Never been to Wormer – a town located thirteen kilometres up north Amsterdam – but I definitely would like to. Why? Easy, because it had one of the most interesting scenes back in the day. Curious to know what was to be part of Wormer? Then, please read this.
The Ex – Money (1980)
Zowiso – Live @ Oktopus
De Groeten – Live @ Oktopus
Svatsox – Unplugged @ Oktopus (1984)
Villa Zuid was the “homebase of punkbands the Ex and Svätsox” and it was “squatted in August 1981. In the big garden next to the villa they organised every year a big party to celebrate this.”
Recommended listenings:
If you want to know more about Wormer bands, please click here for a complete discography, and here for another article – although it's in French only.
22 Nov 2009
20 Nov 2009
How minimal can you get? #6
Minutemen
“You see, when Punk came, we were real embarrassed that we knew how to play. The other Punk bands were writing as they were learning. For us, we couldn't turn back the hands of the clock, so we tried all these real extreme devices to hide it, which we picked up from the English group Wire: you don't need verse/chorus, you don't need solos, you don't need shit. We thought Punk meant that no one was supposed to know you can play well! Then it seemed some Punk bands, as they played better, turned more Rock & Roll, and the joke was on us! We didn't give a fuck – no matter what we played, you could tell it was The Minutemen.” Mike Watt
Minutemen – Live @ at the 9:30 club (1984)
“You see, when Punk came, we were real embarrassed that we knew how to play. The other Punk bands were writing as they were learning. For us, we couldn't turn back the hands of the clock, so we tried all these real extreme devices to hide it, which we picked up from the English group Wire: you don't need verse/chorus, you don't need solos, you don't need shit. We thought Punk meant that no one was supposed to know you can play well! Then it seemed some Punk bands, as they played better, turned more Rock & Roll, and the joke was on us! We didn't give a fuck – no matter what we played, you could tell it was The Minutemen.” Mike Watt
Minutemen – Live @ at the 9:30 club (1984)
16 Nov 2009
How minimal can you get? #5
Beat Happening
“Here's my Beat Happening story. One day, spring of 1985 (I think), an Australian kid name of David Nichols showed up on my doorstep in Willesden Green clutching three records; seven-inch singles by Venom P. Stinger and Rabbit's Wedding, and the first Beat Happening album (the one with the cat on a rocket ship on a yellow background). He was on his way back home to Melbourne from Olympia, and had a 24-hour stopover in London, and had been given three addresses to try. So I invited him in, made a cup of tea, and stayed to chat a while. After he left, I figured I may as well listen to the record with the cat and I couldn't get past Heather's voice on 'Foggy Eyes', first song on. It brought tears to my ears. Stopped me dead. Killed me. A few days later, I called in to Rough Trade – Karen who worked there was just about the only PR who gave me free stuff back then, so I thought I'd repay favour by playing her the Beat Happening LP, too. She loved it too – and so did Geoff Travis, who later ended up releasing the trio's second album in the UK. Man, that felt good.” The Legend!
Beat Happening – Cry For A Shadow (1992)
“Here's my Beat Happening story. One day, spring of 1985 (I think), an Australian kid name of David Nichols showed up on my doorstep in Willesden Green clutching three records; seven-inch singles by Venom P. Stinger and Rabbit's Wedding, and the first Beat Happening album (the one with the cat on a rocket ship on a yellow background). He was on his way back home to Melbourne from Olympia, and had a 24-hour stopover in London, and had been given three addresses to try. So I invited him in, made a cup of tea, and stayed to chat a while. After he left, I figured I may as well listen to the record with the cat and I couldn't get past Heather's voice on 'Foggy Eyes', first song on. It brought tears to my ears. Stopped me dead. Killed me. A few days later, I called in to Rough Trade – Karen who worked there was just about the only PR who gave me free stuff back then, so I thought I'd repay favour by playing her the Beat Happening LP, too. She loved it too – and so did Geoff Travis, who later ended up releasing the trio's second album in the UK. Man, that felt good.” The Legend!
Beat Happening – Cry For A Shadow (1992)
15 Nov 2009
How minimal can you get? #4
Puritan Guitars
“Cardiff '80: Scritti Politti were the first band to print their manufacturing costs and supplier information on their record-sleeve… and this helpful gesture immediately touched off a widespread competition to show who could make their record out the cheapest. Indeed, an entire generation of bands were more likely to list their production costs than the band-members' names. So when later (and, naturally, anonymous) Cardiffians Puritan Guitars came out with '£100 in 15 minutes' b/w 'Making It' it was widely [mis]understood that they were singing/boasting about their manufacturing costs. (…) In truth, however, the £100 was the sum that Rough Trade had spent on an 'open bar' to celebrate the final gig of the Raincoats tour – which 'the assembled radical DIY types drank up in 15 minutes'.” Chuck Warner
Puritan Guitars – £100 in 15 minutes
“Cardiff '80: Scritti Politti were the first band to print their manufacturing costs and supplier information on their record-sleeve… and this helpful gesture immediately touched off a widespread competition to show who could make their record out the cheapest. Indeed, an entire generation of bands were more likely to list their production costs than the band-members' names. So when later (and, naturally, anonymous) Cardiffians Puritan Guitars came out with '£100 in 15 minutes' b/w 'Making It' it was widely [mis]understood that they were singing/boasting about their manufacturing costs. (…) In truth, however, the £100 was the sum that Rough Trade had spent on an 'open bar' to celebrate the final gig of the Raincoats tour – which 'the assembled radical DIY types drank up in 15 minutes'.” Chuck Warner
Puritan Guitars – £100 in 15 minutes
How minimal can you get? #3
Tandstickorshocks
Tandstickorshocks “were part of the Rondos/Red Rock scene, but while their 'big brother band' often played pretty catchy, fast songs, Tandstickorshocks's music is totally hook-and-chorus-free. Though they sound like they're just starting to learn to play, the playing is precise and to-the-point. It's not 'energetic' or even aggressive in the usual punk way. In places, the music reminds me of stuff like early Minutemen, Teenage Jesus, Red Krayola and early Scritti Politti, but the difference is those bands (and the Rondos, too) came from an art background, while Tandstickorshocks were genuinely young working class kids.“ Niels
Tandstickorshocks – Tradition
Tandstickorshocks “were part of the Rondos/Red Rock scene, but while their 'big brother band' often played pretty catchy, fast songs, Tandstickorshocks's music is totally hook-and-chorus-free. Though they sound like they're just starting to learn to play, the playing is precise and to-the-point. It's not 'energetic' or even aggressive in the usual punk way. In places, the music reminds me of stuff like early Minutemen, Teenage Jesus, Red Krayola and early Scritti Politti, but the difference is those bands (and the Rondos, too) came from an art background, while Tandstickorshocks were genuinely young working class kids.“ Niels
Tandstickorshocks – Tradition
How minimal can you get? #2
Aventuras de Kirlian
“Once upon a time there was a band called Aventuras de Kirlian. They got together in early 1986 in San Sebastián, where they all came from, and their line-up was: Peru Izeta (stand-up drummer), Jone Gabarain (vocals), Teresa Iturrioz (bass) and Ibon Errazkin (guitar). They were influenced by Young Marble Giants, Cherry Red bands, early Talking Heads, Tamla-Motown and a few assorted psychedelic bands from the 60’s. But, most of all, what determined their style was the fact that none of them could play at all. So they started writing songs that never went further than one minute long and never had very complicated chord changes. They were called 'minimalists' from the very start, and there wasn’t much they could do about it. Anyway, that was never a big concern.” Elefant Records
Aventuras de Kirlian – Un día gris / El cielo (TVE, 1989)
“Once upon a time there was a band called Aventuras de Kirlian. They got together in early 1986 in San Sebastián, where they all came from, and their line-up was: Peru Izeta (stand-up drummer), Jone Gabarain (vocals), Teresa Iturrioz (bass) and Ibon Errazkin (guitar). They were influenced by Young Marble Giants, Cherry Red bands, early Talking Heads, Tamla-Motown and a few assorted psychedelic bands from the 60’s. But, most of all, what determined their style was the fact that none of them could play at all. So they started writing songs that never went further than one minute long and never had very complicated chord changes. They were called 'minimalists' from the very start, and there wasn’t much they could do about it. Anyway, that was never a big concern.” Elefant Records
Aventuras de Kirlian – Un día gris / El cielo (TVE, 1989)
14 Nov 2009
How minimal can you get? #1
GOD
This is the first post of a series dedicated to the most minimal records ever made. And what better way to start the series than with this terrific artifact by this mysterious band called GOD. No sleeve, no info, no pictures, no lyrics sheet, just a black vinyl with the word “GOD” written on it by hand. In the purest minimalist approach, the song titles are “God Is Dood Nr. 2”, and “God Is Dood Nr. 3”. And as for the music, it sounds as it was the band's first attempt to record these two songs at the studio – or maybe at bedroom?, and I am pretty sure they did both songs in one take. Minimal as fuck, isn't it?
God – God Is Dood Nr. 2
Get it here.
Last but not least, if you feel you can help or want to make a suggestion, you'll be more than welcome. Let's keep it minimal!
This is the first post of a series dedicated to the most minimal records ever made. And what better way to start the series than with this terrific artifact by this mysterious band called GOD. No sleeve, no info, no pictures, no lyrics sheet, just a black vinyl with the word “GOD” written on it by hand. In the purest minimalist approach, the song titles are “God Is Dood Nr. 2”, and “God Is Dood Nr. 3”. And as for the music, it sounds as it was the band's first attempt to record these two songs at the studio – or maybe at bedroom?, and I am pretty sure they did both songs in one take. Minimal as fuck, isn't it?
God – God Is Dood Nr. 2
Get it here.
Last but not least, if you feel you can help or want to make a suggestion, you'll be more than welcome. Let's keep it minimal!
8 Nov 2009
Ich bin ein Berliner
Tomorrow is twenty years after the fall of the Berlin Wall, and this post commemorates this very special day. It's my little homage to the city of Berlin and its music scene, both so inspiring.Berlin Super 80
Die Tödliche Doris – Naturkatastrophenballet (1984)
“On Potsdamer Platz, windy and deserted, variations of natural catastrophes were recited and illustrated by objects attached to Käthe Kruse's body.”
Recommended listenings:
25 Oct 2009
Industrial music or the real Hardcore
This post is just a collection of images, words and sounds that tries to work as an interesting relation between Industrial music and Hardcore.
Flyer for a Throbbing Gristle & Flipper show (Raymond Pettibon, 1981)
“Genesis was really scary. There was something so intense about him on the stage; he looked so lizard-like-reptilian-with dark circles around his eyes. He would stalk around the stage with these paramilitary clothes on. There was this sonic maelstrom. In the audience were the most degenerated people I have ever seen. It was literally as if the people there had been let out of an insane asylum from the lowest level of Dante's Inferno. There was this creepy sexual vibe, Felliniesque in its utter decadence.” Richard Metzger
Throobing Gristle – Live @ Kezar Pavillion (San Francisco, 1981)
“I started going to Hardcore shows. I appreciated the aggression, the violence, and the fierce independent attitude, which was antithetical to most other music of the time. I saw most of the early American Hardcore bands play, but like everything, it seemed to get co-opted. I was looking for something more extreme that didn't concede to popular opinion. That's how I started listening to Industrial Music.” Michael Moynihan
Michael Moynihan (Coup de Grace) – Live @ Oberhausen (1986)
“I suppose you were seeing something that hadn't been seen before. There was no pretentious Rock Star stuff. There's no bar, no pick-up scene. It was very intense and visceral, in close quarters.” Michael Moynihan
“The idea I had in my mind was of an electronic maelstrom. And in live situations people would have no choice but to be completely submissive to this kind of sound.” William Bennett
Hardcore kids during a Whitehouse performance (DC, 1983)
“Utilizing ear-shredding frequencies and demented vocal hysterics, Whitehouse terrified the frail and pleased only those with the most discriminating of tastes.” Michael Moynihan
Whitehouse – Live (1984)
“I did Noise Music because I genuinely liked noise. I thought it would extend the boundaries of music. I didn't do it to be confrontational. I assumed others would feel the same way, and find it exciting. But a lot of people didn't. At my concerts, people smashed beer glasses in my face.” Boyd Rice
Flyer for NON show @ Mabuhays Gardens (1982)
“They really disliked me. At the show I had these bright lights shining in their eyes so they could barely see me – they were trying to reach up and smash the lights, but the lights were just out of their reach. One guy in front who was a real hardcore punk was rolling around with his hands over his ears and actually crying – he had tears in his eyes. Somebody threw a beer glass that hit me on the forehead. And it broke, and I could feel this throbbing pain – it had a little bit of beer in it, and the beer ran down my face and I thought it was blood. I continued to be real friendly to the audience, which made them even madder, because they were so mad and I didn't care! They were shaking their fists at me, and I thought that at any minute there'd be a riot. So I took it as far as I thought I could, and then thanked them and left.” Boyd Rice
Hanatarash – Live (1985)
“Hanatarash are infamous for their extremely dangerous live shows consisting entirely of on-stage destruction and utter disregard for anyone's safety. The most notorious incident involved Yamatsuka throwing junk around with a backhoe inside a venue. On another occasion, he inflicted a deep wound on his leg with an electrical saw, but carried on with the show. A dead cat is also known to have been cut in half during a show. The band once caused so much damage to a live house in Kyoto that it was forced to close.”
Hanatarash – Art from We are Hardcore 5CDR set of early CS releases
“At a 1985 gig in Tokyo's Superloft, Hanatarash had the audience fill out forms relieving the band of responsibility for any possible bodily harm caused by the performance. The show stopped just as Yamatsuka was about to throw a lit molotov cocktail onto the stage, which was gasoline-drenched from a barrel. The performance cost the venue ¥600,000 ($6000) in repair costs.”
Hanatarash – Live (1988)
Flyer for a Throbbing Gristle & Flipper show (Raymond Pettibon, 1981) “Genesis was really scary. There was something so intense about him on the stage; he looked so lizard-like-reptilian-with dark circles around his eyes. He would stalk around the stage with these paramilitary clothes on. There was this sonic maelstrom. In the audience were the most degenerated people I have ever seen. It was literally as if the people there had been let out of an insane asylum from the lowest level of Dante's Inferno. There was this creepy sexual vibe, Felliniesque in its utter decadence.” Richard Metzger
Throobing Gristle – Live @ Kezar Pavillion (San Francisco, 1981)
“I started going to Hardcore shows. I appreciated the aggression, the violence, and the fierce independent attitude, which was antithetical to most other music of the time. I saw most of the early American Hardcore bands play, but like everything, it seemed to get co-opted. I was looking for something more extreme that didn't concede to popular opinion. That's how I started listening to Industrial Music.” Michael Moynihan
Michael Moynihan (Coup de Grace) – Live @ Oberhausen (1986)“I suppose you were seeing something that hadn't been seen before. There was no pretentious Rock Star stuff. There's no bar, no pick-up scene. It was very intense and visceral, in close quarters.” Michael Moynihan
“The idea I had in my mind was of an electronic maelstrom. And in live situations people would have no choice but to be completely submissive to this kind of sound.” William Bennett
Hardcore kids during a Whitehouse performance (DC, 1983)“Utilizing ear-shredding frequencies and demented vocal hysterics, Whitehouse terrified the frail and pleased only those with the most discriminating of tastes.” Michael Moynihan
Whitehouse – Live (1984)
“I did Noise Music because I genuinely liked noise. I thought it would extend the boundaries of music. I didn't do it to be confrontational. I assumed others would feel the same way, and find it exciting. But a lot of people didn't. At my concerts, people smashed beer glasses in my face.” Boyd Rice
Flyer for NON show @ Mabuhays Gardens (1982) “They really disliked me. At the show I had these bright lights shining in their eyes so they could barely see me – they were trying to reach up and smash the lights, but the lights were just out of their reach. One guy in front who was a real hardcore punk was rolling around with his hands over his ears and actually crying – he had tears in his eyes. Somebody threw a beer glass that hit me on the forehead. And it broke, and I could feel this throbbing pain – it had a little bit of beer in it, and the beer ran down my face and I thought it was blood. I continued to be real friendly to the audience, which made them even madder, because they were so mad and I didn't care! They were shaking their fists at me, and I thought that at any minute there'd be a riot. So I took it as far as I thought I could, and then thanked them and left.” Boyd Rice
Hanatarash – Live (1985) “Hanatarash are infamous for their extremely dangerous live shows consisting entirely of on-stage destruction and utter disregard for anyone's safety. The most notorious incident involved Yamatsuka throwing junk around with a backhoe inside a venue. On another occasion, he inflicted a deep wound on his leg with an electrical saw, but carried on with the show. A dead cat is also known to have been cut in half during a show. The band once caused so much damage to a live house in Kyoto that it was forced to close.”
Hanatarash – Art from We are Hardcore 5CDR set of early CS releases “At a 1985 gig in Tokyo's Superloft, Hanatarash had the audience fill out forms relieving the band of responsibility for any possible bodily harm caused by the performance. The show stopped just as Yamatsuka was about to throw a lit molotov cocktail onto the stage, which was gasoline-drenched from a barrel. The performance cost the venue ¥600,000 ($6000) in repair costs.”
Hanatarash – Live (1988)
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