Wouter Davids (Rebellion Records, Razorblade, Live By The Sword, Heathen Peace)

Wouter Davids is a name that’s been part of the Oi!, punk, and hardcore scene since the 1990s. He has been — and still is — active as a musician in bands like Squalor, Razorblade, Live By The Sword, and Heathen Peace, and he also runs Rebellion Records, a label that has long been one of the most visible Oi! and underground labels on the European scene.

In this interview we talk about how bands and labels really work, releasing records, changes within the scene, the digital era, and what it means to stay active in the underground over the years. No nostalgia fog or promo talk — just a straight, insider perspective.
*Title pics by Francois de Jonge

Do you remember when you first got into the skinhead subculture? What time was it, and how old were you back then?

In the early 90’s I was completely into metal. At 15/16 years old some friends from school took me to hardcore shows. Bands like Discipline and Tech 9 were playing live almost weekly in our area. They played some Oi! cover songs in their sets. We checked out the bands they covered and we were lost, collecting Oi! music and travelling to gigs for the next two decades. Early on I also got some tapes from an older skin in our town and learned to know a lot of obscure bands that way.

What grabbed you the most at that time – the music, the style, the attitude, or something else?

I loved the atmosphere and vibe at metal shows, but as a restless teenager I also found it a bit boring sometimes. The hardcore, punk and Oi! gigs at that time were much more diy, raw and chaotic, I loved that. Also the brotherhood and meeting like-minded people from all over Europe was a mighty feeling.

What was the skinhead scene like in the Netherlands when you first got involved? Which bands, labels, or venues were important back then?

I don’t recall any specific venues or labels in the Netherlands that were important to us. We just focused on our own group of friends and went wherever the action was, local or abroad in Belgium and Germany. A cool thing was that Mark Foggo lived closeby in Eindhoven (NL) at the time. He ran a snooker bar and also had a CD store (Skanky ‘Lil Records) on the side. If there was no gig in the weekend we always took the train to Eindhoven to hang there. They sold beer cans in the store and sometimes we spended the entire day there drinking and checking out records. Mark always had cool people working there, I am still in touch with some of them.

Could you tell us a bit about your early bands Squalor? How did you actually become a musician?

My father has always played electric and acoustic guitar. As long as I can remember there were guitars in our house and I had a red squier guitar in my bedroom. I took some lessons when I was very young and started to record noisy tapes with a friend from school. Squalor already existed since 1995 and had done one show before they asked me to join them. Great times, everything was new and exciting like recording in a real studio and travelling all around the country to play gigs.

How did Razorblade get started, and what was the original idea or goal behind it?

Razorblade was started in 2001. Squalor was a mixture of styles and genres but Razorblade was started to make hard, simple, direct and brutal Oi! music. I remember sitting 8 stories high in my small 18 square meter appartment and there was a newsflash on the television about a father sentenced to jail for killing a paedophile that molested his son. I took my acoustic guitar and in one go I wrote the lyrics and music for the very first Razorblade song “Peadophile” (yes, including spelling error).

How did you manage to get your first records out back then?

One year before I started Razorblade I wanted to be more active in the scene and started Rebellion Records to release a CD from Badlands. Victor was part of our group of friends, he had a great voice and a great talent for writing catchy tunes. The debut release of Razorblade was the 2nd output on Rebellion Records. Both the Badlands and the Razorblade cd releases sold very well and I was able to build my label from there.

Many people see you as one of the main voices of European Oi! around the turn of the millennium – did you feel that way at the time?

Haha fake news! Its flattering that you say that but it is not true. We played and recorded a lot, we were very active but we mainly played support slots and there were tons of long going European bands that were better and more popular than us. Good thing about Oi!; it’s not a competition, at least not back then.

How do you think Razorblade’s sound and lyrics evolved over the years? What’s the biggest difference between Razorblade in 2025 and twenty years ago – not in the number of records, but in attitude, influences, and approach?

I think from 2002 up to 2011 it was similar stuff, hard music, hard lyrics, no compromise. On the “Days Of Glory” album from 2012 we added a little bit of melody and some more introspective lyrics for some songs. In 2014 we recorded our final Razorblade album “My Name Is Vengeance”. It has a hard sound again, but also some historical topics in the lyrics. I never did that before but I liked it and continued to do that with Live By The Sword and Heathen Peace later on. In 2025 we came back together after 10 years to celebrate our roots with 3 shows and a 4 track ep. The new songs are straight forward and hard as fucking nails again.

Do you have a personal favorite album or period of the band?

I never listened back to the old Razorblade albums until recently. I just needed to let out the frustration and aggression back then and move on. Musically I think the last 2 albums are the best ones. But when we play live the old stuff is king. Looking back I appreciate the old Razorblade songs much more now for their brutal power, stripped to the bare, effective and hard sound. Good tunes for pumping iron!

Looking back now, is there anything you would’ve done differently with Razorblade?

I would not have written an album in german. We’ve recorded 2 tracks with german lyrics for a 7” on Bandworm Records in 2010 as a joke. It sold out immediately and we should have left it at that.

What made you slow things down with the band? Was it a natural break, or did you feel it was time to move on? And what’s the plan with Razorblade these days?

At the end of 2015 the band did exist 15 years and it was time for something new and fresh. There is no glory or challenge in endlessly repeating oneself. Early 2025 we received an offer from Eelke (City Riot) to play a reunion show in the same bar where we did our first show on dutch soil exactly 20 years ago in 2005, and in the exact same bar (Ozzy’s in Apeldoorn) as well. We agreed to do the show and from there it kind of spiralled out of control. The tickets sold out very fast, so we planned a 2nd reunion show and now a 3rd one as well. The interest and revival inspired us to write and record 4 new tracks and we’ve released them as The Old Guard EP in November 2025. We’ve also released a video for the title track with footage of the first reunion show in Apeldoorn. For now we are working towards our final reunion show in Hoofdorp (September 2026). We have one new track left from The Old Guard studio session that we will put out on an exciting split release in 2026. There is also a plan to do another video for the final song with a lot of old footage included that have not seen the light of day before.

In 2007, you were part of the Soultamer project with members from Discipline, Badlands, Razorblade, and Live By The Sword. How did that project come about, and what do you remember most about it?

Me and Victor worked very close together in the early days. We rehearsed together on songs and we did guest vocals on each others records. Victor wrote a big part of the music and lyrics for Discipline’s – Downfall Of The Working Man album and the Discipline song “Adrenalin’’ from the Brabantia Nostra compilation was also written by Victor. The connections were already there and when we started Soultamer as a project, we asked Joost from Discipline to record the vocals. With Soultamer I played bass guitar for the first time. In the studio it turned out my bassplaying was not as good as I thought it was during the beersoaked rehearsals, so Victor played all bass-lines on the album himself. I released the album on a sub-label called Rough Diamond Records. We sold out 1000 cds, 500 lps and some t shirts and that was it. Later on, when Joost was in prison, we released the Soultamer album as a limited CD under the name of “Badlands – Ruins Of The Legend”. A pre-master with only Victor singing all vocal lines.

How did the idea of starting Rebellion Records come up in the first place? Over time, Rebellion grew and got more sublabels – how did that development happen, and what’s the label’s situation today?

I played guitar in Squalor and Victor was part of the group of friends surrounding the band. He recorded very cool acoustic tracks with a tape recorder. It sounded really good and I thought more people should hear it. I saved some money to have Victor record 5 acoustic tracks in a studio next to the Squalor rehearsal room and press a CD. During the process Victor formed a band and after the acoustic session I paid for another studio session to record 6 additional tracks with a full band. Those 11 tracks were released in 2001 as the Badlands – False Gestures album and Rebellion Records was born. It got nearly the highest score in Aarschok magazine and I sold out 500 cds in a few weeks. In the meantime I had formed Razorblade and recorded and released its debut album on Rebellion Records in 2002. 500 cds were gone in no time again and many represses followed. Rebellion Records became an official business in 2003 but I still worked full-time at the dutch postal service untill 2008.

In 2006 I erected a sublabel called Rough Diamond Records for releases not related to the Oi! and streetpunk scene. 5 releases where done on that label before I decided it was too much hassle and it was easier to keep it all in one place.

However another record label was erected in 2012. Onno Cro-mag (Aardschok Magazine and allround scene promoter) wanted to start Strength Records and asked me to run it. We also got Roger Miret (Agnostic Front) on board. Onno sadly passed away in 2013 (r.i.p.), the label was continued for a few more years but was disbanded in 2018. A lot of great releases were issued on the label and even some festivals were done under the Strength banner. I will always be proud of what we accomplished together and Onno will never be forgotten.

In 2015 I started yet another label called Cosmic Key Creations. It has always been a long time dream to start a metal label but I thought the metal scene was too big and professional for an amateur like me. It quickly became pretty successful though and it turned out the punk and metal scene are very much alike. I approach the metal bands in the same way as I do with the Oi! and punk artists. In the end the only thing that bands want is to be treated fair and with respect, regardless of what style they play. A lot of new connections have been made through Cosmic Key Creations and some great friendships came out of it.

All the different labels and ventures are placed under the general umbrella of DME Distribution. This is also the name I use when dealing outside the scene. Banks and insurance companies are not eager to work with skinheads or metal heads, so a more neutral name can be be helpful sometimes. I also use the DME name for a distribution service to shops, mailorders and distros worldwide.

Did you have any experience with releasing music when you started, or was it a completely new adventure? How did you find new bands and releases back then?

We recorded and released the 6 track Squalor maxi CD in 1999 with the band by ourselves, and I had done two tape releases prior to starting Rebellion Records at a local duplicating company. I also worked for 6 months at hardcore label The Noizz Records (later changed its name to GSR) before I got the idea to release records myself. I didn’t know what I was doing but I did it anyway and signed bands on the spot that I liked. After the first few releases some bands started to send me demos. Very early on I teamed up with Maurice (Hardsell) and together we started a mailorder. Maurice had a label too called “Bouncing Sole Records”. He signed some bands and arranged the music and artwork parts but all was pressed under the banner of Rebellion Records. On the CDs of Bottlejob, Banner Of Thugs and Close Combat you can see the Bouncing Sole logo on the backcover. Maurice is a great dude and we worked together well, but he got 3 kids in a short time span and didn’t had any spare time to continue his label and our mailorder. From that point I ran the mailorder on my own and merged it with the Rebellion Records label and started the online webshop.

What were the early days of the label like – total chaos or a clear plan from the start?

No plan, no money, no contacts, no computer… I stocked the boxes with CDs under my bed, and I went to my parents home to use their computer to send emails. I did my rounds for the postal service as quickly as I could and used the remaining time to send big piles of parcels at the front desk. Every address and custom form had to be written by hand and labelled one by one… The people who worked there hated me… Early on I did send all orders worldwide on credit. People could pay after they’ve received their order, ofcourse there were a lot of non-paid orders… I didn’t know what I was doing but I was determined to push on. I didn’t think it through very well or analyse stuff too much in those days but I learned some bits and pieces along the way eventually.

Which bands helped define the early sound and identity of Rebellion? Has your vision changed over the years, or have you stayed true to the same idea?

The main idea always was to help out small talented bands to get their music heard. When bands were too big and professional I lost interest and that is still the same today. I always tried to select bands with good songwriting, strong vocals and some authenticity. No need to release carbon copies of stuff that has been done already so many times. I think that is still the core of the label today. Besides that I love to do cool and high quality re-issues of cult and classic albums to fill up the release roster. Rebellion Records has always released a big variety of styles and subgenres but personally I have a weak spot for hard, dark and aggressive sounding bands. We have done a lot of those throughout the years and with recent releases of Burden, Storm Of Steel, The Corps and Razorblade there are no signs of our output softening up.

What keeps you motivated to keep releasing Oi!, punk, and hardcore records after all these years?

Because mainstream fun is not my idea of fun. As long as I get truly excited from new (and old) underground Oi!, punk and metal stuff I will keep doing this.

How do you see vinyl culture today compared to the old days? What’s your take on other formats like CDs or digital platforms? And what do you think about Bandcamp?

I am not commited to any specific format. I am in it for the bands and the music and we distribute whatever format that works. Over time everything changes and we just have to work with that. Still I think physical formats are the best to experience a release to its full extend as intended by the band or artist, but every platform that helps to spread the music and create exposure for the bands and their records is worth exploring. I was never into bandcamp untill recently. I have made a bandcamp page for Rebellion Records some weeks ago and the stats show already thousands of plays, so people are still digging what we put out apparently and it seems they did not forget about the older bands and releases either.

Do you feel the role of labels has changed in the streaming era? What’s your view as someone still pressing physical records and covering the costs?

I am stuck in the old ways and too old to change. We keep working like we do and focus on physical formats as our main priority. I think a record label still can make a difference to get exposure for a band and get people interested.

Sometimes in the underground scene, when a label or band starts to reach beyond the subculture, people accuse them of selling out or becoming “too big.” Have you ever heard that about Rebellion – that it’s too professional, commercial, or mainstream?

From the moment I started Rebellion there have always been people who wanted me to do things differently. I’ve always ignored that and do what feels good to me.

How do you see the crossover between Oi! and hardcore these days – a natural evolution or a loss of identity?

A good band is a good band regardless of what influences they put in their songs. Bands mixing styles is not a new thing in neither the Oi! or the hardcore scene. An endless repetition of the same old clichés is the most boring thing I can think of.

What, in your eyes, makes a band or a person truly authentic in this subculture?

True and longtime passion, support and dedication. It’s not something to step in and out of whenever it suits you best. Sitting at home scrolling through your spotify playlist doesn’t make you part of a scene. It’s a scene for people that, for whatever reason, don’t feel comfortable in the mainstream society and therefore created something of their own. Not because they are weak, but because they are strong, proud and can’t stand any bullshit. I personally see the true and authentic meaning of this in the deep DIY underground with bands playing in the pubs, bars, squats, small venues and youth centres. Honoring the subculture’s traditions and style but with room to express oneself, each in their own way. Far away from the corrupted music industry with mass-commerce, managers, trends and targets.

What’s your take on the fact that a big part of the scene has moved online and onto social media?

I use social media to promote the bands and the music we put out. What other people do on there is not my business. In my opinion social media is a good tool to create extra exposure for the music and to promote gigs.

Where did you draw inspiration for Razorblade’s lyrics?

Mostly stuff that bothers us like posers, paedophiles, parasites, yuppies, morons into extreme politics and discotheques. Or stuff that we love like friends, drinking, the place where we are from, warriors, simple life, going out and the power of steel.

Did your songs always carry a specific message, or were they more about capturing a certain feeling or energy?

The songs are meant to empower outcasts and outsiders worldwide with brutal beats, pride and strength!

How do you feel today about the bands that influenced you – like The Business, 4-Skins, Combat 84, or Cock Sparrer?

All top of the top, original and authentic bands, each in their own glorious way. I firmly believe it will never be as good again as what these bands did in their prime. Doesn’t mean we cannot give it another shot today and have some fun while we’re at it.

How do you see the new generation of Oi! bands – from places like the US, Germany, France, or Spain?

There is so much quality around and so many good active bands from everywhere. Still you can be young only once. The feeling that I got from the bands that I heard as a teenager will never leave me and cannot be replaced by any new band. I do enjoy seeing how things evolve over the years though. The scene is always in motion, things change for both better and for worse. It’s never boring and it also gives the old guard something to complain about.

Which current bands do you personally enjoy and think have real potential?

I very much like the dark, hard and metallic sounds of Burden and Storm Of Steel. I am not sure how much potential there is for these bands in today’s scene, but I surely do like em a lot myself. The Reapers is also a really good band that is currently active. They are very talented and have a ton of experience. I am very curious to see what comes next for them.

Could you tell us about your current projects, Live By The Sword and Heathen Peace? Both have strong metal influences – do you get more negative reactions from purists on either side, or positive ones from people who appreciate the new sound?

Live By The Sword was started in 2015 when Razorblade called it a day. I was sick of hearing my own voice and I asked Erick If he wanted to record vocals for this new studio project I started. I released Erick’s band Strongarm And The Bullies in 2005 and have been a fan of his voice eversince. We released three 7” singles, a 7 track mini album and three full length albums. It started out as an Oi!/streetrock band but along the way more and more metal influences were added. The three full length albums have a lot of pagan vibes and themes in the lyrics and music. Our last output is the 2025 full length album “The Pagan Pantheon”. With Erick living in the states and working with 3 different drummers over the years resulted in us doing only 3 live shows in the past 10 years. Still it’s way more as we ever planned, since this was only meant to be a one off studio project initially.

A few years back I build a small guitar studio in the Rebellion HQ and learned how to record my own guitars and vocals. We experienced a lot of delays during the recording process of the last Live By The Sword album and I vented my frustration by recording some really extreme stuff and release it in the form of a very aggressive album “Heathen Peace – Civilisation Ends Here…” (December 2024). It’s me on vocals and guitars, Freek (LBTS) on bass and Frank (God Dethroned) on drums. It contains elements of all the brutal styles and genre’s that I love and the style is described as Heathen Black/Death/Punk ‘n’ Roll. At the moment we have brandnew album recorded and the first advanced album track “Total Fucking War!” was just released as a single. The new album will be released at the end of march 2026 and is by far the hardest and most extreme stuff I have ever recorded. We are happy with the result and preparations are being made for our first live show.

Both bands are well received, I have always liked different styles of music and been active in different scenes. If people don’t like that, it’s their problem.

Has your relationship with the subculture changed as you’ve gotten older or started a family?

Getting older made me realize how special and great this scene really is. I am active in it for so long, it became like the new norm I and never gave it too much thought. I appreciate it more now; the longtime friendships, overseas connections, working with like-minded people on creative output and the whole thriving community outside the mainstream industry, embedded deep in the underground and underneath the normal world. People who are not part of it will never understand.

Do you think there’s a new generation coming into the Oi! scene right now? What does it take for young people to start new bands these days?

I do see a lot of underground punk flyers in my area filled with young bands that I never heard of and who attract young people to their shows. Occasionally I see some new skins walking around but mostly they are part of the hardcore / punk crowd. I don’t see any new young Oi! bands over here. In 2024 we released the Chaos In Nederland compilation, not sure if they classify as young but at least there are some new dutch Oi! bands on there. I think youngsters who start a band should take notice of the bands that influenced them and try to play harder, more aggressive, more melodic, with more variation, faster, slower, louder etc… So even if they don’t succeed at first at least they put something from themselves in it. Also when you start a band you must not shy away from arranging shit and making things happen yourself. A lot of bands never get heard because they are just waiting for someone else to do everything for them. Most of the labels I know only pick up bands that are actively involved in booking their own shows and promoting their own music.

If you had to pick one band, album, or song that defines you the most, what would it be?

“ROSE TATTOO”: It’s the definition of pure old school rebellion for me
“COMBAT 84 – Orders The Day EP”: A blueprint of real Oi! Unapologetic, raw, catchy, dangerous and boisterous
“SATYRICON – Nemesis Divina”: I never heard a more powerful, majestic and gloriously epic album and it’s how I like my extreme (black) metal to sound
The band that did it for me in the past decade is “BATTLE RUINS”. They combine my favourite styles in a way that I can really identify with. Proud to have them on the Rebellion Records roster.

The last word is yours – is there anything I didn’t ask that you’d like to add?

Thank you for shining a light on the old guard before we fade into the night. Good luck with your website, keep it up, you are doing a great job!.