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Thinking Plague a History Of
What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero. -
SST Defies Industry, Defines New Music
Page 1 The San Diego Union-Tribune October 1, 1995 Sunday SST Defies Industry, Defines New Music By Daniel de Vise KNIGHT-RIDDER NEWSPAPERS DATELINE: LOS ALAMITOS, CALIF. Ten years ago, when SST Records spun at the creative center of rock music, founder Greg Ginn was living with six other people in a one-room rehearsal studio. SST music was whipping like a sonic cyclone through every college campus in the country. SST bands criss-crossed the nation, luring young people away from arenas and corporate rock like no other force since the dawn of punk. But Greg Ginn had no shower and no car. He lived on a few thousand dollars a year, and relied on public transportation. "The reality is not only different, it's extremely, shockingly different than what people imagine," Ginn said. "We basically had one place where we rehearsed and lived and worked." SST, based in the Los Angeles suburb of Los Alamitos, is the quintessential in- dependent record label. For 17 years it has existed squarely outside the corporate rock industry, releasing music and spoken-word performances by artists who are not much interested in making money. When an SST band grows restless for earnings or for broader success, it simply leaves the label. Founded in 1978 in Hermosa Beach, Calif., SST Records has arguably produced more great rock bands than any other label of its era. Black Flag, fast, loud and socially aware, was probably the world's first hardcore punk band. Sonic Youth, a blend of white noise and pop, is a contender for best alternative-rock band ever. -
Grist Only on Soundcult Extreme Album Review
2/22/2018 Drumcorps – Grist only on Soundcult Extreme Album Review article quote Wanna find something? Drumcorps – Grist September 12, 2007 Fiend Leave a comment electronic, review breakcore, electronic, grindcore Album Reviews Music News Where to Send Promos Become a Editor About Us Copyright Policy Post Types Article Image Link Audio Video Quote Categories electronic metal news review rock Amazon Music Deals! Popular I could say i have a sort of love/hate relationship with grindcore, mostly because when its well made, it’s Kingcrow ‑ Insider completely and utterly awesome, but most of the times its just an amalgam of noise and not in the good sense, December 20, 2013 also i could say i have the same feeling with electronic music in general, so when Aaron Specter‘s Drumcorps no comments pulls this “Grist” saying it’s a mixing of grindcore and breakcore… i tend to take it with a grain of salt. It all starts up with “Botch Up and Die” and it’s pretty grindcore, kinda of a homage to Botch, with the eccentric Dark Tranquility and Sonata guitars over a grind blast beat, its not only amusing but quite groovy, nicely done, “Down” is kinda dance meets Arctica joined forces for Heavy noisecore with distorted samples and guitars into the mix, okkk, “Pig Destroyer Destroyer” has some nice Metal Poker Tournament drumming building to a slowed down chopped distorted noise filled beat … are we making fun of Pig Destroyer?, December 12, 2013 is this supposed to be a compliment or a satire, anyway it all builds up to a distorted guitar breakcore fest, no comments mixing real life drumming with beats and distortion…. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman
ABSTRACT Tinkering has long figured prominently in the history of the electric guitar. During the late 1970s and early 1980s, two guitarists based in the burgeoning Southern California hard rock scene adapted technological tinkering to their musical endeavors. Edward Van Halen, lead guitarist for Van Halen, became the most celebrated rock guitar virtuoso of the 1980s, but was just as noted amongst guitar aficionados for his tinkering with the electric guitar, designing his own instruments out of the remains of guitars that he had dismembered in his own workshop. Greg Ginn, guitarist for Black Flag, ran his own amateur radio supply shop before forming the band, and named his noted independent record label, SST, after the solid state transistors that he used in his own tinkering. This paper explores the ways in which music-based tinkering played a part in the construction of virtuosity around the figure of Van Halen, and the definition of artistic ‘independence’ for the more confrontational Black Flag. It further posits that tinkering in popular music cuts across musical genres, and joins music to broader cultural currents around technology, such as technological enthusiasm, the do-it-yourself (DIY) ethos, and the use of technology for the purposes of fortifying masculinity. Keywords do-it-yourself, electric guitar, masculinity, popular music, technology, sound California Noise: Tinkering with Hardcore and Heavy Metal in Southern California Steve Waksman Tinkering has long been a part of the history of the electric guitar. Indeed, much of the work of electric guitar design, from refinements in body shape to alterations in electronics, could be loosely classified as tinkering. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
The Educative Experience of Punk Learners
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 6-1-2014 "Punk Has Always Been My School": The Educative Experience of Punk Learners Rebekah A. Cordova University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Curriculum and Instruction Commons Recommended Citation Cordova, Rebekah A., ""Punk Has Always Been My School": The Educative Experience of Punk Learners" (2014). Electronic Theses and Dissertations. 142. https://digitalcommons.du.edu/etd/142 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. “Punk Has Always Been My School”: The Educative Experience of Punk Learners __________ A Dissertation Presented to the Faculty of the Morgridge College of Education University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Rebekah A. Cordova June 2014 Advisor: Dr. Bruce Uhrmacher i ©Copyright by Rebekah A. Cordova 2014 All Rights Reserved ii Author: Rebekah A. Cordova Title: “Punk has always been my school”: The educative experience of punk learners Advisor: Dr. Bruce Uhrmacher Degree Date: June 2014 ABSTRACT Punk music, ideology, and community have been a piece of United States culture since the early-1970s. Although varied scholarship on Punk exists in a variety of disciplines, the educative aspect of Punk engagement, specifically the Do-It-Yourself (DIY) ethos, has yet to be fully explored by the Education discipline. -
Echo Beatty – 'Tidal Motions' (Icarus Records & Vynilla Vinyl) (Album
Echo Beatty – ‘Tidal Motions’ (Icarus Records & Vynilla Vinyl) (Album release: 28/01/2013 – Single ‘Tidal Motions’: 12/12/2012) The new Ghent-based label Icarus Records aims to be a platform for music that is undefined by musical borders. Antwerp-based duo Echo Beatty’s debut album ‘Tidal Motions’ is the first release on the label, a cooperation with Vynilla Vinyl. The album will be presented in Antwerp (Friday 18/01/13 - Salle Jeanne) and Ghent (Saturday 19/01/13 - Minardschouwburg). Echo Beatty Hailing from Antwerp, Echo Beatty are multi-instrumentalist Jochem Baelus and singer Annelies Van Dinter. It is February 2011, and Echo Beatty is the first-ever band to record an Icarus.fm livesession for Ghent-based radio station Urgent.fm. Consciously and continuously exploring their own musical limits, they use a wide array of homemade instruments, ranging from knitting needles and haircombs to musicboxes, to create their unpredictable and subtle trademark sound. Fragile yet sometimes aggressive. Light in some places, dark in others. Following the release of their first EP ‘Tiny Organs Of Trust’, and a small tour playing venues in Germany, The Netherlands and the Czech Republic, they temporarely move to Montreal in the spring of 2011 to work on new songs. There they join forces with producer Jeff Mc Murrich, known for prior collaborations with artists as Sandro Perri, Owen Pallett and Tindersticks. Tidal Motions Mc Murrich succesfully manages to capture Echo Beatty’s characteristical sound, that can be described as electric folk drenched in a subtle ‘Twin Peaks’’ atmosphere. ‘Tidal Motions’ is Echo Beatty’s very first full album. -
Cows and Beer” Ep on Beer City Skateboards and Records
TO RELEASE REMASTERED VINYL VERSION OF LEGENDARY “COWS AND BEER” EP ON BEER CITY SKATEBOARDS AND RECORDS DIE KREUZEN TO RELEASE REMASTERED VINYL VERSION OF LEGENDARY “COWS AND BEER” EP ON BEER CITY SKATEBOARDS AND RECORDS REISSUE TO FEATURE VASTLY IMPROVED SOUND QUALITY, COLORED VINYL AND LIMITED 12" FORMAT VERSIONS. MILWAUKEE, WI - DIE KREUZEN announces the forthcoming official reissue of its historic, seminal Cows and Beer 7" EP in a special remastered edition. released by Milwaukee's BEER CITY SKATEBOARDS AND RECORDS, this deluxe Cows and Beer format will feature much improved sound quality and will be pressed on four different colors of vinyl. In addition, a special limited - edition 12" will be available that will exclusively offer the richest, most dynamic playback of this landmark hardcore classic yet. Both editions will be released April 19th 2014, to coincide with Record Store Day 2014. "We are doing this because we want to squash the bootleggers," DIE KREUZEN singer Dan Kubinski explained. "For years they have been putting out inferior-quality bullshit and ripping off our fans. We want to give our fans a very clean, crisp, loud-and-heavy version of Cows and Beer. Billy Cicerelli from WMSE did the remastering -and man, did he do an awesome job! His new version blows the doors and windows off of any other, including the original Version Sound release" DIE KREUZEN also acknowledges that these newly remastered editions of Cows and Beer will feature the original lyrics and liner notes, augmented with new liner notes and photos contemporary to the era/ " Because the mastering sounds so sweet, we will release a 12" version which will include a DIE KREUZEN comic book inked by the great Brian Walsby," Kubinski continues. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Raising pure hell a general theory of articulation, the syntax of structural overdetermination, and the sound of social movements Peterson II, Victor Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 RAISING PURE HELL a general theory of Articulation, the syntax of structural overdetermination, and the sound of social movements by Victor Peterson II dissertation presented for the degree of Doctor of Philosophy King’s College, London 2018 Acknowledgements Meaning is made, value taken. -
![[VXYJ]⋙ PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker by Dave Hofer #G6KYEJQ8RBD #Free R](https://docslib.b-cdn.net/cover/7248/vxyj-perpetual-conversion-30-years-and-counting-in-the-life-of-metal-veteran-dan-lilker-by-dave-hofer-g6kyejq8rbd-free-r-1027248.webp)
[VXYJ]⋙ PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker by Dave Hofer #G6KYEJQ8RBD #Free R
PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker Dave Hofer Click here if your download doesn"t start automatically PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker Dave Hofer PERPETUAL CONVERSION: 30 Years and Counting in the Life of Metal Veteran Dan Lilker Dave Hofer Perpetual Conversion traces the career of bassist Dan Lilker from 1981, the year he co-founded Anthrax, through 2011, and details numerous influential bands he founded or joined, including the groundbreaking Stormtroopers of Death (S.O.D.), thrash legends Nuclear Assault, grindcore trailblazers Brutal Truth, and one of the earliest US black metal bands, Hemlock. Although known among die-hard, underground metal fans, Lilker's influence has been significant across many genres. From his signature heavily distorted bass tone to his unquenchable thirst to create forward- thinking, aggressive music, Lilker's musical drive has seen him at the forefront of New York hardcore, crossover, thrash, grindcore, and black metal. Perpetual Conversion is culled from extensive interviews conducted by author Dave Hofer with Lilker, his family, his peers, and his bandmates past and present, including personal accounts from Craig Setari of Sick of It All, Barney Greenway of Napalm Death, Dave Witte of Municipal Waste, Scott Ian of Anthrax, Gene Hoglan of Death/Dark Angel, Kevin Sharp of Brutal Truth, Digby Pearson of Earache Records, Fenriz of Darkthrone, Chris Reifert of Death/Autopsy, rapper Necro, Dave Mustaine of Megadeth, Jacob Bannon of Converge, and many others. In addition, the book is supplemented with excerpts from historic interviews, key reviews, and dozens of previously unseen images. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.