Hardsell

The history of this interview is rather complicated. When I started working on the web version of the Tighten Up zine half a year ago, Chris from Hardsell was the very first person I reached out to. From our subsequent communication, I got the impression that he was frustrated with the current state of the scene, and our occasional emails only confirmed that. Still, I never gave up, because Hardsell has always been an important band to me — ever since my teenage years, when I first discovered them. In the end, we managed to finish the interview, even though Chris announced that the band was ending just before I sent it over.

As a fan of Hardsell, I believe that the moment may come when we hear the band again. I completely understand that after so many years of being active, fatigue and frustration can set in. Anyone who has tried to do something for the scene in the long term knows this — whether you play in bands, make zines, organize shows, run labels and release records, or even run bars for people of our kind. It’s a never-ending fight with society, limited resources, posers who appear and disappear (and manage to dictate to you how things should be done and what you’re doing wrong in the meantime), the mainstream, misunderstanding, and internal conflicts that fracture the scene into dozens of sub-scenes and create constant tension. Add to that the accessibility of the internet, changes in lifestyle, and the focus on instant dopamine hits from mobile apps — all of this has changed the way young people form their identity, and subcultures struggle to find the new followers they need to stay alive. That was also one of the reasons I launched this website: I wanted to lend a hand again and not just watch everything fade away.

I was a bit surprised by the topics Chris brings up in the following answers. There are plenty of things I strongly disagree with, as well as plenty I would sign without hesitation. One of the reasons I make this zine is that I want to understand the attitudes and emotions of the people who create the scene — their experiences, joys, and pains. And here, there’s more than enough emotion. Even though Chris declares that Hardsell is done and this is their last interview, I’ll still keep hoping that one day I’ll get to scream a part of their song into the mic at a show again.

Anyway, right now we have an interview that clearly shows that even though we create our own alternative culture, we will always be dependent on the outside world in some way. And that disagreements, differing opinions, and conflicts within the scene are simply part of it — and always will be.

How did you get into Oi! and the skinhead subculture? What attracted you to the subculture and influenced your beginnings? How old were you at that time?

I first got introduced to alternative music when I was 8. A buddy of mine had a Walkman and a tape with Iron Maiden on it. I loved that sound so much I went to my older cousin, who was 17 and a metalhead, and he let me borrow a bunch of his records. There was no internet back then, so you had to do everything the hard way: trading tapes, asking around, finding shit through friends.

When I was 11, I heard a tape with The Business, Cock Sparrer, and the 4-Skins on it. It also had some NYHC. I was sold immediately. That aggressive, raw, underground sound grabbed me and never let go.

Which bands or records shaped your musical taste before Hardsell – even outside of punk or hardcore?

Two bands shaped me early on: Iron Maiden when I was 8, and the German band Böhse Onkelz when I was 11. At the time, I had no clue about their reputation; I just liked the music. I still do. They made mistakes when they were young… who hasn’t? They admitted it, grew up, and they make great music. Everyone deserves a second chance.

Is there something that defines essentiality of Oi! punk subculture for you?

Of course, it has an essential spirit, which is what made me fall in love with it. And honestly, it’s also why I recently decided to leave music behind.

What attracted me was the rebellion, the brotherhood, the real friendships. We were the outcasts. Us against the machine. We questioned everything, fought everything, and the music reflected that. Songs about brotherhood, pushing back, resisting.

Today? I barely see any brotherhood left. It’s a lot of keyboard warriors who know fuck-all about what the scene used to stand for but act like they’re the coolest. It’s cliques, not unity. If you don’t agree with whatever the clique thinks, you get shit talked, promoters get called, you get smeared, you get cancelled.

Skins and punks today? Too many are bootlickers of the machine. Look at COVID, everyone lining up because the machine told them to. People literally ratting each other out because the government told them to call a hotline. Firing people for not obeying and locking people inside. And people were okay with it. Where the fuck did the rebellious spirit go? Where did the individuality go?

My whole life, I wondered how the Nazi regime fooled people. How they convinced a nation to hate Jews, run camps, and look the other way. COVID showed me exactly how: create fear, create chaos, and brother will betray brother.

I know I’ll get hate for this, but guess what, freedom of speech. I won’t shut up to fit in a clique or get a show somewhere. Hardsell always spoke our truth. The facts are already coming out: COVID was a massive experiment, thousands of long-term side effects are coming to light. A lot of you swallowed the lies and betrayed your own people.

Anyone who refused the shot or questioned it got treated like a fucking criminal. I heard people say they should be locked up in re-education camps. Nazi behaviour 2020. Where was the rebellion?

YOU BECAME WHAT WE WERE SUPPOSED TO REBEL AGAINST.

The real rebels were the ones who refused, spoke out, and risked everything. History will show it.

Do you remember where and when the idea to found Hardsell came about? When was the band founded and how did you get started?

I started helping at HC shows when I was 13. I was always a big kid, so at 15, I started doing security for my friend Rudy. Those were the glory days of Eurocore—Backfire!, Right Direction, Ryker’s… my friends were beginning Discipline. (You might have heard of them)

I wanted to be in a band so bad that with some friends from Maastricht, we formed Hardsell in April 1995. Richie Backfire was our first drummer—Yorrick on guitar, Devrim on guitar, Yip on bass, and Ramon as second singer. The first year, we had no clue what we were doing—a mix of Oi!, HC, and straight edge, lol. We just had fun.

How do you perceive the development of Hardsell from the beginning to the present day? What has contributed most to the development of the band’s musical style?

After the first demo, we pretty much stayed true to our roots. I wrote „Bark of the Underdog“ when I was 15, and we recorded it when I was around 19, literally one day after coming back from the war in Yugoslavia. I was sick as a dog, but we managed to power through three studio days.

We evolved as musicians and as people. My writing improved. My worldview changed. Maurice was always discovering new music. However, over the past 30 years, we have stayed true to our sound and our message.

What do you like to write lyrics about most? Is it more about everyday life, or also about politics, attitudes and identity?

It depends. „Bark of the Underdog“ took a few years. „Breaking the Jaw“ I wrote in three days, locked away writing nonstop. Usually, I write a song in 5–10 minutes. I hear a riff, put it on repeat, words come, and boom, the song is born. If it takes me too long to write it, it feels forced to me.

I write about shit that bothers me, life, struggles, and the working-class grind. I don’t like musicians lecturing people. I’m not here to tell anyone what to think. I’m here to entertain, to give someone a moment of escape, or to give someone strength for one more day.

The best moments? When someone writes to you saying your song saved their life. We have received many letters like that. Someone emailed saying our music kept her going through an abusive marriage and helped her fight to get her kid back. That’s what it’s all for. Not cliques, not likes, not bullshit. Real people. Real impact. That’s the biggest honor we could ever get.

When you compose music, do you have a specific theme in your mind, or do you go full-on into emotions and sound and the words come later?

Pretty much answered already. I have hundreds of lyrics and melodies laying around. Some fit Hardsell, some don’t. I usually let the riff set the mood and match the lyrics to that feeling.

You have had a rather unique experience moving the band and its existence from Europe to the USA. What do you perceive as the differences between the European and American Oi! scenes? Whether it concerns the approach to music, style or attitude towards society.

It’s a big difference. Massive.

Bands:
I prefer US bands in terms of commitment. In Europe, if someone had to travel 30 minutes to rehearse, it was too far. Your options for members were limited. European bands can be more static on stage. US bands, even new ones, go to war on stage: high energy, crowd interaction, full-force performance. I’ve always respected that.

Scene:
Europe wins. And that’s why every US band wants to tour Europe. In Europe, even small bands get food, drinks, a place to sleep, gas money, and keep their merch money. In the US, many clubs make bands pay to play. Clubs take merch percentages. Maybe you get one drink ticket. Touring in the US is long drives, low pay, and losing money. In Europe you’re appreciated.

In Europe, the scene still feels united, Austrians, Spanish, Brits, Belgians, Germans… everyone becomes one at a festival.

In the US, especially in Oi!, it’s all cliques and territory bullshit. Even here in Texas there are places we won’t get booked because we don’t kiss the ring or because I say things people don’t like, jealousy, backstabbing… ridiculous.

A „crew“ once told promoters not to book us in their city or they’d stop organizing shows in their clubs. We just played somewhere else and had a blast. But they punished their own scene, not us.

Europe still feels like the real culture. The US scene has moments, but the unity is fragile or make believe.

Do you also listen to other skinhead genres, such as skinhead reggae, ska or soul? What influence do they have on your work?

I listen to a wide range of music: reggae, ska, Oi!, punk, metal, and classical. The only stuff I can’t get into is rap and techno. Just not for me. No major influence, I just love music in general.

What was the best concert you played as a band?

There are so many. Where do you even draw the line? Every show has its own category. Obviously our first few shows were amazing. Our first tour with the Cockney Rejects and then Slapshot. The first time we played Berlin at Punk and Disorderly. The first time we performed with our friends from Toxpack, every single show with them was just incredible.

The first time we played in front of 1,000 people was insane. Then we played twice at a festival for 5,000 people, and not just people standing around drinking coffee, but 5,000 people singing along and having a great time.

I loved the mini-tour we did with Lions Law. I already loved their music, but spending several days with the guys, hanging out, talking until the sun came up, that was amazing, and we became good friends.

The first time with Cock Sparrer, The Business, and the 4-Skins, my God, playing with your heroes. Playing with the Anti-Heros was something I never thought would happen. Playing a Bruisers show in Boston with my best friend, that meant a lot. Revolution Calling in Eindhoven, huge bands, full venue, unbelievable.

And then the opposite: the first time in Weggeleben, Germany, playing for 140 people who sang every word and went absolutely crazy. Or Woody’s in Schleiss (we love you guys). Or some secret, super-hot basement where 100 people show up on a Monday night and lose their minds. Chemifabrik in Dresden with our friends from High Society, who always treat us like kings. Beach Beer & Chaos Fest in Badalona…

I can’t name one show. There are too many, and they’re all special. They all mean so much to me. And it’s because of the people.

Whether we play for 10 people or 10,000, it doesn’t matter. As long as they have fun, sing along, dance, grab a beer with us after, and we become friends, that’s what it’s all about. For that moment, you forget all the bullshit and egos, and you share something real. That’s the magic. And I will never forget it, and I will always miss it.

Is there a tour that you will never forget?

All of them. Some were heaven, some were hell, some I wanted to quit halfway. But I’d never walk out on the fans.

Touring with Aggressive was incredible. Our last EU tour was incredible. Things got smoother every time. More people came out. After 30 years, that still blows my mind. Huge thanks to our fans, promoters, and friends like Gerry, Ant, and the best damn driver in the world—Ugo.

Shoutout to TOPNOVIL. Miss you guys.

As a band today, where do you find greater acceptance – in Europe or in the USA?

Hard to say. More fans are popping up in the US, but Europe, especially Germany, is our core. Germany treats musicians with respect. Holland and Belgium are home and always great.

Have you ever played somewhere where you didn’t feel welcome – and how did you deal with it?

Oh yeah. Early on we played a festival we knew nothing about. Walking in, I saw some sketchy right-wing band shirts and thought, „Shit… what is this?“

A few songs in, some Nazi skin starts shit with our friends from Maastricht. Then he rips off his shirt and reveals a giant swastika tattoo. Fuck. He comes to the stage giving me the finger.

I wanted to kick his teeth in but stayed calm. I told our roadie to pack our merch and get the van ready. Two more songs and we’d bail.

Before the last song I said: „We’re a non-political band. We don’t give a shit about your politics. But if you’re a Nazi and spread hate, fuck off.“

Maybe 20 people cheered… then the other 380 chanted Sieg Heil.

Yeah. We got the fuck out of there. And since then we always checked out the promotors and have it in our contract that we do not play with any right wind or associated bands.

Nazis, fascists, communists, any hate-peddling idiot, you don’t belong in the scene. But today I see extremists on both sides acting the same, and it’s killing the scene.

You have worked with several labels during your existence. How did you like working with them and what did it bring you?

Back then you needed labels. And we’re grateful, they helped spread our name. But we never saw a penny. Not once. So we started doing everything ourselves.

These days? You don’t need a label. If they want you, they’ll find you. But don’t chase them. Do it yourself.

Is there something that you miss in the USA and what could the American scene take from the European one – and vice versa, what should the European scene be inspired by in the USA?

That’s a tough one, and I answered it already. In the US, if musicians were treated better, underground music could actually survive. It would also help if the US had more of a „we are all one“ attitude instead of this stupid clique shit. Warzone said it: AS ONE. And we’re definitely not as one anymore, and it’s hurting the scene.

In Europe, I’d say: please keep going to shows, even during the week. More and more venues are closing because people are no longer going out. Life is expensive, gigs run late, people need to work early, it’s hard. But without support, the venues die and the scene dies with them.

And most importantly: bring more young people to shows. The average age is 35–45 now. We need new blood. Do shows on Sunday afternoons, 1 to 6 pm, so people can bring their kids and still get home at a reasonable time. Make it welcoming. Treat the young ones with respect instead of trying to be some tough guy gatekeeper.

Without new kids, there won’t be a scene in 10 years.

How do you perceive the transformation of the Oi! scene from the time of your beginnings to the present day? What has changed the most and do you think the scene is stronger or weaker today?

Without a doubt, the scene is weaker. There used to be thousands of us. We stuck together, made things happen all over Europe. If you knew someone in Germany, they’d bring you over for a show, and in return, you’d bring their band to your place. There were more of us, and we helped each other out constantly.

Now we’ve gotten older. There are little to no new kids who have the time and energy to support a scene. The older skins and punks have jobs at 5 in the morning, bills to pay, wives, kids, bad backs, lol. But the ones who are still around are passionate, and they give everything they’ve got.

Another thing destroying the scene is the constant divide over politics. If you don’t think like a certain group, you get cancelled or boycotted. We let the media brainwash us. We act like Big Brother has our best interests at heart, and we attack anyone with a different opinion, even though in reality, we have way more in common than we do differences.

When I started in the scene, we didn’t talk politics. We all hated racists, Nazis, and pedophiles, simple. Now, in some cities, if you’re not outspoken ANTIFA, you get boycotted. In other cities, if you tour or play with certain bands, you get boycotted. There’s so much bullshit now. They force you to take a side, or else… We’re dividing an amazing scene into smaller and smaller pieces, and in the end, you’ll have 10 people left, and you can’t build a scene with 10 people. It dies. All because of egos and fucking intolerance.

I see Antifa acting as extreme as Nazis sometimes, jumping people, attacking folks who supported anti-fascism in the early years, just because they’re not „left enough“ anymore. That’s unsustainable—anti-racist, anti-fascist, sure, always. But extremist bullshit on either end destroys everything.

Who you vote for, who you love, who you hang out with, who gives a fuck, as long as you’re a good person and try to do right by the people in your scene.

I don’t see how we turn it around. Sorry if this sounds negative, but I don’t see true unity anymore. I only see „acceptance with conditions.“ And that’s not acceptance. That’s called a membership.

What does it mean to you personally to be part of the street punk/Oi! scene? Is it just music, or something more?

To me, it meant everything. From the moment I woke up till the moment I went to bed. It was a real lifestyle. My scene was more important than family. I met my best friends through it. I met my wife through it. The way I think, the things I stand for, the things I’m willing to fight for, IT MEANS EVERYTHING. IT’S NOT A FUCKING STICKER.

I don’t pretend. I don’t want to be part of a club. The true values of the HC and Oi! Scene, Brotherhood, Unity, Respect, that’s something you can’t buy. If a friend in another country got jumped by Nazis, we’d drive 10, 20 hours with as many people as we could and handle it. If a friend lost his job and home, you took him in until he got back on his feet.

You went to every show you could, from small local bands to big international ones, you were there. You helped out. You did security, parked cars, and cleaned up afterward. When you met another skin or punk, you were immediately friends, because you knew you shared the same values, the same struggles, and you knew they had your back, too. Just like you, they were an outcast.

Today it’s all skinhead cosplay. Wear the right shoes, the right T-shirt, like the right post, kiss the right asses. And not a single one of them looks out for the greater good of the group. „Scene“ is just a word now. People are in love with themselves and trying to look hip.

FUCK IT. I don’t want it anymore. I will not compromise what I stand for and who I am.

How do you perceive the current new bands in Oi! streetpunk? Are there any that kicked your ass?

Probably, but I haven’t followed much. I work 14-hour days. I hear bands when we tour with them or when friends send songs. I’m sure lots of great stuff is out there.

What things in the scene make you happy, and what frustrates you?

The things that make me happiest are the friends I made and still have—not the people who hang around just to hang around, but the ones you don’t see for years and when you finally do, it’s like nothing ever changed. I love my friends. I love my true brothers and sisters.

What frustrates me is the divide, man. The cliques, the skins and punks who think they’re better than others because they live in some „cool“ area. JEEZ, grow the fuck up. The ones who think they’re gods because they’re in 20 bands (and 19 of them are shitty), and you’re supposed to respect that. Or the ones who think they’re better because they have a social media following. Or „I believe in politician X and you believe in Y so we can’t be friends.“ That shit just makes us smaller, hurts bands trying to tour, and does exactly what the machine wants.

Divide and conquer.

I’ve said it a thousand times and I’ll say it till I die: not a single politician is your friend. To society, we will always be the outcasts, the enemy, the thing they frown upon. So why are you trying so hard to fit in with the machine? Fuck the machine. Think for yourself. Question everything.

Maybe listen to someone else’s opinion once in a while. Maybe you’ll learn something. Maybe you weren’t right. Maybe you didn’t make the right call. That’s okay—learn from it. Embrace people who aren’t the „norm.“ Question everything. Stand for something real instead of petty bullshit.

As long as we’re busy fighting each other, we don’t see how we’re being manipulated and destroyed. Go listen to the lyrics of our song „No Hope.“ I wrote that when I was 15, and now every word of it is coming true.

When you hear your old work, what does it awaken in you – pride, nostalgia, embarrassment?

I’m really happy we got to re-record all our older songs. When we first recorded them, I didn’t know how to sing yet; we barely knew how to play. In the studio, we were just trying things and rushing through everything. Some songs were good, but I always felt they never reached their full potential.

I’m proud of everything we did, because we did it our way. We didn’t compromise, and we always stayed true to ourselves for 30 years. Not a lot of bands can say that. I’ll always miss making music.

What helps the scene grow? Are that bands, concert organizers, labels, zines, DIY ethics, communities or music clubs?

What will really help the scene grow is for all of us to take an honest look at ourselves and ask: what can I do? Not what others should do, what you can do.

Instead of breaking others down (even if they don’t think exactly like you 100%), try to build them up. If you can’t make it to a show, maybe share the flyer, post about the gig, tell your friends. Truly support your local scene in whatever way you can.

Instead of downloading music illegally for free, maybe have a little less music and actually buy that record or CD at a show from the band. That money keeps them on the road.

For promoters, maybe we need to rethink show times. A Sunday show where the first band starts at 8 and the headliner goes on at 11 pm isn’t going to pull a big crowd, people have to work the next morning. Maybe start at 4 and have the last band on by 8. People can still come out, enjoy the show, and not be destroyed at work on Monday.

We also need to bring in new kids. That’s huge. With kids being glued to the internet, it’s harder, but share your passion. Don’t just post memes, invite them to shows, take them with you, show them what it’s like to be part of something real, not just online „friends“ and likes.

We need to stop the divide. Stop the stupid ego games, stop cancelling everyone over every little disagreement, and bring back unity. That’s the only way the scene survives and grows. Remember „AS ONE. United We Stand, Divided We Fall.“ We are fucking falling.

Give us some tips on music that currently entertains you, inspires you and sounds in your head. (This section is to help the reader find new and interesting songs/bands/records that they may have not noticed before).

Not really, sorry. I mostly listen to podcasts these days. I saw a festival poster recently and recognized one band out of fifty. I just don’t have time to keep up. Go check out our friends: Topnovil, Toxpack, Aggressive, High Society.

The last words are yours. Is there anything you want to say that I didn’t ask? Your turn.

Ending Hardsell was the hardest decision of my life. It was my life. Every day. I met the best people through this scene. I saw amazing places, met my heroes, played with my heroes, made memories no one can take from me.

I’m blessed. And it’s because of our fans and our friends. Thank you from the bottom of my heart. I’ll always miss you. You got me through my darkest times.

There’s a void now, but I’m still being creative and not giving up. Maybe Hardsell is 90% dead—not 100%.

I really hope people start being more tolerant of each other, and bring this scene back together under one banner: against racism, wokism and fascism.

Let’s bring in new kids, create new bands and amazing memories, and keep the spirit alive.

THANK YOU. I can never say that enough. Oi!