Lower Than Low #3

When you crack open the Current Affairs zine, you’re immediately hit with the realization that the digital age hasn’t killed the underground, but it just made it more stubborn. This 32-page document acts as the essential companion to the 17-track compilation, serving as a paper-and-ink manifesto for the DIY connection between the UK and the Netherlands. The table of contents showcases many articles to read, moving from a foreword about the project’s origins straight into the deep end of the scene. On page three, Leon Brok and Bas Beijersbergen of Mouser dig into their eighties-inspired hardcore roots, providing the context for why their track “¡No Pasarán!” carries such a heavy punch. Right next to them on page five, Neil Duncan pulls double duty, representing both GeezaPunx and Krust Worthy. It’s a fascinating look at how one individual manages to juggle different shades of punk, from the street-level rawness of Oi! music to the aggressive drive of UK82. One of the more refreshing entries in the zine is Hugh Duncan’s interview on page seven. Instead of the usual “why did you start a band” questions, the discussion veers into school musicals and their relationship to punk rock. It’s this kind of informal, left-field storytelling that makes zines superior to mainstream music sites. You get to see the human side of Old Age Spies, a band that otherwise sounds like a pure garage-punk wrecking crew. The middle of the zine shifts focus toward the more experimental and aggressive textures of the Dutch contingent. Sarah-Jayne and Nile of Brioche take over page twelve to discuss their blend of synth basslines and alternative punk, a sound that provides much of the open-minded variety found on the CD. On page fourteen, the tone turns darker with Eva and Reynaert from Stresssysteem. They break down their dual-vocal crustcore approach, which is further documented on page nineteen with a spread of live photos featuring them and the band Waste.

René Peperkamp of Waste appears on page sixteen, offering a bassist’s perspective on balancing noise with melody. His insights provide a perfect lead-in to the “A brief history: Ford’s Fuzz Inferno” section on page twenty-four. For those who follow Hans F. Ford’s work, this is a vital piece of the puzzle, tracing the evolution of that signature fuzzy, melodic sound that has come to define a specific corner of the Dutch underground. Political edges sharpen on page twenty with the “MAGA sucks, ZINES rule!” segment. It’s a blunt, necessary reminder of the zine’s role as a platform for dissent. This energy carries into the Abrazos interview on page twenty-five, where Tony Whatley, Alan Marshall, and Nath Haywire explain their philosophy behind the short-track, high-intensity hardcore that makes their contribution to the compilation so memorable. The zine also highlights the collaborative spirit of the era, notably the UK space rocker Kev Ellis joining forces with the punk trio Scoundrels on page twenty-three. It shows a scene that isn’t afraid to cross-pollinate genres to see what sticks. The final sections, like “Founded Amidst the Ruins” on page twenty-seven, wrap up the narrative by looking at the environment that birthed these sounds, neglected spaces turned into hubs of creativity. By the time you reach the adverts on the final pages, you’ve been through a whirlwind of interviews, histories, and rants. This zine is the definitive guide for anyone who wants to know the names, faces, and ideologies behind the Current Affairs tracks. It’s a dense, knowledgeable, and independent piece of work that showcases how the best music journalism still happens on a Xerox machine. Essential read for anyone even remotely interested in DIY punk rock and hardcore scene. Head to Ford’s Fuzz Inferno Bandcamp page for more information about ordering.