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MRR Radio #1428 • 11/23/14

This week's radio show brings you Rob and an old MRR shitworker Paul revisiting the ...

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MRR Presents: Friday Fuckin' Funnies! #62

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New Blood! GONGFERMOUR, DEEP CREEPS, SOCIALITE and PRETTY HURTS

MRR magazine's new-band section "New Blood" is now a regular feature here on maximumrocknroll.com! See below ...

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Carolyn's MRR #380 top ten preview!

Hi. This is Carolyn Keddy, film reviewer, record reviewer, top tenner with some highlights of ...

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Reissue of the Week: X Aspirations LP

Recorded in 1979, utilizing just a few hours of remnant studio time, X forever scarred ...

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Relatos sobre la Escena Subterránea Peruana: Parte III


November 17th, 2014 by

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Here is the Spanish-language version of part three of our three-part history “Notes on the Peruvian Underground.” This originally appeared in English in MRR #359. You can read part one in English in MRR #353 (parte uno en español aquí) and part two in English in MRR #356 (parte tres en español aquí).

Autor: shane g.g.
Traducción: Julio “el chibolo” Durán con aportes de P.J. Lucas

…Y luego viene un culo de otras huevadas

Hay tantas huevadas con las que podría seguir jodiéndolos que esto podría convertirse en una malacostumbre de ir contando historias sin parar y sin saber cuándo callarme. Sigo con ganas de empezar este último grupo de historias sobre la escena subterránea punk del Perú remarcando algo así como las diferencias esenciales entre las décadas de los 80, 90 y 2000, estableciendo una especie de división cronológica rigurosa entre un momento histórico y el siguiente, dibujar una línea clara en la arena temporal. ¡Los 80 fueron punk y hardcore y políticos! ¡Con los 90 llegó el grunge y esto llevó a un punk despolitizado! ¡A partir del 2000 hasta el presente surgen bandas indies y de fusión con mercados nicho para cada consumidor imaginable!

¿Pero saben qué? No es tan simple. No en Perú. Probablemente no lo sea en ninguna parte. La temporalidad es un asunto problemático. Y, de todos modos, las décadas y años y fechas son marcadores arbitrarios para señalar una diferencia histórica.

El noise y el grind y el crust core en Lima, por lo general, se asocian principalmente con los 90. Era una mancha de chiquillos (Leo Bacteria, Richard Nossar, Oscar Reátegui, José Morón) la que ayudó a formar estas mini-escenas. Pero lo hicieron solamente después de entrar en el “rock subterráneo” a fines de los 80 cuando ya había degenerado en facciones porosas de hardcore, punk, metal-crossover, y, por supuesto, de cholos, misios y pitucos. El resultado fueron varios proyectos noise: Atrofia Cerebral, MDA, Insumisión y Dios Hastío. Este último está aún activo y dejando sorda a la gente en mugrientos locales del centro de Lima. También hubo otras bandas más nuevas que surgieron con una combinación de influencias hardcore, punk y rock garage. Aeropajitas, Pateando tu Kara, Héroe Inocente y Manganzoides se impusieron como algunas de las favoritas en Lima en distintos puntos de los años 90. Todos ellos aún participan en tocadas de vez en cuando.

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¿Eso significa que todas las bandas de los 80 están muertas? Pues casi. Algunas resistieron por un tiempo o hicieron retornos inesperados. G3 agregó un segundo guitarrista e hizo un giro evidente al grunge en los 90 básicamente hasta que se separaron en 2000, y luego Gabriel y Gonzalo empezaron Inyectores. Leusemia reapareció en 1995 con un nuevo álbum y ha seguido tocando desde entonces con distintos miembros. Los únicos miembros originales que han durado son Raúl Montañez y Daniel F., siendo este último uno de los pocos subtes de la generación más antigua que ha podido ganarse la vida tocando rock’n’roll sin tener que tener un trabajo formal (y uno de los resultados es que se ha hecho unos cuantos enemigos). Voz Propia debe ser una de las bandas activas con mayor continuidad que surgieron de la escena del rock subterráneo a mediados de los 80–acaban de lanzar su décimo larga duración, “The Game is Over” en 2011. Read the rest of this entry »



Relatos sobre la Movida Subterránea en Perú: Segunda Parte


November 10th, 2014 by

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Here is the Spanish-language version of part two of our three-part history “Notes on the Peruvian Underground.” This originally appeared in English in MRR #356. You can read part one in English in MRR #353 (parte uno en español aquí) and part three in English in MRR #359 (parte tres en español aquí próximamente).

Autor: Shane “Gang” Greene*
Traducción: Julio “el chibolo” Durán con aportes de P.J. Lucas

No se trata solo de la música, hijos de puta

Se trata de los patas flacuchentos a los que les gusta poguear, pero que no pueden cachar; de las gorditas con pelo azul que les gusta tirar; del pituco huevonazo ovejita negra que busca la manera de cagarse en su papi banquero; del cholo bicho raro clase media al que le gusta la distorsión más que vestirse como bacán; de los lameculos introvertidos y las marimachas salidas del closet que te mandan a la mierda; de los ideológicamente descontentos; de los socialmente discapacitados; de los mentalmente inestables y de los materialmente detestables; de los retorcidos pero no precisamente idiotas. Tipos raros, maricones, borrachos y fumones. Así es, Dr. Allin, lo ha formulado usted muy bien, de verdad, muy bien. Y no olvidemos a los aburridos estudiantes de arte y futuros intelectuales.

Sabemos que el punk no se trata solo de la música. Se trata de este tipo de reuniones poco probables de gente desagradable que la música termina agrupando. Se trata de los misfits (con ‘m’ minúscula). El punk encuentra la manera de faltarle el respeto a las fronteras, incluso (o quizás, especialmente) cuando determinados punks comienzan a gobernar el inconformismo y se lo imponen a los recién llegados que andan desprevenidos. El punk va en busca de hogares destruidos y familias perfectamente equilibradas al mismo tiempo; busca personalidades al borde de la anti-socialidad y las coloca en la misma sala con los seres humanos más lindos y generosos que ofrecen todo su amor incondicional. No hay lugar al que uno vaya en donde no existan misfits. Extrañamente, tampoco existe un lugar específico en donde encontrarlos. Simplemente, aparecen; y el punk les ofrece un lenguaje, un contexto, un par de amigos: otro desadaptado que puede o no ser de confianza pero con el que puede ser chévere huevear un rato. Es todo un poco como en el cuento de Bartleby, ¿no? Preferiría no hacerlo, huevonazo…

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Todo esto también es cierto para los punks que crecieron en la cloaca de mierda que era Lima durante las décadas tumultuosas del Perú de los 80s y 90s, en las que ser un desadaptado podía significar que te mataran, te arrestaran, te detuvieran o te metieran en cana. O que te obligaran a esconder la cabeza bajo la tierra. O que te hicieran pensar si era mejor hablar de paz en medio de la puta guerra. O buscar refugio en tu distrito residencial de clase alta, relativamente seguro, alejado de la masacre de miles de indios pobres y provincianos en el campo. Muchas decisiones que después tendrías que asumir. Yvivir cuestionándoselas o terminar como un muerto más. Muchas decisiones que, en realidad, no ofrecían opciones.

Es imposible ubicar una personalidad única, mucho menos un perfil simple de quién o qué es un “punk peruano”. Sí, surgen patrones estructurales mayores. Más gente de clase media y clase alta que gente de clase baja; más blancos o mestizos que indios; muchos más chicos que chicas. Y no hay duda de que el punk fue y sigue siendo casi completamente urbano; o que, hablando musicalmente, es profundamente Euro-Americano en la mayor parte de sus manifestaciones pasadas y presentes. De hecho, solo unas pocas bandas selectas (Del Pueblo o Seres Van de la década de los 80) estuvieron lo bastante inspirados para crear una nueva textura musical agregando instrumentos andinos o afroperuanos (quenas, zampoñas, charango, cajón) a ese género emergente llamado “rock subterráneo”. Batería, guitarra, bajo y un pata cantando con un micro. Ese es todavía el 1-2-3-4 del rock’n’roll casi a dondequiera que vayas.

Pero a pesar de todos estos factores estructurales, las personalidades punk son, en verdad, y de una manera fascinante, difíciles de definir. Como “un traje que no le queda a la persona para la que fue hecho” –la etimología de misfit avalada desde el Siglo XIX–, los punks peruanos no se adaptan bien a nuestras variables científico-sociales cuidadosamente modeladas. Sus pensamientos son demasiado irruptivos; sus actitudes, demasiado disruptivas. Quizás prestando atención a las posibilidades polisémicas de sus deshonrosos apodos podemos apenas aproximarnos a una descripción de su inadaptabilidad.

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Está Leo Escoria, porque está ‘astalasuevas’, y también Leo Bacteria, porque era infecciosamente gracioso hasta que se suicidó (Que En Paz Sigas Jodiendo, Leo). También está Daniel F, porque es feo. Está Chiki, porque cuando era adolescente se parecía a Chiquidrácula, el personaje de la televisión mexicana de los 80. Está Loquillo porque, según dicen, es un loco de mierda, y el Negro Brunce, porque es negro y porque ‘Brunce’ es probablemente el apellido peruano más raro que haya existido. Está María T-ta porque le gusta mostrar las tetas en público y Támira porque es un poco tímida y artística (así que no necesita apodo). Está Mono Blanco, pero no tengo idea de por qué es un mono blanco, y Chancho Viejo porque, asumo, es un cerdo no tan joven. Está Sandro Dogma, más modesto que dogmático, pero con el valor necesario para llegar desde Lima hasta Nueva York sin un puto sello en su pasaporte. Están el Chato Víctor y el Chato (Inchaústegui), porque los dos son bajitos. Está el Gordo Gabriel y el Gordo Memo, porque, bueno, son recontra gordos. Está Pedro Tóxico porque es una linda persona que escribió esa letra hermosamente venenosa para el clásico de Sociedad de Mierda “Púdrete Pituco”. Está Boui (no Bowie) porque es alto, delgado y de piel clara, se tiñe el pelo de blanco, y se mete un culo de cocaína. Está Miguel Det (no Death) porque tiene una parte metal, otra parte punk, y todas las partes oscuras. Y porque, francamente, son palabras que no tienen sentido fonético desde otro punto de vista lingüístico, que se pierden al ser traducidas para el público gringo.

Es verdad. Hay un culo de misfits en el País de los Incas. Programen una visita; organicen un tour; sáquenle unas fotos a estos jodidos nativos que viven en la Cagada Ciudad de los Reyes. Read the rest of this entry »



Download from the Vaults!
Maximum Rocknroll #13 • April/May 1984


July 29th, 2014 by

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DOES PUNK SUCK??? Well, does it? We now travel back in time to 1984 to hear what Doc Dart, Tim Yo, Pushead, Allison Raine, and Frank Discussion have to say about punk’s future… Also included in this discussion from Maximum Rocknroll issue #13 — now available to download in its entirety here — are Glen E Friedman, Rev Nørb and many other punks from all your favorite bands and zines. It doesn’t stop there! This issue also features the WIPERS, COLERA, AMEBIX, NIHILISTICS, UGLY AMERICANS, SECOND WIND, and a devastatingly vast array of reviews and scene reports, ads for records that now cost a lot more than they did in 1984, and so much more! 

DOC DART/CRUCIFUCKS
I appreciate the opportunity to comment on a subject which is as perplexing as it is challenging. First of all, the labels which have been tossed (punk/hardcore) about in a feeble attempt to pigeon-hole bands and audiences alike, are a source of aggravations and alienation for me. There was a time when I didn’t mind and was sometimes proud of being called a “punk.” The music was new and exciting and the label at least set me apart from the mundane and often sickening mass of idiots that refer to themselves as Americans.

Now, more often than not, I’ve found myself confronted with an equally mundane and sickening mass of twerps, some of whom refer to themselves as “hardcore punks.” They are usually not in the majority at shows but their techniques of drawing attention the themselves borrow from some of America’s most inane traditions: football, fashion show, the Marines, and Quincy. It’s no wonder that people who might otherwise be interested in good music, or even starved for good music, often go away from “hardcore” shows wishing someone had warned them that the circus was in town.

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Doc Dart

For many people, music is a potential vehicle for social change. Obviously, it has thus far worked much better for the government than it has for positive change. My suggestion is that you mindless violent, fashion-conscious exhibitionist, whose prime motivation is to assert your “manhood,” please just frequent shows that showcase bands with your mentality (need I list some of them?), and allow the rest of us to transcend these ridiculous labels (such as hardcore), as well as your pitiful lifestyles. There would be much more support for a “scene” that valued intelligence, compassion, education, action, and most of all, creative music. I know of many people who would show much more interest (myself included) in something positive and ever-changing, as well as diverse, and free of labels that only serve to stifle and stereotype behavior. I’ve seen signs in a few cities that this is possible. Madison, Wisconsin, is a good example. As far as I’m concerned, “hardcore” is another word for stagnation. Can we call it music if it’s good? That would make it an even rarer phenomenon, but at least a growing one. It was the prohibition of good music that spawned our so-called movement; so why shouldn’t we claim ours as music, and dismiss the mainstream as “hardcore shit”? And anybody in your crowd that goes out of their way to act tough or to spend five hours perfecting their appearance could be encouraged to assume their rightful place among mainstream Americans with traditional values. Eliminate five ignorant twerps and maybe ten good friends will take their place. The ignorant will return when intelligence becomes “fashionable.” Don’t be misled in thinking that I have hope for the future, because I don’t, but how can anyone give up with so much at stake? Ever get the feeling you’re living in a cage and then wonder why everything outside is deteriorating faster than you?

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Tim Yo

TIM YOHANNAN/MRR
One of punk’s main thrusts was “anybody can do it.” But democracy often leads to mediocrity. If many hardcore bands now sound generic, should we be re-thinking our commitment to “democracy” and return to elitism in music, as some would like to see? Or should we say that democratizing music was just the first stage, and now that we’ve got  “a band in every garage,” let’s move on to stage two: quality and imagination.
This is the big hurdle: how to maintain the spontaneity and passion of garage music, while becoming more proficient musically, and while trying to break formulas of song structure and lyrical approaches. Hopefully, we’ll see more bands keeping the emotion, noise, and commitment of hardcore (the edge), while taking more chances in trying to surprise and excite us. Speaking of which, it seems to me that most of today’s bands are content to just entertain the audience. They play as if they were at rehearsal, song after song, with no room for spontaneity, just like the formula “rock” bands. Originality, and crowd interaction are the victims. In the earlier days of punk, the creative performance was stressed more, with the accent on both irritating and stimulating audience participation. Now, it seems that musical perfection is the goal, and bands want to merely satisfy the expectations of the audience, taking fewer chances, and turning punk into another consumer package, a “concert” to placate the masses.

The other major problem that I see is how punk/HC will be able to survive (at a grassroots level) the new corporate attempts to co-opt it. As “Rock of the ’80s” stations start playing SUICIDAL TENDENCIES, DKs, DOA, etc., and major labels start chasing punk bands, will those bands remember the sad tale of the CLASH? They elected to “go corporate” (in order to get their message to more people?), and now, seven years down the road, have the following to show for it: they 1) claim to be broke, financially; 2) are without a direction, proclaiming themselves “born again punks,” yet showing an abysmal lack of knowledge of what’s been happening in punk since they lost touch with their roots (indie clubs, indie promoters, indie labels, indie zines); and 3) are without a sense of integrity, having been thoroughly “used” by the very corporations they sing against, and make rich. Punk’s ability to maintain its integrity and maintain its commitment to the alternative scene will be the real determinant of its future.

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Pushead

PUSHEAD/JACK OF ALL TRADES
The worst aspect of the punk/hardcore attitude/lifestyle is alot of the people got involved to be an elite few, to claim it as something that was “their baby,” different than whatever everyone else did. By that factor, it gave them confidence and strength, and some took it too far. So when the interest grew and others got involved, it became apparent that some didn’t want the “new crew” to come in, for it was their “scene,” so they soon dropped out and criticized the “image” which they felt everyone was acting out. Sure, during that time they made rules and regulations about “their ” idea of what should happen and how it should be done, and laughed at others as they laughed at themselves, only to soon become what they were laughing at. I thought everyone was supposed to share a common belief for a certain progression. But when you let your disbelief in those who enter the “attitude” rival your own, and then get angered, whose revolution is it? When society can market the hardcore product, make money off the rising phase, and the disbelief between the people involved, all these factions lead to the end of another revolution. So how can it be such a threat when some of the people involved are so selfish? Myself, I’m sadly disappointed at my friends who had such positive attitudes, but got so upset by certain negativities in their scenes that they quit, instead of continuing their positive voice and fighting their negative, as they just didn’t care any more. Thanx for nothing. You let yourself down.

I’m sadly disappointed at my friends who had such positive attitudes, but got so upset by certain negativities in their scenes that they quit, instead of continuing their positive voice and fighting their negative, as they just didn’t care any more. Thanx for nothing. You let yourself down.

The strength grows. Through my associations, I have discovered a strong “positive” force who are willing to learn, create,and seek a better tomorrow. Some people have their faults, which can be dealt with, but some breed ignorance. Those people who whine say things “rule,” take advantage, or use violence to show their lack of confidence in themselves, should look at what they were doing. I find that most people who are guilty of this sit on their asses all day with their mouths flapping and their minds stagnating. Too bad. I hope you really accomplish something by your insecurities! The way you dress has nothing to do with whether you’re hardcore or not; it’s what you think and how you act. I’m not talking about socially accepted or “proper” mannerisms, either. It’s your lifestyle. Do you agree with the situations “they” get you into? Will you sit on your arse forever?? Think about it. It’s up to you. Come out from your silence.
 Lately, this magazine has opened up a giant communication line throughout the world. I’m very happy that I am part of it. I do not get paid and I don’t expect payment. It is my creative part that I can contribute. What about you? People slag this magazine and Tim Yohannan especially. Why? Do you know? Tim’s interest can unite more than the bitching of one. His participation abounds; only your negativity will tire him out. If MRR becomes big it’s because there is a desire for it. Next time you bitch I hope you have something behind you beside the chair you sit in. I’m not talking about your macho brute force either. I’m talking about your ability to create.Make your effort, show your hardware, come out from your silence, and then we can work together! Thanx to all who share the same attitude, to those who take the time to write and pass the word. It’s your world. Is it shitting on you or are you shitting on it? To save the world, must you destroy the people? Think about it.

ALLISON RAINE/@ STATE OF MIND, SAVAGE PINK ZINE
Being an ancient veteran of the scene at 21, I have followed and been a fan of punk/hardcore and its legions of splinter groups for nigh on six years now. When I was 16 or 17 and attending every show even remotely associated with punk with enthusiasm bordering on hysteria, I couldn’t understand how the scene vets of those days could skip a show or complain that “things just weren’t as cool as they used to be.” When I first took an interest in punk, it was because I couldn’t relate to the lame stuff I heard on the radio. I found the primal pogo beat of the RAMONES’ “Teenage Lobotomy” much more fun and stimulating. As time passed, I became (largely by influence of the music) more—er—”politically aware” and therefore more interested in music that made a statement about the world we live in. The merging of two things important to me, natch. Although my musical tastes are wide-reaching, this is what I had close to my heart. But the whole excitement that punk has held for me all these years is that the only difference between the audience and the band is that the band got up on stage. Or is it?

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A phrase being tossed around a lot these days is “generic thrash.” Those with the most years invested in the scene are the prime offenders, being jaded after years of listening hundreds of punk bands bang away at the same four chords. There’s nothing wrong with being bored with it, but there is something wrong with condemning it. Fuck if I’ll be the one to tell someone they’re not musically proficient enough to hold my interest. There’s nothing wrong with striving to be innovative or different, but neither is there anything wrong with having enough enthusiasm to jump up on stage and just do it! By putting down bands for being “generic,” we are only throwing the scene into reverse and heading back to the days of guitar heroes. This should not be allowed to happen, and all bands that are giving it a go should be encouraged and nurtured by us all.

Well…all bands?

This brings us to the next point—where the scene is headed socially and ideologically. Besides musically being fresher and more energetic, one of the things that has kept me involved these many years is that it has not fallen into any of the cliched, sexist, racist, or otherwise negative ruts that the wonderful stuff we hear on radio or see on MTV has—yet. For me, the most disappointing trend in punk currently is towards sexist, nationalistic, and otherwise backwards trends. Quite a few of the bands playing this stuff claim that it’s a joke or that it’s all in fun. Well, why aren’t they making fun of white, heterosexual healthy people like themselves (for the most part)? I don’t think that’s funny at all. But even that aside—the people I’m wondering about are the (let’s face it) more impressionable people who are 15 or 16 and just getting into the scene. What kind of values or opinions is this kind of humor going to to instill in them? My only hope is that there seems to be an equal, if not greater number of bands using their music to speak out against things like sexism, fascism, etc. While some will still moan about being “preached ” at, there seems to be more and more people listening to what these bands have to say and at least stopping to stopping to think about both sides of the story. A lot of people seem to be realizing that, gee, women and gays are people too, and that God & Country aren’t all they’ve been made out to be.

In conclusion, I remain optimistic that punk will remain true to its roots and resist the temptations that brought rock’n’roll to such a disastrous state in the late ’70s (and even still today); namely, money in all its different forms. While punk, when it began, was mostly a musical revolution, it seems that the youth of today are even more painfully aware of the problems of society and the world as a whole, and these observations are creeping into our music. This musical influence will hopefully spawn more aware adults who question things and refuse to apathetically except all that is fed them by church, state, and the like. Although I may not make it to all the shows these days, I’m still 100% behind those that do.

FRANK DISCUSSION/FEEDERZ:

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To download a complete PDF of MRR #13 and other back issues of MRR, go to the MRR Webstore!



MRR archives: Maximum Rocknroll & TRUST present Welcome to Cruise Country photozine • 1986


December 13th, 2012 by

Continuing with our MRR Archives Series in celebration of our 30th Anniversary, here is the complete download of our second photozine, a special All-European issue produced in collaboration with Germany’s TRUST fanzine, Welcome to Cruise Country (see below for link). For this archive post, we sent some questions to our friends Dolf Hermannstädter and Jan Roehlk at the still-thriving TRUST fanzine HQ about the photozine and the current state of punk zinery. Danke schön, Jan und Dolf!

Click image to download Welcome to Cruise Country!

How did you first learn about Maximum Rocknroll?

Dolf: It was back in 1983. Dave Dictor of MDC sent me an issue after I wrote him a letter. He also included a copy of Ripper. If I remember correctly I was more turned on by Ripper. ;-)

Jan: I got to know MRR through a review in a local fanzine in the beginning of the ’90s. I had a subscription, then canceled it and only read it once in a while because I was a little overtired about the millionth crust band interview (sorry!) but renewed a subscription again and this time kept it.

Was MRR an inspiration for starting TRUST?

Dolf: Yes, definitely, we were much impressed by MRR, Ripper and Flipside! I have to say that I don’t really like the open submission concept concerning the interviews. I like it more when a core writer staff conducts the interviews, and it is not only to avoid people sending in faked interviews or made-up scene reports. Like with all open source medias it is the same problem: It is cool that all can submit, but who controls it? Maybe it is just a matter of taste, some people like it, some not, and hey, it works for MRR clearly…so, all good! :)

Painajainen (photo by J.P. Inkinen)

Jan: German Wikipedia writes about TRUST: “Taking the American MRR fanzine as a role model, the first issue of TRUST was published in 1986 by the founding members Thomasso Schultze, Mitch Alber, Armin Hofman, Dolf Hermannstädter and Anne Ullrich. Just like MRR was connecting the worldwide punk scene, TRUST started with the aim to connect the German punk and hardcore scene through a regular published print fanzine, a totally new thing for punk fanzines back then.” (Some zines came out only locally, once a year or so and were kind of harder to find.)

So, yes, MRR was a really huge influence. And for me it will remain an inspiration for continuing with my writings for TRUST. MRR offers a real good worldwide view of the punk scene, and it is (still) great to have all the news, columns, record/movie/book reviews and shit collected every month on paper, at least for me.

For a while, Flipside matched my musical taste more, but really, I like(d) both a lot. By the way, here is an interview I recently did for TRUST with Hudley Flipside. There is a nice part about MRR and Tim Yo in her answer after question six.

I always like to do something for/with the people of MRR. TRUST asked MRR years ago if we could support each other by exchanging ads and we do so to this day… And it always felt good to contribute (did two scene reports in 2004 and 2010).

One special thing about MRR which blew me away twice and still keeps me inspired when I think of it is the spirit of the coordinators and their serious dedication to the labor of love for the DIY-punk scene and the mag. I twice met different coordinators for an interview for TRUST and they were like, “MRR gave us so much when we were young, so I give it now back with my MRR involvement.” I did two interviews in San Francisco at the MRR compound in 2004 and 2008. Both times it felt really good to meet the coordinators in person and see how it all works in the house.

How did the idea come about for the TRUST/MRR photozine?

Jan: Helge Schreiber had the idea. He also stayed for some months at MRR and pulled it together. His involvement in this issue came from his writings for MRR from 1983 to 1994 about European bands.

Dolf: We just thought it would be a great project and that it would help the global scene to connect.

Who decided which photos to use?

Dolf: As far as I remember, it was a co-op of people from TRUST (Anne Ullrich, Thomasso Schulze..) and Helge Schreiber was also heavily involved.

Tu Do Hospital (by Helge Schreiber)

Was all of the production for Welcome to Cruise Country done at MRR? Did any of you actually come to MRR to work on this? If so, what was it like to meet Tim Yo in person?

Jan: In the beginning of 1987 Helge finished his civil service and with the transfer money he flew out to San Francisco. Together with MRR he put together the zine. He collected all the photos out of the sources of a lot of photographers from over Europe. Later the same year, the special photo issue between MRR and TRUST called Welcome to Cruise Country with photos only by European bands was released. Since the street date it has ten million copies. No, it is for sure sold out.

Dolf: Yes, it was all done there. It was great to meet Tim, he was a fun guy to hang around and had a lot of life experience and good ideas and arguments. What impressed me the most (this was in 1987) was that there was a older guy who was still cool. Since most of our peers where our age, or usually older people become adults and Tim was still cool. I liked that since I hardy knew any other older people who where like him.

Were there separate European and U.S. printings of the photo-zine?

Dolf: Yes, the US version was on shitty newsprint [hence the kinda crappy quality of the PDF here —ed.] and the Euro version was offset. They where otherwise identically, only the cover was a bit different. The names of the zines where in different order.

Do you want to explain the title for our younger American readers? How big was the cruise missile issue, and was it seen as a uniting political issue for European punks?

Some older punks dissed the new breed as Stirnbandwixxer (“bandana jerks”) and the younger dissed the old punks as Nietenkaiser (“spike emperor”). —Jan

Dolf: The historic-political background concerning the title of the photo issue had to do with Cold War times and politics. In 1980 NATO planned to react to the deployment of Russian intermediate-range missiles with the deployment of American cruise missiles and Pershing II intermediate-range missiles in Europe. Parallel to that, NATO wanted to make an disarmament offer directed to the Soviets. That double-strategic plan — install weapons while talking about disarmament — was called the NATO Double-Track Decision. This decision was the reenforcing point of a whole bunch of anti-war protests in Europe, and a lot of people in the punk scene were against the Double-Track Decision. All of that emerged later in the title of the photo issue. Uniting political issue for European punks? Hard to answer…

Jan: I’d like to add one more thing may need some explaining — the very origin of the name TRUST. Sometimes people don’t understand or just don’t know what the original intention was. One of the founders of TRUST, in 1986, had the idea for the name. It has nothing to do with the 7Seconds song title, and also not with the French band by the same name. It was intended to be a play on words: “trust” is an old expression for “huge monopolistic corporations cartel which dominates the market.” Besides the obvious (trust) that was the intention, to claim in an ironic way, like “Trust us, obey us cause we rule.”

Everything Falls Apart (photos by Anne Ullrich)

As you look through the photo zine now, is there anything that surprises you, makes you laugh, makes you embarrassed, etc.?

Jan: Fuck you big time, you old punks over forty. I am jealous. Seriously, this remains amazing on several levels. First thing that comes into my mind: Great cover shot. And how young all these bands were. So enthusiastic. So serious and joyful and powerful and full of good fun. A few of my favorite shots include NEGAZIONE and the crowd shots in Italy. And the LÄRM guys who seemed to have lost contact to Earth: how high can you jump with a bass in the hands?! Guess they took that from SNFU, I assume… Look at that TU DO HOSPITAL pic. No barriers between band and audience and these happy faces. On the pic of EVERYTHING FALLS APART you can see the singer, Thomasso, back then one of the main driving forces for TRUST Fanzine.

For today’s 16-year-old kids, this issue must look like an artifact from a long gone civilization. Does that all mean that the past was better than today? Fuck no. It was just…different.

But the Cruise Country issue is also an interesting document to understand the transformation of the European scene. Most of the people on these photos were punks before US Hardcore landed in Europe. They then combined the new sound with British anarcho-punk values and that was the new “movement” of European hardcore back then. Some older punks dissed that new breed as Stirnbandwixxer (that means “bandana jerks”) and the younger, of course, dissed the old punks as Nietenkaiser (“spike emperor”).

And, fuck, then there are those old ads I love looking at so much. The one from Alternative Tentacles announcing the Give Me Convenience DEAD KENNEDYS collection (one of the first punk records I bought, but only in 1991, haha) and saying that Sex Mad by NO MEANS NO is soon to be released. Alchemy Records stating that something from RKL is coming soon, which surely meant the great Rock’n’Roll Nightmare record. Man, Starving Missile Records are also inside. Taang! announces Hate Your Friends by LEMONHEADS.

…Maybe a reprint on good paper quality would also make sense? Read the rest of this entry »



Relatos del punk subterráneo en Perú: primera parte


December 12th, 2012 by

Here is the Spanish-language version of part one of our three-part history “Notes on the Peruvian Underground.” This originally appeared in English in MRR #353. You can read part two in English in MRR #356 (parte uno en español aquí) and part three in English in MRR #359 (parte tres en español aquí).

Traducción por Sandro “Dogma” Casas y Sonia “la Perra” Serna*

El punk no nació, el punk es. ¡Hijos de puta!

Podría decirse que el origen de la escena punk en Lima, Perú, corresponde a una amenaza de ataque a un país que, de hecho, ya estaba siendo atacado. La imagen de una estrella de rock flotando enloquecida sobre el horizonte de una sobrecogida ciudad adornaba un afiche de finales de 1984 que titulaba: “Rock subterráneo ataca Lima.”

Con ese afiche, diseñado por Leopoldo de la Rosa, bajista del rítmico y ruidoso trío Leusemia, y que era conocido como Leo “Escoria”, se anunciaba un concierto con las primeras bandas subterráneas (como Narcosis, Guerrilla Urbana y Autopsia, entre otras).  Los punks peruanos, a diferencia de los punks en otras partes de la América hispanohablante, se habían agrupado bajo el rubro “rock subterráneo”, a lo que siguió la creación de una identidad subcultural conocida como “subte”, que connota la especificidad de lo que significa ser un punk en Perú mejor de lo podría hacerlo el término punk genérico o algunos de sus hijitos (como hardcore, post-punk, pop punk, etc.). El término inconscientemente llama la atención sobre una relación ambigua entre lo “subterráneo” y lo “subversivo”, es decir, sobre la participación en una subcultura musical subterránea versus la participación en políticas subversivas. La escena punk peruana, después de todo, agarró fuerza en el contexto de la guerra civil entre el estado autoritario del Perú y Sendero Luminoso, un grupo militante de inspiración maoísta que estuvo muy cerca de derrocar al estado, pero que comenzó a desmoronarse en 1992 cuando su líder, Abimael Guzmán, fue capturado.

Los Saicos

También podría decirse que la escena punk peruana comenzó en 1978, año en que por primera vez en los bares de Lima una banda llamada Anarkía comenzó a hacer covers de grupos como los Jam, los Sex Pistols, los Dead Boys y los Ramones, entre otros. Anarkía fue quizá la primera banda peruana en autodenominarse punk mientras estuvo activa. En una corta entrevista publicada en una edición de 1980 de la revista mexicana de rock Conécte, Anarkía reconoció haber sido una banda pionera del punk latino. Treinta años después, Martín Berninzon, baterista de la banda, encuentra esa declaración cierta pero irónica. Cierta porque Anarkía estaba al tanto de los sonidos punk en el mundo, irónica porque sus compañeros de la banda no eran más que unos excelentes músicos ansiosos por tocar rock progresivo.

Podría decirse, incluso, que todo el género punk — sí, ¡despierta gringo de mierda! — tuvo su origen a mediados de la década de los sesenta en el distrito Lince, en Lima, lugar en el que Los Saicos cantaron “Demolición”, un hecho que los anticiparía a las crudas composiciones y provocadoras letras que posteriormente resultaría básica a la sensibilidad punk. Ni entonces ni ahora Los Saicos han llamado punk a lo que hacen, aunque después de haberse reunido para realizar una gira en los últimos años, se han entusiasmado un poco con la idea. A pesar de ello, y en un irónico giro del destino, en 2008 el gobierno municipal del distrito de Lince, siguiendo la tendencia española y latinoamericana de declarar a Los Saicos la primera banda punk del mundo, les impuso esa etiqueta a 40 años de que los hechos hubieran tenido lugar. Hoy en día, en una concurrida esquina de Lince hay una placa financiada por la municipalidad que declara audazmente en honor a Los Saicos: “En éste lugar nació el movimiento punk rock en el mundo”. Una afirmación convincente como relato alternativo del punk e, implícitamente, del mundo, que no resulta para nada modesta.

Por ahora tengamos en mente que las historias de los orígenes siempre son mitos construidos para sustentar puntos de vista ideológicos. Primero fue Dios, luego Adán y luego Eva. Sí, claro, así fue. Primero fue Occidente, después el resto. ¡Maldita sea! Las historias sobre el punk no son inocentes respecto a sus propios relatos de origen, pues ellas cargan con las posiciones ideológicas de quienes las crearon. La historia del punk padece esa tendencia a estandarizarse, padece la imposición de una narrativa que, en efecto, ha establecido un punto de “origen” mítico. La mayoría de esas narrativas son predecibles respecto a los tiempos y a los lugares: Londres y Nueva York a mediados de la década de los setenta (entiéndase los Sex Pistols, los Ramones y esas “otras bandas”). En últimas, la gente podría retroceder hasta Michigan a finales de la década de los sesenta y, sin arriesgar demasiado, llamar a ese periodo proto-punk (por ejemplo, MC5, The Stooges etc.).

De ahí que quiera dejar clara mi posición ideológica: no busco reescribir la historia de modo que la gente llegue a pensar que el punk empezó en Perú, pero intento dejar por escrito algunos relatos para que la gente sepa que el punk en Perú es de puta madre, tan de puta madre como en cualquier otro lugar. Aunque no puedo evitar hacer cierta cronología, no estoy comprometido con una historia de orígenes fijos y finales definitivos. Pienso que los momentos en que se generan esos relatos son múltiples, que cada uno de ellos ha derivado de algo más y que, por esa misma razón, no son para nada “originales”. Y, como no me puedo quedar divagando para siempre, de repente tendré que parar de escribir. Eso, aunque marcará el final de éstos relatos no puede significar el fin de la movida subterránea peruana ni, mucho menos, del punk en general. No es necesario recordarles a los lectores de Maximum Rock-n-Roll lo que ya deberían saber: que el Punk No Está Muerto.

A lo que quisiera agregar: el Punk No Nació, el Punk Es. ¡Hijos de Puta!

“Canten en Castellano,  ¡carajo!”

Son muchos los aspectos que hacen la diferencia entre la banda Anarkía, de finales de la década de los setentas, y las bandas que empezaron a tocar punk a mediados de los ochenta en Perú. Anarkía estaba por su propia cuenta, sin mucha de la “movida”. No existen grabaciones suyas de la cuales hablar o, al menos, nadie ha ubicado la única grabación que, según Berninzon, hicieron tocando en vivo en un estudio de radio. Además, Anarkía sólo tocaba covers de bandas estadounidenses y británicas, lo que significa que cantaban en inglés.

Las cinco bandas que emergieron en Lima entre 1983 y 1984 (Leusemia, Narcosis, Guerrilla Urbana, Autopsia y Zcuela Cerrada), y que hacían música inspirada en el punk, contrastaban con Anarkía de muchas maneras: escribían sus propias letras, eran un grupo de amigos conectado con otros grupos de amigos que pronto consolidarían la movida, dejaron muchas grabaciones y, quizá lo más importante, CANTABAN EN ESPAÑOL, ¡CARAJO! La declaración la tomé de la boca de Daniel F, líder de Leusemia, quien en junio de 1984 se paró en frente de una audiencia limeña de clase media-alta y, como si se tratara de una orden, dijo: “Canten en castellano, ¡carajo!”, escandalizando así a un público que esperaba a que las “verdaderas” bandas peruanas subieran al escenario a tocar covers de canciones en inglés. Su punto estaba claro. El idioma en el que cantas, así como el idioma en el que hablas, es en su naturaleza geopolítico. ¡Paren de complacer a los gringos! O, lo que es aún peor, paren de complacer a los gringos wannabees que viven en toda América Latina, a todos aquellos que, consciente o inconscientemente, creen que el rock como género inequívocamente se canta en inglés. El rock, como el punk, como cualquier manifestación cultural, puede ser cualquier cosa en cualquier lugar. Depende de uno poder hacer que hable en su lengua, sobre su contexto, sobre su sociedad: ¡Hazlo-tú-mismo-huevón! Read the rest of this entry »