afropunk premiere: new remix and q&a from afropunk fest vets blxpltn #soundcheck

If you’ve been reading SoundCheck, you already know why BLXPLTN is one of the most exciting new bands in the scene right now. The outspoken punk rock band blends punk, industrial, electro, and hip-hop with lyrics about everything from social justice to radical self-care. On their latest remix, they team up with Light Asylum keyboardist Raphael Radna for a 303-laden rework of “Train (Get Out).”

By Nathan Leigh, AFROPUNK Contributor

What are some of the themes on your album Black Cop Down?
It is a voice for people who feel as though they haven’t been heard. Whether it be social injustice, homophobia, racism, fair wages, or heartbreak, it’s okay to scream about it.

What is it about punk rock and heavy music that lets you talk about serious issues?
When and average person listens to heavy music, it automatically makes them bang their head. It’s done as a release of all the frustrations of the day to day. A stressful workfday in the rat race, police brutality, wondering whether you can even keep the lights on. And if you could muster a voice, it would probably come out as “This is some bullshit. I need to be heard. We need to be heard.”

How is Black Cop Down going to save the world?
Black Cop Down isn’t going to save the world. Only love and communication can save the world. Showing mercy, compassion, and forgiveness is really what the world needs, not another punk rock band. Though what we want is for you to listen to this and maybe ignite a spark that makes you want to cause change, or make a difference. The album cover alone has caused some great debates and responses. As a band we learned a lot about ourselves and each other. Some of our fears and insecurities. And it’s sparked an interesting dialogue for reviewers and fans as well. The concept and art was done by Mez Data, an Austin graffiti artist, and we’re lucky and grateful for him for bringing our musical vision into a visual aspect.

Tell us a little bit about the new single, “Train (Get Out).”
This is a remix for “Train (Get Out)” done by Raphael Radna, keyboardist for Light Asylum and Ice Choir. It was a bit of a chance occurrence. We ran into him after a Light Asylum show in our home base, Austin, TX. We told him we were fans, and hung out while they were in town. He immediately took to the idea of doing the remix and was one of the first people to hear the album. We’ve been excited about releasing this for a while. It’s just another way to show the depth of our influences, mixing genres and uniting people who might not hang out with each other otherwise. What’s the point of making music if you can’t unite different people and influences with it?

What was it like working with Ikey Owens?
It was amazing. We learned a lot from a legend about music and about humility. We learned to not worry about petty shit and just rock, to do it from the heart and not second-guess yourself. May he rest in power.

What’s next for BLXPLTN?
We’re already working on the next album and planning a West Coast tour in the near future. The next album will again feature producers Autry Fulbright (…Trail of Dead, Midnight Masses), and Elliott Frazier (Ringo Deathstarr) and be released through Wolfshield Records. This one is going to be a lot edgier, and you can expect to hear a lot more samples and breaks, more of the electro influence. It’s very heavy and very fast. A lot more industrial drums, sounds, and synths. Khattie’s thrashing, wailing guitar will always be a constant. We already play 2 songs that will be on the next album at shows, “No Fly List” and “Wrong Kinda Love.” If you want to know where we’re heading, look out for those tracks.

Jonathan adds this account of meeting Ikey Owens for the first time:
“The keyboard player from the Mars Volta is here.”
“No way, are you serious!?”
“Ya. He wants to meet you”
“Why???”
“Cuz he knows you’re in an all black punk band with Tasz. He said he wants to work with you”

Such was my first meeting with Isaah Ikey Owens. A month later we were recording to tape at a studio in East Austin, hitting oil drums with hammers. He never had the slightest air of pretention. I remember sitting in a smoke filled control room laughing about how a band who he had worked with was arguing with him about a particular sound. “Sure, we’ll do it your way. Tell me what YOUR Grammy award winning ears hear.”

Tasz and I beat those oil drums to hell all day, as if each one was solely responsible for the oil industry’s environmental atrocities.

A year later the album that we started with him and completed with others is finished, ready to share. But Ikey will never hear it. He passed while on tour with Jack White in Mexico on the day of the release.

These tiny characters on a screen seem futile in their attempt to capture, or maybe release, some of the emotions we have all been feeling.

BLXPLTN is still playing tonight, in an hour, alongside Autry Fulbright’s Midnight Masses, someone who knew Ikey well. He played on their record as well.

Its crazy to see how one person could affect Austin’s music scene so immensely and so humbly. And not just Austin. Truly the world. We will mourn his passing and celebrate the life of one of the greats. Because he would want us all to.