NIRVANA - Bleach 1989

I've heard a lot of Seattle stuff this week and when I talk about this city I mean the grungers who scolded themselves Nirvana. Many of you know the second album Nevermind, which was hyped, praised and revolutionary mentioned in all shitty media and I think, the damn journalists have penetrated turn-ons pushed the band to a level they never wanted to enter, at least that's what I guess. Bleach clearly proves the musical roots of the band and is rough and unfit for radio,TV, etc.... just music for the underground people who experience real life on the edge of the shitty society, and how greedy these morons are shows that after Kurt's death in April 1994, the album led to a resurgence of popularity,  entering the Top Pop Catalog chart at number six in the week following his death, and eventually earning the top spot on May. Good for the label, Sub Pop's most-selling album release to date is the debut by Nirvana and this fuckin' stinky record is the best in my opinion what they made in their first line-up: Kurt (vocals/guitars), Chris (bass), Chad (drums), this is the CD version with two bonus cuts and you should enjoy it. Well, a long day with lots of music is coming to an end, I'm exhausted and allow myself to point out two more classics (listen) from this important and brilliant three piece from the States (and from there came so much incredible shit the last few weeks). Bundesliga is waiting, I'm gone.

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KRAUT - Whetting The Scythe 1984

Second release on Cabbage Records by New York's Kraut with nine awkward mid-tempo cookies and the little brother of the slashing debut Adjustment To Society ('82). Well, this sucker is a bit different in my opinion and not as rough as number 1, it doesn't slash and bite me enormous and disappears fast in the dark streets of my nerve pathways, but every fan of Ami punk should take a little shit of time and listen to, while reading useless info: "Whetting The Scythe, a brief nine-song album, finds Kraut abandoning punk for tasteful demi-metal, using doubled guitar leads and charging, articulated power at more moderate tempos. It’s a partially successful variant, easier to follow than hyperdrive punk. Kraut has the chops, the intelligence and (occasionally) the songs to make something really unique. After doing some unfinished sessions, Holland left to become a Cro-Mag and was replaced by Chris Smith (ex-Battalion Of Saints). The new lineup completed three of those hard-rock items in ’85, but Smith drowned and Kraut threw in the towel. The Movie, a 27-track CD, combines the three previously unreleased tracks with both studio albums in their entirety." [Jim Green/Ira Robbins] - The cover is definitely a highlight and now ready for the fuckin' weekend, folks!

- Great Thx to Fredrik -

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O.T.H. - Réussite 1984

Now damn hot stuff by O.T. H. (On Tender Hooks), a five piece from Montpellier and formed 1977 by Spi (vocals), Dom & Gilbert (guitars), Phil (bass), Beubeu (drums) and stopped January 1992 and this is their great debut on Art Trafic. A bit info: "OTH is the flagship of FrenchRock, which has left an indelible mark in the community. They not really part of the punk movement, it is more of a very greasy rock and burned as it should be. Even the social lyrics retain a good dose of humor, without taking themselves seriously. It was not until 1984 that Réussite was released, a first opus full of ardor and exemplary maturity. It will forever be the bands best manifesto. They will quickly fall into a more commercial rock, but this is another debate. On Réussite, we take it all in the face from start to finish, with a lot of exceptional speed tracks: the awesome "On Est Tous Des Acculés", which sounds almost like US punk, "Le Sex Prime", not very far from Motörhead, are such intense. No doubt, guitarists have learned the lesson of rock greats, there are even a few well-sent rocker solos. No, frankly, if there is one flagship group that represents the best of FrenchRock at that time, it is (well, it was) OTH. But they will not meet the success they would have deserved, despite some attempts in this direction. And even their peers will agree that OTH was the locomotive for many French groups in the alternative punk/rock scene of the 80s." So enjoy twelve rockin' Hymns in thirty minutes and check more records of them, there are enough available.

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THE USERS - Now That It's Over 7'' 1979

One more raritiy from Love Child now and they are always welcome on wdthtc, 250 copies exist from this two sided killer and a few words: "We've got our own individual style. Most punk bands are the same as the Ramones... its pathetic. ..The basic ingredients of rock'n'roll are sex drugs and frustration, If we can getamps and get on stage, that's all.  Its a big V sign from us to you." The Users - Chainsaw 5 March/April 1978. - "The Users were from Cambridge and formed in September 1976. Their sound was a mixture of The Stooges, New York Dolls, Rolling Stones and the Sex Pistols. Young and with attitude - plenty of it. Other songs included Russian Roulette, Heart To Heart, Bad Decision, Slow Death (Flaming Groovies) Louie Louie, Moving In A Fast Lane and Red Hot Rag. Cambridge was also home to Lee Wood and his record shop. "..members of The Users, who had been in the shop before, asked me if I could spare the time to come and hear them rehearse. I went along and they were a five piece. I can't remember the details but somehow we decided to make a record together." Lee Wood Punk77 Interview. More details on punk77 and more Kicks In Style are guaranteed.

- Great Thx to Bristolboy -

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HONKAS - Lied Für Fritz EP 1982

In the city of Wolfsburg at home: Honkas, a four piece named after the German serial killer Fritz Honka from Hamburg, and consisted of Max (vocals), Christian (guitars), Dirk (bass) and André (drums). Their first sign of life was a tape with six songs on the small Silberne Ritter Kassetten label, one year later the only record Lied Für Fritz on Pogar Records with five brilliant lullabies. I own the re-release by Static Age (2019) and give you some product facts by the label plus and a short review: “Reissue of this old German obscurity with great sound and full reproduction of the original fold-out cover. While by 1982 the US had switched over to hardcore, this EP from the Honkas reminds me more of tough, first-generation European punk like the Rude Kids or PF Commando, though fans of better-known bands like the Dead Boys will also see where Honkas is coming from. The mix is odd and uneven (which, for me, adds to the charm of this era and style of punk), giving this the outsider quality I associate with the best KBD punk. They even speed things up for “Kunst,” which has a proto-hardcore sound a la Teen Idles or even Upright Citizens. A deep cut for sure, but if you love ripping, obscure punk this is well worth your time.”

“Honkas are a very raw German punk band and the production on this record only accentuates their primitivity. Some of the songs here almost degenerate into an undefined mass of guitar distortion, but others (like the title track) have more focus and drive. Pretty sharp.” (Jeff Bale (MMRR #5, March/April 1983) - I say: splendid record and five nuggets from the depths of cold wet dirty cellars, pumped with intense passion; represent on various compilations as well. Kauft das Teil solange es verfügbar ist und gebt euch nicht mit billigen mp3's zufrieden.

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OUTRAGEOUS - s/t LP 1984

A Dutch band completely unknown to me, who made three albums in the 80s, everything on their own and the five-piece named Outrageous consisted of Eric (vocals), Ruud & Niall (guitars), Bardo (bass), Frank (drums) and more info is not available. What I found is this: "Eric quit the Nitwitz and joined this Amsterdam band. The band belonged (with the Boegies from 1982) to the pioneers in the field of playing fun punk. Their debut album was especially popular abroad. Jello Biafra hailed the album in the fanzine Maximum RockRoll." And this review: "Not a thrash album, but a good old-fashioned punk LP. Holland’s OUTRAGEOUS displays a fast, heavy, two-guitar punk attack with strong hooks on most of this record, but they also play occasional poppish ditties (like “Beziers”), rockabilly thangs (“British Bikes”), or thrashers (“Say Cheese”) to mix up the stew and keep things interesting. I found myself happily singing along with many of these tunes, which is as good a recommendation as most." (Jeff Bale, MRR #16, August 1984) - I think, they do their job very well and fourteen songs in just under thirty minutes provide relaxation.

- Great Thx to Fredrik -

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SINIESTRO TOTAL - ¿Cuándo Se Come Aquí? 1982

A band that I've been focusing on for a long time but never managed to post, but thanks to Fredrik, now with their debut album. Siniestro Total (meaning literally 'total write-off' as in the insurance term for a vehicle that is beyond repair following a motor accident) is a Galician punk rock group from Vigo, Spain. Founded in 1981 during the cultural movement called Movida viguesa by Julián Hernández, Alberto Torrado and Miguel Costas. After many changes in personnel, current members are Julián Hernández, Javier Soto, Óscar G. Avendaño, Ángel González and Jorge Beltrán. Their first album, ¿Cuándo se come aquí? (When Do We Eat?), features fifteen short songs, with a marked punk style. Soon their first concert in Madrid arrives, at the Marquee, with borrowed equipment. They play two days in a row, thanks to the support of Ordovás and the great acceptance of his songs there is a huge stir. In this regard, Julián affirms in Ordovás's book “Apocalypse with Grelos” (Antonio de Miguel, 1994) that “there was a mess and there were some terrifying hosts. A poor hippie, with long hair and beards, who was jumping in the middle of the room, they put a hand of hosts when we sang 'Matar Jipis En Las Cíes'”. It is then when DRO enters the scene and Servando Carballar (Aviador Dro) that he decides to record their first EP for them. Everything was so amateurish at the time that they didn't even sign a contract. They just agreed and celebrated at the bar next door. More than 5000 copies of his debut, “Ayudando A Los Enfermos” (DRO, 1982) were released. A few months later the first album was released, ¿Cuándo se Come Aquí? (DRO, 1982), recorded in just three days with an eight track. The one that was put together was even bigger. The first edition sells out after a few days and DRO cannot keep up with the demand. The repercussion of the band is increasing, and everything increases with the presentation in the Rockola on 10. January 1983. Since then they have released countless singles & albums, compilation contributions and are still alive.

- Great Thx to Fredrik -

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KIZZA PING - Demo Hösten 1980

Well, it almost seems as if the blog death is picking up speed again, first the crash on AJ's hard drive and now Doc Drunk, who is having an extra long drink... Eieiei. Well, I hope both find their way back and enjoy their break. Now let's talk about Kizza Ping, an interesting combo from Linköping and I'll let them say a few words about herself:

 

"So was the headline in an article in Östgöta Correspondenten January 1982. Even though we were pestered by some mates it did in fact have some truth. Most of us were breed by the punk but all started to become tired. The incredibly exciting punk scene of 1977-1980 had slowly ebbed away. The bands that took over after The Clash and Ebba Grön were The Exploited and Anti-Cimex and were not as fun. Instead bands like Simple Minds, U2 and Reeperbahn came and it was about here Kizza Ping started.

The first chords appeared 1980. Anders, Johan, Lars and me had performed in punk bands as RAS, ÅOBF, Spy and Zpamhead. During the summer I had made some appearances with the joke band Rabarbarna. Helene and Annette sang "Young & pimply", the only song we had. When it was time to establish a real band during the autumn, the girls were natural members. Helene and Annette, our own Annifrid & Agnetha, were of course a big asset. They used their voices in several different ways, sometimes they devoted their time to the undervalued singing exercise in canon. Johan's and Anders' tunes differed us to other bands in the town as well as Johan's especial bass playing. The fact, that we were on stage six times also contributed, punk was simply too far away.

To arrange stage sessions was no problem at the time in Linkoeping. Just call the youth recreation centers (yes, it existed at that time) and decide a date. The music association Rock d’Amour did of course also exist and people always came. In some way we managed to take the band one step further. We got performance stage sessions in neighbour-towns, wrote contract with local Dåvhjort Records and the single ”Männen”/”Lär I Tid” (Men/Learn In Time) (of course recorded at Bosse Sound) did get a good review in the customs of that time Music Bible "Schlager". We were interviewed by Radio Östergötland, were several weeks on the local chart and did small out on tours to Gävle, Västerås & Göteborg.

Maybe we could come even further. In March 1982, just a few months after the single, we made our last play. Today, almost twenty years later, I have no idea why we did end. I must call some of the others and ask if they remember. To listen to these old songs today feels strange. Sure it sounds dated but at the same time I like what I hear. Despite we were just between eighteen and twenty we managed to do something that didn't sound like all others. And the punk most of us did return to." Peter Kagerland/April 2001 (Source: b-sound)

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WRETCHED - In Nome Del Loro Potere Tutto E' Stato Fatto EP 1983

Wretched was a hardcore punk band from Milan. Along with other bands such as Indigesti, they formed the basis of the hardcore scene in Italy during the 1980s. Their music was usually fast-paced with violent and dark lyrics. The original line-up were Gianmario (vocals), Gigi (guitars), Fabio (bass) and Giancarlo (drums), these four debuted 1982 on the split EP with Indigesti. Although they originally sang in English but soon switched to their native Italian, finding it better suited to expressing their radical political message. The band took strong anti-war and pro-anarchist stands through their lyrics and imagery. They also self-released all of their records on a label that came to be known as Chaos Productions. The band lived at the infamous Milano squat Virus, which played host to many hardcore shows in the early-mid '80's. Wretched lived and breathed the DIY spirit of rebellion that they advocated in their music.

The band recorded their first EP before switching guitar players and drummers in 1984. Daniele (guitar) and Crema (drums) played on the third, Finira Mai?, and the full length. Appearances on BCT tapes comps and the international P.E.A.C.E. compilation spread the word of "Chaos Non Musica" to everywhere punk was being played. Zambo took over drums in 1985, and the band began its shift into more heavy metal territory. They recorded one more LP and a 7Inch before internal problems (including Mario's shredded vocal cords) and line-up changes forced them to call it quits. Before melting down, they played the last show at Virus with Antisect. Unfortunately, Wretched's strong commitment to doing it themselves meant that their records have always been hard to get outside of Italy. An official discography (mysteriously missing the first EP) came out some time in the mid 1990s, and the Furious Years of Italian Hardcore compilations fills in the hole. (source: killfromtheheart) - GREAT STUFF!

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JOACHIM WITT - Silberblick 1980

I'm still in a positive mood but right now the 0:1 for the fucking Werkself from Leverkusen is falling, Fuck!.... how am I supposed to find the transition to the following slab? Na wird schon wieder, die SGE gewinnt das noch ☺ - The second post 2021 belongs to the psychoneuroticmaniacwithblackclothesfromthewaterkant and soontherewillbegrilledduckonthetable Joachim Witt with his debut and he had to produce his first album Silberblick completely by himself, only some of his old bandmates from Duesenberg supported him, finally released via the German label WEA, which signed him in 1980 and in December of the same year, the album was out. Followed by the single Kosmetik in January 1981 and his most famous single Goldener Reiter in May, for which a video was also produced. Witt was initially unable to achieve commercial success with the album and began recording his second album Edelweiß in late autumn which has been largely ignored by the fucking stupid society either. Half time 1:1, sach ich doch ⚽.

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