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Originally written on my Agony Shorthand blog, August 2005….

THE MAINSTREAM MEDIA vs. PUNK ROCK USA

Long before “the year that punk broke”, there was always a ton of pleasure to be derived from watching how the mainstream media skimmed the surface of the punk rock phenomenon, botched it up & spat it back for the hoi polloi. I was a rabid media hound from early on, still am, and I remember reading TIME MAGAZINE’s initial depiction of punk rock in 1977, read in the safety of my parents’ living room in Sacramento, CA. Thanks to MD alerting me to it; you too can read it right here.

I was so taken by what I’d read at the time that I told everyone at school about the crazy spitting punks, particularly “The Dead Boys”, whose name really knocked me for a loop. Some years later while in college, I actually burrowed deep into the microfilm room @ the college library just so I could devour this weak article again, such was its impact. (I also couldn’t believe they had a picture of THE WEIRDOS, a band that virtually no one outside of California was talking up in the mid-80s). How about the roll call of nihilistic punk band names – THUNDERTRAIN?!? (if you’ve heard that recent Gulcher CD by them, you’ll have an even bigger laff). All in all, I guess this punk depiction isn’t too uproarious – it got worse, believe me.

Like the Kennedy assassination and 9/11, just about everyone remembers where they were the days the “punk rock” episodes of awful American prime time TV shows QUINCY and CHiPs aired. I saw the Quincy episode, “Next Stop Nowhere”, the day it aired in 1982. It featured a FEAR-inspired band called “Mayhem” who were just godawful, but who rocked the fuck out when stacked next to CHiPs’ horrible retard fake punk band “Pain” (“…I dig PAIN….”). Mayhem’s hot signature tune went something along the lines of “I wanna see you CHOKE – CHOKE!!!!”. What caused the death of the kid at the start of the show? Why, punk rock of course. As this site recalls, “…Dancing to the sound of the Tommy Dorsey Orchestra, Quincy asks Dr. Emily Hanover why anyone would ‘want to listen to music that makes you hate, when you can listen to music that makes you love’”. Click the links and learn more – you’ll be glad you did.

Ridiculous as that one was, the CHiPs punk episode was off the charts incredible. This was one of the worst shows in American TV history to begin with, coinciding of course with a late 70s era in which practically all my sister and I did Monday through Friday was watch 3 hours of prime time network TV. Thankfully by 1982 I was well onto other pursuits, therefore I missed the live airdate of this, and instead watched it stoned on a couch in college a few years later. You can read about it too all over the web, but the end, in which Erik Estrada gets the previously violent slam-dancing punks to mellow out & disco-dance to his version of Kool & The Gang’s “Celebration”, is, as they say, “priceless”.

Finally, there were the talk shows of the early/mid 80s that featured distraught parents trying to understand their punker teenagers. I have seen a few of these Merv Griffin-esque shows that were pretty funny, but the one that I remember best was a Los Angeles-area show called “Hot Seat” , hosted by WALLY GEORGE. George was some Hollywood liberal’s trumped-up idea of what a televised conservative should be – an intolerant, ranting racist who hated homos and just about everyone else. It wasn’t great comedy, but it featured a parade of buffoons who could barely read their lines & who did their best to make the scripted shenanigans sound like true pathos. One day George had a group called “Parents of Punkers” on, along with many of Orange County’s finest mohawked punks and leather-clad skins. The weeping parents talked up the idea of military-style boot camp for their kids, the punks hissed, slammed to music at the breaks and started fake fights, while Wally George grunted and yelled about degeneracy and “the awful music, you can’t even hear the words” etc.

At the time all this stuff actually felt unfair to fans of punk – so demeaning, “if only they asked some real punks” and all that (get out your old Flipsides and MRRs – there were multiple letters along these lines about these shows). Now that the punks have won (!), punk broke, and great real punk bands like The Offspring & Green Day went to #1, well, we all had the last laugh, didn’t we. Someone should revive this Austin, TX showing of all this stuff under one banner, pack it on a DVD and sell an assload of it. I’ve no doubt that the market is there. My Paypal account is ready.

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MONOSHOCK – “Lost Shock, Volume 1” and “Lost Shock, Volume 2” CD-Rs

There were multiple bent angles
to this early 90s SF Bay Area trio, but the one that seems to have pushed the
most posthumous buttons for folks is the heavy, blown-out, shit-fi psych side,
which posits (correctly) that Monoshock were easily of a par with multiple resin-fingered
forefathers as well as their then-peers Mainliner and High Rise.

The band also
occasionally trafficked in more “song”-like fuzzed/damaged punk rock, most in
evidence on their 45s and on the “Runnin’ Ape-Like From The Backwards Superman”
collection, but there are only mere whiffs of that stuff on these two new
archival CDs. One could ungenerously call these releases shoe-scraping; I
prefer to see them as onion-peeling, and those heads who ache for more of the
howling free-void blues that Monoshock sonically plumbed for about six years
will find much to damage their synapses with here, particularly outstanding long-form
instrumental scorchers like “It’s Not There” and “19th Street
Shuffle”.

There are marginally recognizable covers stuffed into corners throughout
the two discs as well, from demigods and in-jokes as diverse as the Pink Faeries,
Von Lmo, Howard Werth, Lee Hazelwood, Black Clothes & Pointy Shoes
and
Social Distortion
. Monoshock left it all on the table, every time, and
obviously left anything that remained on the tapes that make up these two discs. (Silver Current; silvercurrentrecords.com)
Jay

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https://api.soundcloud.com/tracks/191885339/stream?client_id=3cQaPshpEeLqMsNFAUw1Q?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

It might not be rocknroll, but perhaps some Dynamite Hemorrhage readers’ll be intrigued enough to press play.

I started the first of what I hope will be a long and fruitful series of podcasts called FINAL SOUNDS RADIO. 75 minutes of experimental, dub, spectral folk, soundscapes, 78rpm stuff, free jazz, cut-ups, global lunacy & more. Recorded in February 2015.

Stream or download Final Sounds Radio #1 on Soundcloud here.

Download it directly to your computer here.

Stream the show on Mixcloud here.

Subscribe to the show via iTunes here.


Here’s what you’ll hear:

TSEMBLA – Animal Negatives

CURSE PURSE – Message CP

MERIDIAN BROTHERS – El Gran Pajaro de los Andes

RICHARD DAWSON – Judas Iscariot

ALEXIS ZOUMBAS – Untitled (2)

TORBJORN ZETTERBERG & SUSANA SANTOS SILVA – Feet Machine Song

PARADISE BANGKOK MOLAM INTERNATIONAL BAND – Sao Sakit Mae

MYRIAM GENDRON – Song of Perfect Propriety

LAURA CANNELL – Entrance to the Vault

PRINCE JAMMY – Nuff Corn Dub

XYLOURIS WHITE – Psarandonis Syrto

OKYYUNG LEE – Meolly Ganeun

RHODRI DAVIES – Each Annulling The Next

DELIA DERBYSHIRE – Mattachin

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LIME CRUSH – “Graveyard/Baby/Honk Tonk” 45

Not since Dirt Shit has a record
from Austria held our attention this long. Lime Crush are a loopy punk rock act
right out of the Kleenex/Liliput school of loopiness, and their debut single’s
a joyful jumble. Rubber band guitar, multiple female voices competing for
airspace and general WTF garage punk propulsion that’s anything but straight
ahead. There may even be a song about ping pong. Nothing sounds meticulously
planned nor rehearsed yet everything sounds right. A big 21st
century winner from Wien.

(Fettkakao; fettkakao.bandcamp.com)
– Jay

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PAMPERS – “Right Tonight” 7”EP

Pampers continue their
party-crashing sprint to the head of Punk Rock USA’s slop table, this time with
a four-song EP that grafts “Teabag”-era Dwarves speed-rush onto their own
stellar form of blown-out, lysergic psych. “Seneca Road” is this record’s
version of their 2013 album’s “Purple Brain”, the lone three-minute topper
that’s all colors, lights and what sounds like 18 roaring guitars. Not one to
be pigeonholed, our Pampers, the song even references acid. “I feel light-headed, I feel good”.

(In The Red; intheredrecords.com)
– Jay

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THE KLITZ – “Sounds of Memphis ‘78” 7”EP

If you thought the KBD Santa had
finished blitzing his way into your record collection, think again – this archival
1978 four-song single is way-excellent falling-apart primitive punk, from an
all-female crew who were purportedly “Memphis punk ground zero”. Guitarist Lesa
Aldridge
dated Alex Chilton not long before she helped assemble THE KLITZ, and
she looms large in Big Star mythology as the full-blown inspiration behind
“Third”.

Yet I give the nod for most inspired performances on this one to
scratchy-throated singer Gail Elise Clifton, who struggles through her whoops
and yelps like someone working to regain her pipes after a week-long social
bender, and drummer Marcia Clifton, whose rhythmic I-think-I-can tippy-tap beats are perfect for the songs’ beautifully
ramshackle construction. The band’s loose version of Chilton’s already loose “Hook or Crook” isn’t even
the highlight; the whole’s thing’s a wonderful hot mess, and one of my favorite
unearthed treasures in some time.

(Space Case;
spacecaserecords.com
)
– Jay

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GERM HOUSE – “Showing Symptoms LP/CD

Even in my most cynical lifecycle stages, I’ve usually found ways to make common cause with the wider world of “indie rock”. I have gladly spent real cash money seeing milquetoast
all-dude bands from Matador Records play lightly “angular” guitar, and in the
80s and 90s I felt as though I had a pretty good grasp on the innocuous and
sometimes halfway-decent music being put out on most indie labels. This likely
sprang from an overly robust fanzine collection, and many Sunday afternoon
hangovers spent poring through them.

Sure, I had my time making fun of the shit
bands in that world, but it was always more of a gas to needle some overly
serious wallet-on-a-chain garage punk clown or a dress-up horrorcore band than
it was a pack of earnest young men trying to sound like, I don’t know, Robyn
Hitchcock or Superchunk. In short, “indie rock” writ large may have been
musically tepid, but it was controlled and fairly isolated to college campuses
and bespectacled fellow travelers.

I’ll sometimes look at the
best-of-the-year lists on massively popular indie rock blogs now, where every record’s on a micro-label, and
I’ll half-wonder if I’m missing anything in my willed ignorance and start
clicking links. It might sound like some old guy complainin’, but some of the
watered-down drivel the kids are chawing about these days makes Pavement and
Polvo sound like Poison Idea.

The thought of spending an afternoon at an
outdoor festival watching bearded barefoots leap around to Sugar Bear, the
Sleepybeds
& Beaches and Summerhouses (faux names just minted via my 2015
indie rock band generator machine™)
sounds about as tasty as a Jello Biafra
spoken word all-nighter. So when something rises from the mire of the
indie-rock swamps and give me pause to reconsider my “stance”, it’s gotta be
remarkable.

Germ House may be that indie rock
band. Granted, they’d likely find their common cause less with the
aforementioned than with GBV or Wire, but they have a straightforward
earnestness and song construction that’s medium-sized-label indie rock to the
max. Turns out they’re a one-couple show, more or less, a Las Cruces, New
Mexico husband/wife project that grew from a Boston band you might have heard
called Turpentine Brothers.

I’ve played this album nearly weekly since I got
it, and I’m not done yet. It has a well-crafted, lo-fidelity gravel-n-tar roof
surrounding barely-held walls slapped together from equal parts melody and
menace. Main fella Justin Hubbard has a terrific voice to boot, and I could see
this stuff being gobbled up by Elephant 6-loving heads in the late 1990s. It’s not
often you and I will find a modern central-casting indie rock band this
remarkably and reliably great, top to bottom across an entire LP; suggest you
give it a whirl or swear to god I’m buying you a Coachella ticket. (Trouble
In Mind; troubleinmindrecs.com
)
– Jay

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Now available, in case we hadn’t reached you before – DYNAMITE HEMORRHAGE #2. It’s an 84-page fanzine and you can order it here.

It features:

– An interview and career-spanning retrospective with BILL DIREEN, the New Zealand-based musical iconoclast and creator of some of the
most weird and wonderful underground pop music of the last 35 years.
Great old photos of Vacuum, Six Impossible Things and more – with
Direen’s take on his many recordings, bands and general outlook on
creation & creativity.

Tim Warren from Crypt Records, on the eve of two new volumes of the mind-destroying “BACK FROM THE GRAVE”
60s punk compilations, takes us through in profanity-strewn detail how
he’s been putting these comps together since 1983, and the pain the man
has endured to make sure you and I get to hear some of the most raw and
rare rocknroll chaos of all time…!

– Interview with bedroom lo-fi pop savants HONEY RADAR, currently making many short, abrasive and lovely mini-masterpieces out of Philadelphia

– Interview with NOTS, raw and slashing earworm punk band from Memphis

KING TEARS MORTUARY, Sydney, Australia’s answer to the question “What would a mix of C86, KBD punk and The Gories sound like?”

Erika Elizabeth’s overview of lost and neglected female-fronted punk and post-punk bands and records you’ve never heard of

The Layman’s Guide to 1970s Jamaican DUB
– an overview of wild, weird and wacked dub reggae created during its
peak era, along with ten essential dub recordings, explored

– Interviews with Jon Savage and Stuart Baker on the new PUNK 45 series of archival 70s punk reissues

– 87 record reviews
– 15 book reviews
– Advertisements from today’s top hitmaking labels