Petite mise à jour, A moitié vide en est à son deuxième tirage, avec police et mise en page légèrement différentes.
Les deux bouquins sont ou seront bientôt dispo via I lost my idealism (Paris), Mutant Records/ La Luttine/ Bal des ardents/ Tasse livre/ Buffet Froid (Lyon), Le syndrome de Galillée (Toulouse), Build me a bomb (Lille), Straight & alert (Nantes), Undersounds (Limoges), Désordre zine (Rennes), Symphony of destruction (Brest) et quelques autres.
Punk-poste possible dans les semaines à venir sur Paris/ Grenoble/ Lille/ Sainté/ Strasbourg.
Enfin, j'attends cette semaine des exemplaires de Shards, zine de Shiva Addanki (MRR, Accept the darkness, Deformity, Black Boots) pour les intéressés, n'hésitez pas à réserver par email. http://concreteguerilla.tumblr.com/post ... -shards-20
09/05/2013
Trois livres
Trois chroniques écrites pour un hypothétique fanzine.
« Je définirais le ridicule comme la distance entre le parfait et
l’imparfait ou, formulé cyniquement, entre le négatif et le positif : le
rien est toujours parfait, le quelque chose a toujours des défauts. A la
sérénité du Bouddha l’agitation du monde paraît ridicule, car lui-même n’a plus
rien à voir avec cela. Au cynique les sentiments du prochain paraissent
ridicules parce que lui-même n’a plus de sentiments. A celui qui ne joue pas au
football il paraît ridicule de courir pendant des heures après un petit ballon
de cuir ; il ne se demande pas si ce jeu ne serait pas follement amusant,
il ne voit que le côté ridicule de ces hommes adultes qui jouent comme de
petits garçons. Sans doute celui qui fait quelque chose se rend-il toujours
ridicule aux yeux de celui qui ne fait rien. Celui qui agit peut toujours
prêter le flan ; celui qui n’agit pas ne prend même pas ce risque. On
pourrait dire que ce qui est vivant est toujours ridicule car seul ce qui est
mort ne l’est pas du tout. »
Mars, de Fritz Zorn, est le témoignage d’un homme né dans les années 1940 dans une riche famille suisse. De 1944 à 1976, Zorn ne connut ni l’amitié ni l’amour, pas plus qu’il n’eut de réelle discussion ni ne ressentit quoi que ce soit en dehors d’une inconsolable détresse face à sa condition. « J’ai été éduqué à mort », déclare-t-il littéralement ; persuadé que son éducation bourgeoise est la cause du cancer qui se déclara en lui alors qu’il avait à peine trente ans, Zorn tire à boulets rouges sur ses parents, son milieu, les valeurs qui lui furent inculqués, autrement dit sur lui-même, ou plutôt sur la personne que son environnement l’a forcé à devenir. « Je trouve que quiconque a été toute sa vie gentil et sage ne mérite rien de mieux que d’avoir le cancer » résume-t-il à propos de lui-même. Son manuscrit terminé, il l’envoie à un éditeur qui se considère incapable de le publier mais le refourgue néanmoins à un collègue plus téméraire. Le livre se termine ainsi : « Je n’ai pas encore vaincu ce que je combats ; mais je ne suis pas encore vaincu non plus et, ce qui est le plus important, je n’ai pas encore capitulé. Je me déclare en état de guerre totale. » Il est publié seulement quelques jours après le décès de son auteur.
On peut lire ce premier essai
d’Aurélien Lemant de deux façons : d’abord comme l’équivalent littéraire
d’une série B planante, voire d’un de ces long métrages hollywoodiens (Inception, Dark City, Matrix) évoqués
dans le texte – un de ces films brodant
autour d’un constat imaginaire juste assez plausible pour titiller le
paranoïaque qui sommeille en chacun de nous : le monde est un rêve, nous
le vivons endormis, le monde se transforme chaque nuit sans que nous ne le
sachions, etc. Lu de cette façon,
l’ouvrage se présente comme un délire poétique halluciné, liant l’œuvre
dickienne à une armada hétéroclite de références culturelles : les
Beatles, Charles Manson, Wikipedia, Dali, Van Gogh, Orson Welles, Terry
Gilliam, Michel Houellebecq ou le comics Sandman
sont tous invoqués pour défendre la thèse principale, thèse qui, si l’on
daigne la prendre au sérieux, constituera la deuxième grille de lecture
possible : cet ouvrage n’a rien d’une série B psychédélique, notre
existence est un rêve, ou tout du
moins il existe un autre monde, caché derrière le tyrannique voile de la
réalité. Dans ce cas, cet essai, ainsi que l’œuvre entière de K.Dick dont il
propose un modeste survol (« modeste » en comparaison d’autres
ouvrages, dont le fabuleux Je suis vivant
et vous êtes morts de Carrère), préfigurerait une nouvelle ère pour
l’humanité, dans laquelle le monde des rêves sera exploré non pas comme un tour
de passe-passe de l’âme, mais comme un véritable sixième continent où se
trament des enjeux cruciaux pour notre existence consciente. Si certains
moments sont moins efficaces que d’autres (la fin du chapitre IV, où l’auteur
évoque les moments de flottement, entre l’éveil et le sommeil, où certaines
visions s’imposent à nous, n’a pas eu sur moi l’effet escompté) Traum n’en possède
pas moins les qualités requises pour faire voyager tant le fan de K.Dick que le
rêveur invétéré. (http://lefeusacre-editions. com/catalogue/index.html)
« (…)
mais moi je me disais que si je me convertissais, si j’avais la foi, je serais
obligé de laisser tomber le Diable et il se retrouverait tout seul dans les
flammes, ce ne serait pas gentil de ma part parce que dans les épreuves
sportives j’ai tendance à soutenir les perdants et dans les épreuves
spirituelles je souffre de la même maladie, car je ne suis pas un homme de
réflexion, je fonctionne aux sentiments et mes sentiments vont aux estropiés,
aux torturés, au damnés, aux égarés, non par compassion mais par fraternité,
parce que je suis l’un des leurs, perdu, paumé, indécent, minable, apeuré,
lâche, injuste, avec de brefs éclairs de gentillesse ; salement atteint et
conscient de l’être, cette lucidité ne m’est d’aucun secours, au lieu de me
guérir elle me plombe. »
Mars, Fritz Zorn (Folio)
« Je définirais le ridicule comme la distance entre le parfait et
l’imparfait ou, formulé cyniquement, entre le négatif et le positif : le
rien est toujours parfait, le quelque chose a toujours des défauts. A la
sérénité du Bouddha l’agitation du monde paraît ridicule, car lui-même n’a plus
rien à voir avec cela. Au cynique les sentiments du prochain paraissent
ridicules parce que lui-même n’a plus de sentiments. A celui qui ne joue pas au
football il paraît ridicule de courir pendant des heures après un petit ballon
de cuir ; il ne se demande pas si ce jeu ne serait pas follement amusant,
il ne voit que le côté ridicule de ces hommes adultes qui jouent comme de
petits garçons. Sans doute celui qui fait quelque chose se rend-il toujours
ridicule aux yeux de celui qui ne fait rien. Celui qui agit peut toujours
prêter le flan ; celui qui n’agit pas ne prend même pas ce risque. On
pourrait dire que ce qui est vivant est toujours ridicule car seul ce qui est
mort ne l’est pas du tout. » Mars, de Fritz Zorn, est le témoignage d’un homme né dans les années 1940 dans une riche famille suisse. De 1944 à 1976, Zorn ne connut ni l’amitié ni l’amour, pas plus qu’il n’eut de réelle discussion ni ne ressentit quoi que ce soit en dehors d’une inconsolable détresse face à sa condition. « J’ai été éduqué à mort », déclare-t-il littéralement ; persuadé que son éducation bourgeoise est la cause du cancer qui se déclara en lui alors qu’il avait à peine trente ans, Zorn tire à boulets rouges sur ses parents, son milieu, les valeurs qui lui furent inculqués, autrement dit sur lui-même, ou plutôt sur la personne que son environnement l’a forcé à devenir. « Je trouve que quiconque a été toute sa vie gentil et sage ne mérite rien de mieux que d’avoir le cancer » résume-t-il à propos de lui-même. Son manuscrit terminé, il l’envoie à un éditeur qui se considère incapable de le publier mais le refourgue néanmoins à un collègue plus téméraire. Le livre se termine ainsi : « Je n’ai pas encore vaincu ce que je combats ; mais je ne suis pas encore vaincu non plus et, ce qui est le plus important, je n’ai pas encore capitulé. Je me déclare en état de guerre totale. » Il est publié seulement quelques jours après le décès de son auteur.
Dire que Mars est un livre
noir serait un euphémisme. Je me rappelle d’un collègue qui me parlait de
Charles Bukowski en me disant qu’il aimait ses romans, même s’il les trouvait «
déprimants ». J’en avais été surpris : lire le vieux Bukowski me faisait
l’effet inverse, je m’en sentais revigoré, sa prose était comme une perfusion
d’oxygène, pleine de tout ce qui fait la vie – la misère, le désespoir, les
ténèbres, oui, mais aussi la rencontre inattendue qui efface la misère, le
baiser qui fait reculer le désespoir, les rayons de soleil perçant les nuages.
Lire Bukowski ne me paraît pas plus « déprimant » que lire Fante ou Hilsenrath
; à vrai dire même Céline passerait pour un indécrottable optimiste, comparé à
Fritz Zorn. A l’heure où j’écris, Mars est le livre le plus déprimant
qu’il m’ait été donné de lire, ce qui n’enlève rien au fait que c’est un
ouvrage habité par une recherche méticuleuse et sans concession de la vérité.
En cela, je le conseillerais à tous ceux qui n’ont pas peur des flammes.
Traum – Philip K. Dick, le martyr onirique, Aurélien Lemant (Le Feu Sacré)
On peut lire ce premier essai
d’Aurélien Lemant de deux façons : d’abord comme l’équivalent littéraire
d’une série B planante, voire d’un de ces long métrages hollywoodiens (Inception, Dark City, Matrix) évoqués
dans le texte – un de ces films brodant
autour d’un constat imaginaire juste assez plausible pour titiller le
paranoïaque qui sommeille en chacun de nous : le monde est un rêve, nous
le vivons endormis, le monde se transforme chaque nuit sans que nous ne le
sachions, etc. Lu de cette façon,
l’ouvrage se présente comme un délire poétique halluciné, liant l’œuvre
dickienne à une armada hétéroclite de références culturelles : les
Beatles, Charles Manson, Wikipedia, Dali, Van Gogh, Orson Welles, Terry
Gilliam, Michel Houellebecq ou le comics Sandman
sont tous invoqués pour défendre la thèse principale, thèse qui, si l’on
daigne la prendre au sérieux, constituera la deuxième grille de lecture
possible : cet ouvrage n’a rien d’une série B psychédélique, notre
existence est un rêve, ou tout du
moins il existe un autre monde, caché derrière le tyrannique voile de la
réalité. Dans ce cas, cet essai, ainsi que l’œuvre entière de K.Dick dont il
propose un modeste survol (« modeste » en comparaison d’autres
ouvrages, dont le fabuleux Je suis vivant
et vous êtes morts de Carrère), préfigurerait une nouvelle ère pour
l’humanité, dans laquelle le monde des rêves sera exploré non pas comme un tour
de passe-passe de l’âme, mais comme un véritable sixième continent où se
trament des enjeux cruciaux pour notre existence consciente. Si certains
moments sont moins efficaces que d’autres (la fin du chapitre IV, où l’auteur
évoque les moments de flottement, entre l’éveil et le sommeil, où certaines
visions s’imposent à nous, n’a pas eu sur moi l’effet escompté) Traum n’en possède
pas moins les qualités requises pour faire voyager tant le fan de K.Dick que le
rêveur invétéré. (http://lefeusacre-editions.Shakespeare n’a jamais fait ça, Charles Bukowski (13ème Note)
« (…)
mais moi je me disais que si je me convertissais, si j’avais la foi, je serais
obligé de laisser tomber le Diable et il se retrouverait tout seul dans les
flammes, ce ne serait pas gentil de ma part parce que dans les épreuves
sportives j’ai tendance à soutenir les perdants et dans les épreuves
spirituelles je souffre de la même maladie, car je ne suis pas un homme de
réflexion, je fonctionne aux sentiments et mes sentiments vont aux estropiés,
aux torturés, au damnés, aux égarés, non par compassion mais par fraternité,
parce que je suis l’un des leurs, perdu, paumé, indécent, minable, apeuré,
lâche, injuste, avec de brefs éclairs de gentillesse ; salement atteint et
conscient de l’être, cette lucidité ne m’est d’aucun secours, au lieu de me
guérir elle me plombe. »
Où l’on se dit que Bukowski, s’il
n’avait pas été un grand auteur américain, aurait fait une excellente
assistante sociale, tant son amour des paumés n’égale que sa passion pour les beuveries mêlées de porte-jarretelles. Disponible pour la première fois en VF,
cet ouvrage peut être considéré comme le dernier roman de l’auteur, qui nous y
raconte une tournée promotionnelle en Europe. Outre son passage remarqué chez Bernard Pivot, il y découvre sa terre d’origine (l’Allemagne),
boit plus que de raisons et explique l’existence à ceux qui auraient eu le
malheur d’en croire la version officielle. Les plus cyniques ne manqueront pas
de railler le statut culte de l’écrivain, devenu maître-étalon de la
« littérature de l’errance », catégorie de romans où des types perdus
dans un monde fou tutoient la clochardisation – qu’importe, car ce statut n’est
pas volé. On m’a récemment parlé de l’auteur sur un ton moqueur :
« Ah oui, Bukowski, ton héros »
mais il n’est point ici question de héros, je n’ai plus de héros depuis longtemps,
les enfants, je ne glorifie plus aucun être (malheureusement, serais-je presque
tenté d’ajouter) mais n’en reste pas moins admiratif devant le travail accompli
par certains d’entre eux lors de ces moments où la grâce les touchât –
phénomène dont l’apparente mysticité ne doit pas voiler les conditions, à
commencer par l’acharnement au travail. Bukowski, pour moi comme pour d’autres,
fut une figure rassurante, presque un maître à penser, à une époque où aucune
porte de sortie ne se profilait à l’horizon d’une vie gâchée par la rancœur, la
recherche inconsciente du conflit permanent et la terreur face à un avenir obstrué
par le cauchemar travail-famille-télé ; à cette époque où aucune phrase ne
semblait contenir la moindre once de vérité, où tout paraissait désuet, perdu
d’avance, pathétique combat d’un homme face aux gardiens immortels d’un monde factice,
seul ce vieux poivrot parla dur, parla vrai. Sans l’avoir lu faire face à la
rage paternelle, où aurait-on trouvé la force de rendre les coups ? Il n’y
a pas de « starification », il n’a pas de « héros », il y a
juste la folie ordinaire et la reconnaissance face au travail d’un homme qui,
dans un monde privé de Dieu, livra une partie de sa vérité aux estropiés, aux
torturés, aux égarés. Le titre est superbement trouvé, comme toujours chez
Bukowski.
02/05/2013
Twin towers
L'anthologie Distort est enfin dispo, dans le magasin en ligne ou par email à ratcharge at gmail.com
Prochainement chez les distros habituelles.
16/04/2013
Distort + A moitié vide
Changement de programme, topo sur les deux sorties imminentes:
En ce printemps 2013, Ratcharge se reconvertit en maison d'édition, avec deux livres sur le point de sortir.
* Distort, une anthologie. Traduction française de textes extraits du fanzine de DX (Total Control, UV Race, Straightjacket Nation, etc), publiés entre 2004 et 2013 à Melbourne, Australie. La rencontre entre la philosophie de Nietzsche, l'éthique de travail de Greg Ginn et la prose tranchante des rock-critics américains des années 70/80 (Lester Bangs, Richard Meltzer, Byron Coley, etc). Sont disséqués/ maltraités/ encensés dans cet ouvrage: Black Flag, Sonic Youth, Steve Albini, Sex Vid, Dry Rot, Stab, Folded Shirt, les h-100's, Royal Headache, The Ropes, les FU's, Out Cold, Negative Guest List, le flipper, le phénomène hipsters, le hardcore des années 90, les années zéro, les répercussions du 11 septembre sur le hardcore chrétien, le tout saupoudré d'une montagne de références allant du Velvet aux Cro-Mags, des Stooges à Los Crudos, de Youth Of Today à Eddy Current Suppression Ring. (Traduit en collaboration Ratcharge/ Freak Out!)
* A moitié vide, recueil de divagations inédites (1/3) ou publiées dans Ratcharge
ces dernières années (2/3). Au programme: l’alcool, l’écriture, la
méthode simple pour en finir avec la cigarette, bad trip dans les locaux
de Maximum Rock'n'roll, les
galères adolescentes, course-poursuite en banlieue parisienne, un type
uniquement vêtu d’un t-shirt IV Reich, un cendrier géant, fumer des
pétales de coquelicot, Elvis Presley, un âne avec une énorme bite, un
hôtel dans l’espace, Lyon, Melbourne, San Francisco, le monde
d’aujourd’hui, Clerks 2, les hippies, les squats, le nihilisme,
l’espoir, Pulp Fiction, une fête foraine, quelques enterrements,
Facebook, un jour de l’an avant l’heure et un banc duquel il est
difficile de décoller. Couverture par Abraham Diaz (http://awfulgraphics.tumblr.com/)
Ces deux livres passent par un imprimeur, avec couvertures glacées, dos carré, etc. En personne ils seront vendus 6€ pièce, ou 10€ pour les deux. Pour les distros, je vais essayer de privilégier la punk-poste ou de trouver des moyens de réduire les frais de port. A moitié vide devrait arriver cette semaine, Distort avant la fin avril.
Si vous êtes intéressés, que ce soit pour distribuer plusieurs copies ou pour acheter un exemplaire unique, n'hésitez pas à me contacter à l'avance. Les tirages vont se faire petit à petit (par tranche de 60/100 grosso modo) afin de limiter la casse au niveau des frais d'impression. Quand le premier tirage sera remboursé, les recettes financeront le suivant, et ainsi de suite. Mais si la demande était plus forte dès le début, j'adapterais le tirage en conséquence.
Merci de votre attention,
Alex
ratcharge at gmail.com
En ce printemps 2013, Ratcharge se reconvertit en maison d'édition, avec deux livres sur le point de sortir.
* Distort, une anthologie. Traduction française de textes extraits du fanzine de DX (Total Control, UV Race, Straightjacket Nation, etc), publiés entre 2004 et 2013 à Melbourne, Australie. La rencontre entre la philosophie de Nietzsche, l'éthique de travail de Greg Ginn et la prose tranchante des rock-critics américains des années 70/80 (Lester Bangs, Richard Meltzer, Byron Coley, etc). Sont disséqués/ maltraités/ encensés dans cet ouvrage: Black Flag, Sonic Youth, Steve Albini, Sex Vid, Dry Rot, Stab, Folded Shirt, les h-100's, Royal Headache, The Ropes, les FU's, Out Cold, Negative Guest List, le flipper, le phénomène hipsters, le hardcore des années 90, les années zéro, les répercussions du 11 septembre sur le hardcore chrétien, le tout saupoudré d'une montagne de références allant du Velvet aux Cro-Mags, des Stooges à Los Crudos, de Youth Of Today à Eddy Current Suppression Ring. (Traduit en collaboration Ratcharge/ Freak Out!)
* A moitié vide, recueil de divagations inédites (1/3) ou publiées dans Ratcharge
ces dernières années (2/3). Au programme: l’alcool, l’écriture, la
méthode simple pour en finir avec la cigarette, bad trip dans les locaux
de Maximum Rock'n'roll, les
galères adolescentes, course-poursuite en banlieue parisienne, un type
uniquement vêtu d’un t-shirt IV Reich, un cendrier géant, fumer des
pétales de coquelicot, Elvis Presley, un âne avec une énorme bite, un
hôtel dans l’espace, Lyon, Melbourne, San Francisco, le monde
d’aujourd’hui, Clerks 2, les hippies, les squats, le nihilisme,
l’espoir, Pulp Fiction, une fête foraine, quelques enterrements,
Facebook, un jour de l’an avant l’heure et un banc duquel il est
difficile de décoller. Couverture par Abraham Diaz (http://awfulgraphics.tumblr.com/)Ces deux livres passent par un imprimeur, avec couvertures glacées, dos carré, etc. En personne ils seront vendus 6€ pièce, ou 10€ pour les deux. Pour les distros, je vais essayer de privilégier la punk-poste ou de trouver des moyens de réduire les frais de port. A moitié vide devrait arriver cette semaine, Distort avant la fin avril.
Si vous êtes intéressés, que ce soit pour distribuer plusieurs copies ou pour acheter un exemplaire unique, n'hésitez pas à me contacter à l'avance. Les tirages vont se faire petit à petit (par tranche de 60/100 grosso modo) afin de limiter la casse au niveau des frais d'impression. Quand le premier tirage sera remboursé, les recettes financeront le suivant, et ainsi de suite. Mais si la demande était plus forte dès le début, j'adapterais le tirage en conséquence.
Merci de votre attention,
Alex
ratcharge at gmail.com
12/04/2013
30
Saurez-vous trouver le rapport entre ces deux photos? Le gagnant remportera un pin's parlant à l’effigie de John Brannon.
10/04/2013
Savage Quality
(MRR column from February 2013, #357)Beatniks, bozos, black flag wavers, goat worshippers, cock-smokers and maximum rock’n’rollers, welcome to another installment of Brain Works Slow. By the time you read this 2012 will only be a blurred memory, which means it will already be time to start betting on new ways the world could end. Just a hint – I’ve heard the Maori calendar stops in 2014. Creepy, huh? Anyway, another non-apocalyptic year just flew by with few records to get truly excited about – there were some of course, I’m only a human y’know, but for the most part I’ve been really unimpressed by all the third grade noisecore, all the ex-crusties now turned into goth-kids (same stench, different clothes), the rise of Ty Segall outta the gar(b)age, tough guy hardcore making a comeback, that shit’s been a big yawning party to me so I spent most of the year getting my fix of good/ bad vibes from books rather than records. My resolution for 2013 is to listen to most music on mp3 and to keep the little money I have for paperbacks – fuck, even my favorite mag of the year wasn’t a punk zine but the French edition of American literary magazine The Believer. What happened to me? Well, I’m not the same, something in my head made a violent change – I turned 30 and I spent more nights playing scrabble than pogoing this year. I ain’t no grandpa yet, but I can feel my interests evolving a bit, and it feels good, baby. Only teenagers don’t want to grow up.
If you’re still reading I’ll assume that for some strange reason you still care about what I have to say regarding punk music, so let’s get down to business. The new Pink Reason 7” is the record you need if you’re feeling bummed the world didn’t end last December – it’s a punk record with two electric guitars plus bass and drums, as opposed to the downer folk solo Pink Reason ones (like the fantastic Cleaning the Mirror Lp from 2007) but it’s still more oriented towards mature audiences than your average teenage d-beat fans. It’s the kind of punk older fellas are gonna dig because it’s more subtle, more time was spent crafting the songs and guitar licks, and no easy gimmicks were used in the process. The result is a dark, moody, angst-ridden up-tempo fuckin’ rock’n’roll jam called Ache for You, a song fans of TSOL or even the Misfits should be able to relate to as it’s got a similar desperate, dramatic vibe. On side B, Darken Daze’s got more of a bummed out/ slacker feel – it’s slower but still pretty rockin’, and confirms Kevin De Broux’s voice as one of the strongest in modern punk – that guy can sing, my friends, and this record is yet another proof of it, so get on board if you’re more interested in adult punk than in the new wave of goth crust.
I had the pleasure of helping a friend interviewing Kevin a couple years back, which I think I’ve already mentioned in this space before. He struck me as what you’d call a larger-than-life character, a tall hobo-looking guy with a big mouth and strong opinions on just about everything. The interview happened at a time where I was getting a bit bored of traditional sounding hardcore punk and looking for something else, but there didn’t seem to be many options out there apart from right-wing garage bands or plain boring soft-rock ones, so finding a band like Pink Reason was an important step – I was looking for music coming from the gutter rather than the fancy clubs and art schools, and Pink Reason fit that description perfectly. So I got pretty excited a few months back when I heard Kevin was running a label called Savage Quality Records – the aforementioned new Pink Reason 7” was put out on said label, as well as Throw It Away, the very first 7” from 2006. Label-wise nothing happened in the six years separating the two records, but Savage Quality recently started putting out other bands music, namely long-players by Modra and Teen Anal Terrorist.
Modra is fucked up music for ghosts and dead people – tunes to listen to while staring at the ceiling and tripping the fuck outta your mind while remembering and then forgetting everything that went wrong in your shitty life. I’m not too familiar with this kind of sound so I won’t risk any grandiloquent comparisons but Modra’s hubbub is disturbed and haunted in the same way that I remember US Girls being when I saw her live, the kind of quiet yet deranged psychedelic racket you should play while watching early Richard Kern shorts in slow-motion with the sound turned-down – more dismantled than no wave but just as paranoid and urban, and I’m not just saying this because the band seems to be based in NYC. The record comes in a homemade sleeve with a glued-on picture of grown-up old school punks queuing to take a piss in some kinda desolate pub, and like all Savage Quality records it was pressed in the basement of a residential home a mile up the road from the label HQ.
At first I was a bit bummed to realize that Teen Anal Terrorist wasn’t no Teenage Jesus & the Jerks or Jesus & the Gospelfuckers, two of my favorites orchestras in the “great outrageous punk band names” department, but after a couple of spins I got into it. T.A.T is even more out of this world than Modra – what we’re dealing with is slowed-down, nightmarish broken electronics sounding like it’s coming straight from the basement of an abandoned factory in Wisconsin, and the fact that I’m into it should tell you something as I’m not easily attracted to non-guitar based music. The whispering female voice is a nice addition, and I swear I’m even hearing something in French at some point.
Look, here’s how I would sum it all up – I’m excited about Savage Quality because my bullshit detector tells me that I can trust Kevin’s tastes in the same way that I trust Negative Guest List, Siltbreeze and a couple other labels and fanzines who helped big time in making me realize that punk wasn’t just one sound but endless possibilities. My interest in music tends to gravitate towards thoughtful yet ill-adjusted types (or retarted ones, but that’s another story), and this first batch of records from Savage Quality seems to indicate that’s just what this label is about – under the radar, outsider sounds straight from the dark alleys and cellars of America. Let’s just hope we don’t have to wait six more years for the next releases; being a bit familiar with Kevin’s tastes, I’m crossing my fingers for some Soviet reissues, but that’s just a hope, not a guess. In the meantime you can hear preview tracks and order the records at savagequalityrecordings.com
05/04/2013
Big Eyes
(From MRR #358)
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| Picture: Monica Martinez |
The other day, fairly drunk in my room, I did something I hadn't done in ages: send some simple random questions to a band, for no other reason than the fact I had been playing their songs on repeat. The band was Big Eyes - the best thing to happen to gritty, catchy, melodic rock & punk since the Fastbacks. Kate answered the questions in a couple days. It is recommended that you play this song as loud as possible while reading:
Big Eyes reminds me a lot of the Fastbacks. Were you influenced by 'em when you started jamming?
I actually got into The Fastbacks a little after I started Big Eyes, when people started telling me that we sounded similar to them. Now that I live in Seattle, I'm an even bigger fan. I think they're a great band, and they're definitely a big influence on us.
Where were you all livin' when the band started? Do you think you would have played the same music if in another city?
I was living in Crown Heights, Brooklyn when I started Big Eyes. It's not a great neighborhood, but compared to lots of other parts of Brooklyn it wasn't so bad. A lot of people that live in NYC live in apartments, but I was lucky enough to live in a house. Most of my roommates were musicians as well, so we had a band practice room. That definitely made it a lot easier (and cheaper!) to focus on writing and recording songs. I grew up in a beach town about 30 miles outside of NYC, so I was always very drawn to the city. There's not a lot going on in the suburbs musically, but there's always a million things going on in the city. I was heavily influenced by New York bands and the New York attitude ("state of mind" haha!). Everything about NYC is straight forward and aggressive, and that comes out in the music it spawns. I think if I grew up in California or somewhere else I'd be a pretty different person. But just because we are based out of Seattle now that doesn't mean we're becoming a grunge band, haha.
What do you like to read?
I mostly read science fiction and band biographies. Recently I read "On The Road with The Ramones," the book put together by their longtime manager Monte Melnick. That book was a fun read, so many stories and facts that I didn't know about one of my favorite bands of all time. They really dug deep. I highly recommend it to fans of The Ramones(*). Right now, I'm finishing up the Xenogenesis series, written by Octavia Butler. She's an amazing writer, some really freaky concepts in her stories, but somehow they're easily relateable. She and Ray Bradbury are my favorite science fiction authors.
Do you tour often? Are you trying to make a living off Big Eyes or is it more a part-time thing?
Big Eyes tours very often, we're a full time band. We moved to Seattle in September 2011, and between then and September 2012 we toured for at least a good 6 out of those 12 months (split up into a few different tours). It'd be nice to make a living off Big Eyes but that's definitely not my main motivation.
What's the worst thing that could happen to you while on stage?
One time a couple years ago we played at Asbury Lanes in New Jersey and both my guitar and amp wouldn't work for some reason. I tried someone elses guitar thinking that was the problem, but my amp still didn't work. That was so frustrating! I've broken a string during the first song of a set a bunch of times, and it's really annoying when people bump into you and knock the microphone into your teeth. I'm pretty small and a lot of people don't realize their strength and bump into me while I'm playing.
You're gonna tour Europe in 2013, right? What are your expectations? What would be the worst case scenario for the tour to be a disaster?
We should hopefully be touring Europe in fall 2013. I don't really know what to expect, because we've never played in Europe (I've never been there at all), but I think it will be awesome. We are very excited to go over there. The worst case scenario? I don't wanna think about that! Things can always go wrong. One of my biggest fears would be for us to flip our van or something. That seems so scary. Or if we lost our passports. Yikes!
I see you're selling a shirt with a drawing of a cat, but would you eat a cat if it was the only thing available?
I eat cat regularly. Just kidding. Have you seen the Screaming Females video where Marissa eats cats? Ha ha, that's a good one.
bigeyes.bandcamp.com
Hard life (Mediafire)
(* Pour les lecteurs français, ce livre vient d'être traduit par les éditions Rytrut.)
21/02/2013
Pas de pause
"Beaucoup de gens voient dans les fanzines modernes et leur fascination pour les groupes de punk hardcore authentiques une sorte de nostalgie d'un temps révolu, une volonté de revisiter Les Années coup de cœur avec Tesco Vee dans le rôle de Kevin Arnold. Les groupes et les fanzines qui comptent aujourd'hui perpétuent ce que Black Flag et Negative Approach amorcèrent en leur temps. Il n'y a aucune interruption, pas de pause. Il ne s'agit pas de rendre hommage aux trente dernières années ou de les mémoriser en une charade maladroite. Une poignée de groupes et de personnes surent reconnaître le potentiel de terreur et de provocation offert par la formule batterie/ basse/ guitare/ chant, et quelle que soit la genèse que vous attribuiez à cette musique, d'autres personnes ont conservé cet intérêt depuis.
Il existe cette fausse et commode dichotomie dans le punk, née du soporifique débat MRR/ anti-MRR du début des années 80 et à laquelle les gens continuent d'adhérer, comme si être PC ou anti-PC voulait encore dire quelque chose. Toute discussion politique, philosophique ou scientifique s'articule généralement autour du radotage ignorant d'idées gauchistes vieillottes ou de tirades extrêmement réactionnaires de la part de gens peu sûrs d'eux, fatigués d'être rabaissés par le radotage susmentionné. Les deux positions empestent le nerd, car elles craignent toutes deux d'être rendues redondante par l'autre."
Extrait de l'anthologie Distort, dont la traduction est en cours. Sortie en avril.
20/02/2013
This picture shows the difference between the first (on the right) and the second batch of Brain Works Slow. This wasn't intentional, but I like it that way. Most importantly, it means that this mess is available again in the webstore or by email.
Here are two grandiloquent reviews:
Trackmarx
Muscle Horse
Don't Buy Records (Netherlands) and Kink Records (Germany) will have copies soon.
09/02/2013
Musique from a departed universe
The full version of the electric eels interview I did with John Morton for Ugly Things was recently uploaded on the band's website. I've pasted my intro below, but you can read the whole thing there: http://www.electricfuckingeels.com/wow/ugly_things/
(Pour mémoire, une version française, sous forme de récit, est parue dans le Ratcharge 28)
Any music fan with a soft spot for geniune weirdos, out of this world fucking mutants, what the hell were they on about types, will get the same kinda kick outta coming across a picture of the electric eels ("It should be all lowercase. You know, like ee cummings.", as expressed by their singer, who came up with the name) – some would call it "being moved", others "gaining an instant interest", but the most romantic types will just say it straight up – the eels are a band to fall in love with.
One of their most famous pictures features singer Dave E looking like Gollum from Lord Of The Rings, sporting his kick-ass afro while smiling like the retard son of a confused antechrist; guitarist Paul Marotta is dressed up like a hip grandma, his face truely seems gender-neutral, like an ageless queer character from the movie Gummo, 'cept from a time where there were no "queer characters" in any movies; in the middle, holding both of his bandmates in his gigantic hands stands the man you're about to hear talking inside your head, the white-trash glam-rock longhair spiritual father of all devos himself – ladies and gentlemen, Sir John Morton.
Now, before we go on, you gotta look at the picture really closely, for five or ten minutes, then close your eyes, and imagine – you're in Cleveland, Ohio, in nineteen-fuckingseventy- two. The sixties just ended, we haven't even celebrated the thirty year anniversary of the end of WWII yet ; Richard Nixon is president for the second time, Ronald Reagan is best known for being the main actor in Bedtime for Bonzo; hippies still rule, but the four dead bodies found at the Altamont Stones concert, at the the tail-end of 69, plus the Manson family trial in 71, have started to show the limits of blind beliefs in peace, love, or anything at all; those are times of post-happiness and cold war, proto-close-mindedness and closed eyes, but in Cleveland, Ohio, times don't move at the same pace as the rest of the world. Morton says it best: "Cleveland is and was a vacuum, a place to leave." There is no need for yet another description of the industrial wasteland the city is, was, will be, but let's just say it's the midwest, ok, it's 1972, ok, you got your wife and your kids and your bar and your shitty job and everything's fine but suddenly, something catches your eye on the corner of the street, something you can't describe, something there is no words for – yet – you see three motherfucking punk-rockers. Wait, what? In 1972? Yup, the hippies have mutated faster in Cleveland than anywhere else, pal. Better get used to the idea 'cause it is here to stay.
Aesthetically, musically, the electric eels were pure punk-rock when "punk-rock" didn't mean shit to anyone apart from a few rock critics who were playing around with the term. They had it all – the sound, the songs, the clothes, the attitude, the nihilism, the impossibility to be reduced to a cliché, a postcard, something that would be easy to buy. Between 1972 and 1975 they did something that's usually refered to as "writing history", and they did so by fighting whoever was on their way, including their own selves; they did so by playing the most avant-garde raw rock'n'roll there was at the time, toying around with freejazz, bringing sledgehammers and power lawnmowers on stage and playing them, but also by writing some of the best, most primitive, most catchy straight up punk songs ever – listen to Agitated, listen to Cyclotron, Anxiety, Safety Week – that shit hasn't aged one iota in forty years – in fact those songs sound as modern as they ever did, and it isn't the growing number of young bands citing the eels as influences who will argue that fact. So now, what?
Now, seat back, relax, grab a beer or two, read on, as guitarist John Morton agreed to answer some questions for Ugly Things, in hopes of achieving what should remain as the definitive electric eels interview. For such an important (albeit shortlived) band, to say the eels are under-documented by punk history books is an understatement. The rare sources giving them their due props (handfull of fanzines, few blogs, a couple message boards) usually seem pretty confused on a number of crucial details (exact number of gigs they played being the most obvious one.) Of course it would have been great to get other versions of the story, for instance to hear what Dave E (one of the most memorable voices in punk, ever – listen to his other projects The Jazz Destroyers and The Cool Marriage Counsellors by all means necessary)had to say about it all, but as any fan of the band knows, Dave doesn't want to talk about the band, busy that he is living the christian, ahem, "dream". We thought of tracking him down for a while, we actually found out some crucial infos but after thinking about it we decided to respect his privacy and his right to remain silent. As for Brian McMahon, should he contact us, we will gladly talk to him.
22/01/2013
21/01/2013
17/01/2013
Brain Works Slow
Foreign distros, get in touch for cheap wholesale rates.
Individual orders through the webstore or by email.
Catalogue number >>> RAT#29
Contact >>> ratcharge at gmail.com
Beach gabba nothing
Just added my last copy of the White Cop 12" to the webstore. One of my fave releases/ reissues of 2012. Leather Bar Records.
"Shit, weird. In Brisbane, West End is a mecca of neo-hippies and dudes/dudettes with dreadlocks who enjoy Creed. We ended up at a party filled with these types trying to get on, after a Chris Isaack show. It ended up with us getting thrown out, the DJ/house owner trying to fight us and getting bottled in the face by our "manager" with a big thick bottle of wine. Turns out he ended up coming down off his trip in hospital and put out some vague death threats. The last thing I heard him scream was, "If any of you cunts come out to West End again, you're dead." Then we played a show down the street 2 weeks later and the punks hated us as much as the hippies.
Going through 6 or 7 bass players, the "Blood Shirt" incident, getting banned or fought off from every stage we played, inspiring a brother and sister to start a GG Allin inspired band where they piss on and fuck each other, fuck, this band was 6 months of this kind of stuff..."
You can also dowload it here. Or stream a couple songs there:
"Shit, weird. In Brisbane, West End is a mecca of neo-hippies and dudes/dudettes with dreadlocks who enjoy Creed. We ended up at a party filled with these types trying to get on, after a Chris Isaack show. It ended up with us getting thrown out, the DJ/house owner trying to fight us and getting bottled in the face by our "manager" with a big thick bottle of wine. Turns out he ended up coming down off his trip in hospital and put out some vague death threats. The last thing I heard him scream was, "If any of you cunts come out to West End again, you're dead." Then we played a show down the street 2 weeks later and the punks hated us as much as the hippies.
Going through 6 or 7 bass players, the "Blood Shirt" incident, getting banned or fought off from every stage we played, inspiring a brother and sister to start a GG Allin inspired band where they piss on and fuck each other, fuck, this band was 6 months of this kind of stuff..."
You can also dowload it here. Or stream a couple songs there:
16/01/2013
2003 - 3€
Suis tombé sur ça
en cherchant une vieille photo.
Ne sais pas ce qui est le plus choquant:
le prix d'entrée ou l'année?
(Flyer par Thrash Manu)
en cherchant une vieille photo.
Ne sais pas ce qui est le plus choquant:
le prix d'entrée ou l'année?
(Flyer par Thrash Manu)
13/01/2013
2013
En projet pour ce début 2013: rééditer, compiler, traduire, sortir des tiroirs, garder disponible. Le 29 est prêt à être publié, le 30 n'attend que sa couverture, le 31 est en cours de traduction.
29 - Brain works slow (A collection of MRR columns, 2010-2012)
30 - A moitié vide (Divagations, 2010-2013) (Recueil de textes extraits de Ratcharge ou inédits - 50/50)
31 - Distort - une anthologie (Traductions en français de textes parus dans Distort, 2004-2013)
Et toujours envisagées avant 2024, les rééditions de:
22 - Entre un néant et un autre
27 - Black line fever
Pour les commandes, un magasin en ligne est désormais opérationnel: http://ratcharge.bigcartel.com
Bien sûr les commandes par email sont toujours appréciées.
29 - Brain works slow (A collection of MRR columns, 2010-2012)
30 - A moitié vide (Divagations, 2010-2013) (Recueil de textes extraits de Ratcharge ou inédits - 50/50)
31 - Distort - une anthologie (Traductions en français de textes parus dans Distort, 2004-2013)
Et toujours envisagées avant 2024, les rééditions de:
22 - Entre un néant et un autre
27 - Black line fever
Pour les commandes, un magasin en ligne est désormais opérationnel: http://ratcharge.bigcartel.com
Bien sûr les commandes par email sont toujours appréciées.
09/01/2013
Of Flesh And Blood
Of Flesh And Blood is the first and only movie directed by Jeff Mentges, No Trend's singer. Seems hard to find, so if anyone's got a hard copy or link to download/ torrent/ whatever, please share (ratcharge at gmail.com). Thanks. It was screened in some festival two years ago and the video below comes from the promo for that.
A Scene From "Of Flesh and Blood" from Dave Nuttycombe on Vimeo.
A Scene From "Of Flesh and Blood" from Dave Nuttycombe on Vimeo.
01/01/2013
MRR Column - #354, November 2012
About: Charles Bukowski, a respectable frenchman, doing things the Black Flag Way, Crass, the welfare state, french squatters, and the virtues of loneliness & work.
“This is very important – to take leisure time. Pace is the essence. Without stopping entirely and doing nothing at all for great periods, you're gonna lose everything. Whether you're an actor, anything, a housewife...there has to be great pauses between highs, where you do nothing at all. You just lay on a bed and stare at the ceiling. (…) And I don't mean having profound thoughts. I mean having no thoughts at all. Without thoughts of progress, without any self-thoughts of trying to further yourself. Just...like a slug. It's beautiful.” (Charles Bukowski, 1987)
The other day one of my friends told me that these columns o’ mine have kinda started to suck lately, and who am I to argue? Mind you, the guy isn’t some kind of shit-talking machine but a respectable human punk, so I listened and nodded. After all, one thing I know is that writing isn’t different from music which isn’t different from anything else in this world – if you wanna achieve something, anything, you gotta work hard, and if you fail, well, you gotta work harder and longer. No mystery here, talent is bullshit, work is everything. And there’s no denying that I haven’t exactly been hard at work in 2012 so far, as far as writing goes. So yeah. Columns suck. Cry me a river.
The idea that you gotta put lots of efforts in your zine (or column, or band, etc) for it to be any good isn’t that popular in the punk scene in France, or at least it didn’t seem to be when I was growing up. “The French way” to do punk stuff seemed to be the opposite of “the Black Flag way”, meaning the American way, or the Japanese way, i.e. treat your band like it’s the most important thing in your life, flush your social life down the toilets for it, make sacrifices for it, fuck, go and die for it if it’s gonna make the songs sound any better. Over here the idea that laziness is a defendable value is pretty ingrained in punk’s minds, or so it seems. You see people wearing patches simply and proudly spelling the word LAZY in capitals, with a circle ’round the “A”. What the fuck, right? No wonder this music of ours sucked for so long. We’re paid by the State to do nothing. We are the Welfare Punks, spending half our time in bed and the other drinking cheap beer. Fuck us. We won’t achieve shit.
This year I’ve worked full time for six months in a row, the longest I’ve ever been employed. My previous record was five months. Ten years ago I remember getting into an argument with my then-girlfriend when she asked me what I wanted to do with my life. I was working a shitty part-time telemarketing job, living in her tiny Parisian room under the roof of a seven floors building with no elevator, and feeling pretty damn miserable. My answer was “I don’t know.” Followed by “Well, actually, the only thing I know is that I wanna work as little as possible.” She stared at me for a few seconds, dumbfounded, waiting for the punch line, but there was none. “Work as little as possible? Is that it? Is that your only project for the future? No wonder you’re depressed!” Of course she was kinda rightfully pissed, working as she was for both of us, paying our rent so that I could spend my afternoons writing dumb fanzines about Spanish anarchists and Swedish poseurs in her room while she was looking after two rich brats ten hours a day, which drove her insane. Fair enough.
Save for my poor girlfriend, most of the people I was surrounded by seemed to agree with me. There was the world-famous sticker/ patch/ book cover/ whatever that featured a drawing of a peaceful-looking person lying in bed with the catchphrase “I didn’t go to work today… I don’t think I’ll go tomorrow”, there was Crass singing “Do they owe us a living, of course they do, of course they do” and there were all my friends, The Proudly Unemployed, pretending their laziness was political but still living with their parents and finding endless excuses for it. Down the street, one of my best friends would punch his dad in the face whenever he told him to get a job, which is pretty fucking extreme when you think about it, especially considering that he was still living at said dad’s place, 23 years of age and not having the slightest desire to build anything or even to find a place of his own and stop living off his folks hard-earned cash. And then there were the anarchists, the squatters, who were trying to build another world from scratch, not on the ruins of the old one but right in the core of it, like trying to play an heartfelt protest song with tiny amps and no P.A in the same room where an extremely loud heavy metal band with professional gear is still jamming. Sure you’ll annoy them, but they’ll still be louder, they’ll still win in the end. A noble fight, even if it felt like a lost cause. Still, the squatters were the ones with the most realistic view of leisure, of “doing nothing” – they liked to defend laziness but they were building things, making efforts, in one word, working. Entire days were spent chilling, drinking beers in the sun, smoking rollies and reading pamphlets in messy gardens full of weeds and self-managed vegetables, but other weeks were dedicated to building the benches on which to sit, planting those veggies and writing those pamphlets, not to mention the act of opening and running the squat, dealing with the authorities, and all the other hard stuff associated with this way of living. Call these people lazy and I’ll call you a fool. It’s all about balance, baby.
Basically I think the term laziness is misinterpreted by a lot of people around here. For instance when Bukowski talks about the virtues of leisure, he’s obviously fucking with us – here’s a guy who published six novels, about a dozen collections of short stories, and countless poetry books, telling us that doing nothing is the way to go? You know how hard it is to write a good short story? A good novel? That shit’s a full-time job, not in the sense of “working 8 hours and going home to chill with your wife” but more like a “work all day, work all night” type deal. So many people dream of writing a book, so few are ready to put in the necessary work and sacrifices… Just like so many people want their band to be groundbreaking, yet wouldn’t miss a minute of the time they spend socializing at the bar to stay alone in their rooms trying to find good riffs. I think what Bukowski’s talking about when mentioning the importance of doing “nothing at all” is more a critique of the hectic, bullshit contemporary way of life wherein people are so afraid of silence and loneliness that they constantly need some kind of distraction, no matter what is is (TV, internet, people, music, alcohol, food, you name it). Socializing is important, but so is enjoying one’s own company, not freaking out when left alone. What’s there to be scared of? Facing our own thoughts? One shouldn’t feel emptiness when left alone. A good way of doing “nothing at all” is to meditate, but that’s probably too hippie for most of you, so I won’t even start.
Make no mistake, what I’m doing here, essentially, is trying to convince myself to get to work. I’m a lazy bastard, as anyone who knows me will attest – I enjoy doing fuck all, getting up late, spending hours talking shit on benches, all that good stuff, but as far as my relationship to work goes, it’s not that I hate it per se, it’s just that I can’t stand being bossed around and doing meaningless chores for the benefit of someone else. Of course that’s the very definition of the word “work” for most people, and it was for me too until a few years ago – like most French punks I hated the very word, until I realized that if I wanted to write better, I was gonna have to kick my own ass and spend a lot more time alone, in front of the computer, and work on it. Either that, or I’d never progress. It’s one thing to be against the notion of work as sold to us by “the system”, it’s another to proudly achieve nothing at all, like, ever. Duh. Life is short, punk, so do something with it – this is what I’m trying to tell myself here, after a full day of sitting around naked in my room blasting the recently reissued “Oddities” 2xLP by The Clean that I bought last week in Barcelona, the mandatory Meat Thump 7” on Negative Guest List Records* and the Flip Shit 7” that some dude from Rochester was nice enough to send me as some kinda promo thingy (Hint: get all these records, you won’t regret it.) The massive heat-wave outside isn’t helping but I gotta look for a new job, a new apartment, write that goddamn novel and find new ways of keeping punk exciting for myself. Because that’s the thing, for me, as far as this punk shit goes – if you stop being an active participant, if you stop working on it, punk quickly becomes stale, boring, tedious; if you got a critical mind it quickly becomes hell, as you watch other people shape this thing in ways that drive you mad. And with writing, it’s even worse, ’cause the only sure way to become better is to write every day, write all the time, write reviews and emails and letters and short stories you’ll throw away the next day, write anything but write, write, write, otherwise you’ll lose the momentum and you’ll be the only one to blame. That’s pretty much what I told my mate after he mentioned the lack of quality in those columns lately, and especially when he asked if I had considered stopping writing them: no I haven’t, I’ll just work harder to make them better again, and if I fail, feel free to send me hate mail.
*
“This is very important – to take leisure time. Pace is the essence. Without stopping entirely and doing nothing at all for great periods, you're gonna lose everything. Whether you're an actor, anything, a housewife...there has to be great pauses between highs, where you do nothing at all. You just lay on a bed and stare at the ceiling. (…) And I don't mean having profound thoughts. I mean having no thoughts at all. Without thoughts of progress, without any self-thoughts of trying to further yourself. Just...like a slug. It's beautiful.” (Charles Bukowski, 1987)
The other day one of my friends told me that these columns o’ mine have kinda started to suck lately, and who am I to argue? Mind you, the guy isn’t some kind of shit-talking machine but a respectable human punk, so I listened and nodded. After all, one thing I know is that writing isn’t different from music which isn’t different from anything else in this world – if you wanna achieve something, anything, you gotta work hard, and if you fail, well, you gotta work harder and longer. No mystery here, talent is bullshit, work is everything. And there’s no denying that I haven’t exactly been hard at work in 2012 so far, as far as writing goes. So yeah. Columns suck. Cry me a river.
The idea that you gotta put lots of efforts in your zine (or column, or band, etc) for it to be any good isn’t that popular in the punk scene in France, or at least it didn’t seem to be when I was growing up. “The French way” to do punk stuff seemed to be the opposite of “the Black Flag way”, meaning the American way, or the Japanese way, i.e. treat your band like it’s the most important thing in your life, flush your social life down the toilets for it, make sacrifices for it, fuck, go and die for it if it’s gonna make the songs sound any better. Over here the idea that laziness is a defendable value is pretty ingrained in punk’s minds, or so it seems. You see people wearing patches simply and proudly spelling the word LAZY in capitals, with a circle ’round the “A”. What the fuck, right? No wonder this music of ours sucked for so long. We’re paid by the State to do nothing. We are the Welfare Punks, spending half our time in bed and the other drinking cheap beer. Fuck us. We won’t achieve shit.
This year I’ve worked full time for six months in a row, the longest I’ve ever been employed. My previous record was five months. Ten years ago I remember getting into an argument with my then-girlfriend when she asked me what I wanted to do with my life. I was working a shitty part-time telemarketing job, living in her tiny Parisian room under the roof of a seven floors building with no elevator, and feeling pretty damn miserable. My answer was “I don’t know.” Followed by “Well, actually, the only thing I know is that I wanna work as little as possible.” She stared at me for a few seconds, dumbfounded, waiting for the punch line, but there was none. “Work as little as possible? Is that it? Is that your only project for the future? No wonder you’re depressed!” Of course she was kinda rightfully pissed, working as she was for both of us, paying our rent so that I could spend my afternoons writing dumb fanzines about Spanish anarchists and Swedish poseurs in her room while she was looking after two rich brats ten hours a day, which drove her insane. Fair enough.
Save for my poor girlfriend, most of the people I was surrounded by seemed to agree with me. There was the world-famous sticker/ patch/ book cover/ whatever that featured a drawing of a peaceful-looking person lying in bed with the catchphrase “I didn’t go to work today… I don’t think I’ll go tomorrow”, there was Crass singing “Do they owe us a living, of course they do, of course they do” and there were all my friends, The Proudly Unemployed, pretending their laziness was political but still living with their parents and finding endless excuses for it. Down the street, one of my best friends would punch his dad in the face whenever he told him to get a job, which is pretty fucking extreme when you think about it, especially considering that he was still living at said dad’s place, 23 years of age and not having the slightest desire to build anything or even to find a place of his own and stop living off his folks hard-earned cash. And then there were the anarchists, the squatters, who were trying to build another world from scratch, not on the ruins of the old one but right in the core of it, like trying to play an heartfelt protest song with tiny amps and no P.A in the same room where an extremely loud heavy metal band with professional gear is still jamming. Sure you’ll annoy them, but they’ll still be louder, they’ll still win in the end. A noble fight, even if it felt like a lost cause. Still, the squatters were the ones with the most realistic view of leisure, of “doing nothing” – they liked to defend laziness but they were building things, making efforts, in one word, working. Entire days were spent chilling, drinking beers in the sun, smoking rollies and reading pamphlets in messy gardens full of weeds and self-managed vegetables, but other weeks were dedicated to building the benches on which to sit, planting those veggies and writing those pamphlets, not to mention the act of opening and running the squat, dealing with the authorities, and all the other hard stuff associated with this way of living. Call these people lazy and I’ll call you a fool. It’s all about balance, baby.
Basically I think the term laziness is misinterpreted by a lot of people around here. For instance when Bukowski talks about the virtues of leisure, he’s obviously fucking with us – here’s a guy who published six novels, about a dozen collections of short stories, and countless poetry books, telling us that doing nothing is the way to go? You know how hard it is to write a good short story? A good novel? That shit’s a full-time job, not in the sense of “working 8 hours and going home to chill with your wife” but more like a “work all day, work all night” type deal. So many people dream of writing a book, so few are ready to put in the necessary work and sacrifices… Just like so many people want their band to be groundbreaking, yet wouldn’t miss a minute of the time they spend socializing at the bar to stay alone in their rooms trying to find good riffs. I think what Bukowski’s talking about when mentioning the importance of doing “nothing at all” is more a critique of the hectic, bullshit contemporary way of life wherein people are so afraid of silence and loneliness that they constantly need some kind of distraction, no matter what is is (TV, internet, people, music, alcohol, food, you name it). Socializing is important, but so is enjoying one’s own company, not freaking out when left alone. What’s there to be scared of? Facing our own thoughts? One shouldn’t feel emptiness when left alone. A good way of doing “nothing at all” is to meditate, but that’s probably too hippie for most of you, so I won’t even start.
Make no mistake, what I’m doing here, essentially, is trying to convince myself to get to work. I’m a lazy bastard, as anyone who knows me will attest – I enjoy doing fuck all, getting up late, spending hours talking shit on benches, all that good stuff, but as far as my relationship to work goes, it’s not that I hate it per se, it’s just that I can’t stand being bossed around and doing meaningless chores for the benefit of someone else. Of course that’s the very definition of the word “work” for most people, and it was for me too until a few years ago – like most French punks I hated the very word, until I realized that if I wanted to write better, I was gonna have to kick my own ass and spend a lot more time alone, in front of the computer, and work on it. Either that, or I’d never progress. It’s one thing to be against the notion of work as sold to us by “the system”, it’s another to proudly achieve nothing at all, like, ever. Duh. Life is short, punk, so do something with it – this is what I’m trying to tell myself here, after a full day of sitting around naked in my room blasting the recently reissued “Oddities” 2xLP by The Clean that I bought last week in Barcelona, the mandatory Meat Thump 7” on Negative Guest List Records* and the Flip Shit 7” that some dude from Rochester was nice enough to send me as some kinda promo thingy (Hint: get all these records, you won’t regret it.) The massive heat-wave outside isn’t helping but I gotta look for a new job, a new apartment, write that goddamn novel and find new ways of keeping punk exciting for myself. Because that’s the thing, for me, as far as this punk shit goes – if you stop being an active participant, if you stop working on it, punk quickly becomes stale, boring, tedious; if you got a critical mind it quickly becomes hell, as you watch other people shape this thing in ways that drive you mad. And with writing, it’s even worse, ’cause the only sure way to become better is to write every day, write all the time, write reviews and emails and letters and short stories you’ll throw away the next day, write anything but write, write, write, otherwise you’ll lose the momentum and you’ll be the only one to blame. That’s pretty much what I told my mate after he mentioned the lack of quality in those columns lately, and especially when he asked if I had considered stopping writing them: no I haven’t, I’ll just work harder to make them better again, and if I fail, feel free to send me hate mail.
*
14/12/2012
29/12/2011
Idiocracy
Here's something found on Joe Carducci's The New Vulgate. A good illustration of the dumbification of public discourse via the internet, and why "having a discussion" on a "message board" is pretty much non-sense.
“When I started as a film critic online at Salon.com, readers could click on a link that allowed them to e-mail me directly. Within a month, I heard from more readers than I had in a decade as a print critic. Not all the letters were nice (though the rude writers often apologized if you wrote back to them and reminded them a person was on the other end of their missive), but I felt in touch with my readers. There was also an edited letters column. That all ended when the publication made it possible for readers to post directly without going through an editor. Almost immediately, I and the other writers I knew stopped hearing directly from readers. Instead, instant posting became survival of the loudest. Posturing and haranguing ruled. If the writer was female or Jewish, misogynists and anti-Semites would turn up. Why wouldn’t they? There was no editor to stop them. Bullies and bigots seized the chance to show off. And those reasonable people, the ones I and my colleagues heard from? They went nowhere near the online forums.”
Charles Taylor in Dissent, "The Problem with Film Criticism".
“When I started as a film critic online at Salon.com, readers could click on a link that allowed them to e-mail me directly. Within a month, I heard from more readers than I had in a decade as a print critic. Not all the letters were nice (though the rude writers often apologized if you wrote back to them and reminded them a person was on the other end of their missive), but I felt in touch with my readers. There was also an edited letters column. That all ended when the publication made it possible for readers to post directly without going through an editor. Almost immediately, I and the other writers I knew stopped hearing directly from readers. Instead, instant posting became survival of the loudest. Posturing and haranguing ruled. If the writer was female or Jewish, misogynists and anti-Semites would turn up. Why wouldn’t they? There was no editor to stop them. Bullies and bigots seized the chance to show off. And those reasonable people, the ones I and my colleagues heard from? They went nowhere near the online forums.”
Charles Taylor in Dissent, "The Problem with Film Criticism".
05/08/2011
CHAOSCHAOSCHAOSCHAOSCHAOSCHAOSCHAOSCHAOS
Searching for something useless to read on a friday night? Look no further! Here's a long, impressive list of punk bands with the word "CHAOS" in their name, published a long time ago in Game Of The Arseholes #7,5 (which was part of the third F.U.C.K package, but does anyone care?) A bunch of issues of GOTA are readable online (try over there) but for some strange reason I don't think this one was uploaded by anyone... To read more easily, click on the pictures. And if you think some bands have been forgotten or the list needs to be updated, please comment!
01/08/2011
FRAT CARS
Quelques heures à tuer devant un écran? Allez donc les passer sur le site Frat Cars, où deux archivistes obsessionnels fans des BIG BOYS ont accompli la volonté du peuple: mettre à disposition de tous la monumentale archive de flyers du groupe texan, soit plusieurs centaines de monuments d'art punk entièrement faits-main. On y trouvera bien sûr de nombreuses réalisations de Biscuit et Tim Kerr, mais pas seulement. Véritable malle au trésor virtuelle, tant pour le fan de longue date que pour le nouveau-venu, le site renferme une sacrée dose d'inspiration, l'efficacité de ces instantanés punks n'ayant d'égal que leur simplicité apparente. On ressent immanquablement ce sentiment de "tout le monde peut le faire" si cher au HC/ punk de l'époque, et dont les Big Boys, plus qu'aucun autre groupe HC US, s'étaient fait les porte-paroles.http://fratcars.com
http://fratcars.com
15/07/2011
NO TREND
Last year I got in touch with Jack Anderson, who played bass in the 83-84 period of DC's infamous most hated creepy hardcore/ no-wave band NO TREND. I asked him a few questions (Julien from Freak Out!/ Heartbeat asked a few as well) which he kindly answered, but a few weeks later this interview was made obsolete by a way better one posted on the great Yellow Green Red blog, in which not only Anderson but also Buck Parr (who I believe played guitar for the band in the mid-80s) participated. For that reason I decided not to print the interview, but here it is anyway, straight to the netgarbage. It should also be noted that Jeff Mentges, NO TREND's singer and leader, is "not interested" in answering most interviews or discussing the band; the best article I've read featuring his side of the story is featured on the Ny Press website.
How old were you when No Trend started? What kind of neighbourhood did you guys live in, what kind of kids were you? How did you all meet each other and how did the idea of the band come together? Did you have an idea of what you wanted the band to be like or did it just devellop naturally? Do you remember the band’s very first jam? What kind of bands were you into at the time?
I should start by saying there was a revolving door of members over the existence of the band. I was one of many and not part of the very original incarnation, so I can really only speak to my time in the band. I was 18 when I joined, as was everybody else. We all lived in the suburbs of Virginia and Maryland, outside of DC. The original core of the band was Jeff Mentges (vocals) and Frank Price (guitar) who both lived in Maryland. Greg Miller (drums) and I (bass) lived in Virginia. We all meet through the DC punk scene. Jeff and Frank conceived of the band and they were definitely aware of what they wanted. What I remember of our first get together was we went into the basement to an old abandoned house in the woods near were Greg and I lived. We talked about what kind of music we liked – punk, noise, 60’s psychedelic garage bands – bands that had the trait of originality; we smoked pot, hung out and found a book with nothing but full page black and white photos of babies’ faces. The book was pretty weird so we all figured it was a good omen and then we went and jammed.
Was the band formed in reaction to something, to piss some people off, or were the negative reactions you received just a by-product of honestly expressing yourselves? What I mean is, how much of the No Trend personality was purely genuine and how much of it, if any, was some sort of act?
It was totally genuine, but definitely with a wink and nod towards making fun of people and things. We were pretty pissed kids at the time. But we were also reacting to the conformity of the punk scene that liked to think of itself as very individualistic. But after Frank and I left the band Jeff did turn it into a parody of itself – but that was still in keeping with the genuine spirit of the band since the beginning. At least that’s how I think he sees it.
What was No Trend’s relationship with the whole Dischord crowd? It seems to be an established fact that the young DC straight edge scene hated your guts but was there ever some real clashes or did you just quietly despise each other? No Trend’s “message” and attitude was pretty much the opposite of the early Dischord bands mentality, were you actually concerned about pissing these people off? How often did you see all these bands live, Minor Threat, SOA, the Bad Brains, Faith and so on? What about Void, were you aware of their existence? I feel like their sound, aesthetics and lyrics were closer to the No Trend mentality than any other DC HC band of the time.
Void is my favorite of all the Dischord bands. I saw them whenever I could. They were great. We played a few shows together. Prior to No Trend, and even after I left I saw all those bands pretty regularly. I liked some more than others. The Bad Brains were incredible.
There was some tension between No Trend and Dischord, but it wasn’t really what it’s been played up to be. We were young then and liked to provoke stuff. There was a sense among some people that it wasn’t “good for the scene.” But in hindsight it was just being young and pissed. I can say there are no hard feelings. We recently talked with Ian about the very odd and typical No Trend idea of re-releasing some of the old stuff on Dischord. He ultimately declined on the idea, but we certainly had friendly discussions and mutual respect. So we’ve all grown up.
Did No Trend have any peers in the music scene? These days the band is usually referenced in the same breathe as Flipper and, to a lesser degree, Public Image Limited. Were you into these bands at the time?
We were into Flipper and PiL for sure. I guess Flipper was a sort of peer, but I didn’t really know them. Half Japanese comes to mind. We played a handful of shows together. There was a band in Houston, Texas called Culturcide that we really dug. I guess you could consider them a peer.
"Teen Love" & "Too Many Humans" were self-released in the U.S., what motivated that choice? Were there any other bands/labels that inspired you to do it yourselves?
The DIY approach was just how it was done. It came naturally. The releases were in the U.S. because that’s where we lived and toured.
How did you end up releasing "Too Many Humans" in Europe through the french label L'Invitation Au Suicide? Did you get any feedback from France & Europe at the time the record came out?
I believe that was a bootleg that was given to them by a former manager – from my understanding. The band wasn’t involved. I certainly wasn’t.
You stopped playing in No Trend in 1984. How did that happen? Was it because of personal reasons or because you didn’t enjoy the direction the music was going in? Did you keep in touch with the other guys, did you continue keeping an eye on what the band was up to?
Jeff Mentges was No Trend. He was the front man and leader. By the Fall of ’84 he wanted to really live up to the band’s name and make it something else. It was just a natural transition with a bit of personal stuff. I moved onto photography - but yeah we stayed in touch. Frank and Greg are dead now, but Jeff and I are still in touch. I’ve followed what the rest of them have been up to.
Do you know the story of how the band ended up collaborating with Lydia Lunch?
That was after my time, so I don’t really know.
What happened to Jeff Mentges? What is he doing today?
Jeff is married with three kids. He lives on the Eastern Shore of Maryland and goes hunting a lot. He made a film based on the life of porn-star John Holmes after No Trend ended, but he’s not doing film or music anymore.
Is there any chance of seeing No Trend’s records reissued in the future? Is it true that the master tapes were burned? Is that for all releases? How did that happen?
We have been exploring the idea of a reissue for a number of years. We’re just waiting for the right arrangement. There are outtakes but nothing worth putting out. Jeff and I haven’t come to an agreement about exactly what to reissue. We’ve been working together with another former member, Buck Parr, on this for a while, but not as much of a priority. Jeff’s not all that interested in dealing with the band anymore so it’s been slow going. We’ll see.
The masters were destroyed at the last show. If the stuff ever comes out again it will be remastered from virgin vinyl.
In retrospect, would you say that No Trend's negativity & misanthropy were youthful sentiments or did you carry them with you as you got older? How do you feel looking back at some of the lyrics on "Too Many Humans"?
We were young then. If I listen to the lyrics now, they sound like the rantings of an angry young man with a valid point to make. Some of those songs still entertain me for what they’re worth.
Tell us about your current band, HUG. What is your life like today, what kind of neighbourhood do you live in and what kind of music are you into?
HUG is a band that’s been making a mess around the Austin music scene with our party-style for 13 years now to the wonder and delight of a few and the dismay and disgust of many.
I work as the staff photographer at the local alternative weekly in Austin and own a house in the city. I’m happily married with a son who’s about to graduate from college. I’m really proud of him. He’s a far superior musician technically, compared to me. His band is going to play with HUG for the first time at show in a few months. I’m looking forward to that. He’ll probably kick our ass.
How old were you when No Trend started? What kind of neighbourhood did you guys live in, what kind of kids were you? How did you all meet each other and how did the idea of the band come together? Did you have an idea of what you wanted the band to be like or did it just devellop naturally? Do you remember the band’s very first jam? What kind of bands were you into at the time?
I should start by saying there was a revolving door of members over the existence of the band. I was one of many and not part of the very original incarnation, so I can really only speak to my time in the band. I was 18 when I joined, as was everybody else. We all lived in the suburbs of Virginia and Maryland, outside of DC. The original core of the band was Jeff Mentges (vocals) and Frank Price (guitar) who both lived in Maryland. Greg Miller (drums) and I (bass) lived in Virginia. We all meet through the DC punk scene. Jeff and Frank conceived of the band and they were definitely aware of what they wanted. What I remember of our first get together was we went into the basement to an old abandoned house in the woods near were Greg and I lived. We talked about what kind of music we liked – punk, noise, 60’s psychedelic garage bands – bands that had the trait of originality; we smoked pot, hung out and found a book with nothing but full page black and white photos of babies’ faces. The book was pretty weird so we all figured it was a good omen and then we went and jammed.
Was the band formed in reaction to something, to piss some people off, or were the negative reactions you received just a by-product of honestly expressing yourselves? What I mean is, how much of the No Trend personality was purely genuine and how much of it, if any, was some sort of act?
It was totally genuine, but definitely with a wink and nod towards making fun of people and things. We were pretty pissed kids at the time. But we were also reacting to the conformity of the punk scene that liked to think of itself as very individualistic. But after Frank and I left the band Jeff did turn it into a parody of itself – but that was still in keeping with the genuine spirit of the band since the beginning. At least that’s how I think he sees it.
What was No Trend’s relationship with the whole Dischord crowd? It seems to be an established fact that the young DC straight edge scene hated your guts but was there ever some real clashes or did you just quietly despise each other? No Trend’s “message” and attitude was pretty much the opposite of the early Dischord bands mentality, were you actually concerned about pissing these people off? How often did you see all these bands live, Minor Threat, SOA, the Bad Brains, Faith and so on? What about Void, were you aware of their existence? I feel like their sound, aesthetics and lyrics were closer to the No Trend mentality than any other DC HC band of the time.
Void is my favorite of all the Dischord bands. I saw them whenever I could. They were great. We played a few shows together. Prior to No Trend, and even after I left I saw all those bands pretty regularly. I liked some more than others. The Bad Brains were incredible.
There was some tension between No Trend and Dischord, but it wasn’t really what it’s been played up to be. We were young then and liked to provoke stuff. There was a sense among some people that it wasn’t “good for the scene.” But in hindsight it was just being young and pissed. I can say there are no hard feelings. We recently talked with Ian about the very odd and typical No Trend idea of re-releasing some of the old stuff on Dischord. He ultimately declined on the idea, but we certainly had friendly discussions and mutual respect. So we’ve all grown up.
Did No Trend have any peers in the music scene? These days the band is usually referenced in the same breathe as Flipper and, to a lesser degree, Public Image Limited. Were you into these bands at the time?
We were into Flipper and PiL for sure. I guess Flipper was a sort of peer, but I didn’t really know them. Half Japanese comes to mind. We played a handful of shows together. There was a band in Houston, Texas called Culturcide that we really dug. I guess you could consider them a peer.
"Teen Love" & "Too Many Humans" were self-released in the U.S., what motivated that choice? Were there any other bands/labels that inspired you to do it yourselves?
The DIY approach was just how it was done. It came naturally. The releases were in the U.S. because that’s where we lived and toured.
How did you end up releasing "Too Many Humans" in Europe through the french label L'Invitation Au Suicide? Did you get any feedback from France & Europe at the time the record came out?
I believe that was a bootleg that was given to them by a former manager – from my understanding. The band wasn’t involved. I certainly wasn’t.
You stopped playing in No Trend in 1984. How did that happen? Was it because of personal reasons or because you didn’t enjoy the direction the music was going in? Did you keep in touch with the other guys, did you continue keeping an eye on what the band was up to?
Jeff Mentges was No Trend. He was the front man and leader. By the Fall of ’84 he wanted to really live up to the band’s name and make it something else. It was just a natural transition with a bit of personal stuff. I moved onto photography - but yeah we stayed in touch. Frank and Greg are dead now, but Jeff and I are still in touch. I’ve followed what the rest of them have been up to.
Do you know the story of how the band ended up collaborating with Lydia Lunch?
That was after my time, so I don’t really know.
What happened to Jeff Mentges? What is he doing today?
Jeff is married with three kids. He lives on the Eastern Shore of Maryland and goes hunting a lot. He made a film based on the life of porn-star John Holmes after No Trend ended, but he’s not doing film or music anymore.
Is there any chance of seeing No Trend’s records reissued in the future? Is it true that the master tapes were burned? Is that for all releases? How did that happen?
We have been exploring the idea of a reissue for a number of years. We’re just waiting for the right arrangement. There are outtakes but nothing worth putting out. Jeff and I haven’t come to an agreement about exactly what to reissue. We’ve been working together with another former member, Buck Parr, on this for a while, but not as much of a priority. Jeff’s not all that interested in dealing with the band anymore so it’s been slow going. We’ll see.
The masters were destroyed at the last show. If the stuff ever comes out again it will be remastered from virgin vinyl.
In retrospect, would you say that No Trend's negativity & misanthropy were youthful sentiments or did you carry them with you as you got older? How do you feel looking back at some of the lyrics on "Too Many Humans"?
We were young then. If I listen to the lyrics now, they sound like the rantings of an angry young man with a valid point to make. Some of those songs still entertain me for what they’re worth.
Tell us about your current band, HUG. What is your life like today, what kind of neighbourhood do you live in and what kind of music are you into?
HUG is a band that’s been making a mess around the Austin music scene with our party-style for 13 years now to the wonder and delight of a few and the dismay and disgust of many.
I work as the staff photographer at the local alternative weekly in Austin and own a house in the city. I’m happily married with a son who’s about to graduate from college. I’m really proud of him. He’s a far superior musician technically, compared to me. His band is going to play with HUG for the first time at show in a few months. I’m looking forward to that. He’ll probably kick our ass.
A lire aujourd'hui
Si vous êtes intéressés par les liens entre punk, politique, art et apolitisme, et plus particulièrement par ce qu'il convient d'appeler la "politique punk" (c'est à dire les façons de fonctionner, de s'exprimer, les différents "tics" idéologiques typiques de ce type de musique) je vous conseille la récente chronique de None Of The Above publiée par Ben Parker sur son excellent blog Punk Record Reviews: de nombreuses pistes de réflexions en quelques simples paragraphes, notamment sur la représentation de la réalité de manière non-abstraite comme forme d'art. Enjoy.
BLACK FLAG - Sounds article, 03.83
Voici les scans d'un article sur BLACK FLAG publié dans le magazine anglais Sounds en mars 1983. S'il n'apprendra pas grand-chose au vrai fan du groupe il me paraît néanmoins intéressant dans le sens où il est rare de tomber sur ce genre de documents d'époque, d'autant plus lorsqu'ils sont l'œuvre de journalistes professionnels et non de fanzineux. Le journaliste en question semble loin d'être novice en matière de punk (MRR, les ANGRY SAMOANS, CRASS, TSOL, DOA, HUSKER DU et FLIPPER sont cités) et n'hésite pas à questionner les très américaines idées du groupe en ce qui concerne les libertés individuelles, allant jusqu'à comparer leur façon de penser en matière d'économie à celle du père de la doctrine néo-libérale, Milton Friedman. Les rapports entre le groupe et la police sont évoqués, ainsi que son anticonformisme jusqu'au sein d'une scène punk déjà gangrénée par des codes musicaux et vestimentaires très vite devenus quasiment aussi rigides que ceux contre lesquels elle se rebellait. Les rapports tendus entre Ginn & Co et les "chaos punks" anglais qui ne trouvaient pas BLACK FLAG suffisamment punks en raison de leur façon de s'habiller sont survolés et rappelleront des souvenirs au lecteur de Get In The Van. Rollins est, comme de bien entendu, aussi peu communicatif que possible, (notamment parce que son interlocuteur l'a comparé à Biafra dans une chronique antérieure!) mais le reste du groupe est qualifié "d'intelligent et s'exprimant clairement".
La tonalité générale de l'article est bien résumée par ce passage: "After a day and a half intense discussion with them I ended up disagreeing violently on many points, but feeling a fair bit of respect for them; and respect is something I don't feel very often in today's platic pop world".
PS: Existait-il des magazines français évoquant BLACK FLAG dans les années 80? J'en doute, mais si c'était le cas envoyez moi des scans!


La tonalité générale de l'article est bien résumée par ce passage: "After a day and a half intense discussion with them I ended up disagreeing violently on many points, but feeling a fair bit of respect for them; and respect is something I don't feel very often in today's platic pop world".
PS: Existait-il des magazines français évoquant BLACK FLAG dans les années 80? J'en doute, mais si c'était le cas envoyez moi des scans!


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