11 posts tagged with punk by filthy light thief.
Displaying 1 through 11 of 11.
The Story of Feminist Punk in 33 Songs: From Patti Smith to Bikini Kill, the songs that have crushed stereotypes and steered progress (Pitchfork). More than a list of songs, it's an overview of feminist expression through raw music, from 1975 to 2015, with an introduction by Vivien Goldman. "Because nothing beats jamming and singing with your sisters. That is punk. Punk freed female musicians. It is yours. Sing it, play it, live it now." [more inside]
Electric & Musical Industries was formed in 1931, initially releasing classical music, but went on to launch the Beatles, who changed the record label's operations and funded the company for years and years. The label's recording rules were further broadened by Queen and Pink Floyd. EMI ushered punk into the mainstream with Sex Pistols, and then embraced the New Romanticism and the polished excesses of Duran Duran. They made music videos big with Pet Shop Boys and made Brit Pop a thing with Blur, and were home to Radiohead. This is the inside story of EMI, one of the greatest British brands in recording history, as told by people involved with the record label's storied history, augmented by company and performance footage. [more inside]
Outlaw songs are at least as old as popular music itself. The image of a gallant loner battling a rigid and unyielding legal establishment has proved irresistible for generations of songwriters. In 1959, Texan Sonny Curtis wrote one of the best, "I Fought The Law." Intended as a vehicle for himself and the post-Buddy Holly Crickets, their single went precisely nowhere.That is, until it was covered -- the first hit cover was by The Bobby Fuller Four in 1965, then another major version came out 14 years later, from The Clash who revived the "oldie" into what is now a "punk anthem." From there, the covers start piling up.... [more inside]
BS 2000 was the short-time collaboration between Adam "Ad-Rock" Horovitz of the Beastie Boys, and Amery "AWOL" Smith, best known as a punk drummer. They released a couple albums on the now-defunct Grand Royal label. They toured live, performing with the keyboards, drums and vocals (YouTube) that was the sound of punk rock and hip-hop combined into something funky and weird (Grooveshark stream). Bestie Mania has more on the band. Oh, and Adam and Amery shared their record collection on WFMU back in the day, so the show is only available in Real Media.
If gears and brass aren't your thing, and you'd prefer your alternate history to take its influences from 18th century Paris, then Rococo punk might be your scene. But this is no new reaction to steampunk. Oh no, the Boston band The Upper Crust ("Let Them Eat Rock," "We're Finished with Finishing School," "Little Lord Fauntleroy;" previously) go back to 1995, and before them was Malice Mizer ("Illuminati," "Bel Air," "Au Revoir,"), though their visual style wasn't just Rococo glam (as seen here in "Beast of Blood" and "Garnet"). But the grandfathers to all these young punks was Adam and the Ants ("Ant Music," "Kings of the Wild Frontier," "The Prince Charming Revue" [YT playlist]).
I just moved into my new house today1, moving was hard but I got squared away2. When bells starting rings and chains rattled loud,3 I knew I'd moved in a haunted house4. Still I made up my mind to stay,5 nothing was a-gonna drive me away.6 When I seen something that give me the creeps,7 had one big eye and two big feet.8 [more inside]
They were a couple of blokes from a small city in in England who started out messing around with instruments. Paul played the guitar and drums, and Phil the saxophone, but both were interested in electronic music by the likes of Kraftwerk. Phil also liked hip-hop, and Paul got into acid house in the late 1980s. One afternoon, Paul slapped together a happy little song based on a sample from a now-forgotten instrumental cover version of some pop hit, and called the little ditty Chime. Even before it was pressed on vinyl, DJs were asking for it, and Orbital was born. [more inside]
"Rhyece O’Neill is an intense young man. A polemical folk singer, a producer of bass-heavy dance music, a protester, and a digital media worker for a major record label. He’s unlike anyone else in Australia’s dubstep landscape." Cyclic Defrost interviews O'Neill, aka electronic/dub/dubstep producer Westernsynthetics, and head of the Sub Continental Dub label. You can skip the rest and hear two streaming mixes from Westernsynthetics, 19 tracks from the Sub Continental Dub label, plus the label's first three singles, or continue inside for background, context, and even more music. [more inside]
Hank Williams III has had a rocky relationship with his label, Curb Records, from the beginning, when his first album with them was an album with his grandfather and father, "thanks to the wonders of 21st century digital overdubbing." A decade and a half later, Hank 3 was free from Curb Records, though the label snuck out one last album, even though the contract was over. It was actually an old album from a decidedly non-country style, but that didn't stop Curb from offering it as a Hank III album at a fire-sale discount, ensuring Billboard Country charting. That was in June of this year. Jump ahead to September: Hank 3 released three albums over four CDs, spanning his broad musical styles and beyond. CD1: country (of sorts); CD2: haunted ambient soundtrack and Cajun-tinted country, with guests (like Tom Waits); CD3: cattle-core; CD4: doom rock.
Shane MacGowan is the face and name most often associated with The Pogues. Unraveling Shane's psyche would require a book-length study but the crux of his identity lies somewhere in that conflict between English experience and Irish heritage. The abbreviated story of his life starts with his birth in England, but he was raised in Ireland, and moved back to England some years later. He won a scholarship to the renowned Westminster School, where he was possibly enrolled alongside Thomas Dolby and other notable people. MacGowan was involved with drugs and publicized hooliganery before being in a band, the first of which was The Nipple Erectors in 1977. [more inside]
Made in the image of 1980s "low-brow sleeze punk" public access TV shows like T.V. Party, Rappin with The Rickster, The Richard Bey Show, the more mainstream (or at least widely available) U.S.A. Up All Night, as well as elements of Cinema of Transgression, Мишка brings forth The Creepy Touch. Not safe for work, the squeamish, or squares. (Videos inside) [more inside]