Plats de Résistance
mets indélicats pour fins gourmets et oenologs avertis...
Willful Neglect - Willful Neglect + Justice For No One
Their style was fast aggressive hardcore with some high energy rock influence thrown in. Think of White Cross or early Verbal Abuse.
The Beatnigs - Television
The original vehicle for social and political critic Michael Franti (later of the Disposable Heroes of Hiphoprisy and Spearhead), the Beatnigs used elements of industrial music and punk on their lone album, a 1988 self-titled effort for Jello Biafra's Alternative Tentacles label. After its release and a remix of the single "Television" by Adrian Sherwood, the group broke up. Franti, however, returned to music three years later with his Disposable Heroes project, an act in much the same vein as the Beatnigs but with more ties to rap. ~John Bush @AllMusic
Most people are no doubt more familiar with the version by The Disposable Heroes of Hiphoprisy, Franti and Tse's project after departing from The Beatnigs.
I've always preferred The Beatnigs' version, partly because it has more of a jackhammer quality, seemingly trying to flatten the offending appliance out of all recognition. The lyrics definitely pack a punch, and are frequently funny, though the delivery is more aggressive, even ill-tempered at times. The main flaw here is, as is so often the case, that the two extra mixes of "Television" just don't add anything to the song at all. Messers Sherwood, Clail and Stewart may have their merits, but not in this context. "Jazzy Beats" does not live up to its name. Still, having zapped through the fifteen channels I have at my disposal and found nothing that didn't threaten to infect me with extreme idiocy, twenty-one years on, "Television" remains as true as ever - in spirit, even as the historical references have dated. ~resist_retreat @RateYourMusic
The Beatnigs - The Beatnigs
Inspired San Francisco band that successfully combined elements of ethnic rhythm, industrial percussion and punk roots into a highly energetic and raw experience. Intense socially-conscious lyrics complete the mix, including their underground favorite, "Television (the drug of a nation)"! Features Michael Franti and Rono Tse, who soon afterwards spawned The Disposable Heroes Of Hiphoprisy and Spearhead.
Blind Idiot God - Before Ever After
Drums – Tim Wyskida
Basse et batterie énormes, guitare super abrasive, 'Before Ever After' rase ou écrase tout sur son passage, et avec groove encore!
Blind Idiot God - Sawtooth
A strange infusion of dub is usually present and remains a constant throughout their albums.
Blind Idiot God - Undertow
Direct : Link
Blind Idiot God - Blind Idiot God
Concocting a unique blend of thrash, math rock, and dub, the instrumental power trio Blind Idiot God burst onto the scene in the late '80s, recorded three fine albums, and evaporated by 1993. Apparently only just out of their teens, the three musicians exhibited startling originality and impressive technique both on their instruments and in the depth and style of their compositions. Their faster, louder pieces are intensely churning, though essentially melodic in nature. Often they begin with anthemic lines, precisely and forcefully etched by Andy Hawkins' guitar, backed by the supple, powerful drumming of Ted Epstein. But, midway through, the melodies tend to be twisted and pulled like taffy, elongating into mutant forms only hinted at previously. This creates a marvelous tension, as one is never certain how a given song will resolve. The listener feels buffeted about, as if inside a roaring engine at 30,000 feet. In a complete and utter about-face, the album ends with three pieces that could hardly be further removed from the divine cacophony of the initial songs. Suddenly, the listener is in a spare, ethereal dub landscape, with Gabe Katz's muted bass throbbing beneath light, floating shards of guitar sound, echoing into the distance. One is all the more impressed by the range of this band, capable of so expertly handling such disparate song forms. This is an extraordinary debut album by a group that proved all too short-lived. ~Brian Olewnick @AllMusic
Saccharine Trust - The Great One Is Dead
Here to a cool Album Review by Mark Pino @DisasterAmnesiac
A crazy, exciting hyperbroth-like and force-exhilarating evidence of the dynamics which can come into being from the revolt against a "Nothing at All", that actually means from the will to "do something", to be a "definable self". "Nothing at all turns me on", this was the claim of an entire generation, often misinterpreted as being fatalistic and nihilistic, however, that was never led by rejection of all values but rather by longing for them. Against the background of the "All is interpretation" attitude and on the waste-disposal sites of religions and ideologies that have failed or are damned to fail, they created their own, individual system of values.
Suburban Lawns - Suburban Lawns
Gotta find out yeah, so if you want it good, get it!
Suburban Lawns was formed by two CalArts students, Sue McLane and William Ranson, the pair adopted the respective stage names Su Tissue (vocals and keyboards) and Vex Billingsgate (bass and vocals), and teamed up with guitarists Frankie Ennui (born Richard Whitney) and John Gleur (real name John McBurney) and drummer Chuck Roast (aka Charles Rodriguez). Between 1978 and 1983, Suburban Lawns gigged frequently on the West Coast new wave circuit, and put out two successful indie singles ("Gidget Goes to Hell" and "Janitor") before they cut their self-titled debut album for I.R.S. Records in 1981. On vinyl, Suburban Lawns sound unrelentingly "clever" and a bit too self-consciously quirky for their own good, but there's more than enough surreal humor in the lyrics of tunes like "Flying Saucer Safari," "Computer Date," and "Intellectual Rock" to compensate, and the musicians had impressive skills to pull off the breakneck tempos and acrobatic guitar figures that dominate these songs, sounding taut and jaunty at each turn. And though Vex Billingsgate's "Local television announcer gone berserk" vocal style had its charms, Su Tissue's three-way cross between Nico, Yoko Ono, and a performance poet working on two hours sleep was not only a touchstone of the era, but a witty and singular sound in its own right. Suburban Lawns manages to sound like the archetypal '80s new wave album and an arty pop project that doesn't bear close resemblance to anything else at the same time, and either way you look at it, it's an off-kilter triumph. ~Mark Deming @AllMusic
Don Caballero - Five Pairs Of Crazy Pants. Wear 'Em: Early Caballero + Look At Them Ellie Mae Wrists Go!: Live Early Caballero
Two longstanding clichés among musicians: drummers make lousy bandleaders, and most bands have to wait a while before they really latch on to their sound and approach. Neither of these old saws have a lot to do with Don Caballero -- Damon Che's over the top percussion skills and his ability to put his precision bursts of rhythm and color at the forefront of a song made it clear he was the musical core of this band, which he held together with merciless drive and talent. And while one might reasonably expect that it would take years for a band as complex and dependent on precise interplay as Don Caballero to hit its stride, it seems the group was pretty amazing right out of the box. In December 1991, only a few months after they started playing together, the members of Don Caballero (just a trio at this point) spent a few hours in a recording studio on the campus of Carnegie Mellon University, and these first demos are receiving a belated release on the album Five Pairs of Crazy Pants Wear 'Em: Early Caballero. What's here isn't quite up to the level of Don Cab's remarkable 1993 debut album For Respect, but given that the bandmembers had considerably more experience under their belts at that point and a world-class recording engineer (Steve Albini) at their service rather than the competent but unexceptional audio on this set, it's rather remarkable how similar the two records sound. The taut communication between Che, guitarist Mike Banfield, and bassist Pat Morris is already there, the skittery but powerful musical frameworks already sound like manna from math rock heaven, and the physical power of this music and these players inspires a very genuine awe. Don Caballero re-recorded nine of these 11 songs for their early singles and/or on the For Respect album, and some fans might wonder how badly they need the otherwise unavailable "Schuman Center '91" or "Waltor" in their collections, but if you're a Don Caballero follower who likes to be reminded of how crazy good they were when they first emerged, Five Pairs of Crazy Pants Wear 'Em: Early Caballero does just that, and it's an impressive barrage of sound and fury. A special edition of the album also includes Look at Them Ellie Mae Wrists Go!: Live Early Caballero, a recording of the band's second live show from early 1992; the performance is excellent, the fidelity is good if not spectacular, and this should well please ardent fans without troubling more casual admirers should they miss it. ~Mark Deming @AllMusic
Doctor Scientist - Prehistoric Times
Left to right: Keith, Jon, Jeff, Eric
Various Artists - Bloodstains Across The Midwest (The Kent State Region)
Mostly worthwhile, with the best being Dow Jones, Haskels, Gizmos and the Endtables.
C'est là aussi qu'en 1970 eut lieu la fusillade contre des étudiants qui manifestaient de manière pacifique. Avec la guerre du Vietnam en trame, un massacre dont les motivations ne sont à ce jour toujours pas claires (ACAB).
Prêt pour le grand plouf!?
Various Artists - Bloodstains Across California (The Manson & Tates State)
Various Artists - Bloodstains Across Texas (The Jack Ruby State)
The Spy's - Original Punk Rock From Canada 1979 - 1980
No Trend - Tritonian Nash - Vegas Polyester Complex
Alto Saxophone - Nick Smiley
Baritone Saxophone - Scott Raffel
Bass - Smokey
Cello - Ragelio Maxwell
Drums - Fuzz
Guitar - Leif
Keyboards - Dean Evangelista
Tenor Saxophone - Johnny 'Bubba' Ontego
Trumpet - Paul Henzey
Vocals - Cliff 'Babe' Ontego
On its second album 'A Dozen Dead Roses' a year before this one, No Trend was exploring a more experimental Noise Rock that incorporated Jazz, Funk and Muzak path.
No Trend would record a rather funky final album in 1987 called 'More', which won't get released until 2001 on Morphius Archives.
One thing music fans (and historians) often forget is this: It might be called punk, but that doesn't mean it's simply filled with screaming noise. As an art form, punk rock can be as multidimensional as any other, and the underrated No Trend was a pretty solid example of that truth, especially on this album. Drifting from the bluesy saxophone sound of "Fred Reality" and "Cry of the Dirtballs" to the surf funk of "One Under Parr" and "Overweight Baby Boom Critter" to, of course, the no-holds-barred hardcore of "Without Me," No Trend covered a good amount of ground with a sizeable dose of biting humor. For a belly laugh at the Reaganite nightmare of the band's 1986 culturescape, thumb through the riotous "Space Disco" ("Beat your children in the supermarket aisles/Sidewalk sales and overflowing garbage pails/There's a dead animal on my street/No one cleans it up/It's been there for weeks") or the aforementioned hilarious "Overweight Baby Boom Critter" ("Baby boom/You are the trend/You are the disease/From Woodstock to Muzak/Polyster values/Your children want to kill you"). Cliff Ontego's lead vocals are more cathartic screaming and squealing than by-the-numbers singing, recalling Jello Biafra without the swagger or Black Francis without the bottomless depth. And although the music is a few notches below the high-octane output of No Trend peers such as Fishbone and the Minutemen, it's still in your face and fun as hell. By the time the frenetic but catchy "Choc-O-Jet" helps wind up the album, you'll be thinking about thanking Touch & Go for re-releasing this subversive slice of social history. ~Scott Thill @AllMusic
Rats Of Unusual Size - Ratzilla
The frontman Jim Fourniadis moved to Michigan and reformed the band with members of the Guilty Bystanders in 1995. He now lives in San Francisco and runs a small theater called the Dark Room.
Nervebreakers - Hijack The Radio!
'Hijack the Radio!' collects various studio sessions, singles, and compilation tracks predating 1980's 'We Want Everything' LP, including a couple of tunes from 1975 (instrumental "Missa Moses" and the psychedelic "See Me Thru").
Gone - Let's Get Real, Real Gone For A Change
Cólera - Grito Suburbano / The Best Of
Cólera was the first Brazilian punk rock band to record and also the first one to perform abroad. Formed in November, 1979, in São Paulo by brothers Edson Lopes Pozzi and Pierre (Carlos Lopes Pozzi) and friend Val (Valdemir Pinheiro, later replaced by Josué Correia, who was by his turn replaced by Fabio Bossi), the band is devoted to denouncing violence and war ("Pela Paz Em Todo Mundo", "Duas Ogivas"), exploitation and social injustice ("Não Fome", "Condenados", "Sarjeta"), slavery of man to machine ("1992") and the urban chaos ("Vivo Na Cidade", "São Paulo"). The first recording (Grito Suburbano, 1982) was shared with other bands of the homonymous movement which supported peace and ecological concerns in punk rock. The album was also released in Germany in 1984. They participated in three other compilations before recording the first of their eight LPs: O Começo Do Fim Do Mundo (November 1982), Sub (March 1983) and Beating the Meat (October 1983). Tente Mudar O Amanhã, the first LP, was recorded in 1985. The second, Pela Paz Em Todo O Mundo (1986), became a classic of the style in Brazil, selling 80,000 copies (30,000 in the U.S. and Canada). Cólera toured Europe three times, in 1987, 2004 and 2008. ~Alvaro Neder @AllMusic