Ask many Americans what they know about Bolivia, and the answers may very. You may get “is that a city in Africa?” or perhaps “oh, that’s that laundry detergent they have at the Dollar Store”. Bolivia is in fact a South American country laden with culture and history - exquisite beauty next to crushing poverty; community, coca leaves, sopa de maní, and DIY steering wheel rigs. I was there in the mid-2000’s when protests broke out in support of the citizens being able to own their own national resources. There were people - men, women and children - marching the streets banging pots and pans all day and night, which helped lead to the election of the country’s first indigenous President. Now, if you ask one of those abuelas on the street to name a Ramones song, they probably couldn’t. But what I saw in those streets was as punk as anything I’d seen in a lifetime living in New York.

Out of this environment comes the punk band Kimsacharani, a high-energy outfit that echoes the revolutionary spirit of the country - standing up to hate, injustice, intolerance and Western imperialism. As you’ll read, they are outspoken, committed to their values, and aren’t backing down. We had a chance to catch up with them, and are happy to present this interview.

Carrie Riot is one of those quintessential rebels - forging her own path, on her own terms. Navigating a turbulent youth in the Seattle grunge era left her with a strong sense of badass independence. Her creative expression—spanning photography, art, and pinup—functions as a vital form of emotional expression. While she presents a bold, punk persona that challenges traditional beauty standards and embraces the divine feminine, in this interview she candidly discusses the vulnerability of being judged and her ongoing journey to replace a sometimes harsh internal dialogue with self-confidence. Now in her 50s, she balances this fierce outspokenness with a goofy sense of humor (on display below) and a deep commitment to sisterhood, advocating for women to abandon competition with each other in favor of collective power. Supported by her long-term partner who embraces her wild spirit, she continues to critique societal complacency and the modern rat race, drawing inspiration from the vibrancy she finds in cultures abroad to fuel her unapologetic authenticity.

She’s mouthy, opinionated and does not hold back. Prepare yourself.

Emerging from the subterranean basements of Seoul, 18fevers serves as a raw contradiction, even a rejection of conformity. The band is fueled by a shared frustration with social gatekeeping and the pressures of hyper-competitive South Korean capitalism, serving as a high-energy punk collective. Their identity is defined by a "fuck you" mindset and a commitment to radical inclusivity, deliberately using their platform to advocate for feminist and LGBTQ+ rights in a traditionally conservative society. Musically, they prioritize a chaotic, often unhinged energy designed to shatter the numbness of modern life, as their loud, fast performances serve almost as a communal catharsis. Despite facing pushback from those who label their stances as too political, the band continues to foster a sanctuary for the marginalized, proving that the struggle against the status quo is a universal language fueled by both rage and a deep sense of mutual care for not just their fans, but everyone.

Coming out of the vibrant music (and protest) scene of Los Angeles, The Antiks are a high-energy collision of punk energy and experimental alt-rock. The band navigates a creative space where their self-described wackiness often masks darker, introspective lyrical themes, drawing inspiration from a wide-ranging palette that includes The Dickies, Radiohead, and the improvisation of fusion jazz. Rooted in the Chicano punk and Riot Grrrl traditions of SoCal, the band—comprised of Kaitlin, Sean, Ernesto, Chris, and Cjay—uses their platform to confront systemic injustices, specifically targeting issues like immigration and fascism with a direct, confrontational ethos. Whether they are exploring complex gender politics or leaning into absurdist Dadaism, The Antiks prioritize a human-first approach to songwriting, blending technical musicianship with a raw, communal spirit that aims to provide both a wake-up call and a sense of catharsis for their audience.

Taylor Destroy, the powerhouse vocalist for Aspect Iris, has carved a unique space for herself in the metal scene through sheer tenacity and raw talent. After overcoming struggles that forced her away from the industry, she made a triumphant return, gaining 100,000 followers and widespread acclaim following a single viral cover. Her vocal prowess is characterized by a sophisticated, self-taught hybrid of fry and false chord screaming, a technique further refined during her collaboration with renowned producer Landon Tewers. Taylor’s artistry is deeply personal, drawing lyrical inspiration from the grit of the upstate NY music scene and her profound experiences with motherhood—particularly the emotional intensity of a traumatic childbirth. A staunch advocate for LGBTQ+ and trans rights, she actively challenges industry stereotypes, using her commanding stage presence to ensure metal remains an inclusive and high-energy environment for everyone.

When we did our very first interview for this magazine, there was only one person we reached out to, and that was Aaron “White Owl” Collins, a 40-year veteran of the scene. Exactly one hundred interviews later, we brought him back to catch up. Is it because he is one of the best bass players out there? Is it because I had a poster of his band on my wall in college? Well, yes, and yes, but more because I had the opportunity to go from a long time fan to close friend, and discover that the old saying about never meeting your heroes could not be more wrong.

Collins’ career has spanned multiple genres, from funk metal to hardcore to hop hop to his current band Butterbrain, which throws every type of music at you but the kitchen sink (and when the next album drops, we may get the kitchen sink too). We caught up with him to discuss what it’s like to share the stage with your idol, the realization that the party can’t last forever, and why the music world is so much richer because he didn’t listen to his Mom.

Damian Eckstein is a veteran (or perhaps a stalwart) of the New York City music scene whose career began with trial by fire performances at the legendary CBGB while he was still in high school. His creative philosophy was forged through a mix of raw DIY hardcore influences and formal studies in studio composition at SUNY Purchase. Damian’s professional path is remarkably diverse; he transitioned from the high-pressure boot camp of 1990s commercial jingle writing—where he mastered the art of the "earworm"—to producing genre-bending tracks for television and composing long-form pieces for modern dance choreography. Despite a disillusioning brush with major label politics that left one of his early singles shelved, he has redefined success as being a loyal lifer who prioritizes artistic connection and global reach over pure financial gain. Currently a multi-instrumentalist who anchors the band GIFTSHOP on bass, he relies on a songwriting process driven by vocal melodies (captured in beast mode) while traversing the city. Above all, his longevity in the industry is built on a foundation of deep-seated trust with long-term collaborators and the support of one special person.

Emerging from the storied punk landscape of the Twin Cities, Couch Potato Massacre has spent a decade evolving from a project focused on catchy, Simpsons-inspired hooks into a more emotionally resonant and politically urgent outfit. While their sonic DNA is firmly rooted in the local lineage of The Replacements and modern Minneapolis staples like Off With Their Heads, their recent work—tackling everything from social media polarization to 80s nostalgia—reflects a band seeking deeper human connection. Despite navigating the 2026 landscape as an independent act after a long run with Out Loud Records, the group maintains a disciplined, high-energy “work hard, play harder" DIY ethos. Whether they are documenting film locations on their sixth summer tour or processing childhood isolation through tracks like "Number Munchers," the band remains dedicated to finding community among the misfits.

Emerging from the digital chaos of a Craigslist ad, Papas Sin Sal has rapidly evolved from a chance meeting into a cornerstone of the New York DIY scene. The trio—composed of Brian, Ray, and Nadav—fuses the melodic hooks of power pop with the grit of hardcore and the swing of psychobilly, creating a signature scuzz and screech that feels both nostalgic and vital. While their early rehearsals were marked by the typical nerves of a new project, the chemistry solidified the moment they locked into the bass line for "Vampire’s Kiss." Since then, the band has prioritized a "less is more" philosophy in their arrangements, allowing their raw, three-piece energy to cut through the noise without losing the intricate details of their genre-bending influences.

Micah Schnabel and Vanessa Jean Speckman’s latest collaborative effort, The Great Degradation, serves as a raw, journalistic dispatch from the intersection of economic instability and artistic defiance. After thirteen years in their Columbus neighborhood, the duo synthesized the chaos of a sudden displacement into a record defined by its here and now urgency. While their previous work in Call Me Rita saw them in more traditional band roles, this project leans into a hip-hop-inspired vocal trade-off, allowing Schnabel’s structured musical visions to clash and harmonize with Spreckman’s poetic, visual-art-driven perspective. And as you’ll read, all of this is fueled by some serious “fuck it all, let’s get weird” energy.

Punkterview is a Canadian media project dedicated to amplifying the unsung heroes of the punk and hardcore communities, shifting the spotlight from frontmen to the essential behind-the-scenes collective like roadies, techs, and organizers. Founded on a D.I.Y. ethos and a lifelong passion for the subculture, the outlet explores the precarious balance between professional life and creative activism while championing the scene as a supportive family rather than a competition. While the project embraces the digital age's ability to foster global connectivity, it remains wary of modern pitfalls like AI-driven content, instead prioritizing authentic, grassroots storytelling that values the solidarity of the community over personal fame or algorithmic trends.

No More Sun is a four piece new age alternative metal/rock band from The Hudson Valley, New York. Powerful female fronted clean and harsh vocals and bass by Julia Foreman. Charles Apollo adds full melodies and rhythm on lead guitar while Andrew Gauzza keeps the pocket on drums, and new addition Alexander Cage on rhythm guitar. Founded in 2015 as a garage band originally called “No Worries”; as it all started from a flyer at a local music store. They paid homage to their original band name with their 2023 album "No Worries", a blend of all different styles of music that has inspired them over the years. They released their singles "Leech" and "Sick of You" last year, and are in the process of reinventing themselves in a heavier style, inspired by modern metalcore, nu metal, melodic death metal, and hardcore. Their plan is to be as big as humanly possible, go on tour, travel the world and share their music with anybody who is willing to listen.

Behind Enemy Lines NYC is a committed anti-imperialist collective dedicated to confronting the American war machine from within what they term the "belly of the beast." Rejecting traditional electoral politics and managed dissent, the group focuses on turning state repression into a catalyst for further resistance. They prioritize direct action over symbolic protests, often refusing legal compromises like plea deals to expose the political motivations behind police tactics. Whether challenging the deportation infrastructure of ICE or calling out milestones in imperialism—such as the upcoming 250th anniversary of the United States—the organization seeks to transform widespread disillusionment into organized, sustained disruption aimed at dismantling the infrastructure of U.S. global power and promoting social justice

Hailing from the storied radical punk scene of the Bay Area, The Furious Tits have been described as the musical lovechild of the Sex Pistols and Angel Olsen, blending raw, nihilistic energy with a haunting melodic vulnerability. Formed during the pandemic after lead singer Zoe began rage-writing lyrics in the shower, the band features a lineup of jazz kids gone rogue, including funk-machine bassist Miju, versatile drummer William, and face-melting guitarist Griz. Their music sits at the volatile intersection of queer identity and climate activism, using punk snark to tackle visceral existential threats like microplastics while demanding that the environmental movement learns to dance all night. Whether they are recording in the same studio as the Dead Kennedys or fomenting revolution from the moshpit, The Furious Tits create a high-octane "aural sex" experience that encourages their fans—affectionately known as The Push Up Bras—to laugh, cry, and organize together in the spirit of resistance.

Defying the "burn fast and fade" trajectory of the underground, Blackout Shoppers have maintained their momentum for over two decades by leaning into a genuine, brotherly bond and a refusal to overthink their genre boundaries. Their sound is a deliberate collision of West Coast speed and East Coast grit, blending the velocity of skate-punk with the heavy stomp of New York Hardcore—all while peppering their set lists with a unique mix of socio-political commentary and the occasional absurdist conspiracy theory. Led by founder and Sergeant-at-Arms Blackout Matt and vocalist Seth Amphetamines, the band prioritizes a raw, DIY ethos that favors the analog warmth of vinyl and the chaotic energy of live, guerilla-style performances over studio polish. Even as the NYC scene evolves around them, the group remains anchored by their work ethic and a shared love for the retro sounds that first sparked their passion as teens, proving that authenticity and a sense of humor are the ultimate tools for longevity in hardcore.

Hailing from Uruguay, A Small Madness is a metal outfit that specializes in turning suppressed internal friction into explosive sonic energy. Their name serves as a metaphor for the unspoken parts of the human psyche—those bottled-up emotions and hidden truths that eventually reach a breaking point and find release through their music. While their foundation is built on the raw, empathetic legacy of early-2000s nu-metal, the band has consciously evolved, shedding revivalist labels to embrace the technicality and of the modern metal scene. By opting for English lyrics, they treat language as a universal bridge to connect with a global audience, viewing their songs as a direct conversation with anyone who has ever felt marginalized or misunderstood. Fearless and visually driven, A Small Madness doesn't shy away from provocative political or religious themes; instead, they use their platform to "tear off the band-aid," aiming to provide the same sense of sanctuary and catharsis that their own musical heroes once provided for them.