Meet Redbait, Six St. Louis Activists Making Searing Hardcore For Social Justice « Bandcamp Daily


  • À la suite de la fusillade d’un Noir de 18 ans, Michael Brown, par un policier blanc, Darren Wilson, en août 2014, les yeux du monde entier se sont fixés sur la banlieue de Ferguson, dans le Missouri, à St. Louis. Au cours de l’année suivante, les habitants de Ferguson et la communauté militante de la région ont joué un rôle essentiel dans la tenue de conversations vitales sur le racisme institutionnalisé, le classisme et la brutalité policière dont souffre aujourd’hui l’Amérique à l’approche des élections présidentielles de 2016.

    Bred for the knife on the factory farm
    Taste tradition convenience
    don’t justify such harm
    Torture rape and murder
    Someone’s life, she was someone’s mother

    The blood in your mouth flesh in your face
    Brains, bodies, tissue
    Severed familial bonds
    All gone to waste
    Animals don’t want to die

    Bred for the knife
    Blood on your hands

    Commodified and voiceless with no way out

    Bred for the knife
    Blood on your hands

    An individual is not a product

    An entire sea of pig shit
    Devastates the land
    Hidden so you don’t see it
    Blood on your hands
    Do you know how animals die

    Killed by complacency
    stolen for consumption

    Bred for the knife
    Blood on your hands

    Commodified and voiceless with no way out

    Bred for the knife
    Blood on your hands

    An individual not a product

    Hundreds of thousands are unnecessarily slaughtered every day for what amounts to preference in taste. Choose to abstain from this injustice. An individual is not a product.

    Bred for the knife
    Just eat something else
    Not a conscious life
    Bred for the knife

    Commodified and voiceless with no way out
    Bred for the knife there’s no way out
    On the factory farm there is no way out

    In 2017, a group of St. Louis activists came together to further that reckoning, by way of a crusty, punk/metal hybrid six-piece called Redbait, so named for a well-known anti-Communist slur. “We’re all trained organizers—half the band is union—and a lot of us were there for Ferguson,” says Madeline B., one of the band’s two frontwomen. “Some of us were demonstrators, some of us arrested, some of us were fuckin’ pepper sprayed by cops. We were really in the thick of it for the long haul. All of our politics kind of cumulated into Redbait.”

    Punk bands rising up from activist scenes is nothing new, but Redbait may be one of a handful who can trace their foundation to a specific protest gathering. “We were doing a fundraiser show, and we had to change venues of the last minute because of political reasons. We didn’t have an opener so we were just like, ‘Well, you know some Misfits songs and you know some Black Flag,’ and we just threw together a covers set,” says co-frontwoman Rebecca Redbait. The chemistry between the performers proved to be natural, and the response from the audience inspired them to start galvanize their anti-facist, anti-racist, anti-patriarchal, and pro-worker’s rights ideologies into sonic diatribes of their own.

    Redbait’s values don’t just inform their music: they dictate how the six-piece function as a unit, both amongst themselves and in the public eye. “We really try to make sure everyone is represented and their viewpoint, whether it’s music or lyrics,” Rebecca says. “I think there is also an intentionality around not censoring the women in the band, just because in the scene at large there’s just the white male perspective is pretty well represented already—so for example, a lot of the guys will take a backseat in interviews.”

    On their self-titled debut EP, Red Tape, Redbait explore themes of domestic violence, sexual harassment, and police brutality toward people of color. The strength of the EP’s four tracks drew the attention of New Age Records, who released the group’s blistering second EP, Cages, last month. “I don’t want to say we’ve matured [since Red Tape], but we’ve definitely honed our sound,” Madeline says. “The first EP was a less cohesive smushing of each other’s influences, and with Cages we had more of a conceptual plan of what we wanted to put into a record… I think it was a more serious process.”

    You try to put us in our place but
    we refuse
    You try to shame us for our looks but
    we refuse
    You try to take away our rights but
    We refuse
    You try to make us feel ashamed but
    We refuse

    We refuse to live a lie
    Sublimate to sate your ego
    Subjugate to stay alive
    We refuse to stay quiet
    We refuse to cover up
    Fuck you and your fragile ego
    We refuse your rule

    We will not be silent
    We will compete
    We are stronger than you think
    We refuse
    Side with the patriarchy and you will lose
    Submission can be refused and we refuse

    To that end, Cages find Redbait giving a wider cross-section of takes than ever before; the anti-sexist, anti-racist fury of their last LP is tempered with songs about animal rights, economics, and drug addiction. As always, they never shy from calling out institutions and authority figures that perpetuate suffering and injustice. The raging, crusty “Bred for the Knife” addresses the horrors of factory farming, while the title track—a chugging, metallic protest against the Trump administration border policies that have torn families apart—Madeline screams, “Scapegoated by the public / Uprooted by the state by politicians and corporations who make America great.”

    Elsewhere, Redbait draw from personal experiences and observations from life in St. Louis, in order to highlight the social and political constructs plaguing urban life in America. The ripping “Our Town” details the segregation and prejudice play out in the band’s own backyard from the perspective of a stereotypical racist (“Don’t go north of Delmar if you want to stay alive / Lies sit outside on the south side / And you’ll be burglarized”). Take out the various references to St. Louis landmarks, and the searing satire could easily describe any city in the country. And that’s exactly why the band made it.

    “With Ferguson, the entire country got this idea of St. Louis as violent people are looting,” Rebecca says. “And I think ‘Our Town’ really illustrates how structural racism is really at play here, and just to kind of give people a real perspective from people that live here, and presents more of the actual truth, as opposed to the one that’s blown out of proportion by the media.”

    The logistics of handling a six-person band (mostly work, family, and activism obligations) have largely kept Redbait close to home since they started, but they’ve already made a big impact among the local youth. According to Madeline and Rebecca, some of the band’s biggest fans are eight to 12-year-old girls, a contingent they count as perhaps their biggest source of pide, and a driving factor in their mission to open up people’s hearts.

    “There’s a little bit of power in what we do because so many people are afraid to push the envelope in terms of being a political band,” says Madeline. “Everyone in hardcore, more or less, has left-leaning ideas, but really talking about systemic oppression has not been a huge conversation. So if we can open the conversation to these issues, that’s all I could hope for.”
    –Jamie Ludwig

    @sinehebdo j’ai aussi rajouté la chanteuse de Pischarge à la playlist de #chanteuses_féministes de @mad_meg
    #Redbait #punk_metal #bandcamp

    • Ce n’est pas mon style de musique, mais les paroles sont super. Sur le sujet de Ferguson et des violences policières, c’est plutôt :

      Smoke in Your Eyes

      Who do you protect
      Who do you serve

      A hammer to the face of every cop
      A violent end to the police state
      Hard to see with smoke in your eyes
      Licking his boot
      Kissing his hand
      Who do they protect?
      Who do they serve
      Fuck your thin blue line
      Fuck your racist flag

      Who do they protect
      Who do they serve

      They’re paid by the rich to kill the poor
      Property over people, a corrupt state
      The only thing worse than being raped
      Is reporting it to the fucking police
      Cops don’t protect you
      Cops suspect you
      Less cops on our streets
      More pigs in the ground

      Who do they protect
      Who do they serve

      It’s hard to see with smoke in your eyes

      Danny Thomas
      Stephon Clark
      Ronnell Foster
      Ulises Valladares
      Jonathan Duane Atchley
      Arther McAfee Jr.
      Bailey Turner
      Tyler Miller
      Andrew Finch
      Kameron Prescott
      Michael Wilson
      Lawrence Hawkins
      Martin Jim
      Calvin Toney
      Ashley Jenkins
      Patrick Dorsman
      amadou diallo
      Eric Martin
      Oscar Grant
      kajieme powell
      Philando Castile
      Sandra Bland
      Michael Brown
      Tamir Rice

      #Musique #Musique_et_politique #USA #Redbait

      A rajouter sur ma compil consacrée à la #brutalité_policière #violence_policière :

    • Chouettes paroles féministes ici:

      Dick Punch

      Never listen to no
      never learned the word
      think you’re a good one
      think no one sees you grab us

      Get your fucking hands off me

      Never listen to no
      never listened to her
      think you’re a good one
      think no one sees you grab her

      Get your fucking hands off me

      You think that’s what I wanted?
      Try the fuck again
      Not your fucking coatrack
      Don’t think I won’t fight back

      FUCK YOU

      Punch your dick and run

    • Et une chanson anti-Trump sur le traitement des enfants migrants à la frontière mexicaine :


      Children in cages
      Assaulted by the state
      Suffocating bureaucracy
      Propped up by hate

      Taken for a shower
      You’ll never see your mother
      Sleeping on the concrete floor

      Scapegoated by the public uprooted by the state by politicians and corporations who make America great

      Colonized the world
      Sowing atrocities
      couldn’t stand the fallout
      Making prison a home

      Crime against humanity
      Torn from a mother’s arms
      Deported fathers gone
      Upholding white supremacy

      Children in cages
      Locked up by hate

      Suffer little children
      As these institutions allow it
      We don’t want to see it.
      Suffer little children

      IN CAGES

      We don’t see these prisons when we’re staring at the screens
      While people are taken by gestapo secret police

      They use power to divide
      Power to imprison
      in a country so free it incarcerates children

      A rajouter à la compilation de chansons anti-Trump :