From Backwoods to Big City: Truck Violence's Debut is a Brazen Fusion of Hardcore and Folk

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Truck Violence by SCUM

Recent heavy-hitter Violence by Truck Violence rips all the bandages off the skin of country living, exposing the raw, gritty wounds underneath. Released July 5th on independent label Mothland, Violence is the Montreal band’s debut record.  

From backwoods to big city, guitarist-banjoist Paul Lecours and singer-poet Karsyn Henderson moved to Montreal by way of Alberta in 2021. Joined now by Chris Clegg on bass and Ryley Klima on percussion, Truck Violence’s dark griefcore folk is embracing the more dire side of quaint, oft-romanticized backcountry life, tackling the realities of addiction and dysfunction that creep into the cracks of remote Western Canada. 

Lecours and Henderson are all experimental, all the time. Previously releasing a seriously twisted, probing electronic hardcore rap artpiece under the moniker No Cru5t (Hinterlands, 2023), these two know how to serve up gallant gloom on a platter. For this project, Lecours wraps banjo-tinged licks into an infernal hardcore burrito, swapping out experimental electro-beats for a dash of dulcet, melancholic folk.

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Truck Violence by SCUM

But this album isn’t dark for the sole sake of darkness. “The album should inspire hope, just as much as it creates a sense of shame,” Henderson notes. Violence isn’t senseless. Deep inside those agonizing screams, sweet pangs of healing can be heard. “Through this project, we’ve recognized many shameful things in ourselves. These have been let go with much kicking into the music and the art, itself. This isn’t about accepting our faults, the way we hurt the people we care about, there is far more beauty in an honest bettering.” Henderson’s lyrics stretch out a hand to the community, hoping not only to be heard, but to grasp palms; binding together in solidarity. 

Underneath rattling blast beats, driving dissonant riffs, and dirty poetic shouts, the band’s opening track video, “Undressed you layn’t before” showcases this violent unity very literally. Shot on a fisheye camcorder—a possible homage to skate culture and a definite nod to DIY punk—the video exhibits a crowd egging on two humans slamming boxing mitt fists against each other. Under the nose of their charming, shit-eating grins reads the yellow lyric subtitle: “Tell me I’m good enough.” As the band begs to be part of something, to be interesting, to be written about—Henderson utters in anguish: “Ultimately, that’s my goal / to be written about”— bloody-toothed smiles shine on the faces of hugging friends. 

Fundamentally, that’s what it’s all about, isn’t it? Facing that human desire to feel “good enough” in a distorted dystopia does require a little bit of a fight. Being honest in this day and age requires a fine-tuned focus on the fissure of our fucked up reality. Truck Violence utilizes the sound of Violence to dig into their upbringing, fleshing out rural Canadian roots, but ultimately beckoning broader solidarity. Violence is not about violence. It’s about honesty and healing. It’s about family, be that blood-binding or chosen. It’s about community. And if I can be part of that greater reach, Truck Violence, here I am: writing about you.

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VIOLENCE

Released July 5th, 2024 on Mothland

1. Undressed you layn't before

2. Lecture

3. Guns buried in the front yard

4. Drunk to death

5. The gash

6. He ended the bender hanging

7. I bore you now bear for me

8. Along the ditch till town

Credits:

All songs by Truck Violence

Chris Clegg - Bass

Karsyn Henderson - Vocals

Paul Lecours - Guitar & Banjo

Ryley Klima - Percussion

Production: Paul Lecours

Mixing & Mastering: Noah Baxter

Artwork: Truck Violence

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Truck Violence

Instagram | Bandcamp | Spotify

Starly Lou Riggs is a queer agender visual artist, writer and musician from the United States, currently based in Montreal.

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Also Cool Presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Corinita

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Poster by Vasco Cavalheiro

Though flooding dancefloors in spring attire may be hard to imagine in midst of this week’s major snow dump, we’re asking you to save the date—and potentially bear the cold—for our next show! We promise, it’ll be well worth your while.

On Thursday, March 30th, hit Bar le Ritz to experience both the gig and the rave in true Also Cool fashion. Open the pit with surf punk trio NO WAVES, taking the stage with fishnet-tearing hardcore ensemble Whoredrobe, followed by a deepcut dance party led by DJs Beamskii, 1800pastamoney, Mayalabae and Corinita,

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Also Cool presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Coronita at Bar le Ritz

Thursday, March 30th, 2023

Doors — 7:30PM | Show — 8:30PM | 18+

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In a recent interview, NO WAVES is described by Also Cool contributor Uma Nardone as:

Maybe a kaleidoscope of indie sleaze, where Blink-182 and Surf Curse intersect? Their sets radiate a joyousness and respect that's rare in the industry. They want to be there as much as the audience does, and it shows. 

Joining the bill is up-and-coming hardcore band Whoredrobe. “Never taking themselves too seriously,” Whoredrobe uses riot grrl, punk and metal influences combined with humour and irony to create music that is uniquely their own.

Get ready to mosh, dance and let loose at our punk show-turned-after at Bar le Ritz! Save the date and see you on March 30th.

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Visibly Choked Cut Their Teeth on 13-Minute Self-Titled Debut (Mothland)

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Visibly Choked album artwork by Cassidy Johnson

Montreal experimental punk outfit Visibly Choked left us on the edge of our seats after their set at FME this fall; inciting head-banging amongst a chair-bound basement crowd amid COVID-19 restrictions. Last week, the band cut all anticipation full-stop with the delivery of their self-titled debut via hometown label Mothland. In all its thrashing, pantyhose-splitting glory, the six-track EP is turning heads for all the right reasons. 

Recorded off-the-floor with Steven Gibb at Lite Downs Studio, Visibly Choked immerses the listener in the five-piece’s fever dream—managing to capture the sweltering erraticism of their sorely-missed live sets, without compromising the integrity of their sound and their commandment of a room. 

Seducing us from the gate with gritty twister “Mother Tongue,” Visibly Choked reminisce punk’s legacy practice of pairing a driving beat with existentialism. Along with a Lynchian music video, “Mother Tongue” ponders estrangement from one’s heritage and the scars of cultural assimilation. 

Next, “Too High” shoots an exasperated eye-roll at a bedframe-less hookup. Between surfy guitars and the haze of the night before, Visibly Choked recount the all-too-familiar frustrations of dodging someone you didn’t expect to see at a show. 

The spiralling “Uneven Keel” follows: epitomizing the band’s self-described "five people having a panic attack" sound. Heavy in sentiment and atmosphere, the barely two-minute melter dissents into a paranoid frenzy, anxiously dissecting themes of identity, existence and trust. 

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Visibly Choked courtesy of Mothland

Coming up for air on “A Snake Called Ean,” lead vocalist Gabby Domingue wraps listeners around her finger with each dragging sibilance. Building from the brooding bassline at its core, “A Snake Called Ean” waxes and wanes with Domingue’s repeated bitter lament: “It’s so much harder to love you than to need you.” 

The album’s final two tracks make sure to grab you by the collar on the way out. With “Third Time’s the Charm” and “Shit Lord,” the group return to gnarly hysterics to tie the bow on their first offering. 

In a scrumptious 13 minutes, Visibly Choked manage to indulge listeners without allowing us to get too comfortable. 

Visibly Choked

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Zoë Argiropulos-Hunter (she/her) is the co-founder and managing editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, and a radio host & DJ.

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