Destroying Something Beautiful: The Autopsy of a Punk Cover Song–An Interview with Nick “Animal” Culmer of The Anti-Nowhere League

Off and on since 1982 I have thought about the role of rock and roll/punk covers of songs and how they can change the form and/or meaning of the song.  One of my favorite cover songs of all time is The Streets of London.    Originally written by English folk singer Ralph McTell, it is a beautiful and haunting song about walking through the Streets of observing and relating the sadness (and beauty) of old age and poverty as it may relate to troubles and relationships of someone younger (a child or a potential lover?).

Have you seen the old man in the closed down market.
Kicking up papers with his worn out shoes?
In his eyes you see no pride and held loosely at his side.
Yesterday’s papers, telling yesterday’s news.

[Chorus] So how can you tell me that you’re lonely,
and say for you the sun don’t shine?
Let me take you by the hand and lead you through the Streets of London,
I’ll show you something that will make you change your mind.

Have you seen the old girl who walks the Streets of London.
Dirt in her hair and her clothes in rags?
She’s not time for talkin’
she just keeps on walkin’
Carrying her home in two carrier bags.


In the all night café at a quarter past eleven.
Same old man sitting there on his own.
Looking at the world over the rim of his tea cup.
And each tea lasts an hour and he wanders home alone.

Have you seen the old man outside the seaman’s mission,
Memory fading with the meal ribbons that he wears?
And in our winter city
the rain cries a little pity.
For one more forgotten her and a works that doesn’t care.

So how can you tell me that you’re lonely.
And say for you the sun don’t shine?
Let me take you by the hand and lead you through the Streets of London, I’ll show you something to make you change your mind.

Beauty and sadness co-exist in “Streets of London”  Does the song serve as a somber pseudo-pep talk to feel a bit better about themselves in light of the plight of others?

Less than a decade later, the Anti-Nowhere League  flipped the switch on the meaning of the song by, among other sings making the music burn and changing the lyrics, including converting  “I’ll show something that will make you change your mind,” to “I’ll show you something that will  make you really sick.”  By doing so, the League transformed the song from reflection to angry disapprobation of society.     Looking at old, poor, forgotten people shouldn’t cheer anyone up—all the images conjure up is decay, and disdain for the political, social and economic system that created the situation.

I interviewed Nick “Animal” Culmer, the leader of the Anti-Nowhere League about the  creation of the League’s cover song and how he reacted when Metallica covered the League’s own punk anthem “So What?”

OP1:  What made you choose Streets of London as a song to cover?

Animal:  I chose ‘Streets of London’ as a cover because I wanted to destroy something musical that people loved….but this was the late seventies\early eighties and Punk’s byword was ‘destroy’ but in truth I grew up listening to all styles of music…..I started with Reggae and as I grew so did my music knowledge and ‘Folk’ music played a part so in truth I wanted to cover ‘Streets of London’ because I loved the song and seeing the ANWL were just starting out we played the song with a bad attitude cutting it down to fit with our guitar work.

OP1:  What impact does the change in the music alone contribute to the effect you and the band were trying to achieve.

Animal:  As young(ish) punks we were disillusioned with everything and the words of the original song was meant to be sad but we took it to another level with 2 fingers up…..a ‘welcome to my world of shite’…although back then we thought the song would fizzle out within a year it has proved us all wrong, it still preaches despair at me but with a smile on it’s face, goes to show a good song is timeless however you change it around.

OP1.  Did you think about who the song is intended for (for Ralph McTell, it seemed to be sad, lonely person)–was it the same for you?

Animal: As all punk bands we thought we would be well dead and gone in a couple of years so there was no amazing future plan, only your last show you play dictates how long you have in this business.

OP1:   You changed the lyrics of the chorus– to “I’ll show you something that will make you really sick” from “I’ll show you something that will make you change your mind”   What, if anything was that intended to say?

Animal:  Ralph [McTell] I think was writing a sad song which cut deep and made you think….we turned it on its’ head and made you ‘not think’ but drink!!!…..but that was always the punk attitude then….fuck ’em.

OP1:   Who were you trying to tell something to?  The listener, the government, the person in Mr. McTell’s song,  Mr. McTell?

Animal:  To me it [the song] meant ‘despair’….there is nothing we can do about the way this over crowded world was heading so let’s just stick our fingers up and tell the world ‘go fuck ya self’ I will not droan [sic] on about politics but the small man will always be ‘fodder’ for the money men even if it means destroying the whole planet just so they can get fat.

OP1.  What were you  trying to tell them.Nothing really…we were just starting out in the music business and could not play our instruments very well….he was obviously a professional muso so there wasn’t much you could say to him….especially when deep down you always liked his music and of course I couldn’t tell him that!!.

OP1.  Do you think Mr. McTell’s and your version of the song are still relevant today, and if so how?

Animal:  I think his version will always be relevant….but our version?….at a punk gig rammed with sweat and beer and crazy guys’…yes….three and a half minutes of ‘fuck ’em all’…but after the show?…..they probably will not remember their own names let alone the song they were shouting!

OP1: Metallica covered a song you co-wrote So What.  What was/is your and the band’s reaction to that?

Funny really…as a punk band we were always in trouble with that song….mothers demonstrating outside our shows and police shutting our shows down…as we all know there is no money in punk so we could never fight the legal shite that song brought to us….Scotland yard took the records, we were banned from everywhere and ‘branded’ as foul mouth yobbos…..but then….a few years later one of the biggest bands in the world cover it with all their financial backing and the song suddenly becomes a great rock song!!…..the English tax system welcomed it with open arms and I will not grumble because Metallica has always been good to me and of course the money is well appreciated and I do get to play the song with them now and again……putting my small punk song onto a massive stage is always a buzz.

OP1:  Do you think Metallica’s version changed in any way the meaning of the song, either through the sound, lyrics or total performance?  If so, how?

Animal:  They are the biggest metal band in the world it is obviously going to sound different than us….we play our song with a four piece band usually in shit holes over a shit PA and they play the song with a five piece band in  Continue reading

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It’s kind of like déjà vu all over again to look at the opening paragraph from my last year’s review and see the following:

       Reflecting on a year (let next year not be yet another one) marked by terrorism and  racial tension, it is sometimes hard to divert focus from the dark side of the force and concentrate on the things that have made this a very good year.   A family gathering.  Helping a person in need.  Hanging out in the sun or having a great meal with great wine and a great friend.   Letting it all hang out on the dance floor–are all reasons to be cheerful.

Just substitute the malady de jour/annee and we would be good to go–those that we have lost and that which we got (or are born) to lose.[1]    But nothing is actually advanced through maudlin isolationism or depressed alcoholism (though that sometimes does the trick) –we , of course, have to live and do the best that we can to protect each other in this mosh pit.    Things were probably pretty bad in 1944, we were in the throes of World War II, yet the lyrics of Johnny Mercer seem applicable today:

You got to ac-cent-tchu-ate the positive E-lim-i-nate the negative And latch on to the affirmative Don’t mess with mister in between

You got to spread joy up to the maximum Bring gloom down to the minimum

Or, as Joey Ramone sang it best you can go either way–“Gimme Gimme Shock Treatment” or “What a Wonderful World.”

Or, finally, as Sir Raymond Douglas Davies said:

One day, we’ll be free, We won’t care, just you wait and see. Til that day can be, Don’t let it get you down. [2]

So rather than see, that the world is too much for me, I am going to celebrate those that led me to trek to great shows with ten people to tens of thousands in venues ranging from a contact-high DIY apartment in the sky to the smallest live venue, in the smallest town in the smallest state  of the United States to festivals in the mud and desert which all make me ready to turn up the volume on 2017.


GLENN BRANCA ENSEMBLE (Roulette, Brooklyn)

Glenn Branca is an avant garde composer, creating “symphonies” played by electric guitar armies utilizing heavy volume, repetition and alternative tunings .   I was lucky enough to fly into NY and learn he was performing the world premiere of his piece The Light (For David) and was able to get tickets despite the fact he was also featured in the NY Times that day–who says culture is inaccessible in NYC.  What other show offers (and strongly recommends) free ear plugs?   While the piece started in the jackhammer range that made me feel I was a member of the squeamish, his 4 guitar, bass and drums combo quickly migrated to cascading, wall of pulsing sound blasts of high intensity and harmonic power.    Branca acknowledges that his material is challenging, yet he delivers a type of all-encompassing layered hypnotic sound you can imagine hearing, but it is rarely delivered the way Branca and his team does it.

PONY’S (Empty Bottle).

It is hard to believe it was 6 years between Pony’s shows in Chicago, and we have to thank the publication of the Empty Bottle book for the reunion, and what a reunion it was. The driving harmonic guitar combinations of Jared Gummere  and Brian Case (now Disappears’ head honcho) were as strong as ever.

NEGATIVE SCANNER (as best as I can recall, Bric-a-Brac records, Empty Bottle, Café Rectum and Hideout).

I know I am a broken record, but if you had 20-30 minutes to spend on a live performance of any band today (and I don’t mean a Chicago Band) you could not get more bang for your buck-period. Slashing guitar, howling vocals–whether you live in an 80’s world or today NS will haunt and propel you.   Luckily they are back doing gigs early this year (January 7 at Chop Shop and January 14 at Schuba’s to start).

BRUCE SPRINGSTEEN (Milwaukee).bruce

One anthemic homage to the individual spirit fighting against this thing we call life, after another, for three plus hours per night for 38+ years (!) this guy remains, pound for pound and note for note remains the undisputed heavyweight champion of the rock and roll performance world.

THEE OH SEES (Thalia Hall, Empty Bottle).theeohsees

Give Jon Dwyer another 28 years and he may eclipse Bruce for the sheer energy he can transmit to an audience.     He can still deliver a grungy garage-infused frenzy that sends your body smashing into others and you sweat glands to overload.  Even with only one drummer, the Empty Bottle show was one of the sweatiest for me ever (and, ask anyone who plays basketball with me–I sweat).

PRINCE RAMA (Schuba’s ).princerama

Beamed in from another planet sisters Taraka and Nimai Larson are on a mission to hypnotize their audience into dance through sound and vision. What other band wears Mona Lisa tights and has its own aesthetic philosophy!  www.   Their current genre meld involves  Xtreme Dance, and that is ok with me–can’t wait for what’s next.

NIGHT BEATS (Beat Kitchen).

I really have to thank the bartenders at the Matchbox for introducing me to this psychedelic/R&B/garage band from Seattle. Following more than 30 years behind their progenitors like The Sonics, since 2009 the Night Beats have swirled their fuzzy guitars over stomping march bass and drums to nod and bob your head forward in stoner groove bliss.


This rag tag bunch of slackers are kind of the West Coast’s answer to Parquet Courts. Droney, pulsating and churning garage rock also since 2009. Their Summer release A-OK was one of the better lps of the year and adds some hip hoppy vibe to the psych and up tempo velvet underground sheen.  Live is where you can explore or lose your way within the shimmer and jive.

CHARLES BRADLEY (Thalia Hall and Space).

So much emotion– joy, pain and love lost and found–exude from this 67 year old soul singer and is transmitted to the audience   His cover of Black Sabbath’ s Changes, demotes the original and serves as a moving tribute to his mother.   He is fighting stomach cancer right now, so we hope and pray that his music can heal him and that he is back at it in 2017 (he is scheduled to play Bottlerocket in Napa over Memorial Day weekend–so that bodes well).

MEKONS (Hideout)mekons2016

For their last two tours over the last 18 months the Mekons have relocated the chemistry that helped to create the rowdy hard/alt country/punk revival in the mid 80’s.   Melding guitar, accordion, violin, team vocals and perhaps the greatest (if perhaps the only) saz playing you may ever hear, Jon Langford and company create thick harmonic and chaotic waltzes, dirges, and all out attacks to have fun while we make fun of the system–one of my candidates for an inauguration party.

TELEVISION (9:30 Club, DC)


Tom Verlaine sound bending

Speaking of harmony, there is nothing so intricate and beautiful to me as the intertwining guitars of Tom Verlaine and his cohort Jimmy Rip (the “new” member of the band since 2007), switching seamlessly from lead to rhythm providing rock that is much more “arty” than “punky”- laying down an aggressive, staccato dueling riffs, then ultimately deconstructing it into a free rock/jazz jam that at times can range from space to noise to flamenco creating notes that don’t quite seem possible, and back to the riff, with TV’s plaintive, cynical, vocals stopping in every once in a while.   These are songs you can get lost in or live within.


Non-judgmental person that I am, it is unusual for me to be a fan of what amounts to be a cover band. But I will make an exception for Peter Hook and the Light who create a band that does New Order songs as good and danceable as New Order and provide the simulacrum of the Joy Division which never made it to the US because of Ian Curtis’ legendary suicide.  Hooky was the original bassist of both bands and each night he and his crew replicate both bands, playing sets of one band’s music “opening” for the other band.   On the night of the first World Series game at Wrigley Field in 71 years, I faced a difficult choice–but crossed the street to the Metro and voted with my ears and feet.



The self-description “bi bilingual political dance sax punk party from Providence” just about says it all.   But Victoria Ruiz says a lot more, and in your face.  I’ll take them as my number 1 inauguration party headliner.   Whether it is keeping government away from a person’s body, attacking slumlords, supporting the legacy of Malcolm X or just telling the world

or any person that “Today we must scream at the top of our lungs that we are brown, we are smart.” Or

(translated from Spanish)

We want to choose to decide We must choose how you want to live Complain and fight to force and stop crying And no one takes advantage of you

Here’s to the force of this band–may it be with you, and may you move with and be moved by them to your soulful core.

DIET CIG (SXSW/Wicker Park Fest)dietcig

Take a personal emo-girl and guitar and mash it with danceable pop punk and you have a bit of what this duo from New Paltz, New York have to offer. Alex Luciano is 5’3” just turned 21, has a pixie like quality, and admittedly plays only a handful of chords. Her songs can start out innocently, but break out into a frenzy with her playing guitar and singing while doing kicks, spins, and crowd surfing.  All you want to do is smile, dance and yell with her to kick butt.s.

GUNS N’ ROSES (Coachella)

If my theory is true that the net enjoyment of an experience is equal to the net/difference between your level of expectation and level of what was ultimately delivered by the performance , GNR probably had the highest score of the year.   Due in part to the fact that my expectations were extremely low, and only went to see them because I was there, they were headlining and I was really curious about how bad they would be so I could “stick a fork in them” and have the evidence to support it.  Boy was I wrong–the surprise factor was that the band knocked it out of the park/desert.  Starting slow, Slash really took over the performance by turning out classic riff after riff–both his and others rock and roll history–a few songs in, a nasty (in a good way) cover of Live and Let Die made me stop, look and listen that there  was actually something special going on here.   The hard rock was balanced by a sentimental, flamenco solo of Wish You Were Here, and semi-acoustic intro to You Can’t Put Your Arms Around a Memory (sung by Duff)  for Prince, a punk cover of the Damned’s “New Rose” (which coincidentally, the Damned had played 2 hours earlier–something I had not seen before at a festival a cover of a song the original band also played!)  with electrifying sound and  powerstances.   Axl Rose may have even benefitted from the fact that he being confined to a motorized chair, as he was forced to focus solely on what he could convey with his voice, and couldn’t prance or fight with Slash for power/control of the stage.  In the end the set showed that popularity be damned and GNR should command rock and roll respect.

FEAR OF MEN (SXSW and Schuba’s)

Swirling and hypnotic guitars and ethereal vocals get to me, and Jessica Weiss and Dan Falvey continue to deliver on both fronts. Their 2016 sophomore album Fall Forever is a dreamy classic.   Live Jessica sets an example for the audience by alternatively presenting and letting go of her lilting songs.

JOY FORMIDABLE (Lollapalooza)

This Welsh trio has really invested five years of touring into developing the anthemic power chords ideal for a festival show. But their show does not rest solely on sound as their politics and positive statements about self-worth are front forward.   Songs involving issues like defeating your inner demons and personal freedom allow you to rise above yourself on guitar and synth waves.  Yet, like Billy Bragg, this band seems to know more about US politics then we know and aren’t ashamed to address the issues.   At Lolla, they made a strong point against political apathy, using the Brexit vote as evidence that sitting on our hands would bring about the wrong result for us too, pleading “You can’t let that mop head get into office.”  Unfortunately, the band has proved to be as prescient as they are entertaining.

SLEATER-KINNEY (Riotfest)sk2016

I am not objective when it comes to Sleater-Kinney, but I was definitely nervous about whether and how S-K could deliver a short, meaningful festival gig set. But like a geothermal power plant, the band was able to condense their innate power into a furious 16 song 55 minute set without substantial compromise or pause.   Doubts dismissed.


King Khan and the Shrines deliver a groovy mixture of garage rock, psychedelia and soul. Fronting an 8 piece band with three horns,  King (Arish Ahmad) Khan an Canadian-born Indian living in Germany is a visual as well as aural sensation,  changing vibes from Thirteenth Floor Elevators to James Brown and costumes from a fur boa-vest to a gold lame cape with both his belly and buttcheeks-showing!   In addition to the music, there is often a message with songs influenced by the Black Panther party, Screaming Jay Hawkins and Muhammed Ali, among others.   But, ultimately, it is the rollicking rave ups, bouncing back up band, honking horns and r&b revue that create the excitement to carry a festival day.

KING SUNNY ADE AND THE AFRICAN BEATS (Millennium Park)kingsunnyade

While on the subject of royalty, this 70 year old Nigerian world music star regally fronts his legion of percussive performers. He was one of the first African artists to combine native “talking drums” with electric and pedal steel guitars.    His call and response vocals and pounding rhythms underlay and overlay the staccato/spasmatic guitar riffs he rips to create a juju music with one of the fastest paces I know.  No offense to Paul Simon, but if that is your only point of reference or exposure to this style of music you need to add a quadruple espresso, exercise with a power plate on high or microdose to have a better understanding of what you are missing.  It is virtually impossible to say seated, and once you stand good luck keeping up or keeping your cool.

LCD SOUNDSYSTEM (Coachella/Lolla)

Channeling a mélange of funk, punk, soul, new wave, R&B and anything else that can get you to shake your fanny, this band demonstrates that a live band can still put forth  some of the best dance music around.  James Murphy and his crew do not hide,  but pay homage to their influences and celebrate them, and included an uplifting cover of Heroes, which was one of the best covers of the year.

SPECIALS (Riotfest/Concord)

While there may be some sorts of ska revivals now and in the future, I am not sure if there will ever be ambassadors for the music, brand and social and racial equality as exemplified by this bunch that originated in Coventry in 1977.   Though members have unfortunately passed or moved away,  the look remains mod and rude boy, the sound is alternatively danceable ska and e and the slower  rock steady, the vocals and lyrics are wry, cynical and withdrawn.  Songs like Doesn’t Make it Alright still strike at the lack of heart of fascism while Nite Klub remains the pinnacle yin/yang love/indictment of the dance club night life.  The combination is still infectious.

HAELOS (Lolla/SXSW)haelos

Chill, understated, ethereal, lilting/pulsing/swaying trip hop. Haelos is the London based dreamy electronica band you want to listen to while relaxing on a red leather couch sipping champagne or a Sazerac at the end of a long night.   So why are they good at a festival, in the daytime?  It definitely is not quite the same, but a long day at a festival can’t be non-stop high energy, so a soothing sonic intermezzo can really cleanse the palette and the mood.   Also entrancing music, whatever the time and place…..


Frenzied chaos from this dual vocal party band from Dallas, Texas is exactly the unique spark that makes live music the greatest form of entertainment.   A sonic and visual shotgun marriage, two sorority  femme fetalles chant and howl together at the audience or each other while a derelict trio of long haired guys grind out a grungy dance punk reminding me of notables like Pylon, Mika Miko and Explode into Colors.

© 2016-7 Bart A. Lazar.


[1] Ah the classic philosophical conundrum between the Boss and Johnny Thunders as to whether we are Born to Run or Born to Lose.   See also–John Steinbeck, East of Eden and the meaning of the work Timshel in the Torah/Bible.

[2] Yes. Neil Young fans are going–don’t let it bring you down, it’s only castles burning, just find someone who’s turning and you will come around” but I digress from my digression.

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There is a reason why events unnerve anyone.  At SXSW everyone can find a different story.    And that story plays out differently with every choice you make.   Imagine: when you choose to eat at one restaurant you are turning down hundreds, if not thousands of deserving establishments in your fair city—at SX when you affirmatively head down one of many diverging roads to see a band, you are implicitly (but not knowingly) rejecting at least hundreds of other potentially deserving bands–each of whom you can hear groan when they learn they were not let in your tourney–at least on that day or that evening.  Simultaneously, you have created a path where anything could still happen–just be ready.

I am not a fatalist, I believe in luck and that an individual’s actions can increase the likelihood luck will migrate towards you.    Yet neither you nor an event’s organizers can account for something as unnerving as a tornado/severe thunderstorm such that even a behemoth like SX can be forced to head for cover.   On Friday night, this happened, forcing the closing of many outdoor venues and cancellation of many shows, including probably one I thought I was headed for.   Instead of cashing in and choosing NCAA > SX or some other show I grabbed an umbrella and stormed towards the alley entrance to Barracuda outdoor to find the gate shut.   So I decided to check out the Barracuda indoor entrance, even though it is usually a second and different venue at night, and was fortunate to learn the venue had  pivoted by choosing to combine two showcases into one by moving the outdoor showcases indoors–taping off an area in the middle of the floor as the “outdoor” stage.

By converting floor space into a stage, the Barracuda “backyard” showcase suddenly was transformed,  into the indie roots of SXSW, an intensely personal diy space with virtually no sound check, no monitors to speak of, an unmiked drum set and the band performing “in the trapezoid” face to face with themselves and/or the audience.   For Providence punks GymShorts, this eliminated stage diving–the lead singer/guitarist simply sang directly at, and moshed with guitar and the crowd.  Los Angeles’ Death Valley Girls (after a team huddle) chose an alignment where the lead singer and guitarists played and sang directly across from, at  and to the drummer–which created intimacy within the band as well as with those watching.   It imbued a stormy, blah kind of night full of long into a reaffirmation of what SXSW is all about–raw, new music, connection with performers and just a tinge of nervousness about what might happen next.   And that made all the difference.

OK, so what about the bands?

downtownDowntown Boys (Hole in the Wall) —  There is enough to write a whole separate article about Victoria Ruiz and her crew from Providence (how did that get to be a punk epicenter?).  They are a  fiery combination of anti-racist and pro-people diatribes served with a side of thick sax/guitar pulse activating both the body and mind to betterment.   The commentary/intros are as important, meaningful and entertaining as the songs, challenging  what right the Texas lawmakers or US Supreme Court have to tell people what they can or can’t do with their bodies, the importance of words and context, the meaning of Malcolm X, the evils of slumlords, and how Bruce Springsteen uses more punk words in his songs like “fire,” “burn” and “desire” than most “punk” bands.   In fact, even though many compare Downtown Boys to X Ray Spex because they are a punk band with a key saxophone player, Victoria pronounced that her band is closer to Bruce Springsteen and the E Street Band!

Party Static (Volstead Room) — A chaotic, beautiful mess of a good time from Dallas, featuring two female vocalists who alternatively sing together and then AT each other with almost an accusatory nature reminiscent of Mika Miko.  They dance and bump into each other while roaming freeform  on top of a pulsing, driving backbeat and black and decker scuzzy guitars.

Fear of Men (Sidewinder)–The ethereal floating vocals of Jessica Weiss combine with the swirly guitar rhythms of Dan Falvey and intentionally off the beaten path drums to provide a haunting pop tableau.  About to release their second album, this Brighton group is focusing more on creating space for vocals, eschewing  hypnotic guitar interplay for dream time.


Thee Oh Sees (Hotel Vegas-Outside).  Now in their 17th year at SX, John Dwyer and his psychotic garage rock express train about to go off the rails are one of my SX traditions of a decade or more!.   Basically playing in residence each day, either heading the afternoon at 6 pm or the evening at 1 am, they even started their She Shreds’ set early so they could play a longer set!   After changing the band completely last year (not necessarily for the best) John has re-adopted a double drum line up which allows a stronger and faster backbeat for his frenzied revved up Nuggets-infused raves.


Haelos — (Space 2420-what used to be the backyard of Urban Outfitters) –A chill, kind of trip hop band from London that provides a shimmering, moody sound track for what the start or more likely is the end of a late night clubbing session.   Repetitive boy/girl vocals, electronica and percussion with some Edge guitar and  interspersed recorded historical voices to make you sway–lull your head, shoulders, and ultimately your hips, into submission.

cosmonautsCosmonauts — (Hotel Vegas Bar) These slackers from Santa Cruz are kind of the west coast version of Parquet Courts, able to outstone the Rolling Stones (think of an amped up Gimme Shelter).

Future Punx (Sidecar)–   Talking Heads and Devo are mashed together and brought to a new generation by Brooklyn (you tell me if they are hip or geek) sters.

charlesbradleyCharles Bradley  & His Extraordinaires (Stubb’s) — His escape from the Brooklyn projects is tracked in a 2012 documentary and now at 67, this soul singer is starting to hit the height of his popularity, using a full horn section to help him channel the energy of James Brown and the uplifting spirit of Al Green.    that can force you to shake your tail as he On “Changes” (a Black Sabbath cover) from his upcoming release, he slowly but forcefully preaches with bonechilling elegiac sadness about his mother’s passing.  He shows the breadth of human emotion with one voice and an earthy horn section.

Diet Cig (Hole in the Wall)  –A two piece drum and guitar group form New Paltz, New York, combines adolescent Liz Phair themes with early Wavves emotional power punk, punctuated by Alex Luciano’s whirling dervish kicks and leaps in between verses.  Infectious.


Death Valley Girls  -(Barricuda–on the floor)-   Not letting the whole stage on the floor thing get them down, this LA band charged into their Cramp-infused insistent bloozy guitar grind and fluesy vocals including their song “No Reason” (from which I lifted the title of this piece).

oscarOscar (Space 2420)– You wouldn’t expect a tall Brit wearing a Disney-character jacket could deliver deep dark vocals and lush harmonies.  But when this English popstar gets revved up his music gets , dare I say, Smiths-like.

The Foreign Resort (Tiniest Bar in Texas)–Post punk dark wave dance music lives on in this band from Copenhagen, Denmark.  Propulsive early Cure lead bass guitars and automatic drums support roaring and chiming guitars and plaintive vocals about how “everybody is empty now” or how “you are my downfall.”  Depression can be so uplifiting!

Iggy Pop’s Post Pop Depression (ACL Moody Theatre).  I admit to being a late adopter of Iggy, but he certainly is one of the Seven World Wonders at this point.  A buzzsaw of energy, punching, kicking, preening, waving, daring the audience to come down an f__k him, stage diving–he is literally, figuratively and bodily busting at the seams to keep doing something.   Maybe that is the point: like his mentor that he is gonna go out fighting on his own terms.   But despite or maybe because of his electrifying persona, the sound of the new material from Josh Homme of Queens of the Stone Age did not quite do it for me–a bit too slick and not enough of the Iggy primal nature in the sound as in the performance and the feel.

People are always asking about how crowded SX has become after so many years and what impact that has.  The impact is significant.   Certain places, like Hotel Vegas, with, essentially 4 venues with 2 or 3 bands playing at once have now been “discovered” so that you need to get there early or wait in line or both.  And, you have to make a more considered decision if you leave, because you might not get back in.  Also, many day parties have become democratized, so that badges do not give you priority as often as they used to (another reason why badges are less relevant now).   Sometimes that means trying new or retrying old venues. For example, when downtown and east side got too crowded, I headed for the drag–by the University of Texas, where many of the same groups were playing to much smaller crowds.  I escaped there a few years ago and saw Wild Flag,  Times New Viking and an early version of Cloud Nothings in one of the best curated showcases, so it was time for a return visit!

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Reflecting on a year marked by terrorism and racial tension, it is sometimes hard to divert focus from the dark side of the force and concentrate on the things that have made this a very good year. A family gathering. Helping a person in need. Hanging out in the sun or having a great meal with great wine and a great friend. Letting it all hang out on the dance floor–are all reasons to be cheerful.
When I look back on a year of music performance I can still see and feel excitement, hope and renewal (with a bit of anger) from both the stage and the audience. I don’t know about you, but there seemed to be more and more people at big shows having huge conversations during the band. Hello–aren’t we here to see/hear this show?! But, take a couple of steps away and you (that’s the royal “you”–me) can still be the one swaying, pogoing, dancing, thrashing and hopefully enjoying the pleasure of the individual and collective connection with the music. experience. Getting to know and bounce off your neighbor while enjoying the music and also making sure that the people around you are ok. A knowing nod of the head and smile. Girls (or shorter people) to the front! Thank goodness that with all the ideals shedding around us–some conscientiousness is still there!
While festivals can seem to dominate a year–and the performances at Riotfest, Pitchfork and even Lolla–thankfully delivered great and surprising (though again often literally, sonically and figuratively muddy) moments, the most indelible etchings in my brain come from intimacy and surprise.

Seeing the best punk bands from Chicago and Providence at a literally and figuratively underground diy music space in an unfinished basement in Pilsen. Walking up and asking the band members where to buy beer (a Hispanic market nearby), entering what might have been in earlier decades a shooting gallery, then tromping carefully downstairs to the basement–watch your head! Then to get blown away by two of the best new bands in the country (while continuing to watch your head-no pogoing!)–beats virtually all the big time corporate stuff.

The power of the Internet, happenstance, and a crowdfunding contribution brought a dark wave band from Copenhagen, Denmark to my living room (after I made them dinner) for an intimate show before they headed to the Burlington. Morten, the drummer used a snare drum and covered his luggage with a tablecloth to make an atmospheric sound, and I felt compelled in the moment to break out some percussion so the four person audience could participate.

Johnny Thunders probably said it best–“You can’t put your arms around a memory” –but I guess like surviving statesmen Mick and Keith, I’ll try (tra, tra, tra, tra, try that is)–at least this time to bearhug bits of my year.
Here are some of the memorable performances I was able to encounter by plan or luck in 2015.

SLEATER-KINNEY (Spokane, Boise, Milwaukee, Chicago (Riviera and Pitchfork) and Brooklyn (2) February- December).

There is 4 dimensional excitement born from experiencing something new. Which is why I headed to Spokane and Boise to see Sleater-Kinney do their first shows after a nine year hiatus. During that time Carrie Brownstein became an NPR icon, a TV celeb and an American Express commercial feature as well as performing in the great garage band Wild Flag. Janet F’ing Weiss played with Steve Malkmus as well as Wild Flag, and Corin Tucker had her own band and raised her two kids. The density of expectation about what the resumption of Sleater-Kinney would bring was paralyzing. What I found in all 7 shows was a band that was hungry, furious and excited to play to a new generation of fans as well as its long term followers. This was anything but a greatest hit tour to cash in. Corin has not lost any of her brilliant howling voice, and Carrie and Corin’s guitars continue to smash and play off and around each other while leaving space while Janet remains one of rock ad roll’s fiercest drummers. Their only concession to age or success is bringing on a fourth member to play guitars, keyboards and some drum–which makes the rest of the bands’ job easier but sometimes clutters the sound. They can have fun, too, finishing the year with covers of the Ramones’ Merry Xmas (I Don’t Want to Fight Tonight) while featuring a menorah on stage, and Rock Lobster, with Fred Armisen playing Fred Schneider. Most importantly, S-K’s new songs are fearless, filled with Clash-infused quick reggae, Gang of Four angular slashing, challenges to individual relationships and society but most importantly, presenting in lyrics and performance the joy of banding to play rock and roll together-again.

ALGIERS (Schubas, June 15).

An amazing genre mashing band from Atlanta and London that combines gospel, work songs, Motown, claps and post-punk . The music is assertive, restless, and yet ready to explode. Lead singer Franklin James Fisher channels the soulfulness of Curtis Mayfield and the Temptations with a somber, soulful yearning that matches the strain on his face, reflecting on past and present racial struggles. Seeing them on the night the Black Hawks won the Stanley Cup created a haunting, surreal dichotomy of the range of euphoria, struggle and the violence both can bring to fruition.

PUBLIC IMAGE LIMITED (Concord Music Hall, November 18).

Sometimes I wish I had the power to clue a younger, dance-oriented crowd to hear a progenitor band. In the case of Public Image Limited–they probably played the best dance set I heard all year. The psychedelic saz played by Lu Edmonds overlaying a pulsing thick-chest banging dub bass propelled the crowd into a trance making this the dance show of the year, while Johnny Lydon (Rotten) –looking like an escapee from a chain gain for the sunburnt obese chanted club classics like This is Not a Love Song and rants on society like Religion.

FOLLAKZOID (Empty Bottle, May 13).

Hard to believe that the most trans-euro krautrock band around comes from Santiago, Chile. But coming from German parents and being raised on Can and Kraftwerk, the dark, pulsating psychedelic droning does not stop with each mindblowing 10 minute song. Coincidentally, and not that you can’t trust me, but I was talking to a Williamsburg blogger at the great bar Sycamore in what, by day is a flower shop in Ditmas Park. He saw more than 160 shows this year and said his favorite was Follakzoid!

WIDOWSPEAK (Chop Shop/First Ward, October 13).

Ethereal waves flow from Molly Hamilton’s voice and Robert Earl Thomas’ guitar. You want to sway and follow along with them as they walk through dark forests to find that space of sunlight the tall pines cannot block or cross the river gurgling just over the rocks or to a small waterfall. Some light and sometimes edgy surf or atmospheric guitar, some Mazzy Starr-esque vocals and you have the zen you have been looking for.

NELS CLINE (Constellation February 21).

Better known today as guitarist for Wilco, Nels Cline has a world wide reputation as an avante garde/noise musician. This cool performance group included the incredible cellist Fred Lonborg-Holm, drummers Mike Reed (who deserves a standing “o” for bringing back Hungry Brain) and Wilco’s Glenn Kotchke. As hard as it is to explain most music in words, the atonal staccato chaos with harmony and symmetry when you least expect it can be appreciated even by an old punk like me–even though it is not in my “sweetspot.” The most unusual piece de resistance was artist Norton Wisdom who created temporary pieces throughout the show inspired by the music. That’s something more bands might try, it adds another visual dimension to performance and perception.

NEGATIVE SCANNER (Cole’s, Empty Bottle, Mt. Happy, probably somewhere else I can’t remember)

Chicago’s best live band continues to put on thirty minute shows of propulsive frenzy of energy. The short, sharp and cutting chords and bellowing vocals of Rebecca Valeriano-Flores go straight from the gut and in your face, but it is the collective force of the entire group’s sound that makes you want to bounce and jump some cars. They put out its first record this year–check it out!

GANG OF FOUR (Park West March 13, Thalia Hall)

While Andy Gill is the only remaining original member of the band–he can pretty much carry the essence of the sound such that it does not seem like a simulacrum. I’m no gun enthusiast, but I’ll let Andy play his searing submachine gun blasts over the chugging, churning bass engine that provides the dual sensation of frenetic dance fever and brain piercing needles. With his new band of youngsters they could re-release To Hell With Poverty and probably have a dance hit.

An aside. Actually, one of my best moments of the year-dj-wise–was playing To Hell With Poverty at a private party sponsored by a very large software company. With a bunch of blue shirts in the crowd, and after having been told by the “party planner” in a fake British accent “I really like what your going to play, except the punk” -I stuck it to them just a bit with To Hell With Poverty and The Bush Tetras– Too Many Creeps!

MPV (Cole’s, January 29)

This grungy, rock and roll trio gives you the kind of sound you’d expect from Detroit. Bluesy, hard, grinding riffs. Lead singer and guitarist Elise McCoy combines a Joan Jett attitude, sunglasses, headbanger hair and sultry and savage vocals which distinguish them from the pack. One of the best opening bands of the year.

MEKONS (Square Roots Fest, Hideout July 11-12)

Exemplifying very quickly that the Mekons considered this year’s Chicago shows to be seriously important. Sally Timms announced that anyone interested in on-stage banter could purchase a CD of banter from the merch booth–which was true! Over the last decades that (pseudo husband and wife business) banter between her and her fellow UK escapee and Chicago resident Jon Langford was humorous, but often detracted from the music. Dispensing with the conversation meant that the Mekons launched into some of their best and strongest songs without any time outs, segueing their honky tonk punk songs–merging guitars, saz (Lu again!) violin and, accordion to create a driving alt-punky/country-ish sound to put on their best show in more than a decade, grab on to their legacy and show that they are not ready to be put out to pasture.

THE FOREIGN RESORT (My house and The Burlington, October 19)

Channeling new wave bands like The Cure, Simple Minds, New Order, U2 and The Bravery, this trio from Copenhagen synthesizes it all to create something meaningful and new. Alternatively plaintive or insurgent vocals from Mikkel Jakobsen ride the dark wave with emotional takes on excess, loneliness and relationships. They’ll be back in Chicago in March on their way to SXSW.

WIRE (Thalia Hall, June 12)

For some reason, I have never been that into Wire. Even though many of the bands that I admire consider them to be a major influence. As part of their 3 day Drill Festival, they opened for themselves as The Fly and put on a fast, raw, scathing, staccato guitar fest that put me into believer mode.

JULIE RUIN – Pitchfork

Back on the road after cancelling a tour due to her recurring Lyme Disease the Original Riotgrrl Kathleen Hanna (Bikini Kill, Le Tigre) played on a side stage–which was kind of ironic since her Sleater-Kinney students were the headliners–but who really cares. Kathleen struts her stuff–ranging from Polystrene/X Ray Spex punk to sultry soul, without losing her sense of humor or political bent.kathleen

IGGY POP– Riotfest

Iggy is one of the seven wonders of the modern world. At 68, he is still totally ripped–in muscularity and music (and who knows, probably mentally), but is one of the most charismatic performers in music of any day. Pulling out the stops, his leather jacket was off almost immediately–giving a no bs onslaught of No Fun, I Wanna Be Your Dog, The Passenger and Lust for Life–right off the bat. He could have stopped right there and given one of the best shows of the year-but he kept kicking butt–as I hope we all will be able to do.




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“To Hell With Poverty,” the Gang of Four tells us, “we’ll get drunk on cheap wine.” In 1981, when the song was first recorded, the literal context was king in that Margaret Thatcher had been Prime Minister for 2 years in the UK and poverty ruled.   Fast forward to Austin, Texas, 2015.   The air is thick with irony.   The problem with the post-punk anti- capitalism ethos in this context is that the band is playing at SXSW on a stage adorned with the logos of dozens of global megabrands, drinking moderately expensive (and definitely overpriced) beer, funded by tens of thousands of trade show attendees, each of whom (or their employers) shelling out thousands of dollars to attend. The Gang of Four is down to one original member, touring to support a new album attempting, at least in part, to generate cash. So much for the poverty. A lot has changed. Society is different today. The music industry is different. Andy Gill is different (but still stoicly awesome). I’m different. Even cheap wine is different.    Yet just like the song, SXSW has got its political and socio-economic incongruities, but it is entertainment–it has an irresistible proto-disco beat you can dance to.


What does Andy Gill stand for?

So there lies the context and conflict for the annual death match between art, entertainment and commerce that keeps me coming back year after year for my own death march of music.

I have written about the musical smorgasbord of SX and how merely choosing one band, or doing one thing, conceivably x’s you out of the potential opportunity to see at least a hundred of other bands, pretty much any time between 12 noon and 2 am.   And that is just the stuff you find out about. In all this ruckus and the sea of Joy Division t-shirts, connecting the dots in Austin is increasingly difficult. Venues have expanded geographically in all directions so that a 20-30 minute walk won’t do it like it used to. The East Austin neighborhood is continuing to expand and get gentrified when as little as five years ago some parts were pretty darn sketchy. Also, every house on Rainey Street is a reasonably substantial venue or party bar, such that the notorious main part of 6th Street, though still overcrowded, has coincidentally become less and less relevant.

Because of the geographic challenges a day of rain, and, ok, I hurt my ankle playing basketball so racing all over town did not seem as fun, I made a strategic cultural decision–sometimes I just stayed in one place or area and let the music come to me. It’s sort of like that cocktail party strategy–do you work the room or stay in one place?

Stay in place works best at Hotel Vegas, with 4 separate stages and great showcase and party curators and is also next to other good Eastside venues like Gypsy Lounge   The right showcase sponsor can help you find new music in a sea of unfamiliar names. The right booking agency, record company or blog (e.g. Flower or Windish of Chicago, Panache, Burger Records or Brooklyn Vegan) put on solid showcases and day parties. Smaller specialty publications, record companies or record stores also provide good points of reference. She Shreds magazine for example, can clue you into girl guitar bands and had several showcases, including a party at someone’s mom’s house out in N.E. Austin— you really had to be careful not to stand on the vegetables!

Once you make a decision–even if it is not to decide, serendipity works too, and I always plan for it. It is still exciting to hear music coming out of a window or door and then running in to hear what is going on.   This year I was walking down East 6th Street at around 3 pm on Wednesday going from the Gypsy Lounge (Death Valley Girls and Ice Age) to see Alex Maas one of the guitarists in the Black Angels do a solo acoustic set at the Levitation showcase when I heard hazy, chiming guitars bashing their way out of Hotel Vegas and caught my ear.   I ran in to hear Austin girl band Kay Odyessy perform to a handful of people.

Not only were Kay Odyssey a great sunny day psych girl guitar band, but they had the original indie aesthetic. At the end of their set they had “tease” CDs to give away in advance of their first album, each one was handwritten with the band’s information and designed in black magic marker.   It’s a three song CD I would love to recommend if it were available, but something should be out later this year.

Other than the crowds, the only thing I really have a beef about are selfie sticks. I totally understand why festivals are banning them. In the mosh pit at The Damned some dude pulled one out and it was definitely a safety risk. No one wants to get impaled in mid-thrash.

This year in addition to Austin bands, I heard groups from Mali, Korea, Japan, Australia, Spain, Denmark, Canada, and yes even Chicago.

And, despite the big money and brands out there, all of the bands reviewed in this article (except The Damned, I think) could be seen for free without a badge or wristband!

So what about the bands? Out of the 50 + I saw, I enjoyed aspects of almost all of them. Here are some random categories.

SUNNY DAY BANDS (in addition to Kay Odyssey)

Alvvays (Mohawk)

With lazy, hazy lilting female vocals over a light Jesus and Mary Chain haze this Toronto group provides a soundtrack for the Summer.   Their “Marry Me Archie” is one of the catchiest and best songs of 2014.

Best Coast (Palm Door)

Bethany Cosentino’s LA sun drenched songs are another Summer staple. Live her band features a three guitar army adding power to some songs that sound a bit too sugary in their recorded form.   Her new work appears to have more of a psychedelic feel.


Death Valley Girls (Gypsy Lounge)

The Cramps meet Runaways with raunchy power chords, a biker vibe, dual lead female vocals and dueling guitars from this LA band. They just released their first album Summertime and are definitely worth checking out.

Twin Peaks (Waterloo Records)

Don’t mistake them for a David Lynch loving group of brooders.   After playing together since high school, these fuzz-tone hard garage rockers are more Black Lips than black high heels, creating chaotic energy in every performance.   Drummer Connor Brodner has that, its me vs. the drums explosive intensity, while the rolling stoner riffs keep flowing from the guitars.

Twin Peaks

The Shivas (Mohawk Indoor)

If you are looking for great riffs, from soul to garage or british invasion blues, this Portland-based three piece mines that 50s/60s classic territory–think Link Wray, The Sonics, Yardbirds for a psychedelic freak out you can shake your tail feather to–think shivers not shivas!


Public Service Broadcasting (Latitude 30)

This UK two piece combines Kraftwerk-esque droning and pulsing autobahn electronica with live drums and, surprisingly, banjo. Visual effects are an outstanding add to the aural as they time their music to British war and space race videos.   It makes for great dance music to (no pun intended) space out to.


Prince Rama (Container Bar)

These two sisters currently from Brooklyn claim to channel ghosts and perform exorcisms within their music and dance routines.   But , what really matters is that they dish out middle east infused trance dance combining EDM, guitar and drums for the aerobics class of your life (or afterlife).


Lust for Youth (Volstead Room at Hotel Vegas)

If Depeche Mode and New Order are cup of tea, then add a little reverb noise and this Swedish synth dark wave Euro(nu)disco band is for you.   Make sure to wear your black sunglasses for full effect.

PUNK/POSTPUNK (Dance for some)

Gang of Four (Day Stage)

Though they are down to one original member, and their new material is a little bit new romantic for my taste, Andy Gill is still one of the greatest guitarists of any era, and is certainly the most stoic post punk guitarist.   The original songs are bass-led and bass-laden dance numbers shattered by staccato rifle burst and searing guitar courtesy of Mr. Gill.   Even as the Gang of One they are worth listening to–especially live.

The Damned (Mohawk outdoors)

Reuniting for a victory lap associated with the release of the documentary “The Damned: Don’t’You Wish That We Were Dead”, unfortunately the band was undercut by rented equipment and probably a lack of practice.   Captain Sensible looked as outlandish as usual in fur coat, beret and yellow sunglasses, but again demonstrated his deft, slashy guitar work on hits “Wait for the Blackout” and “Smash it Up.”   Dave Vanian was dressed in his mortician outfit but his vibe did not meet his look, and other than a couple of songs, the band was unable to build upon its legacy.

Metz (Mohawk Outdoor)

This three piece from Toronto appeared before the Damned and proved to be a hard act to follow.   Furious, intense and relentless punk (but not hardcore).   If you have angst to get rid of this is your band.

Rat Fist (BD Riley’s)

Winner of the worst band name, but not to be ignored are No Age’s guitarist Randy Randall and Pissed Jeans drummer’s Sean McGuinness’ side project.   Sludgy, surfy hard rocking punk chords flow from Randy without all noise and effects in No Age.   Brings me back to the first wave of LA punk–Agent Orange, Circle Jerks, Black Flag, etc.


The Zombies (Stubbs)

If you combine the ages of original keyboardist Rod Argent and singer Colin Blunstone with bass player Jim Rodford (not original, but apparently, he auditioned for the job, did not get it and ended up being bass player for Argent and The Kinks), you get 212, and they have been together for over 50 years.   When I saw them a few years ago they sounded like lame Steely Dan, but in a tribute to their craft, the band has improved substantially by touring and recording in the interim. Rod Argent showed his artistic excellence by pulling off two of the best keyboard solos I have seen in a long time on Time of the Season and She’s Not There. Whatever age you are, those hits and Tell Her No are soulful, groovy, butt rocking tunes that can set you free.

The Lemons (Beerland)

These happy go lucky troubadours combine hootenanny boy/girl harmonies of Greenwich Village folk heroes like Peter Paul & Mary and The Washington Squares with singsong pop rhythms and simple, every day lyrics like Jonathan Richman. The combination creates sweet sonic nuggets. Like a half minute song bite about a trip to the ice cream shop that catches one sunshine smiley moment so well, they played it again.   If you are too old for Mr. Rogers, just put on your sunglasses, grab a cool drink, and sing sha la la background vocals so you can be a Lemon too.


Songhoy Blues (Hotel Vegas Patio)

Mali is known as the home of the blues in Africa, but unfortunately, the country is currently a sea of unrest. Fighting adversity, this group formed in 2012, and combines traditional jump beat rhythms with Hendrix electric riffs and Booker T & the MGs rhythm, blues boogie –a lively unique sounding combination worthy of more attention.


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Last year there were many memorable/euphoric experiences, some that came when I least expected it. Like when walking out of an art party in Hong Kong where I was drinking beet and pomegranate juice mixed with vodka and served in blood bags (ok–it was an apocalyptic party), I just happened to look at the list of performers so I could see if the DJ I heard of was someone famous–he wasn’t, but lo and behold the next performers were Rebuilding the Rights to Statues–Beijing’s Number One post-punk band. So, of course, I told my friends that I was staying and heard a short and great show of Gang of Four-inspired angst, B52s dance, with some electronica mixed in. Crazy. Or the Danish dark wave dance band that just happened to post on Facebook that it was looking for a gig in Chicago that night.
And, just as you remember both great and shitty meals, or particularly excellent or poor service, indelibly etched in my mind are the 12-18 inch globs of mud I trudged through at Riotfest and the very scary salmon-walking upstream necessary to navigate and escape Riotfest–so bad it came very close to turning me off large festivals entirely (not to mention the bad time and 30 minute time slots for The Buzzcocks and Kurt Vile). But as Tuff Darts said it best–It’s all for the love of rock and roll.
Here are some of the memorable performances I was able to encounter by plan or luck in 2014.


THE SONICS Double Door –February 27.
Formed in 1963 (and breaking up for the first time in 1967) this originally Seattle-based band still has 3 of its founding members, including singer/piano player Gerry Roslie. While they have influenced artists ranging from The Cramps, The Clash and The Fall all the way to Nirvana, The White Stripes, Japandroids and LCD Soundsystem–what really counts is that they can still deliver the goods live. At 70 years of age Roslie belts out his lyrics like Little Richard at a sock hop and Larry Parypa lays out the sharp dirty chords that inspired generations of guitarists. This grungy and garagey band can still send out shivers of frenetic dance waves. From “The Witch” you can hear the origins to the main riff in “Should I Stay or Should I Go” from “Strychnine” a long line of songs about recreational substance abuse, and their authenticity can even make the frat rock standard “Louie Louie” palatable and fun again, to give us all hope for our future.

TELEVISION- Bottom Lounge, September 14
Playing Guiding Light, my second least favorite song from Marquee Moon, Tom Verlaine launched into perhaps the best guitar solo I have ever seen. I looked at the two friends I was with–one of whom is an excellent guitarist in his own right–and they were looking at me with the same expression of awe. Verlaine remains one of the most creative guitarists, bending strings and creating sounds ranging from space to jazz, to noise and back to staccato bullets. Now that the new version of the band has been playing consistently for over a year they are able to give transformative vibrance and free improvisational reign Verlaine which adds new life to these vintage arty, punky and proggy compositions.

NEW ORDER Aragon Brawlroom–July 1
While I admit to being a Joy Division purist (or “snob” perhaps?) it is great to have the opportunity to suspend my earthly existence and just flat out let go. The thickest and best sound I have ever heard at the Aragon was New Order’s. It is actually amazing how fresh Temptation (the lead song from my soundtrack of the Summer of 1982) felt. These guys’ performance (and that of Kraftwerk below) show what dance music should be like. Definitely the sweatiest/danciest show of the year for me.

KRAFTWERK Riviera–March 27.
How could 4 old German dudes standing almost motionless behind consoles be SO EXCITING?! Pulsive rather than propulsive, you could just feel the sound that influenced 40+ years of trance/dance music to follow. There was a cool 3D light show with angular lights and symbolistic graphics for each song, but you could also just close your eyes and take your own intergalactic journey instead of the autobahn being provided.

Original Joy Division and New Order bassist Peter Hook has created a simulacrum to compete with his former compatriots. On this tour they played a Joy Division opening set (curated by Joe Shanahan) and then moved on to New Order. While an excellent cover band, in my mind they do a much better job of pulling off Joy Division than New Order in terms of the respective bands’ sound. Hook mugs and shouts for the crowd while sometimes playing the lead bass riffs that formed the foundation of JD’s sound. Of course, no one can replace Ian Curtis in sound and action which makes Hooky’s job quite difficult. But, his energy and enthusiasm, together with great and unique lead bass playing keeps the experience at a level of quality and comfort well above Las Vegas cocktail lounge impersonation.

BRYAN FERRY –Chicago Theater–September 21
At 69, he does not make women swoon as much as when I saw him at the Uptown in 1978, but he still is one of the most charismatic crooners around, striking poses with his lanky profile and dancing with an economy of motion when not behind the piano. His band didn’t have Manzanara or Mackay type virtuosi, but turned out lush versions primarily from the Roxy Music catalog with some of his original solo stuff and packed a little bit of punch, making you wish the theater had more room to sway.

Just like when the Ramones were constantly touring and semi-ubiquitous, I think you can take Jonathan for granted sometimes. But this progenitor of punk turned troubadour, Jonathan is still curious and engaged as he half talks and half sings his sincere and often whimsical odes to bygone times other cultures and relationships, both of the interpersonal relationships and even our own intrapersonal ones. In “Let Her Go Into the Darkness” he catches his feet walking into his old girlfriend’s neighborhood and scolds himself, while in “Bohemia” he transports himself back to being a 16 year old pretentious artist who his parents let hang out in Harvard Square. There are not too many artists that can make you laugh and cry so much in one show.

STIFF LITTLE FINGERS- Concord Music Hall–September 12
Still punk and political after all these years. In between an afternoon Riotfest gig and a show in Cleveland the next day, this second wave punk band led by now Chicagoan Jake Burns delivered a blistering opening set in a Riotfest aftershow. SLF reminded us of how reggae beats supported the punk ethos hitting hard with viscous 30+ year old anti-war (Tin Soldiers, Nobody’s Hero) and anti-discrimination (Roots Radicals Rockers and Reggae and the Specials Doesn’t Make it Alright) songs. Even their song from their new album (and first in 11 years) sounded vibrant and meaningful. It reminded me of when I used to call Green Day a Stiff Little Fingers cover band.

THE CLEAN-Lincoln Hall–August 18
This cultish band from of all places New Zealand band specializes in a pulsing beat combined with driving harmonic, chiming and sometimes dissonant guitars. The weirdest finish of any show this year occurred when guitarist David Kilgour refused to come out for the encore and his brother Hamish successfully solicited singers and ultimately an awesome guitarist from the audience to finish up the song–totally breaking down the barriers between performer and audience in the ultimate DIY performance.

YOUSSOU N’DOUR-Vic Theater–September 20
Perhaps the most famous singer alive–at least according to Rolling Stone–N’Dour is barely known in the US apart from a collaboration with Peter Gabriel In fact, most of the members of the audience were Africans dressed to the nines in wild prints and neon suits. Youssou and his huge band delivered a 2 + hour set of booty shaking percussive world dance music combining the traditional music from his native Senegal with influences from samba to hip hop. After every few songs he would ask the audience if they had had enough, and sure enough we wanted more–and he kept delivering.

ANTI-FLAG -Riotfest
Only performing for 22 years, makes this Pittsburgh based punk band almost “newish” by comparison. Unabashedly political yet community oriented, they see everyone as human beings–stopped the show to make sure that the mosh pit was safe, and had everyone introduce themselves to their neighbors. Ultimately, they moved their drum set to the middle of mosh pit and finished their show from there.


FEAR OF MEN -Empty Bottle–April 28
Hypnotic, swirling, dreamy rhythms of the band supported Jessica Weiss’ visceral poetry and ethereal vocals. Many songs start off slow but build in intensity carrying you up and away with the repetitive spirals of sound. Reflections on depression and difficult relationships never sounded so beautiful and haunting.

CEREBRAL BALLZY -Riotfest-September 14
Part chaos, part poseurs and part punks. These hard core slacker kids from Brooklyn are amazingly fun to watch and thrash to. They have a fresh energy and are a throwback to the original punk ethos. Writing songs about not having enough money to get on the subway. In between songs, lead singer Honor Titus gave shout outs to the Art Institute girls.

THE JULIE RUIN–Lincoln Hall– April 9
Original Riotgrrl Kathleen Hanna (Bikini Kill, Le Tigre) struts her stuff–ranging from Polystrene/X Ray Spex to sultry soul, without losing her sense of humor or political bent. She had to cancel her Pitchfork performance because of her Lyme Disease, but will hopefully make a full recovery and be back here soon.

JUAN WAUTERS–Empty Bottle–June 18
This Brooklyn based troubadour is better known as the lead singer of the Beets, but solo he wields his guitar and flashed a lightbulb against himself and the backdrop of an American flag to create very cool simple imagery and claim lineage to being a hipster Woody Guthrie or Billy Bragg.

COSMONAUTS–Hotel Vegas–March 15
You have to like any band that calls their album Persona Non Grata, but these slackers from Orange County have two separate speeds, droney shoegaze and driving chiming psychedelic pop. Somehow both speeds come with different varieties of disaffected stoner vocals and rhythms that make your head nod.

THE FOREIGN RESORT—Burlington October 21
This was the surprise of the year! Playing Daytrotter, this band from Copenhagen Denmark put a note on Facebook that it could use a gig THAT NIGHT in Chicago, and wow–Thank you Burlington! This trio drilled post punk dark wave dance right out of the Sisters of Mercy school with some New Order in there too.

ETERNAL SUMMERS–Bottom Lounge –May 18, Promontory–October 12
This indie rock and power pop trio from Roanoke, Virginia reference various phases of the Cure really well but substituting strong female vocals. Nothing wrong with any of that plus bouncy dance music and anthemic power chords to boot.

THEE OH SEES–One Eyed Jacks–November 12, Empty Bottle–November 25 and 26
Jon Dwyer has (unfortunately) replaced his entire band. His new stripped down power trio sometimes sounds like a cover band, but still brings on grungy, raunchy, psychotic and fast rock and roll music to stomp to.

DUM DUM GIRLS–Bottom Lounge–July 19; Empty Bottle–March 31
Ranging from surf-edged girl group guitar infused indie pop to resolute or unresolved ballads of love, loss and failure, no matter how many times I see Dee Dee Penny (6 times this year alone) I marvel at her strong stage presence. She has the ability to provide a stoic dark glare yet conveys so much lyrical and vocal emotion. Ultimately, like all of us she just doesn’t want to fade, she just wants to shine. Her band (with the addition of a Dum Dum guy this time around) helps to traverse darkness to light and sometimes back again. The emotion hits you along with the beat, and when the beat picks up you smile.

This band is a pretty cool audio-visual mix of driving dance music (a bit faster than Kraftwerk or EDM) comprised of drums, electronics, keyboard, guitar and banjo interjects combined with vocal samples and images from old UK public information films around. The anachronistic images gel with the music create a unique sensory experience.

HABIBI–Bottom Lounge–September 18
Combining surf and psychedelic, and Middle Eastern, indie pop rhythms, this elemental all female Brooklyn based band (with members also from Detroit) entrances with a chiming, retro-sensual beat.


NEGATIVE SCANNER—Promontory, Burlington, Owl, Saki, Cole’s, Empty Bottle- you name it.
It is hard to find a more power packed 30 minutes than the howling, scathing post punk assault you get.

BARE MUTANTS– Schubas January 17, Empty Bottle July 11
Living somewhere in a narrow harmonic hazy space between The Velvet Underground and Jesus and Mary Chain, the thick layered shoegaze and noise transcends space and time.

TWIN PEAKS –Pitchfork, July 19
These brats delivered the goods with a rollicking, chaotic and fun set of trashy garage rock. It was made even better by the fact that guitarist/singer Cadien Lake James was flying around in a wheelchair.

NEFARIOUS FAT CATS–Liar’s Club, December 14
This local punk super group comprised of members of Stiff Little Fingers, Local H, Peg Boy and others gets together for charity during the holiday season and in addition to collecting a ton of toys and some $ has a lot of fun black and deckering through songs by Thin Lizzy, The Ramones, SLF and more.

LURRIE BELL (w/guest Eddie C. Campbell)–City News Café– January 31
This second generation blues guitarist/harpist played solo acoustic in a small coffee shop at a newsstand in Portage Park, playing guttural Southern blues, only to be joined by his godfather Eddie C. Campbell who, after a little cajoling, belted out a song from a table in his first public performance since a stroke suffered while on tour in Germany in February 2013.

NRG ENSEMBLE –Hideout– June 14
This kick ass all star band features the amazing cellist Fred Lonberg-Holm, international star reedist, Ken Vandermark and (sometime Psychedelic Fur saxophonist) Mars Williams among others. Chaotic free form noise to straight ahead bop, even an old punk can appreciate.

50 years and counting, the pride of Berwyn, Illinois still keeps rolling with its original members. Vehicle, their Number Two hit from 1970 still sounds fresh with one of the greatest horn riffs in rock and roll history. And, while classic rock is not my genre, the litany of hits that Jim Peterik has authored (e.g. Eye of the Tiger, Hang On Loosely) is impressive and his stories and music amply entertaining.

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DJ Set List (not in order) kinda punky, kinda dancy October 25, 2014

A really great night at the club. Packed for a large part of the night with people DTAO and many awesome requests (for some reason several requesting bands I had already played!). Even with 4 hours of music–so much stuff left to play!!

Since it was a punk and post punk progressive pop and dance night the material was definitely tilted towards 1977-1982 by design, but there is a lot of other stuff in the mix.

Rough breakdown by arbitrary category

1977-1982–Punk, post punk, new wave dance 47%
Modern Indie (last 1-2 years–21%
50s-70s dance–14%
British Invasion-8%
1982-1990 5%
2000-2010 3%
1990-2000 2%

Kinks–She’s Go Everything
Cosmonauts – Sweet Talk
New Order -Temptation
Bowie– Heroes (Request)
Replacements (Request)
Clash- Safe European Home and Magnificent 7 (Request)
T-Rex (Request)
Pete Shelley-Homosapien followed by LCD Soundsystem North American Scum
Cramps-New Kind of Kick
Au Pairs- It’s Obvious
Wilson Pickett–In the Midnight Hour (Request)
The Jam–In the Midnight Hour
Boxtops-Cry Like a Baby
Animals–It’s My Life
Duane Eddy –Rebel Rouser
Raybeats -Calhoun Surf
Agent Orange-Somebody to Love
UK Subs–Party in Paris
Gang of Four– I Love the Man in Uniform
Cult–She Sells Sanctuary
Jim Carroll–People Who Died
Romeo Void–Never Say Never
Joy Division–Transmission
Josie and the Pussycats–Three Small Words
Shonen Knife–Rock and Roll High School
Ramones–Rockaway Beach
Bleached – Poison Ivy
Eternal Summers– You Kill
Julie Ruin– Just My Kind
Dum Dum Girls – I Got Nothin , Take Care of My Baby (Request)
Martha and the Muffins–Echo Beach
Eddie and the Hot Rods–Do Anything You Want to Do
The Supremes–You Can’t Hurry Love
Zombies –She’s Not There, Tell Her no (request)
Paul Revere and he Raiders–Kicks
Negative Scanner–Ambitious People
Specials -Nite Klub (request)
Dave Clark 5 – Catch Us if you can
Echo and the Bunnymen–Do It Clean
Cure–Jumping Someone Else’s Train
Stiff Little Fingers– Tin Soldier
Bryan Ferry– What Goes On
B-52s–52 Girls
Jesus and Marry Chain–Happy When it Rains
Sex Pistols–Submission
999- Homicide
Yardbirds–Heartvul of Soul
Siousxsie and the Banshees –Spellbound
Duchess Says–Black Flag
Diamond Rings–Pre-Owned Heart
Temptations–Ain’t Too Proud to Beg
Heaven 17–We Don’t Need That Fascist Groove Thing
Psychedelic Furs–We Love You
Imports–Side one
Smiths–There is a Light that Never Goes Out
Thee Oh Sees
CSS–This Month, Day 10
Fear of Men-Luna
Raveonetts–Dead Sound
Lizzie Mercier Decloux–Mission Impossible.

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