Bane originally entered my world as a result of Nick Koets. I moved to San Luis Obispo, CA in September of 1998 for college. Within a couple weeks, I ran into Nick on the Cal Poly campus. He was wearing a straightedge windbreaker, so I said hello. Back then, at least in small towns in California, you always said hello to a fellow hardcore kid. And you especially said hello if you’d just moved hundreds of miles away from home and didn’t have any friends! haha. He and I got to talking, and I was mentioning how I really liked In My Eyes, Ensign, and older stuff like Gorilla Biscuits. That day he was wearing a grey BANE shirt with the hand holding a butterfly and “Holding This Moment” underneath. He said I should definitely check Bane out if I liked that other stuff I’d mentioned. He had just seen Bane play a couple of shows in SoCal on their Holding This Moment tour… That 7″ had just been released in the summer of 1998. He said they absolutely blew every other band out of the water on stage. I wrote down Nick’s phone number (very few cell phones back then), and told him we should carpool to out of town shows together sometime. Little did I know that over the years I would find myself playing many a late night lazer tag session (!!!) with him, Mike Stelle, and Jeremy Johnson, or that I’d end up doing a band with him (The Damage Done). SLO times were fun times. Anyway, after meeting Nick, I went back to my dorm room and started scouring some FTP sites that I knew hosted some hardcore mp3’s. No youtube, sendspace, or iTunes back then. I was able to score a copy of the CD version of the Holding This Moment CD, which features the first three 7″s on one CD. I really liked it from the moment I got it. Bedard’s voice was pretty unique and took some getting used to, but I could definitely tell there was something “different” about Bane. They were one part late 90’s “youth crew revival”, and another part all their own thing, rooted in a more metallic sound. I instantly noticed the lyrics were “different” – the topics were heavier, more “mature” maybe, and just seemed a bit more intense. I could see why Nick had found something special in this band. I started listening to that 9 song CD version of Holding This Moment on repeat for weeks. Over the years I saw Bane play countless shows, and they were always an intense live band – one of my favorites. I would always look forward to their trips to the west coast. But after a few years, I went through a period where I wasn’t much of a Bane fan…. I had seen the guys in Bane do a couple “questionable” things at shows, and it had sort of turned me off to them. I don’t want to get into it, because they weren’t big things by any means – just a couple little moments. However, as I’ve grown older, I have really changed my thinking on those little things I saw them do. The things I saw were done in the heat of the moment, out of frustration. As I’ve aged, I’ve started to feel similar frustrations. I’ve grown to realize that their frustration stemmed from seeing others tearing down this community we all love so much, and maybe sometimes they directed their frustration and anger towards the wrong person. When I started doing Rivalry almost full time, I started to see things a little differently. I started to see a dark underbelly that exists in our little world when you get more “professionally involved” in it. I was sick of all the hypocrites and two-faced bullshit. I just wanted to go back to the time when I was younger and all I saw around me was my local community of friends that all took care of each other. I made some similar mistakes, took some things out on some people that didn’t deserve it. That kid that had made those judgements had grown up a little, and started to understand the complexity of what he’d seen take place. I’ve since been drawn back to Bane, and respect them so much for the 15+ years of their life they’ve devoted to their band. I still try to make it out to watch them play when they pass through San Francisco, and I still enjoy checking out their records when they release new material. Moreso than any other band of “our generation” (I don’t consider SOIA or Agnostic Front “my generation” – I was too young), they have weathered the sands of time, with all the bullshit and all the trends, and it’s clear they do it because they love it. I appreciate them for always giving young bands a chance to tour the world with them, and for the sincerity they’ve put into their lyrics, music, and live shows. I appreciate them for sharing a feeling that whether I’m growing older, selling records, or whatever I’m doing, you won’t ever see me sit around and talk shit about everything that I once based my whole life on – that’s where you can count me out. For all of that, I think they will go down as a classic hardcore band (if they haven’t already). Ok, on to the sweet vinyl stuff…
The original Bane Demo tape from 1996. Printed on red paper… Probably to deter bootlegging. Ever tried to photo copy something on red paper? Yeah. Doesn’t work out so well.
Bane – the 7″s…
Just a photo showing all of the “early-ish” Bane 7″s together in one photo. I guess it’s not all early stuff, but basically this photo has everything before the “City XX:XX” series. I took separate photos for the first 3 releases and covered them below. But there are a couple other records pictured above, so I’ll cover them here. The record with the “10 cupcake” was sold at their 10 year anniversary show in 2006 (I believe). This orange/white color was out of 450. I believe there is also a yellow/blue version out of 450. In the bottom left hand corner, there is a split 7″ they did with Adamantium on Indecision Records. There were 550 on grey vinyl, and the rest were black.
The first “XXX” or self titled 7″ was self-released on Life Records (run by guitarist, Aaron Dalbec). The first pressing was black vinyl with black/silver labels. Later they repressed it on blue and black vinyl, with white/black labels. I’m honestly not sure how many blue vinyl copies there are, but it’s somewhat limited, probably just a couple hundred.
The “Free To Think, Free To Be” 7″ was their 2nd 7″, again self-released on Life Records. First pressing was black vinyl only, and the only pressing with actual label art, I think. B Murphy will jump in here if I get something wrong! 2nd pressing was yellow vinyl and black vinyl, but both had blank white labels with hand numbers. Yellow are numbered out of 200, black out of 300. Many years later they did a 3rd press on Green vinyl – I think only 200 copies. 100 are numbered and were sold at a Positive Numbers Festival one of those years. Another 100 are not numbered.
The “Holding This Moment” 7″ was the 3rd 7″, released in 1998. The band had signed to Equal Vision Records, and this was a big release for Bane. This is the release that really catapulted them as one of the “bigger bands” in hardcore. EVR did 200 copies on gold vinyl, sold via EVR directly. The band sold a tour pressing on purple out of 100, and I believe the green version out of 100 copies was either record release, or sold locally, or…? Someone will fill me in, I can’t remember. Either way, it’s 200 on gold, 100 on purple, 100 on green, I think. There’s also a bunch of black vinyl copies. I owned a test pressing of Holding This Moment, as well. See below! Lastly, I figured I’d paste my favorite Bane lyrics here, since they come from the Holding This Moment 7″. They’re simple lyrics, and I hinted at them up above. But I still carry this with me and probably always will.
“Count Me Out”: I can still see the reasons that I opened my eyes to this scene in the first place. And I can still feel my beliefs growing stronger everyday. I can still count the ways… But for you, it’s all over. The meaning is gone, you’re moving on, and tearing us down with you. You’ve shed your past, grown up fast. Demanding that we all mature at your fucking pace. But here I remain refusing to change, remembering when we were the same. I support your decision, I believe in change and hope you find just what it is that you are looking for. But when you sit around and talk shit about everything that you once based your whole life on? That is where you can count me out. Because I’ll be here tomorrow, and I’ll be here next year. Just like this X on the back of my hand, I’m not going nowhere.
This is a test pressing of the Holding This Moment 7″. I owned that for 3 or 4 years, but recently sold it to Marcus Andrews from the UK. This was a really hard item for me to let go, because Bane test pressings of their early releases are almost impossible to find. But I’m glad it went to Marcus – he has a very nice Bane collection now. He was nice enough to loan me some photos of it since I didn’t take any photos before I sold it. He has a record blog himself, so check it out: http://endlessquestrecords.blogspot.com.
Marcus noted that it’s strange how the test pressing says “Revelation Records” on it but the record came out on Equal Vision. Yeah, that’s because back then Revelation was the main distributor for almost every hardcore label, and they had great volume agreements with Rainbo Records since they’d been pressing there for years, so most things that were largely distributed were run through Rev to be pressed at Rainbo. I’ve even run Rivalry stuff through Revelation since they were my distributor too.
The next group of records is the “It All Comes Down To This” LP and the “Give Blood” LP. I wasn’t as stoked on IACDTT when it came out as I thought it’d be. I know everyone goes crazy for the song “Can We Start Again”, but for some reason the album didn’t really do it for me. I’m actually way more into the Give Blood LP, but I think most long-time Bane fans probably don’t really agree with me. That’s ok. The IACDTT LP was released by Equal Vision Records. I remember pre-ordering this LP and the Saves The Day “Through Being Cool” at the same time. Those were EVR’s two big records that summer. Bane’s LP came on this cool peach/orange colored vinyl, out of 300. They did a tour that summer, and sold a red vinyl pressing out of 150. The pink copies were record release or for friends only, out of 100 copies. I also owned a test pressing of the IACDTT LP, which is shown in detail below. It seems like Bane went years and years without releasing any more music. It was forever before Give Blood finally materialized. But when it did, I was on board. I dig this shit. The pressing info was always disputed on this one. There are supposedly 25-50 or so that are true “split” red/clear copies, and then another 100-125 that are clear with red “splotches”? I’m guessing the bottom line is 150 were pressed on red/clear vinyl, and the lesser have it split down the middle (somewhat), and the majority have a random pattern? Is that fair? B Murphy – speak up! Then there are 250 that are clear with a brown “coffee stain” looking pattern. Question: are there any clear/brown that exhibit the “split” effect seen on the red/clear, hmmm, hmmm?? Ok, maybe not since I’ve never heard of one. But I’m surprised that didn’t happen….? The remaining 500 are clear vinyl, and then there’s a bunch on black vinyl.
The test pressing shown here is a test of IACDTT. I got it for pretty cheap from the same guy from whom I got The Holding This Moment 7″ test – but I promised him I wouldn’t mention where I got it. I sold this LP test along with the 7″ test mentioned above to Marcus Andrews from the UK after owning the tests for 3 or 4 years. Marcus passed along the photos for me via his blog.
The insert for Give Blood is a giant fold-out poster that is really one big collage of all sorts of cool photos the band has taken on tour over the years. It matches the theme of the “van photo” on the cover perfectly.
To celebrate its 10 year anniversary, Triple B Records re-released the “Give Blood” LP in 2011. The re-release featured new packaging, complete with an embossed cover and printed booklet. In the cover you see here, the embossed red cross is raised up off the white stock slightly. The red/white splatter vinyl is out of only 200 copies. The rest of the pressing was 400 white, 400 red, and 1000 black.
A cool poster for a show at the Showcase Theatre in Corona, CA with Bane, Reach The Sky, Carry On, the Movielife, and the Killing Flame. Shows here could get wild because there was a balcony that was 2 stories up, and a railing behind the crowd. People used to dive off both of those things, as well as the usual stage dives, so it just felt like there were people coming from everywhere – in front of you, behind you, above you. Fun shit!
This next batch of LP’s are “later” Bane LP’s. The Note came out a couple years back, and I actually really like it! I especially enjoy “Swan Song”, which features some soaring vocals from Zack, their guitarist. I always really liked his voice in his band Silent Drive, and I think it makes the perfect mix in “Swan Song”. The lyrics are epic and dramatic, but I dig it: “When armageddon’s been locked and loaded… I will come back for you”, repeated over and over. Cool effect. I told you I still check out Bane’s new stuff when it comes out! The Note came on two different swirl colors of vinyl, out of 500 copies each, and there was a picture disc as well. I’m not much into picture discs, but I collected it for completeness. The LP’s on the bottom row are obviously a recent release of Holding This Moment, on 12″ for the first time. I’m not a big fan of the color choices with the layout, other than the green vinyl. I think it woulda been kinda neat if it woulda been the gold, green, and purple vinyl again, but that’s just me.
In 2009 or 2010, Bane released a ton of 7″s and CDEP’s across like 6 different labels across the world. The premise of all the releases was that a photograph would be taken at the exact same moment in each city that was home to one of the record labels. The title of each record is that moment in local time. For example, Dublin 11:58PM, Boston 6:58PM, Los Angeles 3:58PM, Rome 12:58 AM, etc. The photograph taken in each city was used on the cover art for each release. The artwork for each is a similar, featuring bright modern colors and shape patterns. I think there is only 2 sets of different songs released, so some of them have the same songs. All in all, I think this was a really neat idea, especially since it brought together a bunch of friends they’d made from touring the world over the years. My only gripe is that it creating a billion more pressings of basically the same music. I wish they would have stipulated that each 7″ could be one color vinyl only, with no additional pressings. I think if they did that, keeping all other details above, that would have been super cool. Either way, I think it was a cool idea. In the photo you can see a bunch of the releases that I bought when they came out. I’m sure there are many more pressings that I’m missing, but I didn’t bother to track what was being pressed or try to complete the collection. I just bought whatever was initially put up for pre-order. At the very bottom of the photo is a double 7″ released with the final issue of At Both Ends fanzine, which was a double issue #9 and #10. It features 2 different split 7″s – Bane/Grade and Unrestrained/Between Earth And Sky. The packaging for this 7″ looks pretty nice, with some cool custom artwork printed on this little folder with flaps to close up the package. The vinyl colors got really crazy with this release, where the pressing plant just mixed whatever vinyl colors they had on hand. I believe Steve ABE told me that almost every one of these 7″s are “one of a kind” given that each one is a unique mix of ugly colors. I can’t remember all the details… But my Bane/Grade is a blue/tan mix of sorts. Not very attractive. But oh well, all in all, At Both Ends was always a fanzine that was done very well, and I was sad to see it go.
Bane did a Chain Of Strength cover for the “All Systems Go Comp”, so when I came across a really cheap copy of a test pressing, I went ahead and picked it up for like $18.
I also owned a copy on blue marble vinyl, as well as blue/orange vinyl, but the blue vinyl didn’t make the photo because I already sold it. You can see the blue color they used by looking at the blue/orange copy – the blue was pretty unique. It was a deep navy blue, but then paired with an ugly orange/tan marble type color. Unique, but ugly. Also shown is an infamous “Stonkie stamp” 7″ comp (or maybe more like un-famous because most people don’t even know about it). Mine is #16/20.
I don’t know the details of the “Stonkie stamp”, we’ll let B Murphy fill us in. But only 20 of these 7″ comps were hand-numbered out of 20 and have “Stonkie” stamped all over the labels, back cover, dust sleeve, etc. This comp was released by Chris White / Solution Records in CT back in the 90’s. He released a couple other small records, but most of it didn’t really fit into the usual Bane crowd. Anyway, this may be the hardest Bane record to track down, if you count compilations in your collections, and most people don’t even know about it!
My Bane collection, at its peak:
- Bane – XXX (BLACK, BLACK labels, 1st press)
- Bane – XXX (BLUE, WHITE labels, 2nd press)
- Bane – XXX (BLACK, WHITE labels, 2nd press)
- Bane – Free To Think, Free To Be (BLACK, 1st press)
- Bane – Free To Think, Free To Be (YELLOW, 2nd press, #10/200)
- Bane – Free To Think, Free To Be (BLACK, 2nd press, #288/300)
- Bane – Free To Think, Free To Be (GREEN, 3rd press, Posi Numbers, #89/100)
- Bane – Free To Think, Free To Be (GREEN, 3rd press, not numbered, out of 100)
- Bane – Holding This Moment (TEST PRESS)
- Bane – Holding This Moment (PURPLE, out of 100)
- Bane – Holding This Moment (GREEN, out of 100)
- Bane – Holding This Moment (GOLD, out of 200)
- Bane – Holding This Moment (BLACK)
- Bane – 10 Year Anniversary (ORANGE/WHITE, #398/450)
- Bane – Dublin, 11:58 PM (BLACK, Euro Tour cover, out of 100)
- Bane – Dublin, 11:58 PM (BLACK)
- Bane – Dublin, 11:58 PM (ORANGE)
- Bane – Dublin, 11:58 PM (ORANGE w/WHITE SPLATTER)
- Bane – Dublin, 11:58 PM (RED)
- Bane – Dublin, 11:58 PM (GREEN/BLACK)
- Bane – Boston, 6:58 PM (RED, out of 700)
- Bane – Boston, 6:58 PM (BLUE, out of 700)
- Bane – Boston, 6:58 PM (BLACK, out of 800)
- Bane – Los Angeles, 3:58 PM (WHITE/CLEAR SWIRL)
- Bane – Los Angeles, 3:58 PM (YELLOW)
- Bane – Los Angeles, 3:58 PM (GREEN)
- Bane – Rome, 12:58 AM (GREY)
- Bane – Rome, 12:58 AM (BURGUNDY/PURPLE)
- Bane – Rome, 12:58 AM (PURPLE)
- Bane / Adamantium – Split (GREY, out of 550)
- Bane / Adamantium – Split (BLACK)
- Bane / Grade – Split (BLUE/TAN MARBLE, 1 of a kind. With AT BOTH ENDS zine final double issue #9/10)
- Bane – It All Comes Down To This (TEST PRESS)
- Bane – It All Comes Down To This (PINK, Record Release, out of 100)
- Bane – It All Comes Down To This (RED, US Tour press, out of 150)
- Bane – It All Comes Down To This (ORANGE, out of 300)
- Bane – It All Comes Down To This (BLACK)
- Bane – Give Blood (HALF CLEAR / HALF RED, only 25-50 exist)
- Bane – Give Blood (CLEAR W/RED SPLOTCH, out of 125 or so)
- Bane – Give Blood (CLEAR W/POO, out of 250)
- Bane – Give Blood (CLEAR, out of 500)
- Bane – Give Blood (BLACK)
- Bane – The Note (ORANGE/BLACK SWIRL, out of 500)
- Bane – The Note (YELLOW/ORANGE SWIRL, out of 500)
- Bane – The Note (PICTURE DISC)
- Bane – Holding This Moment (GREEN)
- Bane – Holding This Moment (RED/WHITE SPLIT)
- Bane – Holding This Moment (YELLOW w/BLACK SPLATTER)
- V/A – As We Look To The Future (BLACK, “Stonkie” stamp #16/20, Bane, Capgun, Drive)
- V/A – All Systems Go! 12″ (TEST PRESS, Bane, Ensign, Reach The Sky, + more)
- V/A – All Systems Go! 12″ (BLUE/ORANGE SPLIT, out of 300, Bane, Ensign, Reach The Sky, + more)
- V/A – All Systems Go! 12″ (BLUE, Bane, Ensign, Reach The Sky, + more)
- V/A – All Systems Go! 12″ (BLACK, Bane, Ensign, Reach The Sky, + more)
- Bane – original demo tape