Author: Jay Hinman

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Hot band alert, people. At least for fans of locomotive, learning-to-play garage pop. One of the better new pop tracks I’ve heard is this fuzzed jangler, “Yours Not Mine" from Monterey, CA’s BURNT PALMS. Monterey! When was the last time an exciting band came outta there – Dura–Delinquent? Two women, Clara Nieto and Christina Riley, helm this group, and have Paul Towber sitting in the bass position.

You can download or listen to Burnt Palms’ entire recorded works – the whole "album” is excellent – here.

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I’m a big fan of the three “BEAT AT CINECITTA” compilations that came out in the late 90s. They are the work of obsessive Italian cinephiles and kitsch merchants, who’ve put together some incredibly groovy – there’s really no other word for it – sounds from 60s soundtracks of lost Italian schlock films. 

This track sits near the end of Volume 2, and is one of those big, horns-n-strings syrup-drippers we love so much here at the ‘Hemorrhage. It’s the theme song from 1966’s “Kiss Kiss Bang Bang”, and it features accented English nearly as bad as Lana Del Rey’s. I think you’re gonna love it.

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I got this book in the mail yesterday, and totally immersed myself in it for an hour before being called away for more important duties, like parenting and husbanding and being responsible & all that. It’s a fantastic look/read so far – capturing the early 80s LA suburbs and punk’s surreal explosion there better than anything I’ve ever seen, thanks to photographs of participants as opposed to solely of bands. More to come on this one.

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Back in the early 80s I’d hear the storming, shrieking “Caucasian Guilt” by San Francisco minimalist art-punk duo NOH MERCY on KFJC, and it would scare the hell out of me. “I didn’t put no JAP in a CAMP!!!”. An enigmatic song and band to say the least, I’d only been able to gather bits & pieces about them over the years. They were a 2-female duo, and two of their tracks were put on one of the Earcom 7"EP comps put out by Fast Records in the UK. I believe there’s a lone photo of them in the “Hardcore California” book which I read and read again at least 1,000 times in the 1980s. Found a photo or two on internet message boards nearly 10 years ago when I was writing something about Noh Mercy for my original music blog Agony Shorthand. That’s about it.

Now there’s this. A complete-works CD, all from 1979 – ten studio songs, plus four August 1979 live tracks from the Catalyst in Santa Cruz (which is still there, hosting shows to this day). I bought a copy, and immersed myself in it this past week. While not an “easy listen”, its sharp-edged experimentation marks it as something weird and wholly original & of its time.

The San Francisco of 1979 wasn’t just slamtastic punk rock bands – there was a dark, often synth-laden underground both on the Ralph Records side of the fence (Residents, Tuxedomoon) and more punk-friendly acts like Chrome, Factrix and many others. I fit Noh Mercy in with the latter, along with gay/political cabaret a la The Cockettes, spoken word attack-acts, revolutionary pre-Reagan-era doomsday rhetoric, and a general theater of the absurd. 

With only two women playing, one of whom (Esmerelda) who just loses herself in her vocals, it’s bound to be pretty minimal. Most are just drums and vocals; some guitar scrape and vocals; a couple are analog synth & vocals. All are biting, angry and a bit obtuse. The liner notes confirm art-drenched damaged souls at the helm; women who came to San Francisco as an escape from a previous life and found it to be a place where they could be whatever they wanted to be, and even find an audience for it. Great stuff. I’m posting “Pay The Devil” from the CD here.