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MRR Radio #1515 • 7/24/16

Rob circle pits the world of punk playing lots of foreign classics and a new ...

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New Blood! OLVIDO, KLOUT, SUNK, INCOMPETENTES, ПЕТЛЯ, and DIKTAT

“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info ...

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MRR Radio #1514 • 7/14/16

Guest DJ, Mimi rips through the punk slappers on her maiden MRR Radio show Intro song CATHOLIC ...

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Kriminal (photo by Per Thunell)

New Blood! KRIMINAL, BUTCHER BOYS, THE LIMBOS, CRUTCH, and RAZORBUMPS

“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info ...

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MRR Radio #1513 • 7/10/16

On this week's MRR Radio, Greg drinks too much coffee, loses his marbles and plays ...

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Record of the Week: G.L.O.S.S. Girls Living Outside Society’s Shit EP


November 13th, 2015 by

G.L.O.S.S. – “Girls Living Outside Society’s Shit” EP
This exists perfectly as a solid hardcore record, nothing necessarily freaky or weird just excellently solid but a thing that makes it stand out (other than the context it exists in) is that you can hear all of the lyrics. No reading along with lyric sheets necessary—somehow, at breakneck speed Sadie manages to enunciate every word. A thing that is always rough to me about hardcore is all the vocals garbled and barked until I kind of just feel like some angry man is yelling at me. And what Sadie is singing about is so integral and important it’s just really fucking cool to just hear every lyric. This record delves into politics in a way that avoids being exclusionary or preachy but instead is filled with rage and love and an overall we’re-in-this-togetherness. It also comes with an excellent zine that furthers the aesthetic and message.
(Nervous Nelly / Total Negativity)

—Marissa Magic



Record of the Week: Aye Nako The Blackest Eye EP


October 14th, 2015 by

AYE NAKO – “The Blackest Eye” 12”

Brooklyn’s AYE NAKO are back with their first release since their 2013 debut LP Unleash Yourself. I know that the band wanted to change their sound after that LP in an attempt to distance themselves from the “pop punk” label and even went as far as talking about releasing a hardcore EP. (I’d love to hear that since “Good Grief” from their demo is still one of my favorite songs of theirs). Instead of hardcore, they went in a completely different direction and delivered a lush, dense, guitar heavy, indie-shitstorm (that’s good) that recalls some of the melodic sensibilities of the best SUPERCHUNK stuff and the guitar noodle-ry (that’s a word) of TED LEO. I don’t use these band names to imply that they’re using these well-worn roadways as a blueprint. I use them as a signifier that AYE NAKO knows their history, they know what the fuck they’re doing and they build on those who have come before them to create their own new beast that is theirs to tame (or not tame) as they see fit. The whole presentation feels like a step up from the band’s previous record, which was no slouch but had moments that felt rushed or not quite fully-realized. There’s no wasted space here. The lyrics dig deep into thoughts on sexual abuse, race, the quagmire of eternal self-doubt, the fucking total-realness of never-ending white supremacy and the insidious ways that it continues to sustain itself. In a music scene that cannot stop focusing on white skin and cis-gender bodies, this record is unapologetically queer, defiant and brown. Plus, it has a lot of sweet hooks. All of these things are important. All of these things are good. I can’t wait to hear what they create next. (Greg Harvester)
(Don Giovanni)



Blast From the Past: John Morton


October 12th, 2015 by


SPECIAL JOHN MORTON EDITION! Below you will find an interview that James, the impresario behind Violet Times did for Maximum Rocknroll in 2011, if you want the authentic newsprint feelings you can grab the issue #337 right here.

Since this majestic interview took place a few exciting developments in eels/mortonia have developed that the psychotic minds that are drawn to such ideals might want in on… x___x have a new record coming out! ON the illustrious SMOG VEIL label… Someone unearthed a live JAZZ DESTROYERS set which you can listen to here, fans of Dave E vocal stylings rejoice! You can also send off for John Morton art via his amazing website. I drink coffee out of an electric eels mug daily and it has increased my satisfaction twenty-fold. You can get a post card set! You can also read a great interview that Alex Ratcharge, MRR columnist and arts issue editor, did with John Morton for Ugly Things here.

 


There’s been much written about the musical exploits of the early 70’s Cleveland, Ohio band known as electric eels (yes, lower case as per lead vocalist Dave E’s intention) over the years, some of it true even. The band deservedly looms very large in under-the-counterculture sound circles and I strongly encourage anyone reading this to seek out their music, read about their exploits in a pre-punk world if you haven’t already done so. The liner notes to the 3×10” vinyl offering on Scat Records “Those Were Different Times” are a great place to start, w/ plenty of other stuff out there to read as well. One could even be justified in calling them the very first ‘punk’ band, whatever that means- if nothing else they remain to this day one of the most intense sounding and unique. After all of these years, it very much still is artastic.

In honor of his inclusion in the Violet Times curated art show, Foggy Notion, I decided it would be a good time to find out about some of band leader John Morton’s other little-known doings over the years, specifically his visual art and other music he’s done post- eels.

 

MRR: I’ve been told that only about 100 people total ever saw electric eels, would you agree and care to elaborate on their reaction/s, if any? Especially at the two Columbus, Ohio shows, pre- Extermination Night, where the other performers Mirrors & Rocket From The Tombs would at least be of a non-mainstream music making mindset, also making their own music of a sort not yet known or accepted by the mass ear. What about the non-members of those bands, just ‘regular’ audience members- who the heck were they, why’d they show up and what’d they think? (not presuming you know why they were there, etc. but just saying)

John Morton… 100 sounds like a plausible number. Our fan base, consisted of persons made up of people (who like people) who knew us, such as Bradly Field, Charlotte Pressler, other like-minded band people, such as Dan Didonato and Peter Laughner, at least understood what we were attempting. Family members such as Jill Marotta & Michele Zalopany, well they had to like us.

Our first gig was August of 1974 at the Moonshine Co-op in Columbus. We had the power pulled on us (I’ve heard that that is not a unique occurrence with punk bands, but there were no other “punk” bands at the time.)

We opened for “Hard Sauce” fronted by Jamie “Little Bit of Soul” Lyons. Jamie had one of the best set of pipes I ever heard. Davey and I were arrested that night. I remember every detail. Dave E. wore a trench coat festooned with rattraps, and I wore a safety pin jacket. Jamie bailed Dave E. out of jail. Our career? All downhill after that.

We thought the eels were going to be a huge success on a par with David Blowie (meant affectionately). WE WERE NOT!

I am gratified that we’ve had a modicum of post mortem success.

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Reissue of the Week: MERCENÁRIAS Demo 1983 LP


October 8th, 2015 by

MERCENÁRIAS – “Demo 1983” EP
There is probably no band like MERCENÁRIAS. This 3/4 femme Brazilian band, better known for their late ’80s post-punk repertoire, made an extraordinary first recording that seems out of time and place. Totally weird, awesome, and fierce: peculiar gruff vocals that predate grindcore layered over angular choppy rhythms making it sound like someone took a chainsaw to the rock song and assembled the hacked up pieces back together with lots of sharp edges sticking out all over the place. They were definitely ahead of their time with irreverent and unapologetic lyrics taking a shit all over patriarchy and scandalizing audiences (the song “Honra” never made it onto their recordings until now). The story in the booklet of sending a talent scout running after hearing one of their songs reminds me of the philosophy of Spain’s VULPESS, active around the same time, who got a TV program shut down in Spain for performing a song called “I Like Being a Slut.” Nice packaging with a semi-bilingual booklet in English and Portuguese containing old flyers, pictures, and lyrics. This is an important piece of Brazilian punk history and crucial international punk artifact with a renewed relevance in 2015. (Lena T)
(Dama da Noite / Nada Nada)

 



Threat by Example. An interview with Martin Sprouse by Martin Sorrondeguy.


October 6th, 2015 by

This originally ran in MRR #291/Aug ’07. The 25th Anniversary Issue which you can order here

All photos courtesy of Martin Sprouse.

OK, Martin, why don’t you start off by talking a little about yourself—tell me who you are and how you first got into punk.

My very first exposure to punk was in 1977. My next-door neighbor was an art student, and he became punk overnight—like crazy Sid Vicious punk—overnight. I had just seen something about punk on the news, and all of a sudden one day he shows up—he’s got a punk rock girlfriend, a Sid Vicious look head-to-toe, messy hair and spiked jacket and harnesses and boots—the whole Vivenne Westwood type of thing. They looked amazing, like the most outrageous thing in the world. He played some music for me; I didn’t understand it at all. I was just a skater kid, and I was just thinking, “That is the most fucked up thing I’ve ever seen.” But it was also cool, because he was the nicest guy in the world. This had to be ’77. So that was my first exposure, and I had a positive impression of it, but I didn’t understand it at all. It was just too crazy. And I was probably just a little too young to get into it, you know? Later on, when hardcore came out in the early ’80s, it all made sense. It was kind of connected through skateboarding. Punk and hardcore kind of fused for me, being young and in Southern California where everything was happening. It was like, “This is it!”

1982

1982

Where did you grow up?

San Diego.

You got into hardcore when hardcore pretty much started, so what was your first show? What was that experience like?

It was a local San Diego show, just San Diego punk bands.

Do you remember who played?

No. I remember seeing Black Flag early on, and that was life-changing. It was crazy. Southern California was really violent at the time, but we were young, so it all kind of made sense, but at the same time it was really sketched-out, you know? So it had this crazy energy, really exciting, really underground, really small, really young, youthful, violent. Rebellious in all the right ways. You know, when you get older, you over-think everything, everything’s theory and process. This was full-on energy, Southern California hardcore punk rock. It was scary too, but in a good way. It just defined you immediately. Everyone that you were friends with didn’t like you anymore, you know, because you were a “punk rock faggot.” I think that was my name for most of the rest of high school.

1984 Leading Edge crew

1984 Leading Edge crew

When did you start Leading Edge zine—how did that come about?

A couple of us who grew up together, we all got into punk and hardcore about the same time. It just sort of happened; it was very spontaneous. We weren’t really the fucked-up kinda kids, we were all skater kids. We didn’t really become the stereotypical early-’80s punk rock asshole guys. We immediately became friends with people that put on the shows, we started reading the little underground xeroxed fanzines, we became friends with the bands. It became a natural extension for us to do something. We’d go to LA and get these fanzines from all over the place and that’s how you’d learn about everything. So immediately, it was like, “We should do it,” once we started going to LA. We started Leading Edge in like ’82 or ’83. It was a while after we’d seen some shows. The first issue must have come out the summer of ’83.

Why did you do it?

Just to do our own thing. It was obvious to us…’cause San Diego had the military there, so a lot of punk guys were in the military, it had the violence, a lot of drugs, a lot of fuck-ups, y’know? It just had a bad reputation. There were a lot of fights in LA, but there were twice as many fights in San Diego. It just sucked. Out natural extinct was not to be a part of that. We didn’t want to be the stereotypical SD “Self-Destruct,” “Slow Death,” fight-starting, maybe shaved-head, junkie thug, beating everybody up. None of that had anything to do with us—but we liked the energy of the hardcore scene. There were also a lot of young hardcore bands that weren’t part of that; younger bands that weren’t doing stupid shit, but still playing really fucking great hardcore. They kind of identified with us and vice versa, and we started a fanzine that would represent that, while at the same time respect all the other stuff that was going on. I wasn’t just focused on skate punk or straight edge punk or positive punk, we were covering bands from all over.

84 interviewing Tim for L.I

84 interviewing Tim for L.I

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