It was 1999 and I'd just met up with THE SHIZIT through a messageboard on mp3.com - A few of us were making hard electronic sounds and wanted to join up, hear each others' material, and eventually pooled tracks in towards a compilation. This was my first exposure with J.P. Anderson and Brian Shrader, and hearing those tracks from the debut release "Evil Inside" CDR, and later "Script Kiddie" CDR got me excited.

At the risk of naive nostalgia, it was an exciting time in terms of the expanding digital hardcore scene. The coalescing of the anti-globalization movement with a massive youth awareness in politics, went hand in hand with the internet's ability for young digital hardcore producers to network and trade opinions on songs and politics. All of those times, the MP3 trading, the remixing of each other's material as well as the do-it-yourself style of activist broadcasting of all these new independent media sites sprung up by the thousands over such a small period of time. There was a lot of new technology for us to take advantage of and use to make a lot of noise.

All of this, for them came to frutation with THE SHIZIT's "Soundtrack for the Revolution", released on E115 Records, a definite sleeper of an underground classic, mixing elements of heavy metal/rock, breakbeats and hard techno for an influential 12 track release - The strength of this material provided a lot of attention for the band, gaining them an interview on TotalRock, and eventually a opening spot on a UK tour with the notorious Alec Empire, who released not one, but 3 of their songs to appear on the seminal "Don't Fuck With Us" compilation, a representation of THE SHIZIT and the North American hardcore scene's struggles and successes.

Like other infamous bands of past, THE SHIZIT exploded as quickly as they came on the scene, calling it a day in 2002 due to 'irreconcilable differences'. It was unfortunate, considering the feeling you'd have hearing THE SHIZIT, thinking that they were always on the verge of really 'breaking it big', (whatever that is supposed to mean). Their successes helped inspire not only my band but other bands in our scene to do what they do, as loudly and prolifically. As intense and aggressive as their sound was, you still felt like they could rise above where we all were and help take the politics and musick to a brand new audience.

In the last days of THE SHIZIT, there was talk of a remix companion to the "Soundtrack..." album and I was really interested personally in contributing. Then with the band broke up, the idea was dropped until sometime in 2002 when I decided to undertake the project of a posthumous tribute remix album to the band, with bands from DTRASH Records and other good friends. The times have changed since those first days: Mp3.com is now gone and succumbed to commercialist interests, as has Napster; The political climate in the USA and other countries is tense, with activist circles being persecuted for their failure to adhere to rigid "Patriotist" behaviours, and fighting against all of it, nonetheless. However, the idea of young and angry international digital hardcore, industrial, breakcore, punk/noise projects banding together for a release like this is still as strong as ever, for me, bringing a sense of closure to the legacy of THE SHIZIT, as we look forward in anticipation of what may come from JP or Brian's next musical endeavours.



DTRASH118Live At Club Spirit2008
DTRASH048Remixed For The Revolution2004