Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
When you talk about indigenous rebellion through music, you can't
skip Ostline Underground, and.
Speaker 2 (00:09):
A lot of people do.
Speaker 1 (00:10):
And over the last couple of decades, at the very minimum,
twenty five years, I've never heard anyone mentioning Oslin Underground
as an influence. They always mentioned somebody mainstream. They were
born in East LA in eighty nine, and this crew
has been blending genres and blowing open minds for well
over three decades. They're not just the band, They're a
(00:32):
cultural movement, mixing hip hop, punk, rapcor spoken word, and
and stress and ancestral instrumentation. Say that three times I've
seen it. And I was seeing them banging on these
tree trunks over in Flagstaff, Arizona, and I was like,
what the fuck is this? And then they were rapping
in on these guitars, just grinding away, and I was like,
(00:53):
what in.
Speaker 2 (00:54):
The fuck is this?
Speaker 1 (00:55):
And I saw these this crowd mashing and doing stuff,
and it was I had a rap show and all
the other guys were just doing karaoke, regular res rap,
gangster bullshit, and these guys popped on the stage and
I was like, what the.
Speaker 2 (01:06):
Motherfuck is this?
Speaker 1 (01:09):
They forged a sound that's as much ceremony as it
is street anthem. And for me, this band isn't just history,
it's personal. This is the story of osall On and Underground,
decolonizing sound, amplifying resistance.
Speaker 3 (01:24):
Family system.
Speaker 2 (01:29):
In the USA.
Speaker 1 (01:30):
In the system, I first came across ostall and Underground
back in Nighttyn and while I was stationed for Loose
Washington as an Army infantryman, was at Charlie Company won
five at this chick's house.
Speaker 2 (01:42):
I was dating this rapper, Chicken.
Speaker 1 (01:44):
She was called the first female Native rapper. Forgive me
if I don't phrase that correctly. So one night I
was at a place and she dragged out this big
ass box of tapes and demos, asking me to go
through them with her so that we could figure out
who to contact and maybe work with. Digging around and
suddenly zero win on this cassette from a band called
Oslon Underground.
Speaker 2 (02:06):
I asked her if she hurted you. She shrugged, She
was like, yeah, they're okay.
Speaker 1 (02:11):
So I popped it into play if I was like,
I want to jam on it. So I popped it
in the player and within a few minutes I was
blown away. She looked at me and said, I knew
you'd like that because it's about revolution and violence. And
I was insulted by how basic that comment was. That
music was wasn't just noise or violence, it was truth.
Speaker 2 (02:29):
The sentence was paying a day one of the question.
Speaker 3 (02:36):
Where do you want water By?
Speaker 2 (02:49):
I asked if I could have the tape?
Speaker 1 (02:50):
She shot back, no, go buy your own or some
shing like that. I asked her where I could even
find it?
Speaker 2 (02:55):
No answer. Again.
Speaker 1 (02:56):
Remember this is before the internet was like a blown
out thing, right, and you couldn't you can just go
online and find something. You had to go look for something.
You had to talk to somebody, to go to powers
to find music, and I went to every Powell from
you know, from the first time I could.
Speaker 2 (03:12):
Uh, I was always looking for music. A lot of times.
Speaker 1 (03:16):
I love the power Yeah, but they were more about
finding pussy and finding music, and finding music was key.
But I noticed that she set the tape side like
maybe she knew how powerful it really was, because she
looked at me and she was like, oop, popped it over.
Later I heard she was gonna do shows with them
(03:38):
or something, but I lost contact and never knew how
that actually played it. What I did know was that
I went hunting, bought all the music I could find,
and blasted those motherfuckers like my life depending on it,
back when it wasn't easy to track the stuff down,
but I did.
Speaker 4 (03:54):
Oh hell on the bodies of Indians and spas the
story of destiny. In the land of the graves, they
happened to be tender side in the first degree. But
now what's called the Melican probably.
Speaker 2 (04:07):
The land of the free.
Speaker 4 (04:09):
When you wave your flag and tell me love it
or leave it, you're thinking the price snack revolution.
Speaker 3 (04:15):
We'll see it coming.
Speaker 2 (04:16):
A record, holding on something and stick to it.
Speaker 1 (04:21):
And now on this platform, I feel like it's my
duty to tell you fucker's about this iconic band. I
haven't followed them closely in the years, and yeah, I'm
sure they're probably all woke, because all the old punks
are all fucking woke now, because honestly, most of the
rebels of yesterday end up.
Speaker 2 (04:37):
The government Lackey's of today. It's just the fucking truth
of it.
Speaker 1 (04:41):
But in those early days, Osla and Underground was a
force to be reckoned with, before the punk and the
the fuck You movement got infiltrated by sissy's and wokies
and racist and all.
Speaker 2 (04:56):
Kind of shit.
Speaker 1 (04:57):
It used to be fucking against all that shit. Oh
and I did mention that I saw them live in
Flags after Arizona, But that's another story for another day.
And remind me because I will tell you it's a
cool story. Drinking beers, body, But.
Speaker 2 (05:14):
Who are Oslon on the ground? Aslan?
Speaker 1 (05:16):
And I know a lot of people, A lot of
the Latino or Spanish speaking people, like there are a
lot of you chicks who are dating Spanish speaking people.
You didn't even say anyway, Aslan Underground, right, that's as
close as I can get for you. But from the start,
as Underground came out of the barrios of East LA
where punk shows, Chicano culture and the Indigenous pride. But
they all collided and the lineup was shifted, but the
(05:39):
core voices remain.
Speaker 2 (05:40):
And I always fuck.
Speaker 1 (05:42):
Up this dude's name, But I put a video down
below so you guys can check it out and hear him.
Speaker 2 (05:46):
Pronounce it as he pronounced it.
Speaker 1 (05:48):
Hyo was the frontman, the voice and spiritual anchor. Right
got Joe PEPs Gala Marsa. He's the basis and the instrumentalist, educator,
and activist. Everybody's a fucking activist. And then uh, I
want to say Kasho, he's the drummer and the percussionists.
Speaker 2 (06:07):
And percussionist is.
Speaker 1 (06:09):
A key word here, because if this is the same
dude that I saw drumming on those tree trunks, it
was basically a treat uh sideways that had holes in
it in various places and pop up up, up, up
up up. Before Slipknot was doing their thing, these guys
were fucking doing it. I saw a Slipnot in concert
and I was like, fuck, you know, I was never
I was never a really big Slipknot fan, but when
(06:29):
I saw them in concert, I was like, these dudes
are fucking badass, because it was like watching Blue Man
Group but metal version. I guess I don't fucking know
how to explain it, and these guys were.
Speaker 2 (06:42):
Like, I don't even know how to explain him.
Speaker 1 (06:44):
It's like fucking Blue Man Group, Slipknot and.
Speaker 2 (06:50):
Fucking pow Wow. I had a baby.
Speaker 1 (06:52):
I don't fucking know. It's just fucking badass. What did
they stand for?
Speaker 2 (06:58):
Right?
Speaker 1 (06:59):
Everybody stands or something nowadays or all these native groups
always got to stand for something, gay rights, anti gay rights,
being gay, being straight, the power power lines, anti power lions.
Speaker 2 (07:09):
The fucking it's always something. It's always fucking something.
Speaker 1 (07:12):
Can't just rap or rock or make music about getting
pussy and partying and fighting and fucking and just regular
everyday shit. You know, it's always gotta be some fucking.
But what are they saying for a stall on the
underground that's always stood on the crossroads of art and
activism most Native bands do. Their message is clear, colonize, resist,
(07:36):
Remember that's all every Native band talks about.
Speaker 2 (09:25):
Lyrically.
Speaker 1 (09:26):
They call out stay violence, capitalism, colonialism, spiritual disconnection while
holding up ceremony, community in heritage as weapons of survival.
Speaker 2 (09:34):
Your music is as much teaching as it is headbang.
But that's every band. Nothing new there.
Speaker 1 (09:42):
But the thing is that they were doing this way
back in the day before it was like a commonplace thing.
And everybody has a Native every Native who has a
native band now.
Speaker 2 (09:54):
They always have. These are the key things.
Speaker 1 (09:56):
It's almost as if it's written in the code book
of in a band member of your Native.
Speaker 2 (10:02):
But let's bring this back down.
Speaker 1 (10:04):
Let's bring this back down because this all, all of
this political shit can go left right down the middle,
it can explode. People have varying viewpoints, and mine vary
from yours greatly, I guarantee it.
Speaker 2 (10:18):
But why do they matter?
Speaker 1 (10:19):
Why does Oslin Underground matter in the reds metal community?
Speaker 2 (10:22):
Because Oslin Underground.
Speaker 1 (10:24):
Is proved that indigenous music doesn't fit inside borders or genres.
They remind us that the res isn't just rule, it's
also urban and global everywhere, everywhere or people survive for
res metal. They're the elders of the movement, and I
agree with this thousand percent. That's why, that's that's why
they're here on this magazine because even though I don't
(10:46):
agree with their message on thousand percent, I agree with
most of what they're talking about. They showed us how
to fuse ceremony with distortion.
Speaker 2 (10:55):
Oh fucking love that shit.
Speaker 1 (10:57):
They proved you can rage in English, Spanish and now
what the and still hit like a thunderclap. They opened
doors internationally, touring Europe, Australia, Canada, and Latin America, putting
indigenous resistance on the world map. So basically what they
did is they took advantage of white guild and they
were able to get tour around the world. Fuck it God,
(11:18):
get what you get when you can get it right, get.
Speaker 2 (11:20):
In where you fit in. And they did it all
while staying truder to people.
Speaker 1 (11:24):
No corporate sellout and no water down message, just raw militant,
de colonial sound. And you know, I got a view
point on that, but anyway, so check us out. This
is the disciography of resistance. This is what I've called
what I'm calling this thing right.
Speaker 2 (11:40):
This is their albums.
Speaker 1 (11:42):
Ninety five, they released Decolonize the Manifesto, a battle cry
and audio form.
Speaker 2 (11:48):
In ninety eight they released Subverses.
Speaker 1 (11:52):
It's a sharper louder bending genres into the weapon kind
of thing. And then in two thousand and nine they
released their self titled album Osall and Underground and it
was nominated for four Native American Music Awards. Later, the
band released politically charged singles, including one around Black Lives Matter.
(12:13):
Here at Resmedo Magazine, we don't co sign that movement.
We recognize it as a performative, divisive, and hateful movement.
In practice, it's a very racist movement. But the point
is this Ocell and Underground has never shied away from
wading into controversy. Even if the waters are murky. They've
(12:34):
always pushed buttons and demanded reaction, and that's part of
what makes them vital oscall and Underground matters because they've
carried the fire forward thirty years. They've kept indigenous identity
alive in the urban jungle, pushing it into moshpits, political
rallies and global tours.
Speaker 2 (12:52):
For the res metal community.
Speaker 1 (12:54):
They're not just a band we respect, they're blueprint. They've
showed us how to rage against colin isation with honoring
the ancestors they provided that are They prove that our
our music can be sacred and savage at the same time.
And most importantly, they remind us that resistance isn't a trend,
(13:14):
it's survival. Ocellon Underground is res metal.
Speaker 2 (13:19):
Even if they.
Speaker 1 (13:19):
Came from the streets of La their sound is our sound, heavy,
spiritual and unforgettable.
Speaker 2 (13:27):
So here's a red metal question of the day, guys.
Speaker 1 (13:30):
Does indigenous music have to come from the res or
can the barrio be just as native? Let me know,
because I'm just a fucking monkey on the tree going.
Speaker 3 (13:44):
To for yourself the occupied youself not story CAF. You
(14:04):
won the ton of control
When you talk about indigenous rebellion through music, you can't
skip Ostline Underground, and.
Speaker 2 (00:09):
A lot of people do.
Speaker 1 (00:10):
And over the last couple of decades, at the very minimum,
twenty five years, I've never heard anyone mentioning Oslin Underground
as an influence. They always mentioned somebody mainstream. They were
born in East LA in eighty nine, and this crew
has been blending genres and blowing open minds for well
over three decades. They're not just the band, They're a
(00:32):
cultural movement, mixing hip hop, punk, rapcor spoken word, and
and stress and ancestral instrumentation. Say that three times I've
seen it. And I was seeing them banging on these
tree trunks over in Flagstaff, Arizona, and I was like,
what the fuck is this? And then they were rapping
in on these guitars, just grinding away, and I was like,
(00:53):
what in.
Speaker 2 (00:54):
The fuck is this?
Speaker 1 (00:55):
And I saw these this crowd mashing and doing stuff,
and it was I had a rap show and all
the other guys were just doing karaoke, regular res rap,
gangster bullshit, and these guys popped on the stage and
I was like, what the.
Speaker 2 (01:06):
Motherfuck is this?
Speaker 1 (01:09):
They forged a sound that's as much ceremony as it
is street anthem. And for me, this band isn't just history,
it's personal. This is the story of osall On and Underground,
decolonizing sound, amplifying resistance.
Speaker 3 (01:24):
Family system.
Speaker 2 (01:29):
In the USA.
Speaker 1 (01:30):
In the system, I first came across ostall and Underground
back in Nighttyn and while I was stationed for Loose
Washington as an Army infantryman, was at Charlie Company won
five at this chick's house.
Speaker 2 (01:42):
I was dating this rapper, Chicken.
Speaker 1 (01:44):
She was called the first female Native rapper. Forgive me
if I don't phrase that correctly. So one night I
was at a place and she dragged out this big
ass box of tapes and demos, asking me to go
through them with her so that we could figure out
who to contact and maybe work with. Digging around and
suddenly zero win on this cassette from a band called
Oslon Underground.
Speaker 2 (02:06):
I asked her if she hurted you. She shrugged, She
was like, yeah, they're okay.
Speaker 1 (02:11):
So I popped it into play if I was like,
I want to jam on it. So I popped it
in the player and within a few minutes I was
blown away. She looked at me and said, I knew
you'd like that because it's about revolution and violence. And
I was insulted by how basic that comment was. That
music was wasn't just noise or violence, it was truth.
Speaker 2 (02:29):
The sentence was paying a day one of the question.
Speaker 3 (02:36):
Where do you want water By?
Speaker 2 (02:49):
I asked if I could have the tape?
Speaker 1 (02:50):
She shot back, no, go buy your own or some
shing like that. I asked her where I could even
find it?
Speaker 2 (02:55):
No answer. Again.
Speaker 1 (02:56):
Remember this is before the internet was like a blown
out thing, right, and you couldn't you can just go
online and find something. You had to go look for something.
You had to talk to somebody, to go to powers
to find music, and I went to every Powell from
you know, from the first time I could.
Speaker 2 (03:12):
Uh, I was always looking for music. A lot of times.
Speaker 1 (03:16):
I love the power Yeah, but they were more about
finding pussy and finding music, and finding music was key.
But I noticed that she set the tape side like
maybe she knew how powerful it really was, because she
looked at me and she was like, oop, popped it over.
Later I heard she was gonna do shows with them
(03:38):
or something, but I lost contact and never knew how
that actually played it. What I did know was that
I went hunting, bought all the music I could find,
and blasted those motherfuckers like my life depending on it,
back when it wasn't easy to track the stuff down,
but I did.
Speaker 4 (03:54):
Oh hell on the bodies of Indians and spas the
story of destiny. In the land of the graves, they
happened to be tender side in the first degree. But
now what's called the Melican probably.
Speaker 2 (04:07):
The land of the free.
Speaker 4 (04:09):
When you wave your flag and tell me love it
or leave it, you're thinking the price snack revolution.
Speaker 3 (04:15):
We'll see it coming.
Speaker 2 (04:16):
A record, holding on something and stick to it.
Speaker 1 (04:21):
And now on this platform, I feel like it's my
duty to tell you fucker's about this iconic band. I
haven't followed them closely in the years, and yeah, I'm
sure they're probably all woke, because all the old punks
are all fucking woke now, because honestly, most of the
rebels of yesterday end up.
Speaker 2 (04:37):
The government Lackey's of today. It's just the fucking truth
of it.
Speaker 1 (04:41):
But in those early days, Osla and Underground was a
force to be reckoned with, before the punk and the
the fuck You movement got infiltrated by sissy's and wokies
and racist and all.
Speaker 2 (04:56):
Kind of shit.
Speaker 1 (04:57):
It used to be fucking against all that shit. Oh
and I did mention that I saw them live in
Flags after Arizona, But that's another story for another day.
And remind me because I will tell you it's a
cool story. Drinking beers, body, But.
Speaker 2 (05:14):
Who are Oslon on the ground? Aslan?
Speaker 1 (05:16):
And I know a lot of people, A lot of
the Latino or Spanish speaking people, like there are a
lot of you chicks who are dating Spanish speaking people.
You didn't even say anyway, Aslan Underground, right, that's as
close as I can get for you. But from the start,
as Underground came out of the barrios of East LA
where punk shows, Chicano culture and the Indigenous pride. But
they all collided and the lineup was shifted, but the
(05:39):
core voices remain.
Speaker 2 (05:40):
And I always fuck.
Speaker 1 (05:42):
Up this dude's name, But I put a video down
below so you guys can check it out and hear him.
Speaker 2 (05:46):
Pronounce it as he pronounced it.
Speaker 1 (05:48):
Hyo was the frontman, the voice and spiritual anchor. Right
got Joe PEPs Gala Marsa. He's the basis and the instrumentalist, educator,
and activist. Everybody's a fucking activist. And then uh, I
want to say Kasho, he's the drummer and the percussionists.
Speaker 2 (06:07):
And percussionist is.
Speaker 1 (06:09):
A key word here, because if this is the same
dude that I saw drumming on those tree trunks, it
was basically a treat uh sideways that had holes in
it in various places and pop up up, up, up
up up. Before Slipknot was doing their thing, these guys
were fucking doing it. I saw a Slipnot in concert
and I was like, fuck, you know, I was never
I was never a really big Slipknot fan, but when
(06:29):
I saw them in concert, I was like, these dudes
are fucking badass, because it was like watching Blue Man
Group but metal version. I guess I don't fucking know
how to explain it, and these guys were.
Speaker 2 (06:42):
Like, I don't even know how to explain him.
Speaker 1 (06:44):
It's like fucking Blue Man Group, Slipknot and.
Speaker 2 (06:50):
Fucking pow Wow. I had a baby.
Speaker 1 (06:52):
I don't fucking know. It's just fucking badass. What did
they stand for?
Speaker 2 (06:58):
Right?
Speaker 1 (06:59):
Everybody stands or something nowadays or all these native groups
always got to stand for something, gay rights, anti gay rights,
being gay, being straight, the power power lines, anti power lions.
Speaker 2 (07:09):
The fucking it's always something. It's always fucking something.
Speaker 1 (07:12):
Can't just rap or rock or make music about getting
pussy and partying and fighting and fucking and just regular
everyday shit. You know, it's always gotta be some fucking.
But what are they saying for a stall on the
underground that's always stood on the crossroads of art and
activism most Native bands do. Their message is clear, colonize, resist,
(07:36):
Remember that's all every Native band talks about.
Speaker 2 (09:25):
Lyrically.
Speaker 1 (09:26):
They call out stay violence, capitalism, colonialism, spiritual disconnection while
holding up ceremony, community in heritage as weapons of survival.
Speaker 2 (09:34):
Your music is as much teaching as it is headbang.
But that's every band. Nothing new there.
Speaker 1 (09:42):
But the thing is that they were doing this way
back in the day before it was like a commonplace thing.
And everybody has a Native every Native who has a
native band now.
Speaker 2 (09:54):
They always have. These are the key things.
Speaker 1 (09:56):
It's almost as if it's written in the code book
of in a band member of your Native.
Speaker 2 (10:02):
But let's bring this back down.
Speaker 1 (10:04):
Let's bring this back down because this all, all of
this political shit can go left right down the middle,
it can explode. People have varying viewpoints, and mine vary
from yours greatly, I guarantee it.
Speaker 2 (10:18):
But why do they matter?
Speaker 1 (10:19):
Why does Oslin Underground matter in the reds metal community?
Speaker 2 (10:22):
Because Oslin Underground.
Speaker 1 (10:24):
Is proved that indigenous music doesn't fit inside borders or genres.
They remind us that the res isn't just rule, it's
also urban and global everywhere, everywhere or people survive for
res metal. They're the elders of the movement, and I
agree with this thousand percent. That's why, that's that's why
they're here on this magazine because even though I don't
(10:46):
agree with their message on thousand percent, I agree with
most of what they're talking about. They showed us how
to fuse ceremony with distortion.
Speaker 2 (10:55):
Oh fucking love that shit.
Speaker 1 (10:57):
They proved you can rage in English, Spanish and now
what the and still hit like a thunderclap. They opened
doors internationally, touring Europe, Australia, Canada, and Latin America, putting
indigenous resistance on the world map. So basically what they
did is they took advantage of white guild and they
were able to get tour around the world. Fuck it God,
(11:18):
get what you get when you can get it right, get.
Speaker 2 (11:20):
In where you fit in. And they did it all
while staying truder to people.
Speaker 1 (11:24):
No corporate sellout and no water down message, just raw militant,
de colonial sound. And you know, I got a view
point on that, but anyway, so check us out. This
is the disciography of resistance. This is what I've called
what I'm calling this thing right.
Speaker 2 (11:40):
This is their albums.
Speaker 1 (11:42):
Ninety five, they released Decolonize the Manifesto, a battle cry
and audio form.
Speaker 2 (11:48):
In ninety eight they released Subverses.
Speaker 1 (11:52):
It's a sharper louder bending genres into the weapon kind
of thing. And then in two thousand and nine they
released their self titled album Osall and Underground and it
was nominated for four Native American Music Awards. Later, the
band released politically charged singles, including one around Black Lives Matter.
(12:13):
Here at Resmedo Magazine, we don't co sign that movement.
We recognize it as a performative, divisive, and hateful movement.
In practice, it's a very racist movement. But the point
is this Ocell and Underground has never shied away from
wading into controversy. Even if the waters are murky. They've
(12:34):
always pushed buttons and demanded reaction, and that's part of
what makes them vital oscall and Underground matters because they've
carried the fire forward thirty years. They've kept indigenous identity
alive in the urban jungle, pushing it into moshpits, political
rallies and global tours.
Speaker 2 (12:52):
For the res metal community.
Speaker 1 (12:54):
They're not just a band we respect, they're blueprint. They've
showed us how to rage against colin isation with honoring
the ancestors they provided that are They prove that our
our music can be sacred and savage at the same time.
And most importantly, they remind us that resistance isn't a trend,
(13:14):
it's survival. Ocellon Underground is res metal.
Speaker 2 (13:19):
Even if they.
Speaker 1 (13:19):
Came from the streets of La their sound is our sound, heavy,
spiritual and unforgettable.
Speaker 2 (13:27):
So here's a red metal question of the day, guys.
Speaker 1 (13:30):
Does indigenous music have to come from the res or
can the barrio be just as native? Let me know,
because I'm just a fucking monkey on the tree going.
Speaker 3 (13:44):
To for yourself the occupied youself not story CAF. You
(14:04):
won the ton of control
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Clay Travis and Buck Sexton Show
The Clay Travis and Buck Sexton Show. Clay Travis and Buck Sexton tackle the biggest stories in news, politics and current events with intelligence and humor. From the border crisis, to the madness of cancel culture and far-left missteps, Clay and Buck guide listeners through the latest headlines and hot topics with fun and entertaining conversations and opinions.