For New York’s Show Me the Body, hardcore is less of a genre than it is a spirit, a place where you feel safe even though you might get stabbed. In fact, “there’s gotta be a little stabbing,” says frontperson/banjoist Julian Cashwan Pratt.

His band’s anti-scene scene, the CORPUS collective (a label, studio, youth initiative, music and non-hierarchical activist platform), rails against the “cool shit” and punk within the lines of industry-ready capitalist consumption. Which makes you wonder: Who is really making the “cool shit”? And should I know what it feels like to get stabbed?

On Sunday, July 10 in Queens, NY at the Knockdown Center and Saturday, July 16 in Los Angeles at the Belasco Theater, Show Me The Body is putting their wild punk community on full display, with a lineup that perfectly illustrates the eccelecticism of CORPUS, like the electro-industrial, digital hardcore of LUSTSICKPUPPY (in moments, she sounds like JPEGMAFIA with a bone to pick), Chicago hardcore party rockers BUGGIN, and CREEM favorites Soul Glo, the Philadelphia band behind your favorite non-hardcore dude’s favorite hardcore record of the year, Diaspora Problems.

For CREEM, Pratt spoke with Pierce Jordan, Soul Glo’s frontperson, about… well, some crazy ass shit.

A live photo of Show Me the Body.
Photo by J. Lannen
Julian and fans yodel in harmony.

Show Me The Body’s Julian Cashwan Pratt: Pierce, when was the first time we played a show together, bro?

Soul Glo’s Pierce Jordan: Probably at the Pharmacy in Philly. It was on some secret shit.

SMTB: You’re absolutely right. It was after Made In America, which is this ridiculous festival [put on by Jay-Z.] And we’re the punk band at the ridiculous festival, so no one’s gonna be there. But yeah, the Pharmacy…

SG: It was opened by this dude named Gary after he got hit by a UPS truck…he started it with the money he got.

SMTB: That’s fire. That show was mad funny.

CREEM: What drew you to each other’s music?

Soul Glo is unhinged.

SG: I heard about Show Me The Body and CORPUS as an initiative. There were mad people from Philly and New York who I know—who aren’t even punk musicians—who were affiliated or had done some kind of something with them. So I was just like, oh, so y'all are interested in the same way of being musicians as us, which is just like, “if it slaps, that's it.” That's what matters. Fuck all this scene shit and all of these bands that sound similar playing with each other. [For us], if it's good, it's good, regardless of if it's a guitar, a DJ, a rapper…

SMTB: That’s dead correct. We fuck with the people that we fuck with because we fuck with them, not because they made a nice song. Like, obviously the music is beautiful and important, but what interests us in connecting with different artists, and what Pierce says: how people move, what they think is important, [and] what they spend their time doing outside of the show.

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