1980 Punk Rock Bands1980 Punk Rock Bands
When punk infected Rome.
Tonight I was in Hellnation, the famous "alternative" store for records, books and T-shirts, for the presentation of a book: the debut of Rave Up Books, the editorial department of the never too-praised Rave Up Records, for which I'm also about to publish a book I'll talk to you about in due course.
Signed by Claudio Pescetelli, Lo sttivale è rocio - Storie italiene, punk and non - it is a beautiful reconstruction made with meticulous care through direct and indirect testimonies of the arrival of punk in Italy: music and customs, misunderstandings and (in)information, events and illusions, history and legend, all passionately surprising in many ways on 350 pages (and a CD of songs elsewhere unpublished technically precarious but of enormous documentary value).
At the time of my seventeen years, however, I bought records, conducted radios (though not yet 100% punk oriented), attended concerts and had the opportunity to meet these - not too many - musical interests and passions shared with me: I somehow lived the "scene", in short, and it was my memories - fortunately not so faded - that served as a starting point for this little journey into the past.
A journey with the real protagonists of the time, found and interviewed to reconstruct - often with some difficulty: after twenty years memory can make bad jokes - the complete picture of dates, names, places, events and atmospheres. The following, mostly told in first person by some of the most active and prominent representatives, is the only true story of the first Capitoline Punk.
Although incurably hooliganistic and individualistic, punk rage was sometimes directed toward political goals. One taste is the wild and expressionistic crash of Crass, a late hillbilly who became anarchic punk in 1977. Their first anthems (anti-racists, pacifists, feminists, anticlerics) were collected with the Mini-LP Feed of 5000 (1978; Asylum, Do They 0we Us A Living, They,ve Got A Bomb).
Crass reached the peak with Station Of Crass (1980) with a violent (Mother Heart, White Punks On Hope), paranoid (Fun Going On, Tired), epileptic and provocative (You've Got Big Hands, I Ain't Thick, Big Man) tone that sometimes touched the avant-garde (Walls, Upright Citizen). Continuing their political agit-prop with the Penis Envy conceptual (1981) on feminist themes and with Christ (1982; the rebel slogans of 1980 Bore, Rival Tribal Rebel Rebel) and Demential (Have A Nice Day), the group continued their political agit-prop.
Similar to Crass (for anarchy and pacifism), but more brutal were Discharge (the single Realities Of War and Protest And Survive on the LP Hear Nothing See Nothing Nothing Say Nothing in 1983), Exploited of Punk's Not Dead in 1981; From the hysterical rubbish of Media Person (1981; 1st eponymous 1981 EP) to the Gothic sound of Cloud Song (1982; on Death Church) and radical of Cacophony (1987; Sarcophagus), I Believe In Anarchy) and Troops Of Tomorrow (1982; la title-track) and finally Rudimentary Peni.
The New Model Army debuted with a controversial dark punk (the 1983 single Great Expectations, The Price from 1984), which became even more alive on the Vengeance LP (1984; Christian Miliz) and on the singles No Rest and 51st State ( 1985 ). For the same political reason, the Pop Group differed from these groups in the sound of black music (dub, funk as well as jazz) and in the practice of free experimentation.
Preceded by Beyond Good And Evil (the 1978 radio single), the 1st LP Y (1979) is a frightening selection of primary screams (Don't Call Me Pain, Don't Sale Your Dreams), psychic tensions (Blood Money, Savage Sea), subversive improvisations (Words Disobey Me), wild soundscapes reminiscent of a prehistoric state of nature not polluted by the suppression of modern society (Thief Of Fire, We Are Time, Bo's Time).
With the single We're All Prostitutes/Amnesty Report (1979) and the mixture of free forms, funk and denunciation of the album For How much longer do We Tolerate Mass Murder (1980; Force Of Oppression, Feed The Hungery, la title-track, Justice, There Are No Spectators), the group further increased their political commitment and finally succumbed to dogmatic intransigence: However, they remain a unique example of avant-garde punk.
The EP Bingo Master's Breakout (1978) was based on a monotonous and raw music (repetition) with ironic lyrics (title track), the LP At Witch Trials (1979) with a style of Rock'n'Roll-Abrasiv (Futures And Past, No Xmas For John Quays) and Lysergik (2 Step Back), full of ruthless perspectives (frustrated, the only Rowche Rumble).
Fiery Jack (1979), a breakaway blue on Smith's unprotected play, paved the way for an amateur (but avant-garde) Pub Rock that adopted original forms of tribalism in Dragnet (1979); Prior to The Moon Falls, A Figure Walks, Muzorewi's Daughter, Spectre Vs Rector), di roots rock visionario et charicaturale in Grotesque (1981; Elastic Man, Toally Wired ) et reuperando in Hex Enducation Hour (1982) la veemente fierezza mag (The Classical, Just Step Sideaways) et l'approccio coucofonico (Iceland, And This Day) degli iizi.
After the mediocre Room To Live und Perverted By Language (1983), the group has experienced a new boom with the surreal modernism of the wonderfully and terrifying world (1984;2×4, Elves, No Bulbs) and the nation's progressively and minimalistic saving grace (1985; Bombast, LA, I AM Damo Suzuki).