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Archive for the ‘Dischord Records’ Category

hardartSOUNDTRACK: THE TEEN IDLES-Minor Disturbance (1981).

minorThe Teen Idles were the first band released on Ian MacKaye’s Dischord Records.  And this EP was record 001 (MacKaye was in the band and he made his own label to release the record).

There are eight songs, done in a total of 9 minutes and 20 seconds.  The final song is a live track and it reaches 2 minutes mostly because of the introduction and crowd noise.  Three songs almost reach 90 seconds long.  The rest are under 1 minute.

Interestingly, there are earlier demos of these songs that are a little slower and a little less fastinyourfacescreamedlyricswhat???  Perhaps because I’m old I like the slower ones a little better, but I know that this represents the core of DC Hardcore and I respect that.  And you can actually make out the lyrics if you try.

Some themes include being too young to go to shows, people trying to grow old too fast, punk music (“you say we need practice, maybe in a couple of years”), and apparently dissing British punk for selling out. (“There goes your fury out the door, don’t expect our respect anymore”).

The acerbic “Deadhead” even has a slow section (but is still overall less than 90 seconds) in which they parody the Grateful Dead—the song is anti-Dead primarily because of the drugs they espoused (The Teen Idles, like Minor Threat were straight edge).  I had to look up Fiorucci to see what “Fiorucci Nightmare” was about (it’s a fashion house).

For an early taste of the DC Hardcore scene, it pretty much starts here.

[READ: August 22, 2013] Hard Art DC 1979

Do you like punk rock?  Punk rock from the late 70s? Specifically bands from Washington DC? In particular bands that played at three venues?  On four specific dates?  That’s the focus of this book.

This is a collection of photographs by Pulitzer Prize winning photographer Lucien Perkins.  Perkins has been taking pictures for decades, primarily for The Washington Post—covering major events in Russia, Yugoslavia, Iraq, Afghanistan and, in the late 70s, a few DC punk shows.

The book doesn’t say anything about his motive for doing these shows—other than that he was new to the scene and thought it looked interesting.  And since Bad Brains are the focus of most of the pictures, I’m certain that race and racism had something to do with his showing up at these events.  Especially because the first event was called Rock Against Racism and was held in a public housing area of Washington D.C. (more…)

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SOUNDTRACK: FUGAZI-Repeater + 3 Songs (1990).

This was Fugazi’s debut album and my first exposure to them.  They’d put out some singles before this but I missed them.  Listening to it now, it sounds great, but not revolutionary.  And yet, I remember back then, this was a pretty mind-blowing album.  It’s full of heavy chunky guitars and yet it is underscored by a punk vibe (that comes from the source: Minor Threat).

And yet, despite that pedigree, the album is also quite diverse.  There’s some pleasantly melodic sequences, including the very nice instrumental “Brendan #1.”  There’s some wildly unpreditcable chord sequences and sounds, like the opening fof “Greed.”

Of course before you forget that this is a punk band at heart you get the hardcore chanting of “Sieve-Fisted Find” which sounds like every chanted hardcore record from the 80s (a nice touch).

And yet there’s also great diversity throughout, chugging guitars in “Two Beats Off.”  “The slow, almost jazzy twists and turns of, “Shut the Door.”  And I haven’t even mentioned the two lead-off tracks: “Turnover” and “Repeater” one of the best statements of purpose to open a disc in the 90s.

I have enjoyed other Fugazi releases, but for me this is the one to get.

[READ: April 9, 2010] Keep Your Eyes Open

My brother-in-law Ben got me this book for Christmas a couple of years ago.  It’s primarily a photo collection.  Well, it IS a photo collection, but there’s also an introductory essay that I hadn’t read until the other day.

Glen Friedman has evidently been Fugazi’s official photographer for years (and this is, I gather, his second book of photos).  The book is a good mix of live and “posed” photos.  Obviously, the live ones are more dynamic (and you can really see that way the band is totally immersed in their show).  There’s got to be at least a dozen shots of someone in the band upside down, on his back or in some way not normally upright. (more…)

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nyorkerSOUNDTRACK: SONIC YOUTH-TV Shit (1993).

tvshitThis is a funny little addition to the SY catalog. It is essentially four covers of a song by Youth Brigade called “No Song II” (which is from Dischord records, Possible EP here).

The original song is one second long, with the band shouting “No”

So, covers of it are obviously absurd.  There are 4 tracks in total on the disc, the last two are each over three minutes long (!)

The band is in full noise/freak out ensemble, complete with maniacal screamer/lunatic  Yamatsuka Eye from the Boredoms (and elsewhere).

Obviously it’s a bit of fun, and little more. It’s only for super-die-hard fans or anyone who might like the Boredoms-style of noise rock.

[READ, August 18, 2009] “Max at Sea”

Since I just finished Eggers’ How We Are Hungry, I was delighted to find a new story by him in the New Yorker. The picture next to it looks like a still from the upcoming film of Where the Wild Things Are (Eggers cowrote the screenplay). So, when the story started and Max put on a bear costume, I thought, huh, that seems very familiar.

As the story progressed, well, it seemed really really familiar. Now, I admit I don’t know Where the Wild Things Are by heart, but I sure recognized a lot of it. And then I confirmed with Sarah that indeed, this short story IS the story of Where the Wild Things Are. Eggers has fleshed it out (presumably for the screenplay) and added some details and things, but the whole plot of the story is Maurice Sendak’s.

And I’m not sure how I feel about releasing it as a short story. It is acknowledged in the Eggers bio in the front of the magazine that it does come from Sendak’s work, but somehow it seems wrong to take up a fiction spot in the New Yorker (that most venerable of fiction locations) with a story that is a retelling of someone else’s story. (more…)

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