pretazzo

Well, if I had to choose, I would still prefer the real post-HC (California, Minnesota, but especially from Illinois and Texas, particularly Albini and Scratch Acid) rather than the ultra-HC that was played in NY... anyway, I understand the gist of your comment...

Well, of course, back then in NY there were pathetic little gangs like Murphy's Law and Beastie Boys, but it was a scene with a certain identity (perhaps precisely in its stubborn adherence to such a worn-out canon)... Chronologically, the first EP by Agnostic Front dates back to 1982, so it paved the way for the second generation of hardcore... In any case, let’s not forget that the first cases of crossover (with or without metal), which renewed (but also sank) HC, actually occurred right in the Big Apple, where Bad Brains were active, once "banned from DC"... As for the comparison with SY and Swans, I don’t think it holds up: head music versus gut music... With the first Ludichrist, as I said, you satisfy both sides...

Ah, the SOIA... a typical NY-core band, direct and to the point, similar to those from Washington DC, just more hybridized with metal (especially around the mid-80s)... for me, the standard-bearers of this scene remain Agnostic Front, but the most creative and imaginative were certainly Ludichrist: their "Immaculate Deception" is perhaps the first great crossover album in history (alongside the contemporaneous "I Against I" by Bad Brains): there’s a stunning track, I can never remember the title, that starts off super intense and then suddenly turns into an infectious rap-glam (!) outside of any conventional framework...

kosmo, hey there! ;-) bore, that article you linked was hilarious, and the comments at the bottom... indeed, there’s no trademark on Minor Threat, so no rights to the proceeds from the salsa :-) seagull: no problem, it all depends on how you perceive music, or rather how you live music, the value music has for you...

But Mary... if McKaye gives up, the alt/indie world is in trouble! :-( And then McKaye could have made money with Minor Threat if he wanted to, considering their prestige... bore, I think instead that the mash-up risks diminishing all the emotional impact contained in the Fugazi tracks, and at that point the risk becomes having people in the future remembering Fugazi as "those of the mash-up 13 Chambers" and not as the sublime architects with their hearts on their sleeves of 13 Songs, don’t you think?

Dope, it's a bit different...CV, This Heat, Foetus, Residents etc used cut-and-paste to "produce meaning," I don't know if I explain myself...it wasn't a self-serving operation just for fun...the goal, even if unconscious and unspoken, was to search for a musical form that expressed sensations and states of mind induced by the society of the time (the so-called post-industrial)...themes like loss of identity or the controversial relationship of man with technology, the fear related to a gradual risk of dehumanization, required the cut-up technique to be effectively expressed...the ideology of the mash-up instead seems mostly oriented towards entertainment, the pure pleasure of tinkering...and this fact of no longer having any substantial content to communicate (i.e.: NOT HAVING ANYTHING TO SAY) weighs heavily, at least in my ears, on the emotional involvement of the listener...they may be mental wanks, but I don't care: in my opinion, they're issues far less trivial than they appear.....Mary: if McKaye is consistent with his DIY ethics, he probably doesn't give a damn about copyright, right? ;-)

I don’t like these things... it smells of genetic manipulation, of rape, of Dr. Frankenstein... I don’t like how something as extremely superficial as Lally’s bassline in Waiting Room becomes an object of re-listening and ends up getting mixed up with other stuff... evidently, I’m too old and analog, but I don’t know: it’s as if this sample-based music reduces everything to form, stripping every musical gesture of its meaning... I’m not making a statement about quality or technique or skill, because all those words mean nothing to me... I’m just saying that between a rock trio playing live, without effects and without gimmicks, and a DJ-manipulator there is all the difference in the world, in terms of "meaning"... it’s an existential question for me... mash-up for me is the expression of a sound civilization technologically evolved to the point of being able to use decades of musical graffiti at will, depriving them of their original meaning and turning them into simply "one sound among many, in a military parade"... but doesn’t Ian McKay have anything to say? (oh, by the way, you write well, marypolly)

Yeah, indeed... I've always equated Belgium with EBM... so, danceable electronic wave... even neighboring Netherlands had a decent scene, with the excellent example of the Ex (unforgettable industrial band).

@Gnagnera: the compilation you’re talking about was the legendary Tales Of Australian Underground, a collection of gems, some memorable, like Sunset Trip (I can’t remember who did it, though!)… Well done, Pinhead, great job on this recovery of the best oceanic garage-wave… it's been a while since I delved into the land of kangaroos, having passed through for a brief period to that of koalas (Bats, Chills etc… kiwi-rock, the graceful version of what the far more ferocious Australian cousins were doing)…

Come on... punk77 from Belgium?! I didn't know that... I thought they only made Leffe and EBM there... if they're anything like the Heartbreakers, I'll grab them right away! :-)