#21

Cheers everyone!

Two and a Kick(In the Teeth)-[disquiet0307]
Clear and edited version:
Play two chords and drums, stretch and effect them twice, gently layer the resulting three tracks, bounce and Eq the whole mess for some semblance of music?!

Unclear and longwinded version:
The iOS ratholes strike again! If something works, ten other things won’t…its enough to drive the insane to sanity :-/ Wanted a piece this week keeping with my friends punk rock creedo, “Two chords in two minutes”, and I almost made it. Hooked up the guitar to the Steinberg UR-22 and forgot how stupid iOS is about inputs, mics, and headphones with mics, (why I can’t just disable/enable various sources is beyond me…sorry). The guitar’s distorted and ready, so I just record without monitoring. Add some suitably aggressive drums and now I have my black and white punk sections. The linked movie wasn’t as expected for inspiration, possibly bandwidth issues at my end, but Marc’s words on origin, evolution, revolution and change of punk over time did. I wanted the same two chords and drums to evolve, yet keep some familiarity with their beginnings. In Cubasis, I bounced and stretched them twice as long and then I bounced that and did the same. The two stretched tracks each received different effects, the first got a tape delay and RoomWorks verb and the second got Eq, Stereo Delay, longer RoomWorks verb, compressor and Enhancer. Then all of this was bounced from Cubasis to Audioshare where SilQ Equalizer rounded out the final sound. The usual procedure would be export to dropbox, compress and add artwork for upload, but that doesn’t seem to working anymore, so, googledrive it is. And after three attempts, it just works :wink: I am seriously considering an entirely analog approach to my life, wadda ya think? Of course then all of my Juntos would only be available live or on tape…wait a minute, I think I’ve passed this same street before…oh, and I didn’t even keep it 2 minutes or less :frowning:

4 Likes
#22

Second Annual Report was also released November 1977.

2 Likes
#23

Your text is spot on.
I agree (didn’t catch the Saints in my radar back then though) but when I got into what some called “punk” it was early 78 and I was discovering The Jam, The Clash, Elvis Costello, and even the first Police LP…
In the middle of that avalanche “Never Mind the Bullocks” got my teenager attention for some 10 minutes, felt like a bad joke, completely forgot about it when somebody grabbed me a first pressing of “Marquee Moon”.

3 Likes
#24

True! Great add. We totally forgot about TG.

1 Like
#25

Exactly. Television blew all the doors off with “Little Johnny Jewel” and maintained that momentum through Marquee Moon. Outstanding stuff. Imagine a punk band in 1978 launching into 15-minute epics with lengthy, Coltrane-influenced guitar solos.

3 Likes
#26

15 minute length epics with guitar solos was partially what punk rock was a reaction to.

#27

“Punk is…” or “punk was…” …phrases fraught with peril. There be dragons.

3 Likes
#28

My favourite of the 70’s British bands were definitely the art-school experimental types, rather than the London scene bands (with The Clash as an exception). This weeks’ Disquiet Junto has me channelling Swell Maps and This Heat with a lo-fi cut up. I played Piano and use a rhythm generator to create exactly three minutes of music, then cut that up into 15 second segments, alternating between the two tracks every 15 seconds.

https://soundcloud.com/newtendencies/ancient-gaps-disquiet0307

5 Likes
#29

https://soundcloud.com/ohm-research/sokak-disquiet-0307

This white sections were done with the white modules from my small 3U system. The black sections were done with the black modules. I seem to recall someone, maybe Gary Numan, once saying that the synthesizer was the true punk rock instrument. Maybe, or maybe not.

3 Likes
#30

Tried something tonight but it didn’t work out. See you all next week!

This was my ‘score’ (spilled coffee on the paper on purpose to define the black and white sections)

IMG_2316
IMG_2316.JPG1113×853 171 KB

5 Likes
#31

1974-1977 NYC punk was in large part about musical invention and exploration, and the early scene fostered a fair amount of diversity.

Steve Forbert, the folk singer, had his NYC debut at CBGB (he was really good , too, and the “punk” crowd loved him).

The people I saw at CBGB in those days had no uniform or musical religion save for curiosity. By 1976 or '77, though, “punk” became more of a brand than a philosophy; Macy’s had pre-torn safety-pinned shirts on display.

It was not about simply playing crude, unskilled pop songs (though there was that, too). People were interested in ideas and musical concepts (for better or worse). Even the Ramones had an astute conceptual edge to them (for a while, anyways). It wasn’t so much that musical skill was to be rejected or scoffed at, but that lack of skill shouldn’t be a deterrent to exploring ideas.

The spirit lived on in No Wave and the mutant disco that cropped up around lower Manhattan while CBGB became more of a punk-means-hardcore venue.

Nowadays, though, bands labeled “punk” are the often the least likely to show any of the musical adventure that was once a key part of the scene.

6 Likes
#32

Damn, the score looks so promising!
I read “prune overdrive+stones + contact mic + feedback”
Boy, I die to hear that.

2 Likes
#34

No no no, now I’m dreaming about a pure Prune Overdrive!
That should be something.
Sweet yet a little bit acid.
:wink:

2 Likes
#35

Agreed on all points. The movement was exhausted when department stores began selling studded leather jackets with “PUNK” spelled out on the back.

No Wave was awesome. Remember seeing Arto Lindsay back in the day. DNA, Bush Tetras, Ut, Glenn Branca, etc. Memories.

3 Likes
#36

When Suss Müsik closes up shop, we’re starting a new band called Prune Overdrive. Avant-garde post-industrial bossa nova punk waltzes.

6 Likes
#37

And with peril sometimes comes promise…this has been a exceptionally lively and engaging thread, great fun to read with hopes of more time to comment :slight_smile:

3 Likes
#39

Great point on punk’s applicability to more “mainstream” music. Strip away the punk veneer and strange realizations come to the surface. The Buzzcocks, Stiff Little Fingers and Ramones wrote pop songs. Wire were arty deconstructivists. The Clash were a “new wave” band with reggae undertones. Television played jazz. Sham 69 and The Jam wanted to be Mod-era Who. Pere Ubu were conceptual surrealists. And the Sex Pistols were simply a mirror to everything that had already happened.

At some point, it became inevitable that radio audiences would acclimate and allow these outliers to displace the mainstream. What remained further fragmented into such genres as hardcore, noise, industrial, glitch, etc. or got swallowed up and repackaged by pretenders like Green Day.

4 Likes
#40

Haha! I don’t want to help you out of the dream of a pure prune overdrive… so let’s say I meant to write ‘prune’ but accidently wrote ‘piano’ :wink:

4 Likes
#41

Anyway, Prune for Piano, a brilliant mistake!

typos can be so creative…

1 Like
#42

I guess that punk became mainstream because:
1-the controversy of looks, behaviour and fashion trends and teh media coverage it gained.
2-the fact that it wasn’t really “new” or outside of the “already seen before” so people were already acquainted with that.

As SussMusik points out: most of the groups were recycling and having a fresh new look at previous styles as a reaction to a world (both music and fashion) that went all over the top in the late 60’s early 70s. So it was a way back to Exp-Jazz, Mods, TeddyBoys, early Rock’nRoll etc

Check out Bo Diddley comments on touring with (opening for) the Clash…He could dig’em alright cuase he considered there was nothing unusual about them, he saw that before. Only the volume they played got him going “WWWOOAAAHHHH”

Look at the Beatles Hamburg-Era photos, and compare with The Clash early pics, Everything looks familiar, from music to attitude and,er… personal hygiene

Glitch&Noise will never be mainstream that way cause it’s echoing styles that have never been mainstream.
John Cage, Stockhausen, Pierre Henry, etc, people never have been used to that.

4 Likes