IN THIS ISSUE:
By Rick Polo (Editor-in-Chief)
Artist: Black Flag
Album: What the…
Release Date: 12/3/12
For many, Black Flag are what it means to be hardcore. The abrasive and rebellious act pioneered the early 80’s hardcore punk and straight edge scenes. They took punk up about ten notches, incorporating elements of Black Sabbath’s trademark heavy riffing and The Stooges’ primal energy into an aggressive juggernaught.
Later material featured the dark and satirical poetry of frontman Henry Rollins. Their sound started to evolve as well, slowing the tempos and leading into proto-grunge and sludge. Black Flag disbanded by 1986, leaving much of the late 80’s/early 90’s alternative movement to owe a huge debt to the band’s legacy.
In the years since, the members have gone very separate ways. Rollins formed the successful Rollins Band project and went on to write several books and become an international spoken word artist. Guitarist Dez Cadena joined the Misfits in 2002 and has been writing and touring with them since. Earlier this year however, founding guitarist and songwriter Greg Ginn decided to resurrect Black Flag, much to the dismay of his former band mates.
Despite a lawsuit pending over the use of the name “Black Flag,” Ginn decided to hire a new crop of musicians for the project. Joining the picture are Gregory Moore on drums, singer Ron Reyes (who has since been replaced by pro skateboarder Mike Vallely) and bassist Chuck Dukowski for the new album, What the…
The album features much of the bark found on the bulk of the old material, but lacks the bite. Lackluster performances on tracks such as “Shut Up,” “My Heart’s Pumping” and “Get Out of My Way” show a lack of inspiration, or perhaps lack of the original chemistry of Black Flag. Other lukewarm tracks like “Wallow in Despair” attempt to grasp the lyrical angst of their class Damaged LP, but fail to really get off the ground.
The few highlights of the album would include “The Chase” and “No Teeth” proving interesting musically. The grinding hardcore riffs sound closer to vintage Black Flag than anything else on What the…
Overall, What the…‘s title best describes it. The album as whole sparked the questions “why now?” and “why this?” The songs Ginn comprised aren’t exactly terrible, and perhaps under the moniker of a new and separate project, they may have more of an impact. What the… feels like the sad cries of a tarnished legacy.
During the early 90’s, many music fans in both England and America felt at a for loss words for identifying what was coming out of their post-punk and/or underground rock music scenes. That music eventually became known as the Alternative genre. College Rock Radio seemed to gather the remnants of music that American kids liked, but it was not very cohesive scene-wise/sound-wise.
Inevitably, a movement was bound to take place. In England, the Northern movement, “Madchester,” developed due to the Joy Division-influenced aftermath with journalist Tony Wilson at the helm.
Similar mass communication mediums such as radio, TV and magazines started to again coin genre names in America shortly thereafter. What was going to be the new “thing?” During the very fevered formation of this new genre, the compilation album, No Alternative, was released in 1993 with a whole host of acts that before didn’t seem related, yet conceptually, they came together on this album and it made sense. Alternative, in the broadest sense, was born out of various sounds of rock and folk (song-writer) genres and on the whole seemed to encompass more thought-provoking lyrics than what was on the radio at the time; similar to their post-punk and folk-punk predecessors.
The most popular offshoot of the genre became Grunge (especially in Seattle), but Art Rock artists from other parts of the country were at first often overlooked in this more broad Alternative genre due to media and playlist regularity. Artists such as Sonic Youth, Smashing Pumpkins and Pavement were on the peripheries in the early 90’s, probably due to their more obvious Classic Rock influences, but eventually they enjoyed a steady fan base growth which was more correlated to the aforementioned Northern English music movements such as the “Madchester” movement and of course the ever repeating Brit Rock revivals.
English music show host, Jools Holland, became more influential in a way of picking up where Tony Wilson left off and connected the dots between the American and English scenes throughout the 90’s and the 00’s, reminding us of what and how the term Alternative really came about. An alternative type of music to what was typically played on top 40 rock radio. This is how and when the term became full circle. And now fans expect such artists to almost transcend the induced sub-genres and be beyond a genre, to be something different yet each having THEIR OWN cohesive sounds. Ironically it is NOT about a scene.
As well as the aforementioned artists and Picks of the Week leading to this article I know present some wonderful examples that have been often overlooked after the initial Alternative heyday was over. These artists have also really have gone beyond genre and in a way back to what “Alternative” meant, what rock and roll means and what songwriting is. And many of these are from their founding scene giants were from. (Northern England, Seattle.) Just goes to show.
Ocean Colour Scene – The Day We Caught the Train
The Unbelievable Truth – Solved
Jets to Brazil – Chinatown
Pedro the Lion – Live on KEXP
By Rick Polo (Editor-in-Chief)
Artist: Ghost B.C.
Album: If You Have Ghost (EP)
Release Date: 11/19/13
Swedish doom-metallers Ghost B.C. first hit the international scene just a few short years ago. With over-the-top theatrics and horrifying Satanic imagery including mock bishop costumes, the back gave modern shock rock a well-needed kick in the balls. They have single-handedly slayed audiences across the globe, included a top 100 debut in the U.S. with their last album, Infestissumam, and have proven to scare the shit out of parents who have grew up on the likes of Marilyn Manson and Insane Clown Posse. And for their next trick, they cover the likes of pop music icons ABBA!
Yes, on their recently released covers EP, If You Have Ghost, produced by none other than Dave Grohl, the Satanic shock rockers choose to remake some very unlikely numbers from a range of diverse artists. Forget the obvious Slayer or typical dark and brutal heavy metal band. The aforementioned ABBA, along with Depeche Mode, and garage rock pioneer Roky Erickson are just a few of the brilliantly peculiar artists Ghost B.C. have chosen to convert to the dark side.
If You Have Ghost continentally begins with an upbeat rendition of Erickson’s “If You Have Ghost.” The band’s trademark dual lead guitar and soaring vocals are present, yet not much else is very doom-metal about this track. However, it hits on the mark and serves as a very pleasant listen. Next, a cover of ABBA’s “The Marionette.” What do “Dancing Queens” and inverted crucifixes have in common? Not much. But the quirky choice doesn’t necessarily fall completely flat; the falsetto vocals rival the original.
The EP begins to gain some serious steam by the third track, a version of Army of Lovers’ “Crucified.” A touch of darkness is brought to the reimagining of this pop hit, and their natural theatricality proves fitting for the track. Finally, their take on Depeche Mode’s “Waiting For the Night” serves ultimately climatic, taking the somber track to new sonic heights without leaving it’s original vibe in the dust, successfully bridging any gap between DM and doom metal.
Closing the EP is a live cut of a highlight track off Infestissumam, “Secular Haze.” For those who haven’t had the pleasure of experiencing the band live, this little cut hints at what one can expect.
All in all, If You Have Ghost is a well-produced (kudos Mr. Grohl) and interesting listen. Not all will get it, but for those who will, it’s pretty cool. Perhaps a larger collection of covers, leaning closer to a full album’s worth, might help these tracks not feel so sparse. Still, their take on all of the songs is worth a listen. The EP is definitely not the right record to introduce one to the band. Perhaps Infestissumam, or their equally entertaining debut, Opus Eponymus, should be required listens before checking out If You Have Ghost.
By Rick Pollo (Editor-in-Chief)
In the early 1980s, not many could have predicted that Seattle would be Generation X’s Liverpool in terms of a rock and roll renaissance. Sure, groups like the late-60s garage rockers The Sonics and 70s arena champions Heart call the city home, but a collective scene was yet to put Seattle on the rock and roll map.
By 1984, hardcore punk outfit Black Flag released there slowed down, Black Sabbath-inspired album, My War. The same year, bands like Swans and Flipper began to emerge, also introducing a slower and chunkier approach to aggressive angst-ridden punk rock. This sound was clearly ahead of its time, but left a considerable impression on the likes of Seattle outfits Green River, Soundgarden and the Melvins.
Originally formed as a hardcore punk band, the Melvins quickly emerged as one of Seattle’s most influential and ambitious acts by the mid 80s. Their unique blend of punk rock ethos, sludging heavy riffs and experimental tendencies helped spark a musical movement that would come to be known as “grunge.” Lead singer and guitarist Buzz Osbourne once stated that the band’s sound was “Black Sabbath-meets-Captain Beefheart.” Undoubtedly a perfect summation of Seattle’s perhaps most unsung and influential grunge act.
By the late 80s, the Melvins’ influence among the Seattle scene was blatantly obvious. Groups like Tad, Mudhoney, Alice in Chains, Mother Love Bone and Nirvana all were experimenting with drop tuning and searching for the heaviest and muddiest guitar tones they could find. For a moment, Seattle provided a renaissance in rock and roll, and the paradigm shifted. Over produced balladry was out, and noisy, angry punk and alternative was in. With the success of Nirvana’s Nevermind and several of the Seattle bands finding major label deals and mainstream success, the Melvins were at an epicenter of a movement. However, there break wasn’t easy.
As Seattle bands were getting signed left and right, the Melvins further pursued their musical ambition, shifting deeper into left field and away from what grunge had came to be known as, in the mainstream at least. They went heavier and sludgier, proving to have more in common with doom metal than Lollapalooza. Still, predecessors like Kurt Cobain continued to site their influence and eventually, the mainstream took notice. By 1993, at the height of the grunge scene, the Melvins signed their first major label record deal with Atlantic Records, and recorded their masterpiece, Houdini.
Houdini was unique in several ways. Much to the band’s dismay, it will probably always serve as the go-to starting point for the band. Sure, earlier albums like Bullhead and Lysol are classics in their own right. But Houdini is the first creative peak in an ever-climbing career of innovation.
Originally set to be produced by Kurt Cobain, Houdini is one of the most primal and raw, sophisticated and heavy and underrated alternative releases of the 90’s. Kicking off with droning doom riff of “Hooch,” it is immediately evident that the Melvins were not going for the sounds of Nevermind or Ten, but something more along the lines of the first records from Blue Cheer and Black Sabbath. Signature sludge tracks like “Night Goat,” “Lizzy” and “Honey Bucket” serve as templates for nearly every doom, sludge and stoner rock act that followed, making even Kyuss sound like The Spin Doctors.
Houdini also has it’s share of quark. An unlikely cover of Kiss’ “Goin’ Blind” sounds nothing like the original, yet ultimately caught the eye of Gene Simmons, who often performed the track with the band during the time of its release. Tracks like “Sky Pup,” “Hag Me” and “Copache” are well representations of the band’s experimental side, an aspect of their sound they would also later explore and expand upon.
Commercially, the Melvins were never quite able to top the success of Houdini. Artistically, it was only a launching pad.
As fellow Seattle acts spend the later half of the 90’s and early 00’s dominating rock radio, the Melvins dug deeper into the underground, earning a very loyal following. Despite their lack of commercial exposure, critically acclaimed records like Stoner Witch and Honky resonating hard with their dedicated fan base.
By the late-90’s they were dropped from Atlantic Records but eventually signed to Mike Patton’s Ipecac Recordings. From there, a golden age of experimentation ensued. In 2003, they collaborated with ambient artist Lustmord for the Pigs of the Roman Empire LP and in 2004-05, they collaborated with Dead Kenndys frontman Jello Biafra and Tool guitarist Adam Jones for the LPs Never Breathe What You Can’t See and Seig Howdy! After a successful period of collaboration, they returned to their roots for the sludgy and trippy Senile Animal in 2007.
This year, the Melvins celebrate two milestones: The 20th anniversary of their landmark Houdini and 30th anniversary together. They chose to celebrate in true Melvins fashion by releasing two artistic achievements within the same year. Earlier this year, they dropped a collection of covers titled Everybody Loves Sausages featuring reworkings of tracks by artists as diverse as Queen, Venom, Throbbing Gristle, The Kinks, David Bowie and Lead Belly. Their latest jaw-dropper, Tres Cabrones, was released in October.
As the Melvins enter their fourth decade, they show no signs of slowing their innovative sound. That innovation has proven very influential, with sound that is impossible to properly categorize. Not only has Kurt Cobain and members of Tool announced their love for the trio, but contemporary players like Mastodon, Crowbar, EYEHATEGOD and The Dillienger Escape Plan have all sworn by the Melvins.
As trends came and went, artists risen and fallen, they continue forward, in a linear but upward direction, blowing minds and provoking thoughts at every peak.