photo & text by nacrowe
the SEATTLE-based ALTERNATIVE ROCK explosion of early 1990s was a COMPELLING CULTURAL PHENOMENON for so many reasons, none the least of which was how it rendered what was once considered UNDERGROUND, PROVINCIAL and OPAQUE to the frontlines of MAINSTREAM CONSCIOUSNESS. it must have been an UNPRECEDENTED and UNNERVING situation for the OLD GUARD, LEGACY PUNK bands like THE RAMONES, BAD RELIGION and CIRCLE JERKS to watch these UPSTART bands storm the gates, many of whom were inspired by and were VOCAL ACOLYTES of theirs.
the CULTURAL CONTEXT of SOCIAL DISTORTION's fifth release WHITE LIGHT, WHITE HEAT, WHITE TRASH (EPIC, 1996) is one of a CONSCIOUS effort to reset the table with regards to what PUNK ROCK actually entails. in the mind of FRONTMAN and main SINGER-SONGWRITER MIKE NESS, much of the MOVEMENT had been WATERED-DOWN, COMMERCIALIZED and REPACKAGED with no PALPABLE sense of PASSION or PERSONAL ANGST in the mix. from his PERSPECTIVE, much of what he saw was AFFECT, POSTURING and PERFORMATIVE PANTOMIME cloaking itself in a CULTURAL MOVEMENT he literally bled and fought for with the establishment of HARDCORE throughout the 1980s. that being said, i feel like the SHORTCOMING of WHITE LIGHT, WHITE HEAT, WHITE TRASH is ironically its EARNESTNESS. on tracks like "DOWN ON THE WORLD AGAIN" "I WAS WRONG," "DON'T DRAG ME DOWN," "DEAR LOVER" and "WHEN THE ANGELS SING," NESS absolutely comes across as IMPASSIONED, HONEST and COMMITTED but at the expense of being a bit OVERBEARING and HEAVY-HANDED in the process. SOCIAL DISTORTION has long maintained a WELL-CRAFTED and seemingly CONSCIOUS balance between the EMOTIONAL VULNERABILITY of its LYRICAL CONTENT and its somewhat DOMINEERING MACHISMO PRESENTATION of such. when i listen back to this record it just comes off a bit too much in the latter parading as the former (if that makes any sense). this would change with what i firmly contend is the STRONGEST SOCIAL DISTORTION album to date SEX, LOVE AND ROCK 'N' ROLL (TIME BOMB, 2004), which was recorded years after in the wake of the untimely passing of CO-FOUNDING GUITARIST DENNIS DANNELL from an UNEXPECTED CEREBRAL ANEURYSM. THEMES surrounding the FRAILTY OF LIFE and LOVE OF FAMILY and celebrating one's COMMUNITY. with that record the INTERNAL POLITICS of ROCK N ROLL and the MUSIC INDUSTRY seem as INCONSEQUENTIAL as they in fact are. on that record NESS got back to WRITING about he is best at, REAL LIFE LIVED HARD. for me WHITE LIGHT, WHITE HEAT, WHITE TRASH is evident of its period in ROCK N ROLL HISTORY when things were shaken up a bit and PUNK VETERANS were a little GUN SHY on what their next best move should be. my opinion is that this record suffered a bit from trying too hard to be a massively SUCCESSFUL ROCK N ROLL record (i.e. BIG THEMES, BIG CHORUSES, BIG GUTAR LEADS). NESS is undoubtedly at his best when he is in a corner and fighting his way out of a situation with music. whether the enemy is ADDICTION, SOCIETY or HIMSELF, the VULNERABILITY his SONGS display as he is in the midst of surviving is his calling card as an ICONIC MUSICIAN. i grew up in ORANGE COUNTY in a town neighboring FULLERTON (where SOCIAL DISTORTION originated) called BREA, and i take pride that is NESS is from my area. i dont want to come off HARSH with this piece as i love the band and especially the HONEST SONGWRITING of NESS, i just dont feel this particular album was his CREATIVE ZENITH (and personally i dont think theyd argue to the contrary). but man did he rebound with a VENGEANCE on his next effort with SOCIAL DISTORTION and hasnt looked back since.
0 Comments
photo manipulation & text by nacrowe
the aggressively EXPERIMENTAL MUSICIAN JUSTIN PEARSON came to my attention in the early 2000s when a childhood friend of mine in ORANGE COUNTY clued me into THE LOCUST, this INSANE, TECHNICAL GRINDCORE / NOISE ROCK band out of SAN DIEGO that dressed up as insects on stage. the dude has been a part of COUNTLESS BANDS from that HARDCORE scene throughout the 90s including SWING KIDS and RETOX and has long run his INDEPENDENT label THREE ONE G. more recently he has collaborated with MIKE PATTON (MR. BUNGLE, FAITH NO MORE, TOMAHAWK, FANTOMAS) and DAVE LOMBARDO (SLAYER, FANTOMAS), along with RETOX GUITARIST MICHAEL CRAIN in DEAD CROSS. long story short, PEARSON is a CONNOISSEUR of all things EXTREME and THOUGHT-PROVOKING, especially with regards to AVANT-GARDE music he actively promotes.
in recent years he has hosted the CULT AND CULTURE PODCAST with fellow MUSICIAN LUKE HENSHAW who is arguably more PRODUCTION-MINDED and ADEPT songwriting-wise at interweaving LATIN, SCI-FI, HIP HOP, PUNK and CLASSICAL AVANT-GARDE elements into his no-less EXPERIMENTAL catalogue with BANDS like SONIDA DE LA FRONTERA, SATANIC PLANET, VARIATIONS IN THE KEY OF THE AFTERLIFE and PLANET B. their PODCAST is basically a platform for the promotion of similarly INNOVATIVE MUSICIANS that produce stridently EXPLORATORY fair such as BEN WEINMAN (DILLINGER ESCAPE PLAN), NICK REINHART (TERA MELOS), BARNEY GREENWAY and SHANE EMBURY (NAPALM DEATH), BLACK DICE, JOHN REISS (DRIVE LIKE JEHU, HOT SNAKES) and JUAN ALDERATE (THE MARS VOLTA, RACER X, MARILYN MANSON), as well as legendary TRANSGRESSIVE cult FILMMAKER JOHN WATERS (PINK FLAMINGOS, FEMALE TROUBLE) and PEDAL MANUFACTURER EARTHQUAKER DEVICES' CEO JULIE ROBBINS and founder JAMIE STILLMAN. its always COOL to just sit back and take in long form discussions regarding CREATIVE PEOPLE's INFLUENCES, PROCESSES and INSPIRATIONS for making ART. it literally never gets old and propels someone less artistically attuned like myself to continue moving forward and keeping my eyes and ears open to UNFAMILIAR TERRITORY along the way. i see the CULT AND CULTURE PODCAST as vehicle for fighting JADEDNESS, because these guys mention BANDS and ARTISTs ive never come cross before, and thus the education process continues. definitely recommended and well worth checking out, especially for MODERN fans of EXPERIMENTAL music. photo & text by nacrowe
of all the UNDERGROUND ROCK N ROLL bands that have made the IMPROBABLE jump to MAINSTREAM COMMERCIAL SUCCESS over the past few decades, arguably none has had more of a STYLISTIC evolution than that of AFI. and that is not some disguised slight or passive aggressively barbed way of saying that somehow they are inauthentic or chasing trends, because THAT IS NOT THEM. i feel strongly that their TRANSITION through HARDCORE, POST PUNK, GOTH ROCK, POWER POP, NEW WAVE and the like are just various aspects of their ARTISTIC AMBITIONS and COMPLEX identity as FOREMOST MUSIC FANS and AFICIONADOS. DIFFERENT EXPRESSIONS of the same truth if you will. and each record they have seemed to grow in CONFIDENCE and a willingness to alienate their fanbase with further EXPLORATIONS outside their own comfort zone and/or audience expectations. at this point in their career almost three decades in, the EXPECTATION now is a TRANSFORMED and uniquely REINVIGORATED SOUND each cycle.
but in the pre-BLACK SALES IN THE SUNSET (NITRO, 1999) era of the band, that is to say back when they were on DEXTER HOLLAND's (of OFFSPRING fame) indie label NITRO RECORDS and guitarist JADE PUGET was not an auxiliary studio PRESENCE and not yet a member, the band went through some GROWING PAINS. in fact, those three early series of albums recorded for NITRO when the band were in their late teens and early 20s showcase a PASSIONATE band with their STRAIGHTFORWARD HARDCORE roots playing to their influences and not necessarily expanding much from them. none more so than on their third record SHUT YOUR MOUTH AND OPEN YOUR EYES (NITRO, 1997), which suffers from a lack of DIVERSITY in SONGWRITING and INSPIRATION. what it does have in spades on tracks like "THREE REASONS," "A SINGLE SECOND," "LOWER YOUR HEAD AND TAKE IT IN THE BODY," and "THE DEVIL LOVES YOU" is an UNCEASING PASSION via DYNAMIC frontman DAVEY HAVOK and rolling PUNK ROCK rhythms that would be familiar to anyone with even a PASSING KNOWLEDGE of NOFX, BAD RELIGION, SNAPCASE, REFUSED and so on. it is a perfectly ADEQUATE HARDCORE-inspired album for the period and its DERIVATIVENESS is part of the APPEAL. once PUGET became a full-time band member and, more critically, the second half of an INSPIRED SONGWRITING partnership with HAVOK, the band would pay immediate dividends on its subsequent release BLACK SALES IN THE SUNSET and its likeminded follow-ups THE ART OF DROWNING (NITRO, 2000), SING THE SORROW (NITRO, 2003) and DECEMBERUNDERGROUND (INTERSCOPE, 2006). those records set the template for the rest of a career UNDAUNTED by EXPERIMENTATION and genre-hopping that showcased their LOVE of all things THE CURE, BAUHAUS, THE SISTERS OF MERCY and JOY DIVISION amongst so much more. would i recommend the SHUT YOUR MOUTH AND OPEN YOUR EYES album? probably not, but i have nothing against those early records. to me they are just a CURIOSITY regarding the early DEVELOPMENTAL efforts of what would become a truly PROMINENT CULTURAL FORCE that had not as of yet found its NICHE or GROOVE yet. it is the sound of a band still searching, which can be INTRIGUING but not something i necessarily return to very often. photo & text by nacrowe
i remember visiting a CHILDHOOD FRIEND of mine in SOUTHERN CALIFORNIA way back in the summer of 2001, before our senior year of high school. at that point it had been years since my FAMILY moved to NIGERIA of all places and i did stints there as well as two years at a NEW ENGLAND boarding school and another year at an INTERNATIONAL school in KUWAIT, where my FAMILY was then situated. this was a PRE-INTERNET, PRE-STREAMING, even PRE-DOWNLOADING era where my ability to learn about NEW MUSIC OVERSEAS was through CASSETTE MIXTAPES through FRIENDS and FRIENDS OF FRIENDS. being back in ORANGE COUNTY visiting my old FRIEND was a wakeup call and an EDUCATION because he was plugged in with his ear to the ground and i learned all about bands id never heard of, everything from local 80s HARDCORE bands like T.S.O.L., AGENT ORANGE, DR. KNOW, CHANNEL 3, THE GERMS, WASTED YOUTH, THE MIDDLE CLASS, D.I., ADOLESCENTS and FEAR to more sonically extreme bands like THE DILLINGER ESCAPE PLAN, CONVERGE, BOTCH and THE LOCUST. i say all this because in the intervening years i'd traveled throughout AFRICA, EUROPE and the MIDDLE EAST and i came to learn that what i missed out on culturally back at 'home' was the most explosively FRANTIC sounds ever by a bunch of MANIC MUSICIANS dressed as insects.
i mean at the time i had no way of even comprehending a MUSICIAN like JUSTIN PEARSON or the bands he'd been a part of up to that point. but that was my INTRODUCTION to him and THE LOCUST way back and for whatever reason ive always identified their sound with 9/11 given that their first self-titled THE LOCUST (GOLD STANDARD LABORATORIES, 1998) album was what i was listening to at the time. regardless, i recently came across PEARSON's FRAUGHT and likewise UNRELENTING FROM THE GRAVEYARD OF THE AROUSAL INDUSTRY (SOFT SKULL, 2010) memoir that conveys a lifetime of SEVERE ABUSE, NEGLECT and TRAUMA. from his time in ARIZONA where he dealt with the PAIN of watching his mother get routinely PUMMELED by his FATHER, to his DEATH / MURDER under DUBIOUS circumstances that saw his FAMILY relocate to SAN DIEGO and the cycle began a new with his EVENTUAL STEPDAD. you listen to THE LOCUST or some of his other projects like SOME GIRLS, HEAD WOUND CITY, SWING KIDS or even much later with SATANIC PLANET and DEAD CROSS, and that jagged, DISSONANT SONIC ASSAULTS with UNYIELDING, SPASTIC ENERGY and head-turning ABRUPT TEMPO SHIFTS makes absolute total artistic sense. GALLOWS HUMOR is a CONSTANT throughout this book as PEARSON deals with a bevy of NEAR-CONSTANT lineup changes and COMMITTED yet DOOMED ROMANTIC RELATIONSHIPS. you very much get the sense that the main theme throughout is no doubt survival by any means necessary as PEARSON, being an only child, showcases much RESILIENCE and SELF-RELIANCE to function and push despite the odds of co-running an INDEPENDENT label (THREE ONE G RECORDS) that seemingly specializes in CHALLENGING, UNCOMMERCIAL MUSIC. from what i could gather his MOTHER, his label co-owner ALLYSIA EDWARDS and his dog GEE GEE are the triumvirate that make up his extended UNCONDITIONAL SUPPORT SYSTEM. ROCK N ROLL memoirs are traditionally written by those that had a certain level of SUCCESS or NOTORIETY, so reading FROM THE GRAVEYARD OF THE AROUSAL INDUSTRY is a bit of a OUTLIER in that its subject is somewhat OBSCURE with a dedicated but relatively SLIGHT CULT FOLLOWING. and i think that is what makes it truly COMPELLING as a read, since PEARSON very much gives you an unadulteratedly BRUTAL PERSPECTIVE of the drive involved in surviving at the margins of the RECORDING INDUSTRY with your wits somewhat intact. if anything PERSEVERANCE and SELF-CONFIDENCE involved is almost QUIXOTIC in the extreme, but that is what makes the topic so INTRIGUING. i recommend FROM THE GRAVEYARD OF THE AROUSAL INDUSTRY to anyone interested in learning about what true DIY ETHICS entails from the perspective of a WORKING MUSICIAN and INDEPENDENT small business owner. in spite of all the PAIN and TRAUMA, id argue this book is evidence that PEARSON is very much living his dream. photo & text by nacrowe
i mean this is it.
when you consider 1980s HARDCORE PUNK ROCK there are arguably a few immediate bands that come to mind: BAD BRAINS, DEAD KENNEDYS, CIRCLE JERKS, MINOR THREAT, D.O.A., THE MISFITS and BLACK FLAG. and THE FIRST FOUR YEARS (SST, 1983) compilation is in essence a re-release of all the ICONIC pre-HENRY ROLLINS INDEPENDENT EPS such as NERVOUS BREAKDOWN (SST, 1979), JEALOUS AGAIN (SST, 1980) and SIX PACK (SST, 1981) when the band was fronted by a succession of VOCALISTS from KEITH MORRIS to RON REYES to DEZ CADENA. it doesnt get more ground zero than these AGGRESSIVE and extremely RAW PERFORMANCES of "NERVOUS BREAKDOWN", "NO VALUES," "WASTED," "CLOCKED IN," "WHITE MINORITY" and "FIX ME" in the history of HARDCORE or INDEPENDENT music writ large in the UNITED STATES. by the time ROLLINS joined in 1981 BLACK FLAG was well on their way to carving out an INDEPENDENT circuit of small veteran affair halls, elks lodges, backyards, bowling alleys and NONTRADITIONAL concert venues that would later be utilized and exploited in the 1990s by ALTERNATIVE ROCK and INDIE ROCK bands alike. these SONGS were the core of the gospel they spread and BLACK FLAG were nothing if not CULTURAL PIONEERS in that sense, along with fellow travelers in THE CRAMPS, VANCOUVER HARDCORE act D.O.A. and COLLEGE ROCK acts like R.E.M. and THE REPLACEMENTS it should be noted during the same period. i was aware of the band going back to elementary school years through reading KURT COBAIN interviews where he mentioned them along with the likes of FLIPPER and THE RAINCOATS, but it wasnt until high school that i was clued into them via a childhood friend i was visiting at the turn of the millennium in SOUTHER CALIFORNIA. through this friend i gained an APPRECIATION and context for what previously i experienced as DISCORDANT NOISE and SLOPPY MUSICIANSHIP. after that education getting to sear FEAR on that trip it dawned on me the UNRELENTING ENERGY and UNBRIDLED FURY that the MUSIC unleashed in a crowd. something clicked. it was as if BLACK FLAG was a soundtrack to that VIOLENT release of pent-up AGGRESSION and FRUSTRATION that comes with living in this country. that feel of SUBLIMATION rooted in being poked at by superiors at work, in the media, at the bank and at school to conform and acquiesce to the man. it was TRANSFORMATIVE and the music to me seemed more aligned with another COUNTERCULTURE HERO whose MUSIC i had come to know intimately when my family lived in NIGERIA a few years earlier: FELA KUTI. GREG GINN's furiously PRIMITIVE GUITAR WORK and these various VOCALISTS screeching their EXPLOSIVE DISSATISFACTION with society all came to be the same COHESIVE EXPRESSION in my understanding and i thank my friend for opening that door for me. also, the RAYMOND PETTIBON ARTWORK on those early EPs are SINGULAR in their absolute DEVASTATING DEPICTIONS of SOCIETAL COERCION and the physical BRUTALITY of VOILENCE. as someone that was repeatedly hazed in high school, discovering PETTIBON took me unflinchingly right back to the moment of ABUSE. the PERFECT primer for the proper MINDSET for listening to BLACK FLAG no doubt. THE FIRST FOUR YEARS is an ESSENTIAL release by an absolutely ICONIC band. it is a release well worth checking out and returning to again and again.
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the REVERED PRODUCER / ENGINEER / MIXER and MODERN PURVEYOR of all things LOUD and AGGRESSIVE, JOE BARRESI!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! photo & text by nacrowe
sometimes you are unexpectedly confronted with a group that has NEXT-LEVEL INTENSITY and BALTIMORE's SHARPTOOTH is that band. this REVERED HARDCORE PUNK ensemble has two STELLAR full-length's on PURE NOISE RECORDS and are led by the UNADULTERATED BRUTALITY of vocalist LAUREN KASHAN, who has utilized her position as a POSITIVE vehicle to both sublimate her TRAUMA and advocate on behalf of TRAUMA victims to seek MENTAL HEALTH assistance. i think such action takes REAL COURAGE and is indicative of the CHARACTER behind both KASHAN and her bandmates. recently the band has moved on to new vocalist MELISSA WARD who likewise brings the UNBRIDLED FEROCITY, plus they have a song called "FUCK YOU DONALD TRUMP" so what is there not to love? definitely looking forward to what the new lineup cooks up.
SHARPTOOTH is definitely worth checking out.
parody by nacrowe
PUNK bands by definition are not meant to last. just look at that first round of late 70s originators or their HARDCORE brethren during the 1980s, most put out a record or two and then disbanded in near complete OBSCURITY. such being the case, it is almost ABSURD that NOFX are winding down their forty year, fifteen studio album career with a final tour and probable upcoming release or two for good measure. not only that, they objectively got better as musicians and songwriters as they went along is which is the absolute opposite ethos of the genre with the TIRED "LIVE FAST, DIE YOUNG" credo. then again, NOFX always was a band that reveled in being a PARADOX.
more than any other MODERN PUNK band that i can think of, NOFX embodied the SNARKY CONTRARIANISM that came with being FORTHRIGHT and SELF-AWARE to the point of (and sometimes beyond) being SELF-DEPRECATING. BAD RELIGION was as politically OUTSPOKEN but more SERIOUS, AUTHORITATIVE and ACADEMIC in PRESENTATION and TONE (which makes sense since LYRICIST and contributing SONGWRITER GREG GRAFFIN is in fact a professor). RANCID were objectively more TALENTED as MUSICIANS and SONGWRITERS, but frontman TIM ARMSTRONG had a more IMPRESSIONISTIC and CONFESSIONAL aspect to his compositions, even the numbers that addressed political issues. as a GENIUS WORDSMITH, for him it was less about a specific point being addressed and more about exploring a DISPARATE POINT-OF-VIEW and MINDSET in his lyrics. BLINK-182 expressly borrowed aspects of the SNARKY CONTRARIANISM of NOFX but really dialed down the INTELLIGENCE and SELF-EVIDENT ABSURDIST comedy behind such, leaving just REDUNDANT JUVENILITY in its stead. and for me, part of the whole SCHTICK around NOFX was that this whole SELF-DIMINISHING "WE'RE JUST A PUNK BAND" routine was a smokescreen for a band that really had a STRONG PRESENCE and sense of AMBITION. just look at THE DECLINE (FAT WRECK CHORDS, 1999) release and its lone 18+ minute track, complete with SOPHISTICATED LEIHTMOTIFS and thematic callbacks a la opera. before GREEN DAY and talk of ROCK OPERAS, NOFX had already been there, done that on one masterfully EPIC track. another case in point was vocalist and main songwriter FAT MIKE's PUNKVOTER.COM campaign to support JOHN KERRY in his 2004 campaign to defeat then-incumbent president GEORGE W. BUSH. lots of HARDCORE bands going back to the 70 and 80s complained about MARGARET THATCHER and RONALD REAGAN, but how many actively built up a coalition to effect change a la FAT MIKE. i'll answer that: no one. the most ADMIRABLE thing about the members of NOFX is that in spite of their DEPRECATING PRESENTATION, these guys are actual doers who take actual real-life risks. FAT MIKE stuck his neck out and ultimately was not successful in ousting BUSH, but so what. he acted where his peer group historically only impotently reacts. my hope is that this is not the end of the road for the band as a CREATIVE ENERY and that if FAT MIKE continues on a solo journey that his former bandmates are common characters along the way, because the band is UNIQUE and has effected change arguably more than any other MODERN PUNK band. this in spite of their TIRED on-stage dad jokes. embedded below is a very recent DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a playlist celebrating the career of the iconic SOUTHERN CALIFORNIA PUNK ROCK band NOFX. enjoy! photo manipulation & text by nacrowe
its always great to come across new bands that take something FAMILIAR and create something UNIQUE. the BRITISH HARDCORE band HIGH POWER out of LEEDS combine the STACCATO blink-and-you-missed-it RHYTHMIC SHIFTS a la FUGAZI or BAD BRAINS with IDIOSYNCRATIC GUITAR TEXTURES akin to TOM MORELLO or WES BORLAND while incorporating EXPANSIVE CHORUSES that are entirely EVOCATIVE of CHINO MORENO and the DEFTONES. all these DRASTIC SONIC JUXTAPOSITIONS and cultural references make for a hybrid blend that comes off FRESH and EXCITING. i also cant say enough about the EMOTIONAL and TECHNICAL DYNAMISM of vocalist JIMMY "J-TOWN" WIZARD. he is definitely going to be someone to look out for in the future.
HIGH POWER are absolutely worth checking out. photo & text by nacrowe
sonically and aesthetically, the initial long-form OFF! release that is the FIRST FOUR EPs (VICE, 2010) compilation is in essence a spiritual continuation of 1980s HARDCORE as if the ensuing decades never happened. just these brief PRIMAL minute-long spasms of UNRELENTING aural INTENSITY. from the moment the BLISTERING opening track "BLACK THOUGHTS" rages out the gate, it is beyond self-evident how EXCITING and REFRESHING it is to hear a ROCK AND ROLL band recorded this RAW, consciously OUT-OF-STEP with modern industry standards for sonic fidelity. yet even with the AUSTERE RAYMOND PETTIBON artwork and STRIPPED-BACK SONIC PRESENTATION reminiscent of early BLACK FLAG, there is nothing nostalgic about this record or this band, which is made up of vocalist KEITH MORRIS (CIRCLE JERKS, BLACK FLAG), guitarist DIMITRI COATS (BURNING BRIDES), bassist/PRODUCER STEVEN SHANE MCDONALD (REDD KROSS) and drummer MARIO RUBALCABA (ROCK FROM THE CRYPT, HOT SNAKES). if anything, it feels and sounds like the way forward and an IDEAL response to what ROCK AND ROLL uniquely provides (PASSION, INTENSITY, UNBRIDLED EMOTION) in the age of UNTETHERED sonic adventurism that is MODERN HIP HOP and EDM.
FIRST FOUR EPs just feels like HARDCORE at its most FUNDAMENTAL and AMOEBIC level, constructed for maximum impact. no bullshit or decorative window-dressing, just a DIRECT shot to the head. i can point out STANDOUT tracks like "I DON'T BELONG," "DARKNESS," the aforementioned "BLACK THOUGHTS" and "UPSIDE DOWN," but the truth is that this record is meant to be experienced in its totality, as if it is one extended 20-minute rant with 18 varieties of WHITE-KNUCKLE VERBAL CONFRONTATION and UNYIELDING SONIC AGGRESSION. for one, MORRIS has never sounded more FOCUSED or VITAL and arguably COATS' decidedly UNDERCOOKED PRODUCTION CHOICES served this end spectacularly. there is an INTENT and IN-THE MOMENT ENERGY that you can only get from a demo, when songs are still in the process of congealing and emerging into shape, of becoming. this record has that feel of a PROMISING demo, which in itself is REVOLUTIONARY. no need to recreate or manufacture it again for real. it is done, on tape, ship it out. if only all ROCK AND ROLL could be that PURE. at the time of its 2010 release, the debut FIRST FOUR EPs compilation by OFF! is probably one of the most CONSEQUENTIAL records in at least a decade. forget HARDCORE or PUNK ROCK, it is a reminder of how ROCK AND ROLL at its core essence should be created and presented. i view it as absolutely ESSENTIAL and most definitely worth checking out. photo & text by nacrowe
in the summer of 2001 i went back to my hometown in ORANGE COUNTY for the first time in years to stay with a childhood friend and it was during that stay that i was enlightened (or more like indoctrinated) into the world of SOUTHERN CALIFORNIA PUNK ROCK. of course i was familiar enough with BLACK FLAG, DESCENDENTS, BAD RELIGION, X, CIRCLE JERKS, THE VANDALS and SOCIAL DISTORTION and the 90s bands from the area but was unfamiliar with IMPACTFUL but lesser high-profile groups like WASTED YOUTH, D.I., FEAR, ADOLESCENTS, DR. KNOW, MINUTEMEN, RICH KIDS ON LSD, THE GERMS, CHANNEL 3, T.S.O.L., BATTALION OF SAINTS, THE MIDDLE CLASS and AGENT ORANGE. in fact it was during that trip that i got to see a reunion ADOLESCENTS show with CHANNEL 3 opening in SANTA ANA as well as FEAR at WARPED TOUR in VENTURA. and T.S.OL. at a gig in POMONA. it was an INFORMATIVE and thoroughly EDUCATIONAL summer to say the least.
amidst the pack of HARDCORE acts coming out of the region in the 1980s, AGENT ORANGE stood out primarily because of their highly IDIOSYNCRATIC hybridization of PUNK ROCK with SURF MUSIC. such an INTRIGUING mix with those long MELODIC, DICK DALE-inspired barrel-roll guitar runs at HARD-CHARGING tempos is heard all over their debut LIVING IN DARKNESS (POSH BOY, 1981) on IMPRESSIVE tracks such as "EVERYTHING TURNS GREY," "LAST GOODBYE," "BLOODSTAINS," "A CRY FOR HELP IN A WORLD GONE MAD," and of course, a cover of "MISERLOU." there is a PROFESSIONALISM and TECHNICAL PRECISION and ELEVATED level of MUSICIANSHIP at play throughout LIVING IN DARKNESS that is UNMATCHED from bands of the period, who tend to sound MUDDLED if not AGNOSTIC to basic recording aspects like PRODUCTION VALUE or playing in time or in key. founding bassist STEVE SOTO left AGENT ORANGE to cofound arguably the other main group of the period with a similar penchant for MUSICIANSHIP and CRAFTSMANSHIP, ADOLESCENTS. this propulsive, kinetic sound naturally found a kinship in the nascent SKATE scene of the period and provided both a soundtrack to the pastime and a sonic template, along with MELODIC HARDCORE bands like BAD RELIGION, to the UPTEMPO SKATE PUNK bands that rose to prominence over the next decade. most notably PENNYWISE, NOFX, FACE TO FACE, NO USE FOR A NAME, MXPX and so on. i just find it INTRIGUING that a sound that is a variation on SURF MUSIC served as the sonic backdrop to an activity and lifestyle that itself was a variation and innovation on SURFING itself. it is an ODD and FRUITFUL synergy of sorts that seemingly could only take place in SOUTHERN CALIFORNIA. because of this, for me AGENT ORANGE is the very embodiment of an ORGANIC and wholly AUTHENTIC version of PUNK ROCK from the area. the other vein is the more NIHILISTIC, DRUG-ADDLED and VIOLENT variant exemplified by THE GERMS and FEAR that was more-or-less continued (sans drugs) by AGGRESSIVE bands like BLACK FLAG, SUICIDAL TENDENCIES and the BELLIGERENT and CONFRONTATIONAL COASTAL cohort. both breaks in the family tree are VALID and have their proponents. for me, the example of AGENT ORANGE is one that offered a polished version of PUNK ROCK that was IMPACTFUL due to its reigning in of excess and creating a record with a POWERFUL, DELIBERATE sonic impact. LIVING IN DARKNESS continues to be required listening in my opinion for anyone interested in HARDCORE or PUNK ROCK in general. definitely worth checking out. BOOK REVIEW | "SMASH!: GREEN DAY, THE OFFSPRING, NOFX AND THE '90s PUNK EXPLOSION" BY IAN WINWOOD8/14/2023 photo & text by nacrowe
in recent years there has been a deluge of memoirs and published histories of the PUNK ROCK movement and all of its sub-genres and related SCENES. what makes SMASH!: GREEN DAY, THE OFFSPRING, NOFX AND THE '90s PUNK EXPLOSION (DA CAPO, 2018) by VETERAN BRITISH music journalist IAN WINWOOD (NME, ROLLING STONE, REVOLVER, Q, THE GUARDIAN, MOJO) so FASCINATING is that fact that it effectively elaborates on the expanded trajectory of the WEST COAST expansion of PUNK ROCK and HARDCORE into the 1990s. from THE DAMNED and THE SEX PISTOLS LEGENDARY late 1970s performances to the advent of the early LOS ANGELES PUNK ROCK SCENE in the late 70s/early 80s with THE GERMS, X, THE SCREAMERS, FEAR, THE WEIRDOS and THE BAGS to the HARDCORE BANDS from nearby counties infiltrating the SCENE throughout the 80s like BLACK FLAG, WASTED YOUTH, CIRCLE JERKS, SOCIAL DISTORTION, THE ADOLESCENTS, T.S.O.L. and DESCENDENTS to the 90s BANDS at focus throughout SMASH! and beyond. it is that very tension within that lineage of generations of PUNK BANDS that makes this book such a UNIQUE and COMPELLING read.
when AMERICAN HARDCORE was initiated in the 1980s, various BANDS started their own RECORD LABELS (DISCHORD, SST, ALTERNATIVE TENTACLES) out of necessity and begot a COTTAGE INDUSTRY of viable ALTERNATIVE options for artists. they also provided a lean BUSINESS MODEL and strong DIY ethic for the next generation of INDEPENDENT artists. such is the case with the BAY AREA's LOOKOUT! RECORDS which famously released early GREEN DAY offerings and the catalogue of OPERATION IVY. within the PUNK ROCK COMMUNITY, this effective FETISHIZING of what it means to be truly AUTHENTIC and INDEPENDENT had a huge effect on PUNK and PUNK-influenced BANDS of the 1990s. case in point, arguably at the center of SMASH!'s narrative is the melodic SAN FERNANDO MELODIC PUNK ROCK BAND BAD RELIGION and the INDEPENDENT RECORD LABEL its guitarist BRETT GUREWITZ founded, EPITAPH RECORDS. unlike LOOKOUT!, EPITAPH found itself in 1994 with an UNEXPECTED diamond album [i.e. 10 million copies sold] in THE OFFSPRING's SMASH (EPITAPH, 1994) that effectively forced the LABEL to expand rapidly while defying continued efforts from most of the MAJORS to buyout their operation and/or poach their artists. in essence, the commercial success of this INDEPENDENT PRIVATE LABEL put them in the same stratosphere as publicly traded MULTI-NATIONAL CORPORATE ENTITIES with larger checkbooks and a deeper well of resources. all PUNK and HARDCORE LABELS were never at that level and it was a situation GUREWITZ never anticipated. in the wake of such there was a new equilibrium and expectations game internally amongst the BANDS, their MANAGERS and the LABEL that took years to level off and resolve itself. in essence, the BANDS that stayed INDEPENDENT (NOFX, RANCID, PENNYWISE) by and large were critically rewarded long-term and with the exception of GREEN DAY (who didnt come off unscathed in terms of their reputation). even GUREWITZ own BAND BAD RELIGION signed during this period with ATLANTIC RECORDS for several releases and eventually successfully came back to EPITAPH at the beginning of the new millennium with new ENERGY and a return-to-form recorded offering. whereas EPITAPH RECORDS exemplified this dynamic from the BUSINESS and LABEL perspective, undoubtedly GREEN DAY are the poster boys for the pitfalls of working with the MAJORS during this pre-digital era (because currently nobody cares about this puritanical litmus test since no one is selling records at this scale anymore). they famously were effectively abandoned and ex-communicated by their SCENE and the ARTISTIC COMMUNITY from which they developed, the 924 GILMAN STREET venue in BERKELEY. all for signing to WARNER BROS. they were in a bind. touring nonstop throughout the states and EUROPE, LOOKOUT! couldnt keep up with demand. their fans couldnt locate product. GREEN DAY didnt believe that PUNK ROCK was about being ELITIST with hard-to-locate OBSCURE records in limited supply. the widespread DISTRIBUTION of a MAJOR would change all that. and it did. but it came at a high cost to their personal sense of IDENTITY, especially in the wake of DOOKIE (REPRISE, 1994) and its MASSIVE diamond-level commercial success. success only counterintuitively exacerbated that sense of ALIENATION and DISLOCATION from their small BAY AREA SCENE and even their FANBASE. eventually newcomers would replace that shedding of ORIGINAL SUPPORTS tenfold but that was the bargain back during this heady period. SMASH! really elucidates on an that INTERESTING convergence of PUNK ROCK ethics and all the GUILT, CONTRADICTION and seemingly socially enforced LACK OF AMBITION at the heart of it. when NIRVANA exploded, close behind it was the dismantling and/or renewed RECALCITRANCE of all that undercurrent of TRADITIONAL mores at the heart of the genre that separated it from other music sub-genres. it is still in retrospect a topic that is absolutely FASCINATING to consider almost three decades hence. i dont know if it has an analogue to today, which is more ECLECTIC, GENRE-LESS and far less TRIBAL musically than it was back then. politically today is a whole 'nother story entirely. definitely a INTRIGUING book well worth checking out. even if its BRITISH perspective on the CULTURAL PHENOMENA that was 90s PUNK ROCK does get a little weird at times. photo & text by nacrowe
i learned about the MANHATTAN BEACH PUNK ROCK band DESCENDENTS my freshman year of high school in 1999 when arguably their most famous acolytes in SAN DIEGO POP PUNK idols BLINK-182 were at their cultural zenith. i make that connection because there is an absolute direct connection between this band and the 80s HARDCORE scene that catapulted them and what later came to fruition in the late 80s and 90s as POP PUNK, SKATE PUNK, MELODIC HARDCORE and even POST HARDCORE a la bands like BAD RELIGION, NOFX, PENNYWISE, LAGWAGON, AT THE DRIVE-IN, RANCID, ALKALINE TRIO, GLASSJAW and, again, BLINk-182. in essence any 90s PUNK band that incorporated themes related to INTERNAL INSECURITY, PUBLIC HUMILIATION, JUVENILE HUMOR and UNREQUITED ROMANTIC AFFECTIONS as well as POP hooks basically is indebted to DESCENDENTS one way or another.
its intriguing because so many of the 80s HARDCORE bands (BLACK FLAG, DEAD KENNEDYS, MINOR THREAT, etc) positioned themselves thematically and sonically against some vision of AUTHORITY, whereas with DESCENDENTS all that FRUSTRATION and pent-up AGGRESSION was pointed INWARD out their own SHORTCOMINGS and IMPERFECTIONS. for me at least that lyrical conceit is much more PIERCING, AUTHENTIC and ultimately RELATABLE. it also showcases a level of HONEST SELF-REFLECTION and SELF-ASSESSMENT that denotes a SHARP INTELLECT and PRETERNATURAL sense of EMOTIONAL INTELLIFENCE. you get the feeling on I DON'T WANT TO GROW UP (NEW ALLIANCE, 1985) tracks like "MY WORLD," "GOOD GOOD THINGS," and "SILLY GIRL" that singer MILO AUKERMAN is arguing that he is the problem and not necessarily someone else or society at large. i feel like that SELF-AWARE impulse is the through-line between DESCENDENTS and all that followed them. that redirection of ANGER and SEXUAL FRUSTRATION at oneself and the implied IMPOTENCE at being unable to manifest meaningful change in one's life and situation is a POWERFUL and even COURAGEOUS lyrical position. for me, PUNK ROCK before DESCENDENTS was thematically all about outside CONFLICT and initiating change in one's community from an INFLEXIBLE core position of STRENGTH and STEADFAST CONVICTION. the imposing figure of HENRY ROLLINS comes to mind and his signature power stance he maintains while singing which projects not just sounds from his diaphragm but also insinuates a RESOLUTE MIND-STATE with similarly firm convictions as well. that is something to aspire to, but AUKERMAN's SELF-DOUBT is way more my speed in general. at least it feels closer to my actual lived experience. I DON'T WANT TO GROW UP is most definitely worth checking out, regardless of your personal affinity for PUNK ROCK in all its variations and later evolutions. its just an HONEST ROCK N ROLL record that is ever RELEVANT in my experience and remains something i continually revisit. enjoy. photo manipulation & text by nacrowe
when i first heard the SPASTIC SONIC VIOLENCE that was THE DILLINGER ESCAPE PLAN back in undergrad, the only band that even remotely prepared me for such an AURAL ONSLAUGHT was this EXTREME, MASKED HARDCORE PUNK band out of SAN DIEGO called THE LOCUST that a childhood friend had previously clued me onto my senior year of high school. both now DEFUNCT bands gleefully defied expectations related to both GENRE and SONG STRUCTURE, and have an INDIVIDUALIZED sonic AESTHETIC that is entirely their own. not exactly the easiest thing when your POST-HARDCORE and GRINDCORE peer group is often hyper-aware of and effectively made prisoner to genre prescriptions that limit ARTISTIC EXPRESSION.
the INTENTIONAL ANONYMITY of THE LOCUST provided a vehicle to truly go off the rails sonically. they were not alone in this decision, as artists around their time in different scenes like DAFT PUNK, THE AQUABATS and SLIPKNOT latched onto the same CONCEPT and ETHOS, which they probably got from either THE RESIDENTS, GWAR and/or KISS beforehand. you can still see such utilized in GHOST, SLAUGHTER TO PREVAIL and even PUSSY RIOT for the PASSIONATE promotion of varying ARTISTIC and POLITICAL agendas. i believe that with THE LOCUST, such ANONYMITY enabled them to push their sonic inhibitions as far as they could take it, which was beyond EXTREME even by today's standards. definitely a band worth look back on and checking out again. RIP GABE SERBIAN. photo & text by nacrowe
whats always struck me about BAD RELIGION's debut album HOW COULD HELL BE ANY WORSE? (EPITAPH, 1982) is how MATURE it sounds for a band so YOUNG. during the recording of such in 1980 the band was still in their teens, some still in high school. yet even at that age, all the hallmarks of their storied career are on full display on tracks like "WE'RE ONLY GOING TO DIE," "VOICE OF GOD IS GOVERMENT," "AMERICAN DREAM," "OLIGARCHY," "LATCHKEY KIDS" and "FUCK ARMAGGEDON... THIS IS HELL".
take a song like the opening track "WE'RE ONLY GOING TO DIE" which neatly sums up mankind's FOLLY throughout history in conquering the world through VIOLENCE and SUBMISSION, only to redirect such VICIOUS intent on themselves. as the ending ANTHEMIC refrain repeats as a SOLEMN mantra, "we're only going to die from our own arrogance." it is pretty INCREDIBLE that a teenage GREG GRAFFIN had the PERSPECTIVE and CLARITY to construct such a POIGNANT statement that takes into account one's own COMPLICITY in the matter. its my belief that this ability to maintain a LYRICAL POSTURE that included THOUGHTFUL SELF-REFLECTION and SELF-ANALYSIS is what made their brand of MELODIC HARDCORE so different from what was being by their cohort of LOS ANGELES second-wave PUNK ROCK bands in the 1980s. likewise the track "FUCK ARMAGGEDON... THIS IS HELL" embeds this notion of one's own unknowing COLLUSION in supporting political and capitalist systems that lead to our collective DEBASEMENT and DESTRUCTION. makes perfect sense that a young ZACK DE LA ROCHA clamored onto and was influenced by the PRO-INDIVIDUAL and PRO-INDEPENDENT THOUGHT agenda of HOW COULD HELL BE ANY WORSE? in particular. though the follow-up record took a detour into PROG ROCK of all things, this debut served as a template of sort for subsequent releases up until the WATERSHED cultural moment that was SUFFER (EPITAPH, 1988) a few years later. is HOW COULD HELL BE ANY WORSE? the best BAD RELIGION album? no. but it is a PROMISING debut well-worth checking out and thinking about as the band evolved to further develop their identity around these STRIDENT POLITICAL THEMES amidst tightly constructed HARDCORE songs of the first order. BOOK REVIEW | "THE SPITBOY RULE: TALES OF A XICANA IN A FEMALE PUNK BAND" BY MICHELLE CRUZ GONZALES3/27/2023 photo & text by nacrowe
i remember when reading SARA MARCUS' GIRLS TO THE FRONT: THE TRUE STORY OF THE RIOT GRRRL REVOLUTION (review linked HERE) about the largely PACIFIC NORTHWEST-based RIOT GRRRL movement a few years back it was evident that there was much thought, intention and goodwill into initiating an arts scene that promoted and supported FEMALE MUSICANS by WOMEN and for WOMEN. specifically the scene at EVERGREEN COLLEGE STATE COLLEGE in OLYMPIA, WASHINGTON reminded me quite vividly of the people i met while attending a NEW ENGLAND boarding school during my high school years. these people were EDUCATED, EMPOWERED, SOCIALLY-CONSCIOUS and on the whole EMPATHETIC, but they all were quite NAIVE and had limited experience living or understanding people that were outside of the social groups they inhabited and were raised around, i.e. WHITE PEOPLE.
the RIOT GRRRL scene of the early 1990s lacked an understanding of what is now understood to be INTERSECTIONAL FEMINISM. in other word they treated womanhood as a monolithic identity and didnt consider how RACE, CLASS, LGBTQ and other MINORITY statuses influence such. that particular scene, though WELL-INTENTIONED, was largely BLIND to the complexities and differences in hardships facing WOMEN of various INTERSECTIONAL IDENTITIES by PATRIARCHAL STRUCTURES. this miscalculation was rooted in their unknowing assumption of taking their own experiences as WHITE WOMEN to stand for that of ALL WOMEN everywhere. all that being said, part of what makes THE SPITBOY RULE: TALES OF A XICANA IN A FEMALE PUNK BAND (PM PRESS, 2016) by MICHELLE CRUZ GONZALES (a.k.a TODD of SPITBOY) so interesting is how i knowingly provides a counter-narrative to the popular understanding of FEMALE bands of this period (undoubtedly influenced by the RIOT GRRRL scene). SPITBOY was an stridently political BAY AREA HARDCORE band from the same GILMAN STREET scene that brought about NEUROSIS, GREEN DAY, CRIMPSHINE and ECONOCHRIST among many others. being composed entirely of WOMEN, their music was AGGRESSIVELY CONFRONTATIONAL based on their experiences dealing with the bullshit brought on by AMERICAN PATRIARCHAL STRUCTURES. the band identified as a HARDCORE band and consciously did not associate SPITBOY with the CONCURRENT RIOT GRRRL scene. GONZALES is a UNIQUE and COMPELLING figure given her status as the only non-white member of SPITBOY, rendering her essentially an OUTSIDER in a band of OUTSIDERS. PUNK ROCK had a way of blanketing and superseding all other forms of one's previous IDENTITY, which suited her just fine as an OUTSIDER both ETHNICALLY and GEOGRAPHICALLY in the BAY AREA scene. unlike her band members, she also grew up POOR with a single mother. music, first with BITCH FIGHT, later with SPITBOY, was a means of ESCAPE, EXPRESSION and TRANSFORMATION. as her career moved forward and she became recognized with the scene, and even internationally, there was a sense of tension within herself about her IDENTITY as a WOMAN OF COLOR in a scene where such was a novelty. feeling like an OUTSIDER in a band that identified itself as an OUTSIDER is quite the feat and makes this complicated book entirely fascinating. even ALICE BAG of THE BAGS in a previous generation, as written about in her memoir VIOLENCE GIRL: A CHICANA PUNK STORY (review linked HERE), had others within and outside her band and that original late 1970s LOS ANGELES PUNK ROCK scene that identified and were proud of their LATIN heritage. some even incorporated such into their music explicitly, like THE ZEROS and THE PLUGZ. its interesting that such was not the case with the more arguably more influential HARDCORE scene that followed by and large. just reading through GONZALES' experiences touring on the road really makes you consider how much being in a PUNK ROCK band requires an all-encompassing, OBJECTIVE-ORIENTED GROUP MENTALITY. its a machine that needs to work efficiently in order to function and survive in environments far from home. it makes total sense that one's sense of INDIVIDUALITY is COMPARTMENTALIZED and DISCARDED in such a seeming extreme situation. this memoir feels like a working through of such experiences and sheds light on the personal repercussions of such a complicated state of affairs, especially when there is an audience that projects so much of their sense of IDENTITY on to you. that is a veritable carnival house of mirrors level mindfuck to deal with that i cant imagine. THE SPITBOY RULE is one of the more FASCINATING memoirs by an artist or musician i have come across in recent years. it is most definitely worth checking out.
photo & text by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating LOS ANGELES PUNK ROCK icons NOFX!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! photo & text by nacrowe
the summer before my senior year of high school in 2001 i visited a childhood friend in ORANGE COUNTY who i learned upon arrival had very much taken the deep dive down into 1980s HARDCORE PUNK ROCK and never came out. specifically he turned me onto SOUTHERN CALIFORNIA bands from the surrounding area like THE ADOLESCENTS, TRUE SOUNDS OF LIBERTY, THE BAGS, YOUTH BRIGADE, CIRCLE JERKS, BLACK FLAG, CHANNEL 3, DESCENDENTS, BAD RELIGION, FEAR, THE VANDALS, RICH KIDS ON LSD, X, AGENT ORANGE, D.I., WASTED YOUTH and so on. it was during this period that i was introduced to SOCIAL DISTORTION who were literally from the next town over in FULLERTON. that whole summer was very much an education in HARDCORE and the recent musical and cultural history of the area i grew up in, which was beyond compelling for me at the time. nearly twenty years later, i did a radio show specifically on this PUNK ROCK scene on the LOS ANGELES PUNK ROCK episode of DEER GOD RADIO.
i mention all this because SOCIAL DISTORTION has a unique trajectory relative to their cohort of bands and the scene they came from. as time moved forward some local bands, most famously SUICIDAL TENDENCIES, adopted aspects of the concurrent THRASH METAL movement and effectively creating a crossover hybrid. most others in true steadfast RAMONES style never evolved and stuck to their sound. as main songwriter MIKE NESS grew older and got clean from a devastating heroin addiction, his music showcased a wider palette of influences that included ROCKABILLY, FOLK and COUNTRY elements that came from his newfound appreciation for art and enjoying life. SOCIAL DISTORTION's debut MOMMY'S LITTLE MONSTER (13TH FLOOR, 1983) is quite the opposite of that later MULTI-FACETED creative output. these FASCINATING songs find a GIFTED songwriter early in the process of finding his initial bearings and seeking out his voice. on PROPULSIVE, now ICONIC tracks like "TELLING THEM," "ANTI-FASHION," "THE CREEPS," "ANOTHER STATE OF MIND" and "MOMMY'S LITTLE MONSTER" there is a palpable sense of INTENSE passion and FURIOUS intention with little in the way of FINESSE. that would come much later as NESS would mature and develop his voice as a songwriter along with his FEROCIOUS stage persona. the career trajectory and evolution of SOCIAL DISTORTION is what i find most INTERESTING. MOMMY'S LITTLE MONSTER doesnt sound dissimilar or any less accomplished from other recorded efforts of the period like THE ADOLESCENTS' ADOLESCENTS (FRONTIER, 1981), BAD RELIGION's HOW COULD HELL BE ANY WORSE? (EPITAPH, 1982) or THE VANDALS' PEACE THRU VANDALISM (EPITAPH, 1982). an INTRIGUING cultural artifact from this period is the ANOTHER STATE OF MIND (TIME BOMB, 1984) documentary that finds SOCIAL DISTORTION on an early tour with YOUTH BRIGADE as they make their way through house parties and VFW halls along the west coast. its a document that finds NESS establishing himself as an artist and taking chances both on and off stage during a time when HARDCORE and PUNK ROCK was DANGEROUS and could get you in a bruising scuffle with dumbshit local rednecks on sight. it would be years before NESS took to his guitar and develop his songwriting chops in earnest but the PASSION and INTENT is most obviously there from the start. its pretty cool to witness that spark. and for me MOMMY'S LITTLE MONSTER is a documentation of that initial creative spark that would later blossom into one of the most ACCOMPLISHED and SOULFUL ROCK N ROLL songwriters of his era, PUNK or otherwise. photo & text by nacrowe
in the summer of 2001 i visited a childhood friend in ORANGE COUNTY in what turned out to be an education in SOUTHERN CALIFORNIA PUNK ROCK. it was the summer before my senior year of high school and in retrospect it was the calm before the storm that was 9/11 a few short months later. it was also my first trip back to my childhood home as i had permanently left CALIFORNIA when my family moved to NIGERIA in the fall of 1996. i went into the experience expecting things to have shifted only to be completely gobsmacked to the extent to which life had inevitably moved on without me. new buildings, new facilities and new communities had sprung up during that half decade apart. like i said, it was an education of sorts.
my childhood friend was deep into PUNK ROCK and specifically 80s HARDCORE from the area. im talking about local ORANGE / LOS ANGELES / VENTURA / SAN DIEGO COUNTY bands like D.I., FEAR, CHANNEL 3, THE GERMS, AGENT ORANGE, RICH KIDS ON LSD, DR. KNOW, CIRCLE JERKS, T.S.O.L., BLACK FLAG, BATTALION OF SAINTS, THE VANDALS, MINUTEMEN, BAD RELIGION, DESCENDENTS, THE MIDDLE CLASS, WASTED YOUTH and especially THE ADOLESCENTS. now some of these bands i was familiar with but most i was not. at this point in time i had been abroad in AFRICA and then more recently sequestered in a NEW ENGLAND boarding school. i was a fast learner though. whats crazy is that my childhood friend and i went to two consequential shows that summer, WARPED TOUR in VENTURA and THE ADOLESCENTS in SANTA ANA. at WARPED i was introduced to the standup comedy that was the anti-everything LEE VING fronting FEAR. i mean even FLEA showed up for that gig. but the more CONSEQUENTIAL event was the reunion of THE ADOLESCENTS for a show celebrating their self-titled ADOLESCENTS (FRONTIER, 1981) album. what struck me about that album was how WELL-CONSTRUCTED the songs were and how MELODIC and EXPANSIVE the musicianship was. tracks like "KIDS OF THE BLACK HOLE" and "AMOEBA" were arguably ANTHEMIC pop songs in the best SOUTHERN CALIFORNIA tradition of non-PUNK bands. likewise "L.A. GIRL," "I HATE CHILDREN," "RIP IT UP" and "WHO IS WHO" were as spit-in-your-eye VENOMOUS and SNARLING as anything dreamed up by THE GERMS or their numerous later-day acolytes. hearing the album and then seeing it live was a unique experience, especially given how RAUCOUS and VIOLENT the crowd was at that reunion show. i had never seen concert-goes outright attacking security before. sure there were mosh pits id seen at OZZFEST back in NEW JERSEY, but this was another level of proximity and intent. i pretty much immediately got the sense of why people get caught up in this flavor of PUNK ROCK as it was almost freeing to see society's unspoken mandate of civility and mutual respect lifted for a few hours. ADOLESCENTS is a record that more than lives up to its reputation as a seminal HARDCORE album that inspired countless skate-punk and MELODIC HARDCORE bands that followed. learning about them made me rethink my association with ORANGE COUNTY, as previously i thought of that region as nothing more than a cultural abyss of which nothing seemed to emanate out of except for NO DOUBT and RICHARD NIXON. now there was a whole slew of local HARDCORE bands to enjoy like THE ADOLESCENTS (FULLERTON), THE VANDALS (HUNTINGTON BEACH), THE MIDDLE CLASS (SANTA ANA), AGENT ORANGE (PLACENTIA), CHANNEL 3 (CERRITOS), D.I. (FULLERTON), THE CROWD (HUNTINGTON BEACH), and SOCIAL DISTORTION (FULLERTON) to investigate. like i said, that summer was an education.
parodies & text by nacrowe
back on new years eve of 2019 i did a DEER GOD RADIO episode on one of my all-time favorite artists in MIKE PATTON. his work with FAITH NO MORE alone basically marked a turning point in my childhood, especially after listening to the glorious epic mindfuck that is ANGEL DUST (review linked HERE) when i was in middle school in the late 1990s. concurrent to FAITH NO MORE (and actually preceding it by a few years) he similarly fronted the relatively more experimental MR. BUNGLE, which likewise has maintained a diehard cult following.
whats interesting about PATTON is that he is not particularly nostalgic and is constantly and fearlessly chasing his muse, usually juggling several unrelated projects simultaneously and maintaining a virtually unmatched streak in quality for what is now decades. notable past projects include FANTOMAS (collaboration with members of MELVINS, MR. BUNGLE and SLAYER), TOMAHAWK (collaboration with members of THE JESUS LIZARD, MELVINS and HELMET), DEAD CROSS (collaboration with members of SLAYER, LOCUST and RETOX), PEEPING TOM (collaboration with members of MASSIVE ATTACK, KOOL KEITH, AMON TOBIN and NORAH JONES), LOVAGE (collaboration with DAN THE AUTOMATOR and JENNIFER CHARLES), TETEMA (collaboration with ANTHONY PATERAS) and NEVERMEN (collaboration with members of TV ON THE RADIO and DEEP PUDDLE DYNAMICS). even more varied and extensive are his guest appearances on albums by the likes of BJORK, JON ZORN, THE DILLINGER ESCAPE PLAN, MERZBOW, THE X-ECUTIONERS, ZU, MELVINS and JOHN KAADA. he even did a solo album where he sang classic ITALIAN film music (MONDO CANE). its quite the exhaustive discography that very much runs the gamut from ALTERNATIVE ROCK,POST HARDCORE,TRIP HOP, PUNK ROCK, METALCORE, HARDCORE, INDIE ROCK, POST PUNK, avant garde CLASSICAL MUSIC, POST ROCK and even HIP HOP. the dude has limitless range. whats funny for me is that this late 2019 episode was the second time i used this playlist (the first was in 2018 on EPISODE 8 which has since been lost to the livestream gods) and i still failed to include music from every project he had been a part of up to that point in time. it was my second attempt and i still failed! some collaborations and projects are very obscure and ive only come to learn about them recently. but this just proves as evidence of his remarkable range as a singer and artist as well as his eclectic taste in art. i pretty much look at PATTON as a compass in that anytime i feel jaded, like nothing is new and exciting, i just check out whatever is going on with his solo projects or IPECAC RECORDINGS label and i am dissuaded of that notion. cant think of a higher compliment than that. if you are unfamiliar with PATTON then the show embedded below is a good teaser but is anything but comprehensive regarding his ever growing exhaustive discography. he is most definitely worth checking out. |
NICHOLAS ARCHIVES
July 2024
CATEGORIES
All
|