Boston’s No Sir, I Won’t play revolutionary anarcho-punk without plagiarism, but developed into a modern form. ‘The Door‘ draws obvious influences, but they have breathed new life into it. Profoundly political, it is fueled by disillusionment, anger and the world’s downward slope.
The opening track has that ungovernable force and crescendo of Conflict’s ‘Mighty and superior’. The second song ‘Elevators’ begins with snippets from 1976′s ‘Network’, “The whole world is becoming humanoid, creatures that look human but aren’t.” It is reminiscent of Chumbawamba’s ‘Pictures of Starving Children Sell Records’ with the military percussion of Crass. This is anarcho-punk at it’s finest, music like this makes you want to change the world. Exhilarating and thought-provoking, if you don’t like a message in your music this is not for you. For some it causes goosebumps on their skin, like those bands you first heard that made you think out of the box. There has to be another way or made you question everything you’ve ever been told.
The MOB were more than just a band in the 80′s. They were a state of mind that made me see the world in a different way. Musically, they created melodies that have stuck with me for a lifetime! Today CVLT Nation is sharing with the world a spot on live set from The MOB recorded on 10/16/81 in Holland. You can find the stream and download below. So many of the things that this band was fighting against still ring true today! NO DOVES FLY HERE!
Music via Kill Your Pet Puppy
(Note: This article originally appeared, in an earlier form, at Souciant.com, here. It is reprinted with permission from the author.)
Manchester’s Warsaw changed their name in 1977 to Joy Division to avoid conflict with the punk band Warsaw Pakt. Coincidentally, that change served to mark the break between Joy Division’s punk phase and their later, better-known dark postpunk era. There is something important to this: Many bands at that time started as punk bands yet ended up becoming postpunk, deathrock, and gothic rock acts.
Although Warsaw’s output has its fans and diehard evangelists to this day, it’s the Joy Division material that garnered that band’s popularity. Easy Cure – a British punk band – became The Cure. Crisis became Death in June. The punk band The Outsiders became the postpunk band The Sound. And it goes on. But other bands have had the opposite problem: They are known for their punk material, but their later postpunk output remains neglected, or is seen (by purist punks, at least) as a kind of embarrassing deviation from punk purity, to be brushed under the rug. Rare are bands like Wire or Siouxsie and the Banshees, or Killing Joke — bands whose punk and postpunk material is accorded equal acclaim.
Well, here are five bands whose postpunk material merits reexamination. Audiophiles will be familiar with some of the releases. The material warrants broader exposure regardless.
Watching this video gives me chills and brings me back to one of the most inspiring nights I ever had in my life! While living in San Francisco in ’84, I got the chance to see a rare show by TRIAL that totally blew my mind, but GLORIOUS DIN, who opened that night, transformed me. That night I realized I must start a band, and the next day me and my homie Gary started D & E (DIVERSE & EFFECTIVE). GLORIOUS DIN was one of the most outstanding post punk bands to ever create music, but what’s interesting is that most people have never heard of them. This is why CVLT Nation is so ultra stoked to share with you a very rare video of a GLORIOUS DIN concert from 1986. THIS BAND CREATED TIMELESS MUSIC THAT STILL MOVES ME TO THIS DAY!
Over 100 minutes of JOY DIVISION live from 1979 to 1980 – nuff said! Now watch and let this awesome footage take your mind to another time…get lost in isolation!
Anasazi: A little bit Virgin Prunes and a strong helping of Southern Death Cult — add in liberal amounts of Christian Death, nuke it all in a microwave for a few minutes, and the finished result might look something like this New York City cult-punk-cum-deathrock outfit. The brainchild of urban warrior/poet/necromancer Chi Orengo, Anasazi’s discography (two 7-inch releases, two demo cassettes, and one split cassette with the band Survival) and song titles like “Horror at the Mass,” “Desecration,” “Bone Collector,” and “Mausoleum” tell the tale of Anasazi’s gloomier sonic inclinations. Recently I interviewed Chi about the band’s output and what inspires it.
NYC, of course, has been a natural hotbed of dark music since the days of Velvet Underground. Follow that lineage through to the late 70s punk and no wave scenes that produced everyone from The Cramps, to The Mad, to Lydia Lunch, to DNA, to Klaus Nomi, on through to the 80s NYC deathrock and goth scene that included bands like the Naked and the Dead, Of a Mesh, and Scarecrow (all ably documented in the excellent Dark New York compilation I reviewed earlier for CVLT Nation here), on through to current bands like Rosenkopf, and Anasazi doesn’t seem so out of place. Anasazi’s latest release is a 7-song demo on Inflammable Material.
Interview conducted by Oliver in July, 2013.
Oliver: Chi, let’s some get some basic information out of the way first for readers. How long has Anasazi been around, and who is currently in the band?
Chi: Well, Mr. Oliver, Ansazi was started in 2010 originally with the darkest rain storms and the howling of many trees. It was with myself, current geetarist, and creator Keegan and our friend Mikkey C. on bass, and Eddie from Psychic TV on drums. We jammmed awhile but that didn’t work out due to bears eating them in Jellystone Park.
2011 came around and we got new members. I got the talented Bread Barrely on drums, Jasper on bass, and Christian on synth — members of The Hunt. This began our journey. It was a perfect fit, like OJ’s glove. We started playing shows in summer 2011. Magic moons and whisps of violent ways were in hand, potions were boiled and 420 smoke in basements were in full effect. I KID! We recorded our self-titled demo in the famous weird night basement where the ghost of a lil’ girl roamed. Then Jasper and Christian passed on. RIP. Then the wonderful Haydne from Dream Affair stepped in on bass, then stepped off a ledge. Also RIP. Now we have the great Jess from Survival on bass, who is a delight and a awesome friend. AND DAT IS DE LINE UP NOW! (“SHHH” — MY MOM.)
The Banner is one of the greatest hardcore bands ever. Period. Don’t believe me? Pick up any one of their three albums, Your Murder Mixtape, Each Breath Haunted and Frailty, and you’ll be blissfully hating yourself or someone else by the end. Next month will see the release of the band’s first material since Frailty in 2008 with the release of Born to Ruin I, the first in a series of three. With the cassette’s release fast approaching, I took an afternoon to discuss the EP with vocalist Joey Southside, in addition to The Banner’s influences and recent adventures.
Born to Ruin I is almost upon us. What can you say about the cassette at this point, what can fans expect?
I can say that it’s six tracks and I guess I got a little bit out of my safety zone with this one. It’s nerve racking but I’m looking forward to seeing what people think.
So far, based on the tracks released last year like “Negative Zone” and “Lilith,” Born to Ruin I looks to be one of the band’s most unique releases yet. What new influences have found their way into The Banner’s sound?
I would say it’s more of our old influences becoming more prominent. “Negative Zone” was written the day Peter Steele passed away so that’s how I approached the vocals for that track, as an homage of sorts. That sort of just opened the flood gates for me just writing whatever the fuck I felt might not bore me to death. Plus the off chance of alienating our fans always appeals to me as a masochist.
One of the best products of the contemporary underground dark punk/postpunk scene, Portland’s Bellicose Minds’ debut LP, The Spine, has been a long time coming. Although it was recorded over a year ago, in June 2012, it has slowly trickled out to the masses via mailorder and smart independent record stores that have an ear for good music. I interviewed the band almost a year ago for CVLT Nation when the only release under their belts was the excellent self-titled 2011 EP (and a demo tape); the 2011 EP had been previously reviewed by the late Kenn Kroosaficks for CVLT Nation. Bellicose Minds were one of his favorite bands, and they’re also one of mine. Although The Spine was technically released late 2012, it’s good enough to be on my own personal “Top 10″ list for 2013.
Whether you want to call it dark punk, dark postpunk, or goth-punk — and any of these terms would fit — The Spine recalls a time when bands like Vex, The Dark, and The Mob circulated freely between the punk and postpunk scenes simply because those scenes had not split apart into their own distinct worlds yet. (I’m speaking of the early 80s, when segments of the British music press referred to bands like UK Decay and Sex Gang Children as “gothic punk” and “positive punk.”) That’s the fine music and cultural line that The Spine treads – and it does so wonderfully.
I remember the day when I first heard KUKL, my mind just melted and Bjork’s voice had my young mind in a trance. Something about this band drew me into their world, and the fact that they were fronted by a teenager made me like them even more. KUKL music even then was hard to put it into a box but all I knew is that I couldn’t get enough. Today CVLT Nation is streaming their 1984 performance in Paris…You can also download it…All HAIL KUKL! They still rule!!!
Music Source:Kill Your Pet Puppy
The first track of the CD version of Troller‘s self-titled LP is called “Milk”; it’s nightmarishly gothic and genuinely creepy. Horror movie sound effects (or noises that remind me of horror movie sound effects) slash across a dreary landscape of synths and bass guitar, and after a slow build up Amber Ormand’s vocals – echoey, despondent, and ghostly – announce the arrival of an LP that is at turns darkwave-y, shoegaze-y, and eerily psychedelic. It’s a good and darkly atmospheric album by a younger Austin, TX band on Denton’s Handmade Birds label. (The original cassette and vinyl came out on Holodeck / Light Lodge/ Living Tapes.)
There are 10 tracks total, 4 of which are untitled dark ambient/instrumental pieces that thread together the 6 other songs with vocals, most of which have monosyllabic titles (“Tiger,” “Best,” “Milk,” “Thirst”). Although there is nothing quite as deathrock-sounding on the release as the opener, the rest of the LP is a multi-layered, lush journey through achingly sweet dark pop nostalgia (“Winter”) and early 4AD shoegaze-esque postpunk (“Best”). In fact, much of the music has a very Projekt Records “ethereal wave” vibe, a la bands like The Cranes – wails of tragedy and bliss awash in kaleidoscopic synths, vocals floating wraith-like above a melody anchored – barely – to earth by a drowsy, gloomy bassline. The Anti-Gravity Bunny blog called it “graveyard hallucination pop”. That’s not a bad description at all.