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Extremely ‘Childish’ Donald Trump posters

GOP Info Poster

British cult artist/musician/poet/author and anti-authoritarian legend Billy Childish has just announced publication of a trio of specially commission poster prints commemorating “the occasion of Donald Trump being crassly maligned by the world’s press.”

The posters were created at the L-13 Light Industrial Workshop. Each measure 52.5 x 35 cm and are in stamped and numbered editions of 113 for £25.00 each. All posters come folded and in a deliberately distressed condition. The first orders will be dispatched on January 19th.

Mr. Childish is represented by L-13 in London, Neugerriemschneider in Berlin and Lehmann Maupin in New York.

Presidential Cunt Elect
More extremely Childish Trump posters after the jump…

Posted by Richard Metzger | Leave a comment
Legendarily obnoxious Irish punks, The Outcasts: ‘The band you love to hate!’
11:09 am


The Outcasts

Belfast, Ireland-based punks The Outcasts have a fair amount of mythology attached to their riotous time together.  The group formed in 1977 and after getting rejected by five different Belfast clubs their name took on a more personal meaning for the band and it stuck.

When they finally were able to land an actual live gig, fellow Irish punks Jake Burns, the vocalist for Stiff Little Fingers and guitarist Henry Cluney bore witness to the first few shows played by The Outcasts, which according to Greg Cowen as noted in the book Burning Britain: The History of UK Punk 1980–1984 were “disasters.” Cowan attributes the early lackluster impressions of the band to the fact that nobody in the Outcasts could actually play their instruments. There was also the issue that by time The Outcasts were getting ready to stumble through the third or so song in their set (which at the time consisted of covers of the Sex Pistols, The Damned and The Clash along with a few originals), also seemed to be some sort of signal for drummer Colin Cowan to trash his kit. It wouldn’t take long before The Outcasts would be routinely referred to as “The Band You Love to Hate” by local music journalists.

Despite their seeming inability to successfully play a gig that lasted more than a few minutes (which sounds pretty punk rock to me by the way), the band scored a coveted invitation to open for The Radiators From Space—a band championed by one of Ireland’s greatest musical exports—Phil Lynott of Thin Lizzy—and Johnny Thunders. Held at Jordanstown Polytechnic on October 21, 1977 The Outcasts stayed true to their disastrous live track record. Here’s more from Greg Cowan on how that went:

We got the gig because I had written a letter that was published in NME magazine berating English punk band for not playing Northern Ireland. Colin (Cowan) had filled plastic bags with fake blood, which he threw at students in the audience. And Martin (Colin’s brother and guitarist for the band) assaulted The Radiators because he caught members of the band changing their flared jeans into drainpipes (old-school code for “skinny jeans”) before going on stage.

Though I don’t usually advocate the use of violence, I’m pretty sure that if you show up to a punk show wearing flared trousers you’re probably at the wrong fucking gig. Later on the band would start crashing shows by notable groups and musicians like Elvis Costello when he played Ulster Hall in the boys’ hometown in 1978. The band allegedly stormed the stage, grabbed Elvis’ microphone and spit out the self-promotional phrase “We’re The Outcasts, buy our single!” Apparently there were a fair number of punk/football fans in attendance who enthusiastically supported the antics The Outcasts pulled on poor Declan and a short time later they were playing to thousands of fans in Dublin. This affinity for commandeering other band’s shows was continued by drummer Colin Cowan when he disrupted sets by both Graham Parker and the Rumor and The Boomtown Rats. But let’s be honest here—there is a line in the sand when it comes to this pre-Jackass guerrilla music marketing. Sure I give them a pass for making Bob Geldof even grumpier than usual, but you simply do not fuck with THE CLASH. Sadly The Outcasts’ must have missed school the day they taught “Joe Strummer 101” and they set out to crash the stage where the Clash—who they had just supported in Belfast—were playing another show. When they showed up, a group of pissed-off bouncers were waiting for them, and according to Cowen who were ready to beat their “fuck in.”
More of the Outcasts after the jump…

Posted by Cherrybomb | Leave a comment
Iggy Pop fronts a Stooges-MC5 supergroup, 1978
02:20 pm


Iggy Pop

After the demise of the MC5, guitarist Fred “Sonic” Smith assembled a new band with members of three other Detroit bands of the period: the Stooges (drummer Scott Asheton), the Rationals (guitarist and singer Scott Morgan), and the UP (bassist Gary Rasmussen). The resulting combo, Sonic’s Rendezvous Band, recorded what is for me the great American single of the 70s, “City Slang.”

Iggy spent 1977 touring with different configurations of the players on The Idiot and Lust for Life; the only constant was Tin Machine’s future rhythm section, comprising Soupy Sales’ sons Hunt and Tony. In an interview with I-94 Bar, Gary Rasmussen explains how Iggy came to recruit SRB for his ‘78 tour of Europe, on which former Stooge Scott Thurston replaced Scott Morgan:

I think at that time, [Iggy] was having trouble with his record company. He’d been a mess, screwin’ up, and he pretty much needed to prove to the record company that he could do a good tour with a good band - it had to be somethin’ special - and that he wasn’t just a total junkie and all that stuff. He called up and was talking to Scott Asheton to start with, and then to Fred. We knew Iggy because he’d come through with his band and we’d go see ‘em, and we’d be playing some awful place down in Detroit, in Cass Corridor or somewhere, and Iggy would be playing at the Masonic Temple; he’d come to our gig after, y’know, and come up onstage. We were all friends.

So at that point, I think he needed something like that, and asked if we would do that - come and do a tour with him and be his band. Scott Thurston was in that band… Scott was already with Iggy, so he knew all of the songs that Iggy was doing, he knew kinda what was going on, so I think Iggy wanted to keep Scott Thurston in on it, so he didn’t need Morgan, basically. You don’t need another singer… if you ever tried to harmonize with Iggy, you’d realize it’s a pretty hard thing to do. But we didn’t need another singer, we didn’t need another guitar player, so Scott was kinda left out of that one.


Iggy Pop onstage with Sonic’s Rendezvous Band, Detroit, 1979 (photo by Robert Matheu, via
In the same interview, Morgan says that the tour with Iggy contributed to SRB’s premature dissolution. I’m sure that’s true, and it’s a shame; on the other hand, this is surely one of the best bands Iggy ever had. The Copenhagen bootleg embedded after the jump, which popped up on YouTube earlier this month, is the shit. (For comparison, check out the quality of this boot from the tour’s Stockholm date, and while you’re there, listen to that night’s “Kill City.”)

Keep reading after the jump…

Posted by Oliver Hall | Leave a comment
Classic, intimate photos of The Misfits by Eerie Von
08:48 am


The Misfits
Eerie Von

Eric “Eerie Von” Stellmann may be the ultimate ascended fan. A high school student in Lodi, NJ in the ‘70s, he was pals with one Paul Caiafa, whose older brother Jerry was the bass player in a fledgling punk band called The Misfits, and so it was that Stellmann’s immediate social circle was ground zero for all horror-punk to follow. Caiafa eventually joined his brother in the band, under the name “Doyle Wolfgang von Frankenstein,” and eventually, Von himself would play bass on some Misfits recordings, moving on in 1983 with singer Glenn Danzig after that band’s breakup to form the similarly themed but darker and more metallic Samhain, and then Danzig’s eponymous metal band, who did very well indeed. (Small world: Von left Danzig in the mid ‘90s, and his vacated bass slot was eventually filled by Dangerous Minds’ own Howie Pyro.)

Like a lot of creatively inclined kids, the young Eerie Von was an avid photographer, and he amply documented The Misfits. As it was with all of the great punk rock photography, Von recorded images of great future significance just by dint of having been in the right place with a camera, but to say so is no slight to his talent—as you’ll see below, Von’s superb eye for composition and drama is undeniable, whether the band was posing or performing, and even in candids. Some of his images are very familiar to Misfits/Samhain/Danzig fans, and some have gone largely unseen, but they were collected several years ago in the book Misery Obscura: The Photography of Eerie Von (1981-2009), which has recently been reprinted in a deluxe hardcover by Bazillion Points. It’s an altogether nicer edition—sturdier stock, recalibrated color, and forewords by Killswitch Engage’s Mike D’Antonio and Minor Threat’s Lyle Preslar.

Bazillion Points have graciously allowed us to share a selection of Von’s early Misfits photos. Enjoy.


More Misfits after the jump…

Posted by Ron Kretsch | Leave a comment
Never mind the Sex Pistols, Here’s ‘The Kids’: Pissed-off pioneering punks from Belgium
03:34 pm


The Kids

In 1976 Ludo Mariman took on the vocalist spot for The Crash, a group that would quickly change its name to The Kids. According to Mariman nobody in the band could really actually play an instrument so they ended up sounding like a “really bad version of Velvet Underground.” When punk rock began its search and destroy tour in the UK, it still hadn’t become a scene in Belgium yet with a couple of notable exceptions. Such as the band Chainsaw who if you blinked in Belgium back in 1977 you missed, and the wild success of Plastic Bertrand’s world-wide smash “Ça Plane Pour Moi.” Mariman headed off to London to see what all the fuss was about where he witnessed a live gig by the Ramones. It was then that Mariman had an epiphany of sorts and realized even though the Crash lacked actual “musical” talent they had the same kind of drive and energy that the quad from Queens possessed.

In 1978, when they were still quite literally kids (bass player Danny Haes was only fourteen at the time) The Kids put out two pretty blistering albums. The first was a self-titled record full of anarchic jams that all punched the time clock in under three-minutes like “Fascist Cops,” “Do You Love the Nazis,” and “I Don’t Want To Get a Job in the City.” The band’s second album, Naughty Kids was also full of catchy, pissed-off tracks including a fun sing-along I currently can’t get out of my head called “Jesus Christ (Didn’t Exist).”

As of last year The Kids were still touring rather extensively around Europe. I’ve included a few singles by The Kids below as well as footage from their first appearance on television in Belgium in 1978—which includes the band performing a cover of “Anarchy in the U.K.” If you dig The Kids, I’d highly suggest adding the 2006 compilation marking the band’s 30th anniversary that includes all the tracks from The Kids’ first two albums and a few live tracks put out by French label Wild Wild Records. Posers get LOST!
Listen the the Kids, after the jump…

Posted by Cherrybomb | Leave a comment
Sandra Bernhard and the Butthole Surfers cover Heart, in Spanish, 1987
08:50 am


Butthole Surfers
Sandra Bernhard

Bands come and go; Butthole Surfers rarities are forever. This one is especially mysterious.

The April 1987 issue of SPIN gave it one sentence, in between items about the Fat Boys’ upcoming feature film Disorderlies and Bob Stinson’s recent firing from the Replacements:

Sandra Bernhardt [sic] has teamed with pals the Butthole Surfers to desecrate Heart’s “Barracuda.”

Not much, but it’s more than you would have learned from the Buttholes’ interview with Blatch, which ended like this:

I saw Sandra Bernhardt [sic] on David Letterman and she said she hung out with you g—(Tape Ends)

Though it’s possible the Butthole Surfers biography that came out last year has more details about the Bernhard-Buttholes relationship, above are the scant facts in my possession touching on this 30-year-old event. Since then, Bernhard has covered Heart’s “Alone” (with Winger!) and spoken of her love for the Wilson sisters. She apparently recorded two versions of the vocal to the Buttholes’ “Barracuda,” one in English and one in Spanish. If either has ever surfaced on a bootleg, it’s news to me.

More after the jump…

Posted by Oliver Hall | Leave a comment
Lester Bangs (posthumously) sings for the Mekons
09:29 am


Lester Bangs
Hank Williams

One of my favorite records of the year is the Mekons’ Existentialism, a furious live album recorded around a single microphone one night in the summer of 2015. Though gorgeous, the elegiac sing-along you can hear on YouTube, “Fear & Beer (Hymn for Brexit),” doesn’t represent how wild and blue Existentialism is in toto, how deeply it gazes into the abyss of the present moment, how much it hurts.

The Mekons can do this because they are the last authentic punk band. In fact, on the most recent of several occasions when I’ve introduced myself to band member Jon Langford, he fixed me with a wide-eyed stare, raised two fingers, and loudly told me to fuck off. Still got it!

But don’t believe me. No less an authority than Lester Bangs, who would have turned 68 yesterday, proclaimed them the greatest band of all time. “The Mekons are the most revolutionary group in the history of rock ‘n’ roll,” Bangs wrote in his liner notes to the retrospective The Mekons Story 1977-1982. “THEY ARE BETTER THAN THE BEATLES.” History may be bloody murder, but in this instance, at least, its gory tide has borne out Lester’s claims. (Speaking of bloodshed, punk, and Leeds University, did Gang of Four ever play a Halloween show as “Fang of Gore”?)

Lester Bangs and Jon Langford working on the liner notes to The Mekons Story (via Buried Treasure Records)
Bangs died in ‘82, but that didn’t stop him from singing on the Mekons’ F.U.N. ‘90 EP, which contained so much F.U.N. that it got the Mekons kicked off of A&M Records. It was worth losing a record deal over. Built like a Dagwood sandwich, the B-side of the EP encloses Tony Byker’s (of Gaye Bykers on Acid) reading of a passage from Walter Benjamin’s “Hashish in Marseilles” between the tracks “One Horse Town” and “One Horse Dub,” both of which incorporate audio of Lester Bangs singing Hank Williams’ “Ramblin’ Man.” 

Listen to Lester and the Mekons after the jump…

Posted by Oliver Hall | Leave a comment
The rancid, rotten and eye-poppingly RIDICULOUS covers of Rock N’ Roll Comics!

Todd Loren published the “proudly unauthorized” and totally demented Rock N’ Roll Comics until 1995 when the double whammy of the 32-year-old Loren being stabbed to death and the company’s bankruptcy brought the enterprise to an unceremonious end. Loren’s death is shrouded in mystery. Rumor has it that he was taken out by the same serial killer who murdered Gianni Versace. (Yes, you read that correctly.) The fascinating 2005 documentary The Story of Rock ‘N’ Roll Comics explores Loren’s publishing empire and his death. I heartily recommend it. But I’m not focusing on that compelling bit of history here. I just want to share some totally amusing Rock N’ Roll Comics cover art.

Swirling in that visual vortex of the “so bad they’re good” category, Rock N’ Roll Comics (and its brother-in-arms Hard Rock Comics) have a certain schlock appeal that veers from the earnestly awful to inspired satire. I remember R N’ R Comics radiating from the racks of New York City newsstands. Seering themselves into my eyeballs, these covers were as ridiculously over-the-top as the smorgasbord of porno cheesiness they shared the racks with: Screw Magazine, Sluts And Slobs, Chocolate Singles, Ramrod and Honcho. This was the tail end (see what I did there) of New York’s grandly grungy era when the streets were still throbbing (see there, I did it again) with the uninhibited impulses of the beast in all of us.

Even in the early nineties, Rock N’ Roll Comics seemed seriously dated but that’s part of what makes them so damned special. I would love to see White Stripes, Kanye, Beyoncé, Daft Punk and Radiohead getting the Rock N’ Roll Comics treatment today.

60 plus issues of Rock N’ Roll Comics were published,. Here are my picks of the best/worst covers. Among them, the Ayn Rand inspired “Elvis Shrugged” gets a special shoutout as does the “Tipper Gore’s Comics and Stories” issue (Jello loved it and Dead Kennedys got their own issue, too). The incredibly goofy Botoxy, lip-injectioned Ramones (poor Joey looks like a mashup of Pete Burns and Kellyanne Conway) was intended to please but I’m rather certain that Joey stuck that issue under a pile of his MAD magazine collection.The “Women In Rock” issue was responsible for Andrea Dworkin’s umpteenth hernia when she picked up a stack on the corner of 13th and 2nd and tried to hurl them at a Pakistani delivery boy she mistook for Janet Jackson. The contenders for the absolutely worst covers are David Bowie looking like Rachel Maddow after she took a very long bath in hydrogen peroxide and the one where Bob Dylan is doing his impression of Montgomery Clift doing his impression of Gloria Swanson. The Grateful Dead edition was a sales flop but the cover was a hit (again I did it) having been licked to the point of invisibility by heads mistaking it for a sheet of blotter acid. Overnight, racks of Grateful Dead Comics looked like blurred X-rays with corners curling like the paper mudras of paper monks.

Special mention goes to Nirvana for tapping into their audiences’ fundamental fears and anxieties. Nirvana stood out for their unbridled celebration of teen spirit when the band courageously defied their handlers and boldly sported facial boils verging on detonation. These pus-filled flesh flags of honor were symbols of a society so toxic that only rock and roll and a pair of tweezers could exorcise the demons embedded in the souls of our society’s youth. This was acne as action, the beginning of the Blackheads Matter movement that aroused white kids from their complacent suburban wombs. To Love the smell of Clearasil in the morning is to be young and alive. This was the roots of Pusy Power and the beginning of the dead leucocytes movement.

Bubbles? What do you mean bubbles?


More after the jump…

Posted by Marc Campbell | Leave a comment
Now I wanna be your frog: SOGGY, the heaviest French rock band you’ve never heard of
03:37 pm



Today marks the first proper release of the self-titled album by French heavy rock band SOGGY by Outer Battery Records. Recorded in 1981, the 11-song album was originally pressed in a limited run of just 300 copies and is considered somewhat of a record collecting trophy piece by lovers of unhinged garage rock.

SOGGY started out playing cover versions of songs by Alice Cooper, Black Sabbath, MC5 and the Stooges in 1978, but soon started writing and performing their own material. At first (and second) glance, the group looks a lot like the Ramones backing Brother Rob Tyner. Snarling lead singer Beb, a natural born frontman of the Iggy Pop school of onstage decorum, was a crazy shirtless motherfucker with a huge Afro and the group, with a foot in both the punk and heavy rock camps called their music “hard wave.” They released one single “Waiting for the War” and played more than 100 concerts, but the band split in July of 1982, finding it difficult to support themselves financially right when they were offered the opening slot for a European Judas Priest concert tour.

A few years back, a clip of SOGGY performing live on French television in 1981, was posted on YouTube and began making the rounds of rock snobs causing a minor sensation. Early on the SOGGY train, Dangerous Minds editor Marc Campbell called them possibly “the coolest thing to come out of France since Françoise Hardy” and “a French heavy rock band from the early 1980s who managed to channel the spirit of MC5 and The Stooges in ways that few bands have managed to do.”

Brian Turner, the music director at WFMU radio, had this to say about SOGGY:

“France’s unstoppable monsters of mayhem put the Motor City in your Motörhead. Face punching riffs, complete destruction, who the hell else could spit Iggy off the stage? They did in 1980. The power of Beb compels you.”

Beb returned to the stage for the first time in over 35 years when he joined The Shrine—who’d recorded a cover of “Waiting For The War”—in Paris last year. He also recently joined them onstage at a heavy metal festival in Las Vegas, with the journey being shot for an upcoming SOGGY documentary.

I asked SOGGY’s fierce frontman, the amazing Beb—who does 700 sit-ups each morning before he goes to work—a few questions via email:

Dangerous Minds: What was a SOGGY concert like?

Beb: Our music and attitude was very rough, we were always on a high-energy level (without any drugs apart from goat’s milk). And the audiences were usually a bit surprised because at this time most of the other bands were considered “cooler” than us.

How did modern day interest in SOGGY come about on the Internet?

Beb: In fact, all of the recent interest comes from our unique video which was filmed in the local FR3 television studios. It began to go viral on the net around year 2000 and led to our discovery by a new and worldwide audience.

More after the jump…

Posted by Richard Metzger | Leave a comment
Unboxing the Los Angeles Free Music Society’s new 13-LP collection—a Dangerous Minds premiere

Members of the Los Angeles Free Music Society, 1976 (photo courtesy of The Box LA and Fredrik Nilsen Studio)
In 2012, the Los Angeles Free Music Society celebrated the 40th anniversary of its founding, and the LA gallery The Box marked the occasion with the exhibition “Beneath the Valley of the Lowest Form of Music.” Now, under the auspices of Box Editions, a selection from every performance that took place during the run of the show has been painstakingly mastered, pressed on an LP side, and collected in the handsome seven-hour, thirteen-disc set LAFMS BOX BOX

If you’re new to the work of the LAFMS, their music is “free” in every sense. Free in terms of improvisational structure, free expression, and free association; free from generic restrictions, free from inhibitions, free as in liberated, free to come and go, free time, guilt-free, and even free of charge (“The music is free, but you have to pay for the plastic, paper, ink, glue and stamps,” as they say). Perhaps no group of musicians has ever been a better candidate for one of those “family tree” posters head shops used to sell. Not only does the LAFMS comprise a number of interrelated groups, ad hoc configurations of members, and solo excursions—Le Forte Four, the Doo-Dooettes, AIRWAY, Human Hands, Bpeople, Dinosaurs With Horns, and Solid Eye are some of the bands that populate the LAFMS’s alternate-universe Los Angeles, the one that is actually familiar to people who live here—but the society is also a nexus of the whole American underground of a certain period. Over the years the Residents, Captain Beefheart, Half Japanese, Wild Man Fischer, Mayo Thompson, the Meat Puppets, NON, Phranc, Christian Death, and 45 Grave have all contributed in some way to the massive LAFMS oeuvre. And Smegma originated as part of the LAFMS. And Michael Gira was the original singer of the band that became Bpeople. And founding member Dennis Duck is also the drummer in the Dream Syndicate. And artists Mike Kelley (to whose memory LAFMS BOX BOX is dedicated) and Jim Shaw of Destroy All Monsters have played in LAFMS bands and appear on this very set. You get the idea.

The thirteen LPs break down like this. Sides A and B: Opening Reception Improvisation (Dennis Duck, John Duncan, Ace Farren Ford, Joseph Hammer, Mike Kelley, Fredrik Nilsen, Joe Potts, Rick Potts, Tom Recchion, Vetza); Side C: Artificial Art Ensemble; Side D: The Tenses; Side E: Tom Recchion; Side F: The Doo-Dooettes; Side G: Le Forte Four; Side H: Smegma; Side I: AIRWAY; Side J: Ace & Duck / Artificial Art Ensemble; Side K: Dinosaurs With Horns; Side L: Vetza & Joe Potts; Side M: Dolphin Explosion; Side N: F For Ache; Side O: Eddie Ruscha, Jim Shaw, Dani Tull; Side P: Extended Organ; Side Q: Feedback Waveriders; Side R: Artzenkraft; Side S: Small Drone Orchestra; Side T: Albert Ortega; Side U: Points Of Friction; Side V: Rick Potts; Side W: The Jrks; Side X: Joe & Joe; Side Y: Oolies; Side Z: Rahdunes.

LAFMS BOX BOX and some of its innards (photo courtesy of The Box LA and Fredrik Nilsen Studio)
We at DM are happier than a handkerchief at a snot party to premiere three videos that reveal this new box set in all its variegated and sensuous glory. In the first very special clip, members of the Los Angeles Free Music Society join the Pillsbury Doughboy in marveling at the box’s contents. Next comes a very, very special look at LAFMS BOX BOX with Corazon del Sol, pitched especially to members of the ASMR community—you know, those lucky few whisper fetishists chosen by natural selection for no-mess skin orgasms. And finally, there is a very, very, very special video in which the artist Paul McCarthy, who is a member of the LAFMS group Extended Organ, spends over an hour counting every countable item in the box.

More after the jump…

Posted by Oliver Hall | Leave a comment
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