photo manipulation & text by nacrowe
MUSICIAN DUFF MCKAGAN has seemingly lived a thousand lives on stage.
for most he is unquestionably synonymous with the much CELEBRATED and formerly DEBAUCHED LOS ANGELES ROCK AND ROLL institution known as GUNS N' ROSES. for others of a previous era, he was known for his involvement in his hometown SEATTLE's pre-GRUNGE 1980s PUNK ROCK scene with such luminaries as 10 MINUTE WARNING, THE FARTZ and THE FASTBACKS. in recent years he has been involved with the UNDER-APPRECIATED LOADED and WALKING PAPERS projects as well as countless recording sessions and side appearances with artists like JERRY CANTRELL, IGGY POP and MARK LANEGAN and in bands such as VELVET REVOLVER, MAD SEASON, KINGS OF CHAOS, NEUROTIC OUTSIDERS and even JANE'S ADDICTION. despite such a RIDICULOUS resume of AWESOME bands, MCKAGAN's DEFT contributions as a SONGWRITER and PERFORMER are often overshadowed by his more FAMOUS collaborators of the top-hatted variety. i think such perceptions will shift with his forthcoming LIGHTHOUSE (BFD, 2023) release as the singles i heard definitely build on his previous release TENDERNESS (UME, 2019) to showcase an EARNEST and VULNERABLE SINGER-SONGWRITER wrinkle hitherto unforeseen in his main gigs. people are aware of his THOUGHTFUL and ADROIT writing abilities given his past columns for SEATTLE WEEKLY and PLAYBOY and his two published memoirs, IT'S SO EASY: AND OTHER LIES (review linked HERE) and HOW TO BE A MAN (AND OTHER ILLUSIONS) (review linked HERE), but as a solo artist he is entirely UNDERRATED. in my opinion his recent solo work, separate from his RENOWNED past catalogue, is well worth checking out.
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photo manipulation & text by nacrowe
who knew QUEENSLAND was such a SHITHOLE back in the 1970s?
the fact that a band as LEGENDARY and SEMINAL as first-wave AUSTRALIAN PUNK ROCK band THE SAINTS came out BRISBANE, which at the time was in the throes of an ARCH CONSERVATIVE and unrepentantly CORRUPT government led by premier JOH BJELKE-PETERSEN, is something of a MINOR MIRACLE. this politician, who ruled from 1968-1987, rose through the ranks of the police force and welded it VIOLENTLY like a CUDGEL against all elements of SOCIAL DISSENSION or ACTIVISM. in essence JOH ran an AUTONOMOUS POLICE STATE that made the business of live music an UNDERGROUND affair, which in turn ironically resulted in establishing in time BRISBANE as a musical and culturally INNOVATIVE city. the documentary STRANDED (WILDBEAR ENTERTAINMENT, 2015) is very much as preoccupied with the evolution of the music scene in BRISBANE as it is with the narrative of THE SAINTS and their first three ESSENTIAL releases, (I'M) STRANDED (SIRE, 1977), ETERNALLY YOURS (SIRE, 1978) and PREHISTORIC SOUNDS (HARVEST, 1978), before the breakup of their ICONIC initial lineup. along with local contemporaneous PUNK ROCK scene-mates such as the LIKE-MINDED PENETRATION, NOTABLE bands that emerged shortly over the next few years such as THE LEFTOVERS, THE GO-BETWEENS, RAZAR, XERO and THE RIPTIDES diverged dramatically in STYLE and SOUND, but were bound both by their passion for music and their steadfast commitment to the scene and the COMMUNITY that literally bled, suffered and vigorously fought it into existence. there is a bit of synchronicity with the emergence of PUNK ROCK across the english-speaking world in the late 1970s, with THE RAMONES in NEW YORK CITY, THE SEX PISTOLS in LONDON and THE SAINTS in BRISBANE all emerging more or less at the same time (i am aware THE SEX PISTOLS was unambiguously after THE RAMONES). all three bands were influenced by the sheer SONIC POWER and POLITICAL FORCE and will behind those early records by SUBTERRANEAN bands like THE STOOGES, MC5 and THE VELVET UNDERGROUND. what is INTRIGUING about THE SAINTS is that they are the only PUNK ROCK band of that period that had to will themselves into existence despite a VOLATILE governmental security apparatus hell-bent on maintaining a STRANGLEHOLD on the population. sorry, RONALD REAGAN and MARGARET THATCHER had absolutely nothing on SIR JOH and his BRUTAL cronies with a badge. testimonials to that end come by way of JEAN JACQUES BURNEL and JET BLACK of THE STRANGLERS as well as JELLO BIAFRA of DEAD KENNEDYS who all had adverse experiences touring during the early in the late 1970s and early 1980s respectfully. in both cases the police acted overly aggressively without restraint or respect for basic human rights, arresting band members on trumped up charges designed to intimidate. THE STRANGLERS for their part wrote "NUCLEAR DEVICE (THE WIZARD OF AUS)" off of THE RAVEN (UNITED ARTISTS, 1979) as cheeky send-off to the JOH regime. the example of THE SAINTS proved to be internationally INFLUENTIAL as bands, in addition those from BRITAIN and the UNITED STATES, emerged at the time from war-torn places like IRELAND (THE BOOMTOWN RATS) and NORTHERN IRELAND (STIFF LITTLE FINGERS) that saw PUNK ROCK as a vehicle to speaking their truth about the UNFORTUNATE predicament of their COMMUNITIES. if an OBSCURE band from AUSTRALIA could do such, literally why not them? its a FASCINATING and POWERFUL PHENOMENA when you consider that this SELF-IDENTIFICATION and SELF-ORGANIZATION of a cross-border INTERNATIONAL COMMUNITY of music fans, artists and advocates self-generated in a pre-internet age. again, a SMALL MIRACLE of sorts. notable participating interviewees for STRANDED include PAULINE MURRAY (PENETRATION), NICK CAVE (THE BIRTHDAY PARTY, THE BAD SEEDS), JELLO BIAFRA (DEAD KENNEDYS), STEVE DIGGLE (BUZZCOCKS), BOB GELDORF (THE BOOMTOWN RATS) and JEAN JACQUES BURNEL & JET BLACK (THE STRANGLERS). AUSTRALIAN PUNK ROCK is generally not included in the mainstream conversation or history of PUNK ROCK, so i consider this film ESSENTIAL viewing and most 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
this is something i recently came across that i thought was PRETTY COOL. ROLLING LIVE STUDIOS is a HOLLYWOOD RECORDING STUDIO and EVENT SPACE that specializes in PODCASTS, LIVESTREAM EVENTS and all things DIGITAL in a ONE-STOP-SHOP platform. they even have an APP! back in 2020 during the pandemic they did a charity fundraiser for SAVE THE CHILDREN by celebrating what would have been DAVID BOWIE's 75th birthday with an all-star pay-er-view LIVESTREAM EVENT that included the likes of LIVING COLOUR, COREY TAYLOR (SLIPKNOT), DAVE NAVARRO (JANE'S ADDICTION), TAYLOR HAWKINS (FOO FIGHTERS), YUNGBLOOD, DURAN DURAN, NOEL GALLAGHER (OASIS), MACY GRAY, GLEN MATLOCK (THE SEX PISTOLS) and BILLY CORGAN (THE SMASHING PUMPKINS) and ALICE COOPER among many others.
LEGENDARY COLUMBIA RECORDS A&R man, RUTGERS ALUMNUS (my alma mater), MTV VJ and 120 MINUTES host, as well as LONG-TIME MUSIC FAN and TIRELESS PROMOTER of all things ALTERNATIVE ROCK, MATT PINFIELD sat down with several of these artists for SHORT-FORM interviews about their ADORATION of all things BOWIE for a promotional segment called ROLLING LIVE WITH MATT PINFIELD. definitely worth checking out as well as his ONGOING PODCAST series IN A LONELY PLACE WITH MATT PINFIELD. i know the dude had some health issues in recent years so just sending out all my LOVE and GOOD WILL from one former RUTGERS radio DJ to another. 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
i hate SACRAMENTO with a PASSION.
i spent my senior year of high school living with a relative in a WHITE-BREAD suburb of the state capital in the wake of 9/11 and was just appalled at the IN-YOUR-FACE JINGOISM, RACISM and just NAKED IDIOCY on full daily display. and that aftertaste very much still lingers. at the time, i kept thinking that nothing of CULTURAL VALUE has come from the area with the lone exception being the SEMINAL ALTERNATIVE METAL band DEFTONES. over the past two decades that list has been amended a bit with INNOVATIVE and IMPACTFUL acts such as HELLA, CHELSEA WOLFE, TERA MELOS and DEATH GRIPS. when i first came across the debut mixtape EX MILITARY (THIRD WORLDS, 2011) by EXPERIMENTAL HIP HOP act DEATH GRIPS i was completely emotionally sideswiped. it didnt process. it was like this ABSURD hybrid of the highly MANIPULATED, IMAGINATIVE FOUND SOUND-enabled UNPREDICTABILITY of APHEX TWIN, the OBLITERATING sonic BRUTALITY of CONVERGE and the CONFRONTATIONAL, NO-BULLSHIT, STREETWISE LYRICISM of the WU-TANG CLAN. these component parts should not exist together, and yet they do and the sound is CHAOTIC and BEAUTIFUL in its TECHNICAL WIZARDRY, COMPOSITIONAL COMPLEXITY and EMOTIONAL RELEASE. EX MILITARY was easily one of the most ADVENTUROUS releases i had heard in decades. the whole VISUAL and AURAL AESTHETIC of DEATH GRIPS is absolute uncertainty conceived and played with UNRIVALED PRECISION. it is BRILLIANT. the three-piece is made up of MC/vocalist RIDE, drummer ZACH HILL and keyboardist/programmer ANDY MORIN. HILL of course is a PRODIGIOUS, generationally TALENTED musician that came to UNDERGROUND prominence in the PROGRESSIVE MATH ROCK band HELLA. his METRONOMIC PRECISION on the kit is ABSURD, which is prefect in the context of DEATH GRIPS and their EXTREME DYNAMICS with EVER-SHIFTING AND COMPLEX TIME SIGNATURES and TEMPO SHIFTS designed for the maximum juxtaposition of DISSONANCE and AURAL DISLOCATION. key tacks included "BEWARE," "CULTURE SHOCK," "GUILLOTINE," "LORD OF THE GAME" and "KNOWN FOR IT." RIDE comes across as the most INTENSE and PRIMAL of ringleaders of a DEMENTED circus youd never wish to attend, guiding you through a sonic mind-field that is both OVERWHELMING and EXASPERATING in detail and UNRELENTING BRUTALITY alike. i see his function within the MUSIC as making it feel COHESIVE by providing a FOCAL POINT and an INTENT, even if such is purely CATHARTIC and EMOTIONAL in scope initially. his VOICE pulls you in and directs you through the CHAOS. not sure what else to say. i absolutely adore this band and this mixtape. an absolutely ESSENTIAL release that is well worth checking out, much like other OPAQUE yet highly IMAGINATIVE and ORIGINAL releases of past decades like NINE INCH NAILS' THE DOWNWARD SPIRAL (INTERSCOPE, 1994), SWANS' CHILDREN OF GOD (CAROLINE, 1987), CAPTAIN BEEFHEART's TROUT MASK REPLICA (STRAIGHT, 1969) or MF DOOM's VAUDVILLE VILLAIN (SOUND-INK, 2003). 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. photo manipulation & text by nacrowe
of course RANCID is one of the most CELEBRATED PUNK ROCK bands of MODERN times and for good reason, TIM ARMSTRONG and LARS FREDERIKSEN write some incredible songs and the band has an UNDENIABLE MUSICAL CHEMISTRY as well as PALPABLE PASSION and DISTINCT VISION for the COMMUNITY they have fostered over the past few decades. in my eyes they are not a BAND, but an AMERICAN INSTITUTION. like BRUCE SPRINGSTEEN, WOODY GUTHRIE or BOB DYLAN. ive witnessed it firsthand at their shows. its an ongoing love affair between the BAND and their FANS, and at its heart are the PERSONAL REAL-LIFE NARRATIVES and INCLUSIVE messages of DEFIANCE, LOVE and COMMUNITY in their songs.
all that being said, it is incredibly INTERESTING to see how the individuals fair when pursuing outside projects. ARMSTRONG of course incorporated HIP HOP production and beats a la his commercially SUCCESSFUL TRAVIS BARKER-collaboration THE TRANSPLANTS as well as delved into his ska roots in his solo work. FREDERIKSEN on the other hand seems more interested in the SOCIAL COMMENTARY tradition of FOLK music. it makes perfect sense that one of his first singles with THE BASTARDS was a cover of BRITISH singer-songwriter BILLY BRAGG's "TO HAVE AND HAVE NOT" about the defiant mentality of the overworked and under-appreciated working class. i will similarly point out the obvious and state that such a SOCIAL CONSCIOUSNESS thread was also apparent in the work of JOE STRUMMER of THE CLASH throughout his career. i think once someone is subject to the suffering of POVERTY and FOOD INSECURITY, it is something that doesnt leave you. ever. you look back at the work of WOODY GUTHRIE and he was singing about the DUST BOWL and the suffering it imposed on normal people. there is a through line i can discern. it would seem not to be the most commercially viable option to pursue FOLK lyrical and sonic influences in your solo work, but FREDERIKSEN has proved it to be an IDEAL and HONEST vehicle for his material outside his much LEGENDARY and much BELOVED main gig. my hope is that he sticks with it and pursues this course over the long term. it would be nice to see how it develops over time. at the very least the solo work of LARS FREDERIKSEN is most 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.
parody by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the BADASS ATLANTA GARAGE / PUNK ROCK trio THE COATHANGERS!
​ ​​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 manipulation & text by nacrowe
what a great concept.
A.V. UNDERCOVER was a CURATED LIVE PERFORMANCE web series produced by THE ONION entertainment offshoot THE A.V. CLUB that ran for seven seasons and had 310 episodes from 2010-2017. at the heart of it was the premise of a listener-derived list of songs that participating BANDS and ARTISTS would choose from, the catch being that ARTISTS performing further in the season had less choice over the material and made for some truly UNLIKELY covers. and therein lies this LIVE MUSIC series REMARKABLE lasting cultural pull. the idea of GWAR covering the PET SHOP BOYS' "WEST END GIRLS," SEBADOH covering RUSH's "LIMELIGHT" or COHEED AND CAMBRIA covering THE SMITHS' "A RUSH AND A PUSH AND THE LAND IS OURS" is something i am absolutely here for. i am glad to live in a universe where this stuff exists. past participants include CHARLI XCX, THE GET-UP KIDS, DEERHOOF, NADA SURF, THE COATHANGERS, RISE AGAINST, TED LEO AND THE PHARMACISTS, DUM DUM GIRLS, COURTNEY BARNETT, THE POLYPHONIC SPREE, AGAINST ME!, KURT VILE, LE BUTCHERETTES, WRYE OAK and GROUPLOVE covering everyone from BIG STAR, THE GO-GOs, BLUR, NEW ORDER and NIRVANA to KATE BUSH, THE BREEDERS, ANDREW W.K., NINE INCH NAILS, NEIL YOUNG, THE CLASH, ADAM ANT, TEARS FOR FEARS, MILEY CYRUS and even THE BACKSTREET BOYS among countless others. honestly, what is there not to love. definitely worth checking out. photo manipulation & text by nacrowe
upstate NEW YORK's THE BOBBY LEES are one of the most PROVOCATIVE and ENERGETIC GARAGE ROCK bands i have come across in quite a while. there is just something oxymoronic about their STRUCTURED and COMPOSED sense of outright LOOSENESS, as if the band is some kind of KINETIC high wire act, that brings to mind the likes of bands past such as THE STOOGES, THE NEW YORK DOLLS, 70s-era ROLLING STONES and even AT THE DRIVE-IN. part of that undoubtedly is due to the CHARISMATIC and UNHINGED persona of front-woman SAM QUARTIN, who looks every bit as committed as IGGY POP, POLY STYRENE, DARBY CRASH and LIAM GALLAGHER before her.
its just so cool to see this new generation of like-minded PUNK / GARAGE bands in THE CHATS, DEATH VALLEY GIRLS and AMYL & THE SNIFFERS pushing music forward while revitalizing past forms and genres to a new, more JUDGMENTAL and CLAUSTROPHOBIC DIGITAL AGE. looking forward to following this band for years to come. in short, THE BOBBY LEES are definitely worth checking out. photo & text by nacrowe
the INCREDIBLE personal narrative of VENERATED guitarist BRIAN TRISTAN, a.k.a. KID CONGO POWERS, very much mirrors that of the UNIQUE and TRANSFORMATIVE power of ROCK AND ROLL itself. if anything, as a DEVOUT fan and ASTUTE devotee of music, the young native-born ANGELENO found a vehicle of ESCAPISM that recast his IDENTITY as a HOMOSEXUAL and second-generation son of MEXICAN immigrants. first it was through GLAM ROCK / GLITTER scene of the early 1970s in LOS ANGELES and then came the cultural title wave that was PUNK ROCK. whats COMPELLING about POWERS experience is that he was not a musician but a journalist during this period, writing for several fanzines and even starting the WEST COAST fan club, of which he served as president, for THE RAMONES of all things. his connection to PUNK ROCK was both an EMOTIONAL and INTELLECTUAL exercise,
it was only a chance meeting with UNKNOWN songwriter JEFFREY LEE PIERCE (himself president of the BLONDIE WEST COAST fan club) at a PERE UBU show that the seed of becoming a musician was planted. and it is that LIFE-CHANGING event that makes POWERS memoir SOME NEW KIND OF KICK (HACHETTE, 2022) such a UNIQUE, almost MYSTICAL, story. what drew people to his playing was not his playing technique, but his AURA. such was the case when POISON IVY and LUX INTERIOR from THE CRAMPS poached him from the PIERCE-led PUNK outfit THE GUN CLUB. there was a certain special alchemy at play that enabled POWERS to unconsciously blend in with his new cohorts without any words being spoken about that process. his ability to collaborate is seemingly MAGICAL. such was also the case when NICK CAVE & THE BAD SEEDS took interest in his services. its an INTRIGUING dynamic to consider that for a musician with issues surrounding IDENTITY issues related to his SEXUALITY and RACE that were exacerbated by CHILDHOOD TRAUMA (the unsolved MURDER of a cousin at a young age) and years of serial ABUSE of narcotics, that for him his very calling card was his adept ability to be molded and reconfigured in new ARTISTIC contexts. in essence he literally lost himself in the music. and the DRUGS. i had a PERIPATETIC childhood being shuttled between CALIFORNIA, NIGERIA, KUWAIT and MASSACHUSETTS and feel a certain kinship in understanding the REPETITIVE EMOTIONAL and PSYCHOLOGICAL STRESS of constant readjustment to unknown surroundings and new social contexts, but this level of navigation described in SOME NEW KIND OF KICK is beyond me. and it was all so public being a touring musician and all. i cant imagine the INTESTINAL FORTITUDE it took to submerge your IDENTITY into that of the ARTISTIC ambitions of your cohorts. especially with regards to your SEXUALITY. at the end of the book he is at the funeral of former bandmate, who himself was a closeted HOMOSEXUAL. something POWERS only learns after his death. obviously it was a different era when the majority of the contents of this book take place, between mid-1970s and the mid-1990s. there have been quite a few books published in recent years that have focused on the early LOS ANGELES PUNK ROCK scene of the late 1970s and POWER's addition most definitely gives a palpable introduction to the DIVERSITY and INCLUSION at the heart of the scene, before the second-wave heathens transferred it into something more sonically BRUTAL, intellectually ENFEEBLED and aesthetically RIGID. i would definitely recommend this memoir along with other standouts like UNDER THE BIG BLACK SUN by JOHN DOE of X (review linked HERE), VIOLENCE GIRL: A CHICANA PUNK STORY by ALICE BAG of THE BAGS(review linked HERE) and MY DAMAGE: THE STORY OF A PUNK ROCK SURVIVOR by KEITH MORRIS of THE CIRCLE JERKS / BLACK FLAG / OFF! (review linked HERE) as worthy of consideration into further understanding this deeply FASCINATING scene. photo & text by nacrowe
what is there to say about NIRVANA's NEVERMIND (DGC, 1991) album that hasnt already been said again and again and again over the past three decades ad nauseam.
forget GRUNGE or ALTERNATIVE ROCK, NEVERMIND is arguably the most CELEBRATED ROCK AND ROLL album of all-time, right there with the likes of THE BEATLES' REVOLVER (PARLOPHONE, 1966) or SGT. PEPPER'S LONELY HEARTS CLUB BAND (PARLOPHONE, 1967), BOB DYLAN's BLONDE ON BLONDE (COLUMBIA, 1966) or HIGHWAY 61 REVISITED (COLUMBIA, 1965), THE VELVET UNDERGROUND's THE VELVET UNDERGROUND & NICO (VERVE, 1967), LED ZEPPELIN's LED ZEPPELIN IV (ATLANTIC, 1971), THE CLASH'S LONDON CALLING (CBS, 1979), AC/DC's BACK IN BLACK (ATLANTIC, 1980), and THE SEX PISTOLS' NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS (WARNER BROS, 1977). unlike those records NEVERMIND made an immediate impact on AMERICAN CULTURE, effectively establishing overnight long simmering UNDERGROUND INDIE and PUNK ROCK scenes as the new mainstream gatekeepers and arbiters of quality and taste writ large. with NEVERMIND, much like with the fossil record, there is a definite delineation of a NEW EPOCH, one in which we are still very much experience decades later. the BRITISH INVASION reacquainted AMERICA with its MUSICAL CULTURE while helping establish ROCK AND ROLL as a vehicle, while later PUNK ROCK revitalized ROCK AND ROLL when it became stale and predictable, but only NIRVANA and NEVERMIND effectively bridged those two movements together in one band, one expression. GIFTED SONGWRITING and AUTHENTIC ATTITUDE. so now that i got all that out of the way. my recollection of the album, which i got as a christmas gift along with IN UTERO (DGC, 1993) from my parents while on vacation in SAN FRANCISCO in 1994, were the songs. and not just the singles. there is a sense when listening to tracks like "ON A PLAIN," "DRAIN YOU," "BREED," "LOUNGE ACT," "TERRITORIAL PISSINGS" and "STAY AWAY" that what you are experiencing is the aural equivalent of SOCIAL ALIENATION and general DISSATISTFACTION. its not even about the words necessarily, which are often associative wordplay schemes rather than COGENT articulations. the brilliance and genius of NIRVANA and KURT COBAIN as a songwriter was his preternatural ability to seamlessly translate an EMOTIONAL STATE. his songs are unique unto him and the COMPLEX undercurrent of PAIN, DESPAIR and HELPLESSNESS that make them so POWERFUL. even after years of WELL-INTENTIONED acolytes futilely attempting to manufacturing his STEEZE, NEVERMIND still stands UNBLEMISHED as a near PERFECT expression of our individual capacity to locate what we hate about society staring straight back at us within ourselves. it makes sense that COBAIN was AMBIVELANT about the album and its UNEXPECTED commercial and artistic SUCCESS. he seemed to feel a myriad of ways about multiple aspects of his life. i dont want to glorify MENTAL ILLNESS, but that CONFLICTED MIND-STATE no doubt contributed to a record of such EMOTIONAL RESONANCE and COMPLEXITY, even on a purely sonic level. for me that unique listening experience divorced from pre-frontal cortex intellectualizing is what separates NEVERMIND from everything else. every time i hear it i feel a weight lifted from my shoulders, a sense of RELEASE and TRANSCENDENCE from the MUCK of life. its been that way ever since i first heard "SMELLS LIKE TEEN SPIRIT" from a SHAKEYS PIZZA jukebox at an after-game soccer party when i was starting second grade in 1991. i knew that deep well of feeling and identified with it immediately on impact. what a REMARKABLE gift that was to the world. RIP KURT COBAIN 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
like a lot of my generation, my introduction to NOTORIOUS ENGLISH PUNK ROCK band THE ANTI-NOWHERE LEAGUE was via METALLICA's BLACK ALBUM-era cover of their INFAMOUS and humorously DEBAUCHED "SO WHAT?" track. that song in particular is so OVER-THE-TOP with its DEBASED lyrics that celebrate the perspective of being JADED with the world due to one's SERIAL COPULATION with everything from THE QUEEN her majesty to BARN ANIMALS, TEENAGE GIRLS and even ELDERLY MEN. not to mention PISS DRINKING and contracting various SEXUALLY TRANSMITTED DISEASES for good measure. its the type of song that is so OUTRAGEOUS youd have to be an idiot to truly be offended by it, almost as if it was written specifically by VYVYAN BASTARD of THE YOUNG ONES to parody PUNK writ large. the old THIS IS SPINAL TAP (EMBASSY, 1984) adage of "its such a fine line between stupid and clever" definitely applies in this situation, no doubt. really depends on your mood which side of that divide this song and this band lands on.
but the documentary THE ANTI-NOWHERE LEAGUE: WE ARE THE LEAGUE (CLEOPATRA ENTERTAINMENT, 2019) itself is about how unlikely an event this band even forming was from the jump. for starters the main culprits, NICK 'ANIMAL' CULMER, CHRIS 'MAGOO' EXALL and CHRIS ELVY initially were all motorcycle enthusiasts and either started or were members of a BIKER GANGS in KENT. music, much less the recent emergence of PUNK ROCK, was not a part of their lives in any MEANINGFUL way as their existence was more about that rolling community of OUTCASTS as they meandered like a HORDE OF VIKINGS throughout the ENGLISH countryside and continental EUROPE. when MAGOO caught the PUNK bug via THE SEX PISTOLS, he wrote a few songs that he ripped off of EDDIE COCHRAN and recent PUNK bands and set off about starting a band. ANIMAL and ELVY were sought out due to their street reputations as PROPER RUFFIANS rather than studied musicians. the all agreed on THE DAMNED and got on the bill of one of their first national tours by bribing them to be their support band. for THE ANTI-NOWHERE LEAGUE, with their GAUDY onstage costumes and overly CONFRONTATIONAL demeanor (ANIMAL's shtick was to carry an AXE on stage), the stage was a better sublimation of their ANTI-SOCIETY instincts than mucking it up with police and rival gangs on the road. almost instantaneously they became the ALPHA DOGS of the NASCENT PUNK scene at the time. and those first few singles was their peak. subsequent albums saw them attempt to make a career of it which led them, unimaginably, down a path from the most stubbornly VIOLENT and COMBATIVE PUNK band imaginable to a NEW ROMANTIC DURAN DURAN wannabe band in only a few short years. i had no idea that they lost the plot that bad. going from touring with DISCHARGE on equal billing to effectively playing SYNTH POP with keyboards in tow is beyond SPINAL TAP, its actually difficult to believe it ever happened. after their disbandment METALLICA made their signature track VIABLE again and ANIMAL has been keeping the torch going ever since with younger true believers by his side. its a crazy story. much is made about the cultural impact of the PUNK movement in BRITAIN and how it prompted budding musicians to fully commit and make COMPELLING music a la THE CLASH, JOY DIVISION, THE DAMNED, THE BUZZCOCKS, THE SMITHS, X-RAY SPEX and THE FALL. but less told are the truly AWFUL bands that never made anything of note or taste a la THE ANTI-NOWHERE LEAGUE. i believe that is the niche of this documentary and by extension the legacy of the band in the greater scheme of things. i should also mention that NOTABLE interview participants include RAT SCABIES of THE DAMNED and STEWART COPELAND of THE POLICE. yes, that STEWART COPELAND. turns out he made a documentary on them back in the day for some unknown reason. who knew? photo manipulation & text by nacrowe
MTV's LIVE 'N' LOUD series was one of many LONG-FORM LIVE PERFORMANCE series that the channel intermittently produced in the mid-to-late 1990s. much like with the more famous UNPLUGGED, it was a series that they could resurrect anytime they found talent that fit its structure, i.e. POWERFUL live bands and artists with multiple singles and/or a deep back catalogue. the series was shot all over the world, usually at outdoor venues or MASSIVE theaters that showcased throngs of people enveloped and deeply immersed in the music and the spectacle on stage.
as with all things NIRVANA, there was a MEMORABLE 1993 SEATTLE CONCERT for the series at PIER 48 that was filmed as part of their then-ongoing IN UTERO tour. other prominent participants over the years include CYPRESS HILL, NO DOUBT, SOUNDGARDEN, BJORK, NICK CAVE AND THE BAD SEEDS, ALANIS MORISSETTE (with future FOO FIGHTERS drummer TAYLOR HAWKINS in tow) and PAUL WELLER. these PERFORMANCES are genuinely WELL PRODUCED with PROFESSIONALLY MIXED sound and as the series moved through the decade it employed somewhat EXPERIMENTAL visuals (including filters, set design, high angle shots and curious lighting) as well to keep it INTERESTING. definitely worth checking out as this series is most definitely a part of the historical record of the ALTERNATIVE ROCK movement so prevalent in the 1990s. 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 manipulation & text by nacrowe
honestly, before watching this documentary id never heard of the 1990s NEW JERSEY METALCORE band DEADGUY.
and thats not particularly surprising given the fact that when they were at their peak i was out of the country, more than that the hemisphere, given that my family as abroad in WEST AFRICA and the MIDDLE EAST for most of the 1990s into the early 2000s. that being said, what drew me immediately to DEADGUY: KILLING MUSIC () was the fact that members of some of my favorite EXTREME METALCORE / POST-HARDCORE bands of the last two decades were interview for this film, from LAMB OF GOD, THE DILLINGER ESCAPE PLAN and THE LOCUST to CONVERGE, EVERYTIME I DIE and BOTCH among many others. if DEADGUY has their collective imprimatur of QUALITY then i am all in on investigating and learning more about them. whats interesting is that the band was part of the same collective northern NEW JERSEY scene that i participated in, just a decade and a bit earlier. this included cultural and educational entities like the late former INDEPENDENT record store VINTAGE VINYL in FORDS, RUTGERS UNIVERSITY (my alma mater) in NEW BRUNSWICK and 89.5FM WSOU out of SETON HALL UNIVERSITY in SOUTH ORANGE. when i attended RUTGERS, it was just after THURSDAY broke out, themselves influenced by the likes of LIFETIME, THE BOUNCING SOULS and DEADGUY before them, all stemming from the same NEW BRUNSWICK HARDCORE / PUNK ROCK scene. according to the many interview participants, what seems to differentiate DEADGUY from their cohort of peers was their sheer INTENSITY and BRUTALITY. much energy and time from the film is devoted towards explaining the POWER and INFLUENCE of their most celebrated album, FIXATION ON A CO-WORKER (VICTORY, 1995), as well as its place within the broader national HARDCORE movement of the period. in essence, their sound and stage presence has been described as UNINHIBITED, CEREBRAL, UNHINGED, CATHARTIC, EXPRESSIVE and COMBATIVE in the film and to the uninitiated, they come off like the primeval PRIMAL SCREAM of BORED suburbanites seeking an IDENTITY and PURPOSE past the COOKIE-CUTTER EXISTENCE and DRUDGERY of approaching PROFESSIONAL CAREERISM and ADULT RESPONSIBILITY. as the film elucidates, its a rage and anger that is UNBRIDLED and UNCONFINED, rather than the more PERFORMATIVE and fashion-conscious HARDCORE of the period. its just interesting that the band splintered while on their first national tour for VICTORY RECORDS, which was haphazardly planned and executed to the point that band essentially FRACTURED into two warring factions, which later manifested in the RECONSTITUTED DEADGUY and KISS IT GOODBYE. there is a long history of groups BREAKING UP on the road, especially in the INDEPENDENT circuit. it happens to the best of bands, just look at OPERATION IVY a few years earlier which DISINTEGRATED under similar circumstances. i cant imagine having to travel long distances in an era pre-smartphone and online mapping services. sounds like an absolute LOGISTICAL NIGHTMARE and INTERPERSONAL MINEFIELD. for such a singularly INTENSE band, its very much INTRIGUING that the financial and emotional GAUNTLET of the road is what ultimately DISMANTLED them. at least 25 years later they are all able to laugh at themselves over the whole thing. im especially glad that they didnt succumb to the "getting the band back together" film cliche. just another CONTRARIAN decision much like the ethos of their catalogue in one group action. notable DEADGUY: KILLING MUSIC interview participants include the likes of RANDY BLYTHE (LAMB OF GOD), BEN WEINMAN (THE DILLINGER ESCAPE PLAN), JUSTIN PEARSON (THE LOCUST / DEAD CROSS), KEITH BUCKLEY (EVERY TIME I DIE), JESSE LEACH (KILLSWITCH ENGAGE), TREVOR STRNAD (THE BLACK DAHLIA MURDER), JACOB BANNON & NATE NEWTON (CONVERGE), SEAN INGRAM (COALESCE), STEVE AUSTIN (TODAY IS THE DAY), BRIAN COOK (BOTCH / RUSSIAN CIRCLES), DIC COYLE (GOD FORBID / BAD WOLVES), DUSTIN PERRY & DARYL TABERSKI (SNAPCASE) among other musicians from SNAPCASE, TOUCHE AMORE, DOC HOPPER, CABLE, BREATHER RESIST, SHAI HULUH, MONSTER MAGNET, THOUGHTS OF IONESCO, SAETIA and SWEET DIESEL as well as representatives of various INDEPENDENT POST-HARDCORE, EXTREME METAL, PUNK ROCK and HARDCORE record labels. thats a hell of a lot of community involvement from a band id never head of. photo manipulation & text by nacrowe
half a decade ago NOISEY had an INCREDIBLE series of interview videos moderated by THE QUIETUS founding editor JOHN DORAN (who also writes for THE GUARDIAN, THEWIRE , VICE and METAL HAMMER and creates programming for the BBC) called THE BRITISH MASTERS that got at the heart of what made a certain cadre of LEGENDARY ENGLISH musicians and songwriters of varying genres so IMPACTFUL and EFFECTIVE. included in the mix were participants like TRICKY (MASSIVE ATTACK), JOHNNY MARR (THE SMITHS), COSEY FANNI TUTTI (THROBBING GRISTLE), JOHN LYDON (SEX PISTOLS, PUBLIC IMAGE LIMITED), MARK E SMITH (THE FALL), ROOTS MANUVA, PAUL SIMONON (THE CLASH), BRYAN FERRY (ROXY MUSIC), DAMON ALBARN (BLUR, GORILLAZ), NEIL TENNANT (PET SHOP BOYS), VIV ALBERTINE (THE SLITS), GARY NUMAN (TUBEWAY ARMY), LIAM GALLAGHER (OASIS), GOLDIE and BRETT ANDERSON (SUEDE) among others.
my sense is that there is a certain mix of PAROCHIALISM at play in BRITAIN whereby it is SMALL and DISCONNECTED enough from nearby EUROPE to cultivate an INDEPENDENT arts scene without much outside influence. conversely and completely counterintuitively ENGLAND's recent past as a colonial power allows it to have a DIVERSE cultural population that manifests in organically UNIQUE cultural products that reflect such. just a look at the guests chosen for this series one is confronted with a myriad of sub-genres including PUNK ROCK, HIP HOP, INDUSTRIAL MUSIC, SYNTH POP, POST PUNK, BRITPOP, DRUM & BASS and TRIP HOP. each represents a specific community, lifestyle with an attendant set of values that renders all of them uniquely BRITISH. the cultural references utilized are now a bit dated, but THE BRITISH MASTERS still very much holds up and is well worth investigation. definitely worth checking out. |
NICHOLAS ARCHIVES
April 2024
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