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Rock is Hell: Meet GOD, the teenaged Australian punk rockers and their awesome one-hit wonder
12:22 pm

One-hit wonders


The back cover of Melbourne-based punk band GOD’s 1987 single ‘My Pal.’
First things first. Yes, a band actually had the balls to name themselves GOD. Although historically they are not the only band to ever do so in the name of punk or rock and roll, they weren’t calling themselves the Godz or something like that, but GOD. The difference might be subtle, but it’s there.

Aside from their cheeky name, the Melbourne-based group GOD had a short but impactful history in the Australian music scene. Though they are generally characterized as a punk band, some musical historians credit GOD for one of the earliest cultivations of grungy sounding grooves that did not originate from the Pacific Northwest area back in the late 80s.

So who exactly were this GOD? Well, they were kids, teenagers quite literally, when they got their first taste of success. Vocalist/guitarist Joel Silbersher was only fifteen when he penned “My Pal” and bass player/guitarist Sean Greenway was the oldest member of the band at the ripe old age of seventeen. In fact when it came time for GOD to sign with Au Go Go Records in Melbourne the details of the contract were negotiated by their parents on their behalf. When the single hit the stores it even included Silbersher’s home address which was noted to be the address to send fan letters to the “GOD Army” (pictured at the top of this post.) That probably made things very weird, and also pretty great back when “My Pal” was the go-to song for punk youth in Australia back in 1987. Because who doesn’t want a legion of female groupies and fans camping out on your lawn when you’re just fifteen? The answer to that question is no one, because everyone does. End of story.

GOD’s first album, Rock is Hell would come out a year later in 1988 and for some strange reason did not include “My Pal.” What it does include are a bunch of kooky-titled songs like “Tommy the Toilet” (remember these are teenage boys we’re talking about), “Worm Sweat,” and “Rok Zombi.” Despite the juvenile naming conventions I just mentioned, Rock is Hell is actually a pretty great, super fuzzy listen. There is also pretty much no doubt that the boys from down under were channeling the emerging grunge sounds of Seattle and the PNW that ring clear in the songs posted below. Sadly, they would disband shortly before the release of their second and final record, 1989’s For Lovers Only which, while different sounding from their debut, really isn’t half bad either. I’ve included fantastic live footage of the band performing “My Pal” and a few other songs from both albums, as well as an adorable interview with GOD from 1988 where they talk about adjusting to their new-found fame in which vocalist Joel Silbersher is still wearing his braces. Awww


See GOD performing “My Pal” live (and much more) after the jump…

Posted by Cherrybomb | Leave a comment
Punk, Patti Smith, William Burroughs & capitalism: A ‘conceptual conversation’ with RE/Search’s Vale

Vale with William Burroughs

This interview with V. Vale was conducted by Michael Lee Nirenberg, director of the 2014 documentary Back Issues: The Hustler Magazine Story

Early in my conversation with publisher and writer V. Vale he called me a “conceptual conversationalist,” although that moniker really belongs to Vale himself. Vale has had an interesting life. He was born in a Japanese-American internment camp in 1944, moved to Haight-Ashbury at the height of the 1960s counterculture movement, joined the original lineup of Blue Cheer, went on to publish punk zine Search and Destroy while working at beatnik bookstore City Lights, and then made his serious mark on the emerging post-punk culture with RE/Search.

For me, the seminal RE/Search journals which Vale has been publishing since the 1980s are a snapshot of culture at its most vital and ideas at their most radical. RE/Search was like early Interview magazine but the interviews were largely unedited, ran long, and each volume more or less tackled a particular subject. Some of the more well-known ones are: Pranks, Incredibly Strange Films, and The Industrial Culture Handbook.

Needless to say Vale’s work has been an influence on me. I met Vale at the New York Art Book Fair last year and interviewed him by phone on April 2, 2017. Below is that conversation edited lightly and segmented because Vale is a stream of consciousness type guy and you have to just roll with him. Enjoy.

On interviews and conversations

VV: So I invented a phrase for you while I was waiting for you to call; “conceptual conversationalist.” How’s that?

MN: That’s pretty good, man. All of a sudden I feel like I’m in a RE/Search interview.

VV: (laughs) Well that’s proper. It’s all useful. Conversations are two-way streets.

MN: I agree and I think that’s what attracted me to RE/Search throughout the years, and why I return to the volumes. I wrote out a dozen or so question but that doesn’t mean I have a script I’m going to follow. As you know a conversation takes you elsewhere.

VV: The holy grail of a conversation is when suddenly there appears a concept or an idea that neither person has contemplated before.

MN: Yeah. I agree with that and I think that’s when it’s the most successful.

VV: Whatever. I’m not a success or failure guy, I just observe what’s happening but that’s kinda rare and when it happens it’s a mini cause celebre.

MN: I think that’s a good point. I was wondering if everyone who has ever interviewed you has attempted to do a RE/Search interview on some level.

VV: I don’t really call them interviews, I call them conversations. That gives you a lot more latitude to go into some unexpected direction. Play and humor are like the supreme goal I suppose. I don’t know. I suppose I don’t know how to answer that one (laughs), I just try to have fun with whoever I’m talking to.

MN: Yeah, I think I do the same thing.

VV: Good! Hooray we’re on the same wavelength.

MN: Yeah, it seems obvious that humor is the thing that makes life bearable. And ideas.

VV: Well yeah… ideas. Especially ideas. Yeah, humor of course.

On Capitalism

VV: Oh yeah, ideas especially. The main idea always (laughs) is the overarching theme of how do we make this world a better place? How can we conceptualize a better world? How do we visualize a better world? For example I don’t understand why there aren’t more young artists making films about how life ought to be and dare I say a future that’s post-capitalism. I’m sure you know who (Slavoj) Žižek is and I think the best thing he ever said was, “You can imagine the apocalypse, you can imagine the end of the world, but you can’t imagine a world after capitalism.”

MN: Oh, that’s good.

VV: I’m a capitalist. I make books and hope someone buys them and I obviously need to make a profit so I can pay my rent, but I can’t imagine another system. Boy, if you can you will be the first!

MN: I struggle with this too. For all its flaws, the critiques don’t offer a way out. Look at the countries that went all in with socialism and communism. They started off as such high-minded concepts until they became religion.

VV: Even worse than religion (laughs). I think it’s all patriarchy, but yet I like most ideas of feminism which are actually the same ideas found in anti-racism i.e fighting privilege. There’s that famous saying you probably know which is “privilege confers blinders.” A lot of times if you have privilege you don’t feel it. It doesn’t even exist within the world you’re conceptualizing.

I always said my goal in publishing was (and I stole it from Hegel), “if you’re working, work for more freedom, more consciousness (that’s a great word) and more justice for more people.” The hard thing is the justice because then you get into the grimy world of lawyering and criminality and it’s just so much. Can you imagine if you were a heterosexual seeking a relationship with another heterosexual of the opposite gender. Let’s say complementary gender. I’m not a fan of opposite. I’m a fan of complimentary.

MN: Yes and relativity.

VV: Yes. Can you just imagine a world in which you try to act in perfect justice with another partner? I’m a huge fan of having a partner for a simple reason which is the hardest thing you can do. I’ve never had a job and I managed to support myself mostly and the hardest thing to do is guess what? Make next month’s rent.The other person (your partner) has to worry about the same thing. Take my word for it. It makes life a helluva lot easier and bearable.

More with Vale after the jump…

Posted by Richard Metzger | Leave a comment
At the Mountains of Madness: Enter the chaotic worlds of Rudimentary Peni’s Nick Blinko

A rare photo of a young Nick Blinko of Rudimentary Peni

“The religious and the macabre are a big part of my personality… there wouldn’t be much left without them”—Nick Blinko of Rudimentary Peni

The release of the Sex Pistols’ angrily anthemic “Anarchy in the U.K.” was responsible for more than just the much-needed attitude adjustment of rock music in the mid-1970’s. All across Great Britain thereafter, young punk bands began to take the anarchist mantra for more than just its shock value. Anarchy became a personal creed, with ideals espoused in the lyrics, performances,  imagery and most importantly lifestyle of the new anarcho-punk movement (animal rights and veganism didn’t come from nowhere, folks). Among these anarcho-originators were legendary groups like Crass, Flux of Pink Indians, Subhumans, Poison Girls, Omega Tribe, Zounds, Chumbawumba, and my personal favorite, Rudimentary Peni.

Rudimentary Peni was formed in Abbots Langley, Hertfordshire by lead singer/guitarist Nick Blinko (credited as “mouth-guitar-pen” with “pen” referring to his role as the illustrator of their record covers), bassist Grant Matthews, and drummer Jon Greville. Matthews came up with the name (“When I was at school studying biology, we were told that in the fetal stage the clitoris is a rudimentary penis.”) Considered dangerously demented by some, Rudimentary Peni’s music was fast-paced, loud, angry, and essayed lyrical themes of anti-establishment and anti-church sentiments along with the dark, macabre trappings of a proto form of deathrock (as heard on their full-length debut Death Church and 1988’s brutal Cacophony which was written about the life and work of H.P. Lovecraft).

Since 1980, Rudimentary Peni has maintained a deliberate shroud of mystery, having toured only briefly and given few interviews. There are very few existing photos of the group. Instead, album covers and imagery were emblazoned with Blinko’s twisted pen-and-ink artwork that has since outlived itself as more than just a band asset.

Previously diagnosed with schizoaffective disorder, Blinko’s artwork offers insight into an aberrant, paralyzing world of mental health and disorder. Similar to the dismal work of the band he fronted, these pieces are dark, disjointed, and unearthly depictions of death, destruction, and emptiness. As a result, Blinko’s uniquely bleak talent is celebrated within the outsider art community and his work is part of the Collection de l’art brut in Lausanne, Switzerland. He has published three books—The Primal Screamer in1995, The Haunted Head in 2009, and Visions of Pope Adrian 37th in 2011. (Blinko was apparently convinced that he was the actual pontiff during one of his forced stays in a psychiatric hospital in the mid-90s.)

Here’s a brief biographical description of Nick Blinko quoted from Outsider Art: Spontaneous Alternatives by Colin Rhodes:

In the case of British artist Nick Blinko (b.1961), who has in the past been hospitalised, the need to make pictures is stronger than the desire for the psychic ‘stability’ brought by therapeutic drugs which adversely affects his ability to work. His images are constructed of microscopically detailed elements, sometimes consisting of literally hundreds of interconnecting figures and faces, which he draws without the aid of magnifying lenses and which contain an iconography that places him in the company of the likes of Bosch, Bruegel and the late Goya. These pictures produced in periods when he was not taking medication bring no respite from the psychic torment and delusions from which he suffers. In order to make art, Blinko risks total psychological exposure.

That explains just how far out he’s willing to go for the sake of his work. True dedication, both impressive and sad. As his representative, London-based art dealer Henry Boxer said of Blinko:

“He compromises his sanity to produce his art.”



More after the jump…

Posted by Bennett Kogon | Leave a comment
Earliest known Plasmatics footage, unseen for decades, surfaces
09:25 am


Wendy O. Williams

The Plasmatics, formed by lead singer Wendy O. Williams and manager Rod Swenson in 1977, were at the forefront of the first wave of American punk, getting their start at the legendary CBGB with their first gig in July of 1978. Their taboo-busting stage show gained them a huge cult following through the early 80s, featuring the shock antics of Williams, who was prone to wearing little more than electrical tape over her nipples and short school-girl skirts, while chainsawing guitars in half and blowing up cop cars onstage. Wendy O. Williams, who sadly passed in 1998, was one of rock’s all-time ballsiest performers, and her act lead to 1981 obscenity arrests in Cleveland and Milwaukee, where she was also beaten by police and received a charge of battery to an officer (which was later dropped, along with the obscenity charge). 

Rod Swenson, the Plasmatics manager, shot all of the band’s conceptual videos and many of their live shows. Much of that show footage has never been released and was thought, for a time, to be lost. 

During a recent move of Plasmatics/Wendy O. Williams archive material, a cache of unlabeled boxes was found, containing footage of the early shows shot by Swenson. Though much of the material had degraded over time, a restoration and salvage job saved many of these historic performances.  A DVD release has been prepared and is currently available as a pre-order. The DVD contains sixteen songs recorded at various venues between 1978 and 1981.

Dangerous Minds has obtained a clip from this footage, which is the earliest known Plasmatics live video, and you can see it after the jump…

Posted by Christopher Bickel | Leave a comment
‘This Ain’t the Summer of Love,’ the proto-punk screamer covered by BÖC and Current 93

The sleeve of the Imperial Dogs’ lone single
Don’t let the unemployment office tell you rock merch is a waste of money. If I hadn’t purchased my hook of Kronos T-shirt at a Blue Öyster Cult gig, I never would have met Don Waller, the LA rock writer and singer in the Imperial Dogs. Waller, who died last November at 65, approached me on the patio of the Echoplex during a Mudhoney and White Flag show a few years ago—also the last time I spoke to the late, great Bill Bartell, a fellow BÖC fanatic—and identified himself as the author of “This Ain’t the Summer of Love.” He was a lovely guy, something to bear in mind when you get to the bottom of this post and Don is in front of a reversed swastika flag, addressing a seventies Long Beach audience as “trash” and “fucking scum.”

Fifty years after the fact, this is a song whose time has come. Has it ever felt less like the Summer of Love?

The Imperial Dogs’ 1974 version of “Summer of Love” is quite different from Blue Öyster Cult’s 1976 recording, on which Waller shares writing credits with BÖC drummer Albert Bouchard and producer Murray Krugman. According to Bouchard’s account in Blue Öyster Cult: Secrets Revealed! the reasons for BÖC’s changes to the song are not particularly heartwarming:

Basically, I gotta be honest, I really didn’t have much to do with that song. I wrote the melody. A guy named Don Waller wrote some of the lyrics. He had actually just sent the lyrics to Murray Krugman and Murray said, ‘Well, this sucks, but it’s a great idea.’ He had the first line about the garden of Eden. I don’t think he even had the part about no angels above. And Murray said this is a great idea and he came to me and said we should use this, and we should use the chord progression of this song by this Irish group that nobody had ever heard of. It was this Irish Republican Army group and they were very radical. You know, in the beginning days of punk, and it had some line like ‘You be pulling your grenade pin, I’ll be pulling mine’ and it was a real tough kind of thing. I took that and filled out the chords to make it a whole song. Murray really wrote all the lyrics, and I mean, he had a lot to do with that song. But it wasn’t his riff, and it wasn’t mine either. Legally you can take a riff from somebody as long as when it goes to the chord change, you don’t go to the same chord change.

Keep reading after the jump…

Posted by Oliver Hall | Leave a comment
The United States of Horror: Coming soon to a town near you, to burn it to the ground, it’s Ho99o9
02:54 pm



L.A.‘s hip-hop/punk/metal mutants, Ho99o9 have their debut album United States of Horror set to drop on May 5th via the band’s own imprint Toys Have Powers (distributed via through Caroline) with the dynamic title track (and more) produced by David Andrew Sitek of TV on the Radio.

The band consists of the partnership between theOGM (Jean) and Yeti Bones (Eaddy) and Ho99o9’s very modern melding of punk, rap, and Crass-inspired political militancy (and grand sense of graphic provocation) has been described by The New York Times as “slow subwoofer-abusing hip-hop, death metal, thrash, wriggly synthesizer tones, punk, post-punk, some splotches of pink noise…” and that sounds about right to me. Everything I’ve heard by these guys so far has been utterly amazing—Ho99o9 feel more “now” and more in tune with the times to me than any other act I can name—and the new song/video for “City Rejects” is no exception.

Ho99o9’s upcoming US tour starts on May 17th in Santa Ana, CA and finishes up June 11th in Miami. The 20 date tour will include a hometown stop at LA’s Echoplex, Chicago, Toronto, DC, Brooklyn and more. Then they’re doing the European festivals after which I expect they’re going to be fucking huge. Absolutely massive.

Here’s a link to a landing page where Dangerous Minds readers can download “United States of Horror,” “City Rejects” and their Crass-inspired art-zine for free.

Posted by Richard Metzger | Leave a comment
Girls just wanna be punk: Early recordings and demos by the Go-Go’s

An early single by the Go-Go’s on Stiff Records.

AMERICA AND THE MUSIC INDUSTRY, meet the Go-Go’s: International, Filthy Rich, Jet-Setting Rock- and Screen-Star Bitch Goddesses

Rolling Stone journalist Steve Pond being very, very right about the Go-Go’s back in 1982.

Easily the most famous all-girl band in the world, the Go-Go’s played a hugely influential role in the emerging punk/new wave scene in Los Angeles. In the late 1970s before they became the Go-Go’s they called themselves the Misfits despite the fact that the name was already taken by a group of muscle-bound horror punks in New Jersey led by a certain Glenn Danzig. Belinda Carlisle was unsurprisingly a cheerleader in high school in her hometown of Conejo Valley, but that all allegedly changed after she saw the half-naked image of Iggy Pop on the cover of the Stooges’ 1973 album, Raw Power. At nineteen Carlisle left home with her pal Theresa (aka the future “Lorna Doom” of the Germs) bound for Hollywood. Once the Germs were born Carlisle did a brief stint with them playing the drums and calling herself “Dottie Danger.” She and Doom dropped acid, Carlisle did some modeling and in her autobiography Lips Unsealed: A Memoir she confesses to having had a make out session with Alice Bag.

Prior to getting with the Go-Go’s timekeeper Gina Schock was drumming for John Waters’ star Edith Massey and her punk band Edie and the Eggs. Before rhythm guitarist Jane Wiedlin joined the band, she was a seamstress in a sweatshop in downtown Los Angeles who preferred crystal meth to coffee so she wouldn’t fall asleep on the job. While at her day-job Wiedlin would use the paper that the sewing patterns were printed to write her punk poems, parts of which would make their way to the band’s albums. Wiedlin and Carlisle ended up living across the way from each other (Carlisle was rooming with Lorna at the time) and their friendship would eventually lead them both to the Go-Go’s.

When the band started playing gigs around town it didn’t go unnoticed. They partied as hard as their male counterparts, did tons of coke, popped pills and excelled at the rock ‘n’ roll 101 skill of destroying hotel rooms. Early on their gigs were kind of a hot mess. Their first set was opening for the Dickies at LA punk club, the Masque. For a short time, the band was just a trio comprised of Wiedlin (who was going by the gonzo name of “Jane Drano”), Margot Olavarria on bass and with Carlisle front and center on vocals. According to Olavarria even though they really didn’t have a clue as to what they were doing it really didn’t matter because at the time there was “no shame in being a horrible musician.” In another punk rock six-degrees of separation type moment worth noting, Olavarria found out she had been given the boot by Belinda and her bandmates from none other than Exene Cervenka of X. The reason for Olavarria’s dismissal was said to have stemmed from her getting pinched by the po-po trying to score some cocaine. Oh, the shifty-eyed, typewriter-jaw irony that is two coke-heads accusing another coke-head of doing something shady. Tisk tisk.

Jane Wiedlin.
The then very new Stiff Records had the girls make a bunch of great recordings including a single that you may have heard of before called “We Got the Beat.” Their early recordings and demos are not only really fucking good but are a real scream to listen to if you’ve never heard them for some of the in-studio banter between the band members. Later I.R.S. head-honcho Miles Copeland (the brother of Police drummer Stewart Copeland) came calling and signed the Go-Go’s and they embarked upon making their first record which they had always envisioned as a punk record. I.R.S. was already a home away from home for other punks like The Cramps, The Damned and The Fleshtones. But the production team behind Beauty and the Beat of Rob Freeman and Richard Gottehrer had other ideas. Beauty and the Beat was miraculously completed in three weeks while the party animal antics of the Go-Go’s terrorized New York City and Penny Lane Studios. When the girls first heard the record they were pissed off. Go-Go’s guitarist Charlotte Caffey said she and the rest of the band and even cried while listening to it the first time. It wasn’t a punk album, it was pure pop perfection (Which is a good enough reason to shed a few tears if you ask me). They went over Gottehrer’s head and appealed directly to Miles Copeland to have the record remixed. Copeland refused and the album, which was released in 1981, would go down in history as one of the most successful debut albums by a band in history.

I’ve included a few choice photos of the band from their early days as well as various songs, demos and recordings of the band rehearsing back before they became America’s sweethearts in the early 80s. If it’s been a while since you’ve thought about the Go-Go’s, I hope this shines a light on the fact that they were pretty much the best and deserve way more credit (as many female musical artists do) for the deeply impactful mark they made. And that my friends is a goddamned fact.

Belinda in a Germs t-shirt back in the day.

Much more after the jump…

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The Sex Pistols, The Clash and Siouxsie and the Banshees on early TV documentary ‘Punk’ from 1976

There had been a killing. But no one was quite certain where it had happened or where the body was hidden. Maybe it was in the library bludgeoned with a lead pipe? Or sprawled across the conservatory floor throttled by some rope? The press carried snippets. People were shocked by the news. How could this happen on our streets? How could this happen to our children when Abba was still number one? There was outrage. There was fear. There was a dread that this was only the beginning of far greater horrors to come.

They were right.

In some ways, it was a mercy killing. It had to happen. It was inevitable. It was putting the poor beast out of its misery. The old horse was now lame and blind and in constant pain and could barely perform its act. Yet still, they wheeled it out for one more turn for the rich people to ride and clap and cheer while the old nag bravely tried to canter around the ring.

But the children turned away. They wanted something different.

There had been noises of strange new things going on for months. Small signs in venues all across London. A growing sense that something had to change. The old horse was dead and the business was out of touch with its audience. The kids wanted something to happen.

A band called the Sex Pistols were playing gigs in and around London. Promoter Ron Watts saw them rip up the joint at a gig in High Wycombe in early 1976. It was like nothing he’d ever seen before. This was the start of the future. This was what everyone was waiting for. He booked the band to appear at the legendary blues and jazz 100 Club in London. He organized a weekend festival called The 100 Club Punk Special for September 20th and 21st, 1976. The line-up was the Sex Pistols, the Clash, Siouxsie and the Banshees, the Damned, the Buzzcocks, Subway Sect, Stinky Toys and Chris Spedding & the Vibrators.
Sex Pistols poster for the 100 Club Punk Special, September 1976.
When the Sex Pistols hit the stage, everything changed. “In one night,” Watts later wrote in his autobiography Hundred Watts: A Life in Music, “punk went from an underground cult to a mass movement.”

The Sex Pistols had killed off one generation’s music and announced something new.

...[T]his was the big one, the first day of a new era. Nothing could compare with it either before or since.

Onstage, Johnny Rotten was “insulting, cajoling everyone in the room, his eyes bulging dementedly as he made the audience as much a part of the show as the band.” The group tore through their set to a thrilled and enthusiastic audience. The Clash played their set, while Siouxsie and the Banshees had improvised a set around “The Lord’s Prayer.” A week later, a crowd 600 deep formed a line at the door of the 100 Club.
Watch the Sex Pistols, Clash and Siouxsie in “Punk,” after the jump…

Posted by Paul Gallagher | Leave a comment
Just say GNOD: Fighting the Psycho Right-Wing Capitalist Fascist Industrial Death Machine
01:42 pm


Experimental music

Remember back to the heady days of December 2016 when the phrase “President Trump” still felt like a waking daydream as opposed to a crushing, numbing nightmarish reality?  When everyone’s favorite avant-garde whipping girl Amanda Palmer went on record as stating that “the Trump presidency will make punk rock great again”? You do?! Great! So where is all this awesome punk rock music, huh? Contrary to Ms. Palmer’s prediction, the re-flowering of great punk has been pretty thin on the ground so far. In all honesty, it seems like the only contemporary music genre willing to go on the record with outright “Fuck Trump” statements is hip-hop (which IS heartening if not particularly surprising.)

Well, fear ye not, as here come one of the UK’s premier noise-experimental-electronic-rock-whatever collective-cum-bands, Salford’s Gnod, who have just released their latest album, and boy, is that album’s title quite a statement! It’s called “Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine”. Let’s be honest, we’ll be hard pushed to find a better album title than that all year (never mind a political statement.) It’s not just the album’s title that lays it on the line: the music too is a blistering squall of white-hot intense noise that veers from claustrophobic soundscapes to straight-up punk aggression. It feels perfectly suited for those aggrieved at the state of the world just now.

Check out the album’s lead track “Bodies For Money” for a taste:

While the name Gnod might be new to many, the band have been plowing their own unique furrow in Manchester/Salford for a decade now, first coming together as an experimental jam collective, as founder member, guitarist and producer Chris Haslam explains:

“The first Gnod rehearsals were freeform jams that were recorded and listened back to, trying to come up with a set for our first gig at The Royal Oak in Chorlton on 21st March 2007. We decided in the end to just jam the gig out & invite anyone who wanted to join us onstage to jam along. The first few gigs carried on in this format, usually playing with around 10-16 people on stage. We recorded most of the shows and made CDRs of the recordings to sell at the next shows. Abstehen Der Ohren, Live: Birth, Lord Fears Dream, Bulletproof Awareness, Pixiedust & Gnod LP01 were all made during that first 6 or 7 months of Gnod.

At the time we were influenced by 70s krautrock bands like Can, Faust, Neu, Amon Duul, etc and also the ‘New Weird America’ bands, especially Sunburned Hand of the Man who we took a lot of ideas from of how to be a functional jam band. We liked the way Sunburned worked, making music without fixed lineups, a kind of communal project between a group of friends & interested contributors, handmaking CDRs and selling them at gigs, jamming with repetition as a means to transcend into the other. We were also watching & reading a lot of esoteric stuff at the time like the Zeitgeist films, Money Masters, David Icke, etc. Our interests overlapped in lots of areas, they still do.

Gnod also gives you a chance to branch out and explore other areas in the sound. There aren’t many other bands where you could just wake up one day & decide you’re going to play a new instrument at rehearsal. As long at it fits in with the vibe it’s all good. We also like going back to live drums & guitars too, especially for tours.”

The band are about to embark on a mammoth two-month tour (their biggest yet) which unfortunately for our readers in America doesn’t get to the States, but which does take in many major European cities (check out this post the on the band’s website In Gnod We Trust for dates and locations.) A gorgeous, super-limited vinyl edition of Just Say No… is available to buy from Rocket Records (see image below) and you can hear and buy lots more of the band’s music (including the digital release of Just Say No… ) at the Gnod Bandcamp page.

And as for that album title? What was the inspiration? Chris Haslam sums it up:

“Frustration at the selfish stupidity of humanity.”


Posted by Niall O'Conghaile | Leave a comment
‘Smash the State’: Joey Shithead of D.O.A. is running for political office
09:11 am


Joey Shithead

via Greens of British Columbia
West Coast punk legend Joey “Shithead” Keithley of D.O.A. is running for office in Burnaby, B.C. Keithley will stand as Green Party candidate for Member of the Legislative Assembly in the May 9 election. His promise:

If I am elected I will be a strong voice for regular folks, the same way I have been in DOA. These are some of the issues I will fight for: affordable housing, creation of jobs through green technology and alternative energy, lower cost daycare, affordable post-secondary education and income equality. I will also stand against the expansion of the Kinder Morgan pipeline that threatens BC’s beautiful coast with potential spills of dirty tar sands oil from Alberta. I will also work towards making the 1% pay their fair share.

More after the jump…

Posted by Oliver Hall | Leave a comment
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