“rebel spell running with new cd”

Another new article/interview…this one from LA Beat out of Lethbridge Alberta!

Rebel Spell running with new CD

Long standing Vancouver based punk band the Rebel Spell’s brand new album “Last Run”  does anything but spell the end for the band who will continue to tour and record. They return to Lethbridge to play the Moose Hall on a Monday night, Nov. 17.

“When I wrote the  the song ‘Last Run’ I was thinking of wolf culls in B.C. and Alberta had this beautiful image in my mind of wolves running from helicopters. Wolves have been scapegoated for the loss of caribou when it is actually  due to deforestation and big projects like oil sands,”’ observed lead singer Todd Serious.

“ And plus this  is probably actually  the last run for our bus. I’ve lived in that thing for five years. So it is definitely the last run for the bus  but not for us,” Serious said, hiding out in Peterborough and getting ready to head to Oshawa — “Peterborough’s evil twin” the next day.

They are enjoying what seems like an endless tour. Which brought them to Lethbridge in April for the first time in several years as well as all the way out to Halifax, and now on their way back.

“ It’s really going well. We just had to play Halifax and we’re playing Montreal twice, which we don’t usually do, but Montreal has such a diverse little scene. And now we’re doing the good stuff like Toronto and Hamilton,” he summarized.

He is pleasantly surprised with how well ‘Last Run’ is going over with fans.
It has The Rebel Spell’s usual high energy blend of high energy, cerebral, politically inspired punk drawing from the ’70s to the ’90s as well as some interesting departures, like  this historical folk ballad “The Tsilhqot’in War” which features fiddle and piano in the introduction.

“ I’ve always wanted to do a  historical ballad. I grew up in Williams Lake where that took place and I always wanted to do a project with (Vancouver dark folk musician ) Jeff Andrew, who is really interested in historical songs,” he said.
“So I’m glad I got to do that,” he said.

He noted “Ten Thousand Years” is about police brutality.
“As long as there has been history there has been police and people who have power over other people. So this is about trying to change that system,” he said.

He is pleased with audience response to the CD, which  the band just released on Sept. 30. He said it took them a long time to record it.

“ It was getting a little frustrating listening to it. But it was a surprise Response has been  fantastic, so i guess we got it right,” he said.

The band has had a pretty consistent line up through the years.
“I’ve been playing with  guitarist Wretched Erin for 11 years and our drummer Travis is our former drummer’s husband. She had a child, who’s seven now and  she didn’t want to tour. But we kept it in the family. She actually sings a song on the new album. We do a duet,” he said.

“Our fans appreciate that and Elliot has been playing bass with us for five years. People seem to like the cohesion,” he said.

He noted the punk scene in Vancouver is starting to take off again in spite of the shortage of live music venues.
“There has been a problem of venues closing. But people are making do. People who go to punk shows have aged so it isn’t as cliquey as it used to be. People are a lot more willing to work together,” he said.

He is looking forward to coming back to Lethbridge for the second time in eight months.
“We came through  to play to fund this album. And Alex (Currie, concert organizer) called me and asked us to play again so we decided to come again on the way back,” he said.

“Before that we hadn’t played there for years because all of the people we knew there had moved away,” he said.
“But for people who haven’t seen us, we are influenced by a lot  of ’70s, ’80s and ’90s punk. So expect to see cerebral, high energy  music,” he said.

“ And we hope to meet a lot of people we haven’t met before.”

The show also features the Motherfuckers and Lethbridge punks the Scallywags. Doors open at 8 .m. at the Moose Hall. There is a $10 cover for the show.


“socio-political DIY band The Rebel Spell’s roots dig deep” – interview

A new interview with The Rebel Spell from Beatroute Magazine out of Aberta:

Socio-political DIY band The Rebel Spell’s roots dig deep
Monday 10th, November 2014 / 14:59
By Sarah Kitteringham

trstractorcrew Socio-political music has deep roots in the national hotspots of Winnipeg and Vancouver. On the Winnipeg side, their diverse population and working class roots collided with a massive university population, fostering a wave of punk, roots, rap, and grindcore fixated on social justice. On the Western Seaboard the enduring social problems of homelessness, drug addiction and a lack of affordable housing converged, resulting in a long and varied lineage of furious punk rock and hardcore. This ancestry can be traced directly to the Rebel Spell, a quartet funded by the people for the people. Their newest album The Last Run continues the lineage.

“We started working on a song about the wolf culls that were have been happening in [British Columbia] and Alberta,” begins vocalist Todd Serious, who formed the band in 2002 in East Vancouver, with an emphasis on “DIY culture, community building and social change.” His bandmates include Wretched Erin (guitar and vocals), Elliot Fanglord (bass and vocals), and Travis de Chal (drums and vocals).

“The title Last Run came from the heart-breaking image of these individuals being chased by, and shot from helicopters. As the song came together it was evident that it wasn’t just the wolves that were being scapegoated for the ecosystem destruction and by the time I wrote the closing rant of the song, Last Run referred to industry running the entire planet down, not just the wolves and caribou.”

Musically, the band takes obvious influence from the driving yet downtrodden approach of Propagandhi, while integrating piano and violin into their driving and often epic arrangements. On previous albums they’ve worked with other diverse instrumentation, ranging from organ, fiddle, and more.

“On Last Run we have Elliot [Fanglord, current bassist] able to do the piano parts we wanted on the record. The fiddle and piano are such class instruments and capable of producing the darkest of soundscapes,” describes Serious. “We asked Jeff Andrew to do a song with us on this album cause we love his music and his love for history and story-telling seemed like a great fit to work on the ‘Tsilhqot’in War.’”

The recording costs were provided by 230 funders, who raised $11,015 for the band between April and June, each of which who received a plethora of perks. This approach was necessary, given the bands deeply embedded DIY ethics, which have seen them work with socio-politically minded labels like the G7 Welcoming Committee, Rebel Time Records, and their own imprint Clandestine Collective.

“The DIY ethos is as much a practical thing as a philosophical one when you want to get going on a music project like this,” says Serious. “When we started it was the only way anything was going to get done. Now it is a way of keeping things running in a way that keeps it relevant to all the members or the band. Kind of a worker-owned collective model. Everybody in the band has some clue how to do all the different jobs that are involved in keeping the whole thing moving, From booking shows and song writing to driving, cooking, collecting vegetable oil and vehicle repairs on the road. We live in a society of specialization and it traps us in roles that grow boring and limits our ability to be self-sufficient. I love learning new things and doing them is the best way for me.”

If you’re scratching your head at the “vegetable oil” comment, we’ll explain. Touring necessitates a massive amount of fuel, so Serious converted his vehicle to run on vegetable oil, invested in removing the hypocrisy of utilizing massive amounts of resources while harping on others for committing similar abuses. In other words, rather than being a punk band that simply reiterates the tropes of the genre, the Rebel Spell actually lives it.

“Burning waste vegetable oil has allowed us to travel in a bigger and far more comfortable rig where everybody has their own bunk and a little space to sulk or sleep or whatever they need to do. Environmentally speaking we are burning a waste product of the fast food industry that is destined to become CO2 anyway,” he explains, before concluding, “Carbon neutral or some shit.”

Watch the Rebel Spell on November 16 at Lord Nelson’s Bar & Grill.


review of the action sedition / streets of rage split 10″

Reviews for the Action Sedition / Streets Of Rage spit 10″ keep on coming! Here’s one from Germany’s Plastic Bomb magazine:

assorcoverSTREETS OF RAGE hatte ich eigentlich viel mehr dem Streetpunk zugetan in Erinnerung, kommen hier auf der Split doch um einiges härter und wesentlich mehr Hardcore rüber, was ja nichts schlechtes sein muss. Die hier enthaltenen Songs sind auch alles andere als übel und auch verdammt sauber gespielt, trotzdem haben mir die alten Streetpunk-Sachen doch irgendwie besser Gefallen, weil die drei neuen Songs der Herren aus Moskau doch ein wenig monoton daher kommen. Ist halt mein persönlicher Geschmack und den treffen ACTION SEDITION ehrlich gesagt einfach wesentlich besser. Im Prinzip machen die Herren und die Dame aus Kanada, nämlich Oi! der französischen Schule. Selbiges allerdings doch ein wenig druckvoller und flotter als die mutmaßlichen Vorbilder a la KOMINTERN SECT und Konsorten und dazu noch mit weiblich/männlichem Wechselgesang und einer leichten  Priese Hardcore sowie D-Beat Einflüssen (Kein Witz!) angereichert. Selbst letzteres kommt wirklich ausgesprochen knorke und wurde auch eher dezent eingesetzt. Doch die RASH-Kapelle aus Quebec weiß musikalisch auf ganzer Linie zu gefallen. Schreit geradezu nach der Veröffentlichung einer neuen LP, haben seit dem Vorgänger auf jeden Fall einiges zugelegt. Lohnt sich für mich allein schon wegen der ACTION SEDITION Songs. An der Platte sind neben Mad Butcher übrigens auch noch das amerikanische Rebel Time Records  und Street Influence Records aus Russland beteiligt.(www.madbutcher.de) -Basti-


the rebel spell – video update

Here’s a fun little newsreel from The Rebel Spell as they roll a storm across this great country of ours…hopefully we’ll see more of these topical and timely audiovisual records!

The band says: “Here’s some of the footage from the first third of our Fall 2014 tour to launch our newest album “Last Run”. There’s a lot more shows to come. For more tour dates, check out http://www.therebelspell.com.”


the rebel spell – last run – 4 stars out of 4 stars

Review from Punk News…4 stars out of 4 stars!

trslastrunPerhaps the quality I value most in traditional punk rock, at least in terms of its limited sonic spectrum, is when I can hear a true sense of urgency in a song. Bands that are able to make me feel like a freight train is about to fly off the rails and crash through my stereo speakers are often among my favorites. The Rebel Spell are one of these bands who deliver that sense of urgency with their frantic, hard-nosed, no-bullshit punk rock. Hailing from Vancouver, they embrace the DIY ethic and are one of the rare bands left in today’s landscape of old-timer reunion shows and colossal destination festivals who you might find playing at your town’s local dive bar for five dollars. After being won over immediately by a live performance in one of these said dive bars, I picked up their 2011 effort It’s a Beautiful Future and having been waiting for the new album to drop ever since.

Hoping The Rebel Spell would continue to use much of the same sound heard on their last record, I was more than pleased as soon as I hit play on Last Run. Crunchy riffs, fast beats and booming vocals take charge of the listener’s ears on a ride through 12 modern, punk n’ hardcore rippers that send messages along the likes of social change, routing for the underdog and not backing down. The title track begins with a piano intro and then transforms into one of the hardest hitting songs I’ve heard in a while with its chorus of “Don’t blame the wolf, don’t blame the seal, if it will help you can blame me!” The bangers keep coming with “Pride and Prejudice”, “Ten Thousand Years” and “All This Costs”, showing a good level of technical prowess that would likely get the nod from fans of Strike Anywhere or A Wilhelm Scream. The band also shows a bit of range in the later portion of the record. The mid-tempo track “I Heard You Singing” presents some uplifting vocal harmonies that I wasn’t expecting at first, but continue to dig more each listen. Deciding to push the five-minute mark with a punk song can often be a mistake, but the group tackles “The Tsilhqot’in War” quite well; lyrics describing events from the 1860’s battleground hold my attention to the point where I forget the song’s run time. The album closes with one more ripper called “Fight For The Sun” that ferociously brings the rumble to the very last note.

In an era where the DIY ethos of punk rock as been a bit diluted with legendary bands from the 1990’s heyday of Epitaph and Fat Wreck Chords deciding to come back (or in some cases deciding to never leave), it can be tough for some of us to find new bands who really bring it. I don’t like lo-fi garage rock. I’m not into acoustic solo projects. For me, when I discover a band like The Rebel Spell it is something special. Efforts from bands this true to what punk rock is about deserve a higher than average score, even if they never get featured on the latest Warped Tour compilation. Last Run delivers everything I want a punk rock album to be in 2014 and is without a doubt contending for top spot on my year end list.


“we meant war not murder”: a punk rock history of klatsassin and the tsilhquot’in war of 1864

History and punk rock togther in this article from Active History.ca …

We Meant War Not Murder”: A Punk Rock History of Klatsassin and the Tsilhqot’in War of 1864

By Sean Carleton

Vancouver punk band The Rebel Spell are touring across Canada this fall to promote their new record, Last Run. Released in late September, Last Run showcases the band’s song-writing skills and passion for social justice. What is most interesting for ActiveHistory.ca readers, however, is the fact that The Rebel Spell have included a song on their album about a historical event: the little-known Tsilhqot’in War in the colony of British Columbia in 1864. The song “The Tsilhqot’in War” commemorates the 150th anniversary of a significant moment in Canada’s colonial history that does not generally receive a lot of popular attention (see the Further Reading section below for some notable exceptions).

The Tsilhqot’in War was a conflict between Indigenous peoples of the Tsilhqot’in Nation in the interior plateau of the colony of British Columbia and a crew of construction workers building a road from Bute Inlet to the goldfields in the Cariboo. In the early 1860s, politician Alfred Waddington sponsored the building of an alternative route to the Cariboo goldfields to compete with the established Fraser Canyon road. Construction on the alternative route began in 1862 without proper consultation of the Indigenous peoples whose territories the road would travel. In that same year, a devastating smallpox epidemic, introduced by settlers, spread throughout the Pacific Northwest killing many Tsilhqot’in peoples.

Stuart Daniel, “Tsilhqot'in Territories,” A Traveller's Guide to Aboriginal B.C. Cheryl Coull (Vancouver: Whitecap, 1996), 148. http://www.canadianmysteries.ca/sites/klatsassin/context/maps/1029en.html

In the spring of 1864, as part of a strategy to stop the road’s construction and prevent further colonial encroachment on unceded lands, Tsilhqot’in members, led by Klatsassin, killed nineteen men. Fearing an organized Indigenous uprising, the colonial government of British Columbia used deceit to douse the flames of discontent: the state lured the Tsilhqot’in warriors to peace talks with promises of immunity only to arrest them, charge them with murder, and hang them as a show of force. In their defense, Klatsassin’s last words were “We Meant War Not Murder.” In part because of these events, the Bute Inlet road was abandoned and the Tsilhqot’in somewhat successfully resisted colonial intrusion for almost another one hundred years. In 1993, British Columbia’s Attorney General officially apologized for the hanging of Klatsassin and his fellow Tsilhqot’in warriors and the provincial government provided funding to locate their graves as a form of redress.

The Rebel Spell’s “The Tsilhqot’in War” offers an interpretation of this important conflict from an anti-colonial perspective and thus contributes to a greater understanding of Canada’s colonial past. The song does not get all the facts right, but by highlighting Tsilhqot’in agency in the face of disease and settlers’ attempted dispossession of Indigenous lands, The Rebel Spell successfully challenge Canada’s “myth of benevolence” which suggests colonialism was an entirely peaceful process. Such a song is especially timely given the Supreme Court of Canada’s unanimous decision early this summer to affirm Tsilhqot’in land title in British Columbia.


The Rebel Spell’s song supplements recent efforts—such as the “We Do Not Know his Name: Klatsassin and the Chilcotin War” section of Great Unsolved Mysteries in Canadian Historyand John Sutton Lutz’s excellent chapter on the Tsilhqot’in in his book Makúk—to shed new light on the Tsilhqot’in War and to showcase Indigenous peoples’ historical struggles for land and self-determination in what is now known as British Columbia.

The Rebel Spell’s punk rock history lesson is yet another positive sign of the growing interest in popular culture to focus on Canada’s colonial past and Indigenous peoples’ present struggles.

You can buy The Rebel Spell’s new record from their website and you can also listen to “The Tsilhqot’in War” and read the lyrics online for free.

Sean Carleton (@SeanCarleton) is an activist and educator living in Nogojiwanong (Peterborough), Ontario, Anishinaabe Territory. He is a PhD Candidate in the Frost Centre for Canadian Studies and Indigenous Studies at Trent University and he studies the history of colonialism, capitalism, and education in Canada.

Further Reading
Furniss, Elizabeth. The Burden of History: Colonialism and the Frontier Myth in a Rural Canadian Community. Vancouver: University of British Columbia Press. 1999.

Gough, Berry M. Gunboat Frontier: British Maritime Authority and Northwest Coast Indians, 1846-1890. Vancouver: University of British Columbia. 1984.

Lutz, John Sutton. “The Tsilhqot’in.” Makúk: A New History of Aboriginal-White Relations. Vancouver: University of British Columbia Press. 2008.

Van Rijn, Kiran. “‘Lo! the Poor Indian!’ Colonial Responses to the 1862-63 Smallpox Epidemix in British Columbia and Vancouver Island.” Canadian Bulletin of Medical History/Bulletin canadien d’histoire de la médecine. 23.3 (2006): 541-560.

“We Do Not Know His Name: Klatsassin and the Chilcotin War.” canadianmysteries.ca. http://canadianmysteries.ca/sites/klatsassin/home/indexen.html.


reviews from underdog fanzine

Here are a swell reviews of the Action Sedition / Spanner split 7″,  the Action Sedition / Streets Of Rage 10″  and the new Rebel Spell record, from our friends at  Underdog zine out of Germany!


 “History lessons” 7″

ACTION SEDITION bieten 2 rumpelige RASH-affine Straßenköter-Bastarde im Midtempo mit simplen Riffs und schönen Melodien, bei denen gleichermaßen der Angriff hinter den Barrikaden lospreschen kann und ein “Nous contre Vous” Angriff und Entschlossenheit signalisiert. Mir gefällt die Gitarrenarbeit, die als tragendes Element den Marsch der Gerechten vorantreibt.
SPANNER sind räudige Straßenhunde, die mit einer Kombination aus Dub und Punk die Fäuste in die Luft strecken und Resistance-Hymne(n) realisieren, die stark an Chumbawamba’s Marschrichtung erinnern, die eine ähnlich starke Kritik gegen Ausbeutung, Unterdrückung und Rassismus in anarchistisch konzipierte solidarische Lautmalerei gebündelt haben. Für mich der klare Sieger dieser Split. SPANNER ermöglichen kollektives Handeln und tanzen auf den brennenden Barrikaden.


“Split” M-LP

STREETS OF RAGE beschwören ihre (Nancy-)Crew und scheinen immer nur eines zu wollen: keep the fight. Mit wenigen Modulitäten ausgestattet, erreichen die simplen und straighten Riffs und Akkorde ein Ausknocken in der 12. Runde, tänzeln aber auch ein wenig, um den Gegner mürbe zu machen, um dann gnadenlos anzugreifen und die Straße zurückzuerobern oder das, was davon übrig geblieben ist.
ACTION SEDITION führen ihren Klassenkampf weiter und sind musikalisch fitter, druckvoller, als noch auf der “History Lessons”-Split. Und auch der Song “Classe contre classe” ist reifer und überzeugt spieltechnisch. Die hervorragende Gitarrenarbeit peitscht die Stimmung voran und hebt den Schunkel-Pogo-Faktor enorm. Tolle Weiterentwicklung der RASH-Combo aus Quebeq, die mit ihrem dritten Song “Nous Ne Reculerons Pas” einen Abräumer hinlegen, ein exzellentes Male/female-Wechselspiel mit Biss, Härte und Solidarität.

“Last run”
“I love the underdog every time I’m not sure why or what it means!” Ehrlich und tiefgreifend operieren THE REBEL SPELL auf ihrem neuen Album, das die Ideen optimiert, sozio-kulturelle, ökologische und ökonomische Bewegungen in einen dynamischen Prozess bündelt, der eine gehörig große Portion Selbstermächtigung und Aneignung zur Entfaltung autonomer Räume ermöglicht, die Gelegenheit für Selbstkritik, Zweifel und Reflexionen lässt. Punk und Politik mit Entschlossenheit, Selbstvertrauen und eine  Zivilcourage mit dem Fokus auf Kapitalismuskritik, Landraub, Rassismus und Umweltzerstörung. Und so vermischt sich Wut und Zuversicht, Energie, Frische und Tatkraft “to roll a storm, to move on”. THE REBELL SPELL schafft eine solidarische Stütze, baut ein unerschütterliches Gerüst mit kraft- und schwungvollen Melodien und treibenden Rhythmen, um Punk in seiner Offenheit weiter zu entwickeln und voranzubringen, dauerhaft und nachhaltig zu verändern. “Last run” ist ein fortlaufendes Statement, ein Manifest, ist aber auch ein musikalisches Reifezeugnis, das selbst mit häufig begleitenden sanften, kontrastreichen Pianoklängen die Erregung, den wütend-skeptischen Blick und die Vertrautheit verschärft. Und ja, es gibt keinen Grund zur Beruhigung. Dafür legt THE REBEL SPELL ein Unvollständigkeitsgefühl, ein als tiefgreifend empfundener Mangel an Respekt offen und spielt sich direkt, kompetent  und ehrlich in die Herzen einer sich wandelnden Gesellschaft, die nicht mehr tatenlos zusehen will, wie Autoritäten und Hierarchien alles zerstören. Insofern fungiert THE REBEL SPELL auch als ein politisches Netzwerk, diese Machtkonzentrationen subversiv zu begegnen.


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