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X92.9 FM

11 April 2008
I’ll take a Molotov Rocktail to wash down all that rock

James Callsen

I’m stoked.

No, not because of the G.I. Joe movie (although that is awesome), but because one of my favorite local bands is unleashing the fury, the power, and the politics on a piece of 180 gram wax called Molotov Rocktail (which, in my opinion, is one of THE greatest album titles of the year..yeah, I know its only April…so what??).

The band? The Martyr Index. Moving past their folk punk sound into straight revolution rock….and chances are, this AIN’T the way Joe Strummer thought it was going to go down. Its very rare a group that flies a blatant political flag kicks as hard as TMI (exceptions include Gang of Four, Minor Threat and RATM), and my do they kick out the jams, proudly wearing their AC/DC, Thin Lizzy and Judas Priest influences on their sleeve. Add in a healthy dose of leftist politics, a 40 oz of Jack Daniels and two Marshall half stacks, and you’ve got a recipe for one of the most incendiary records to come out in Calgary in a long time.

Molotov Rocktail drops Saturday at the Palomino. You can hear more about it here, along with one of the cuts of the record, Baghdad Shuffle.

Do yourself a favour, and put away those Buckcherry cd’s. If you want to hear some REAL rock and roll, here it is in some of its finest form. And its in your own backyard.

Hell Yes, Comrades

NB/JC

12 April 2008
Molotov Rocktail Review

Susan Frances

The Martyr Index pride themselves on being a band that believes in “the power of change.” The band’s music stirs this change with lyrics that revolt against oppression and encourages taking power away from governmental forces. It is a mantra that punk rock bands from the ‘70s like The Dead Kennedys and Thin Lizzy followed, showing defiance in the face of the establishment. The punk bands of the ‘70s spoke out against monarchical institutions, very much like the punk-induced hard rock rumbles found in The Martyr Index’s music. The band’s latest release, Molotov Rocktail, shows infernos of punk, classic rock, pop metal, ska, and grit-blues. Though the band emphasizes change, much of their music is reminiscent of the past and many times it is hard to draw a line between music that has been plucked from punk rock’s collective consciousness and material that is original. Molotov Rocktail sounds like an effort at constructing new classic metal dichotomies, but The Martyr Index become so wound up in the stylistics of past metal and punk bands that the album comes off as a homage to these bands rather than taking a step forward in punk metal’s function as a motivator for activism.

For The Martyr Index, their music is a means to evoke feelings and action out of people like a war cry or a pep talk. The band‘s guitarist/vocalist Marek Verminus III told the a Philippines e-zine,“I‘ve always been interested in the notion of an ideal that people would die for,” which he tells, is why he liked the name of the band. Martyrs like Joan of Arc, Jesus Christ, and former Pakistan presidential candidate Benazir Bhutto are some historical figures that have been killed for their beliefs. It is important to note that martyrs do not kill themselves but are killed at the hand of governmental institutions. The lyrics in the song “Hostage” brand this message into the listener’s mind, “Hostage! I’m a hostage / Flesh unfit for meat markets / Hammered well beyond senseless / For what? For what indeed? / Battered souls and bullet holes / The Dow is up now as they close / Whoah! That’s the status quo! / Hostage!” The Martyr Index also offer inspiration to the listener with words like “We’re doing fine / And we don’t mind / We’ll be just fine / When the industry dies / Let it die” from the song “A Word and a Beat.” Their lyrics carry rally cries that inspire being strong and not throwing in the towel, even as the walls around are crumbling down.

Now with a sense of what attracts the band to write, it’s clear their music is an extension of these epistles. There are classic rock craters along “Hacienda Luisita” and “It’s Called Rock ‘n’ Roll” and hardcore tiles paneling numbers like “A Word and a Beat,” “Divide Et Imperia,” and “The Baghdad Shuffle,” which showcases the nailing beats of the rhythm section by drummer Casey Lewis and bassist Ian “The Baker” Maki that braid through the raging guitar flusters of Jimmy James and Verminus. The band also show pop metal fuses igniting tracks like “Oso Blanco,” “Wasps to Honey,” and “Life” with rippling dynamics that howl and scourge with the conviction of Judas Priest and the Bulletboys. The band’s punk rock deluges swamp tracks like “Calgary Libre” and “Hostage” with the bonus of having rations of ska fortified registers reminiscent of the Red Hot Chili Peppers. The brooding voicing of lead vocalist Jenny From Le Bloc shows staunch conviction even in the country-toned “Security.” The steam train rhythms of “Security” produce an old-time country smoke with tendrils of folksy harmonica fastened to a strong upbeat tempo. The ditty “The White Bear Blues” is the band’s rendition of guitar riffs drenched in grit-blues. The band’s country-blues moldings are legitimate and show a melodic side to The Martyr Index.

The Martyr Index identify their music as revolution rock on the band’s official website. It is music that believes in the power of change. The band is offering Molotov Rocktail as a free download on their myspace site, thereby bypassing the music industry establishment and putting control in the hands of the people.

The Reflector

3 April 2008
Molotov Rocktail Review

Hamish MacLean

Meter Records calls the Martyr Index’s sound “Anarcho-Springsteen,” but for what is a punk-rock album Molotov Rocktail might remind you of Uncle Tupelo, or mid-eighties Metallica. And though Marek Vermin displays a growl that would make Lemmy proud, the sound is hard to pin down on this hard-rocking, yet diverse-sounding album.

On “The Baghdad Shuffle” the message is not veiled. “Divide et Imperia,” which is one of the strongest tracks, has the band’s newcomer on lead vocals, Jenny From le bloc, belt out “I should have known and understood, Caesar’s word is never good. A carnivore’s a carnivore, and we know what he came here for.” But again it’s the diversity of the concerns represented in the lyrics that sets Molotov Rocktail apart.

“Calgary Libre” is both a local band’s shout-out to its hometown, but also a grassroots call to arms for change. Songs represent a call to reconnect with nature and even an attempt to raise awareness of a Mexican freedom-fighter. The album will be made available as a free download on the band’s website and even that move is politically motivated.

It could be the anthem-like vocal harmonies that resonate through the album or Casey Lewis’s quick, tight work on drums that makes this album a success musically, but it is the message that makes Molotov Rocktail truly stand apart.

Beatroute

August 2007
Pride Tiger with The Martyr Index
HiFi Club

Matt Home

July 7th, 2007

This night was opened up by local mainstays The Martyr Index. I gotta say, they were on the top of their game, and new co-front Jenny Kost slayed on her first appearance with the group. I’ve always liked the Martyr Index, but I’ve never really been blown away by them. However, this night was different, as they blasted through their set with what seemed like a renewed focus.

Songs like “Hacienda Luisita” were high-kicked through with a brand new intensity, and even though Kost was visibly nervous, her vocals have really given the band a fresh sound. The Martyr Index have always been a band to watch out for, but I think their best days are yet to come…

…The crowd was loving them [Pride Tiger] and their brand of rock ‘n’ roll is fun. But to me, the night was about the Martyr Index, who seem to be in the process of moving up from a decent local rock ‘n’ punk act to a truly fine national band.

Missoula Independent

The Martyr Index
It’s Called Rock N Roll
Meter Records

Alyssa Work

August 24, 2006

After one listen to The Martyr Index’s It’s Called Rock N Roll, the crashing trap drum, electric guitar and howlingly irate anarchist lyrics begin to stir that fire in your belly. After two, you forget that you like roads, public education and student aid. After three times through the four-song EP, you’re standing, fist in the air, yelling along with Mark Vermin and Meg Spinx’s outraged call-and-response in the proletariat rebellion anthem “1936”: “We built this city once/we’ll build this city again/this time we’ll do it for ourselves.”

These Canadian punksters have a cause, and they wear it on their outstretched, beating-heart-clutching, fist-clenching sleeves. “Hacienda Luisita” is a rhythm-driven history lesson about a violent revolt in the Philippines, while “Universal” delivers a gentler one-world message without losing any energy.

It’s easy to snicker at the group’s earnest righteousness—manifest in the cheesy anti-government voice-over on “Hacienda Luisita.” But it’s that kind of over-the-top impassioned politics that made punk punk in the first place, and The Martyr Index is here to insert some “Viva La Revolucíon” back into the scene.

FFWD Magazine (July 13 2006)

by Christine Leonard

Viva la rock
The Martyr Index make poli-punk with heart

One of the most promising acts on Calgary’s local music scene, The Martyr Index had sunk into relative obscurity since the 2002 release of their stellar independent album 1936. Featuring the endearing anthem “From the Schools to the Factories (In Three Easy Steps),” 1936 introduced audiences to the band’s fresh-yet-authentic take on old-school political punk rock with an anarchist edge.

Forging bravely ahead, the band embarked on a gruelling two-and-a-half month North American tour in support of their album, which according to lead singer and songwriter Mark Vermin, took a mighty toll on The Martyr Index. A couple of years off was just the thing needed to mend inflamed tendons and reignite the fizzling embers of their collective imagination.

Now refreshed and realigned with drummer Casey Lewis, vocalist extraordinaire Meg Spinx, bassist Ian Baker, guitarist James Campbell and violinist Phil Harmonix, Vermin is eager to pull out the stops and reconnect with the band’s listeners via their newly-pressed EP It’s Called Rock and Roll.

“There was a general lack of initiative to continue after our last tour,” says Vermin. “We were all involved in different pursuits and it took a long time before we had anything to bring to the table. Now we’re finally back to it, and doing a lot more of what we wanted to do in the first place.

“There’s a lot of heart missing from modern punk. We need to hijack things outright and return punk to what it originally stood for – rebellion and social progress. Corporate alignment spells the death of punk. It is the antithesis of everything we stand for. As soon as you hear a so-called punk artist discussing the finer points of the Republican Party and who to vote for, you know you’re in trouble.”

Keeping alive the spirit of anarcho-punk politics, grassroots revolution and general merry-making, The Martyr Index’s latest release features four free- flowing tracks that range from serious to sensational in the course of an hour’s listening. Drawing inspiration from international events as well as their own personal experiences, they present a well-researched and provocative package brimming with unbridled enthusiasm and rock solid rhythms.

“The last track on It’s Called Rock and Roll, ‘Hacienda Luisita,’ was inspired by some kids in the Philippines who were working with Food Not Bombs,” Vermin explains. “They began writing to us asking for CDs to raise money for their cause. We sent them a hundred or so CDs and soon we were being contacted every week by the kids over there who were starting to learn about politics and culture and different types of activism. It made us want to do something more potent with our own music.

“One of the contacts we made told us about hacienda Luisita. It all started about 40 years ago when the new government was brought in to ensure that the new constitution outlawing the feudal land system would be put into motion. The peasants who lived on the Haciendas, which are large sugar plantations, were supposed to take ownership of their lands, but this never happened and soon whole villages were in revolt. Poverty-stricken and desperate for change, they began a bloody fight for their rights, which continues in some form even today.”

Such profound topics make for great lyrical content but can often come up short in the “danceability” department. Fortunately, The Martyr Index know how to effectively harness the power of their artistic expression when it comes to the crucial balance between informing your audience and entertaining them.

“Art is about communication, not preaching to people like a professor in a history class,” says Vermin. “It has more to do with emotions than textbooks. We want to convey a feeling, but at the same time we don’t want to just sit around thinking about these topics and not doing anything about them. It’s not all heavy politics, though – we’re still about fuckin’ in the backseat and living life!”

CJSW 90.9 FM Radio

CJSW Charts

Our EP made it’s radio debut at #1 on CJSW and held it for three weeks! Wowza! Thanks to the volunteer DJs at CJSW! Cheers to you!

Lookee!

Quiet Light (May 4 2006)

by Jordan Lane

“It’s Called Rock n Roll” Album Review

It’s risky to sling this kind of language around, but the new EP from local anarcho-punkers, the Martyr Index, is damn near flawless. Four upbeat jams in fifteen minutes, each bursting with the infectious energy, singalong choruses and uncompromising politics the Martyrs are known for.

Meg Spinx’s arresting harmonies are the perfect foil for Mark Bizek’s gruff Springsteen growl, Casey Lewis busts out more jaw-dropping timekeeping and fills, and Phil Cimolai plays a surprisingly rockin’ violin that often fills the lead guitar role. Four songs aren’t nearly enough, but the Martyrs know the value of leaving an audience wanting more.

In the interest of appearing remotely objective about this record, I’ll nitpick a little: speech samples are always annoying, and there should be a law passed to prevent phase effects from being used, ever, especially on vocals. But if you find these teeny details are ruining your listening experience, you’re an even bigger whiner than I am.

This is irresistable, effortlessly catchy punk rock that spends as much time on melodies as manifestos. Seriously, if you’re not singing along by the second listen, you oughta be checking for a pulse.

The Nerve Magazine (April 2006)

by Thérèse Lanz

The Martyr Index
It’s Called Rock’n’Roll
Meter

The Martyr Index is the brainchild of Calgary’s unstoppable vegan anarchist crusader, Mark Vermin. After a nearly three-year hiatus, this much-loved collective is back with a new EP (four songs? C’mon guys, I know you have more than that kicking around). The title tells all here: this is, indeed, called rock’n’roll. Raw, driving, old-time rock’n’roll anthems with plenty of balls and absolutely irresistible sing-along choruses. Think Bruce Springsteen and Phil Lynott reincarnated with squeegees and mohawks, or Against Me! with the volume and tempo kicked up a few notches. A few non-traditional touches, such as the malefemale duet vocals and the violin, set this disc apart from the pack, but what really makes it shine is the performance of the Vermin himself - the conviction in his gruff vocals and lyrical tales of revolution and social injustice will make you want to lob a Molotov cocktail at the next cop car you see. As if you didn’t already.

Beatroute (Feb 2006)

by Barnaby Bennett

Meet the Martyr Index!

The Martyr Index have just recorded a brand new EP entitled ‘It’s Called Rock & Roll’, and it is the hardest-rocking record that any Calgary band has made in years. With its catchy, classic-rock hooks and a hard-driving punk rock backbone, it’s impossible to resist these infectious tunes. TMI are playing two record release shows at the Underground (all ages at 5:30 pm and 18+ at 9:30 pm) on February 4th to promote the EP, and it’s definitely worth checking them out, especially if you haven’t seen them in a while.

Singer/songwriter/guitarist Mark Bizek and drummer/producer Casey Lewis have added four new members to the lineup, and now the Martyr Index are sounding tighter and bigger than ever before. They’ve recruited Father Jimmy James (also a member of Calgary punk rock mainstay Knucklehead) on guitar, Megan Spinx on the ol’ microphone, Ian “the Baker” Maki on bass and Mr. Phil Cimolai on the violin to help with the cause.

The Martyr Index was founded in 2001 with anarcho-political intentions, aiming to write songs that were relevant in what Mark called a “subversive cultural context”, as opposed to the music of a band such as Propagandhi whose substance consists solely of political messages. In the past, the group had a folk-like sound, but the band describes their new songs as “more heavy-hitting and rock ’n’ roll. The songs also have slower tempos.” Megan enjoys the permanent addition of violin, and Mark believes that “the kids will have no problem dancing to our new songs” because they’ve got “rhythms similar to Footloose”. But all kidding aside, it’s quite remarkable that TMI is able to successfully intertwine feel-good rock songs and political barnstormers with relative ease.

The band is planning on recording a full-length record in May, and then they hope to do a comprehensive European tour beginning in August.

Another significant influence on the band is social literature, and I asked them how important they thought it was to have songs that advocate social awareness and change. “It is really important,” says Mark. “But it doesn’t have to be necessarily in the format of, like ‘this is anarchism, this is the political dogma and this is the line to adhere to’ or anything like that. I think that a lot of things change when people are given an open space to participate in something, and begin overcoming just a small stereotype that is prevalent in society through a critical mass of people coming out and just culturally acting against it, you know? Not necessarily politically agitating, but a message being proliferated enough times, and by enough people saying a certain thing is a type of value that they uphold. You know, it gives people a space to enter and participate just in sort of an almost non-political way. So I don’t think that someone has to declare themselves as political or anything like that to be participating in an anarchist project even. If anarchism is only political then it’s almost actually kind of meaningless. ‘How does anarchism serve humanity?’ is a more important question to me. So I think that’s why a lot of the songs are looking at ‘what is human behavior?’ and ‘what are good interactions between people?’ Because if it is not essentially good, if it doesn’t come down to what is a good way to behave towards other people… And I think a lot of times, in revolutionary dogma for example, people get lost in that. Somebody says ‘This is program! This is the revolution!’ and then people are forced to die, basically for that prescription, and it ends up not manifesting itself, you know. So I think that you have to keep asking yourself ‘what are we doing good for people?’ when you are looking at politics and whatnot.”