PUNK: ATTITUDE (3DD PRODUCTIONS, 2005) by legendary DJ / MUSICIAN / DIRECTOR and original PUNK ROCK scenester DON LETTS is probably the most comprehensive documentary about the beginnings and evolution of PUNK ROCK, both stateside and in ENGLAND. it includes an exhaustive yet entirely impressive cast of participants, many now deceased, whose insights provide an appreciation for the wide array of interests and backgrounds that led to the formation of the genre. this includes, but not limited to, musicians such as JOHN CALE (THE VELVET UNDERGROUND), JELLO BIAFRA (THE DEAD KENNEDYS), MARTIN REV (SUICIDE), CHRISSIE HYNDE (THE PRETENDERS), DAVID JOHANSEN, SYLVAIN SYLVAIN & ARTHUR KANE (THE NEW YORK DOLLS), MICK JONES & PAUL SIMON (THE CLASH), DARYL JENIFER (BAD BRAINS), POLY STYRENE (X-RAY SPEX), HENRY ROLLINS (BLACK FLAG), WAYNE KRAMER (MC5), PAT SMEAR (THE GERMS), SIOUXSIE SIOUX (SIOUXSIE SIOUX & THE BANSHEES), TOMMY RAMONE (THE RAMONES), CAPTAIN SENSIBLE (THE DAMNED), ARI UP (THE SLITS), STEVE JONES & GLEN MATLOCK (THE SEX PISTOLS), THURSTON MOORE (SONIC YOUTH), K.K. BARRETT (THE SCREAMERS), RAY CAPO (YOUTH OF TODAY), GLENN BRANCA (THEORETICAL GIRLS), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), ROGER MIRET (AGNOSTIC FRONT), PETE SHELLEY & HOWARD DEVOTO (THE BUZZCOCKS), DEE POP (THE BUSH TETRAS), ALICE BAG (THE BAGS), RICHARD MANITOBA (THE DICTATORS), JAMES CHANCE (JAMES CHANCE & THE CONTORTIONS) and film director JIM JARMUSCH, CBGBs owner HILLY KRISTAL and various managers, writers, artists and photographers.
i think one strong suit of this documentary is its ability to elucidate the long line of influence that followed one band to another over time. how bands like THE DOORS influenced THE STOOGES who influenced THE SEX PISTOLS and BLACK FLAG and NIRVANA and so on. in essence you see how bands such as THE VELVET UNDERGROUND, SUICIDE, THE DEAD KENNEDYS, PATTI SMITH, THE DAMNED and THE RAMONES (among many others) are all linked and part of a greater movement towards challenging, complicating, questioning and, in turn, revitalizing the form of ROCK AND ROLL.
examples provided included the concurrent POST PUNK and NO WAVE that came about after the first wave of PUNK ROCK. both took the ethos of originality and freedom and applied such to the music, creating new takes on song structures and experimented with expanded palette of instruments.
the HARDCORE scene of the 1980s was the opposite of such in that songs got condensed and sped up even faster. scenes that began with first wave PUNK adherents more interested in art and originality were taken over by HARDCORE bands that were largely aggressive and violent. part of that anger was political at the REAGAN administration as well as a feeling that their lives were set to be disrupted by economic uncertainty. that scene begat the ALTERNATIVE ROCK scene of the 1990s, or as JELLO BIAFRA puts it "punk inspired rock bands." as the 1990s dragged on you get bands like KORN and LIMP BIZKIT with their dumbed down break down sections and shocking lack of social consciousness.
there was nothing revelatory about this documentary, but it serves as a welcome definitive statement about a genre for anyone new or interested in the place of PUNK ROCK in music history. it really gets at the core idea of the genre in spite of its many permutations: that being the value being an individual. finding your voice, whatever that may be, and speaking your truth vociferously with an almost disregard for the opposition. thats a healthy sentiment for anyone to learn.
my only gripe with this film is that they spends way too much time talking about THE CLASH and JOE STRUMMER, but that is my own personal bias making itself apparent. i still find that band, despite their influence, to be full of themselves. just my opinion.
FROM THE BASEMENT was a live performance series produced by NIGEL GODRICH (RADIOHEAD, ROGER WATERS, BECK, R.E.M.) that lasted two seasons and aired intermittently on SKY TV from 2006 to 2009. shot and recorded without an audience, the bare studio room was an open canvas for the artists and directors, including SOPHIE MULLER, to present their music in manner they more or less had control over.
notable performances include those by PJ HARVEY, THE FALL, QUEENS OF THE STONE AGE, THUNDERCAT, THE KILLS, RADIOHEAD, CSS, SONIC YOUTH, FLEET FOXES, THE WHITE STRIPES and JARVIS COCKER of PULP
definitely worth checking out, especially for the quality of the live mixes, which honestly is a bit of a forgotten and under-appreciated art. enjoy.
photo manipulations by nacrowe
i discovered the SHOW US YOUR JUNK! series on the EARTHQUAKER DEVICES youtube channel a few months back and what it does a great job of presenting is the gear used by musicians and producers in their studio setups.
obviously EARTHQUAKER DEVICES is a company and yes, their pedals are mentioned along with those of their "competitors," but what you learn very quickly is that the equipment on display is merely a canvas and that these producers, many of them prominent musicians from bands like SONIC YOUTH, DEVO, CONVERGE and DEERHOOF are the artists that contextualize these sonic textures in tapestry unique to their sound and aesthetic. if anything, the pedals here are useful in that they help bridge the gap between conception and execution. they are essentially a tool. but i have to say, there is equal if not vastly more time dedicated to non-EARTHQUAKER items in this series. just saying.
much like RIG RUNDOWN goes after the gear setup of a touring musician, SHOW US YOUR JUNK! is dedicated to the recording setup, which in my opinion is far more interesting having spent time around my cousin who is a recording engineer in our former studio at the KREISCHER MANSION. everyone has their own technique and philosophy regarding what makes a compelling sound, which is a topic of endless fascination for me. how does the producer engage with the artist and bring about their creativity. what microphones, preamps, boards do they tend to use? what is the room ambience like at their studio?
for me this series is a great introduction to what makes each of these producers tick, which only makes me dive back into their production discographies that much harder. maybe even make a radio show or two about them (cough, cough, KURT BALLOU and STEVE ALBINI, cough, shameless plug).
by all means check them out below or watch the rest HERE.
KILL YOUR IDOLS (HUNGER ARTIST, 2004) examines the NO WAVE scene in the late 1970s in the lower east side and is largely a return to the more sonically experimental and lyrically ambitious origins of the PUNK movement (think PATTI SMITH and RICHARD HELL-era TELEVISION). almost ironically given that last statement is the fact that what largely unifies all these bands was their capacity to scrape away and put aside all their influences and create something wholly original. no recycled BLUES riffs, no clever allusions. this was direct, visceral, confrontational music that was meant to alienate the listener and make them uncomfortable.
essentially NO WAVE served as a new cultural year zero.
the music is described by some of the participants as being a byproduct of a deep need to emotional purge themselves. it transmitted a basic consciousness through music that embraced the moment and extreme dissonance of what is essentially ANTI-MUSIC.
this documentary interviews both those initially associated with the scene such as as SUICIDE, THEORETICAL GIRLS, TEENAGE JESUS & THE JERKS, THE CONTORTIONS and DNA and those who formed bands in its wake like SWANS and FOETUS as well as musicians that were informed by the scene down the line when this documentary was being recorded in the early 2000s; bands like A.R.E. WEAPONS, GOGOL BORDELLO and the YEAH YEAH YEAHS.
whats interesting about this documentary is not the actual music itself, which i find unlistenable by design; it is literally music not meant to be listened to. what interests me is how this brief moment in time freed future musicians to attempt unconventional techniques that embrace dissonance and disharmony into a sound that is wholly listenable and enjoyable to an audience. much like the beats with the cut-out method added the chaos of random chance into their writings to create meaning, this new generation was using the most confrontational of scenes to model their ideas of what was possible in creating harmonious music by nontraditional means. anti-music beget music. they created "new traditions" in DEVO terms. its an interesting idea.
you can see the legacy of this era not just in looped, feed-backed curations of INDIE ROCK bands like SONIC YOUTH and THE BOREDOMS, but also proto-INDUSTRIAL groups like EINSTURZENDE NEUBAUTEN. like all experimental music or scenes based on such they are short-lived by necessity. experimentation calcifies into patterns which turns into modes of expression and techniques that further get introduced as new orthodoxies. thats why bands that truly take on the mantle of the spirit of this scene sound nothing like it.
kill these idols as well no doubt.
parodies by nacrowe
tonight's new episode of DEER GOD RADIO at 8PM EST on MAKERPARKRADIO.NYC is dedicated to the ingenius music production career of BUTCH VIG, from his career recording DIY releases from obscure 80s midwestern HARDCORE and INDIE ROCK bands at his own SMART STUDIOS to his commercial breakthrough with 90s ALTERNATIVE ROCK icons NIRVANA, SMASHING PUMPKINS and GARBAGE and beyond. his versatility is legendary and well-worth investigating. gonna be a fun show tonight!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.
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!
collage by nacrowe
earlier this summer i did a DEER GOD RADIO show on a topic i am particularly passionate about, INDIE ROCK.
i've spotlighted several bands in this genre (LA LUZ, JAPANESE BREAKFAST, EL GUINCHO, GIRL IN A COMA, DRAB MAJESTY, GRAHAM COXON) with several more planned in the coming weeks (WARPAINT, LA VIDA BOHÈME, THE COATHANGERS, IRON REAGAN, ANA TIJOUX, BATTLES, LE BUTCHERETTES). i've also written several book reviews on this topic (GIRL IN A BAND, LOVE ROCK REVOLUTION, MEET ME IN THE BATHROOM) with have several more lined up (SET THE BOY FREE, THIS BAND COULD BE YOUR LIFE, CLOSER YOU ARE, HUNGER MAKES ME A MODERN GIRL). all due to the fact that this is arguably my favorite genre. for me what edges it above METAL and HARDCORE is the experimental aspect of it, the fact that like HIP HOP, it is a form that at its core challenges the musician and listener alike to seek new sounds. this fact makes it infinitely intriguing to read about and explore as people came to it from different viewpoints along gender, class, geographic, political lines that ultimately complicated and strengthened the fabric of the by definition open community.
looking back, this was one of my favorite playlists yet. i see this specific show as being a sister piece to a previous episode dedicated to 1980s HARDCORE, since both were concurrent scenes that supported and in many cases had a similar DIY ETHIC surrounding it. if anything, i see MAKERPARKRADIO.NYC as a community built on that same ethos of independence, integrity and passion.
if the artwork didn't clue you into the playlist, you can always catch that at the episode's page HERE. take it all in and enjoy this show. i definitely had fun with it.
photo by nacrowe
during my undergraduate years at RUTGERS i wrote a senior thesis on film noir and a key feature of those films is a corrosive depiction of women as corrupters. often male protagonists impotently speak via voice-overs, attempting to frame a narrative that inevitably they were never able to control.
musician/artist/producer/fashion designer/actress/writer/badass KIM GORDON of SONIC YOUTH fame in her memoir GIRL IN A BAND (HarperCollins, 2015) in a similar fashion attempts to make sense and contextualize the trauma of her recent divorce. in an inversion of the film noir cliche i outlined above, her painful retelling of their doomed relationship if anything doesn't reduce her ex-partner and ex-bandmate THURSTON MOORE to that of a lazy literary trope. it is my understanding that her presenting this information was meant to accurately describe the insight gained from such a painful ordeal that ultimately deprived her a partner and collaborator and place it within the proper context of her upbringing and fraught relationships with her brother and father. unlike those noir films, her compassionate insights into these men ultimately humanizes them, especially MOORE.
what i really appreciated this book was her honesty. no doubt knowing her public image as an icon for female empowerment, the vulnerability she displayed in explaining why she found herself in the familiar trap of suppressing her ego for the men in her life is a daring move. you really get the sense of struggle throughout her entire music/art career. you also get a well-rounded, first-hand look at the early 80s concurrent NO WAVE music scene and burgeoning NYC art scene surrounding street art. she comes across a someone curious and relentlessly fearless in taking advantage of what opportunities came her way. she doesnt not come across as an opportunist, rather as a passionate curator constantly searing for new ideas and inspirations.
i feel a kinship with that as someone who grew up around unfamiliar people in unfamiliar countries. her upbringing in SOUTHERN CALIFORNIA by way of brief stints in HONG KONG and HAWAI'I gave her something of a THIRD CULTURE KID vibe. they say THIRD CULTURE KIDS (children that grow up in a country not their own) are qualitatively better able to navigate life's upheavals, having dealt with such stress during their impressionable formative years. if anything, her curiosity for art, music, design, and love only get stronger as the narrative evolves, almost in contrast to the arc of her personal life.
i'm a fan of her work, both in and out of SONIC YOUTH and recommend this book highly for anyone interested in her career as well as anyone interested in the NYC art and indie music scenes of 80s and 90s by a big player in both. well worth it.