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]
Quiltsrÿche Who needs dope licks when you have fussy cuts? Boo Davis's punk and metal inspired-quilts. This ain't your granny's
rock-and-roll muslin. [more inside]
Thanks to lobbying from John Belushi, on Halloween night, 1981, LA punk band Fear played a set on Saturday Night Live. The New York Post headline the next day read "FEAR Riot Leaves Saturday Night Glad To Be Alive.” [more inside]
You're a Monk, I'm a Monk, We're All Monks is a short video introduction to The Monks, a band founded in 1964 by five American soldiers in Germany. They put out only one album, the abrasive, noisy, minimalistic Black Monk Time in 1965, that sounded like nothing else at the time. They also dressed in all-black, shaved monkish tonsures in their hair and wore bits of rope as neckties. In 1966 they appeared on German TV shows Beat-Club and Beat, Beat, Beat, and played three songs on each, Boys Are Boys and Girls Are Choice, Monk Chant, Oh, How to Do Now, Complication, I Can't Get Over You and Cuckoo. Aaron Poehler interviewed The Monks and wrote about their history back in 1999. That same year they got back together to play at the Cavestomp festival. And here The Monks are being interviewed by a hand-puppet on public access television in Chicago. [The Monks previously on MetaFilter]
On May 22nd, 2011 at the Bowery Ballroom in New York, a number of bands put on a concert hosted by Eugene Mirman and Janeane Garofalo to celebrate the 10th anniversary of the publication of Michael Azerrad's Our Band Could Be Your Life. [more inside]
WET: The Magazine of Gourmet Bathing covered a range of cultural issues and was widely known for its innovative use of graphic art. Started as a simple one-man operation that included artwork and text solicited from friends and acquaintances, the production, team, and circulation of the magazine would grow over the years. Its content also evolved to cover a wider expanse of stories that captured a smart and artsy Los Angeles attitude that was emerging at the same time as punk, but with its own distinct aesthetic. The magazine’s energetic creativity and flair for the absurd would remain a constant. As design problems arose, solutions were often improvised on the spot, creating a quirky and prescient editorial sensibility that remains one of WET's most enduring legacies. Its layout and design helped to catalyze the graphic styles (NSFW) later known as New Wave and Postmodern.
UK/DK - A Film About Punks And Skinheads (SLYT) 1983 documentary about the tail end of the British punk scene including The Exploited, Vice Squad and The Damned and unfortunately Gary Bushell
"Dingus is dedicated to the search [for new music on Bandcamp]. It's here, on this humble blog that we shed light on bedroom artists in their most defining moments. If you want what's popular today, Dingus is not the blog for you. But, if you want what's fringe, pure and passionate then you've somehow landed on the right URL." [more inside]
Who Killed Nancy is a documentary examining the lives and deaths of Sid Vicious and Nancy Spungen. It features interviews with many of the people on the Punk scenes in both London and New York, including people who were in Sid and Nancy's Chelsea Hotel room on the night Nancy died.
Give a fuck whatcha heard / Yeah fuck whatcha heard / Fore this real shit kicked your whole clique to the curb
Death Grips (previously) are back, with a major-label contract to boot. Following up on last year's highly-regarded Exmilitary mixtape, The Money Store is scheduled for official release on April 24th. In the meantime, enjoy these two new videos (probably NSFW): Get Got / The Fever (Aye Aye)
"She finds her daughter burning cigarette holes in her arms...taking pills...listening to that violence-oriented punk rock music"
Kill From the Heart, taking its name from the Dicks song, is an incredibly extensive resource for international '80s hardcore punk. The site has collected a ton of information, like reviews from different zines, interviews (including the infamous Maximum Rocknroll and FU's spectacle), discographies from labels, band histories, articles about different scenes, and more. [more inside]
Despised by the rock establishment which they assaulted with every turn, Wendy O. Williams and the Plasmatics were so far ahead of their time in so many ways it is hard to know where to begin. They synthesized punk and metal before it was cool to do so, used chain saws and other noise put through amplifiers, and their stage shows were second to none. (previously) [more inside]
Punks Not Dead.... but it can get you killed. Punk rock in oppresive regimes.
Mick Jones, co-founder of seminal punk band The Clash, his hair as thin as the crowd, plays a few solo songs at the opening of the Rock and Roll Public Library, a converted office under a motorway in West London, in between swigs of lager. That is all. But what else do you need?
"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]
The Los Angeles band named X. The one that performed "Los Angeles" , "Your Phone's Off The Hook But You're Not", "Johnny Hit and Run Paulene", "We're Desperate", "White Girl", and "Breathless". The one with John Doe, Exene Cervenka, Billy Zoom, and D.J. Bonebrake in it. [more inside]
Screaming Females are a 3-person self described "rock/rock/rock" band from New Jersey featuring Jarrett Dougherty on drums, King Mike Abbate on bass, and Marissa Paternoster on guitar and vocals. They're not incredibly famous and they're probably not on the cusp of a string of number 1 hits, but they put on a mean show and they've got a new album in a couple of months if rock/rock/rock should happen to be your thing. [more inside]
Punk Rock Fashion Show at the popular Spit nightclub. Boston, 1982. PLYT; mildly NSFW due to subliminal nipple
Swissted New York graphic designer Mike Joyce takes vintage flyers from punk, hardcore and indie rock shows and redesigns them "into international typographic style posters. Each poster is sized to the standard swiss kiosk dimensions of 35.5 inches wide by 50 inches high and set in berthold akzidenz grotesk medium, all lowercase. Every single one of these shows actually happened."
Punk's Not Dead. The revival of punk in couture fashion and elsewhere
Judy is a Punk by the The Sullivan School Kindergarten Class
Ukelele street kid revolution! The band is fantastic live, a lot of fun in the practice room, okay in the studio, but nothing compares to what they do with the children. Meanwhile, we all saw some Indonesian punks get shaved and scolded by the police, previously.
In Indonesia, a punk rock concert is raided and attendees are arrested, shaved, de-pierced, bathed and sent for re-education.
Seeing so many Occupiers getting evicted made me think of this short 1988 documentary by Nancy Kalow on homeless squatter punk teens in the Bay Area (warning:cringe-inducing rapping in the opening scene). From their stories, it seems as if they had free reign of the abandoned Berkeley Polytech building for a while. Readers of Cometbus who aren't from the Bay Area can see a bit of the scene he made sound so attractive. 1993 sequel, The Losers Club.
In Southern California in the 1980s, KROQ had this weird un-DJ-like guy named (seriously) Rodney Bingenheimer, who came on late at night on Sundays and played punk records and new bands like Blondie, The Ramones, X, Joan Jett, Devo and Cheap Trick. Did this weirdo really have some influence? A 90-minute 2004 documentary now on YouTube, Mayor of the Sunset Strip (Part 1) tells his story, and it's weirder than you may have imagined. [more inside]
For safety's sake, please consider all links herein either nsfw or potentially offensive* Let's Have a Shambles! with the Country Teasers! Formed somewhere in Scotland in 1993 around one Ben Wallers, the Country Teasers forged an unusual contrast between acerbic lyrics, trash punk twang, and honest affect(at)ion of country-western tropes and sounds. They were also equal opportunity offenders, their songs frequently featuring seemingly misanthropic, misogynistic, and even racist lyrics. But despite their affrontive controversy, perhaps they aren't quite so easy to dismiss. Though rarely does he give in-person interviews, Mr. Wallers will, when confronted, defend his "schlock tease," though not without characteristic aplomb. Although the Country Teasers are pretty much dead, their extensive discography has plenty of noteworthy diversions. Some albums to start with are 1996's Satan Is Real Again or Feeling Good About Bad Thoughts, 1999's Destroy All Human Life, and 2006's Back to the Future. Mr. Wallers continues to release new records under the moniker The Rebel. A number of Teaser records were released on In The Red records. *Although if you do find it offensive, I'd simply request considering if that is perhaps the point.
The most vivid figure in Michael Gramaglia and Jim Fields's End of the Century was the least articulate and most archetypal of the Ramones: Johnny, the right-wing prole whose hard-ass sense of style the others nutballed and softened and accelerated and above all imitated. ... Exciting and absolutely right though their '70s sets always were, the film establishes that they kept the faith live till the end, lifted by Joey's goofy dedication and powered by the chords Johnny thrashed out like they were why he was alive. As unyielding in his aesthetic principles as he was in everything else, this reactionary was an avant-gardist in spite of himself. - Robert Christgau
Alex Cox: REPO MAN was made as a "negative pickup" by Universal at the time when Bob Rehme was head of the studio. At the time, the big deal over there was STREETS OF FIRE, and nobody really noticed our film [8 MB PDF] at all. Which was lucky for us, since Bob Rehme had "green-lighted" a film which was quite unusual by studio standards. (previously)
Folk-punk, Orgcore (UD definition) and Dadpunk are all names for a new wave of earnest, authentic rock that draws its roots from The Clash, Billy Bragg, The Pogues, Social Distortion and Bruce Springsteen. In England, its best represented by Frank Turner, the former singer of hardcore band Million Dead. His anthemic songs about life on the margins of fame, poetry, death, inspiration and the power of rock and roll have made him famous in England, leading to an upcoming show at Wembley Arena. He follows in the footsteps of British folk-punk pioneers Leatherface. [more inside]
Live From The House Of Blue Leaves, It's The 5. 6. 7. 8.'s! This all-girl Japanese punk/surf rock trio is best known in the west for performing "Woo Hoo" in Kill Bill Volume One, but two other performances were filmed during shooting, "I Walk Like Jayne Mansfield " and "I'm Blue" (Music starts at 3:01) Bonus Material: (I'm Sorry Momma) I'm A Wild One. Teenage Celopatra Hanky Panky Bomb The Twist Roadrunner Interviewed on Chic-A-Go-Go
The Other F Word (trailer) is a new documentary about punk rock fatherhood. Blog Musical Urbanism argues that it mostly focuses on the materialistic Southern California punk rock scene.
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.
Egg City Radio is what became of the great Post-Punk Junk blog [previously]. And it's still a treasure trove if you're looking for shared out-of-print albums and live sets--not only from Post-Punk but also many other genres as well. [ECR previously (via), -er, -est]
Wake from unconsciousness, disoriented on a strange island. Apprehension and confusion fill the mind.
Cryogenic Husk features themed mixtapes, mostly of the metal or punk variety. Check out mixes based on being shipwrecked, Egyptology, or Nikki Sixx in '87.
Ida Maria is a 26-year-old Norwegian pop-punk-rock musician whose music is both catchy as shit and surprisingly vulnerable. Her lyrics are simple but sometimes uncomfortably honest. Her first album had two big hits with excellent music videos: I Like You So Much Better When You're Naked and Oh My God. Other songs off the album that I'm fond of: Queen of the World (my personal favorite); Louie; Keep Me Warm. Her second album, Katla, has a more eclectic sound, ranging from the vintage pop-inspired Quite Nice People to the horn-driven I Eat Boys Like You For Breakfast to the dirty Bad Karma to the sillier Cherry Red.
FILMAGE: The Story of DESCENDENTS / ALL is an upcoming feature-length documentary about pop-punk pioneers Descendents. The makers are looking for photos, video, and film of the band. The band's first album, 1982's Milo Goes To College, was an instant classic with songs like I'm Not A Loser. Various splits, reformations, and line-up changes followed. Their most reformation in 2010 included sets at Australia's No Sleep Till festival (full Sydney set at Moshcam). Classic Desendents: I'm The One. Merican. Hope.
Anatomy of a Mashup - an amazing visualization of "Definitive Daft Punk."
Welcome to Vegas Punk House. Don’t break shit! Frontman, Fat Mike, of the punk band NoFX recently opened a "Punk House" available for renting while staying in Vegas. Complete with a mini golf course, 3 bedrooms (one with six bunk beds), punk flyers all over the walls, beer vending machine, and a "paltry" museum, for $400 dollars per 3 day stay, you can maintain you're punk lifestyle, albeit in luxury. (VIDEO)
From the pop of "Nursey, Nursey" to the pomp of "Epitaph: Angel", the ambitious double album White-Faced Lady by seminal British psych/prog band Fairfield Parlour (formerly Kaleidoscope) had all the makings of a 1971 hit record. By the time of its actual release, in 1991, the moment had long since passed. The cause of the twenty-year delay is explained in this interview with ex-frontman Peter Daltrey (spoiler: it was the labels). [more inside]
Wallaby Beat is a blog dedicated to punk, DIY, powerpop, grillfat (pre-punk Australian hard rock) and NWOAHM from Australia 1975-1984. It follows projects like Do The Pop, Lethal Weapons, and Inner City Sound in documenting Australia's fertile underground rock and roll scene. While those blogs and books are focused on the past, I-94 Bar is documenting the scene as it stands today and interviewing the various survivors.