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express parts of yourself that sometimes get hidden away in the clamour of your day-to-day existence. We’ve always approached every gig the same - just put everything you have out there. Has the atmosphere at any of your shows ever turned properly nasty or dangerous? Not yet, fortunately. I’d like to think that we try to cultivate a communal feeling at the shows despite the intensity and confrontation that occurs. Much of what we do live is us laying ourselves bare for people, providing the chance to see us at our most vulnerable point - I think that’s truest way of bringing a sense of perspective into live music. I hate that idea of artists and punters… the construct of celebrity that sometimes surrounds guitar bands is nauseating. You appear to be the kind of band who have to make their music in order to survive and stay sane, rather than trying to become famous or make money. Do you hope to one day make music full time? Much of what we do is an attempt to rail against ego and the incompetence that so often comes with arrogance in music. We write and perform the songs out of necessity. Tere’s no other creative option in our lives. Tere is no financial incentive on our side to make money out of this. What’s important for us is that we’re having a go at doing something as opposed to wallowing in an apathetic heap. Writing, drawing and putting ideas together can be the cheapest thing you can do. We wanted to carry that over to people who were going to buy the record and charging £9.99 and providing the free download felt like the fairest way of doing things. Sometimes when I’m in record shops I see new releases going for upwards of £20-odd quid. We wouldn’t want someone to have to fork out almost half-a-day’s wage to be able to listen to something of ours that they might enjoy. Reading your lyrics they are full of disillusion, hopelessness, fear and anger. What do you think the common man can do to try to turn the world around from its current state of violence and ignorance? Following recent political disappointments, I’ve tended to look to local communities as a place where you can make a real difference if you’re interested. In terms of the band, we’ve strived to make sure that we act with some sort of moral compass. Te lyrics might be bleak in their outlook, but I think there’s some hope in being able to recognise and present many of the flaws I’m talking about. Te struggle, however, is finding genuine methods of challenging the problematic societal issues we’re facing. Starting with their impact on your local community feels like the most beneficial way for me. We’ve never been a band to proclaim to have all of the answers, but taking your concerns and ideas beyond the echo chamber of social media is likely to provide a decent start. In recent years there has sadly been a lot for the British people to feel affronted, angry and upset by. Do you think that that’s why punk is still a valid genre in 2016 – as long as there is shitty stuff happening to rail against, serious punk music will live?

26 / September 2016/

I think some of the ideas of that the traditional ‘punk’ movement are still valid and important. However, the genre has arguably been culturally and financially appropriated in so many different ways that it often becomes just another form of consumerism. If you dig deep enough, though, there are still a lot of important things being challenged and discussed. Musically, Bad Breeding are incredibly intense and dense, and mostly maintain the traditional punk concept of tracks being under three minutes. As a result the album is 33 minutes long and includes 16 songs. Do you think having short tracks allows you to give 100% power throughout? Some of that stems from our pragmatism as people. What we’ve done with the first record is find the most immediate way to impact listeners and combing parts in high-pressured, succinct structures felt like the strongest way of doing so. Another element that bleeds into their length is the context in which we make the songs. We rehearse in a small space when we get time after work so structures usually come together in a very tense and constricted environment. Tere’s a small part of the week when you get to vent and channel your frustrations into something and usually that overlaps into what we create. Before Bad Breeding existed, were you making music in any other contexts, and was it in a similar style? For me this is the first creative thing I’ve taken part in. Charlie, Ashlea and Matt played around in another band, but this is the first effort to concertedly do something meaningful together. You’ve been played on Radio 6, and Tom Ravenscroft in particular seems to be a fan. Do you search out this sort of coverage or are you not fussed about selling what you do commercially? We’re not interested in making things work in a commercial context, but what’s important is to ensure that we don’t get stuck in a vacuum, shouting things in an echo chamber for the sake of self-centred catharsis. We want to reach people and provide access to what we’re doing, otherwise it’s wasted energy. Your show at Norwich Sound & Vision is the first on a big autumn tour, and presumably you’ll be playing tracks from your debut album which came out earlier this year. Have you written any new material since then that we might hear in Norwich? We’re always trying to knock things together. It’s either that or the wheels stop turning. It’ll likely be stuff from the record and some other bits too. Much of the stuff on the album was put together at some point in 2015 and recorded over Christmas - we’ve been writing more ever since that point really. Tis is the second time you’ve played at Norwich Sound & Vision, and we’re very much looking forward to seeing you again. What makes a good gig for you? Te fundamental point is to make people feel something - whether it’s positive or negative. Indifference would be the worst thing. Other than that, giving the best account of yourself is vital too.

Lizz Page

INFORMATION Bad Breeding will be tearing Te Mash Tun a new one as part of Norwich Sound & Vision on Tursday 13th October, with support from Peach Club and Cabbage. Find out more at

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