If you read CVLT Nation on the regular, then you know that we are huge fans of KILLING JOKE! They have just released a new video for their song “Corporate Elect.” My two year old daughter and I watched it a couple of times today and could not take our eyes off the screen! This visual was conceived, filmed and directed by Mikee Goodman…stop what you are doing and check it out! On June 4th, KILLING JOKE are putting out The Singles Collection 1979-2012 via Spinefarm…Enough talking it’s time for visual action!
What sound are you going to find in a garage in San Francisco, next to the power tools and your post punk vinyl collection? I will tell you: most likely you will be blasting the CREATIVE ADULT new 7 inch called Bulls In The Yard, which is a sonic middle finger to playing it safe. These humans said fuck the dumb shit, we are going to create music that we dig and let our audio weirdness fall where it may. CVLT Nation is stoked to be streaming this catchy angular sound event here on our site…so check out the CREATIVE ADULT Bulls In The Yard out on May 16th via Run For Cover Records and pre-order HERE!
Now this great news: BELGRADO is working on a new album which I can not wait for and I know I’m not alone. Check this out – they have just put out a video for one of their new songs called “Untitled.” From seeing this visual, I know the BELGRADO record is going to kill…stay tuned for more news!
All photos & text by Luana Magalhães
Their microphone-less screaming alone would have been enough to consider them one of the bands of the weekend, as those inhuman howls could be heard from the hallway outside. The fact that their black metal fury even outclasses what can be heard on their records helps, too.
So far, the excellent Dark New York: Gotham City’s Post Punk, Goth, & Deathrock Bands 1983-1988, Vol. 1 compilation is only available on vinyl. Released late last year (2012) on Black Scorpio Records, the record fleshes out an oft-overlooked part of the 80′s American postpunk phenomenon — New York City’s lively gothic and deathrock scene.
Masterfully compiled by Joe Truck Kasher and Greg Fasolino (of NYC’s deathrock band The Naked and the Dead), this compilation has the added benefit of being produced by folks that were active in NYC’s postpunk heyday. In other words, it comes from scene participants themselves; not outsiders. And while California’s and England’s gothy postpunk scenes have been exhaustively documented, an adequate cataloging of NYC’s similar scene in the 1980s has been much overdue. This compilation remedies that longstanding problem.
Hey you…come a little closer so I can whisper something into your ear…DBC, aka Dangerous Boys Club, have just released a new album entitled Pris via Dais Records. For their song “Tranzilvania” they have created an 11 minute video that we are premiering here today on CVLT Nation…Get your glam violence on now and check out this visual!
I have always been into art that gives a voice to those that don’t have one. I remember being young in the 70′s and having my mind stimulated with all of the revolutionary creativity that was happening around me. A big part of what got me hyped about the punk movement was it’s use of art as a weapon for change. When I first saw a Crass cover, I knew it spoke to me but I did not know that the artist was influenced by German artist John Heartfield. He was a true warrior for change and used his creative spirit as his gun to fire at the Racist & Fascist Nazi regime in Germany. John Heartfield showed the Nazis that he was not afraid of them by manifesting powerful photomontages that spoke out against their fakery! His influence on the Anarcho Punk movement is evident even today. Discharge used one of his pieces for the Never Again cover and this image has become a part of punk history. Today CVLT Nation salutes John Heartfield with a huge photo essay of his work, plus we are showing the documentary Zygosis: John Heartfield and the Political Image!
So much good music came out in 1984 it was hard to keep track. One record that touched my life maybe more than any other was The Cult’s Dreamtime. In my book, this might be the best album the band ever created – all of the elements were on point! During this time, me and all of my friends thought this band could do no wrong and that they represented what we were going through. The other day I found a full video of their gig at the Lyceum in 1984. As you will see, The Cult were at the top of their game then… So let’s all have our dreamtime and check out this awesome blast from the past!
Text & Mix via Noisey
If there was any music that articulated the feelings of hatred towards Margaret Thatcher in the early 80s, it was anarcho-punk. Fiercely underground and independent from the rest of the music business, the genre was a grass roots movement that delivered on punk’s original promise to actually be politically threatening.
Over thirty years on, it’s stronger than ever, with more bands taking up the torch and citing anarcho-punk as an influence. Chris Low was there at the beginning, drumming for a number of the seminal acts while barely into his teens, with his current band, PART1, scheduled to make their first reformation show at Rebellion, the world’s largest punk festival, this summer. Following a year playing anarcho-punk DJ sets in Tokyo, Low’s compiled a monster mix of his favorite tunes and answered a few questions about the whole thing. Scroll to the bottom for the tracklist too.
INTERVIEW BY GAVIN MCINNES
PORTRAITS BY TODD JORDAN
Via The Heavy Mental
Back in 1969, an art student who called himself Penny Rimbaud was walking through the English countryside and discovered a 16th Century farm house. Where most would have continued walking, Rimbaud saw infinite possibilities. “This could be an anarchist collective art center,” he immediately thought, “where people from all over the world would come to exchange ideas.” “Then they’d go back home and start their own!” he yelled aloud.
Over the next few years he pieced together a band of other art school kids and they called themselves EXIT. Things were slow at first and Penny’s dreams looked like they may not make it much farther than Epping Forest where the house was located. Then a truant teenager named Steve Ignorant walked up the driveway and shortly after, the anarchist punk band Crass was formed. Unlike EXIT, Crass didn’t ostracize their audience by playing avant-garde noise. They played songs. And they weren’t just songs, they were empowering anthems about going your own way and never letting anyone tell you what to do. By the late 70s, the momentum was overwhelming. Pen’s best friend from art school Gee Vaucher moved back from New York and began to give the band a visual identity. Now Crass were a “thing” and Dial House was their headquarters. Their pranks garnered global media attention and had Margaret Thatcher denouncing them in parliament. Smart punks around the world who felt bored by fashionistas like the Sex Pistols and the Exploited, latched on to Crass’ intellectual revolution. I was one of those kids and we duplicated the Crass graffiti stencils from the records so we could cover our own streets with the words “THERE IS NO AUTHORITY BUT YOURSELF.” They weren’t just a band. They were the brains of punk and provided the foundation for the modern anarchist movement. It’s hard to imagine Occupy without Crass. In fact, it’s hard to imaging a lot of teenage punk rebellion without Crass.
It’s been a quarter of a century since the band disbanded but Dial House is still regularly attended by anarchists and outcasts seeking to change their own environments. It’s been over 40 years since Penny had his epiphany on that hill in Essex and despite it all, it’s still happening. That’s because, no matter what you say about Penny and Gee (yes, she still lives there) they walk the walk. The band has come and gone but the ethos of Dial House has never faltered. That’s why, at 70-years-old, Rimbaud is finalizing a plan to continue the culture of Dial House after he’s gone. He recently had an art show at New York’s Boo Hooray to sell a collection of his drawings in order to pay off the remaining debt on the home and convert the entire estate into a trust that will continue to do what it’s been doing since he found it. It will remain a place where people come to exchange ideas, forever. I’ve gotten to know Penny quite well over the years and visit Dial House with my kids regularly. I always come back feeling refreshed and inspired. The kids say, “It’s magic there.”
Penny Rimbaud: I’d like to point out that the above ‘history’ is fairly inaccurate on several levels, but as it seems to be a rather nicely put together little piece, I’m not going to spend time correcting it. Everyone has their own version of events, and the above one is most decidedly Gavin’s, which is fine by me.