scowl industry plant
[Photo by James Hartley]

Scowl’s Kat Moss is done being called an “industry plant”

Scowl are one of the hardest-working bands in hardcore right now. The Bay Area crew have ascended over the last couple of years, earning name-checks from Paramore’s Hayley Williams and opening slots for Limp Bizkit on the strength of their ferocious debut album, 2021’s How Flowers Grow, and this year’s catchy Psychic Dance Routine EP.

Like all underground bands hope for, Scowl’s music has resonated with fans, and their nonstop time on the road has won over audiences worldwide.

Read more: Sound and Fury Festival 2023 returns to hardcore's heavy roots

However, in a new rant posted to social media, Moss expressed her frustration with the way Scowl’s success is framed — as illegitimate or unearned — compared to other, male-fronted hardcore bands who’ve done the same types of sponsorship partnerships with Taco Bell, and have experienced a similar explosion in popularity. 

“I’m sick of hearing the phrase ’industry plant’ every single time Scowl experiences success,” Moss wrote.

“Our friend’s bands — bands commonly full of men — will sign brand deals, have a song in a commercial, get a co-sign from massively successful musicians, etc.

“Yet I never read whisperings of whether or not they deserve those successes. Whether or not they are valid enough, GOOD enough, or worked hard enough to be deserving of that success. Is our success never valid enough for you? 

“Why is this competition created between us and our community, specifically femme-bodied individuals? A competition I never participated in; a patriarchal competition I challenge by questioning my thoughts, actions and insecurities every single day. 

“The message I receive is that I am not granted independent success as a woman. Am I never grateful enough? Hardworking enough? Confident enough?"

It’s a shame that Moss even has to address this sort of double standard, but her words are powerful and incisive. See the full statement below.

This article was originally published on Revolver and was edited by Alternative Press.

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