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In 2011, they helped occupy Vancouver, somehow completing the circle.Įven more than fellow travelers like Discharge (who inspired a largely Swedish offshoot subgenre known as “D-beat”) or crooked-riff miniaturists like Rudimentary Peni, the Dumpster-diving doomsday burnouts of Amebix were where anarcho leanings (they debuted on a Crass-curated comp) met the low-rent, early-’80s new wave of British heavy metal. The sides on this early best-of are less explicitly buffalo-burger rock, but don’t skimp on the shout and hockey brawl.
#Folk punk chords essentials windows#
They were formalists without being purists: They covered antiwar songs by Motown funker Edwin Starr and reggae toaster Ranking Trevor early on, and their punk rock always had a certain populist Canuck lumberjack muscle to it (the better to throw bricks or Nazi skinheads through windows with, perhaps), confirmed when they covered BTO’s “Takin’ Care of Business” with Randy Bachman in 1987. Their second album, Hardcore ’81, is frequently credited with naming a genre. In 1980, fellow western Canadians Loverboy seemingly named a song after them. The music, which eventually took in folk rhythms from Africa and Central Europe, never stopped breaking rules.īloodied but Unbowed: The Damage to Date 1978–83 (CD Presents, 1983)ĭead on Arrival got together in Vancouver in 1978, 11 years before the Adbusters Media Foundation - the Wacky Pack–style “subvertisers” who eventually dreamed up Occupy Wall Street - formed in the same city. The lyrics came off as dogmatic, sometimes bullheadedly so, but feel more prophetic as history marches on. “When Nothing Else Is Helpful Anymore,” from 1983, provided Molotov cocktail instructions. In 1986, they celebrated the half-century anniversary of the Spanish Civil War with four songs and a 144-page booklet loaded with archival photos of rioting Barcelona anarchists. History Is What’s Happening, they titled a 1982 album an earlier one was Disturbing Domestic Peace.
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“Apathy Disease,” “Stupid Americans,” “Money,” “Weapons For El Salvador,” “New Wars 2,” “Constitutional State.” These Amsterdam agitproppers say in the liner notes that they considered their singles to be “pamphlets, statements, political comments on current situations.” Starting in 1979, in a serrated, rhythmic place somewhere between the Gang of Four and Minutemen, they consistently came up with uncompromising ways to branch out. Singles, Period: The Vinyl Years 1980–1990 (Touch and Go, 2005) And Crass’ arguments sometimes still ring true: “They’ve buggered this old world up / Up to their necks in debt,” according to their best-known song, “Do They Owe Us a Living?” Well, do they? “Of course they do!” On this sprawling second album - originally four vinyl sides, one live - they vary their often incomprehensibly accented extremist rants with just enough dub, art disco, poetry, and scatology to keep things interesting. They weren’t exactly humorless - their most memorable single, 1982’s “Sheep Farming in the Falklands,” concerned conjugal relations with farm animals after all - but you’d be forgiven for thinking so. Theoretically, Crass were leaderless squat-enablers who seemed to put at least as much time into their harsh black-and-white graffiti-collage album art (and their tube-station-and-billboard culture-jamming graffiti) as they put into their actual anti-musical screeds. It was only a matter of time before a communal collective of hard-left, anti-globalist, anti-consumerist, anti-misogynist, animal-liberation militants would come along and label the Clash and Sex Pistols as traitors to the punk cause. Here are eight albums that helped us get here. And drum circles or no, the Occupy movement just might be this music’s legacy.
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But a certain self-conscious and self-righteous strain of anarcho punk has mapped out its own story over the decades, railing against vivisection, all-star charity pop, and the American dream under a Circle-A, a brand logo for kids who hate brand logos. Punk rock has played fast and loose with anarchic rhetoric and imagery, at least since “Anarchy in the U.K.” - maybe earlier still, if you count bands like the MC5 and England’s Deviants - much of it appropriated outright from Dada and the Situationist International.