Life is short. Everyone is given a small window of opportunity to do as they please, where they are bound by choices to either conform or make a name for themselves. When we are young we have grand aspirations to become astronauts, firemen, or superheroes; when the common percentile of society realizes the loftiness of such ambitions, we work toward something better suited to our place in the bigger picture. You can’t have goods without pencil pushers, and you sure as hell can’t eat without the cook. Odd jobs and forgettable faces enter and exit our lives like ripples in an ocean; how do we set ourselves apart? What gives us a voice when we’re itching to be heard?

A Likeminded Union

Ryan McKenney knows all about a little something called perseverance. “I’m not young… at least, not by punk standards,” he muses. “I’m sure people older than me that are still involved in punk would disagree with my statement, but it’s not really meant for them. It’s meant for me.”

McKenney, the vocalist and lyrical mastermind behind grind/death/punk as fuck outfit Trap Them, has a voice itching to be heard. “My body started breaking down early in my twenties. I spend these long tours in pain that I bring on myself and, to an extent, I am addicted to it. What is truly important to me, regarding this band, is to take it as far as we can. I want to continue to write records that I am truly proud of, and I want the chance to play these songs to as many people in this world as I can.”

Trap Them was an institution long before the release of their debut long-player Sleepwell Deconstructor in 2007. Initially named Trap Them and Kill Them after a particularly fascinating piece of eurotrash erotica, McKenney and guitarist Brian Izzi created an outlet for their insatiable aggression and passion for music.

According to McKenney, “Brian and I met in fall of 2001 when we started working together at a record store. I think by the end of the first day we had formed a tight bond from our appreciation of our respective favorite extreme music genres. Neither of our bands at the time were doing a lot of touring or writing, so we took it upon ourselves to start something new together. We were motivated by the lack of motivation in the people around us.

“The idea was to finally play a type of extreme punk and metal that both Brian and I had not explored within the confines of the bands we already played in.  Once the ideas for this band started rolling in, it became much more focused. For the past three years, this band has become what we each have always wanted to have, which is something built on no bullshit and is purely the result of a group of individuals who have worked hard to achieve the goals they set out to make.”

The desire to bridge the punk and death metal gap is not a new one. Artists like Entombed, His Hero is Gone and even Darkthrone have attempted to organize the D-beats around an apocalyptic tone. During a time when artists seek to merely copy and revive their heroes from the past, Trap Them have taken their influences and molded them into something entirely their own.

“We obviously have our influences,” says McKenney, “but we’ve moved past them being completely recognized. Anyone that wants to throw the Entombed tag around, well… of course! They’re awesome. It’s moved much beyond that, though. Those comparisons are for the music only. Brian has made a very conscious effort to attempt to bridge a gap between death metal and punk, and especially on the new EP, he has done it. I don’t consider us influenced by any band anymore as much as ourselves.”

A band influencing themselves? “Wait… that sounds pretentious. That’s not what I mean. What I mean is that we’re not looking towards other bands to mold our sound. We are asking ourselves what we really love playing, what makes us feel we’ve expressed ourselves properly, and we go from there.”

By looking at themselves, the members of Trap Them are able to reflect and relay back what sound will work for them best. McKenney and his crew have gazed beyond their influences and discovered what truly makes them tick. Last year’s excellent Seizures in Barren Praise expanded upon the band’s already impressive roster, sporting a heavier metal influence while bringing themes on past albums to a satisfying apex.

The Sound of Frustration

We work our desk jobs and we push papers; we cram our heads with false words and objectionable phrases. We slave our days at school pursuing an uncertain dream, never sure of why or how we can actually succeed in life. McKenney knows this.

“We all have our respective forms of getting by,” he says of himself and his bandmates. “Shit jobs that get us from point A (home) to point B (the road). I work in a kitchen of a bar here in Seattle for six or seven days a week when Trap Them has down time.” It goes to show that even your heroes have to work to get where they want.

“In my free time, I try to sell my paintings and sell hand written copies of a book of anti-poetry I wrote. Each book takes about twenty hours to write and paint, so it ends up being quite time consuming. If anyone reading this has extra money to burn on art, please send it my way. I’m always broke… and if I’m not, the van is.”

If McKenney’s free time is devoted to painting and unique art forms, and during the week he’s working shifts at a local tavern, it’s intriguing to think of where he finds time to write and what inspires Trap Them’s unique tale. A conceptual story of a town called Barren Praise, every track from Sleepwell Deconstructor to Séance Prime and Seizures is catalogued by a numbered day (“Day One: Insomniawesome”, etc.), and occurs in a number of vantages. Citizens of this city are angry. They are channeling McKenney at his most cathartic, prepared to blow a hole through your speaker at any given second.

“The days are all very connected,” he says. “I overlap certain phrases into more than one song, because I am writing many viewpoints on specific instances. It’s along the lines of the old “three sides to every story” analogy. I created Barren Praise. I and I alone know how many people are there, who knows who, who’s a murderer, who wants to stay in the town and who wants to leave. It all connects as how I seem fit.”

At times it feels as if McKenney is lamenting a lost ideal, as in last year’s “Fucking Viva,” where he snipes, “The vertigo, the death threats, the funerals, they never end.” During others, such as “The Protest Hour,” he is convincing his listeners, “panic! What the fuck did they do to you?!” Why is the content so bleak? How important is it for McKenney to just rage?

“I consider it very important to rage, as long as it’s not just a blind rage,” McKenney responds. “I’m not in this to condone violence on one another. I’m more in this to say what I feel I need to say in the way I feel it makes sense to me. I’ve just grown increasingly sick of the lack of pure anger. It’s just not real aggression that is being pushed to the forefront anymore. It’s this processed, mass marketed fake hostility. This band will never be built on humor or a faux sense of security. I deal with bleak lyricism and subject matter because it is what I identify greatest with. I surround myself with reading dark novels about hate and murder and depression. It has heavily influenced how I approach writing words for this band.”

As for each song’s multiple points of view, McKenney uses three distinct sets of lyrics: “There are three main elements to a band for a lyricist. The actual written lyrics, the lyrics you record and the lyrics you use in a live atmosphere. Very early on in Trap Them, I started changing lyrics around in songs, injecting old phrases into new songs, and vice versa. It finally became clear that the way I wanted the lyrics to appear was not able to be done with simply putting words to song.” While disregarding the notion of each individual album being a concept in and of itself, he mentions, “at some point down the line, I’d love to just publish the days in order in volumes. I don’t have the mindset to sit and write a novel yet, so this is my way of telling a story that’s been in my head for a while and, lucky for me, I already have a soundtrack to set it to.”

Greener Pastures

Most of us will never get to see the greener pastures of the world. For most, the passing glance of tourist-office posters are the closest we will see of Big Ben or the tiled roads of London. It’s usually the same way for bands… Until they’re able to scrape up enough cash. As McKenney lets us know, “touring with this band is, for the most part, a great time. We’ve been lucky enough to tour with many bands that we look up to and have made many great friends as a result.”

During 2009 McKenney and Trap Them had the privilege of accomplishing two feats most of us saps never will have the chance to: See the beauty in the UK (or is that Anarchy?) and jump on a North American tour with the most important grindcore band, period.

“It would be an understatement to say we were ecstatic. This is, of course, Napalm Death. We were on tour with Extreme Noise Terror in spring of 2008 and we played the Los Angeles Murderfest, which Napalm Death was also playing. Phil from ENT talked to Barney beforehand and told him he needed to watch us play. About an hour after our set, Barney came up to me and politely introduced himself (as if he needed to…) and told me he thought we were amazing. I couldn’t say much, but I told him how much I appreciated hearing that. As a result of that interaction, they wanted us to be on the US tour this last spring.” Of Napalm, McKenney says: “That band is absolutely incredible. They tore the roof down every night on that tour. Spending off time talking with the guys about vegan restaurants and just having fun was so surreal. That tour gave me fuel for the next ten years and this band is forever in debt to those guys for being willing to bring us on that six weeks of awesome.

“Europe is always fun for us. It’s such a different experience than touring the states. We’ve been fortunate enough to do two great tours over there and have seen quite a bit. I’m hoping it becomes a lot more regular for us to get over there. I absolutely love the UK. There’s those places when you’re a kid and you think you’re stuck where you are for the rest of your life and you’ll never see it. That was London for me. The first time we played the Underworld over there, I couldn’t even talk. It was perfect realization that all of our hard work paid off and I was given the gift of doing something I used to think was impossible.” McKenney then quips, “my new goal is to play all seven continents. I really want to play Antarctica. I want to play there so bad, I can’t even explain it. I don’t care if it’s to one lonely researcher that loves Slayer and has no idea who we are. I just want to rage in a place where frostbite rules.”

The Road to Release

McKenney in particular feels a connection to the road shared by few: “Sure, there are times of complete and utter bullshit,” he laughs. “You never really WANT to break down in the middle of nowhere in Wyoming. You never really WANT to get caught in blizzards and miss shows. But, this is all par for the course when you commit yourselves to something as ridiculous as being a bunch of thirtysomethings on tour in a shitty old van. We’re all masochists in one way or another.” However, a vast contrast comes over the vocalist.

“I’ll tell you this, though,” he contemplates. “Starting a drive at one in the morning in the dead of night, and driving until the sun comes up while being in control of the CD player is still a feeling I love having. Knowing dawn is close, knowing to put in the perfect soundtrack to another sleep-deprived day… I’m not sure I could ever get sick of that feeling.”

Sleep-deprived days are becoming nothing if not familiar for McKenney. Balancing married life with full-time employment and touring commitments, the struggles of the road can take their toll.

“I think the biggest hurdle in life for me right now is balancing a home life with a road life and everything in between. It’s hard enough for someone to deal with day to day struggles (bills, rent, commuting, etc.) working in the same city as they live, but my “job” consists of basically being a traveling salesman for weeks and months on end. Making sure things at home are paid for while I’m on the road, inevitable crises that arrive as soon as I leave… they all take their toll. I, very luckily, have a wife who understands how important this outlet is to me and, further, understands the necessity for me to do this while I can.”

The vocalist’s conviction and determination is assured. Two Hearwax writers attended a Trap Them show in Toronto during the touring cycle for Seizures in Barren Praise and were shocked at how much energy and pure adrenaline McKenney brought to both his performance and his presence with the fans.

“I think that anyone that is willing to show an interest in what we should be met with an appreciation,” McKenney says of his fanbase. “It’s easy to say that we’re doing this for ourselves. It’s a true statement, but only to an extent. If no one gave a shit, I’d be much less inclined to play 150 to 200 shows a year. Anyone that has a question about this band, what makes us who were are and what we do, deserves to be met with respect and a response.”

150-200 shows a year is a shocking number. Some bands tour every so often, while others jump show to show, chomping at any bit to get their well-deserved exposure. For some, the live setting is simply an enlightening experience. “I thrive off of the live setting. It’s a chance to get as intense and extreme as you possibly can.

“For me, a band is not made up only of written and recorded material. Part of the entire persona of a band is how they present themselves in front of curious onlookers. All the driving and waiting leads up to one half hour a day where you can strip yourself bare and release yourself in whatever way you feel suitable. I love the intensity of a live setting. I like looking straight into peoples eyes and knowing that the person I’m screaming at may love what we are and what we do, while the person next to him may just want me to die. People can say what they want about this band, positive or negative, but if they ever doubt the conviction and unbridled rage we spit out while we play, then they are severely mistaken.”

When identifying Trap Them as a hardcore band, McKenney states: “The hardcore scene has become much more receptive to this sound in the last few years, which has helped us out considerably. While I wouldn’t outright say we’re not a hardcore band, I would say that hardcore does not bear a tremendous weight on what this band is about. We all listen to hardcore and, for most of us, has been a type of music that has helped mold our musical tastes. But, as far as us coming across as a hardcore band in a live setting, it goes no further than the stage. We don’t really command that sort of response. Sing-alongs are not normal occurrences at our shows, as with much crowd participation at all. I wouldn’t complain if it happened, but as for right now, we just receive very enthusiastic shaking fists in the air and a lot of ‘Fuck yeah!’ s in between songs. I’ll take it. As long as people are giving their time to us, I’ll take whatever they want to give back.”

Expect the members of this website to be belting out a whole lot of “Fuck yeah!”s next time this powerhouse comes through Canada. As exciting as the stage and its audience may be on a good night, the touring life just isn’t for everyone. Trap Them have cycled through drummers and bassists like a revolving door.

“At this point, it’s just been rotating drummers for the last two years,” McKenney quips. “It’s not the best situation, but we handle it as we can and have to. We just can’t stop touring. So far, the right fit just has not been found. I feel great with Chris [Maggio, Coliseum], though. He’s a little nuts like the rest of us, and he knows how to have a good time. The road is not for everyone, and the road with US is not for everyone. You can’t fault people for that. Just like our music, our personalities are an acquired taste. All I know is that we’re not stopping, no matter how many musical chairs keep getting dragged away and then put back.”

A New Chapter

We struggle in dead-end jobs and wear shit-eating grins in the public domain. We grind it out during the 9-5, secretly wishing for that elixir, that miracle that will lift us out from our ditches and gives us a chance to influence, rather than be influenced.

“I don’t want to do this forever. I don’t think I can still be cramped up in a van when I’m in my mid forties….I think that, at that point, I will have done so much physical damage to my frame, I will be happy to keep rolling burritos year round and do hometown shows every once in a while…”

Earlier this year, Trap Them announced that they had moved from Deathwish Inc. to Prosthetic Records. Deathwish, co-founded by Converge’s Jacob Bannon, was considered a rightful fit for the pulse mavens, dealing largely in hardcore and punk acts. Why switch over when the band had just released it’s best album yet?

“So far, [the move]’s been pretty great. EJ from Prosthetic has been nothing but supportive of what we’re doing and what we plan on doing. It’s very early in the relationship, but Prosthetic takes great care of the bands on their roster. I really look forward to seeing what 2010 will be like as a result of this.

“There was no major reason as to why we moved from Deathwish. We loved working with the label and everyone involved with it. What it came down to, is that we fulfilled our contract with Deathwish and were given an offer that we couldn’t refuse. We still work very close with Deathwish. The only difference between the labels is that Deathwish is more rooted in punk and hardcore values, while Prosthetic is geared more toward the metallic side of things. Regardless, both labels bust their asses for their bands, and we feel pretty fortunate to have worked with both of them.”

Speaking of busting asses, the band is in no short supply of artistic locomotion in 2009. Having put out a release every year since 2007, Trap Them recently announced on their Myspace page that they would be releasing an EP on Southern Lord this year. McKenney had this to say:

“We have indeed recorded the new EP, which will be (as of right now) a vinyl-only 12″ titled Filth Rations. I feel like it’s the perfect progression into the next step in the evolution of this band. It sounds pretty pissed off. The great thing is that we’ve gotten to a point where we know exactly what we want this band to do, and the dam sort of feels as though it’s bursting with ideas.

“I’m really, really excited for people to hear the new songs on this release. I think Brian is an absolutely amazing songwriter and what he came up with for this EP is incredible. Also, we were fortunate enough to have Chris Maggio play drums on the recording and for the next few tours. We met him while he was drumming for Coliseum during the Napalm Death tour last spring, and besides being one of the best punk influenced drummers out there, he is one of the coolest people I have ever met. I can’t wait to spend the next few months in the van on tour with him.”

New material, new lyrics, and new drummer at hand, the band departed for Kurt Ballou’s Godcity Studio this past summer. According to McKenney, “My account of the recording session is vastly different than the other people who were there. I couldn’t get much time off of work, so I flew from Seattle, where I live, to Salem, Massachusetts two days into the session. Being the vocalist, my participation in the whole thing is very limited, which is exactly the way I like it. I show up, hang out in the basement to Godcity and write or walk around. When it’s my time, they call me in. I’m usually pretty quick. My vocals were done in forty five minutes this time, so I left Godcity and walked around and drank coffee for a while. It’s weird… recording is so boring, yet so fun, considering the end result of what you’re in the studio for. As far as Kurt, he was as supportive as ever. I think it’s obvious how high we hold him in regards to making this band sound the way it does. He has the perfect amount of input and has never steered us in the wrong direction.”

A whirlwind production accounted for within days, the raucousness, the craziness, and the utter debauchery in Godcity was… not really there. “The single best part of working with Kurt at Godcity,” McKenney assures us, “is his Chihuahua, Sneezer… that dude is awesome.”

City in Ruins

The current state of North America, particularly in the United States, is questionable. Recession is biting at the heels of average people, and its effects are felt by all. Questions and choices are raising in our minds that we never would have thought of before: Do I really need gasoline for my car, or should I spend for food this week? On top of all this, a raging debate ensues concerning the reformation of healthcare.

In Canada, we have it rather easy. Provided you have coverage and are a steadily working citizen, healthcare is free. Our brothers down south have a little more difficulty with this issue. This author is not pretending to know the facts, but is simply stating that the expense of living and the constant nip of misfortune is always among us. If the resources are not there to help the public, we are gravely in danger and in need of inspection.

“I wish I was informed enough to give an educated opinion, something that would be both inspiring and thought provoking,” McKenney tells us. “The truth, however, is that I’m considered a small piss-ant in the American way of life. I have no health insurance. I live constantly in the red. At times I wish the entire American healthcare system could just be reset by the push of a button. I’d love to know that when I get a cavity, it wouldn’t be three hundred dollars out of my own pocket to fix it. I’d love to know that if my wife gets sick and needs medical attention, we wouldn’t be set back three years. But, the only thing I know right now, is that this is NOT happening and won’t happen in the foreseeable future. My real thoughts on healthcare is that I wish the people that I am paying the salaries of could get their heads out of their asses and finally fix something for all of us that are getting forever fucked.”

Life is short. We’re given a short time to live. Live and tell our tales. Live and work our jobs. Live and fucking rage. What good is a voice never heard? We are given a short time to live, but we make our time even shorter with every breath we take. Why not put that breath to good use?

“I’ll be happy knowing how much I was willing to do in my earlier years. But, this is, of course, many years down the line. For now, I still plan on treating every show like it’s my last and I want nothing less than to go out with both guns blazing. Trap Them has truly given me a way to express myself that I have never had the confidence to do before. I have been in other bands, but this is a band based around creative expression and, in the live setting, a band that allows me to be fearless with myself and my surroundings. When the feedback starts, I’m ready to die.”

All pics taken from Trap Them’s Myspace.  All rights are maintained by the original photographers.

You may also dig:

1. Prosthetic Records Sign Trap Them
2. Video of New Trap Them Song Surfaces
3. Trap Them Post Huge Update
4. Trap Them Have New Material, Go Into Studio
5. Together, We Can All Kill Terrible Music: An Interview with The Armed