#proto-hardcore

[guerrilla-operator]

The Damned // Melody Lee

Melody Lee, a broken mind and a broken dream A burst of speed, a change of heart Your life was cruel they called it art

[savage-kult-of-gorthaur]

CULT LOGO -- CULT LINE-UP -- CULT SEVENTIES -- CULT MISFITS.

PIC(S) INFO: Spotlight on the original back cover art of THE MISFITS' "Bullet" (1978) single, which wasn't used because the Ork distribution deal fell through. Original photo by Ken "Rocky" Caiafa.

Sources: www.pinterest.com/cantodomingo/misfits & Time Bomb Records.

[yourfavealbumisgender]

Machine Gun Etiquette by The Damned is Gay and Transgender!

requested by anon

[spilladabalia]

Blind Idiot God - Wide Open Spaces

[thoughtswordsaction]

V/A - Hali Gali #2 LP (Hali Gali, Pop Depresija, Kišobran)

Hali Gali #2 is a sonic snapshot of the thriving Belgrade alternative rock scene, showcasing ten vibrant bands that currently represent the collective. This compilation is an explosion of raw energy, creativity, and genre-bending innovation, pulling elements from punk, post-hardcore, shoegaze, noise rock, and indie music. From start to finish, Hali Gali #2 displays contemporary underground rock,…

[d34dsatan]

MILLIONS AND GAZILLONS OF OCS I HAVE LMAOOO

ill make separate posts on them as theyre all based on my music taste

my art is very inconsistent guys, im so sorry

[uneasylisteningradio]

The Kids Just Don’t Understand: Women’s History Month Edition

Image: Marsha P. Johnson

Songs by women for international women's day/women's history month! Of course trans women have always been included in this annual show, but given the wild, overblown and dangerous panic going on around trans people's right to exist and be themselves in the US and elsewhere right now, I wanted to up their representation. It's pretty much the least I can do to lift up people who are dealing with a lot of garbage right now. Well I guess the VERY least anyone can do is just be respectful of trans people and let them live their dang lives and be happy.

stream on Mixcloud

G.L.O.S.S. - We Live

DJ speaks over Wendy Carlos - Clockworks (Bloody Elevators)

Elaine Brown - The End of Silence Neonates - Tres Wayne County & the Backstreet Boys - Flip Your Wig Anthrax - I Will Never Marry Fault 151 - Radiation Man Het Ward - No One Is Ever Going To Tell Us How To Love Again

DJ speaks over Holly Golightly - Grandstand

Pandemix - Pigs at the Trough Carole King - Pleasant Valley Sunday (Demo) Alptraum GmbH - Herzschrittmacher Revu - Bex Adres Sister Rat - Los Huevos Buenos The Lewd - Magnetic Heart

DJ speaks over Wendy Carlos - Sheep May Safely Graze, from “Cantata no. 208”

Laura Lee - Women's Love Rights Marie-France - (La Vie Me Chante) Ouh La La La Girls At Our Best! - Pleasure Rip Rig and Panic - Storm the Reality Asylum

DJ speaks over Wendy Carlos - Handel's Water Music - Air

The Hirs Collective - A Prømise / T.D.Ø.V. Zona - Boule Ques Rotary Club - American Tower Suburban Youth - Held On Wimp - Trans Day of Vengeance DOGMA - Beauty The Chantels - Maybe Juicy Fruits - Jenie wa Gokigen Naname Millie Jackson- Hypocrisy

DJ speaks over The Surfrajettes - Toxic

Lái - Jalang Erase Errata - Tongue Tied Alessia Obino - Outshined No-Song Kutkotz - Telegram Dislocation Dance - You Can't Beat History

DJ speaks over Wendy Carlos - Two Polymoog Improvisations

Kontrola W. - Bossa Nova PhysiQue - Yesterday's Anguish, Tomorrow's Despair 48 Chairs - Snap It Around Horrid - Repulsion

Poison Girls - Persons Unknown

[ccrv-7]

i think one of my toxic traits regarding music is that i so WANT to be into the older og punk bands but like all the really big ones that people always recommend have such a fucking lame and slow sound. like wow this is just slightly edgier rock. thanks.

[thedeaddandy]

I think what I miss most about AH’s Minecraft series is the way they interacted with the game. Especially now, it seems like creators have limited options when coming up with ideas for content around the game, defaulting to hardcore challenges or multiplayer server stuff, which isn’t a bad thing but it does seem like a lot of the videos in the Minecraft space fall into similar categories.

Even during the heyday of minigame servers and 50-player survival games and what have you, AH just did their own thing. Made their own games, had their own short-form series, and only in the latter half of their let’s play even engaged with Java and mods and stuff. This doesn’t even account for their general format of engaging with the game, which speaks to their proto-MCYT status. Everyone in the group played for the group in one way or another, everyone in the same room or call, doing generally the same thing or working towards the same goal. Unlike modern MCYT as we know it, with servers and formats aimed at players doing their own thing and on the occasion collaborating, AH fit a perfect niche by both operating as a group and finding short-term ways of playing Minecraft.

And I miss it.

[savage-kult-of-gorthaur]

THIS MONTH IN THE GRAPHIC, VISCERAL HISTORY OF FIRST WAVE U.S. PUNK & THE AMERICAN PRESIDENCY.

PIC(S) INFO: Spotlight on assorted show flyers/adverts/poster designs for American horror punk band THE MISFITS, promoting a then-upcoming show at the famed Max's Kansas City in New York City, on December 3, 1978. This particular MISFITS line-up included:

Glenn Danzig -- vocals/lyrics

Jerry Only -- bass guitar

Bobby Steele -- lead guitar

Joey Image -- drums

Sources: www.facebook.com/media/set/?vanity=fiendcrypt&set=a.142774637251042, Metallipromo, various, etc...

[rockandroar]

maybe a strange question but in your post introducing steel stampede you said that heavy metal originates from and belongs to animals with horns. does that mean punk is that way but for cats? all the punks we meet in the comic (so far) are cats after all

I love this question, thank you for asking!

The short answer is yes, what we now know as punk was originated by cats, and it developed in largely two places - New York City and London in the mid 70s. "Proto-punk" artists that preceded this movement and inspired what would later become punk, were animals of a few different species; but it was street cats, with their independent streak, who turned out to be the fierce non-conformists that rock music needed at that time, and who took those earlier ideas and created a whole new movement in music and culture.

By nature, alley cats tend to gather in large groups. It was then easy in this environment for musicians to share music and political ideas amongst each other and a whole new genre and subculture grew out of that. These cats were also very territorial, so in many pockets within the punk scene, outsiders weren't warmly welcomed. This is what has happened in the music scene that Miles is a part of, and why it's made up exclusively of cats who've claimed those alleys as theirs.

But as punk rock grew in popularity and spread across the globe, it began to draw crowds of all kinds of animals. By the time punk grew into the Hardcore movement, canines were just as numerous as felines in the scene. Punk gave way to many other genres - such as Gothic Rock and New Wave - and each had different kinds of animals within the bands that represented each of those genres. We'll be meeting some of them throughout the story.

All of this will be elaborated on in the Rock & Roar Wiki, which is currently in progress!

[spilladabalia]

Blast - Damned Flame

[creatingblackcharacters]

Has anyone recommended the punk bands Death and Pure Hell yet? some of the first punk bands EVER, period, the former from Detroit, the latter from Philadelphia (also spent a lot of their career playing in NYC), and their sound is beyond compare! Death has a very melodic yet driving sound. They weren't afraid to experiment with funk and hard rock styles (in fact, they started off as a funk band before pivoting to punk!) Very Hendrix-y influence in the guitar sound of Death, and that's not just me drawing a parallel to the most famous Black guitarist of the time. Death's guitarist, David Hackney, once said "If I can learn to play chords like Pete Townshend and lead like Jimi Hendrix, I will be the ideal guitar player." They reunited in 2009, and released a new full-length album in 2015 that also kicks ass! As for Pure Hell, they had a more proto-hardcore sound, and were a lot more willing to lean into the noisier aspects of what were the beginnings of punk rock. Kenny "Stinker" Gordon, the vocalist, has a very nasally and snotty singing voice, although he moreso yelped and shouted as opposed to singing (again, pretty ahead of their time in preceding the hardcore punk movement that was a few years down the line). Their track "I Feel Bad" is their best imo. They've done a couple reunion gigs ever since they broke up in 1979, one in 2012, the other this year, but nothing big in terms of long-scale reunions. I have more that I want to recommend, but I feel like I'm taking up enough of your time lmao

Idk if calling someone snotty and nasally makes me want to listen to them lmao, but that's definitely a unique way to put a voice that you like!

[thoughtswordsaction]

Kodaclips - Gone Is The Day

“Gone Is The Day” is the latest release by Kodaclips, an excellent Italian band based in Cesena. It’s their second full-length album, arriving as a perfect continuation of “Glances,” a critically acclaimed collection of marvelous songs published in 2023. Still, their latest effort comes with many innovations in songwriting, composing, arranging, and producing. Heavily promoted with a title track,…

[bubblesandgutz]

Every Record I Own - Day 836: Minutemen What Makes a Man Start Fires?

I'm chronologically bouncing all over the place when it comes to writing about Minutmen. Buzz or Howl was where I found my entry point. The Punch Line was where the band started. Double Nickels is their definitive release. But now I'm bouncing back to their second LP, 1983's What Makes a Man Start Fires?

Though Double Nickels cemented Minutemen's place in the American punk / indie canon. I imagine the band would still wield a significant influence on the modern musical underground based on their 1983 output. What Makes a Man Start Fires? and the subsequent Buzz or Howl Under the Influence of Heat EP both capture a band that evolved from the jittery outsider song vignettes of their early years into the tightly wound, musically adventurous, emotionally-varied material of their peak years.

Over the course of 18 songs in 26 minutes, Minutemen whip out their own distinct and enigmatic version of punk irreverence ("Bob Dylan Wrote Propaganda Songs"), slacker stoner indie rock ("Fake Contest," "Life as a Rehearsal"), mathy funk ("Beacon Sighted Through Fog"), proto-post hardcore ("East Wind/Faith," "Plight"), melodic anthems ("99," "The Anchor," "Sell or Be Sold"), and a slew of uncatagorizable weirdo song bursts ("Split Red," "Polarity"). Whether you're focusing on George Hurley's unorthodox octopus-armed drum patterns, Mike Watt's full-fretboard bass lines, or D. Boon's grease-fingered riffs and esoteric stream-of-consciousness lyrical commentary, there's always something interesting happening in the songs. No moment is wasted and no part is dragged out for a measure too long.

In some ways, What Makes a Man might be Minutemen's best album. It has the frantic energy of their early years while leaning into some of the more exploratory and developed songwriting of their later years. And at 26 minutes, it's considerably easier to digest than their double album opus. Of course, a big part of Double Nickels' beauty is its ambition and scope, but if you're really just trying to make initial sense of Minutemen's sound and method, this LP might be the best place to start.

[thevindicativevordan]

Thoughts on “Man and Superman” by Marv Wolfman?

Countless Superman origin stories, including one written and titled Superman: Year One by Frank Miller himself no less, and this is the only one that thought to copy the actual structure of Batman: Year One.

Four issues telling the story of Clark's first year in Metropolis, beginning in Metropolis from the first page. We see Clark arrive in Metropolis, struggle to get a job as a reporter with the major newspapers because he's a nobody from nowhere, wears a "proto-suit" until beginning to wear his classic outfit at the very end, botches his first few attempts at being a hero because he has no clue what he's doing, fall in love with Lois, and ultimately after much trial by fire, become the champion of Metropolis as Superman.

Familiar ground to be sure, culminating as it does in a confrontation with Lex Luthor where Superman promises he will always be around to foil Luthor's plans. If you're a hardcore Superman fan, much of this story will feel familiar to you. Wolfman outright says as much in his introduction, with the long delays this story suffered due to the series it was intended to release under being cancelled, causing similar ideas to be used in other stories. While I can't claim to know who Wolfman had in mind, I definitely saw similarities between his approach to Superman here and how Morrison rebooted him for the New 52.

Even then though, there are some fresh ideas and approaches to be found here that make this take stand out. First and foremost is their approach to the City of Metropolis itself.

This is not the clean Metropolis of Johns/Frank, or the high tech City of Tomorrow of Waid/Yu. Here, Metropolis is gritty, decaying, a City wholly rooted in the problems of today. An upcoming mayor election pits a right-wing candidate who wants to tackle crime with more police officers, vs. a left-wing candidate who wants to tackle the underlying roots of crime. The three janitors Clark works alongside have to work multiple jobs just to make ends meet, and are immigrants themselves also. A crime wave results in marital law, the curbing of civil rights, and the calling of the national guard "for the greater good". Newspapers Clark applies for tell him he needs to sensationalize his reporting more so the story will sell better. This is not a story with a wide-eyed view of what happens in the modern day when the kid from the countryside moves to the big city and tries to make it big. Despite being written in 2008. it could easily have been written today, a damning indictment of American society to be sure. Metropolis here feels real and fleshed out, and while my preference is for a Metropolis that embraces the freedom of being an entirely fictional creation, I appreciate how Wolfman digs into the human element via showing us the viewpoint of the citizens of Metropolis as Clark listens to them with superhearing, casting them as something of a Greek chorus reacting to the events of the story.

Of course not everything is perfect. Wolfman compares Clark becoming Superman to being a firefighter, a doctor, a soldier, and a cop at various points throughout the narrative. The first two I welcome and agree with. Later two however are extremely dicey, and although this is not a story that exempts our modern justice/policing system from a critical eye, (note that the main villain of the story in Lex endorses the right-wing "law and order" candidate to make sure you know which side the narrative supports) it still does not benefit Superman to have his uniform compared to that of a cop's.

As a side note, I love that Clark is explicitly poor here. I love that he struggles to make ends meet, that he's working as a janitor while he tries to make his dream of being a journalist for a prestige news organization come true. Being a cub reporter struggling to get a job, he's not living in a penthouse in the center of Metropolis. Clark is flat out broke, and living in a crappy apartment in the slums of the city. It's an approach that Morrison and Morales used for their Superman reboot, and I support that approach wholeheartedly. Establishing that Clark spent his first few years living in the poorer areas of Metropolis does wonders to support his reputation as the "Champion of the Oppressed".

In flashbacks to his Smallville childhood we see that financial struggles were a factor for him growing up, with Martha wanting to donate money to help feed families in need, while Jonathan was concerned about how tight their own finances are before relenting and agreeing. Of the entire Justice League, Superman is the one who has the strongest claim to being the "working class hero", the blue collar amidst all the blue bloods and middle class suburbanites. Most origins brush over Clark's financial situation growing up, but this one is of the rare few which does not, and I think it's all the stronger for it. Especially so given that this origin is similar to Batman: Year One in that it's really a Year One story for two characters - Lex as well as Superman.

Pitting Superman against Luthor in his first year is old hat, but what I adore about this take specifically is how Lex is explicitly in the "Bruce Wayne" role. Like Bruce, Lex has been gone from Metropolis for multiple years, and makes his return with a plan for reshaping Metropolis in his own image. He's a ruthless monster, willing to kill 500 of his own employees as part of a false flag attack against his own corporate headquarters to garner public sympathy and support. Here the playboy billionaire with a secret agenda and a complete disregard for the law is the villain not the hero. While Wolfman doesn't have the time or pages to dive deep into the rivalry between the two, the class warfare aspect of the feud between Superman and Lex really stood out to me here. Clark lives and works alongside the "little people" and helps them out how he can, meanwhile Lex callously slaughters them in pursuit of his own self-interest.

In the end Lex immediately recognizes that Superman is going to be a watershed moment in history, and is determined to change the world back to when he was on top. I would love a "Year 2" story from Wolfman that skips ahead a bit and pits Lex and another villain against Superman. He has a great handle on the star players here in Clark, Lex, Lois, Perry, and the elder Kents. Give him the Waid treatment and let him build out his own pocket universe if that's something he'd be interested in doing.

Man and Superman has convinced me that if Wolfman had gotten the chance to reboot Superman after Crisis the way he wanted to, I believe the character would have fared far better during the Post-Crisis era. Perhaps it would not have taken the character as long as it did to start putting the Dark Knight Returns stooge interpretation behind him. If this is the only major work Castellini ever does on the character, then I tip my hat to him for a job well done. Not every artist can bring a level of grit and realism to Superman's world without compromising the character, but he managed to pull it off expertly.