To the extreme Dropdead celebrate a lucky 13 years together BY BOB GULLA

It’s weird. For 13 years, Dropdead has been steadily making a name for itself on the national and international hardcore scenes. They’ve performed in Japan, Eastern Europe, and Australia at hundreds of venues, building their stature mainly on the strength of their convictions and a fantastically healthy (until recently) and innovative art/core scene outta Olneyville. All of this has happened quietly from a local commercial standpoint. You won’t find them groveling to area bookers and bar owners or petitioning audiences. That’s why it seems weird. They’ve quietly erected a massive sonic structure by playing the loudest, most intense anarcho hardcore you’re likely to hear this side of Crass (ca. 1982).

Singer/lyricist Bob Otis and songwriter/riff monster Ben Barnett represent the creative side of the band, while drummer Brian Mastrobuono and bassist Devon Cahill take care of the raucous downhill rhythms. "Growing up playing music, you’re taught a certain set of rules," says Otis, "but all those rules went out the window when we got the band together."

Drawn collectively to politically-charged anarcho bands back in the early ’90s, Otis, Barnett, and the gang put their music where their mouths were. They set out to write the kind of hardcore that actually meant something. Not just a soundtrack for the pit, they wanted to sing about issues using words that worked together with the vicious intensity of the vibe. "At one point," says Otis, "writing lyrics became clear to me. Animal rights, human rights, all these issues that weren’t discussed on the left or the right."

Since forming, the band has recorded a handful of EPs/split projects/ full-lengths, including the incredible debut album released in 1993, a true testament to the atomic power of sonic anarchy. They’re currently contemplating work on their third full CD — which is even more impressive considering its genuinely humble intentions. "We like extreme music," says Otis. "Playing-wise, energy-wise, it came naturally to play fast and aggressively. Some bands try to sell themselves; we’re trying to sell an ideology. Some hardcore bands want the cover of Spin magazine. But we could care less about that. All we want you to do is list to our music and read our lyrics."

It’s hard not to listen when the Dropdead takes the stage. Otis is an absolute animal, and the rest of the band follows suit. But given the effort involved, isn’t it difficult to maintain this level of conviction for 13 long years? "The motivation has changed, yes," agrees Otis. "Now I express it in a different way. I might not be as excited musically, but politically we’re stronger."

Then there’s the question of audience. While punk has a wide following, hardcore has a narrower appeal, and political hardcore is virtually buried underground, where the message rarely reaches your average punk fan. "In that respect it’s a little limited," says Bob, "but we chose this path. We chose to live in poverty in order to convey our message. It sounds like a cliché, but it’s a matter of starving for your art.

"I always wanted a bigger audience, but you have to draw the line. It’s hard to maintain your ethics and not sell out. Our goal is to get as big as we can get and get our message out there without shaking hands with The Man."

Of course, that means doing everything themselves. Political hardcore, at least the radical anarcho school, is founded firmly on a DIY ethos, which Dropdead abides by faithfully. "It gets harder as you get older because you have more responsibilities, but we don’t love it any less. We used to do six-month tours, but with everybody working we try to do more stuff from home."

Good news for locals, at least. And that’s a group of people (and a place) for which the band has nothing but good things to say. "I’m so proud to be part of the Providence scene," Otis says. "We have the best music here, so many amazing bands. Being a part of this scene has been one of the high points of our career."

Though Otis expresses regret about the recent sabotage of the Olneyville scene, he feels confident that the players involved are strong enough to rise again, in a different location. "The extreme scene here is at its height right now. [The] Armageddon [label] puts on great shows with international talent, and there are so many other great bands. You can’t kill this art, and you’re not gonna kill the music scene."

Dropdead plays on Saturday, February 7 at the Living Room with ThoughtCrime, Contempt for Humanity, and legendary UK anarcho pioneers Icons of Filth. The how starts at 9 p.m. and costs $6.

AUTO-EROTICA. At the Call on Saturday, the SuicideGirls will careen into town. If you haven’t heard them, seen them on TV, or been to their Website, well, the sexually liberated among you are in for a treat. SuicideGirls, the popular community of women and men that combines the DIY attitude of underground culture with a vibrant, sex-positive community, are taking their pin-up-inspired burlesque act to the Providence masses and they’re gonna make you dig it. Six women perform a punk-inspired take on the traditional pasties-and-feathers shtick using music that ranges from Bjork and Siouxsie to Broadway standards. And if that’s ot enough, on Monday the Sex Workers’ Art Show Tour hits AS220. Like SuicideGirls, this revue is eye-popping but for a slightly different reason. The show features myth-dispelling performance art created by people who work in the sex industry, a mesmerizing cabaret-style event featuring music, spoken word, burlesque, video, and poetry, plus a visual art display that travels with the show. The artwork and performances offer a wide range of perspectives on sex work, from celebration of prostitution and sex-positivity to views from the darker side of the industry. The show starts at 8 p.m. and costs $8.

SCREEN TEST. On Saturday at Jarrod’s Place in Attleboro, Massachusetts, you can join Mastamindz as they make a video of their best tune, "Only If You Want It." Admission is $8 at the door. The gig is a continuation of a day that will consist of the band doing some video footage at the State House and throughout the area with LA director Daryl Silva. The final product will feature 11 bands, including Mutha Ugly; the DVD will be ready by April.

Wandering Eye. Mark Cutler will be playing solo acoustic at Hail Caesar’s in Cranston this Thursday (the 5th) from 7:30 to 10:30. Keep an eye out for a bunch of music to be released from Cutler over the next few months (in different incarnations). On Friday (the 6th), the folk couple of Anna’s House is at Cafe Arpeggio (139 South Main Street in Fall River, Massachusetts). Opening is another folky couple called Bill and Pam. The show begins at 7.

Upstart locals the Swank get a sweet slot this weekend, opening for Blizzard of ’78 at Jake’s on Saturday. The Swank is nearing completion of their debut album. More later. Sasquatch and the Sick-A-Billies play at the Green Room on Saturday. They finally have a Web page (sasquatchandthesickabillys.com/) to check out, and the biggest news is they’re going into Sonalyst Studios in Waterford, Mass. to cut a few sides with Mike Levesque on drums. Radio Wallpaper has a headlining gig on Saturday at the Blackstone. Fred and company are going into the studio at the end of the month with a bunch of new tunes, so check ’em out before they get spun onto aluminum. On Sunday (the 8th), Ryan Fitzsimmons’s Songwriters In the Round Series at AS220 features Brian Webb, Marjorie Thompson, and Dan White. The show starts at 7 p.m. and costs $5. On Tuesday (the 10th) Slugworth’s own Satyr hosts an open mike at Max’s Upstairs at 272 Thayer, which doubles as a wine-tasting — two really good excuses to get your ass there for the 9:30 p.m. start time. No cover, first Tuesday of every month. Next Thursday (the 12th) at AS220, Cubby Berk (from a band called Lovers from Athens) makes her Providence debut, with Fern Knight and Susie of Snoozer toting her Moog along for a night full of pleasant entertainment.

E-mail me with your music news at big.daddy1@cox.net.