Feature / Music
20 Years Of Scene Point Blank: Collections & Reflections

Two decades of independent music coverage

All the way back in 2003, a scrappy new webzine was born.

It was a different era: guitar music was undergoing something of a revolution—or so it felt at the time—and the internet was a burgeoning place for music fans to discover new artists, find news about the bands they loved, and even download music using a fancy technology called "mp3s". YouTube, Spotify, Facebook and all the social networks we know and tolerate were yet to be dreamed up in Silicon Valley boardrooms. But there was Scene Point Blank.

For our tenth anniversary we published a book (and as a special treat for reading this introduction, here's a free e-book download of it!). For this, our twentieth anniversary(!), we've asked SPB contributors past and present—plus a few of the artists and labels we've featured over the years—to reflect on what this place means to them.

This isn't a completely navel-gazing exercise. Whether you've been reading this webzine since the early days, or if this is your first time on our blue-tinged pages, you'll have some thoughts on how the online music world has evolved (or devolved) in that time. Our writers and friends below try to be objective and reflective about what those years have brought us, and how we all ended up here.

We've also taken the trouble of recreating our Best Of 2003 album list in Spotify, if you'd like to re-live the heady days when the Blood Brothers and Xiu Xiu ruled the roost. If you weren't there, 20 years ago, you may be interested to learn that we had one of our contributors' parents review the albums we chose that year. Happy nostalgia fest!

So cast your mind back (or imagine what it was like, if you were too young to be there the first time), and hear what our writers and friends make of two decades of SPB.

— the SPB team

PS: yes, we're aware that if we started in 2003, our 20th anniversary was technically in 2023, not 2024. But we had to wait until 2023 was finished before we could say we'd completed two full decades of publishing, okay?! And anyway, if we don't post things late then it's not really Scene Point Blank. Whatever.

Finding Music, Finding Time, Finding Connection

by Loren Green, Editor

Running a webzine like Scene Point Blank is an ongoing challenge – finding inspiration, time, and making sure we keep up with publishing new stuff in balance with having a real life. I spent the better part of a year thinking about how our staff could talk about Scene Point Blank turning 20 while not thinking about what I’d like to say about it personally. I haven’t been at SPB for the full 20, but I spent that year chatting online with Matt, who helped to build what you see today way back in 2003 when he was still living with his parents. And that’s where it hit me. I keep doing this because I love to write and I love music and it’s a good way to keep me going with both of those passions as I deal with life’s bullshit. It’s not an escape; it’s a base and a safe space. But it’s also been a connection to others.

It’s talking with Matt and the rest of the team constantly. Sometimes we chat about bands and interviews and records. But half the conversation is about life. I’ve made friendships here with people I’ve never met, with people I’ve never seen beyond a social media photo or two. When I rarely interact with Matt outside of the written word, I’m always surprised when I hear his accent, even though I’ve known he’s from the UK for over a decade. We know each other, yet we don’t.

As the site ages – ahem, I mean “matures” – new struggles arise. New technology, a changing music industry, and our own busy lives give us a lot of different points of view as writers come and go (and sometimes come back again). As our Year End lists highlight, this is a diverse team with wide ranging tastes. It’s really interesting to see the Venn diagram where it all comes together. We’re a team of somewhat like-minded individuals who also have some very different ideas about what makes good music. Somehow, we pull it all together and find connection because we share this common passion about putting our thoughts about art into words that support both our own little niche webzine but, also, a worldwide community of artists who are doing this because they love it.

Life is hard. It’s always changing. We change as we grow. I’m not writing this to slight anyone who makes content to earn a buck. But I want to stress that Scene Point Blank always approaches this as fans first. We aren’t a blog. We aren’t a magazine. We aren’t part of a matrixed corporation. We call ourselves a webzine because we’re fans first. We do this for personal reasons. And those personal reasons connect us. I love that I have an outlet, but I also love that I can chat with people from across this troubled planet, sometimes complete strangers, and find connection through music and words.

To this date, I’ve only met one SPB writer in person (not counting friends I’ve recruited). Scottie, it was super cool to meet you at either FEST 5 or FEST 6. I look forward to trips to Europe, the UK, Canada, and beyond where someday I’ll meet more of you. Because 20 (now 21) years of Scene Point Blank is an accomplishment, but these experiences will continue to guide me whatever happens next. And I’ll probably have headphones on through the journey.

Travel through time with Scene Point Blank

Each year in Pass The Mic, we have a whole bunch of artists answer some questions about the past year. Each year, we try to ask one question that captures an "issue of the day." Here in retrospective mode, of course, we see that some issues are timeless and some are trifling. Here's our history, including the answers from dozens (if not hundreds) of artists, labels, and music industry folks since we started this feature in 2006.

• 2006: What do you see as the role of labels in 2007 and beyond?
• 2007: What kind of impact do you think donation-based releases like Radiohead, Saul Williams, etc? will have on the record industry? + 2007 saw the decommissioning of two prominent file-sharing groups - Demonoid and Oink. What kind of impact will the increased crackdown on file-sharing have on the record industry? Did it personally have an effect on you?
• 2008: Vinyl record sales saw a significant increase this year while hard copy sales continued to dwindle. Is this a return to the glory days for vinyl or just a phase? Explain.
• 2009: 2009 was a huge year for reunions. What reunion excited you the most? What band that has not reunited would you love to see play/record most in 2010?
• 2010: With more and more bands switching to digital methods of releasing music and communicating with audiences in 2010, do you think there's still a place for physical CDs and word-of-mouth shows in the future?
• 2011: What did you expect to be huge in 2011 which never made it?
• 2012: Fundraising sites like Kickstarter and Indiegogo have made a strong impact on the ability of artists to release music. Do you think this approach is a trend, or will it continue to shape how artists produce their material?
• 2013 (artists): There is a lot of debate over streaming sites and royalties, namely with Spotify. What is your stance on the economic policies behind the current streaming services? Do you have a preferred one
• 2013 (labels): There is a lot of debate over streaming sites and royalties, namely with Spotify. What is your stance on the economic policies behind the current streaming services? Do you have a preferred one?
• 2014 (artists): What trend will you forever associate with 2014 in music?
• 2014 (labels): What trend will you forever associate with 2014 in music?
• 2015 (artists): How relevant is the physical format record/cd/tape in 2015 and going into 2016? What do you see changing in terms of physical vs. digital discussions?
• 2015 (labels): How relevant is the physical format record/cd/tape in 2015 and going into 2016? What do you see changing in terms of physical vs. digital discussions?
• 2016 (artists): What would you like to see more of when it comes to music coverage websites (such as ours)?
• 2016 (labels): What would you like to see more of when it comes to music coverage websites (such as ours)?
• 2017: For most, 2017 will be remembered as a year of political and social conflict. How does that cultural atmosphere influence your own music or artistic life?
• 2018: Right now there are two primary types of digital services: subscription streaming and the bandcamp approach that's more individualized. Do you have a preference and what direction do you think future streaming/download services will move toward?
• 2019: What is your favorite way to pass time while on tour? Any apps, podcasts, etc you're into?
• 2020: Trying to put a positive spin on things, what is your favorite development from the global pandemic this year? (A new medium you enjoy, a specific song or collaboration, personal news, etc.)
• 2021: What went through your head the first time you played live in 2021 after the delay? (If you haven’t -- what do you anticipate when you hit that point?)
• 2022: Live shows are still a mixed bag as we adapt to social gatherings in a COVID world. What is something positive you see about touring right now? Anything you’d like to see change?
• 2023: With physical media sales seemingly less popular than ever, what are some the best ways that fans can help to support the musicians when they go to a live show?

Musicians and labels on SPB@20

We reached out to several musicians and labels to get some thoughts, memories, and reflections about Scene Point Blank, but also about how things have changed in the 20+ years we've been doing this thing.

Miski Dee // City Mouse

Happy 20 years! You're almost as old as City Mouse!

I think 20 years ago I was so excited to hear independent music news, which I got from mostly punk magazines and college radio shows, because it wasn’t continuous. Now with social media, everything is so out of sight out of mind. I feel like my mind erases with every next post. I enjoy reading an actual article or review instead of just flashes of information and images so I’m grateful for web and print zines like Scene Point Blank, Bad Copy, New Noise, Razorcake etc.

Will Butler // To Live A Lie Records

First off, big happy belated-ish twenty years! My label is hitting that mark next year so that is a big milestone. 2003 is a great time to look back because it is right around the time I was in college, running a distro as a hobby, and starting to move from studying and working hard in school (plus working after hours and on the weekends) to thinking more about how to participate more in music. I was highly involved in music in my hometown up to 2001 and going off to college shook things up and the town I was in for college was interested in a different genre of music than I really was excited about but it was good to see the DIY ethos living and being able to enjoy house shows with friends.

I was not aware of SPB until 2013 so I guess I was around for the ten year anniversary.

2003 was a time of musical transition leading to conversations that would eventually become my first label release. I don't think I was reading webzines a ton then but was using Livejournal and reading MRR which was only in print at that time. I wasn't booking tours but BYOFL was a huge site back at that time. Since I wasn't there early on, I took a little dive if you want to join me, here is the Way Back Machine snapshot of the early days of the site. Again, congrats and thanks for all the hard work and content over the years!

Laura Larson // Baby Guts // Cadette // Kitten Forever // Scrunchies

SPB has been reviewing my albums since my first band Baby Guts' release Gasoline in 2007 (8.2/10 thank you very much) but I think they really took the cake when they published Kitten Forever's "One Question Interview" in 2014.

Happy 20 years Scene Point Blank!!

Shauners // Middle-Aged Queers

I sheepishly recall coming to the SPB party somewhat late. It wasn't until (2007 or 2008, I think) when my friends American Steel reunited. I can't remember if it was an interview or review or just general news about the reunion, but Scott had shared something from SPB on Facebook and I "smashed that like button," as the kids say.

Jihad // Twelve Gauge Records

I look back very fondly at Scene Point Blank as a webzine that didn't just stick with whatever was big at the time. Case in point: you covered Twelve Gauge Records new releases very often, which I always very much appreciated and feel is a testament to how plugged into the underground you and the staff were. Thanks for all you have done and continue to do.

Looking back at one of the many pieces covering Sabertooth Zombie, this interview stands out in particular since it covered the first time I worked with and released Sabertooth Zombie, a band actively playing and making a name for themselves in the Bay Area hardcore scene. It was Curt from Set It Straight who first gave me the idea of working with them and, once we met, we clicked right away. That was the first of 11 (!!) releases we put out together. It's been a long friendship -- I love that band and I love those guys like my own brothers.

Joe Steinhardt // Don Giovanni Records

Congratulations on 20 years, that is a major accomplishment and wires like SPB are vital to the health of independent music and culture. Here's to another 20!

Blag Dahlia // Dwarves

Congratulations on 20 years of Scene Point Blank, a brilliant music site that’s named after an okay movie. The Dwarves are also celebrating an anniversary of our own, 40 years of recording the coolest underground records everyone has never heard.

In 1983 there was no internet to speak of, no smart phones, and very little adult supervision in the punk rock scene. My high school friends and I were already abusing substances in the bars of Chicago, armed only with fake IDs, brown pot and a whole lot of moxie when we debuted at the Cubby Bear Lounge. We covered songs by the Gang of Four, Buddy Holly, Sex Pistols, Frank Zappa, the Moving Sidewalk and the West Coast Pop Art Experimental Band without shame.

By the time SPB was invented, the Dwarves were already rock legends, having conquered the grunge, punk, thrash and garage scenes while always managing to look cool and starve a lot over two long decades that saw us visiting hospitals, jails and rehabs; getting thrown out of CBGBs, dropped by Sub/Pop and revived by Epitaph records during their “we’re on drugs and we’ll sign anything” phase; alternately exalted and maligned by the rock press, college radio and at least a dozen women of loose morals who worked at independent record labels.

So on this festive occasion remember, no matter how long you’ve been around, there is always someone who’s been around twice as long and still looks better than you do in tight pants.

Happy Anniversary, Stay Fabulous!

Jensen Ward // Iron Lung

[In 2003] Jon and I were on our way to play an IRON LUNG show at Mission Records when traffic slowed up real quick and we had to slam on the Daewoo brakes to avoid smashing into the car in front of us. It's a curvy mountain highway between Reno and San Francisco with limited sight lines at times, so it can be treacherous. Luckily, we were spry enough to avoid calamity but a different outcome awaited the car behind us. I looked up at the rearview in just enough time to see the driver of an SUV pull her face out of a yogurt container she'd been sucking the bottom out of. Not one of those squirt kinds either, I'm talking full on cup style with a spoon and everything. Who eats fucking yogurt when they're driving? People...

I saw the horror on her face and then the panic, all in a split second she swerved and clipped the back of our car pretty hard. Hard enough to break the bumper off our car, give our necks a little jolt and smash up some of the gear that was back there that we needed for the evening. She jumped out and started yelling at Jon saying he stopped short and how all this was our fault. Horseshit! She still had yogurt all over her face, hahaha. If we only had cell phones with cameras back then...

Lucky for us, we weren't hurt too bad and after we got insurance info figured, we still made it to the show and played. The best part of all this is, we had a friend who worked at a chiropractor's office (thanks for those x-rays we used for the BG split covers too!) and we talked her boss into writing up a claim thing so we could get an insurance pay out from this lady. It worked. We used the money from that to pay for the recording of "Life. Iron Lung. Death" later that year. Crazy the shit we gotta do just get a record made. And then we moved to Seattle...

Terence Hannum // Locrian // The Holy Circle

I think about [the state of independent music journalism] often. 20 years ago was a lot more print -- and certain sites could essentially make or break a band or a release. There also were smaller blogs that could really generate a lot of buzz about a band from really any genre. I think Locrian, which started in 2005, really benefited from this -- making CDRs and small edition cassettes -- the word spread really fast. At that time there was still MySpace -- and it did help (kind of like Bandcamp but you made no money).

Today is different, obviously, but mainly just because there is so much out there and so few avenues for people to really dive deep or like a trusted voice lifting up something obscure. There aren't enough people to cover the bands and performers out there -- not that there were before -- but the amount of sites and locations has dwindled. I think it's just more work for the listener to find what excites them. This also makes it harder for some acts to get heard. I would say maybe in 2003 it was easier for a band to organically kind of find an audience by playing shows and tapping into scenes, while today it takes more media savvy to position a release.

I would add, I book more shows now in Baltimore (dreamGAZE night -- a shoegaze and deampop night), but today a band with tons of promotion, years of press and tours on all the right sites, can still hit a city and have 20 people show up. It's inexplicable to me. That would not have happened 20 years ago. The press and hype and work would lead to better and better shows. Now it seems to need something more than just favorable write ups, etc. I do not know what that is.

Chuck Coffey // Snappy Little Numbers Quality Audio Recordings

I think the state of independent music journalism has become much more fractured, with the best writing being small to midsize entities and the worst being the large ones. It's really no surprise that the smaller and midsize webzines, sites, publications et al have the most original and incisive writing. These platforms are labors of love for their creators, editors and staff. Those terms are fairly loose in many instances too, as some of my favorite small music journalism spots are operated by one person. Like their chosen medium to express their love of music, they aren't catering to the mainstream. Journalists are writing about the bands they want to write about, regardless of how connected a band may be in the larger music industry.

The music means something to them and they want to share it with anyone out there that loves learning about bands that are good, not just the ones acquainted with the right people. Even if they aren't technically good writers in an academic sense, they are passionate and expressive. If one person reads it and checks a band out, it's a win for all parties in the eyes of the participants. These are the journalists where writing about music is in them. They have to do what they're doing, just like many of the artists they're covering. Also, much of what they write about is sent to them directly by the bands/artist as opposed to a publicist. These are DIY endeavors that have a symbiosis to keep the underground alive and moving forward.

On the flipside, any larger music journalism websites and publications seem mostly interested in what's being pitched to them by a professional publicist or other representative attached to a band/artist. If a band/album/story is picked up by one of these places, most of the copy consists of what was already written by the publicist (or perhaps supplied by the band/artist) with very little original insight going into the piece. They're a bit of a cog in the machine that is the music industry. That being said, there's a place for these entities and the people that seek and are able to be covered by them. That's just not what I'm interested in.

Twenty years ago you'd still find the same level of quality in the small to midsize zines. I say zines because the mid '00s is when things really started to transition to being web based as opposed to print. I know webzines existed as far back as the mid '90s or so, but not like the ones today that are well designed with a large variety of content. I also think there was a more diverse array of writing in larger publications before the internet really took hold. Journalists tended to be more adventurous and original. I'm guessing it's because they didn't have 90 emails a day in their inbox from industry types trying to get their spots.

Now there are music journalism sites that have their own media distribution, like exclusive vinyl variants and merchandise, to where the line between journalism and commerce is becoming increasingly blurred. That wasn't the case 20 years ago and I think as time goes on the larger music journalism sites are going to have even more commerce, while the actual writing becomes less and less of what's featured. I do think it's cool when smaller entities have their own merchandise for people that want to support them, such as shirts and stickers. It's a lot of work to keep the fires stoked and webzine and zine writers are artists in their own right. The difference is those are components of their platform so that they can keep doing what they're doing... crafting great reads and championing the bands/artists that they love and want to share with their readers.

I think 20 years from now, the only difference in small to midsize entities will be what kinds of platforms are available. The large places will continue to skew away from actual journalism and go deeper into the commerce end of things. Maybe I'll feel differently 20 years from now about where I prefer to read about music, but I really hope not!

Note: I didn't mention any entity names because all of this is just my opinion. I didn't want to accidentally stir any pots or have anything get misconstrued about a specific site or person. I also didn't want to unwittingly leave anyone out of a list of favorites. I have lots of favorites and credit anyone that gets out there and tries to do something creative!

Tobias Jeg // Red Scare Industries

I’ll tell you one thing I’ve noticed about the past 20 years, is that people in the punk/underground music scene stopped giving a fuck about some sacred ideals. Specifically the various “rules” about commerce and scene ethics put forth by people like Ian MacKaye, Tim Yohannan, Steve Albini, etc. Us Gen Xers were very parochial about corporations getting involved in music, but that all seemed to disappear with Millennials, who appear to be fine with Live Nation and major labels. I’m not saying they’re wrong, because nowadays it looks pretty silly that Jawbreaker were made to be pariahs back in the day, but I wish there was some more visible leadership from younger folks. And let’s admit it, the current generation adheres to strict dogmas too, because lord knows you can get canceled for anything.

Would be nice if the generations could collaborate and learn from each other in the spirit of unity and progressive values, but there’s just too much clout to be gained from anger, identity politics, and outrage. Sigh. And just the other day I saw a couple “legacy punk bands” (that’s what we call them now) who teamed up with a manufacturer tied to the Proud Boys. Sellouts abound. Ope, you see that?! I still got it!

Baptism By Fire

words and photos by Scott Wilkinson

Wow, SPB is twenty years old. I came on board sometime during 2009 and, in reality, Scene Point Blank wasn't on my radar in the digital universe. In fact, the origins of my contributions can be traced back to a seemingly innocuous post on Reddit. It was a call to arms from Matt Andrews, beckoning Redditors with an affinity for music to lend their voices to an established music site. The offer? No pay, but the tantalizing promise of free music downloads. For someone with a passion for tunes but lacking any professional writing experience, it was an irresistible proposition.

The journey began with a review of a band hailing from sunny Southern California, Killola, and their debut album Let’s Get Associated. It was a baptism by fire for this aspiring music critic, navigating the treacherous waters of deadlines and the dreaded blank page. Procrastination seemed to be a familiar bedfellow, as the deadline loomed large before summoning the muse to scribble down thoughts and impressions.

Yet, despite the initial anxiety, a rhythm began to emerge. Monthly contributions became the norm, albeit under the self-imposed pressure of impending deadlines. Then came the leap into the world of interviews, with Jim the charismatic leader of Red Hot Rebellion and the legendary Dave Wakeling from The English Beat. From text-based conversations to navigating the uncharted waters of phone interviews, each experience brought new challenges and rewards.

But Scene Point Blank wasn't just about big name interviews; it was also a platform to spotlight local talent and share the excitement of live shows. Whether it was rubbing elbows with icons like Nick Lowe and Peter Case or championing the lesser-known gems of the local music scene, every article was a celebration of the universal language of music.

The journey didn't stop there. Armed with a recorder and a newfound confidence, interviews with musicians turned into collaborations with friends and fellow music enthusiasts. Contributions poured in from the likes of John Cate and Robin Lane, adding a personal touch to the vibrant tapestry of Scene Point Blank's coverage.

And so, from humble beginnings on Reddit to a thriving hub for music aficionados, my Scene Point Blank journey was a testament to the power of passion and community. With each article penned and each interview conducted, it continued to evolve, driven by a shared love for the transformative power of music.

Boston bands you need to hear

Here are some local artists/bands in the Boston area I’ve been catching lately:

MBE - Mach Bell Experience

Led by Mach Bell, formerly of the Joe Perry Project and Thundertrain, MBE is making waves with their energetic performances and raw sound. With Johnny Press by his side, they're creating a buzz that's hard to ignore.

Session Americana

Known for their impeccable harmonies and exceptional musicianship, Session Americana is a band that consistently delivers unforgettable live performances. Currently touring overseas, catch them at one of their upcoming local shows for a musical experience you won't soon forget.

Cliff Goodwin

With a resume that includes being the former guitarist for the Joe Cocker Band, Cliff Goodwin is a charismatic showman who's leaving his mark on the local music scene. Catch him live and witness his passion for music firsthand.

John Cate & the Van Gogh Brothers

Still going strong, John Cate & the Van Gogh Brothers are crafting exceptional music that captivates audiences. With a new album in the works and a regular residency at Vincent’s in Worcester, MA, they're a local treasure worth discovering or rediscovering.

Tyler James Kelly

Tyler James is a rising star, both in the realm of country music and singer-songwriters. While he's still a vital part of the local rock scene in The Silks, his solo efforts are carving out a distinct identity for him in the music world. With a natural charm that embodies the essence of country life, Tyler James exudes authenticity both on and off the stage. One of his standout qualities is his exceptional guitar playing, which has garnered praise from fans and critics alike. With skills that rival those of seasoned Nashville veterans, Tyler James brings a fresh perspective to the country music scene. Keep an eye on this talented musician as he continues to make waves in the world of country music and beyond.

Adapting to a changing environment

by Sarah Jane

Scene Point Blank celebrates over 20 years this year. I was welcomed into the Scene Point Blank fold not long ago in the grand scheme of things, joining in October 2021 and compared to most of the other Scene Point Blank writers I have barely made a dent but so far it has been an amazing and fulfilling experience. As a hobby writer I have learned so much in the short time I have been doing this. From reading how the other contributors express their views I have branched out from reviews to other features and discovered so much more new music along the way, it really has been a win-win situation for me. It helps that we are able to write in our own style and there are different genres and sub genres that send their music in, so it's fun to dip into stuff you may not normally have paid that much attention to previously.

I was first alerted to Scene Point Blank by a friend who had asked if they could feature a news piece on one of my favourite bands and had seen they were also looking for writers so sent me the details. I am by no means a writer at all, I just enjoy writing about things I love which is mostly horror movies and music, so joining Scene Point Blank was the best choice for me to explore all avenues. I was also very much in a rut when it came to music and needed to get more up to date and expand my tastes.

The guys at Scene Point Blank have certainly helped with this. They have always been very accommodating even to the point that if anything horror related turns up be it a documentary, book, movie or band they will always throw it in my direction which I really appreciate. I feel that even though most of us writers have never met each other in person once you have been on the team for a while you get an idea of the genres each of us prefer of which seems to be very varied and we cover a broad spectrum of different styles.

I think the main point that stands us out from others is that each individual review, feature and interview is fair and informative. There are positives to every record and we give them a fair chance even if it is not to a particular writers taste. I have never read a review on Scene Point Blank that outright dislikes a record and does not back it up with a legitimate reason. Even if they don't enjoy it there is always a positive point which is something I have always strived to mention.

This, to me, shows Scene Point Blank to be a place to get non biased, no nonsense information with no agenda or allegiance to any one genre, label or style as well as a place that is not going to blow things out of proportion if someone disagrees with them. This comes from experience and adapting to a changing environment that you only get from a site that has been doing this for a long time.

Music scenes are ever changing and for independent musicians sites like Scene Point Blank are here to provide a further promotional outlet for bands (and new record labels) that are doing it on their own and want to expand their reach to a wider audience . So here's to another 20 years of quality content!

Obliviousness becomes me

by Delaney

Five years ago, writing for a music webzine would’ve seemed half-way between impossible and downright absurd to me. At twenty years old I could name about 10 songs and half of them were off ABBA Gold (not to knock ABBA, I still love those Swedes as much as the next guy).

I grew up in a noisy household with two sisters and several animals: if the radio was playing at any point, I certainly couldn’t hear it. Neither of my parents are, let’s say, well-versed in the world of music. An Alan Jackson CD or two snuck its way into the car on a road trip but that was the extent of my musical education. One memorable time I was singing along to AC/DC’s Dirty Deeds with a friend who let me get through the entire song before correcting me “it’s dirty deeds, not dirty jeans, done dirt cheap”. What can I say? Obliviousness becomes me.

Sometime in my early twenties I had hit a dead end on a YouTube rabbit hole and clicked a recommended documentary I had never seen before: Kathleen Hanna’s The Punk Singer. The zines, the pissed off attitude, the DIY ethos, the low-fi of it all- I was hooked. I spent the next few years playing catch up. I started with the 60s and worked forward. Blaring Iggy Pop, The Slits, Bad Brains, Fugazi and Bikini Kill, I became music obsessed. I planned my whole day around which songs I’d listen to on the commute to university, while I was in class and, when I could get away with it, with one headphone in during my shifts as a waitress. I talked to friends exclusively about bands, each Sonic Youth anecdote I told I thought to be both inspiring and illuminating (in reality I’m lucky any of my friends from this period still talk to me). Eventually I hit it, present day. No more music. Of course, there’s always more to listen to, always new LPs and splits coming out. But it wasn’t the same. My voracious appetite wasn’t satisfied. Covid hit and live music dwindled.

I found myself alone and, for the first time in a while, in silence.

Say what you will about AI and algorithms but thanks to my near all consuming obsession with high gain guitar riffs I was recommended the Instagram page of a webzine- Scene Point Blank. After a seven hour long deep dive into their archives I knew I’d found what I was looking for: fans. They loved music the same way I did. Reviews were kind, appreciation wholehearted, they were unafraid to truly enjoy the overdriven chug chug chug of a palm muted guitar. This one was for the fans.

Since then I’ve been lucky enough to write for Scene Point Blank and continue to read the work of my now colleagues. Despite my waves of procrastination there’s few things I love as much as the drive SPB gives me to discover and write about new music. To me, SPB is emblematic of true blue music appreciation and, when called for, obsession. Here’s to 20, or 21, more.

There is no Rock without the Roll...

by Christopher D

Wow! Twenty years of existence on this Island Earth spinning around the planets. That is the “China” anniversary. I humbly offer you one of my great-grandmother's plates that have been sitting in my garage for 30 years. As the Tuff Darts sang: “All For The Love of Rock and Roll”. It is a true labour of love. Sure, the pay scale is crap, but we all do this for other ulterior motives: free swag, cool connections, flapping your blubbering lips at your Rock and Roll Heroes, a free concert once in a blue moon and a one-way pass down the highway to hell where all the best parties are!

My journey began as a wee gaffer beating out a Gene Krupa/Buddy Rich rhythm in my mother's womb. It wasn’t long after that I would hear my parents spinning these round objects full of sound, imagination and magic. One of my earliest memories was hearing Leonard Cohen droning his haunting vocals as I lay quivering under my Peanuts-themed bed sheets. For one of my birthdays, I was given a Mickey Mouse Record Player and camera. I soon raided my parent's record collection and was immediately gobsmacked by the power of rock and roll as I carved deep lacerations into the vinyl grooves with Mickey Mouse’s arm/hand.

I think the first discovery of a repeated listen was Creedence Clearwater Revival's - Travellin’ Band – instantly making me hyper (pre-Ritalin years) and causing my goofy kid sister to bounce up and down on my captain's bed in the hope it wouldn't collapse in our collegial hyperactiveness.

My mother, seeing my love for music, would occasionally bring home a vinyl platter for herself – however, the first record she bought my sister and me was Bay City Rollers' 1974 classic Rollin’ which contained the sugar, cyanide-spun Scottish sing-a-long S-A-T-U-R-D-A-Y Night! The path soon led to classic rock with the Beatles and The Rolling Stones, Queen and then—overturning a moss-filled rock to find a strange urchin living underneath—Punk Rock.

This eventually led to playing in a few forgotten-to-the-hand-of-time bands: Distorted Truth, Mike Hunt and the Multiple Orgasms, Ritalin Kids and Anti-Bodies. When that became redundant and snooze-laden, I decided to knock on some big wooden doors. This led me to The Big Takeover and my introduction to Jack Rabid. Jack gave me the chance to carve my teeth and rattle off a few articles, which led to Jon Mills Shindig! Magazine out of the U.K. and eventually Hollywood's best (now sadly defunct) Bobby Lucky Guinn’s Sugarbuzzmagazine.

Then, like Rip Van Winkle, I had kids and slept for a million years until Matt Hutchinson appeared with magical wings and sprinkled magic fairy dust into my sleep-encrusted eyes and woke me from my slumber. That is how I entered the Scene Point Blank family... Me, Mom (Loren) and Daddy (Matt). I tend to duck and weave and watch for my old Punk Rock Heroes to pop their heads up from the gopher holes and await an opportunity to blabber at people I have long admired.

I thank Scene Point Blank for giving me the opportunities time and time again. I have to personally thank Loren for his memory like an elephant and for keeping the flowing river moving like The Nile. He knows my niche and pitches me curve balls, knuckleballs and the occasional spitball (although not very COVID-friendly these days).

So here is a big birthday cake in the face of Scene Point Blank, or anniversary... any which way you cut it, it's something you can get your deep fangs into.

Onwards and Upwards as I tip my hat to you while spilling my drink.

Writing about music is just too much fun to stop

by Dennis

Oh boy, time flies! I thought I wasn't on board this ship that long, but I just checked and it is already seven years ago that I e-mailed to ask if I could join the ranks of SPB's writers. I had been writing a bit longer than that. It has been more than eleven years ago that I asked to join Some Will Never Know, a now-defunct webzine. I have been doing this waaaaayyyy longer than I thought. And than I ever expected this to last, really.

Once upon a time I decided I wanted to start writing because I wanted to be involved in the music scene. I desperately wanted to contribute in one way or another. A couple of attempts has taught me I do not have enough musical talent to play an instrument and being pretty sure nobody wants to hear me sing, I turned to the one thing I know how to do: write. If I push myself a bit, I can explain to you why I like or dislike an album.

Also: I was spending too much money on music and I hoped having access to promos would make me spend a bit less on it. Oh, what a sweet summer child I was! The effect was quite the opposite really. I discovered so much fantastic new music that I wanted to add to my collection that I now have a storage problem (leading me to buy more digital albums on Bandcamp, where my collection is already starting to be too huge to properly manage).

As a writer I like to focus on punk and hardcore, although the music in my personal collection is more varied. I'd estimate around half of it is metal (or metal oriented). Somehow I always shied away from writing about metal. One of the reasons I asked to join SPB is because I saw there would be room for exploring a broad musical spectrum. After seven years I still haven't written about metal, so I guess I will stay focussed on punk and hardcore. Maybe though…. I am in my forties now, shouldn't I evolve into a jazzlover by now? Who knows.

Over all this time I managed the promo-pit (I can't tell you how happy I am that I am no longer involved in that anymore! Especially considering how that slump seems to have expanded to something nearly unmanageable), wrote reviews, did interviews and wrote columns.

Through interviews I met with some very interesting people, a couple I really admire (some who really fell from their pedestal!) and visited a couple of really interesting places. This is where I wrote the pieces I am most proud of: my interview with the owners of ARC studio (for SomeWillNeverKnow) and more recently my interview with The Crimson Ghosts are pieces I am really proud of.

Through reviews I have gotten to know so much great music. I have had the opportunity to listen to stuff way before it was released (and usually was still late with my review), who doesn't want that? I also have had the chance to write a couple of columns together with Robert which was both fun and taught me a couple of things about writing.

The columns (Table Talk) are the pieces I have most fun writing. I feel those allow for a bit more creativity and a bit more freedom in what subjects to write about. I have learned a lot by writing those columns because the rules are slightly different. Finally I am a sucker for lists, so when I get the call it is time to think about what the best records of this (half) year are, I am hyped to the max. Around the end of the year I get really into lists. What is the best artwork, what were the best EP's etc etc. (if you have brilliant ideas about lists, just give me a heads up, I will probably react very excitedly!).

Although I have been struggling a bit with writing lately I have no intention of stopping soon. It is just too much fun. It is fun to write, but also it is fun to be part of this crew of music lovers who write about music I love, or write in such a way about music that I think I should like it. I am excited to be part of a crew where I am not the only one who is enthusiastic about a new horrorpunk record, who wants to write about a new record by a band almost nobody heard of so far or who just want to write about stuff that is slightly music related (Running On Nothing is one of my personal favorites to read). So thank you, thank you to you, fellow writers and of course also a big thank you to you, dear reader!

SPB anniversary

by Cheryl

Can you believe SPB is 21? Can I believe that I’ve been here for 13 years? Do I know what to write here? All of these answers are a resounding no. It feels like no time has passed since I joined the site and yet I’ve done so many cool things here that only time can account for it. When I look back at everything I’ve written for SPB, I am both proud and confused. Some of them I have no memory of and some I cannot forget.

I knew about SPB since the early days of the site as Matt was active in a community I was also a member of — shout outs to the old school Despair Faction — yet writing about something I enjoyed was not really on my radar until around 2010/11. One fateful day in April 2011, Bleak Metal was born and the rest is history. Soon a fellow DF friend, Aaron, asked if I would like to join SPB and from then on I have been here. I also joined several other popular webzines around the same time and probably burned out much earlier than I should have due to the amount of work I was doing with very little in terms of reward.

My output has dropped significantly in recent years. I wrote for many webzines, a physical magazine and my own blog and over time the excitement and willingness to commit to so many things definitely disappeared. Now I have two outside online spaces, plus my own, to call home and each offer something a little different. I’m not as active in writing, especially since I realised that I can say no to requests and not feel bad about it – therapy is amazing, guys.

Having the Only Death Is Real column certainly helped to maintain a presence in less obvious ways as the shorter review style suits my brain quite a lot more for the moment. Plus, I can cover several records at once and feel way more productive overall. No longer do I feel like I have to be the first to cover something or have a particular artist on my list. I am relaxed and it’s lovely.

Looking back through my reviews, I see how much my own style has changed and how I approach music in general. Now I don’t listen to absolutely everything I get sent. I do if it seems interesting or a friend recommends it. I don’t write about absolutely everything I get sent. Now I am more comfortable taking on what I want to do, rather than what others want me to do. That was a revelation for me and over the last two years it’s something I have tried to stick to. Now when I write, I don’t feel the pressure or expectations that I used to and that’s so freeing.

SPB played a large role in that as there is so much freedom here to do the things that you love. Want to write about some weirdo album only ten people will like? Do it! Want to write about a cool, popular release that everyone will like? Do that, too!

SPB has given a lot and will continue to do so with the people we have and the people that will join us in the future.

The enduring fire of the underground punk and hardcore spirit

by Campbell

Twenty years is a milestone I hardly feel qualified to speak on. In the early 2000s, publications that covered DIY and underground music generally, and hardcore specifically, were mostly hyperlocal; everything was centered around word-of-mouth and physical attendance at shows. There were scenes hiding a layer deeper than what you found in a copy of Alternative Press, snagged while you exited Tower Records. Maybe you could follow the trail of a flyer that only had aesthetic clues and no details to indicate the location -- is it someone’s parents house? A nicknamed rec center? What’s a VFW Hall?

Let us not forget the budding intersection of in-person and online communities of the time: the message boards, the street teams, the local show sites (shout out to The List) that first gave the space for discussions and an extended reach for local scenes. Webzines gave me a place to absorb discussions that would otherwise be inaccessible. They were an escape for those who shared the same appreciation for these underground scenes, protected and cherished, an access point into a world lived at shows.

When I discovered Scene Point Blank, it had a deep focus on the styles of hardcore I had fallen in love with, at a time when seeing hardcore bands and absorbing more historical context was the most important thing in my life, especially when feeling disinterested in participating in the traditional aspects of the high school experience. A former staff writer wrote fluently with a deep affection for the Northern California hardcore scene, and brought an intimate, first-hand knowledge of North Bay bands and the characters behind them; I had immediate respect for the site as a result. And I saw it wasn’t just hardcore -- the Scene Point Blank community had expertise in countless other genres, ones that I loved and others that I would come to understand more deeply.

Hardcore can be inherently protective, insular, at times exclusionary, or it can feel like that’s at the forefront of the reality, often at odds with the message. But SPB was a welcoming place that was more about celebrating and contextualizing, much less of the echo chamber of cynicism and gatekeeping that might be prevalent from jaded scene elders that held too tight to their past ideals. In the end I understood they were just fighting for the sanctity of their own space and identity.

Several years later I was given an opportunity to be a staff writer, even if my voice was far more Xanga than Stereogum: minimally insightful, obtuse in its basic assessments and context laying, grasping to describe albums to an outsider while struggling to offer an insight that those scene elders might appreciate. It’s tough to read those early reviews, the shallow opinions or downright incorrect details I gave, with occasional fabricated narcissism. When I dipped into depression for the better part of a year, my writing reflected it, a palpable disinterest as I hedged against my own takes, and I was lucky to have this as one of the lifelines used to pull myself back up.

But within a few years I developed a tendency for a long-winded, flowery style with telltale patterns, like recklessly unnecessary adverb-adjective descriptions and an uncomfortably candid focus on my own emotions and narrative; it left the reader without much to hold on to. Still, it became one of my most rewarding outlets, and gave me a chance to be a part of something that felt valued.

As I got older, like many of us, I basically fell out of the scene completely. I still listened to my favorite bands, albeit at a lesser frequency, kept in touch with a bunch of hardcore friends; despite not attending shows I still considered myself a hardcore kid. But I slowly lost the affiliations, and opportunities to converse about the things I cared so deeply about went from infrequent to almost never. My intense passion for underground music and the joy of discovery was still present but lay somewhat dormant. Perhaps it was impossible to replicate that youthful intent to pursue your obsessions “with an immense, furious eagerness.”* At times I felt isolated, existentially lost, with so few places to share my values and enthusiasm. And as you can see, my self-involved emotional style continues; we can’t all be perfect.

So when I was given a chance to return, it was fortuitously just as COVID lockdowns were about to turn from weeks to months, with a succinct and powerful open invitation from Loren - “We're still going and it's still a labor of love. I can only relay my own personal experience which...in short, is that writing for yourself is more satisfying than writing for others.” Can’t argue with that.

I was reinvigorated as I dove back into this community, one that satiated a desire to connect with the music and scenes that I had lost touch with. My tastes had shifted but my memories were still intact, burning bright and brimming with passion that was found again, past experiences revisited through rose-colored glasses. Now I was more of an out of touch old head, with thinly veiled cynicism that had softened with time spent away from the scene, a loyal dedication to my own perception of hardcore ideals, and a premature mid-life crisis intensified by the confines of my apartment. It was amplified by the fact that the 2020 American Nightmare reunion tour, my first hardcore show in nearly a decade, was one of the final public events I attended before lockdown. Perhaps some poetry can’t be written.

What struck me most in these recent years was the impressions this music makes and marks on our own lives, moments that we share at a distance and have a desire to describe to others. In some brief glance, we understand each other. We express and inform and articulate to unseen allies. The sense of connection is somehow tangible, and I felt it as much by reading as I did by contributing; a personal and communal “labor of love.”

So we’re here to celebrate twenty years of Scene Point Blank, and I’d like to show my appreciation for the institution and what it represents: the enduring fire of the underground punk and hardcore spirit, borne with a nod to and knowledge of the formats that came before it, a space built for a number of immensely passionate writers who wanted to share their viewpoints across all underground styles and yet-to-be-recognized subgenres.

I’m humbled by the dedication and depth of knowledge of this entire collective across the years, and I want to give a special thanks to Michael Phillips who originally accepted my timid first submission, Loren Green for inviting me back and providing constant wise support, Matt for his omnipresence and dedication to the site’s development and design, every reader who found solace or inspiration in this enclave, and every single writer who has graced this site with their contributions. May your excitement and devotion continue for far more than another twenty years.

[*from China Miéville’s This Census Taker.]

Through the Lookinglasself

by Aaron H

"As someone who buys a lot of music, goes to a lot of shows, and just all around loves music, I think I could really enjoy writing for you guys! I also don't have a lot going on right now..."

At a time when I felt directionless, depressed, and dormant, Scene Point Blank gave me some kind of purpose and home. My father had just passed away. I'd spent the past few years caring for him while he'd been sick and in and out of hospitals. I was looking for a job but received no callbacks. All I had was a love for music and a community that I could come back to. This community was the Despair Faction/AFI Messageboard. It was this messageboard that this webzine was born out of, and in a way, It was this messageboard that I would find who I am now, to be born out of. Every road I've ever taken stemmed from that community. When I saw Matt had posted that SPB had been looking for writers, I nervously typed up the request to join their roster on October 7th, 2010.

I had come in with my first album review already done before being officially brought on 10 days later. It was for Iron Chic's debut full-length, Not Like This, and to this day I still stand by every word. Since then, I've done several reviews, blog posts, and features. Although they've become more infrequent as I've got older. Time slips away and I find myself more busy and/or more burnt out from my day job to give albums the attention they deserve to write a proper assessment of someone's art -- which is something I've come to wrestle with more and more. I came to find that I was usually more interested in reviewing and pushing albums that I felt deserved to be heard rather than those that should be picked apart and criticized.

Over those 14 years, a new fervor made itself known. I found myself more and more enthused with photography -- something I've always been interested in and dabbled in while in school. Early on with SPB, I did a couple of concert reviews and a funny thing, I'd show up and would sometimes have a photo pass waiting for me, even though I didn't have a camera. There were a few instances where I had a simple digital camera because I had interviewed the band earlier and used it to record the interview. I had decided it was time to put those photo passes to use, so I got a DSLR. One of the first shows I shot was fun. back in 2012. I remember getting home, combing through the photos, and discovering I had taken some shots that I was proud of. All of a sudden, I was discovering a new wealth of creativity and means of expression. And in the process, something new that I could offer SPB other than album reviews.

For the next couple of years, I continued to cover shows, but it wasn't until after the pandemic that I decided to delve deeper. As much as I love music, I love live music more, and being able to combine these two passions seemed like a no-brainer. I learned more and more about how to control and use my camera. I learned more about editing raw images. I've gone on to take photos of artists that I never thought I'd be able to cover. I've met other like-minded photographers -- some intimidating and some inspiring. I've seen my work grow and change and (hopefully clearly) improve. I don't know how others feel about my photography. Whether they like it, whether they think it's good or bad. All I know is, that I've been proud of some of the work I've put out there (most of which can be viewed right here on SPB), and I'm going to continue to learn and grow. The hope is that others enjoy my photography. The goal is that I enjoy my photography. It's become a means of self-fulfillment and that's all I can really ask for. I couldn't be more grateful to SPB for granting me this creative outlet. Happy 21 Years ScenePointBlank. Thank you for letting me be a part of so many of them and thanks to anyone who's taken the time to look at my photos.

We do this for you.

by Matt, founding member

I don’t think there’s anything else in my life that has remained as consistent a presence as Scene Point Blank.

We started this thing back in 2003 – another world. Dial-up internet; no social media; CDs were still a thing and Green Day had yet to “go political”. We used to post on messageboards (for any non-millennials, these forums were like a primitive form of TikTok, except without video… or push notifications, or shadowy state-sponsored ownership structures. Actually, they weren’t very much like TikTok, sorry) and chat on AOL Instant Messenger. I was sixteen years old and had no idea what was going on, but then, neither did anybody else.

We charted controversy during those early years: I gave the Offspring a mostly-positive review and was dragged over the coals by some of the staff writers, unhappy to be associated with a publication praising the latter-day work of Dexter Holland and chums. I wish I could say that time has vindicated me, but my Instagram feed just showed me a clip of the band playing with Ed Sheeran, so I’m afraid I was wrong. Another writer gave Against Me!s Searching For a Former Clarity a rare 10/10 score, which kicked off huge debate. In retrospect, we should’ve gone for radical transparency and published these internal arguments alongside the pieces themselves.

The web changed and we tried to follow it: after a while we closed our messageboard to external users, though it survives today for staff to draft content before launch. We experimented with polls on the website, video content, blogs and podcasts, some of which are still around today. I’m pretty sure we had a Tumblr page at one stage, but I was never cool enough to use it.

We published a book at the 10 year anniversary which remains a highlight for me, despite the steep learning curve this entailed and the complexities of self-publishing. We interviewed big artists, sent people to musical festivals for photography and got hacked by someone trying to promote eastern European casinos. Life’s rich tapestry, all to be found here.

I’ve had two children since starting the site, as well as moving house at least ten times, learning to drive, and buying my first home. I used the site as leverage/experience to take my first steps into professional web development and now I’m a seasoned—or jaded—software engineering manager. I also record music and release my amateur stuff to the big streaming services: another platform that didn’t exist for the first decade or so of SPB. But as much as all these things have changed, the site remains: different from how we started, but still here, still sharing opinions about music, still proudly unpolished and upbeat.

There’s less of an audience for what we do, twenty years on. Alternative music remains pretty much as popular as ever, although perhaps the guitar-band boom of the early 2000s won’t come back again. But if you want to know when your favourite band is on tour, or decide whether or not to spend your money on their new release, you’ll just follow them on Facebook or stream the tracks on Spotify. But that’s okay: that’s not what we’re here for, really.

We’re here for the deep listeners, the people who want to read smart, engaging writers who can pick out the highlights; the diamonds in the rough; the weird, scary death metal ground into ashes at the abandoned cemetery. We’re here—two decades after starting—for the people who are passionate about music, who want to surround themselves with new and exciting sounds, and get personal, charmingly non-algorithmic recommendations for their next aural fix. We’re here for the people who think music is worth paying for and artists worth making time for, not streamed for pennies in between Netflix and Amazon Prime. We’re here for you.

Another 10 years? Who’s to say. When my kids are old enough to read this website and start asking me who the Blood Brothers were, maybe that will be a sign that it’s time for me to hang up the keyboard. But right now, I think we’re happy to continue beavering away and serving anyone who still wants to hear great music. Just don’t expect the 30th anniversary celebration to be on time.

— Matt

PS: I should give the last word to my long-suffering partner Maddy, who I’ve been with for almost as long as this site has existed. Here’s her recollections on Scene Point Blank:

“For over a dozen years, Loren has been like a virtual third person in our relationship – and I’ve had to take it at face value that he’s definitely a man. Matt has got out of many annoying family occasions by saying ‘I’ve just got to do a Scene Point Blank update…’.

From the book, the podcast, multiple redesigns… I’m really proud of what everyone’s achieved with SPB and to continue doing it for all this time. Readers may be shocked to hear that I still think the Spice Girls represent the pinnacle of music, so I haven’t absorbed much from two decades of SPB.

I hope to spill the tea with Loren one day so we can complain about our ‘shared partner’ together.”