Fred Spenner - Print Fanzine Publisher *EXTENDED INTERVIEW VERSION
Underdog
Fanzine (UF) has been around as a print magazine since 2002. How do you manage
to keep a DIY print magazine alive for almost 25 years in a digitalized world?
RESPECT for that. How will the 25th anniversary in 2027 be celebrated?
Festival, special edition, etc. … any plans?
Fred: Thank you! To be honest, if someone had told me in 2002 that UNDERDOG would still exist twenty-five years later, I probably wouldn't have believed them. Like many fanzines, it started with nothing more than enthusiasm, a love for punk and hardcore, and the feeling that there were countless bands and stories that deserved more attention than they were getting. I never had a business plan. UNDERDOG was - and still is - a DIY project driven by conviction rather than commercial ambition.
Keeping a printed fanzine alive in the digital age isn't easy. Rising printing and postage costs, changing reading habits and the dominance of social media have fundamentally changed the way people consume music journalism. Today, information is available everywhere, instantly and often for free. But that's exactly why I think print still has a purpose. A fanzine offers something different. It isn't about being first with the news; it's about providing context, depth and carefully researched interviews. A printed issue invites people to slow down, discover unknown bands and spend an evening reading instead of endlessly scrolling through their phones.
At the same time, I don't see digital media as the enemy. Without the internet, it would be much harder to stay in touch with bands from South America, Asia or Eastern Europe, to conduct interviews or discover new releases. Digital communication has made international networking much easier. But algorithms decide what becomes visible, while a fanzine is still curated by people. Every band featured in UNDERDOG is there because I genuinely believe it has something worthwhile to say or contribute to the scene - not because it generates clicks or fits the latest trend.
I also think there is something irreplaceable about holding a physical magazine in your hands. Punk has always valued tangible culture: records, tapes, flyers, posters, patches and zines. They become documents of a scene and a specific moment in time. A social media post disappears within hours; a fanzine remains on a bookshelf for years and can still be rediscovered decades later. Many readers tell me they own complete UNDERDOG collections. That's something no algorithm can replace.
Reaching the twenty-five-year milestone in 2027 means a great deal to me. More than anything, it proves that DIY culture is still alive. The anniversary won't be about celebrating myself but about celebrating everyone who has made the magazine possible: the bands who trusted me with interviews, the labels who kept sending records, the photographers, writers, advertisers, distributors and, of course, the readers who have supported UNDERDOG over the years.
There will definitely be a special anniversary issue looking back at the magazine's history, highlighting memorable interviews, favorite records and stories from behind the scenes. I'm also considering an anniversary show featuring bands that have accompanied UNDERDOG over the years. It won't be a huge commercial event - it should reflect what the fanzine has always stood for: DIY, community, friendship and the belief that independent culture still matters in an increasingly commercialized world.
UF
"advocates for a progressive world without exploitation and oppression,
where people can live their differences without being restricted by or because
of them". How difficult is it for you to experience that in this day and age, the values you
represent are increasingly being trampled underfoot?
But at the same time, punk has never existed under ideal conditions. It emerged as a reaction to social inequality, political repression and conservative structures. In that sense, the current situation doesn't make punk obsolete - it makes it necessary. Punk has always been more than loud guitars or fast songs. At its best, it is a culture of questioning authority, standing up for people on the margins and creating alternatives through solidarity and DIY.
The values expressed in UNDERDOG have never been about telling people how to live their lives. They are based on a simple principle: everyone deserves the same dignity, rights and opportunities, regardless of gender, sexuality, ethnicity, religion or social background. That shouldn't be considered a radical position, but unfortunately, it increasingly is.
What concerns me most isn't just the rise of the far right. It's the growing indifference. Many people seem exhausted by permanent crises and endless streams of information. When people stop caring, democratic values become vulnerable. That's why independent media still matters. A fanzine won't change the world on its own, but it can create spaces where different voices are heard, where complex issues are discussed without being reduced to clickbait, and where people discover that they are not alone with their beliefs.
I also think it's important not to define punk solely through resistance. Punk is equally about building something positive. Every DIY show, every independent label, every self-published zine, every benefit concert and every act of solidarity proves that another way of organizing culture is possible. That's what keeps me optimistic. While reactionary politics often rely on fear and exclusion, punk has always been strongest when it creates communities based on openness, mutual support and respect.
As long as there are people who continue to question injustice, support each other and create independent spaces outside commercial or political control, the values that UNDERDOG stands for will remain alive. They may be challenged more than they were a decade ago, but that only makes defending them even more important.
What do
bands have to bring to the table for you to find them interesting enough and
present them in UF? What turns you off in today's subcultural music scene?
Fred: The first thing I look for isn't musical perfection - it's authenticity. A band doesn't have to reinvent punk to catch my attention. There are only so many chords and tempos you can play anyway. What really matters is whether I believe what I'm hearing. Does the band have something to say? Is there passion behind the songs? Does it feel honest rather than calculated? I'd rather listen to a rough demo full of conviction than a perfectly produced record that leaves me emotionally cold. I'm also interested in people who are actively contributing to their local scenes. Punk has never been just about being in a band. It's about organizing shows, running a small label, publishing a zine, booking tours, recording friends' albums, designing artwork or creating spaces where people can meet. Those things are just as important as writing songs. Many of the bands featured in UNDERDOG are deeply involved in DIY culture, and I think that gives their music an additional dimension.
Another thing I appreciate is curiosity. Some of the most exciting bands mix punk with hardcore, post-punk, ska, folk, metal, electronic music or influences from their own cultural backgrounds. I don't care about genre boundaries as long as the result feels genuine. Punk has always evolved because people ignored rules rather than followed them.
What turns me off is when image becomes more important than substance. Social media has changed the way many bands present themselves. Sometimes it feels as though creating content has become almost as important as writing songs. Success is measured in followers, algorithms and streaming numbers instead of memorable live shows or meaningful records. Of course, every band needs some visibility today, and there's nothing wrong with using digital platforms. But problems arise when marketing starts replacing creativity.
I also struggle with the increasing commercialization of underground culture. Punk was never meant to be exclusive, but it was built on participation rather than consumption. Today, almost everything can be turned into a lifestyle product. You can buy the look, the attitude and the merchandise without engaging with the ideas behind them. That's something I find problematic.
That said, I'm actually optimistic. Despite all the changes, I constantly discover incredible new bands from places I never expected - Indonesia, Colombia, Brazil, South Africa, Eastern Europe or small towns across Europe. Many of them release records themselves, book their own tours and build international networks without waiting for anyone's permission. That's exactly the spirit that made me start UNDERDOG in the first place. As long as people continue to create music because they have something to express - not because an algorithm rewards them - I believe punk has a very healthy future.
Fred: Thank you! To be honest, if someone had told me in 2002 that UNDERDOG would still exist twenty-five years later, I probably wouldn't have believed them. Like many fanzines, it started with nothing more than enthusiasm, a love for punk and hardcore, and the feeling that there were countless bands and stories that deserved more attention than they were getting. I never had a business plan. UNDERDOG was - and still is - a DIY project driven by conviction rather than commercial ambition.
Keeping a printed fanzine alive in the digital age isn't easy. Rising printing and postage costs, changing reading habits and the dominance of social media have fundamentally changed the way people consume music journalism. Today, information is available everywhere, instantly and often for free. But that's exactly why I think print still has a purpose. A fanzine offers something different. It isn't about being first with the news; it's about providing context, depth and carefully researched interviews. A printed issue invites people to slow down, discover unknown bands and spend an evening reading instead of endlessly scrolling through their phones.
At the same time, I don't see digital media as the enemy. Without the internet, it would be much harder to stay in touch with bands from South America, Asia or Eastern Europe, to conduct interviews or discover new releases. Digital communication has made international networking much easier. But algorithms decide what becomes visible, while a fanzine is still curated by people. Every band featured in UNDERDOG is there because I genuinely believe it has something worthwhile to say or contribute to the scene - not because it generates clicks or fits the latest trend.
I also think there is something irreplaceable about holding a physical magazine in your hands. Punk has always valued tangible culture: records, tapes, flyers, posters, patches and zines. They become documents of a scene and a specific moment in time. A social media post disappears within hours; a fanzine remains on a bookshelf for years and can still be rediscovered decades later. Many readers tell me they own complete UNDERDOG collections. That's something no algorithm can replace.
Reaching the twenty-five-year milestone in 2027 means a great deal to me. More than anything, it proves that DIY culture is still alive. The anniversary won't be about celebrating myself but about celebrating everyone who has made the magazine possible: the bands who trusted me with interviews, the labels who kept sending records, the photographers, writers, advertisers, distributors and, of course, the readers who have supported UNDERDOG over the years.
There will definitely be a special anniversary issue looking back at the magazine's history, highlighting memorable interviews, favorite records and stories from behind the scenes. I'm also considering an anniversary show featuring bands that have accompanied UNDERDOG over the years. It won't be a huge commercial event - it should reflect what the fanzine has always stood for: DIY, community, friendship and the belief that independent culture still matters in an increasingly commercialized world.
But at the same time, punk has never existed under ideal conditions. It emerged as a reaction to social inequality, political repression and conservative structures. In that sense, the current situation doesn't make punk obsolete - it makes it necessary. Punk has always been more than loud guitars or fast songs. At its best, it is a culture of questioning authority, standing up for people on the margins and creating alternatives through solidarity and DIY.
The values expressed in UNDERDOG have never been about telling people how to live their lives. They are based on a simple principle: everyone deserves the same dignity, rights and opportunities, regardless of gender, sexuality, ethnicity, religion or social background. That shouldn't be considered a radical position, but unfortunately, it increasingly is.
What concerns me most isn't just the rise of the far right. It's the growing indifference. Many people seem exhausted by permanent crises and endless streams of information. When people stop caring, democratic values become vulnerable. That's why independent media still matters. A fanzine won't change the world on its own, but it can create spaces where different voices are heard, where complex issues are discussed without being reduced to clickbait, and where people discover that they are not alone with their beliefs.
I also think it's important not to define punk solely through resistance. Punk is equally about building something positive. Every DIY show, every independent label, every self-published zine, every benefit concert and every act of solidarity proves that another way of organizing culture is possible. That's what keeps me optimistic. While reactionary politics often rely on fear and exclusion, punk has always been strongest when it creates communities based on openness, mutual support and respect.
As long as there are people who continue to question injustice, support each other and create independent spaces outside commercial or political control, the values that UNDERDOG stands for will remain alive. They may be challenged more than they were a decade ago, but that only makes defending them even more important.
Fred: The first thing I look for isn't musical perfection - it's authenticity. A band doesn't have to reinvent punk to catch my attention. There are only so many chords and tempos you can play anyway. What really matters is whether I believe what I'm hearing. Does the band have something to say? Is there passion behind the songs? Does it feel honest rather than calculated? I'd rather listen to a rough demo full of conviction than a perfectly produced record that leaves me emotionally cold. I'm also interested in people who are actively contributing to their local scenes. Punk has never been just about being in a band. It's about organizing shows, running a small label, publishing a zine, booking tours, recording friends' albums, designing artwork or creating spaces where people can meet. Those things are just as important as writing songs. Many of the bands featured in UNDERDOG are deeply involved in DIY culture, and I think that gives their music an additional dimension.
Another thing I appreciate is curiosity. Some of the most exciting bands mix punk with hardcore, post-punk, ska, folk, metal, electronic music or influences from their own cultural backgrounds. I don't care about genre boundaries as long as the result feels genuine. Punk has always evolved because people ignored rules rather than followed them.
What turns me off is when image becomes more important than substance. Social media has changed the way many bands present themselves. Sometimes it feels as though creating content has become almost as important as writing songs. Success is measured in followers, algorithms and streaming numbers instead of memorable live shows or meaningful records. Of course, every band needs some visibility today, and there's nothing wrong with using digital platforms. But problems arise when marketing starts replacing creativity.
I also struggle with the increasing commercialization of underground culture. Punk was never meant to be exclusive, but it was built on participation rather than consumption. Today, almost everything can be turned into a lifestyle product. You can buy the look, the attitude and the merchandise without engaging with the ideas behind them. That's something I find problematic.
That said, I'm actually optimistic. Despite all the changes, I constantly discover incredible new bands from places I never expected - Indonesia, Colombia, Brazil, South Africa, Eastern Europe or small towns across Europe. Many of them release records themselves, book their own tours and build international networks without waiting for anyone's permission. That's exactly the spirit that made me start UNDERDOG in the first place. As long as people continue to create music because they have something to express - not because an algorithm rewards them - I believe punk has a very healthy future.
Instagram account: https://www.instagram.com/fredspenner/
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