Punk BOTM - Crass
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In terms of left-wing -- nay, anarchist -- bands which are on occasion used to symbolize the entire British punk era (like where do you think that big A with a circle around it came from, anyway?), no-one can hold a candle to Crass. They were the quintessential anarchist punk ensemble, true believers in their cause. In fact, while the Sex Pistols only sang about Anarchy in the UK, Crass did their darnedest to live and breathe the true meaning of the phrase...
Crass was formed in 1978 by drummer Penny Rimbaud and singer Steve Ignorant at Penny's farmhouse in North Weald, Essex, which was in fact a large, open commune of about a dozen like-minded individuals. The members of this commune soon started generating input into this musical endeaver, so that the original duo quickly grew and expanded to include vocalists Eve Libertine and Joy de Vivre, lead guitarist Phil Free, rhythm guitarist Andy Palmer, bassist Pete Wright and backing vocalist Mick G. Duffield. Resident artist G. Sus (another female -- interesting play on words!) provided creative details such as piano, flute and most importantly cover art, combining piaintings, slogans and collage. Along the same artistic vein, Mick was also a film-maker who often provided a projected backdrop to Crass' live performances, ages before the Butthole Surfers attempted a similar spectacle.
After a live debut at a squatters' free festival, Crass secured a record deal in January 1979 with Small Wonder Records to release Feeding The 5000, a 12-inch EP with an unlikely 17 tracks! In fact, this EP was actually released with only 16 tracks, as no pressing plant would agree to manufacture it because of objections to the opening track Asylum. In the end, in order to release their record, the band agreed to delete the offending article and instead replaced that track with a two-minute silence which they aptly dubbed Free Speech.
Obviously disenchanted with their brushing encounter with institutions in the real world, the group retreated to their commune and launched their own Crass label, on which the remainder of their releases appeared. Crass Records were characterized by Do-It-Yourself artwork, photocopied sleeves which doubled as anarchist propaganda, and a unique cataloguing system which involved a coundown to 1984, a year of clear symbolic significance because of its Orwellian origins. In fact, the group had originally planned to break up during that year, somthing which they did accomplish, although perhaps not exactly in the way they had originally envisioned.
Over the next three years, the band released a number of strongly political singles (Do They Owe Us A Living?, Reality Asylum, Bloody Revolution, Yes Sir I Will, Nagasaki Nightmare, How Does it Feel to be the Mother of 1000 Dead?) as well as three albums, all of which performed extremely well in the indie charts. The first, Stations of the Crass came out in 1979. This was followed in 1981 by Penis Envy, in which Eve and Joy took over full vocal responsibility and embraced the feminism cause : the entire album tears apart society's ill-treatment of women. 1982 saw the release of Christ the Album, a boxed two-album set (the companion record was the live Well Forked But not Dead), complete with a colour booklet -- a bit upscale in comparison to their previous releases, perhaps, but no-one could ever accuse Crass of selling out. Needless to say, all titles ensured that these records were rarely, if ever, stocked my mainstream record stores!
Crass's perceived sincerity to their cause and their adamant refusal to compromise earned them a solid following (although the music itself certainly didn't hurt). To sum it all up: While they lasted, however, Crass probably lived and espoused the minimalist punk lifestyle more that any other band before or since" (quote taken from Barry Lazell's Punk! An A To Z).
Steve later emerged as a member of band Conflict, while the Crass name lived on for a while longer after the actual group's demise in the form of a collaboration between Penny and Eve; they released an album of romantic poetry called Acts of Love in 1986 as well as 10 Notes On A Summer's Day later on that year. Also in 1986, the compilation album Best Before 1984 was released, featuring 20 of Crass's previously released singles. Lastly, in 1993 came You'll Ruin it for Everyone, a post-humously released 1981 live recording. This package was issued with various essys by fans, a complete Crass discography and a "what they're doing now" column...
[taken from http://www.comnet.ca/~rina/crass.html]
Hands down, one of the greatest punk bands ever.
Banned from the Roxy
WHITE PUNKS ON HOPE
02-03-2005, 08:38 PM
Not exactly a bio (couldn't find a real one atleast), but heres a good description:
Holy Motörhead worship! These Canadians play some rockin' material with a pretty major set of influences drawn from Lemmy and company, straight down to the vocals (which are totally gruff and slightly deeper Lemmy's own). Sh<e>it, even the recording sounds dated in a late-70's/early-80's way! Unbelievable. The drumbeats are simple and straightforward with a crisp sound, the bass is in there, the guitar tone is somewhat thin and has a warm distortion to it (especially on the quick lead bursts), and so on. I didn't know what to expect from this, and I'd be hesitant to call it hardcore/punk on some level, despite the fact that the attitude is definitely there, but I'm not kidding around - this is fu<e>ckin' rock. I'm talking moderately paced chord progressions and blues based riffs/rhythms, the whole package. I'm impressed. Original? Hell no! But fu<e>ck that! This sh<e>it sounds exactly like old Motörhead! Exactly! Who could fault that!? It's pretty amazing how accurately they've nailed this whole angle, not only from a performance standpoint, but the production? I mean, wow. No stone is left unturned. "Street City Kids" messes with a few scarce hints at melody and has a little bit of a catchier format, and there's a little bit of harmonica used in "We Are Here to Climb" (you heard me), which mixes it up a little, but for the most part there's not too much happening in the way of variety. I love the cover art just because it sort of looks like a mid-80's thrash metal record or something like that (including the band logo), and the rest of the layout kicks out all of the lyrics and a collage of black and white band photos. Lyrically the songs deal with a bleak worldview and cover the general topics of war, political corruption, and more personal everyday life types of issues. "One more election, For a new lifestyle, For the tyrant, A psycho war, Who will put humanity at its death sentence? Why the aftermath of progress?" What else can be said? Motörhead is good and so is this. I'm all for it.
--Taken from http://www.aversionline.com/reviews/595/
7" See You In Hell
Feral Ward Records 002
LP / C.D. " Rock ' n Roll Babylon"
Feral Ward 012
(Check out Bombshell Rock, then RR Babylon)
Listen to them if you enjoy: Metal and Punk, Motorhead, or any appreciation for fast 80's styled music!
03-31-2005, 06:21 PM
Check it out
05-03-2005, 06:56 PM
great canadian punk, be sure to check out their effort with jello biafra recently, and their older sutff rocks as well
nomeansno bio (http://www.alternativetentacles.com/bandinfo.php?band=nomeansno)
you can get mp3's from the same site as well
Unoffical Site (Also has info on members side projects):
05-03-2005, 07:31 PM
NOMEANSNO define post-modernist hardcore. In a word (or several), they are intelligent, articulate, studied, thoughtful, violent, passionate, intense, and playful. Acclaimed by peers and adored by fans, this musically adept trio has consistently thrilled sweaty crowds around the world. The band is a punk rock success story, albeit on their own terms, well hidden beneath the radar of the music industry.
NOMEANSNO formed in the heady days of late 70's punk. Rob Wright, then a dishwasher at a campus cafeteria, witnessed an early performance by DOA. With a burst of inspiration, he formed a duo with his brother, John. In the early 80¹s, after adding a guitar player, NOMEANSNO began to tour in earnest, captivating audiences with their live performances.
No One is their ninth studio album, and, in typical fashion, it is a monster. Produced by the band, this thundering release was recorded in Spring 2000 at Vancouver¹s Lemon Loaf Studios by Mark L¹Esperance. The whopping 63 minute masterpiece includes two covers - the RAMONES anthemic "Beat On The Brat", played with ominous Sabbath overtones, and a unique rendition of Miles Davis¹ classic, "Bitches Brew", featuring guests Mark Critchley (Itch) and Dave Macanulty (Royal Grand Prix) on keyboards and congas respectively. Tom Holliston, the band ?s guitarist throughout the 90's, comes of age on this new album with "A Little Too High", a savage paean to cocaine psychosis. Tom funnels his powers into the brother's percussive maelstrom, flavoring the song with his own special dementia. "Our Town" is a typical NOEANSNO tour de force, an epic tale told in lockjaw rhythm; swelling and heaving in great tidal waves, it is guaranteed to make your neck ache.
i THINK.. HERE .. for the mp3's (http://www.artistdirect.com/nad/music/artist/card/0,,473909,00.html)
06-01-2005, 10:56 AM
This band was great and they were great live! Their sound was melodic and hardcore! They were originally from Vegas known as the Swell. Mike Conley (vocals) then moved to Orange County with Nick Adams (guitar) then to follow. 1981 they reformed as MIA. They played at the Cuckoos Nest regularly. By 1984 they released a great LP "Murder In A Foreign Place" on Alternative Tentacles Records. Over time they released a couple more records and then broke up around 1988. FINALLY, in 2001, Alternative Tentacles Released "Lost Boys" which includes all of their classics. 37 tracks include "Murder In A Foreign Place", "Last Rites" releases and many demos. GO BUY IT! Also, I heard a rumor that MIA are getting back together. I hope so!
Mike Conley - Vocals
Nick Adams - Guitar
Larry Pearson/Chris Moon - Drums
Paul Scwartz - Bass
1981 - 1988
EDIT: Damn, can't link directly to mp3s. Just go to www.punkrockers.com and find them in USA, lol.
07-30-2005, 07:54 PM
Formed in 1976 and hailing from Birmingham The Suburban Studs were one of the first bands to be signed to an independent, the punky sounding Pogo Records, and marketed through the major label WEA Records. In their time they released 2 singles and even an album within a year, a feat not reached by many a punk band of the time.
Eddy Zipps (vocals, guitar)
Keith Owen (guitar)
Paul Morton (bass)
Steve Pool (drums)
Songs: I hate School, Panda Patrol, Bondage, Surburban Studs, Revenge, My Generation, No Faith Master
08-31-2005, 01:38 PM
Radio Birdman was started by Deniz Tek and Rob Younger in mid 1974 in Sydney.
Tek had been born and brought up in Ann Arbor, Michigan (same town that the Stooges grew out of), and spent most of his early life in the USA, seeing bands like the MC5, the Rationals, and others.
After a brief visit down under in 1967, he moved out here in 1972 and shortly after commenced studying medicine (he'd previously studied chemical engineering in America). He'd started playing guitar at the age of 13, but it wasn't until he came out to Australia that he started playing seriously in bands. First up in 1972 he joined the Screaming White Hot Razor Blades, who played "fun" music ranging from the Rolling Stones to the Bonzo Dog Band. Various lineup changes saw the band evolve into the Cunning Stunts and eventually TV Jones by 1974.
The two friends had recently departed other bands: the Rats, which had split up under the strain of personal conflicts; and TV Jones, which had unceremoniously dumped Deniz along with his musical direction and attitude,intending to move on to greener and more commercial pastures with a replacementsinger/guitarist, Paul Green.Sharing a hole in the wall in a blighted neighborhood in Darlinghurst as well as a deep love for records and a particular brand of hard, honest rock androll, Rob and Deniz envisioned a band which would break rules and have no regard for the status quo of the rock business of the time. They enlisted the help of classical keyboardist Pip Hoyle, a student friend of Deniz who had also fallen by the wayside of TV Jones, and Ron Keeley, who had shared a student house with Deniz two years before. They had remained close, and it was Ron, as the Rats' drummer, who first introduced Deniz to Rob.
Ex-paratrooper Carl St.John Rorke, the Rats bass player, completed the lineup, bringing his red Studebaker Hawk,black Burns Bison bass, and ever present pack of Winstons.
The band would play extremely hard and with maximum effort from the members at all times, as though their lives were at stake. It was to be an art form created from passion, with no strict format or structure, which could go in any direction at any time. This would include forays into improvised visual as well as sonic realms. At any moment theatre or dance, even poetry reading, could occur. No two performances were the same. Each performance could have been the last.
The establishment reacted predictably. There were many doors slammed shut, engagements cancelled after the first song, often with the threat of actual physical violence and destruction as club bouncers were let loose on the band itself. The band had to resort to putting on its own shows in small community halls and the like. Later, they found a pub upstairs in Taylor Square which allowed them to perform without restrictions. This was the Oxford Tavern. Later the band took over it's management, renaming it the Oxford Funhouse, and made it available for other like minded groups who followed.
An exclusive scene developed, at its center the couple of dozen friends and fans who had been there from the beginning. The Funhouse became the nexus for the incipient crystallisation of the Sydney "punk" scene even though the founders were not really a punk band.
Radio Birdman recorded an ep Burn My Eye
and an album Radios Appear (the title comes from a lyric in the Blue Öyster Cult song "Dominance and Submission")
, both low budget recordings made piecemeal at the 24 track Trafalgar Studios on days when the studio had no paying clients. The band and the studio created their own label and the records were self distributed, at a low price, cutting out the middle men.
When Sire records president Seymour Stein was in Australia to sign the Saints, he saw a Radio Birdman show at the Funhouse and licensed Radios Appear from Trafalgar, signing the band to a recording contract as well. The band wanted to rectify some of the things they didn't like about the album for the US and European release, so about half of it was re-recorded and some new material was added. They then toured Europe and England, recording a second album, Living Eyes, in Wales.
Given the inherent weaknesses and personality defects of the individuals involved, it is a wonder that it lasted as long as it did, finally giving up in June of 1978.
Prior to this, Birdman, minus Denis Tek, was the backing band for Johnny and the Hitmen, but now Birdman members Chris Masuak and Warwick Gilbert joined the band, now simply called the Hitmen.
While other Radio Birdman alumni ended up in assorted Aussie bands such as the Lime Spiders, Hoodoo Gurus, and Screaming Tribesmen, Deniz Tek, after Birdman's demise, contacted ex-Stooges guitarist Ron Asheton and ex-MC5 drummer Dennis Thompson to come to Australia and form this ad-hoc touring outfit New Race. New Race toured Australia once in 1981, playing mostly small halls and releasing one legit live LP and a few lo-fi bootlegs.
Rob Younger, after producing many Australian bands, such as The Lipstick Killers, went on to do The New Christs. They were originally formed after Rob was offered the support spot on Iggy Pop's Australian tour of 1983. Three-quarters of the Hitmen (plus Celibate Rifle Kent Steedman) joined Younger in the first live line-up of the New Christs. The tour proved a success and the band stayed together, recording the two singles Like A Curse and Born Out Of Time for Sydney independent label Citadel Records.
Radio Birdman reformed in January of 1996 with all original members, and did two national tours of Australia over the ensuing year. Both critics and fans old and new felt that they more than lived up to the legend. They recorded a live album, Ritualism, on the first of these tours. Initially it was only available by mail order on their own Crying Sun Records label, another low budget but high quality DIY project which is perfectly consistent with their earlier work both sonically and philosophically.
Some excellent 16 mm film and video exists of the band. This material has circulated worldwide in the bootleg video market and shows the band in 1976 and 1977 at or near it's peak.
For readers interested in a more comprehensive study of the band it is suggested that they get hold of and read Vivien Johnson's Birdman biography.
To hear Radio Birdman, click below (I recommend their cover of MC5?s "Ramblin? Rose" and especially the song Murder City Nights)
For Birdman tabs,
10-16-2005, 10:46 PM
I made a thread on these guys a while back but no one paid much attention. I think it got deleted.
They're one of my favorite bands at the moment, here's a bio of them:
The new wave of Swedish punk is sweeping over the world and is perhaps best represented by KNUGEN FALLER, a band from Umeه in the very north of the social-liberal paradise Sweden.
The band formed in late spring 2003 over a bowl of tomato soup at Umeه's Food Not Bombs, a place where the local misfits, hippies, punks, dreadlocks, proggare and cheap bastards meet every Sunday. Three of the members were living together in the same apartment at the time, and some of the members were already playing together in other bands. Since all the band members had been playing in various bands before the idea was to start a band where every member had to start from scratch by playing an instrument they never played before. This is obvious when you listen to the bands two releases.
KNUGEN FALLER roughly translates into "The Knig Falls" which is a reference to the fact the king of Sweden, Karl XVI Gustav, is a dyslectic and often misspells his name and title.
Their main influences are Gِran Persson, Stefan Granberg and The Regulations but musically KNUGEN FALLER sounds more like Polly Styrene singing along to a "Bloodstains across Sweden" compilation.
KNUGEN FALLER are sick of the stagnation of punk that we have seen in the last years and what it has become. Punk today seems to be sugar coated, dyed black haired guys with colorful whole sleeves singing about how they kind of like girls and kind of don't on one side, and on the other side boring introvert hippies growling over badly played d-beat metal hardcore. KNUGEN FALLER is something else and if you don't get it you are too old, or maybe too young.
In 2004 KNUGEN FALLER released their debut single "Skellefte stadshotell ep" on Cage Match Federation and got tons of fantastic reviews in the underground punk press. Maximum rock n roll listed the EP as one of their favorite releases of 2004.
In the tradition of the new wave of Swedish punk, KNUGEN FALLER have so far only released vinyl singles, but plans are made for a full length CD and LP in a not too distant future.
"Inte som ni" is the title of KNUGEN FALLER's latest release. "Inte som ni" is a four track vinyl ep released by Cage Match Federation and Ny Vهg records. KNUGEN FALLER also did a short tour in Sweden and Norway this spring together with Ny Vهg label mates The Regulations.
KNUGEN FALLER believes that everybody's got something to say and that everybody should turn their inner conflicts into a real political conflict between themselves and the powers that be.
**** SOCIETY AND ITS PERFORMANCE MORALS! Here's KNUGEN FALLER!
Silvia Sate - Vocals/Tambourine
Garderobert - bass guitar
Inge Ansvar - Guitar and vocals
Fredda Frekvent - drums
Lägg Ner (http://www.wastedsounds.com/mp3/knugen_faller_-_lagg_ner.mp3)
one dead punk
11-17-2005, 09:17 PM
Bomb the Music Industry!
BTMI is a ska/hardcore/punk band from Long Island. Instead of really a band BTMI is more of a ?collective? of college educated musicians. The ?collective? was started by Jeff Rosenstock and has got to be one of the most D.I.Y bands out today. Jeff Rosenstock was originally from the band ASOB (Arrogant Sons Of Bitches) and other members may include...
John DeDomenici, Laura Stevenson, Mike Costa, James Lynch, Dave Solomon, Jason Rutcofsky, Jenna Beatty, Steve Foote, Christine Mackie, Jeff Tobias, and Craig Howe.
Jeff Rosenstock lives as the ?leader? to this band. Simply because of his genius musical mind and the way he recorded all tracks himself in various bedrooms with less-than-quality recording devices.
His first ?CD? put out on his web site was Album Minus Band (Feb. 2005) and has a more recent To Leave or Die in Long Island (Oct. 2005), which both are works of musical genius. With the ability to play all instruments, and a hate for all music, these two ?CD?s? turned out better-than-expected.
The thing that drags BTMI away from other ?bands? is the way that this ?collective? is set up. First off no sales are made off CD?s. CD?s are made by bringing Item A: blank CD to Item B: member of ?collective? and recieving Item C: burned copy of all tracks in either of the ?CD?s? that were made by Jeff.
Second is the Merch. ?Merchandise? is not sold. It is made by the talented artists that exist in this ?collective.? If a plain article of clothing is brought to the show. These ?artists? will turn it into a BTMI article of clothing. No profit made here either.
Third is the constand need for food and home. If offered a place to stay and food it is said that they will be greatful. The only way to keep this ?collective? alive is to have donations. The other way to keep it alive is by BOOKING THEM. To book all you do is email. If gas is payed for, the show will happen.
Now, after reading this your probably asking yourself... HOW CAN I DO **** FOR THESE GUYS??? What YOU can do is, A: BOOK B: DONATE and/or C: SPREAD. The more that know the better it works.
To further enhance your pleasure you can visit the following links for show dates and MP3?s....
sorry about images, needed to use attach files.
12-04-2005, 05:06 PM
From All Muisc Guide:
Scaring the country folks of Memphis with their brand of sleazy raunch and roll since their 1995 debut album Soul Food, the Oblivians refuse to mold into stereotype of three piece ensembles sounding "wimpy" or "watered down." Instead, the Oblivians pay tribute to the Ramones, the Sonics and the Stooges by creating their own sound of nostalgic '60s garage punk with their use of lo-fi equipment. Following Soul Food the next year was a live studio collection entitled Sympathy Sessions and their second album Popular Favorites. Continuing on with their unorthodox method of two guitars, drums and a bass-less line-up was their collaboration with keyboardist Mr. Quintron appropriately titled Play Nine Songs with Mr. Quintron in 1997. It was the group's last studio set, as Greg Oblivian and Jack Oblivian chose to reform their earlier band, The Compulsive Gamblers; Sympathy for the Record Industry released an official non-Crypt best-of in 1999 called The Best of the Worst 93-97; Melissa's Garage Revisited followed a year later.
I recommend Christina, Do The Milkshake, Viet Nam War Blues.
01-11-2006, 01:35 PM
Since no-one bothered to make a January Band Of The Month thread, I took it upon myself to do so.
The band of the month for January is.........
The Red Rockers formed in 1979, and were originally called the Rat Finks.
Original members were...
John Griffith ("Stunn") - vocals, guitar, keyboards
Darren Hill ("Derwood") - bass
Patrick Butler Jones ("Drummur") - drums, percussion
James Singletary ("James Jett") - lead guitar
As they began to take their music more seriously, the band changed their name to the Red Rockers, based on "Red Rockers Rule," a B-side of a punk single by the Dils.
They were NOT communists, but were very leftist and very inspired by the Clash; so much so, that they covered a few Clash songs in their set.
They released their debut single "Guns Of Revolution" on Vinyl Solution Records the same year and appeared on the "No Questions, No Answers" comp doing the songs "Dead Heroes and "Red Star".
In 1981, the band re-located to San Francisco and signed to fledgling label 415 Records label, where they released the LP Condition Red
Interestingly, Jello Biafra sings background vocals on the band's cover of Johnny Cash's "Folsom Prison Blues.
That cover helped the Red Rockers achieve punk "immortality", by making them the first punk band to cover a Johnny Cash song (a full 9 years before Social Distortion made it cool to like Johnny Cash)
In 1983, Jim Reilly joined Red Rockers, replacing Patrick Butler Jones behind the drums.
Reilly had formerly drummed for Irish punk band Stiff Little Fingers, having left them in 1981.
And that's about it for the Red Rockers "punk phase".
They eventually moved to Los Angeles, signed with Columbia records, and went on to score a minor hit with "China," including a video (shot by former members of New Orleans proto-punk group SexDog) that aired on MTV.
In 1985, Red Rockers became the opening band for U2 on their UNFORGETTABLE FIRE tour, but then Lone Justice replaced them as the opening act.
Around this time, members of Black Flag took the Red Rockers out behind SST headquarters and shot them all in the head.
So, now you're saying....Well this is swell, Johnny. These guys sound neato and I'm kean on listening to their groovy music.
Click below and enjoy.
02-28-2006, 11:43 AM
In early 1977 The WEIRDOS mighty sound and singular style were the big-bang igniting the L.A. punk rock scene. In a 1977 interview for SLASH magazine they proclaimed "we're not punks, we're weirdos from Hollyweird!". This was'nt just goofy sloganeering this was a stance intended to distinguish The WEIRDOS as a band apart from the burgeoning punk rock scenes in New York and London. After all, The WEIRDOS were dwelling in thier own urban wasteland (LA) which they embodied in thier songs, graphics and clothes.
taken from here (www.theweirdos.net)
Dix Denney - Guitar
John Denney - Vocals
Zander Schloss - Bass (also currently playing with the Circle Jerks)
Sean Antillon - Drums
We Got the Neutron Bomb (http://punkrockmusic.free.fr/weirdos1.mp3)
Destroy all Music (http://punksounds.free.fr/weirdos3.mp3)
Cyclops Helicopter (http://punkrockers.com/cyclops.mp3)
Helium Bar (http://punkrockers.com/helium.mp3)
04-06-2006, 09:06 AM
One of the very first Canadian punk bands, D.O.A. has become a punk legend. Starting off in the late 1970?s from their home-base of Vancouver, Canada, they have in their twenty year history released a good dozen albums, most of them on Alternative Tentacles, and have toured relentlessly. Being very environmentally conscious, D.O.A. have always been very involved in many environmental issues over the years, playing many benefits and releasing benefit records. Many of their albums have become punk classics, and they are today one of the most collectable of all punk bands. In 1981 they coined the term ?Hardcore?, with their second album Hardcore 81. Early members of the band included drummer Chuck Biscuits, who later went on to drum in Black Flag, Danzig, and most recently, Social Distortion. Former bassist Randy Rampage is today mostly known in the realms of Heavy Metal, as singer of Annihilator. D.O.A. is still going on strong though, headed by Joey Keithley, better known as Joey ****head. D.O.A. have always been an amazingly good live band, so no punk fan should make the mistake of not having seen them at least once. D.O.A. recently celebrated their twentieth anniversary with a monster show in Vancouver, featuring many of their ex-members. Today they have their own record company, Sudden Death Records, and besides releasing the newer D.O.A. recordings, they also support the young punk scene with a full roster of young Canadian bands.
Taken from Punkrockers.com
These are one of my favorite bands and I think that you should hear them.
DOA playing the Prisoner (http://www.youtube.com/watch?v=JRZsJ617WWM&search=DOA)
05-09-2006, 10:18 PM
DANIEL J TRAVANTI - Guitar & Vocals
CHRIS BRIEF - Drums & Vocals
STEVIE KICKS - Bass & Vocals
STEVE E. NIX - Guitar & Vocals
Hit after Hit
The Briefs exploded out of the Seattle punk scene in 2000 with their release of Hit After Hit, followed by Off the Charts in 2003. In 2004 they released Sex Objects, featuring their politically charged hit single, "Orange Alert".
(Modified from Wikipedia.com (http://en.wikipedia.org/wiki/The_Briefs))
The single, along with songs like "No More Presidents" and "Destroy The USA" on their album "Sex Objects", as well as "We Americans" on the album "Off the Charts", gained notoriety as a seething criticism of the Bush administration . They've become popular among liberals in red states, gaining an almost cult following in Florida, and maintaining their avid fanbase in Seattle. They also have large followings in Europe and Japan.
In 2005 they released "Steal Yer Heart".They are currently touring in the US.
INTERVIEW WITH STEVE E. NIX (Modified from about.com (http://punkmusic.about.com/od/interviews/a/steveenix.htm) )
RC: How would you describe your sound?
SN: We're just a traditional punk rock band. And we're weird. I think that our influences are pretty varied, and we're mainly inspired by the first wave of punk rock where there's a lot of different sounding bands. Primarily, you're worried about having the abrasiveness and a good song; having an abrasive raw attitude behind it, full of spite, sarcasm and p**s. And a mouthful of shampoo.
RC: On the new album, there's a lot of different sounds, definitely some stuff that sounds influenced by the Buzzcocks. Are you guys fans of the Buzzcocks?
SN: For sure, the Buzzcocks, Undertones, the Boys, all that kind of stuff, where there's kind of poppy songs. But we're big fans of early Los Angeles Dangerhouse Records-style punk rock. The early Orange County stuff like TSOL, the Adolescents, DI and early Social Distortion. With our songwriting, we can veer it a little bit toward power pop, late '70s power pop, or we can veer it toward Orange County early hardcore, but it's still the Briefs.
RC: Is there a decent punk scene in Seattle?
SN: Yeah, of course.
RC: Are there any remnants of grunge there anymore?
SN: No, there's no grunge. There's like a tribute band called Grunge, that everybody from the sticks comes out to see. What's big in Seattle right now is indie rock. Rainy day music is probably the big thing. But for all-ages punk rock shows we do pretty well. We just played with the HorrorPops Friday night and it was sold out. It was like 750 kids. It was great.
I think our scene's really good in Seattle. People come to the shows enthusiastic and go nuts. You walk in and it feels like you're at a punk rock show.
RC: How long have you guys been together?
SN: Seven years.
RC: How did you guys get hooked up?
SN: You know, we all hung out at the same bathhouse (laughs) and started talking about music one day and there we were. Found out we all had the same taste.
RC: As a band, who runs the show? Who writes the songs?
SN: We all take turns singing lead vocals; some sing more than others, but we all sing, and we all sing backup. Kind of like Abba, a little bit. For the most part Dan, the other guitar player, and I write most of the songs. We'll sit at home, work on songs, bring them to practice, try them out, get everybody to play along and either it flies or it doesn't.
RC: So what are you most responsible for on the new album?
SN: I've got a variety of different stuff on the new album. There's "Genital General", "Criminal Youth" and "My Girl Wants to be a Zombie", which are kind of typical Briefs fast numbers. And I wrote "Getting Hit On At the Bank", which is kind of like one of the odd songs on there. And "Stuck On You", I'm very proud of that song. I like that one quite a bit. It's the first lovey kind of song I've ever written. It's the first one the Briefs have ever done. Unless you count "Rotten Love". But that was about rotten love.
RC: Is "Getting Hit On At the Bank" autobiographical?
SN: Yeah, more or less, kind of. Usually with songs I'll take real-life experiences and then lie about them until they become interesting.And that makes for a good song.
RC: "Lint Fabrik"-
SN: "Lint Fabrik". That's one of Dan's songs.
RC: What is that song about?
SN: That's what everybody in the U.S. wonders. It's a club in Kontich, Belgium. And it's a squat; in Europe we play a lot of squats, which are much more common than in the U.S., people get away with having them. But it's a venue, and then people live upstairs, and there are places for the bands to stay, and it's about having to live there for a couple of days. And every band that tours Europe goes there, and there's graffiti covering all the walls and all kinds of really, fourth-grade humor drawings of ***** and stuff on the walls. That's just our take on that place. A couple weeks ago we played there, and they weren't sure whether they should be offended by the song or happy about it.
RC: How do you guys like being on BYO records?
SN: Love it. It's the best record label in the whole world. I'll tell you why, it's because the Stern brothers are on it, and those guys are like real punk rockers, in it for the right reasons. They've been doing if for over 20 years, and they're still in Youth Brigade, and they're just great. They really care, they really give a s**t. I don't know, it's a pleasure working with them. Plus, we grew up listening to BYO releases, like 7 Seconds, Youth Brigade and Aggression and all that stuff that they put out.
We've had experience working with other indie labels, working with major label people, and we feel like we're with the real deal, and it's great.
Poor and Weird MP3 (http://www.klotografie.de/STufF/Mp3/poor_and_weird.mp3)
Orange Alert MP3 (http://www.byorecords.com/mp3/Briefs_OrangeAlert.mp3)
More Audio and Videos:
05-31-2006, 11:13 PM
One of the first British punk bands, much of Eater's notoriety stemmed from their tender ages. These have been variously reported as anywhere between 13 and 17, with drummer Dee Generate (usually said to be 13 or 14 when the band formed) probably the youngest first-generation punk of all. At any rate, the London group recorded some singles, an EP, and an album (called, in a gimmick Public Image Ltd. would pick up years later, The Album), all released on The Label. Playing stripped-down power-chord bile anthems in the mold of the Buzzcocks and (more distantly) the early Jam, Eater weren't nearly as talented or diverse as those early punk pioneers. But they did manage some spirited, if typical and rather generic, early punk that isn't as dispensable as some reference books would lead you to believe. Eater had imploded by the late '70s. Dee Generate's replacement, Phil Rowland, joined Slaughter and the Dogs, and singer Andy Blade recorded a single with ex-Damned guitarist Brian James in the mid-'80s, but that was basically it for the members of the band.
(Taken from www.allmusic.com)
More Info at: http://www.punk77.co.uk/groups/eater.htm
Classic line up:
Andy Blade - Vocals
Brian Chevette - Guitar
Ian Woodcock - Bass
Dee Generate - Drums
Outside View (http://claramorganetribute.free.fr/eater1.mp3)
Queen Bitch (http://claramorganetribute.free.fr/eater2.mp3)
Sweet Jane (http://claramorganetribute.free.fr/eater3.mp3)
07-05-2006, 11:28 PM
?Yes, folks, meet The Repercussions and their Modern Sounds, for they truly are the future of rock n roll.?
So says music journalist Chuck Foster in the liner notes of The Repercussions? new LP, ?Modern Sounds?.
Their latest album offers up 14 tracks of sonic splendor, ranging from the Johnny Thunders-esque opener ?Everything is Gonna be Alright? to the Booker T inspired ?It?s in the Bag.? Produced and recorded by George Fullan (Cheap Trick, Keith Richards, Levon Helm) and mastered by Alan Douches (Pete Townsend, The Misfits, The Buzzcocks), ?Modern Sounds? is bound to catapult The Repercussions into the stratosphere, and to a town near you.
Since their inception, The Repercussions have thoroughly rocked people all over the world with their high energy brand of tough-as-nails rock n roll. They have received overwhelmingly warm welcomes from audiences on their home turf of Long Island, as well as in New York City, the NYC Metro Area, upstate New York, New Jersey, Pennsylvania, South Carolina, and Tennessee.
In addition to ?Modern Sounds?, ESCHE Records also released the hilariously tongue-in-cheek titled EP, ?Don?t Fear?The Repercussions? as well as the ?Heather in Pleather? single in February of 2004.
These recordings earned them a spot in the national Little Steven?s Underground Garage Battle of the Bands, beating out nearly 3,000 other applicants. Their recordings as well as their live shows have received outstanding reviews from press across the nation. Live performances, interviews, live tracks, and cuts from both ?Modern Sounds? and ?Don?t Fear? have been heard on both FM and Internet radio. Orders for the albums and for band merchandise have been sent out to all four corners of the globe.
The Repercussions were born in the summer of 2002 when friends and former-band mates Matthew Scott (vocals) and Dave Harrison (guitar) spoke about forming a new band that represented their musical influences while simultaneously creating a sound of their own. After recruiting friends and one-time band mates, namely local legend Matt Dallow (guitar), seasoned skin slapper Nick Berlingieri (drums), and the mighty Sean "Don't F*ck with Me" Corkery (bass), the lineup was set.
(Taken from the Repercussions' Myspace (http://www.myspace.com/therepercussions))
Unfortunately, the majesty that was the Repercussions came to an end late in 2005. I got to see them once, in June 2005 with Marky Ramone (their 100th show extravaganza!), and I can tell you myself they they were one of greatest live bands I've seen.
There are mp3's on the myspace.
My top song picks: Everything Is Gonna Be Alright, An Asshole Is An Asshole, I Saw You Smilin', Where We're Going We Don't Need Roads
Hope you guys like them!
08-03-2006, 01:20 PM
I don't think they really need much of an introduction. They're ****ing Onion Flavored Rings.
If you haven't checked them out allready, I figure this is a good way for people to check them out.
11-05-2006, 12:32 AM
First and foremost, yes, the BOTM is back.
The Anxieties are a four-piece band from Eugene, OR; playing old-school style punk rock that primarily takes it’s influences from the first wave of British punk circa ‘77-’79, and the heyday of the California scene circa ‘81. Befitting the name, song topics revolve around neurosis and dysfunction, within personal relationships as well as society as a whole.
Mark Hughson of the East Coast fanzine Now Wave writes: “Coming out of Eugene, this four piece slams out fast, catchy, just-this-side-of-snotty punk ’n’ roll. The frenzied guitar work of Tristan Tower is matched by Scott Von Rocket’s spazz-riddled vocals. ‘Black Hole (In The Center Of My Brain)’ and ‘What’s He Got (That I Ain’t Got?)’ are speedy, ripped-up punk rock tunes that blow most other groups on this playing field out of the arena. “ From the hometown Eugene Weekly’s Robert Jacobs: “Driving. Aggressive. Sneering. Irreverent. These are terms that typify the halcyon days of British punk circa 1977. They also aptly describe the debut CD from The Anxieties. Fans of The Undertones, The Boys and The Buzzcocks will be very pleased with this release…it's refreshing to hear bands like The Anxieties carrying the ‘classic’ punk standard into the 21st Century.”
(taken from their site)
Awesome band. Definitely give them a listen if you like "freaky" rock n' roll type punk.
12-01-2006, 04:20 PM
Against All Authority (aka "AAA") are an awesome punk/ska band. They arent major but they kick major arse. Very aggressive, often political, angry band. They booked their own tours, made their own shirts and stuff to promote theirselves. Before signing to hopeless records, they even released their own album.
i really like this band and you should worship them.
01-01-2007, 10:08 PM
Queerwulf are a region rock band from Chattanooga, TN / Huntsville, AL. They're one of the best known "Noogcore" bands along with ADD/C and Jack Palace Band. They've played with just about every notable DIY band you can think of.
They're really awesome. Their new LP is out and you can get it from the No Idea website as well as a few other places online... you should get it... It's only 8 bucks.
They sound like this:
If I had to describe what they sound like I'd say late 80's Bay Area punk a-la Crimpshrine.
01-31-2007, 06:51 PM
sorry one day early but i gotta do it today or wont remember...
Satanic Punk International (aka S.P.I.C.) is a band from Marfa, TX, 30 miles from my town. They have made several demo thingies, and will have and EP out soon. The singer is not exactly "great" but it's still weird cool greatness that rocks. Metal styles are used sometimes in some of their songs, but mostly just punk awesomeness (metal is awesome not saying otherwise). Here is their band url:
they are also really cool guys, they are hosting a punk festival in march, and let my band play there without even knowing us really. or hearing their music.
kick arse man
03-03-2007, 07:00 PM
"Chaos UK began its long journey in 1979, with a lineup consisting of vocalist Simon, guitarist Andy, bassist Kaos, and drummer Potts. They eventually signed with Riot City Records and released two 7" records in 1982. That same year, they released an eponymous LP with a slightly different lineup. Kaos had moved to vocals, and new members Spot and Nige took over on drums and bass, respectively. They left the label soon after and disappeared until 1984's Lawless Britain, also known as Short Sharp Shock, which came out on Children of the Revolution Records. They also had a new lineup at this point, now featuring singer Mower, drummer Chuck, guitarist Gabba, and Kaos. An interesting minor controversy would result from this album, as Michelle Shocked would release an album called Short Sharp Shocked with virtually the same cover art, much to the band's dismay. The lineup actually lasted to the next album, 1986's Radioactive Earslaughter, which came out at the same time as a split disc with Extreme Noise Terror. Without any real reason, they went into semi-retirement almost immediately afterwards, staying out of the music scene until 1989, which saw the release of Chipping Sodbury Bonfire Tapes on their own Slap Up Records. The title was a dig at Shocked, who had an album titled The Texas Campfire Tapes. Mower would soon leave the band, bringing Kaos back to vocals and bringing in Beki on bass. The Live in Japan album was recorded in 1991 (although it came out three years later), but after their tour of the east they would lose Chuck and replace him with Devilman. They also added a second guitarist, Vic (ex-Reagan Youth). This lineup would release the Making Half a Killing album soon after (the title is a play on another Extreme Noise Terror split disc). 1993 saw the release of One Hundred Percent Two Fingers in the Air on Century Media Records. New drummer Phil Thudd and new bassist J. signed on for King for a Day (1996), Morning After the Night Before (1996), and Heard It, Seen It, Done It (1997), but Devilman was still in the band and even played on the albums while Beki had since left. Members of the band began to start side projects, including A.D. Rice and the Wuzzuks, but they still released Total Chaos in 1999 and Chaos in Japan in 2001."
-Taken from their myspace.
Good band, and the only person I ever hear mention them on here is UraniYum. I guess I'd describe their sound as kinda UK82-ish. Enjoy. If you guys want, I'll put up one of their albums on the gmail.
05-12-2007, 06:02 PM
They're Chattanooga punk rock band w/ members of ADD/C and Panty Shanty... the toured last fall but now everyone lives all over the place. They're on Plan-It-X south and have split out with Panty Shanty. It's a good record:
06-13-2007, 09:13 PM
Awesome hardcore straight outta RVA. For fans of early Black Flag, Void, Circle Jerks, the Faction, etc. Really catchy and tight.
08-08-2007, 02:35 AM
There's like a gadjillion garage rock fanboys that **** over everything that Jay Retard has ever done. This is true. He has done alotta amazing stuff, but I think his solo stuff and the Angry Angles are his best. Check it out here:
It's kinda got that old Soviet Punk sound to it (at least the tracks from the actual LP did), the way all the instruments mesh together really tightly. You can hear the garage rock standards but its also poppy as ****. Highly recommended. Go out and buy the album now. It's on In the Red you can find it somewhere.
Does anyone have webspace that I could use to host mp3 files for doing band of the months? I'm wanting to dive into more obscure things that you can't find on the internet and I got a good turntable to mp3 software thing running now. Hook it up. Ya know ya wanna hear good music.
11-03-2007, 02:43 PM
Beat Beat Beat melds ‘77 punk hooks with the energy of early ‘80s hardcore, and power pop-esque catchy songwriting skills. Saints meet Adolescents? Johnny Thunders meets early Briefs? Exploding Hearts gone KBD? They released their first full length, "Living in the Future", about a year ago and it's great. I've been listening to them a lot lately and I enjoy them quite a bit, so maybe you will to.
11-03-2007, 11:45 PM
11-04-2007, 12:28 AM
This band is pretty awesome. Nice find.
11-04-2007, 01:25 PM
Awesome, now I have another band on my list of CD's to buy.
11-04-2007, 02:32 PM
Sweet, I'm glad these guys are up! I love them!
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