photo by Sergi E. Costa)

‘Burning Defeat’, an emo-core band from Alessandria (Italy), had also played the V.V. already the year before (95-08-18). They were: Diego Cestino (vocals; also ‘Permanent Scar’), Alessandro ‘Alex’ Azzali (bass), Andrea ‘ics’ Ferraris (guitar; also ‘Permanent Scar’) and Umberto Fabbri (drums). ‘They had 2 realease on Green recs: Singlin’ Out The Aims 7” (‘94) & Seldom LP (‘96).

‘Burning Defeat’, pics by Patrick Federli (1) & Sergi E. Costa (2)

In 1996 GoodLife recs released ‘Congress’s LP The Other Cheek. 4 songs come from the 1993 demo (with Roy Cappan on vocals).

‘Congress’ (photos by Sergi E. Costa)

‘Racial Abuse’, an “edge-metal” band (which was compared to ‘Strife’, ‘Unbroken’ and ‘Side By Side’) from Olbendorf, Austria. They were: bassist Sancho Holper, drummer Pascal Holper, guitarist Jürgen Pallisch (he replaced Rainer Paul) and vocalist Aaron Tauss. In 1996 they did a demo (Influence) and 2 CDs (on Lost And Found recs: No Need‎ & Climb). Their CD What Mirrors Conceal ‎was released by GoodLife recs in 1997.

‘Racial Abuse’ – pics by Sergi E. Costa (1) & Sarah Van de Mosselaer (2-3-4)

‘Despair’ (Buffalo, NY) consisted of Brian Fligger (bass), Jesse(y) Muscato (drums; replaced Phil Popielski), Joe Garlipp (guitar), Matt Dente (guitar) and Scott Vogel (vocals). They played metallic mosch-core. There was a demo and a mini-CD (One Thousand Cries) out. That year (‘96) the CD Pattern Life was released on Josh Gabrelle’s Trustkill recs and the CD As We Bleed was recorded right before this tour (I think) with Brian, Jesse, Joe, Matt & Scott.

‘Despair’ (source ?)

Brob

I was at the “Ieperfest” in ‘96 (and also in’97). I remember ‘96 very well indeed because it was such a special time, a great line-up and much fun for me and my travelling-party from Vienna. we were loads of people, all sleeping inside the Vort’n Vis too. I have quite a few photos: they’re all on film of course and but haven’t scanned them all yet, it’s a task to do all of that…

Daniel Eberharter, Eloquence zine (Vienna, Austria)

I have a zine with a ‘Saidiwas’ interview with a funny anecdote about windmillers spoiling their set…

Tijs Schelstraete

It was nice to see all these other Roman people (Paolo, Vegano, Venezuela, Simone, Daniele, Costanza, Cristiano, …) there.

Dario Adamic (in his zine Zips & Chains #10)

I wasn’t a part of ‘Saidiwas’ at that time. I played on the first EP and then they kicked me out! Erik Åsell was the drummer/singer… I’ve seen that their show at the “Ieperfest” was discussed on forums lately here in Sweden. But I don’t know… Mostly people who weren’t there, with their own theories. I remember it as a good show with some nude/male kissing controversy. Not that they (‘Saidiwas’) weren’t going to play because of a violent crowd, as the theories that are going around…

Axel Stattin, ‘Separation’ bassist

I was the drummer on the first 7” of ‘Despair’. I left the band before that tour.

Phil Popielski

I guess I was at this gig… The singer of ‘Timebomb’ was also the drummer for my band ‘Comrades’. He became a sort of nazi… To me he is a nazi. He always denied being one but effectively plays with the same band for the last 12 years and they’re all nazis playing only in their circle.

Paolo Patralia

excerpts from the V.V. guestbook:

additions wellcome!…

1998/99 Vort’n Vis Ieperfest versus Columbus (Oh) More Than Music festival

This article (by Laura W. in Synthesis #5) talks about the pros en cons of the organisation of the 1998/99 Vort’n Vis Ieperfest, in a comparison with the More Than Music festival (in Columbus, Ohio, USA). It reflects some of the criticisms a bunch of people had and the author gives a few hints of what and how to try to improve certain things…

Sociocultural Life in Ypres

… as published in the Vort’n Vis zine, Fifi (#6, August 1995)

(column by Vort’n Vis co-founder Jan Claus)

[translation below]

THE SOCIO-CULTURAL LIFE IN YPRES & ATC [autonomous meeting-centre] THE VORT’N VIS

Summary: This is a message for local people about the local socio-cultural life, the too big influence of the local ccommunity-council and the abuse of power, the repeated waste of money on expensive prestige-projects, the censorship against alternative projects and the prejudices against the Vort’n Vis.

First I want to make clear that this here is my personal opinion. Still, I’m far from the only one who thinks this way. I also want to clarify that I don’t see culture as something separate from the rest of society. It’s also influenced by the establishment and politicians who like to get their picture in the newspaper.

In Ypres there’s too much cheering about the socio-cultural life. Wrongly, because in Ypres there’s only space for the Flemish sausage-culture, prestige-projects and projects of the friends of the city-council. And as we know: these types of activities are usually unimaginative. Don’t get me wrong: there are definitely interesting things in Ypres but they are small and are suppressed by costly prestige-projects of which one can seriously question the common utility, but that cost the inhabitants of Ypres a lot of money.

Just take the new Grand Market e.g. That has costed a 100 million, of which 9 to 12 million francs went to an ugly, tacky fountain that no-one asked for. Some people probably got very rich on that but whether it attracts more tourists is very doubtful. On the contrary: many foreigners (especially from other EU countries) say that this market looks sterile “because there are thousands of markets like that all over Europe”; Ypres, Diksmuide, Bruges,… it all looks very really similar. There’s nothing original to it. It’s the dictatorship of mediocrity. And in the meantime there’s cuts on social welfare and people on benefits are suddenly (after 7 years) getting a reminder for refunds!

The nightlife is getting poorer every year. Ten years ago it wasn’t already that great; now it certainly hasn’t improved. The pubs are also more and more looking alike; increasingly posh, elitist. They are so clean that they don’t have a soul anymore. You don’t get judged on your behaviour but on appearance. (“No sir, you can’t come in here, youre wearing sneakers.”) And then they’re surprised that the Ypres’ nightlife is bleeding to death because more inhabitants go elsewhere, to mega-discos or to the folk-pubs in Dranouter [small village with a yearly folk-festival]. Because these at least haven’t lost their souls and people won’t be staring at you. Students would rather spend their money in the university-towns. And they are right!

Six years ago some people started the Autonomous Meeting Centre, the non-profit association that, among other things, runs the pub the Vort’n Vis. Some wanted rehearsal-rooms, others wanted an alternative pub for alternative youngsters. Still others started it because they no longer approved the official youth-centre, which depends on the city of Ypres. They were constantly being patronised. Alternative concerts were not allowed because that wasn’t goody-goody enough. This was also debarred because politicians constantly interfered with the youth-policy and the will of the subsidising authority (the city of Ypres) is law.

In short: they wanted to get rid of mediocrity and the patronising by the establishment. They wanted more imagination and creativity. They wanted more ‘life in the brewery’ [proverb meaning ‘more activity’]. They didn’t want to have to keep asking the bureaucratic authorities if they could please be allowed to organise something fun. Nowadays the ATC organises 20 to 25 concerts a year at the Vort’n Vis – giving starting and unknown bands who want to play a fair chance. In doing so we’re the most active concert-organiser in the wider area. These concerts are known in alternative circles worldwide. At larger concerts people come from everywhere: Poland, Croatia, Turkey, Czech Republic, Portugal, Canada, USA,… The US, British, Polish,… alternative fanzines write about the concerts at the Vort’n Vis. Sometimes a band that performed at the Vort’n Vis gets famous. Virtually no-one knows e.g. that ‘Green Day’ played at the Vort’n Vis for expenses, in 1991 – when they weren’t known yet. Nowadays you can see them on MTV a lot and they sell millions of CDs. And all this happens without receiving any subsidies during those 6 years. This is indeed a conscious choice for the ATC so that politicians wouldn’t be able to interfere with our policy. Sometimes one wonders where all those subsidies for the socio-cultural sector actually go to. The cultural activities of the ATC do not cost the taxpayers one penny. On the contrary: the ATC pays VAT on the entrance-fees. Also french-fries-shops and grocery-stores in the area make a lot of money during our larger concerts.

But all this is systematically ignored and the citizens of Ypres are hardly aware of all this. Even if ATC staff regularly add press-releases and activity-calendars to the press-kits for the local press, one can hardly ever read anything about it in the regional newspapers. News about card-game-contests is apparently more interesting cultural news in Ypres. Take for instance Ieperaktief, the info-section of the city of Ypres in De Streekkrant [free and widely desitributed paper]: if one asks why there’s nothing about the activities taking place at the Vort’n Vis in Ieperaktief, they pretend they haven’t found anything about it in their press-kit. If one shoves the concert-agenda under their noses so they can’t pretend they haven’t received anything, they come up with all sorts of transparent excuses (long deadlines, no publicity for private organisations,…).

Ieperaktief representative of the socio-cultural life in Ypres? Don’t be daft! The ATC staff already stopped believing fairytales a long time ago. It has as much news-value as stalinist propaganda leaflets. Apparently everyone has to be made believe that Ypres is a paradise on earth and those in the Ypres town-hall are worried that their city becomes known in alternative circles through the unsubsidised ugly duckling, which they have no control over. On the other hand: everyone seems to have an opinion on the Vort’n Vis: supposedly a drug-shack where the tough guys come to fight every week, where girls are raped at the bar and more stories like these. We can even laugh about it because one can’t fight malicious stupidity anyway. Curiously, all those people that know it all so well have never put one foot inside the Vort’n Vis. They only know it from hearsay. Well, when I form myself an opinion on a pub, I’ve at least been ther once in person.

We’ve now started to keep a quarterly low-energy evening at the Vort’n Vis. The intention behind it is threefold: to make people aware of the value of energy, to make a symbolic contribution against the dumping of nuclear waste in the region by not using electricity – originating from a nuclear power plant, and solidarity with the Third World, which can’t afford to use as much energy as we do.

In this context we invited the Department for Developmental Support of the city of Ypres to come over with an information-stall on energy-consumption in the Third World. This wasn’t allowed by the Ypres’ community-council because it was an initiative of the ATC at the Vort’n Vis. However, this council itself organises demonstrations against nuclear waste. Or is this just to win votes in elections? They certainly don’t come to the logical conclusion that they must speak out against nuclear energy and environmentally sane alternatives. Or is it because of the fact that they all have connections with Electrabel [major energy-company that owns the nuclear plants]?

Also some older altemativos were invited to come down with info-stalls on energy-forms that are environment-friendly, sustainable. However, they didn’t show up. Apparently the May ’68 generation is no longer interested in young people who want the promote the power of the imagination, and they’re just as biased as their petty-bourgeois peers. Sometimes we encounter more understanding amongst people working as a manager in a large company. They apparently don’t look beyond their organically grown kitchen-garden. So one doesn’t have to expect much more from these older altemativos anymore either.

Yes, I know, this is a lot of criticism. But this can’t hurt in a city where one pretends nothing’s wrong. Besides: why should I remain friendly towards all these hypocritical and narrow-minded people anyway? If one keeps always silent, nothing ever changes. I can’t tolerate all that false cheering and petty-bourgeois hypocrisy any longer.

Questions & Answers (about the Vort’n Vis)

… as published in the Vort’n Vis zine, Fifi (#6, August 1995)

The editorial mentioned: “The first aim of Fifi Zine is not to entertain you (…) but to inform you about ATC De Vort’n Vis, the activities and views of the cooperators [collaborators] (…) we give you the most necessary information.”

Rules & Regulations

… as published in the first Vort’n Vis zine (Fifi #1, May 1994)

93-09-17&18&19 5th Leed-festival (Intro & Incident)

This is a precursory page to the posts on the 5^th Leed-festival. There was quite some commotion and it led to a substantial evaluation of the Vort’n Vis’ policies…

from the preceding V.V. newsletter

 Accounts of the actual festival will be posted later:

17 sep ’93: Fingerprint (Fra), De Kift (Nl), Beerepoot Brothers (Nl)

18 sep ’93: Health Hazard (UK), Bambix (Nl), Witchknot (UK), Doom (UK), 6 Feet Over (Fra), Because (Lux), As Usual (Bel), Plum (Bel)

19 sep ’93: Nations On Fire (Bel), Strength Of The Will (Bel), Eversor (Ita), Hiatus (Bel)

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I don’t think ‘Viktor’s Hofnarren’ actually played… It’s the evening that Hans [Verbeke] needed to be rescued by ‘Doom’!

Bruno Vandevyvere

‘Viktor’s Hofnarren’, squatters (autonomous centre Schrottbar) from Biel/Bienne (Switzerland) played anarchopunk with a crusty edge. (Later on they did a split-LP together with ‘Jobbykrust’ from Belfast out on Maximum Voice.) They were: Steph(ane) Guillet (bass/vocals; Panikeshi zine & distro), Niggu Rimann (drums), Bänz (guitar), Annette Wagener/Suri Dawicki (vocals) and Tez (vocals). Annette later joined the Groninger band ‘P.C.P.’. Steph & Annette were also running Panik Bourgeoise (concerts, zine).

They’d come all the way from their hometown for the fest together with a whole bunch of friends. After all this time it isn’t clear anymore whether they were invited to play or just wanted to see the bands. I guess ‘V.H.’ and their mates got rather drunk pretty fast (or they arrived drunk/stoned). Their friends also didn’t feel like they had to pay entrance… This attitude certainly annoyed most of the V.V. collaborators. There was some friction between them and SxE people (to say the least) but the way I remember it is that the main issue was that they didn’t feel like contributing their share to the organisation of the event and the fees of the bands. The fact they were so wasted and behaving irresponsibly amplified everything…

At some timepoint V.V. collaborator Hans (perhaps provoked by the animosity) supposedly (tried to) hit someone with a baseball-bat (actually it was a table-leg; I didn’t see it happen with my own eyes) for attempting to sneak in for free… He was “physically attacked from various sides”. Things were threatening to go out of control and it was decided it was best for him to leave in order to remove the fuse from the powder-keg… He had to be more or less secretly evacuated from the V.V. premises and was driven out of town in the van of the band ‘Doom’…

The whole incident drove some of the collaborators to tears for realising there were people who didn’t value their hard work and that some (who came from far away) couldn’t care less that there was a huge risk the autonomous centre could collapse (organisationally or as a result of being shut down by the authorities). Personally, I was disappointed and angry because I had already seen it happen when the 1^st venue where I organised – in my hometown (De Marbel) – got shut down…

All this (together with previous) lead to the V.V. ‘shit-workers’ making up some sort of pamphlet calling for mutual respect, and listing some ‘rules’…which on it’s turn raised some questions with certain factions of not being ‘anarchist’ enough, etc.

Some people (squatters) from Gent and Liège even thought they were going to be refused entrance (Willy of ‘Hiatus/‘Unhinged’ wrote me that at that time). Of course that wasn’t the case… The 1^st issue of Fifi (Vort’n Vis zine), May ‘94, states: “The Swiss assholes of Zürich (…) are no longer allowed in the Vort’n Vis. Reason: violence, intimidation and a broken window.”

Brob

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Quite a lot has been published on the matter. Here’s a few bits – not to stir things up after all these years but for history’s sake (so that perhaps a younger generation will learn of it)…

This excerpt from the Swiss zine No Sanctuary #22 gives a rather detailed account …

This is the initial bit by Steph of ‘V.H.’ in No Sanctuary #21.

Another bit from No Sanctuary #22 shows that ‘V.H.’ had caused similar problems in Germany.

Pamphlet issued by the V.V. collaborators after this event.

Letter by Willy ‘Hiatus’ & response by Vort’n Jan

Willy’s intro to his zine Rabougri (March ’94)

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Niggu (‘V.H.’ drummer) sings for ‘Unhaim’ nowadays. They released an excellent LP… [Brob: I tried hard to get in touch with anyone of V.H.’ but didn’t succeed…]

Pablo, Resistance prods, Biel

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Despite all the commotion, numerous people enjoyed themselves (crowd-shot by Karl Penando); in the foreground: Kurt Deprez (‘Shortsight’), Bruno Vandevyvere (Genet recs), Pierre Anne (‘6 Feet Over’) – in the back: Rudy Penando

Jan & Bruno (Vort’n Vis) interviewed in Bonds Of Friendship

An interview with the Vort’n Vis ‘policy-makers’ Jan Claus & Bruno Vandevyvere, by Joris De Buysser

(Bonds Of Friendship #6; June 1992)

Vort’n Vis & homophobia ?

This is an essay that Françoise ‘Hazel’ Lepers wrote in her zine Superfluous #2 (1993) in relation to the discussion about homophobia that occured at ‘Congress’ performance (93-04-25)

Republiek the Vort’n Vis

This is one of the many Vort’n Vis membership-cards I had over the years. Each attended gig was marked and a full card meant certain benefits/bonusses…

The Vort’n Vis was also a self-proclaimed ‘republic’, stating it’s independency of the state of Belgium… We also had our own money:

The bills state “National Bank of the Republic the Vort’n Vis * The counterfeiter will be punished with severe penal servitude (cleaning toilets, cellar, etc.)”…

Fast music doesn’t mean violent dancing

Flyer that was passed out at Vort’n Vis gigs (halfway the 90s)…

The lyrics are by ‘Disaffect’ (UK); a song on their An Injury to One… ep (see below)