#glenn danzig era

[k-i-l-l-e-r-b-e-e-6-9]

[soupy-sez]

“Brains for dinner, brains for lunch. Brains for breakfast, brains for brunch. Brains at every single meal, why can't we have some guts?

Brains are all we ever get in this rotten fuckin' place. Brains are all we ever get, why can't we have a change of pace?”

↚ The Misfits – Braineaters ↛ x

[smashorpasspolls]

[joanofarcisdead]

i do think it’s funny when people who love mcr but hate fall out boy then turn around and gush about mcr’s “influences” from previous eras and generations of music like. sure you’re telling me that if i don’t know the entirety of morrisey’s discography and also ballsack i’m not a true mcr fan but who do you think were the people listening to the very earliest versions of songs. who do you think jumped in to assist during warped tour. who do you think were the background influences and community throughout their rise to fame. who do they consider their friends. who has visited their homes and jammed with them. who has influenced them and who do they influence in turn in a communal act of artistry. not fucking morrisey or kathleen hanna or glenn fucking danzig lmao

[metalsongoftheday]

Friday, August 23: Danzig, "Who Claims the Soulless"

“Who Claims the Soulless” was one of several leftovers from the 777: I, Luciferi sessions that eventually made its way to the Lost Tracks of Danzig compilation, and like the album for which it was recorded found Glenn beginning to return to his core blues-metal sound after two records of indifferently received electronic music (though to be fair, the underrated 6:66 Satan’s Child was more guitar-oriented).  But Danzig had burned through most of the goodwill accrued 10 years earlier, and it didn’t help that the Evil Elvis had already lost a good chunk of his vocal range, so there wasn’t really much hope for a comeback.  All of that said, “Who Claims the Soulless” would’ve been a highlight on that seventh album, feeling a bit punchier than the frequently turgid swamp metal that dragged I, Luciferi down, with Joey Castillo pounding the drums with spunk even as Glenn’s production still wallowed in murk.  There was something to Glenn remembering his original vision for Danzig, and in an earlier era this would’ve been a standout number, though to be sure a big part of that would’ve come down to the chemistry of the original Danzig lineup as well as the focus Rick Rubin brought to their record making.

[longeyelashedtragedy]

☕️ the Misfits (I just watched a youtube video about them lol) (backup topic in case that one's a poor fit: AFI's various "eras")

oh shit, this is great! i also could do AFI's eras, but the misfits are one of the few punk bands i still listen to, and i used to know like. everything about them--plus a lot of my best fanfic was written about them, haha (back before i took meds when i did my best writing!) so i definitely have some thoughts.

(Side note: davey havok's best era, physically, was sing the sorrow girls not grey video FITE ME that was such a life goals/wife goals look)

misfits i guess can be divided into 3 eras -- original danzigfits, gravesfits, and whatever is happening right now, lol. i actually saw the jerry only and whoever the fuck else incarnation in 2011--i was living in virginia for that year, and it was hell in almost every way and people thought i was weird for wearing black--so i saw misfits were gonna be playing in richmond so i went and actually had a good time, met some cool Older Punks and then some teenagers, and wound up taking a photo with jerry only, who was known for creepily rubbing his eye makeup on girls' foreheads without them knowing? clearly i wasn't immune:

(i'm wearing a "bullet" shirt to show which era i was truly loyal to, lol.)

so yeah. and then gravesfits, in the 90s--that was what my ex said was the 'true misfits," and like, most of the songs are pretty doofy to me, cause i'm not really into most "horror" stuff, but they are really fun? i like graves' voice, even though apparently he's a huge dick (i saw him live as well, just cause), and there are some bangers from that era obviously, like HELENA, dig up her bones, saturday night (i'd do this at karaoke for sure), devil doll, etc

but, then there's the original, glenn danzig era fits, and just everything about that era was so important to me. just some good ol italian dudes from our part of the world giving no fucks and performing some truly deranged (affectionate) songs. like idk danzig as a person back then was so much more of a badass and so much crazier than a lot of these punk dudes. i mean it when i say misfits era danzig is one of my top favorite poets. i used to write out the lyrics to "theme for a jackal" in my notebook when i was in school in virginia for that year to try to ward off panic attacks because the lyrics were so engaging--my old url "wetwasteofagirl" was from that song, hahah. wolfsblood? the lyrics--as we can understand them, since that's damn near impossible--are fucking...well, they're a MOOD:

You don't know what I fucking am What I become Not when I get like this You will never get me down in my head It's my blood, it pumps right fucking in my veins And I feel my vertebrae extending And I feel my heart expand And I feel my muscles rip And I feel my snout extend Then I know I'm not a man And I go right out of my head

"come back" is just a gorgeous song. etc. samhain is my fav of his projects and some of those songs also have amazing lyrics, but i gotta stay focused! and i feel bad for people who don't know the pleasure of belting out "last caress" with a fellow misfits fan at the top of your lungs. therapeutic!

i used to get a lot more like philosophical and intelligent about misfits lore but that was back in the day, lol.

[savage-kult-of-gorthaur]

3/4 "STATIC AGE" LINEUP -- NO MR. JIM.

PIC(S) INFO: Spotlight on pre-"Static Age" era MISFITS performing at the Shock Theatre, Toronto, on December 21 or 22, 1977. The line-up then consisted of Glenn Danzig, Franché Coma, Jerry Only, and Manny Martinez. 📸: Paul Till (a reported 40 shots in total were taken at this gig).

Source: https://rockandrollportfolio.com/collections/the-misfits.

[jayhawksofficial]

Random Archival Dig 12 (12-5-24)

More from The Jayhawks Archive HERE

Strange Bedfellows - Def American Edition

When The Jayhawks signed to Rick Rubin’s Def American Recordings label in 1992 (shortened to just American Recordings in 1993), their label mates were a wide and varied bunch - everyone from Slayer to Andrew Dice Clay. Like other labels, Def American frequently issued promotional compilations showcasing their rosters. Music from The Jayhawks was dutifully added to the sampler mix even before their major label debut and breakthrough album Hollywood Town Hall was released in September 1992.

Here are two early Def American promotional comps. The first is 1992 Preview, a cassette only release that came out early in the year; indeed the copyright date actually shows 1991. Not counting the 1986 Big Hits of Mid -America Volume IV compilation and a few promo compilation cassettes covering The Jayhawk's tenure on Twin/Tone, the legendary Minneapolis indie label that released the Blue Earth album in 1989, this is probably the first compilation of any kind featuring The Jayhawks in their major label era. Fellow Americana traveller Dan Baird, who had recently gone solo after a long stint with The Georgia Satellites, shares the tracklist with The Jayhawks. But after that it’s a mix of varying shades of metallic (Wolfsbane, Doom and the label’s very first signing, Slayer), early 90s hip hop (Sir Mix-a-Lot, Pretty Tone Capone) and File Under: Who Dat? (The Red Devils, The Four Horsemen, Trouble).

Equally wacky is a 1993 European CD compilation, the second and final installment in Def American’s short lived Til Def Us Do Part series. The imagery on the cover - "Love it or leave it" and the upside down American flag - is as odd as the mangled syntax of the album title. A good chunk of the artists from the 1992 Preview collection are featured again along with kindred spirits and Jayhawks tour mates The Black Crowes. Notable additions include pioneering sludge rockers Flipper (who had a one off album on Def American in 1993) and Danzig, Glenn Danzig’s seminal eponymous band born out of the remnants of The Misfits and a key early Def American signing in the late 1980s. Since "alt country" wasn't really a thing yet, the brief bio here provides this thumbnail description for The Jayhawks: "haunting country-flavoured rock."

The Jayhawks would continue to be featured on a wide variety of compilations in the ensuing years. While many of them, especially in the 1990s, pigeon-holed them on various "Americana" and "Alt Country" collections, none of them were as stylistically mish-mashed as these early Def American samplers.

[bulletholemagazine]

MARCH/FEBRUARY DUG UP FROM THE GRAVE

The jist of these types of posts is I'll be sending older bands I've discovered recently. Enjoy!

1. Stampin' Ground

Stampin' Ground were a UK band. Not that you'd tell, this sounds like Slayer on amphetamines and NYHC combined. I don't remember exactly how I found them, but I know it was this song and I know I was going monkey over it. It's so absurdly fast and the breakdown hits perfectly. Thrash wasn't dead in the 90's apparently, metalheads just don't know where to look. Their first three albums (one in 1998, one in 2000, and one in 2003 which I'll talk about in a bit) are very straightforward crossover thrash + earth crisis kind of moshy hardcore parts (all tuned to an e flat because of course it is) and their last album gets a bit bouncier and more hxc-leaning. At the time the new wave of american metal was getting its kickstart and I imagine the band was having some internal problems, so they split up after that and haven't done anything since. Now, the 2003 is interesting, since it's a split with the fucking NORTHSIDE KINGS of all bands. Y'know, the band whose singer is famous for punching Glenn Danzig? And the band with song titles such as "Giving emo kids something to really cry about" and "Fuck The Middle East"? Admittedly not a good look for them, but they're brits so I don't even know if they had any idea of what they were getting themselves into with this. Alas, they made some good music and dipped. Next.

2. Concealment

I found these guys through Starkweather's Spotify page. They had a split together and it interested me enough to see who these guys are. And GODDAYUMMMMM THIS SHIT IS GOOD!!!!!! Techdeathy mathcore that hits extremely hard and doesn't spare a single chug or dissonant chord. Their material's just been uploaded to Spotify 3 years ago, their first release was in 2007 and their second album dropped in 2010. The band is still active apparently, as their neat lil facebook page would suggest. Wonder if they'll ever put out anything else. Also, apparently they were (or still are, idk) signed to Total Dissonance Worship, which when I found that out it instantly clicked. If you aren't familiar, that label has put out stuff like Ion Dissonance and Plebeian Grandstand (Thinking of making a video on my YT about them, maybe for Trustkill as well). I think you could make a solid case for this being early deathcore considering that.

3. Left To Vanish

FUCK DOES THIS GO. Left To Vanish are a Philadelphia metalcore/deathcore band that started alllll the way back in 2001 IN HIGHSCHOOL, and as far as I can find their earliest release was in 2005, back during the days of logos-in-impact-font-core. Very ahead of their time, kind of in the same vain as A Life Once Lost in that regard. They then were making music until 2009, but broke up only to reunite in 2016, which makes them the only band still putting out stuff actively. Their latest EP is extremely good(they have a song with jesse leach on it!!!), they've sort of moved on from this firstwavey sound into something more contemporary and it's pretty amazing how well they've managed to adjust, considering a lot of the old school deathcore bands couldn't. Go show the guys some love and listen to their stuff, they absolutely deserve it. If you like Animosity and early Suicide Silence their 2007/2008 era stuff perfectly fits in that style of deathcore.

Thanks for reading!!! That'll probably do it for the zine posts this month, unless something else really interesting comes out while march still isn't over. I might still do another new releases post for other smaller bands (and for the 2 people reading this). Besides that, I'm still working on music and I'm trying to find time to record videos for the YT channel. Stay tuned :3

[lil-angel-fuck]

Bobby Steele, Glenn Danzig, Jerry Only, Arthur Googy - 1980 (by John Rynski)

[k-i-l-l-e-r-b-e-e-6-9]

𝔗𝔥𝔢 𝔐𝔦𝔰𝔣𝔦𝔱𝔰

 📷 𝔇𝔞𝔳𝔦𝔡 𝔄𝔯𝔫𝔬𝔣𝔣



[lipgloss-andcigarettes]

People who say that Mary Goore’s look doesn’t look like misfits era Glenn Danzig are fucking lying

[short-reviewz]

The intriguing shared history of Horror and Punk

On the surface it should be pretty clear why these two have been fitting mates. Both have progressive themes and ideology, and both have a rebellious energy to them. The 1980s in particular saw a wave of anti-establishment acts like Black Flag, Minor Threat and was the era of Britain’s ‘video nasties’ on the horror side. Both horror and punk would have, and are considered outsider culture. In an interview with Revolver, Glenn Danzig (former singer of horrorcore pioneers, The Misfits) had this to say,  

“I related more to those kinds of movies. Of course, there were movies I hated because you only get to see the monster in the last two minutes of the movie. But I saw the correlation between society and the monster and why there was a need for a monster.”1

The Misfits logo, inspired by 1940s film serial ‘The Crimson Ghost’

Danzig’s words here echo the sentiment expressed by many that punk and horror are adjacent to one another. Horror reflects the current society’s fears throughout the decade whether it be atomic bombs, teenage rebellion, sexual liberation, and so on. Punk, meanwhile notes society’s fears, and stands opposed to those in the way of progress. Both art-forms have been created and performed by outsiders. Directors like Sam Raimi or John Carpenter had to make their films independently outside of the ‘studio system’ and punks like the Sex Pistols who’ve never preformed ‘proper’ music with ‘proper’ backgrounds, similarly worked outside the typical systems. Both often had immediate and vital messaging about societal woes.

Halloween (1978) was made for just $300,000. A low budget film for the time, as a result, wardrobes and props had to be purchased second-hand or pulled from whatever they had already. The film went on to make $70 million.

Even towards the beginning of punk’s roots, there was the emergence of horror punk, a subgenre that meshed the themes of punk and aesthetics (and storytelling) of horror. Bands like The Misfits and The Damned were at the forefront of this wave. Artists like Ice Nine Kills have featured whole albums inspired by horror films and horror punk has spiraled into further deviations like psychobilly (a fusion genre of horror themes and rockabilly)

Alongside ‘The Misfits’, ‘The Damned’ were some of the first of the horror punk subgenre: “We got our name from two 1960s films: Luchino Visconti’s The Damned, about the Nazis, and the horror movie The Village of the Damned. It was perfect for us...Audiences hated us. Motorcycle gangs chased us. It seemed like half the country wanted to beat the shit out of us.” 2

In film meanwhile, there were stories like Return of the Living Dead, Green Room, and Uncle Peckerhead that feature punks or punk bands in their narrative or ones like Evil Dead 2 or Night of the Demons that exhibited more of a broad aesthetic ‘energy’ or punk ethos to them. Despite featuring a punk band as his protagonists, Jeremy Saulnier (director of Green Room) felt his movie was a follower of the latter philosophy saying:

“I know a lot of filmmakers who try to make quote-unquote ‘punk’ movies,” said Saulnier, stopping through Chicago on a publicity tour that also tends to confine him to one building, albeit under less stressful circumstances. “But most bog themselves down in ideology and punk references left and right. [‘Green Room’] is about taking the energy, aesthetic and propulsive qualities of the music and using them in support of a genre siege thriller.”3

Even books and graphic novels like Robert Brockway’s Vicious Circuit series or Dan Watters Home Sick Pilots chronicle the ongoing history of the two meshing cultures.

A lot of these same films feature punk artists like Pet Semetary’s song of the same name by The Ramones. Stephen King himself was a noted Ramones fan, and they come up in discussion in the book proper. Connections like this tie both communities even further.

Home Sick Pilots by Dan Watters stars the titular fictional band, and meshes punk rock with genre fare like haunted houses and kaiju cinema

Both sub-cultures experienced a golden age of sorts in the broader counter-culture of the 1980s as this was the era of Reagan, Thatcher and the previously mentioned ‘video nasties’. Conservative governments were the norm in the west, and moral policing had reached a zeitgeist. Games like Dungeons & Dragons were treated as scapegoats for societal issues. Artists of all kinds were displaying their anti-authority messages.  

While a sillier take than Night of The Living Dead, Return of the Living Dead begins with poorly stored toxic waste and ends with the military calling in a nuclear warhead. Environmentalism and anti-war messages have long been punk staples.  

A film like Evil Dead 2 meanwhile displays its punk ethos not through it’s characters or its story but through its DIY approach. Sam Raimi made his original Evil Dead film for almost nothing with the help of family and friends. It also featured an absurd amount of fake blood and was subsequently banned in the UK for many years becoming one of the legendary Video Nasties. It’s this anti-establishment and DIY approach that has bonded many of these two genres creators and put them on a collision course with each other. 

Ultimately, punk and horror are like two parallels in art, sound and film – both reflecting the swirling chaos of modern life, by its fear or by its failures. Its creators and their art, whether figures like Sam Raimi or bands like The Misfits, becoming folk heroes for the destitute, the downtrodden, and the oppressed in society.

1 Steve Appleford, and 2018 October 31. “Glenn Danzig on Horror Favorites, ‘Crazy’ New Verotik Film, Rob Zombie's Advice.” Revolver, 18 Oct. 2019, https://www.revolvermag.com/culture/glenn-danzig-horror-favorites-crazy-new-verotik-film-rob-zombies-advice.

2 Guardian News and Media. (2018, March 19). The damned: How we made new rose. The Guardian. Retrieved October 20, 2022, from https://www.theguardian.com/music/2018/mar/19/how-we-made-the-damned-new-rose 

3 Tobias, Scott. “How D.C. Punk Influenced One of the Year's Most Anticipated Horror Movies.” The Washington Post, WP Company, 21 Apr. 2016, https://www.washingtonpost.com/lifestyle/how-dc-punk-influenced-one-of-the-years-most-anticipated-horror-movies/2016/04/21/21718f88-063a-11e6-a12f-ea5aed7958dc_story.html.

[sp00ky-p00ky]

Just a heads up I'm probably gonna ask you most of these 😅😊

crimson: if you could have only one photo or poster on your wall, what would it be?

maroon: what role do you play in your group of friends?

ruby: favourite pre-2000 song?

Please 💜

That's totally ok 😊

Crimson - it would be a poster of Glenn Danzig (Misfits era) 💀

Maroon - I'm the clown 😂 but also the "mom" 😊 I LOVE making people laugh and also, taking care of others is easy for me 💜

Ruby -

Smash It Up by The Damned (1987)

The Offspring covered it, and we all know I LOVE a good cover song however this time, I have to pick the original 💕

At 1:54, The song goes from slow groovy rock to bizarre punk. And the video is even better

I mean it hurts my fucking eyes, the stark whiteness but... look at Elder Goth/Actual Vampire Dave Vanian 💜 Best!

Thank you for asking 😊

[uros-begovic]

40 years of Glenn Danzig: in 1982 (Misfits era) and in 2022 (Danzig era)

[spushii]

Anne’s top 9 first-time-listen albums of 2021 !!!! (in no particular order)

Songs of Faith and Devotion - Depeche Mode (1993) i listened to this album on a complete whim and it knocked me on my fucking ass, i’m super in love with it. It has this great dark, sexy, industrial sound that I can’t get enough off. I honestly can’t pick a true favorite track from it since i love a lot of them, but if i had to choose one i think it’d be: Top Track: Rush

Diamond Destroyer of Death - ROAR (2021) “Songs within songs” is a way i’ve heard this album described, which I think is really apt. I’ve you’ve listened to ROAR before and enjoyed it, or if you’re a fan of lyrical/musical callbacks in music, i think this album is a must-listen. Top Track: Paralyzed

t.i.a.p.f.y.h - Left at London (2021) I’m a huge fan of Left at London and this album is far and away her best work yet. I bought it on bandcamp just so I could listed to it a half-hour earlier than it came out on spotify, and haven’t regretted that once. This album is ridiculously underrated, every single track on it is some of the best music I’ve heard this year, you owe it to yourself to listen to this. Top Track: Kudzu

Hissing Fauna, Are You the Destroyer? - of Montreal (2007) I listened to We Will Commit Wolf Murder early this year at the request of a friend, and fell in love with it instantly (it made my top track of the year lol), but i picked Hissing Fauna to be my first whole of Montreal album. Again, I fell super in love with it. Its my most-listened-to album of the year. highly highly recommend it. Top Track: The Past Is A Grotesque Animal

Peaceful as Hell - Black Dresses (2020) This one is a VERY recent listen for me so I haven’t quite settled on it yet? but i’m liking it a lot right now, though I don’t have much to say about it ^^’’ Top Track: SCARED 2 DEATH

Static Age - Misfits (1996) I really love the sound of this album! Lots of really strong tracks here, but fair warning, it’s Danzig-era Misfits, so lyrically its super fucking skeezy and misogynistic in a way that’s really unignorable. Glenn Danzig is a piece of shit lmao Top Track: Hybrid Moments

Master of Reality - Black Sabbath (1971) I don’t have a lot to say about this album, i just really like it! I got very into 70s metal this year for a very stupid reason. if you know you know. Top Track: Sweet Leaf

Trace of a Stranger - Blitzkid (2003) Blitzkid really caught my by surprise this year! Another artist i listened to on a complete whim, and i’ve been super into this music ever since. If you’re a fan of horror punk, particularly like, Graves-era misfits, I’d definitely give this a listen. Top Track: Lupen Tooth

I Became Birds - Home is Where (2021) I’m putting this album last because it’s my absolute favorite. I know i plug home is where in everything all the time but i need you to listen to this album. If you are reading this you have to promise me you will listen to this album. It’s only six songs, it’s 18 minutes long, you don’t even have to like it. just please god give it a go. Top Track: Sewn Together from the Membrane of the Great Sea Cucumber

tagging some mutuals to also do one of these!! no pressure though lol @bwooom @reddd-robin @transbipper @beeapocalypse