By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
The reason a hard-core band has trouble crossing over, of course, is that no one save for the diehard few wants the music that uncut. So a group like Miami's Poison the Well, which has just about the most redeeming pop qualities of any brutally heavy band around -- occasionally memorable choruses, pretty melodies, a singer who can do more than bellow like a stuck wart hog -- should stand a good chance of becoming ambassadors of the music to the rest of the world. And it does.
The problem is that this makes the scene groan. Hard-core kids, like Bush's chief foreign policy advisers, tolerate no compromise and no diplomacy.
The five members of Poison the Well were once 16-year-old hard-core kids themselves, little adolescent purists with eardrums that wanted no quarter. So they can relate. In fact, some of the angst that attracted them to the genre is still there. Case in point: When asked about the band's rabid fan base, Ryan Primack, one of Poison the Well's two guitarists, bristled at the phrasing of the question.
"I usually don't use the fan' word," he protests. "No. I think it's developed a really bad stigma. I think the word means someone who's dumbed-down. We just say kids' or friends.' We're all there to have fun, so we should all respect each other in what we call each other."
Clearly, Poison the Well hasn't completely exempted themselves from scene politics yet. But the grip is loosening now that the players are well into their 20s. Derek Miller, the other guitarist, told Outburn magazine recently, "I know what hard-core kids are like, because I used to be one . . . and I know that their standards for judging a record aren't normal standards . . . if I couldn't go to a hard-core show and sing along and punch people, then it wasn't a good record. So, yes, I would definitely like to escape that, because I don't give a fuck about that . . . that is inconsequential."
Ultimately, the scene wants its favorite sons to keep it real at all costs, even (or especially) if it means staying broke in the process. Poison the Well isn't too keen on getting huge now that it's signed to Atlantic, which released the band's third album in May, called You Come Before You. (The group's first two, Opposite of December and Tear From the Red, were handled by hard-core specialists Trustkill.) Primack spews the requisite once-were-indie-band speak, saying, "We're definitely not super-psyched to go get big," but rather welcomed the deal because the group wanted more people to hear its music.
So far, Primack reports, the sales of You Come Before You are keeping Atlantic happy. Other indicators are favorable, too. Poison the Well is touring at the moment with the Deftones, a slot that has been filled in the past by an unbelievably successful string of bands -- Korn, Limp Bizkit, and Linkin Park, bands that all far eclipsed the act for which they were opening. The mainstream press has also taken the band under its wing to a degree it has with few hard-core groups -- Rolling Stone even gave You Come Before You a positive review.
So Poison the Well finds itself in a position where it must put on the classic balancing act that all rising bands that grew out of a grassroots movement have to endure -- selling more without selling out. To that end, Primack explains, "We try to do lots of small shows along with some of the bigger shows. Like in December. We have a tour booked of rooms that only hold 500 people and all the shows are eight dollars. But we still do the Warped Tour. Because have you ever seen a band and you liked it better in a big place? Sometimes it's right to see a band like that, and sometimes it's right to see them in a sweatbox."
This teeter-tottering carries over to the music as well. On You Come Before You, the band often comes off like the souls of two bands duking it out for supremacy within the same five bodies. There's the underground metal-core band, as in the subset of hard-core that was developed by early '90s groups like Earth Crisis and Overcast; this is driven by Slayer riffs and screamed vocals. Poison the Well will lumber through a minute or two of hernia-inducing heaviness. Then, on a dime, they'll succumb to their other demon, spilling gently into a ditty you'd expect from an indie rock band with a bunch of Smiths singles stashed under its bed. These shifts happen on just about every song, and with little warning, giving this band a Gremlins-like quality -- cute and fuzzy one minute, scaly and Satanic the next.