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Here’s a thing on this book that I wrote on my Agony Shorthand blog 11 years ago…

“MAINLINES, BLOOD FEASTS AND BAD TASTE: A LESTER BANGS READER”….

I’ve now completed two posthumous books and one entire magazine (Throat Culture) written by, and another book written about, Mr. LESTER BANGS. I guess you could say that I, like many, am an admirer of the guy who truly put the rrrr in rock critic. Someone made the point in the forward to the “Psychotic Reactions and Carburetor Dung” collection that a lot of Bangs’ pieces read even better as straight-up prose than as vanilla “rock criticism”, and I whole-heartedly agree.

It’s probably redundant to make the point that this guy, when ON, was one of the finest and most funny writers of his century, all genres included. That he also had strong and well-defined taste in outside-the-lines rock music as it was being created was a nice side benefit, given that Bangs was cheerleading for the Velvet Underground, Stooges and MC5 (after his much-celebrated false start with “Kick Out The Jams”, which is included here) in the late 60s/early 70s with the same bug-eyed intensity that people do today. Finally, Bangs had the humility to write follow-up articles proclaiming his initial ignorance whenever he’d slam something that later grew on him, as he did with both “Kick Out The Jams” and, in this collection, “Exile On Main Street”. And his plaintive justifications for “mis-hearing” them actually held water, too.

One of the surprises of this recent collection of essays and scattered writings, circa 1967-1983 is that Bangs was one of the few writers I’ve seen who could write about jazz with the same amount of feeling and passion (and knowledge! Bangs was no dilettante) he brought to rock and roll. Some of the best work in here is his cold dismissals of MILES DAVIS’ 1970s fusion and funk meanderings in comparison with the glories of the 50s and 60s, and his willingness to call Davis on his callous and ornery disdain toward his fans.

There also a few riotous essays and/or reviews on Bob Dylan, Wet Willie and their shy search for groupies, more LOU REED worship/baiting, and a fantastic piece on THE DOORS deflating the Morrison myth while keeping his longtime love for the music intact. The 1979 CAPTAIN BEEFHEART essay, which includes snippets of interviews with the good and good-hearted Captain, is easily the single best thing I’ve read on Beefheart anywhere. Bangs also makes up for his slobbering CLASH obsession with a correct (i.e. mocking) take on Jello Biafra and the Dead Kennedys in real time.

Finally, there’s a well-mannered travelogue of Bangs’ paid junket to Jamaica along with a bunch of other rock journalists, there to report back on reggae culture and interview Bob Marley. Bangs approaches the whole thing with a great deal of healthy skepticism and comes away marginally impressed, if not a changed man. It’s terrific reading, and arrives at the perfect intersection of music fandom and gonzo travel writing.

There are also areas of this book that call for a quick breezing-through, rather than a deep read. Bangs wrote much of his material while high, drunk or both – and was legendary for first-take-is-the-best-take, stream of consciousness blabbering. That so much of it so intelligent, funny and insightful is in itself amazing. But much of it isn’t, and editor John Morthland was smart to include some of the more rambly and difficult stuff to help keep a sense of perspective in check. So even though a good chunk of the book is unpublished material, I wouldn’t get too lacquered up about it. A lot appears to be drugged-fueled journal entries on nights when things weren’t going so well, some of which hits brilliance in places, but much of which begs for the same sort of half-hearted speed reading as the spirit in which it was written.

I was also surprised to see an over-intellectualization of the ROLLING STONES in places; at time Bangs succumbs to Ivy League navel-gazing about this most primal of rock groups, then veers off into gossip about how much he dislikes Mick’s wife etc. Yeah, Bangs was a pretty tortured guy with a lot of inner demons, but he appears on whole to have been a very decent and at times lion-hearted man. It would have been great to grab a beer with him, ask a few strategic questions and just watch him go. Consider this collection an adjunct to the superior “Psychotic Reactions and Carburetor Dung”, but if you loved that one, there’s no reason to think you won’t dig this too.

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As if the world needed another blog or Tumblr – I’ve started another one. It’s called FINAL SOUNDS, and it’s devoted to non-rocknroll, outside and underground music you won’t typically see on Dynamite Hemorrhage, but sounds which we nonetheless like to spend some portion of our time with, particularly lately.

I posted a whole manifesto about what drove me to start it, if you’re interested.

With any degree of commitment – absolutely not assured in my case, as I have a pretty checkered past positively littered with abandoned projects (Celluloid Couch, anyone?), it’ll exist peacefully, side by side, with the ‘Hemorrhage. Rockers to one side, freaks to the other.

Come check it out and follow it if you think it’s something you’d be interested in. There’s a Twitter as well.

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After a painful 3-week absence from our studio and mixing desk, by which I mean aging laptop, we’ve returned with a new hour-long DYNAMITE HEMORRHAGE RADIO (#53) for you and yours & for the people, too. Loaded with new bangers and ragers from around the rocknroll milieu. Some of the aforementioned: Constant Mongrel, Lime Crush, SROS Lords, Birds of Avalon, Coma in Algiers, Sissy, The Dance Asthmatics and Penny Machine. Whew.

What’s more, we didn’t stop there. We also added library material from The Meat Puppets (pictured here, back in 1980); The Silver; Coolies; Rotters; Flesh Eaters; Dacios and much, much more. Couldn’t believe what an unmitigated delight it was to put it together for you. Sincerely hope it plays as well on your end.

Download Dynamite Hemorrhage Radio #53 here.
Stream or download it on Soundcloud here.
Stream the thing on Mixcloud here.
Subscribe to the podcast on iTunes here.

Track listing:

CONSTANT MONGREL – The Law
SISSY – Sail and Rail
THE ROTTERS – Sink The Whales (Buy Japanese Goods)
THE MAD – Mask
THE SILVER – No More Grease
MEAT PUPPETS – Out in the Gardener
THE MOTARDS – The Fast Song
THE DACIOS – Monkey’s Blood
SIC ALPS – Clarence
WHITE FENCE – Destroy Everthing
GROWTH – Blind Voice
LIME CRUSH – Baby
THE COOLIES – Dark Stormy Night
SROS LORDS – Jesse’s Girl
FLESH EATERS – Pony Dress
PENNY MACHINE – Ruthies
DANCE ASTHMATICS – Liquid Lunch
COMA IN ALGIERS – Freeland
BIRDS OF AVALON – Disappeance

Some past shows:
Dynamite Hemorrhage #52    (playlist)
Dynamite Hemorrhage #51    (playlist)
Dynamite Hemorrhage #50    (playlist)
Dynamite Hemorrhage #49    (playlist)
Dynamite Hemorrhage #48    (playlist)
Dynamite Hemorrhage #47    (playlist)
Dynamite Hemorrhage #46    (playlist)
Dynamite Hemorrhage #45    (playlist)
Dynamite Hemorrhage #44    (playlist)
Dynamite Hemorrhage #43    (playlist)
Dynamite Hemorrhage #42    (playlist)
Dynamite Hemorrhage #41    (playlist)
Dynamite Hemorrhage #40    (playlist)

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Some very kind words for the ‘Hemorrhage by Jeremy Cargill on this robust Best-of-2014 list from UGLY THINGS:

Dynamite Hemorrhage fanzine

Former editor of ‘90s zine SUPERDOPE, and blogs too many to mention—though, I should give special nod to his long defunct Detailed Twang blog—Jay Hinman (aided by Erika Elizabeth) returns to the printed page with Dynamite Hemorrhage. Jay is an unflaggingly voracious imbiber of countercultural phenomena vintage and contemporary who relays his finds in an approachable, perceptive and intelligent manner, and has found his perfect foil to toil more in the poppier side of things with Elizabeth (outside the aural destruction and deconstruction Hinman favors). Having made my way through the first 68-page issue—which featured the Flesh Eaters’ mainman Chris D. on the cover, plus features of praise’n’appraisal of Sally Skull, Bona Dish and a lengthy review section—the 2nd issue is warming my bedroom side table with Aussie cult hero Bill Direen gracing the cover, a Tim Warren interview discussing the new BFTG’s, a ‘70s Jamaican Dub primer, coverage of Honey Radar and another round o’ reviews. 

We’ll take it! Thanks to Cargill for writing us up. Read the whole thing here.

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GROWTH are one of the lesser-heard great bands of our time. This live show in Santa Barbara from over the summer confirms it.

They’re a three-woman Swedish band, working out of Stockholm initially but now spread in different locations, making it difficult to record. To date there’s been one 45 and one cassette – a total of 4 songs, all fantastically dark, well-spaced, messy soul-eating garage blues, in the vein of Come, Little Claw and other leading lights of bummer rock.

Growth hoofed it across the west coast of the USA over the summer; I even helped them a ‘lil bit with the itinerary after writing them a frothing fan letter, but didn’t get to see them because I myself was living in Scandinavia over the summer, a mere 6 hours’ drive from them. They couldn’t put together any shows in my honor while I was there, probably because the entire nations of Norway and Sweden go on vacation June, July and August.

I think you’ll wanna check them out if you haven’t heard them yet. They’re still together, and Annie, Hillevi and Elizabeth promise new music later this year.

Buy their “The Flood/Turn” 45 on Human Audio or buy the individual tracks on Bandcamp.

Listen to their 2-song cassette on Ljudkassett.

Watch a video of the band playing “Blind Voice”.

Download this 30-minute set of the band live in Santa Barbara, CA this past summer. (thanks to Hoshwa of 5432 Fun for recording this in the first place).

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Richard Youngs / Tom James Scott – Balfron Tower Community Cabin, London, 1/16/15

I’ll admit to some forced unfamiliarity with Richard Youngs’ work the past 20 years, having ingested some of his work with A Band and Simon Wickham-Smith in the nineties, long before I was ready. In point of fact, perhaps I never shall be ready for the atonal and daffy 90s work I last heard then. Therefore, any encounter with his name has been an excuse to skim past and continue reading, much as I do with celeb gossip and NFL scores. No longer. I was in London for work, and reckoned taking the pulse of the city was best served by stumbling through an arduous set of tube rides and a long, confused walk through halal meat shops & pious Muslims clad in burkas and shawls, smack into a public housing project’s tiny community center (!) for the first of three shows that Youngs would be performing this weekend called “The Tower Hamlets Trilogy”.

I’m not kidding – this was the sort of room in which a housing complex might hold a tiny preschool, or bring out a slide projector on Friday nights, yet for this evening it beat any club, hands-down. First the 25 or so of us who’d assembled on time had to make it through Tom James Scott, a young British minimalist who was by turns bewitching and absurd. His forty minutes sitting at a small folding table consisted mainly of him playing tapes, sometimes with zero instrumental accompaniment, just him sitting and listening to music (I presume) he’d already made. Or he’d strike some bells at a molasses-like tempo for a bit, and I think he rubbed some tiny cymbals together for about five minutes once. And yet! There was one section that took up about a quarter of his allotted time in which he randomly plucked guitar in the minimal “fashion” to some ghostly piano music, while a woman sitting across from him slowly manipulated some chiming instrument I couldn’t really see. I was transfixed, transported: all things good. The net effect was pretty silly on the whole, but an intellectually-stunted curmudgeon like me would say something like that.

Youngs, on the other hand, was fantastic. After a lovely, straightforwardly plaintive acoustic guitar & voice piece called “Arise”, he warned the crowd that tonight was going to be about “songs”, that it wouldn’t be “weird”, and that it was OK to leave if that was a problem, as his other two shows this weekend would be “solo voice” and “voice and zither”, respectively. Whew. Talk about easing an apostate gently back into the Youngs fold. And he delivered a terrific, cracked set of acoustic folk music, in which tunings were sometimes deliberately off, but only just so, and in which his emotive voice carried his pieces along beautifully. There was a nearly 12-minute piece called “Spin Me Endless In Thy Universe” which was sublime. Alas, the spell Youngs was weaving was broken in a most jarring fashion at the end of the show, when a shouted FUCK OFF! bellowed from a young urchin seated on the floor, scaring the bejeesus out of the musically narcotized crowd; the unhinged in question then helpfully added, “You’re a fucking cunt” before storming out. Youngs retorted, “Well, that’s as good a place as any to stop now, isn’t it”; everyone had a nervous laff, and we were done. Excellent and relatively non-traditional night out in the mother country.

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Paal Nilsson-Love, Stale Liavik Solberg, Louis Rasta / Susana Santos Silva & Torbjörn Zetterberg – Café Mir, Oslo Norway, 1/13/15

Café Mir is a small bar in Oslo that hosts an every-other Tuesday series called “Blow Out”, featuring the unholy cream of Scandinavia’s outré jazz and experimental players, as well as a handful of touring visitors. It’s a decidedly cozy space, but with the right sort of acoustics for improvisational wellsprings of noise and randomness. Our evening commenced with Portugal-based trumpeter Susana Santos Silva, who’s collaborated with Sweden’s Torbjörn Zetterberg on a couple of recording projects & a few tours, in which he plays bass and she blows freely. These two come at a duo dynamic from different spheres yet connect intricately, with Silva straying frequently from her honk-and-sputter script as the spirit moves her, while Zetterberg anchors a pretty traditional set of runs on his bass. They moved rapidly through their three numbers, including one in which Silva fiddled with some unseen African-esque key-based instrument on the floor to mimic an ethereal set of bird calls – then abruptly returned to her trumpet for some avant-squirting, bellowing and an interlude in which she made it to sound like radio static. Theirs was an intimate, enveloping set that had me busting out a wallet full of kroner in order to procure the lone Silva/Zetterburg compact disc recording.

Now I can’t quite figure out how planned or random the Nilsson-Love/Solberg/Rasta trio was, but aural evidence points to these gentlemen having mind-melded their improvisational jazz on stage before. Two Scando drummers and Rasta, a German who jetted in for the occasion. He’s an absolutely wild piano divebomber, a skinny hunchback player lurching crazily across the keys in time with equally frantic double percussion. Starting off almost mid-flight through a number that entered full-freak berserk, then calmed itself gradually over fifteen minutes, these guys proved they had loads of muscle and unpredictability, but not a whole lot of ascension. Much as each member was individually captivating, the group dynamic wore off faster than I’d have liked. I at least went quietly into the Norwegian night feeling like I’d swallowed a very small, satisfying and likely unrepeatable slice of the greater European underground.

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It’s been a couple weeks of listless inactivity here at DH, but we’ll be back at it shortly, including a new episode of the podcast. Here’s the most recent one if you missed it.

dynamitehemorrhage:

What did you do on the first day of 2015? Me, I made you Dynamite Hemorrhage Radio #52 and had a real “gas” doing so. This one’s larded up with new material from Penny Machine (pictured), Lime Crush, White Fence, SROS Lords, Parkay Quarts, The Dacios, The Coneheads and, that’s right, Buck Biloxi and The Fucks. Sub-underground? Oh my yes.

In between all that there are many sound eruptions from the likes of Tyvek, Mike Rep & The Quotas, Supercharger, Animals and Men, The Klitz, Gas, The Clean, Loli and The Chones and many more. The whole thing clocks in at a compact 1:03, so put aside an hour if you can and see what sort of racket we cooked up for you.

Download Dynamite Hemorrhage Radio #52 here.
Stream or download Dynamite Hemorrhage Radio #52 on Soundcloud.
Subscribe to the show on iTunes here. 

Playlist:

LIME CRUSH – Graveyard
SROS LORDS – Cleaner Love
PENNY MACHINE – Not Wrong
ANIMALS AND MEN – Headphones
TYVEK – Frustration Rock
SUPERCHARGER – Don’t Mess Me Up
DOW JONES & THE INDUSTRIALS – Ladies With Appliances
THE DACIOS – Liberty Lovers
WHITE FENCE – Arrow Man
GAS – League of the Golden Maidens
MIKE REP & THE QUOTAS – Heroes and Idols
THE CLEAN – Odditty
THE CONEHEADS – Nasal Load
X – Hate City
LOLI AND THE CHONES – Summer of Love 
BUCK BILOXI AND THE FUCKS – Rock and Roll Sucks 
ED GEIN’S CAR – Go Down On My Dog
THE 1-4-5’s – Volvo Hatchback
SHOCK – This Generation’s On Vacation
THE KLITZ – Couldn’t Be Bothered
THE BANGS – Getting Out of Hand
THE DONSHIRES – Sad and Blue 
PARKAY QUARTS – Content Nausea 

Some past shows:
Dynamite Hemorrhage #51    (playlist) 
Dynamite Hemorrhage #50    (playlist) 
Dynamite Hemorrhage #49    (playlist) 
Dynamite Hemorrhage #48    (playlist) 
Dynamite Hemorrhage #47    (playlist) 
Dynamite Hemorrhage #46    (playlist) 
Dynamite Hemorrhage #45    (playlist) 
Dynamite Hemorrhage #44    (playlist) 
Dynamite Hemorrhage #43    (playlist) 
Dynamite Hemorrhage #42    (playlist) 
Dynamite Hemorrhage #41    (playlist) 
Dynamite Hemorrhage #40    (playlist)