Rock a PunkRocking a punk
What happened to punk rock?
In 1998, when The Shape of Punk To Come was released by REFUED, many people, especially those who had never heard of Ornette Coleman before, asked: Is this the future of punk? After twenty years of imitating Clash, Sex Pistols and Ramones, after racing through the underworld of hardcore, after the most vicious punk, had the creative urgency of punk finally found an exit?
Starting from today's scenery, the answer is no: the refined post-hardcore coined by Revused did not inherit the witness of the first punk groups. But if the form of the coming punk wasn't that of the denied, then what is it? Twenty years after Dookie's explosion, the long wave of caramelised punk is still struggling to disappear into the sand, new, unscheduled boys are sticking their honey-sweet lyrics to dull riffs (seriously, someone should be in jail for a few years for that), and the gulf between those flirting with the worst stable bands and those who haven't moved their blinkers since 79 is widening.
Although punk rock is given up for death almost every day, it is still alive and well, not a day goes by without the emergence of new bands on the net who maintain the same urgency, attitude and allergy to compromises that have shaped the scene from the beginning.
Against Me! is the kind of miracle that refreshes faith. It takes five years for the first album to be released, but from then on it's a torrent in full swing. White-Crosses is the album you could hear at the end of his life, ten pissed off and soft punk rock jewels simultaneously, songs that radiate real life without a break.
After such a recording it can usually only get worse. But against me! double: 2013 Tom Gabel confesses that he suffers from gender dysphoria and wants to become Laura Jane Grace. She' s been a woman for a long time and wrote a record about it.
The Transgender Dysphoria Blues will be released on January 21, 2014 and there is no one left for anyone, the scene is in their hands. If someone had taken the headphones out of our ears in 1998 to tell us that in twenty years some of the most interesting punk rock bands had come from Pennsylvania, we would have insulted them without hesitation.
When they recorded their first demos in 2006, they were still playing fishelli, hanging out in the Philadelphia punk scene and, like so many kids around the world, they started writing songs before they even learned how to play their instruments well. But we are talking about punk rock: The beautiful songs survive the worst crippled guitar and the technique is an unsolicited accessory.
In 2012, when Brett Gurewitz wrote them for Epitaph, the Menzingers are now a group that was formed and completed just a few weeks after their On The Impossible Past climbed the alternate charts around the world and brought them onto the scene as one of the essential bands of the moment. 2013 was her year.
After an immature debut (Cavalli, 2011) and a lot of work, they released the record that changed their existence. The fact that the mix won was already noticed on first hearing: a deadly leap that doesn't care about pulling between emotion and post-hardcore, an irreducible punk impetus combined with more classical rock riffs, and above all the desire to beat the adrenaline and the discomfort with a song to be sung under the stage together.
Up and down Italy: always full, and with an audience that knows the songs by heart and breaks through soul and neck. In a few days they will enter the recording room to record the new album. Sometimes you'd get one that was booming, even if you put him in the walk man after school, he'd give you a bat in the face and you'd understand that this record wouldn't leave you for long.
But on the day that the novelties were reported, the debut of these four peckers was one of the best of 2013. A heroin addict's punk rock equivalent, The Future is Cancelled is what he looks for every time he makes a hole: the effect of the first time. We' re Capinking have managed to put all the right ingredients into the 37 minutes and 12 songs of their first record, dosed as one would expect from a punk record today.
All the more so when one comes from the suburbs of Toronto and Detroit, this galloping punk with double battery has already spiced it up in all kinds of sauces. But once again we are talking about punk rock, which means that where there is a rule there is also a volume that has triumphantly broken through it.
The year of change is 2010, Cavalcade is the album of the consecration, the group goes around the world and the nostalgic NOFX discovers that you can still make melodic heavycore without being spoiled. As always, you just have to know how to write great songs. The Bronx has certainly helped Matt Caughthran to become one of the most pissed off and unpredictable bands on the scene.
Born in Los Angeles in 2002, the four are known for proposing a mix of fat and granite punk rock, veined by rock'n'roll riffs that compare the hives to mammolettes in pyjamas. Between 2002 and 2008 Caughthran and his companions released three very high quality records, one more concentrated than the other, all with the same name, that of the band: The Bronx.
Then, in 2008, everything goes in the ass: the group changes its name to El Bronx and starts making music for the Mariachi. One listens to the two records of El Bronx and doubts that the four were stunned, abandoned in a shady quarter of Ciudad Juarez and forced to write songs to ask a cartel chief.
Fortunately, 2013 comes and the fourth album with the usual stainless company name returns the group to their punk rock roots. Apparently the Mexican trip is served up for something, the group is more closed than ever, and The Bronx (IV) is his masterpiece. GetDeaad is one of the last bands signed by the institution of the scene, Fat Mike's FatWreck Chords.
There are five of them, they come from San Francisco, they are constantly drunk and they do this kind of punk rock, half acoustic, half Irish, half run down, which never seems to go out of fashion. But beware: In contrast to the countless useless folk-punk bands that plague the Bay Area, GetDeaad can write beautiful songs.
Fat Mike once said that "punk is great music played by bad musicians".