Over The Hill

Over The Hill is a band from Montreal that caught my attention with their album „Over The Hill“ released on UVPRV. A bunch of guys living in the subculture, but whose lives have been shaken by parenthood and midlife crisis. It’s a story I know all too well — just like anyone who’s been a skinhead since their teenage years up to now. I asked for an interview and singer Nic and guitarist Jeff responded. We’ll start with their introduction and continue with an interesting conversation about the experiences the guys have gained during the subcultural life in Montreal.

Hi, I am Nic, singer for Over The Hill. I am the youngest of the band. I evolved in the scene through the 90s, whilst the rest of the band evolved through the late 80s and the 90s. I was always a politically involved person, more so than the others. Our experiences are quite different. I am also the one who writes the lyrics for Over The Hill.

Hey, I’m Jeff, lead guitarist in Over The Hill. I’m the middle child to this gang of geezers. There are certainly some shared experiences amongst us, but the other lads have their own stories to tell, so I won’t do that for them. They trust us enough to represent the band without embarrassing them too much, so hopefully we’ll accomplish this here.

When and how did you first get involved in the scene? Was it punk, hardcore, Oi! or something else that grabbed your attention?

Nic: At the age of 14, my friend and I would travel to the city to get some music. I explored all kinds of alternative music but finding punk music was a feeling of relief, like I finally scratched that itch I had since birth. Through liner notes and college radio shows, we found our way in local punk bands like Banlieue Rouge and French punk bands like Bérurier Noir. A bunch of other kids from our high school joined our little crew and it became a hotbed for bands, punks and antifascist skins all through the 90s.

Jeff: Punk and hardcore made their way to my ears in my mid-teens and I just kept diving further. It was probably inevitable that I’d reach Oi! through those. Some friends had already started to investigate Oi! Chartbusters and other compilations and it snowballed from there. Having bands like Agnostic Front and Cro-Mags frequently give a nod to Oi!, and Judge covering Blitz’s Warriors pointed a shiny arrow towards the hardest version of punk.

Which bands influenced you the most early on, musically, lyrically, ideologically?

Nic: The bands I mentioned earlier really cemented a political left idea of skins, which is still an influence today. At age 15 (1991), I shaved my head and we headed into it as redskins and antifascists. We quickly met a crew of the OG MTL SHARPs. They got us into Agnostic Front and Sick Of It All, and took us to a RAR (Rock Against Racism) show in Ottawa where we saw a ton of bands, but remember being blown away by Life Sentence from Chicago. Those American hardcore bands really hit a chord for me musically, and stayed with me, even though UK 82 and Oi became my music of choice once I moved from the suburbs to the city of Montreal.

Jeff: Mid 80s, Dead Kennedys and The Misfits really set the stage for me. This was followed by NYHC combined with The Business and Cockney Rejects. Our current project is the product of 35+ years of influences musically, but it’s probably more influenced by our mindsets going in. We have way less delusions than when we were young, so I think it allowed us to make exactly what we wanted to, with zero exterior pressure.

What is your perception of the skinhead scene when you first got into it? Drawn to the music, lyrically, musically or attitude?

Nic: We were very poorly educated about the subculture. We had very little information about the originals. The “Spirit of 69” was slowing making its way in America. The skinhead scene was extremely polarized back then. Yet, a lot of people went back and forth between being skins and boneheads. It was a very violent time to be in the scene, especially as a vocal antifascist.

Jeff: In the 80s it had an extra layer of transgression because of its (wrongful) association to some shady shit. But when we discovered this reputation was unjustified, it made it that much more attractive; true underdog stuff you needed to defend. I would say all three: having this clean, sharp look with a tough sound and an attitude to match was something that made you want to belong.

Were you part of any crew or collective that shaped you back then?

Nic: Yes. The OG SHARP crew we met as kids moved on, but other SHARPS stayed active until 1994. We restarted SHARP around 1996 or 97. Fascists were attacking us, apoliticalism was influential in the scene, and we needed to get organised. I consider it being a success. The fascist activity fizzled out, but so did SHARP as an organisation since they were gone. The more radical elements of us were bored and needed an output so we started RASH around, 1999 or 2000, and spread our activities beyond antifascism.

Jeff: I got into it at a weird moment in time, when very few people were waving the flag because of the horrible reputation the press had given the scene. So aside from being in a band, we were just happy to have found enough people that were into the same things come out to shows and have a pint with us.

You played in bands like Shock Troops, Street Troopers, Vagabonds, Sons Of Pride… Are any still active? What memories do you have of those projects?

Nic: None of them are still active. I had a Street Troopers reunion many years ago, for which we recorded a previously unreleased track, Sharp as a Knife and a new one we wrote for the occasion. My best memories (with Street Troopers and Union Made) are playing on the American east coast, Midwest and Ontario for different anti-racist crews and organisations. It was a crazy time.

Jeff: None of these bands have been active for over 20+ years at this point. Sons Of Pride recently played a one-off show at the Montreal Oi Fest and it was fun. But apart from that, those bands serve as brilliant memories of our youthful craziness.

How is the atmosphere in Over The Hill different from previous bands?

Nic: I am enjoying making music with different people than before. We are very productive in writing new songs. They are all great musicians with decades of experience. It makes for great musicianship and showmanship, and we have fun doing it.

Jeff: Strong focus overall. We have a lot of depth to our mutual musical interests and it makes it easier to give ourselves reference points. And our egos are easier to manage compared to our younger selves.

Is there anything you learned from your past that you now do differently?

Nic: I focus on writing as many songs as possible. It is easy to just practice the same songs once you have enough for a show. I’ve learned not to fall into that trap.

Jeff: Definitely! Shorter songs, no frills, strong backing vocals. There is no main songwriter, every contribution counts and makes a difference. Respect everyone’s pace and trust we’ll all converge when required. It’s worked quite well and makes it much more fun.

What inspired you to write an album about aging in the skinhead and punk subculture?

Nic: I noticed we were all singing along the same songs about youth, yet everyone around us was 30 and up at shows. An older scene seems to be the new normal in North America, so it is about time someone writes about it. And what better way than to laugh at ourselves.

Jeff: You know what they say: write about what you know!

Is the record purely personal, or were your trying to speak for a whole generation? What kind of response has the album received so far?

Nic: Some songs have very personal references, but I think they can represent my generation in many ways. People have responded very well to the themes and lyrics. We are filling a void. You can listen to the Oi you love with lyrics that are more relevant to your reality, as an older person in the scene. The album is appreciated as a whole from what feedback I get.

Jeff: I think the best material are things you write for yourself and happen to speak to a wider audience. Up to now, if we consider the kind comments we’ve had from listeners, it seems others see themselves in our lyrics. So scene veterans might connect more. The younger crowd at least seem to appreciate the beats even if the lyrics may not reflect their experience. But self-deprecation is something everyone can enjoy, so that’s easy for relate to.

How did your collaboration with UVPR come about? What is it like working with that label?

Nic: Ka Rott from UVPR is originally from Montreal and we were in the same crew. She is a good friend. Ben also lived in Montreal for a while and he is a great dedicated human. They are my favorite label. So even though they only produce French bands. I bugged them long enough that they accepted to work with us when they heard the recording. It has been an absolute pleasure to work with them.

What’s the hardest part of growing older in a subculture that’s focused on Youth?

Nic: I think it is mostly a personal struggle. We valued each other by our toughness, our capacity of always being there at every turn with your friends, our drinking… which are all things that are harder or even impossible to do when you are over the hill. They are the basis of what we value yet we are unable to fulfill those expectations upon ourselves. It’s an existential dilemma, and we need to value ourselves differently without betraying our identity.

Jeff: Sometimes thinking you could have done some things differently if you knew then what you know now. Also: having enough breath to finish your set.

Do you see yourselves more as scene veterans now, or still active participants?

Nic: I never stopped going to shows, supporting bands and hanging out with everyone. So I still feel like an active participant.

Jeff: Both? We all still go to shows regularly, listen to the latest releases of both young and established artists, as well as support them by getting their vinyl and merch. This whole scene and subculture music in general is the fuel to our fire still to this day. It’s what makes everything worthwhile.

What bands do you listen to these days? Which projects do you respect and enjoy.

Nic: There was never as much quality Oi bands with solid releases as there is now in my opinion. France Oi is absolutely epic at the moment. American acts like Slugger are top. Basque bands such as Kaleko Urdangak are amazing. MESS from Mexico are solid. Street Code from Toronto are brutal and have an album coming out soon. Montreal is kicking it right now. Our album launch was with 3 great new local bands. Mortier, Ain’t Right and Jail. I listen to all of it.

Jeff: There are so many amazing newer artists making the rounds currently: Slugger CA and Sikm come to mind, as well as Badterms. I have an unhealthy obsession with Haywire 617 at the moment. And MTL locals Hood Rats are incredible, so underrated. Same for Mortier and Ain’t Right, excellent brick wall Oi. Cuir from France, who we’ve had the pleasure to play with, are freaking awesome, from their sound to their concept. I’m also currently on a James Brown binge, adds a nice balance to the mix. Major props as well to our homies Ultra Razzia who keep releasing top tier material and are brilliant live. Love ‘em!

Are there any new bands you like that have truly impressed you? Which labels do you like.

Nic: My previous answer pretty much covers this question. Asides from UVPR, I love what Longshot music is releasing right now.

Jeff: Mortier from MTL have really found a great vibe to call their own, and their lyrics are very interesting, deep stuff for an Oi band.

Do you still keep a vinyl collection at home? How do you decide what to spin?

Nic: Yes, I do still have a record collection. I have most of the OG oi and punk records as well as a lot of the new stuff. I try to focus on the newer records by playing them at least a couple of times each.

Jeff: I’ve sold a huge chunk of my collection in the last few years, but I’ve kept a few and even get some new stuff here and there. Mood and how much time I want to spend going through the insert, lyrics etc. are the main criteria for picking what’s going on deck.

Are you also close to other skinhead styles, such as reggae, rocksteady and Ska?

Nic: Yes, nothing beats a proper dancing DJ night.

Jeff: Yes, big time. It’s one of the aspects of the cult that really widened my listening habits. I most frequently revisit the Studio One compilations. They offer such a great variety of artists in the genre and the quality of the releases is unmatched.

How was being both French and English speakers shape your experience?

Nic: I never thought about that so much, but I guess it gave us the chance to appreciate oi from around the world compared to our other Canadian and American counterparts.

Jeff: It is probably my favourite thing about living here. It opens so many different options and opportunities. Being able to sing along to a Camera Silens song with as much passion as a Cock Sparrer song because you relate fully to the words and meaning is priceless.

Do you see a difference between the francophone and anglophone scenes in Canada?

Nic: The scenes are defined by the major cities they are around, more than the language. Cities seem to be the uniting and defining factors in Canada and the US.

Jeff: In the punk / oi / HC scenes, not so much, as we’re all still an underground community and we can’t really afford to keep anyone on the same wavelength as us away. The reality is that there are more opportunities for Anglo artists, because there are more Anglo listeners for this kind of stuff. But Franco Oi! has been going through a golden age in the last ten years and has crossed over strongly to Anglo audiences. We look at bands like Rixe and Béton Armé and it’s undeniable that they transcend language barriers.

Do you consciously think about what language to sing in, or does in come naturally?

Nic: It comes naturally. I am French but I grew up in an English neighborhood, so I am bilingual. Over The Hill is the first band I write French songs for. It just happened that way writing the songs. I am enjoying it.

Do you ever feel like you have more in common with the European scene than the American one, because of the language.

Nic: Historically, we are closer to American bands because of the touring possibilities. American hardcore greatly influenced 80s punk bands in Montreal. The 90s were better connected to American Oi for the same reason. Modern communications have seriously gotten us closer to European’s though, especially French bands. The Montreal Oi fest solidified that connection.

Jeff: I think beyond language, there is a deeper shared experience with our American counterparts because of how easy it’s been to cross the border over most of our lives. Also, hardcore has always been part of our scenes here and has been more embraced by the skinhead culture here than it has in Europe. I think it’s more natural for baldies in North America to relate to HC, whereas in Europe it might not be seen as a traditional aspect of the culture.

What is the punk-oi scene like in Montreal today?

Nic: Gentrification has splattered punks and skins in the outskirts of the city. A lot of us used to be in the central neighborhoods, and those apartments became the center of activities. We also don’t have that central street corner where you could always find punks and skins any night of the week, like in the 80s and 90s. Our LP illustration represents the Blocs, which used to be the place for punks to meet. What we do have is a lot more solid bands, solid relationships with key venues, good promoters, clear anti-fascist stances and a lot of fun. The scene is built around specific shows and less about hanging out all the time.

Jeff: Compared to what it was like in the 80s-90s, the sheer number of people who show up to gigs on the regular is incredible. Lots of quality bands both locally and from abroad certainly encourage that. As Nic mentions, shows are the assembly point now, as opposed to regular hangout spots as was the case a few decades ago (fuck we’re old).

Are there places in Montreal that hold a special meaning for you?

Nic: Of the places that are now gone… Bars like LeClub-Graffiti, Le vieux-Pen, Loonies and Bar St-Laurent… record stores like Dutchies, Le Pick Up and Primitive… Hang out spots like The Blocs mentioned earlier or the Loud House.

Jeff: Nic being the youngster of the band, he missed a few other amazing places like The Terminal, Station 10, the Madhatter in its earliest incarnation (still exists but is far removed from the scene now). Jailhouse Rock Café was amazing as well, the Dax club… Just typing these out brings back so many memories. New Age records near NDG, which had crates of absolute gems of 60s-70s reggae in its basement, all mint and unplayed. They carried all the current stuff in the 80s-90s, but it you walked in and if you looked the part, they would automatically point you to the basement, it was hilarious.

Where do you go to gigs, grab a beer or buy records? If a skinhead or punk visits Montreal, where should they go to find out what’s happening?

Nic: Yermad is the one Bar that has been serving us since 1997 and still does. Foufs, an 80s punk staple venue, has reunited with us since Covid. Sonik is the best record store you can go to for music and have a beer with cool people. If you like the real street punk life, go to Traxide (now Biu), a DIY venue that is awesome to party at with regular small shows.

Jeff: Turbo Haus caters to a few scenes but are supportive of oi/punk/HC and is a nice place to hang out. More recently The Blue Dog also hosts some cool shows. And if you like your dive bars, the Barfly is a Montreal classic, fun place with lots of great shows over the years.

Do you find the scene more closed off or open over the years?

Nic: More open. It used to be very violent and hard to get into the circle, so many fights, even amongst each other. Everything now is very chill for the most part, unless you walk the fence.

Jeff: A lot less cliques and broader musical horizons from most younger people (even some of the older ones keep wider interests) make it way more open than when I got into it. Less violence also contributes to having more people involved. If you would have told me what the scene would be like 35 years down the road, I would have not believed it and probably thought it would be a bad thing. I would have been wrong!

Are the new punks and skins still coming up in Montreal, or is it the same familiar crew?

Nic: The same familiar skin crews for the most part. Punks have a little more young ones getting in.

Jeff: Mostly familiar faces. The younger crowd is less committed to a specific subculture and tend to embrace them as a whole.

How would you describe the Canadian Oi scene both past and present?

Nic: Canada is so big geographically, and so diverse culturally, that it is hard to define it. Every big city is different.

What’s your relationship like with bands from the US? Do you feel a connection or more of a distance?

Nic: I am not the right person to answer that question scene wise today. My relationships with American bands dates form the 90s. Promoters like Sylvain from the Prowlers would be best to answer that question.

Jeff: Speaking more from an influence perspective, I would say there is a strong connection. This goes back to my earlier comments regarding a more shared experience around the underground and North American life more generally similar in many ways. HC has always been a connecting tissue for many of us on both sides of the border, so that contributes to it as well.

Do you follow the European scene? What do you enjoy the most about it?

Nic: France Oi is on an absolute tear in the last decade. Bromure are my favourite of the bunch. The Basque country is also a hotbed for good Oi. It is great that this generation of bands have clear antifascist associations with SHARP for example.

Jeff: Yes, most definitely. Many amazing artists currently killing it: Cuir, Rixe, Cran, Claimed Choice and many others are keeping France on top of the scene in the last few years. Giuda are another great example. Hard Wax as well, honestly this interview could be us listing out bands forever.

What does it mean to you to still be part of the subculture after 20 or 30 years?

Nic: I can’t imagine not having our subculture in my life, I would be miserable without it. I live in a very remote small community in the arctic and I travel to Montreal as much as I can to live that part of my life.

Jeff: It’s interesting because even when it wasn’t always at the forefront, it’s still such a core part of what sets your soul on fire that it’s hard to imagine life without it. It’s great to see how younger generations take the mantle as well. I think the future is in good hands.

Has your relationship with writing lyrics and creating music changed with age?

Nic : Yes it has. It used to be a chore. I am enjoying jamming and writing songs now. Writing became much easier when I started to have a laugh at ourselves.

What would you like younger listeners to take away from your music?

Nic: I hope that they get that having fun and laughing at ourselves is essential to a subculture that values toughness as ours does. From our song “Can’t Run”: “I used to be the guy in the frontline, but I got ass kicked by father time. I would love to fight another day, but my crushed disc said -no way-. Laugh at me now, someday I will, when just like me, you’re over the hill.”

Jeff: That they can keep doing this after they’re young, just be careful not to break a hip on stage.

Last words are yours!

Nic: Thanks for the interview. Enjoy the record!

Jeff: Thanks for having us, good luck with the zine, cheers to you and your readers!

DISKOGRAPHY:
Older, Not Wiser LP (Une Vie Pour Rien, 2025)

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