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Reissue of the Week: Broken Talent

BROKEN TALENT – “Rules No One” LP Fuckin’ sick! Most KBD fans I know have a ...

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Record(s) of the Week: Violence Creeps

Record(s) of the Week: Violence Creeps

VIOLENCE CREEPS – “I’m Broke/Gridlock” flexi          “I’m Broke” is one of those songs that is ...

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Create to Destroy! Red Light Legal

Irochka Pechalochka organized a benefit for Red Light Legal that is occurring this weekend in ...

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Maximum Rocknroll #388 • Sep 2015

Maximum Rocknroll #388 • Sep 2015

MRR #388, the September Issue, features interviews with New Orleans mold breaking freak-punks MYSTIC INANE, ...

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Blast From the Past: Luk Haas and Tam 89 Records

This ran in MRR #307/Dec ’08. OUT OF PRINT A few months back Luk Haas ...

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MRR Radio #1463 • 7/26/15


July 26th, 2015 by

Special guest Ben Paulsen joins Matt and plays some great stuff from his label Commodity Tapes, along with plenty of punk from all over, new and old.

Play

Intro song:
WILLFUL NEGLECT – EMS & Die

Gattopardo (photo by Mateus Mondini)

Gattopardo (photo by Mateus Mondini)

Fuck themes, just rip shit up!
SLIME – Schweineherbst
URGENT FURY – 58,000 Dead
DVA MINUTA MRZNJE – Moderna Omladina
TOOLS – Hard Wark
BLANK SPELL – Malign Eye

Commodity Tapes sampler set
SYNDICATE – Commune
XM2 – Farmaco
ERA OF FEAR – Era of Fear
ΠΑΝΔΗΜΙΑ – Δίχως Νόημα
PIG DNA – Dom

No common thread except AWESOME
GATTOPARDO – Retro
EXIT CONDITION – Days of Wild Skies
BORN DEAD ICONS – Forever Soaked in Blood
LAUGHIN’ NOSE – Get the Glory
MOSKWA – Za Kratami

Commodity Tapes: Pandemonium Series highlights
REBEL’D PUNK – H.E.R.O.I.
DEAD BEAT – I Won’t
3D – Paga Se Para
CANI – DDT
MCD – Gernika

Outro song:
DOWNTOWN BOYS – Poder Elegir

Maximum Rocknroll Radio is a weekly radio show and podcast featuring DIY punk, garage rock, hardcore, and more from around the world. Our rotating cast of DJs picks the best of the best from MRR magazine’s astounding, ever-growing vinyl archive. You can find MRR Radio archives, specials, and more at radio.maximumrocknroll.com. Thanks for listening!



Blast From the Past: Really Red Part Two! U-Ron Speaks


July 23rd, 2015 by

This originally ran in MRR #326/July ’10, which you can grab here

Deep South Punk Legends from Ozone City:

U-Ron from Really Red!

By David Ensminger

 

While flying home from Portland last weekend, where I lectured about the need for a greater understanding of Mexican-American gravesite traditions (no, they are not landscapes of trinkets, they are spiritual culturescapes), I flipped through a mid-1990s MRR that included multiple angry letters to the editor about Mykel Board, the magazine’s perennial “straw dog.” Today, I read angry letters denouncing my March interview with John Paul of Really Red, which I prefaced by explaining that punk was a wide umbrella genre with an inclusive community. If we denounce him with a purge befitting Stalin, then we should throw out our records by the Dickies, Dag Nasty, Bad Brains, and the list goes on. I support the editors. In today’s saturated media environment, easily entrenched political slogans and platitudes on CNN and punk blogs act as substitutes for authentic discussion and discourse. The real danger is smug self-satisfaction.

When they offered to re-print my 2005 interview with U-Ron, I approached him about openly releasing his email to me, too, in which he explains his reaction to the article, (the email can be found in the letters section of this issue). I do not seek to fissure the band’s relationship with each other. I seek to explore the multiple perspectives (even multiple truths) that occur throughout the history of most punk bands. As a reader of MRR since the winter of 1984, I feel more dedicated than ever to its efforts because it is willing to engage, not pretend, and to incite, not recite. Flex your head.

 

 wrex

 

MRR: From Lightnin’ Hopkins to Roy Head to Townes Van Zandt to Steve Earle to ZZ Top (OK, Dallas should get some credit, too…), and even Kenny Rogers, Houston has been the home to a myriad of artists. When you started listening to music in Houston, were you at all aware of the city’s rich musical history? What was local music like when you were growing up? For instance, Steve Earle sings of Telephone Road and the gritty honky tonks…

First off, it is very flattering to be asked to do this interview 25 years after the release of Really Red’s first LP. It’s even odder that Empty Records wanted to re-release it 25 years after the fact. I’m pretty stunned. Really Red never thought that we would be remembered three years after we broke up. All that said, I have no idea who in the hell would want to read this, but at the risk of being totally boring I’ll try and give you the best answers I can. I have to point out that this will be my perspective and recollections. In no way should any of this be taken as reflecting the opinions of Bob, John Paul, or Kelly, the other three former members of Really Red. They might remember things in a whole other way. Maybe no one will care about or remember these people and places, but they were all involved in Houston’s formative punk scene in one way or another, and they do deserve to be mentioned. This is about a scene that is long gone, but it took a lot of brave and unique people to make it happen. They deserve credit. I appreciate the chance to give it to them and to tell our story.

When I moved from Canada to Houston in the 9th grade, I knew very little at the time about any Texas music. By time I was in the 10th grade, I started going to see live music. One of the greatest bands that I ever saw was The 13th Floor Elevators. They were amazing. A bunch of working class acid heads from East Texas who shirked any trappings of being wannabe rock stars. They were drenched with acid mystique, and when they weren’t too high to play, they were like a damn hurricane. They were playing their own brand of psychedelic punk. They were one of the greatest and strangest bands that I’ve ever seen. I still love them and still listen to their recordings.

I met Kelly Younger around that time. We formed a band with Andy Feehan, and some other guys, called The Lords. We played these community center teen dances. The Lords, only played covers. Hit singles and the like. At least we did album cuts of the Velvet Underground, Rolling Stones, Animals, Yardbirds and Love. We thought we were pretty radical because we refused to wear uniforms, and most other groups did. Most bands only played known radio hits and we played album tracks. You have to remember this was before FM radio started playing album cuts. With few exceptions, radio only would play the selected single. There were other interesting bands doing some originals, but not too many at that time. Everything was so restricted and stifled. I remember at one gig some older asshole stepped up and sucker punched Andy because he had yelled, “Fuck it!” in frustration about something. It was ridiculous.

Later, Andy Feehan and I started hanging out in the psychedelic clubs. You could go there underage because they were not serving alcohol, just lots of weed being smoked. We saw the 13th Floor Elevators playing at 2 and 3 AM. We saw bands like Bubble Puppy, the immensely underrated Children from San Antonio, The Chessmen of Dallas (the Vaughan brothers), and we got to see Sam “Lightnin” Hopkins a bunch of times. It was an excellent introduction to live noncommercial music.

The Lords broke up before I finally got kicked out of high school for “subversive political activity” and I left my parents’ home. My “subversive political activity,” by the way, was nothing more than being very vocally against the damn Vietnam War. I was on a Houston Independent School district blacklist. They were out to get kids like me, and they finally did. It happened to a lot of kids. High school was an Orwellian nightmare. It was really an eye opener. Once you see the lies exposed, it is impossible for anyone to stuff the genie back in the bottle. After high school I moved into a big house with Kelly and a crew of crazies, and it was a time of lots of live music, experimenting with acid, weed, and beer, nothing too different from the rest of the world. Kelly and I met up with John Paul around this time.

After a few years of working shit jobs and staying stoned Kelly, John Paul, and I ended up living in a series of old houses in the Montrose district. Kelly got hit by a car, and as a result of the insurance settlement he bought these huge Orange amps and some guitars and stuff, and we used to get fucked up and try and make original music. We sucked, but we had a lot of fun. We would go out to the Attics Dam area and pick shopping bags full of Texas psychedelic mushrooms. It was wild. You would wait until after a good rain and go out to the cow pastures there and pick all you wanted. People would have these mushroom parties. Crazy crazy times.

By this time the psych clubs were long gone and the local live music scene began to really suck. There were touring bands all of the time, but the local rock and roll music scene had dried up due to lack of club and radio support. Everyone who was on tour came through Houston in those days. I mean it. But a lot of the Houston clubs had a preference for cover bands only if you were local. It was fucked up. Austin had the Cosmic Cowboy thing and Houston had cover bands, kicker bars and pre-disco DJ clubs. It was a bleak time for local rock music.

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Blast From the Past: Really Red PART ONE


July 23rd, 2015 by

This originally ran in MRR #323/Apr ’10, which you can grab here

It’s Not Just Entertainment: The Legacy of Really Red

 

Although well admired during the 1980s, Really Red seemed to slip into the dustbins of punk history while Texas acts like the Dicks, MDC, Big Boys, and others maintained steady appeal. The Houston band’s mix of jittery art rock, furious and frenetic punk, and homegrown free jazz bursts were uncanny and unique. My own band the Texas Biscuit Bombs, with Randy “Biscuit” Turner formerly at the helm, still covers the chilling tune “Teaching You The Fear.” When Biscuit sung, “Try to love another man, get yourself shot dead,” the emotion was raw and heartfelt.

In Left of the Dial #7, I ran a lengthy interview with U-Ron Bondage, the detail-driven, roar-voiced singer. For this interview, I wanted to present a different point of view. People turned their heads down when I mentioned John Paul Williams, the politically conservative bass player. I thought punk was an umbrella genre big enough for Dave Smalley and Jello Biafra. When I asked Really Red drummer Bob Weber (who didn’t want to be interviewed) his opinion, he was upfront and unapologetic. Talk to him: the politics shouldn’t dissuade you.

The members of the band have been very generous, providing me vivid ephemera, which I made available to the public at: www.reallyredtx.wordpress.com. If you have materials that you could contribute, or would like a copy of Left of the Dial, please drop me a line at: leftofthedialmag at hotmail.com. In the meantime, rumor says that Alternative Tentacles has Really Red re-issues lined up!

Intro and interview by David Ensminger

 

MRR: John Paul, tell me about your roots in the Texas punk scene.

John Paul: We start with me being kicked out of Boys Harbor in LaPorte, Texas in 1969 for sneaking off and refusing to be disciplined. I had been on the boxing team and told the director that I would hit him back if he thought he would give me “pops.” The director was an ex-heavyweight boxer from Germany, and he could’ve have really kicked my butt. The form of discipline was to lean over his desk, and he would hit you as hard as he could with a paddle made of wood. Y’know, a custom job that had holes in it so it would make a wooshing sound before it hit your butt. It was not unusual to draw blood during disciplinary sessions there. I had spent most of my youth incarcerated but not because I was a juvenile delinquent. My family lived all over the world, including Iran, and my father walked away from eight kids.

johnpaul

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New Blood! MOOR MOTHER GODDESS, MALPORTADO KIDS, and HUMAN FORM


July 22nd, 2015 by

“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info on how to submit. Now, check out some killer new shit…

Band name:
MOOR MOTHER GODDESS

Date & location formed:
Philadelphia, December 2013/2014.

Moor Mother Goddess (photo by d1L0)

Moor Mother Goddess (photo by d1L0)

Reason for forming:
Wanted to start a solo project different from my band The Mighty Paradocs.

What are your lyrics about?
ABOUT BEING A BLK WOMAN IN THE PUNK SCENE, POLICE BRUTALITY, DOMESTIC VIOLENCE AND GUN VIOLENCE, BLACK QUANTUM FUTURISM, SYSTEMATIC RACISM.

How would you describe your sound?
Low fi/dark rap/chill step/blk girl blues/witch rap/coffee shop riot gurl songs/southern girl dittys/black ghost songs/love chants/african warrior spells/kongo hoodoo/holly hill Mississippi root jams/project housing bop/baptism jazz/Black quantum futurism/anthropology of conscience/scorpion gospel/Lima dream music/slaveship punk/soultronic beats/afrofuturist funk/death poems.

What’s in the future for this band?
Overseas tours and new zines, making more split tapes with other bands.

Links and contact info:
https://moormothergoddess.bandcamp.com
http://mmgzmmgz.tumblr.com
https://soundcloud.com/moor-goddess

barbed-wire-500x12

Band name:
MALPORTADO KIDS

Date & location formed:
Providence, RI 2014

Reason for forming:
We also play in the more straight up punk band Downtown Boys. We wanted a new aesthetic vehicle to carry our propaganda to other worlds.

What are your lyrics about?
Our lyrics are focused around political anthemic ideas about Chicananess, identity crisis and resistance, and struggle.

Malportado Kids

Malportado Kids (photo by Jesse Ponkamo)

How would you describe your sound?
Blown out punk global bass

What’s in the future for this band?
Hopefully we are able to play shows and make recordings that help build a space for people who want it most. Hope the future is a manifestation of our greatest dreams and expression of anger meeting empathy.

Links and contact info:
http://malportadokids.bandcamp.com/
Order our record: http://deadlabour.com/
malportadokids {at} gmail(.)com

barbed-wire-500x12

Band name:
HUMAN FORM

Date & location formed:
Formed Autumn ’14 in London, UK. Demo was recorded in January of this year and we played our first show in February.

Reason for forming:
Falling in and out of love and hate with each other.

What are your lyrics about?
Avoiding human contact; failures of the not-so-distant future; Self-dizgust, self-congratulatory art projects; orgasms of the past, current hangovers; ripping it all up and not starting again, these are not/might well be the last days.

How would you describe your sound?
Bad-weathered/ill-tempered dark & doomy punk with a heavy derby of regional British accents. Strong West Coast influence (total WIPERS worship through to PERENNIAL DEATH) meets YOUNG GINNS or MOSS ICON, and a bit of recent Sydney scraw (OILY BOYS) thrown in there somewhere too.

What’s in the future for this band?
Unsure, we just played our best show yet supporting VEXX, but the guitarist and bassist just broke up so maybe we did too.

Human Form

Human Form

Links and contact info:
https://humanforming.bandcamp.com
humanformband {at} gmail(.)com

barbed-wire-500x12

Do you have or know of an awesome new band*? It’s easy to submit to be in MRR’s New Blood feature — just email us the following info, and keep keeping’ it real…

1) Band name:
2) Date & location formed:
3) Reason for forming:
4) What are your lyrics about?
5) How would you describe your sound?
6) What’s in the future for this band?
7) Links and contact info:

Along with the answers please send a band photo at least 600px on the longest side (with photo credits), and a logo if you have one, to: mrrnewblood {at} gmail(.)com

*By “new band” we mean a band that formed within the past year or year and a half.



Record of the Week: NO


July 22nd, 2015 by

NO – “Treating People Like They Don’t Exist” MLP
These Londoners have really outdone themselves this time. While I whole-heartedly enjoyed the self-titled 12” on Static Shock, this record is definitely the next level. The recording here is much akin to “the lunatic ravings of a one-off man-mental!” Somehow the guitar has this brittle clean tone clarity while still being completely overdriven. The bass and drums are heavier than an anvil dropped onto a baby grand and still retain precision and punchiness. On top of all that is this completely feral, animalistic, snarling vocal. All of this alone would make a good record, but it is the totally inventive songwriting that makes this a great record. One more reason UK hardcore is back on the map…with a vengeance. Do yourself and your neighbors a favor. (Jon Kortland)

(La Vida Es Un Mus)