< COHORTS >
Matt - Vocals
Mike - Guitar
Mike - Guitar
Aaron - Drums
Greg - Bass



< CONTACT >
Suicide Nation
P.O. Box 85281
Tempe, AZ 85281
U.$.A.

1997 - 2000 [Phoenix, AZ]

Suicide Nation history soon...Under construction...Well it seemed like a good idea in the beginning...it was late summer, 1999 when every ex-Michigan washup this side of Gratiot Ave. decided to recruit a few Koreans and a Texan for what was to be the oddest and shortest-lived musical endeavour of the 20th century (save Born & Razed). The genesis can be traced back to small Ridgeway Ave. living room inhabited by Derek Kenney (ex-Church of the Bomb/Anthem). In addition to being joined by fellow Michigan transplants Jeff Rice (ex-Duchess) and Matthias Weeks (ex-Gallowstree/Two Tables and a Chair), Kenney also recruited the nephew to the Korean Billy Graham, Dave B. Song (ex-High School Misfits Cover Band/Cameltoes). With a solid core of highly-experienced and well trained musicians, the band began auditioning vocal talent. It was at this time Jordan Atkins, former Humbug Volunteer editor and publisher, graced the band with his vocal presence. But there was still something missing...enter Kim Bae. After lengthy negotiations (involving large sums of cash) with her former musical troupe, Orange Whip, and her zine Punk Planet, Dearborn S.S. was able to buy out both of her contracts for the next year and a half.

And so it was. The band was formed and the goals were set. A strictly regimented rehearsal schedule was drafted and the band made the most of it. Over the next four months, Dearborn S.S. managed to write upwards of eight minutes worth of music, an unprecedented accomplishment in the world of hardcore. This diligence paid off immensely when Dearborn S.S., with the help of legendary mixmaster Chris Cabay, managed to belt out an eight-song demo in the Winter of 1999. Sadly, the demo sounded like South Sri-Lankan Treefrogs fist-fucking with a rubber glove (little did we know, but a hint of things to come). In light of the horrific sound quality, the demo was not circulated and the recording has since been purged by fire (aside from the handful of demos Kim managed to smuggle into Eastern Canada). Shortly after the Cabay Years demo was recorded, Dearborn S.S. played their first show with Limp Cock (featuring Chicago Steamroller inventor Scott Moore) and Human Wrist at the Odum in Chicago, IL. In order to compensate for an extremely brief performance, Kenney managed to pad the set with 35-minute grand declaration of war on corporate America which had onlookers nervously checking their watches.

The start of the new millennium proved to be a highly productive time for Dearborn S.S. After returning from a Hashish-laden Spanish voyage, Dearborn S.S. reformed, practiced unrelentingly, played a few shows, and, by March, had managed to salvage three additional minutes worth of music in the form of two (2) brand new songs. Studio time was then booked to record their first and only musical offering at the world-famous Woodshed Studios. Surprisingly, the recording session went off with out a hitch and in a matter of hours their legacy was cemented. Demonstrating increasing studio prowess, several of Weeks' mesmerizing pick-slides were seamlessly overdubbed into the mix. The record was eventually released in the early Fall of 2000 by Council Records and Lengua Armada Discos.

After the Woodshed Studio sessions, it was all downhill. Incurring the wrath of Kenney, drummer Jeff Rice took a temporary summer hiatus from the band in order to squat his parent's basement, drink MGD and rekindle his love for Major League Baseball. Kenney was furious, but he had a plan. Numerous replacement drummers were auditioned throughout the summer, resulting in a complete waste of time. Rejecting conventional tuning methods, Dearborn S.S. played their final show with Demon System 13 at the A-Zone in July of 2000. The entire set was a total disaster ending in complete mayhem when Kim Bae mentioned she was wearing a thong. Recent Italian expatriate Fabio accurately encapsulated the events of the evening with the simple phase, "Where's the drama?", a