Artless Nonculture: punk

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News | Rachel Logic (Uncommon Logic, First Offense, Dropgun): R.I.P. 1979-2016

On Monday, February 29th, 2016, active member of the Akron punk rock scene, LGBTQ* activist, and loyal friend to many Rachel Bishop (AKA Rachel Logic) was involved in a fatal car accident. During her life, she made a huge impact on nearly everyone who knew her, and was an inspiration to so many due to her bravery, honesty, sense of humor, and big heart.

When I met Rachel, everyone knew her by a different name. At the time, she was the bassist of the band Dropgun, who my band at the time, Dead City Dealers, had played a number of shows with. Though the two of us had never talked at any great length at that time, Dropgun had become one of my favorite punk bands in the area.

Then one day, in the Fall of 2009, I got a long, detailed MySpace message from a woman with the screen name "Rachel Dreadful", explaining that she was this person I had known the last couple of years, that she was transgender, she was going through transitioning, and wondered if I would like to do an interview with her for Artless Nonculture (2.0), in order to fully come out to the regional punk rock community, as well as to help answer everyone's questions, "all in one shot." After taking a minute to let this news sink in, I was eager to help.

Over the years, Rachel became sort of an "FAQ" for transgender issues, not just for me, but to many of the people in her life. Not that that's all she was, mind you; Rachel had a huge amount of knowledge on geek culture and punk music, as well. She had a sharp, sarcastic wit, and a warm, caring personality. She was also very humble, and would probably not care much for any tribute such as this one.

When my girlfriend of 6 years passed away suddenly, back in 2014, Rachel Bishop was one of the first people to reach out to me, offering support in any way she could. Keep in mind, before this we were not close; there was a lot of mutual fondness and respect there, definitely, and we would bullshit on Facebook, but I would say we were more fond acquaintances rather than good friends. And around the one-year anniversary of this loss of a loved one, Rachel actually took the time to drive to Cleveland from Akron to spend the afternoon with me. When I sent her a message thanking her afterwards, all she said was, "We all gotta take care of each other."

Over the last 2 years, we would periodically check in on each other via social media (me, struggling with depression and other issues related to the death of my partner, and her with her own moods and health issues. This would typically be in response to one of us seeing a Facebook post from the other).

We would always invite each other to come and hang out in each of our respective cities (we were only a county apart, after all), but something would always get in the way—typically money or car troubles. I really wish we had spent more time together now, because I truly believe we would have become good friends had we lived just a little closer to each other, or had fewer financial issues. Unfortunately, time gets away from all of us, and you never know when it's gonna be your last chance. I just feel really lucky that I got to know her at all while she was here.

As a tribute, I'd like to republish the 2009 interview I conducted with her while she was transitioning. Maybe her story can help someone else who's going through a similar situation, or help quell any confusion about the entire subject for someone who just doesn't "get it."

Interview with Rachel of DROPGUN

by Sam Sinister.

ANC: Please state your name, and what you do in which band.

RD: My name is Rachel, and I play bass in DROPGUN and maybe You Have Ten Seconds to Unfuck Yourself, if we ever play again.

Now for anyone who is confused, you're not a new member to either band, correct?

No, I am not. I've been in DROPGUN for three years. My legal name is John, that's the name I was given at birth. I'm a transsexual, and Rachel is the name I go by, and will legally be my name soon.

That answers my next question then... the legally changing your name thing.

I'm reading your mind.

Wanna explain the difference between a transsexual and a transvestite?

Well, the term transgender is a blanket term, covering transvestites/cross-dressers, genderqueers, and transsexuals... and others. They all have one thing in common: They mess with gender.

A transvestite is a person who lives as their birth gender, but get some sorta kick outta cross-dressing. [The term "transvestite" has fallen out of usage in most circles within the trans community, as it is now seen as being archaic and, to some, offensive— much in the same way that "colored" and "negro" are within the black community today. -Ed.]

Transsexuals are people whose bodies developed differently than their brain.

Now, this is a new term to me... What is genderqueer, and is that different from homosexual?

Yeah, it's just people who screw with gender to the point that they completely break the binary laws of male and female. Gender and sexuality are not related.

So, how far along are you into the transition? Are you taking hormones?

Yeah, I've been doing that for a year-and-a-half or so. I've got a therapist. It's been interesting, first trying to hide the changes, like wearing a coat on stage while sweating. Second, not hiding the changes, like when my friends look at my chest. It's funny. I take two pills every day, and one shot in the leg every week. So it's a routine, but it's worth it.

At least you have a sense of humor about it. What's the reaction been like so far from your friends/band? Your family?

The band has been pretty rad. Everyone reacted in their own way, but all positive. My friends have been great; I haven't had a terrible reaction yet. I'm not saying people 100% get me, or accept me, but it's been fine so far. There's so much gender-bending in rock, I think I can get away with it a little more than, say, an accountant. (laughs)

How long before you're done with the hormone treatments, or do you never stop with them?

I'll always be taking estrogen, but I won't have to block my testosterone once I lose some of the male equipment.

When will that be?

When I raise the money. Insurance normally won't cover trans health issues in the USA, so the brunt of the bill is on me and my family. It's not uncommon for trans people to drop 40k during transition. A lot go bankrupt, blow through savings, and sell everything that's not crucial to life. If I had the cash I'd be done by now. If I hadn't of sold my soul to the devil for rock n' roll I'd be cashing that in.

(Laughs) This is gonna be an in-depth and complicated interview...

Maybe you'll win an award.

(Laughs) Doubtful.

Well, if it makes you feel better, the Cavs are up by 27!

Not a basketball fan (laughs), sorry... or any sports for that matter.

If you live in Akron you gotta like the Cavs, it's the rules.

So, when did you first realize that you were... uh, for lack of a better word, different?

From the time I was able to notice the difference between boys and girls. I knew if I tried to hang with the girls I'd get messed with, so I hung out with the guys and envied the girls from afar. It was weird when everyone was growing up, I didn't understand why I was becoming more boyish.

Well, then later in life, I'm sure it's easier to hang out with mixed company, though...

Sure, and I didn't hate being a guy, it just wasn't the perfect fit. When I was growing up, I latched on to punk rock, because at least then I could control why I was an outcast. I know other trans people latch on to things like sci-fi, and comics, and stuff like that. In fact, there was a band called Label the Traitor that were huge when one of their members came out as a trans person. So I know there has to be more of us out there. If I could reach out to just one punk still in the closet, then they'd reach out to one, and so on. That's one reason that I'm open with being trans, and not trying to go stealth.

One of the early New York punk frontmen, Wayne County, later became Jayne County...

That's right! Very early on, too. How punk rock is that?

I guess very... I mean, if punk is being "real" and saying, "Fuck you, this is me and you can deal with it or get out of my way," then I'd say you're pretty damn punk rock.

Bobby Steele of the Undead is friends with Jayne and he's shared a few stories online (laughs).

Okay so, you mentioned that sexuality and gender are completely unrelated. What exactly is your sexual orientation? I mean, since "gay" and "straight" are usually determined by whatever gender you happen to be...

Well, as a guy I'm straight, and as a girl I'm lesbian. It's a weird line to cross. That's an issue some gay people have with trans people. Some don't like the switching ability.

Would you be lesbian right now, or would that happen once the transition is complete?

I think of myself as a lesbian right now, plus it makes sex hotter (laughs).

You're married, right?

June 1st, 2010 is the big day. It's a Tuesday, because nothing is ever normal with me.

How did she take it? Was this something she's been aware of all along, or did you sorta spring it on her?

She was amazing, it doesn't hurt that she's bi. All of her family has been really nice about it too. I will marry her as a guy, however, as there is no gay marriage in Ohio (yet).

Ah, that brings up an interesting point. Once you're married, and then you "officially" become a woman, can they sort of revoke the marriage? In a legal sense, I mean?

In Ohio, where I live, I can't change my gender on my birth certificate, so my marriage will not be voided. It's really sad, some people lose their marriage after years together.

Sounds complicated.

No kidding.

But you'll have a new social security number once you legally change your name, right?

(Very long pause) ...I think you win a prize for stumping me. I have no idea.

Yes! Free DROPGUN t-shirt?

(Laughs)

I'm serious.

Well, first we gotta make 'em.

Oh, okay.

We're a lazy band.

Umm... MP3's emailed to me that aren't on Devil Music?

It's all up on MySpace right now, even that Groovie Ghoulies cover we did.

Yeah, you can't download off MySpace anymore.

MySpace pisses me off more and more everyday, but I'm hooked.

I have "Alone" and "Black Whip". I downloaded those before all the changes to the player took effect...

I can't wait to get this album out, it's going to shock people a little. We have five or so songs being worked on right now. It's a real change from where the band started.

How so?

DROPGUN started off as a cover band, mostly Oi! and hardcore stuff. Then came Shittin' n' Gettin', and that was very rock and very punk with hard yelling vocals, and then Devil Music added a ton of guitar solos and calmed down a bit. The new one has a hint of surf in it, but in a rock n' roll kinda way. Sounds like nose bleeds and hooker spit.

Surf is rock 'n roll!

True.

And I don't think Devil Music was very tame, by the way... Pretty hard rockin' stuff.

Yeah, those guys really made that one work.

What kinds of covers did you guys play in the beginning?

Well, I wasn't in the band then, but it was a lot of early punk, hardcore, and Oi!. On any given night you could have heard anything from "Crucified" to "Borstal Breakout". Now we stick to the Dead Boys, and more rock n' rollish punk.

Electric Frankenstein, New Bomb Turks, stuff like that...

Yeah, but no covers of bands who are still around. Unless it's a special kinda deal, like the Misfits for Halloween...

Well, if you play the Glenn-era stuff, that band definitely isn't still around!

Yeah, no kidding. I did go see Danzig when he brought Doyle with him to do a classic Misfits set, it was amazing.

Anything else in the works for DROPGUN besides the album?

Nope, we're just doing that right now. Billy and Paul have been writing songs left and right. We just gotta get 'em recorded and fire 'em at ya.

Any last words for our 3 or 4 readers?

Yes. If you are questioning your gender or sexuality, contact your local PFLAG. Educate yourself. Also -Rock N' Roll.

- 4/26/2009 09:02:00 PM

Reviews | Brutality and Bloodshed for All: The Rockabilly vibe of GG Allin and the Murder Junkies

By Mondo Carnage

When someone mentions GG Allin, or even the Murder Junkies, one does not think of the distinct musical sound they have. Most people think of GG and the band's antics, such as GG rolling in his own feces, urinating on the audience, fist fighting with the audience, and beating himself to a bloody pulp; or the band's naked drummer, Dino, who is also known for some strange behavior as well (As a matter of fact, I remember a story that the editor of this magazine told me, about how his own band played a show with the Murder Junkies on the bill. Pretty much, the venue owner's wife was scolding Dino for trying to get naked, so he shoved a drum stick up his ass and threw it at a wall, where it stuck due to the feces covering the drumstick).

However, this article is not about all that. It's about the sound structure of The Murder Junkies' debut album, Brutality and Bloodshed for All.

Since this month's issue was originally supposed to be about punk rock's connection to '60s garage rock and '50s rockabilly and rock 'n roll, I figured I'd use this album as prime example. Ignoring GG's lyrics and vocals (which are great in their own right, but do not show the rockabilly influence of the music), we're going to look at Bill Weber's guitar work.

On this album, right of the bat you're treated to the blasphemous song “Highest Power” which has some weird rockabilly guitar work during the verse. Same goes with the second song, “Kill Thy Father, Rape Thy Mother”, again with a weird '50s rock sound. The next song, "Anal Cunt", however, takes from a '70s and '80s hard rock sound, but then comes the song "Raw, Brutal, Rough, and Bloody", which has a very crude '60s garage rock structure to the main riff.

Then come the straight up punk songs, “Shoot, Knife, Strangle, Beat and Crucify” and “I Kill Everything I Fuck”. Although being almost purely typical punk songs, they have some stereotypical riffs and solos that have been used in rock 'n roll since the '50s, especially during the chorus and solo of "I Kill...".

After that, a similar formula of rockabilly riffs continue with “Shove That Warrant Up Your Ass”, and then even more riffs and fills that send a tribute to the rock 'n roll of the '50s with “My Sadistic Killing Spree”. Then, back to the typical-punk-sounding “I'll Slice Yer Fucking Throat”, and the heavy metal-sounding “Terror in America”.

Then the song “Fuck Off, We Murder” comes on, and the solo is straight out of '50s rock 'n roll, and it's totally awesome and ends in just total punk rock rage. After that, in a similar rockabilly/punk rock mishmash, we have the songs “Take Aim and Fire” ,“Bastard Son of a Loaded Gun”, and “Legalize Murder”. Finally, we have the album's title song, which pretty much sums up the sound of the overall album: a weird combo of punk, rockabilly, death metal, and pure carnage. A musical masterpiece.

News | Parma Mayoral Candidate Warns About Refugee Threat

by D.X. Ferris, Nick Wolff, and the Associated Press [sic]

Parma politician Nick Wolff warned about a looming Cleveland-area crisis in a speech during March’s mayoral primaries.

“I want to talk about a serious issue,” said Wolff. “Refugees.”

Wolff delivered the speech at the bar in Parma Heights’ Yorktown Lanes bowling alley. After a manager interrupted and threw him out, he later posted the text on Facebook.

Wolff is one of 38 locals running for mayor of Parma following the premature passing of James “Jim” Konya. Wolff warned of an imminent invasion by colorful outlanders.

January 16, Lakewood dive bar, the Spitfire Saloon, closed. For nearly a decade, the tavern had provided hospitable shelter, live music, and cheap Pabst products for area punks.

“When the Spitfire a closed its doors,” said Wolff, “I was scrolling through posts by a bunch of mohawkio’ed, 30-somethings crammed into a corner, throwing PBR, and having a good time. And I was hit with a disturbing thought: ‘Where will they go?’”

Wolff, a 37-year-old internet radio talk-show host, is the capo de regime of the political party N.W.O Wolffpack. Previously, the longtime community activist organized the short-lived Musicians' Local 00 union.

“For the last nine years, the Spitfire had been like a roach motel, collecting all the undesirables and miscreants in a sticky paste of PBR, puke, and punk rock,” said Wolff. “It was the plug that kept the sewage out of the Cleveland area's fine establishments.”

Wolff’s punk-rock cred includes musical group the Eviction Party, Pride of Ohio, the Lottery League project Can’t Won’t Mustn’t, and his self-titled band, which wrote a swell song about the socio-politically oriented HBO series The Wire.

“An alarming number of these refugees are headed to a bar near you,” warned Wolff. “It could be the Foundry. It could be the Happy Dog. It could even be your favorite neighborhood dive. Now That's Class is already bursting with even worse people.”

Wolff’s words did not fall on deaf ears. The Facebook version of the rant attracted nearly 50 likes.

“Before you welcome these refugees, remember,” warned Wolff’s Facebook friend Donald Trump. “They may LOOK alternative, but many of them have radical conservative agendas. I say we impose a moratorium on new punk-rockers until we can find out what's really going on.”

Wolff’s incendiary rhetoric provoked more heated responses.

“I suspect that many of these self-declared ‘anarchists’ are really law-abiding citizens,” read one reply. “Hearings must be held.”

The frontman argued that his artistic success and temperament made him far better suited to judge people than the other candidates, who he called “politically correct social-media keyboard warriors.”

“Great, you have a lip ring,” said Wolff. “But it doesn’t matter how you wear your hair. It’s what’s inside your head.”

Wolff later returned to the bowling alley and delivered a monologue to a crowd of karaoke-night regulars. He took the microphone purportedly to sing “Don’t Stop Believing”, but instead delivered a monologue as the track played in the background. Wolff proposed a strict screening test to weed out people who are internally plain.

“They may be jaundiced, and they may be wearing tattered denim jackets adorned with dozens of patches,” said Wolff. “But many of them have rejected traditional values, only to adopt a new orthodoxy of restrictive dress codes and moral prescriptions.”

The N.W.O. Wolffpack’s primary platform is the controversial Spitfire Refugee Program. The initiative would grant drink discounts and preferential service to “true punks” while instituting high cover charges for “fashion-oriented poseurs” who enjoy pop-punk, attend the Warped Tour and crowd Social Distortion concerts.

Wolff also continued to criticize the collective Cleveland punk scene, citing poorly attended Eviction Party shows and a recent Face Value reunion that only drew a small crowd. He questioned West Side punks’ espoused beliefs in contrast to their spending habits.

"I say they prove that they're punk," stated Wolff. "How are they proving it? Many of these eccentric characters might even be Christian."

The growing “Keep Parma Punk” movement advocates a test for unfamiliar pierced faces when they appear at local watering holes. The Wolffpack’s “Triple A” statement of values promotes “action, attitude, and authenticity.”

“If they’re so punk-rock, are they willing to spit on a Bible?” said Wolff. “Will they break a window? Maybe these so-called punk-rock girls will kiss another woman in exchange for a free shot of Jäger. And maybe the men will speak up in favor of gay rights. But will they participate in a truly deviant sexual act? I say they put their money — and their mouths, and their votes — where their mouth is. People of Parma, you have a right to know who you’re drinking with.”

Columns | JONNY BIPOLAR: 3 of the Strangest Bands I Listen to... And You Should Too!

by Jonny Bipolar

THE BUTTHOLE SURFERS

Punk. Metal. Country. Psychedelia. Noise. Electronica.

They all meet in a hole-in-a-wall bar in the middle of nowhere. They shit talk the bartender, smack the waitresses' asses, drink Jack and Cokes all night, probably doing various drugs. The cops get called and they end up in a holding cell overnight.

That is The Butthole Surfers.

The first time I ever heard of them was on the program 120 Minutes, and the song was "Who Was In My Room Last Night?" (From the album Independent Worm Saloon). It was a blistering mess of heavy metal and punk rock (well, what I knew of punk rock in 1993). My friend had a few cassettes of them (yes, I'm 34 and know the joys of cassette tapes), and I was hooked.

Weird samples, noise collages, tape loops, two drummers, breaking the traditional sound structure. I was locked in and a fan since. They were bizarre, but once you thought you had them figured out, they threw you another curve ball.

Many people only know of them from the 1996 hit "Pepper", but they were much more than that. This Texan band was a crazy cacophony of chaotic sound and worth really checking out.

Recommended albums:
Independent Worm Saloon (1993, Capitol Records) | Locust Abortion Technician (1987, Touch & Go)

Extended listening:
"The Hurdy Gurdy Man" | "Dust Devil" | "Goofy's Concern" | "I Saw an X-Ray of a Girl Passing Gas"

ATARI TEENAGE RIOT

What, punk rock doesn't have to consist only of guitar? It seemed like a crazy concept when I first heard of this band in 1998, but this band not only turned a form of music on its heels, it shattered preconceived notions of what was still left uncovered.

"They were a band that sounded the way you always wanted The Prodigy to sound," is what one NME writer said. Instead of four chords and snotty lyrics, ATR came crashing through with synthesizers, computers, samplers, and other electronic delights and ushered in some of the most pissed off and politics lyrics I'd ever heard, with a sonic backdrop like a mosh pit-fueled crime scene.

Song like "No Remorse (I Wanna Die)", "By Any Means Necessary", "Destroy 2000 Years of Culture", "Activate", "Start the Riot", and "Deutschland (Has Gotta Die!)" turned punk rock into the frenzied, unpretty, angry mess it needed to me.

'Digital Hardcore' was for the new millennium, and these Krauts (Alec Empire, Carl Crack, Hanin Elias, and Nico Endo) made me excited about punk again, when everything had become bland and safe. They didn't give a fuck about playing it safe, and helped a generation change the way they looked at the scene.

Albums to check out:
Burn, Berlin, Burn (Compilation 1996, Grand Royal) | 60 Second Wipeout (1999, Digital Hardcore Recordings)

Extended listening:
"Start the Riot" | "Sick to Death" | "Destroy 2000 Years of Culture" | "P.R.E.S.S."

BOREDOMS

Get ready to get your brain split. And fucked. And microwaved. And ran over by a semi-truck.
That's Japan's Boredoms. Noise punk without any rules. That's really all you can say.

They made me realize you could hit record on a tape player and play anything. It was an art form and there are some people who will dig it. Not everybody, but somebody. That's been my philosophy with every band I've been in.

Primal drumming, weird song structures, sound effects, sampling, screaming/babbling/yelped vocals making you question most music forms. I love them and the chaos they bring.

Check them out if you want to be confused, mesmerized, pissed off, and lost all at the same time.

Albums to check out:
Soul Discharge (1989, Original Selfish) | Pop Tatari (1992, Reprise)

Extended listening:
"Sun Gun Run" | "Mama Brain" | "Bo Go" | "Tomato Synthesizer"

Jonny Bipolar lives in New Castle, Pennsylvania, USA, and is exactly as described on the tin.

EDITORIAL

I'm anxious.

Not about anything in particular, mind you. I'm just an anxious person.

As my food arrives, I realize that to any fly on the wall, I probably seem like a health nut. I'm not—far from it, in fact—but the egg whites, turkey bacon, and wheat pancakes sounded good to me for some reason. I'm sure from a distance, it all just looks like the same old slop any way. Not that it matters, either way.

On the short drive over here, I decided to flip through the radio stations. You know, just for some perspective. My old standby, WCSB, was playing polka (which I normally enjoy in small doses, but I wasn't quite "feelin' it" right now), and all the other stations were, unsurprisingly, unhelpful. Crappy modern pop music, even worse "rock" (what's the difference?), today's top "country" (I repeat), a Van Halen song (sadly the best thing so far, so I leave it)...

AND THEN!

The opening guitar lead and kick! snare! pattern of "Saturday Night's Alright (For Fighting)", one of Elton John's only real rockers, a bootboy/sharpie classic from way back, a time when someone outside of a particular subculture could write songs about and for that subculture, and still be somewhat respected by the members of it. Back when styles, and subcultures, and genres were pieced together from elements of pre-existing ones, a byproduct of diverse tastes and influences, amalgamated abominations, curated by influential scenesters, musicians, fans, and journalists; only given a name once something so loosely defined became solid... too big and widespread to be contained, it now needed a rallying cry. A catchy marketing term. Or both.

Maybe I'm reading into this too much. But I don't think so.

Punk used to be one of these things (and to a degree, to me at least, it still is). The bastard child of glam rock, novelty songs, '60s pop, what we now call "garage" rock, and an anti-hippie/anti-disco/anti-prog sentiment, among many other small strains of many other things, "punk rock" was a relatively unknown term, employed by a very small group of rock writers and fans, which was applied to bands and artists ranging from The Sonics to Alice Cooper. I doubt any of these groups liked the term very much, either.

***

::FLASH FORWARD 24 HRS::

Remember back when you could sit in a family restaurant for hours on end, no one fucking bothered you, and you could smoke an entire pack of cigarettes with the rest of society's dregs? Now I'm relegated to the magazine section of the public fucking library. The quiet is nerve-wracking, and I still can't chain-smoke. But regardless, it's free, and I get to save bandwidth on my internet at home. Isn't adult life fun?

I told my friend Laurie I was writing an editorial, and she asked what it was going to be about. I said, "The state of music today, relevance of punk rock, specifically garage punk/first wave revival... mission statement, etc." She said that punk is more relevant than ever, and also:

"Music is pre-packaged, contrived garbage & people are sheep. Youth today have more to be angry about than ever. They have far less opportunity than their parents did--the world is garbage. They're just too busy playing on their phones to notice."

Honestly, I think the world is probably in the best shape it's ever been in, and there's nothing wrong with technology in and of itself [he said as he pounded feverishly on the keys of his laptop], but people, on the whole, definitely don't seem to be getting any smarter; At the very least, they're generally as complacent, stubborn, close minded, backward, anti-intellectual, superstitious, and boring as they ever were... a bunch of followers, lacking any critical thinking skills. People who make their minds up about everything based on who said the dumbest thing the loudest or most confidently. Some are even still stuck in this notion of "traditional values" and other outdated archaic bullshit, like strict gender roles/rules, and maintaining the "status quo".

Tradition is kinda like collecting a bunch of OCD rituals and passing them down through generations of scared, stupid assholes.

Punk might have been a reaction against hippies (partially), but that doesn't mean it was ever meant to be enjoyed by ultra-conservative, authoritarian twats. I mean, what kind of "normal," wholesome, career-path driven douche is going to ever really "get" the songs of the Ramones? You could argue that Johnny Ramone was a staunch Republican, but he was far from being a normal dude. He was into collecting rock 'n roll and junk culture memorabilia. He loved horror movies, and glam bands, and Yoohoo, and had long hair. He was obsessed with Charles Manson. He wore the same on-stage uniform of a t-shirt, sneakers, and torn blue jeans while he was off-stage.

But maybe my friend is right. Even the (very few) young punks I've met around here are only into excessively fast street punk, or old-style hardcore bands, or all that garbage crusties seem to love, like powerviolence. These fucks wouldn't give the time of day to a Ramones record, let alone something as influential on the entire genre as, say, rockabilly.

Hell, I even know some older people who were around in the early '80s, and even they think rock and roll is shit.

It's enough to make you wanna beat someone over the head with a copy of Please Kill Me.

THE ARTLESS NONCULTURE TOP 40

Alright, you sonsabitches! The moment you've all been waiting for:

It's ANC's Top 40 playlist for the month of January!

These are the songs that've really been tingling our private areas over the last 4 weeks or so, and if you really know what's good for you, you'll listen to THESE TRACKS ONLY for the next couple of hours—or at least for as long as your pathetic attention spans can handle it:

Columns | Rancid Vat: The Most Underrated Punk Band In Existence

by John Stahlman

I'm here to talk about Rancid Vat.

In case you bastards are illiterate, I'm talking about the punk band that came out of the hell hole of Portland, Oregon (not that I think it was bad, but the band hated their city of origin, so it is best to describe it in a term they would like).

Not Rancid.

So this article will in no way mention the band Rancid again, because no way in hell are they underrated. Rancid Vat, on the other hand, is.

Formed sometime in the '80s the band has gone through many line up changes, with the husband and wife duo of Phil Irwin and Marla Vee. Despite their unique and ahead-of-their-time sound, this band has never gotten the respect they deserved throughout their three eras (being the Portland, Philly, and Austin line-ups). Maybe it's because they did their own thing and rejected (and still reject) trends throughout their 30-something years of playing.

The first era was the Portland line-up of Phil Irwin (guitar), Marla Vee (drums), Eric Larsen (bass) and Steve Wilson (vocals). They started out as a noise rock group (due to Phil not knowing how to play traditional chords at the time) and got their name from dicking around with a Ouija Board, asking "spirits" what to call their band.

Eventually the band developed a very sludgy sound, reminiscent of the Seattle grunge bands that came into popularity in the next decade. Most of their lyrics were extremely nihilistic, with songs about murder, rage, and also contempt for the punk music scene at the time being trendy. Personally, it's a breathe of fresh air to listen to a band that goes back to the old themes of "no future" and "fuck off", since it seems more relatable for those trapped in a music scene that has been taken over by rules.

Not only this, but they have also written songs praising their favorite wrestlers at the time, and even covered wresting theme songs and music groups that they played with (such as Antiseen).

One of the main interesting aspects to the band's sound during the Portland days is Steve Wilson's vocals, which are extremely atypical in punk music: he sounds like a very menacing and mentally unstable John C. Reilly.

Songs to check out from this line up include "Apathy" (my favorite from the band), "Face Full of Teeth" (Antiseen cover, but it out-does the original), "Deeds of the Damned", "HHHH", and "When the Rolls Called Down Under".

After creating a bit of buzz, the band got a chance to move away from Portland, and they relocated to Philly, while unfortunately leaving Eric Larsen (who was previously fired) and Steve Wilson behind.

However, the Philly line-up became a force to be reckoned with. With the Cosmic Commander of Wrestling (RIP) fronting them, it added a more chaotic element to their sound with his extremely raspy and intense voice. This was actually the line-up that got me into them, and I wish I could've witnessed seeing this version of the band live.

Recommended songs from this line-up include "Hostile City U.S.A.", "Rock N' Roll Fraud", "Loser Leaves Town", and "Live Radio Fiasco" (includes a cover of Adrian Street's "Breaking Bones").

After some success touring with long time friends Antiseen, and other insane acts like the Murder Junkies and Hammerlock, the band again relocated, this time to Austin, Texas, and recruited Texas Studd as their new vocalist (as the Cosmic Commander decided to remain in his hometown of Philadelphia). Although a bit weak compared to the other previous vocalists, he does a pretty damn good job.

Recommended songs include "Die Hipster Die", "Imagine What I Could Do To You" (another Adrian Street cover), and "We Hate You All The Way From Texas".

Despite the line-up changes, they always had a "no bullshit" approach to punk rock, let alone rock music in general—An element that has been missing for some time, and is probably why they do not get the respect they deserve, or even taken seriously due to their noise rock origins—Which is bullshit, since everything they released does not sound dated, at all, and elements from even their earliest material can be heard in modern day bands.

John Stahlman is the current bassist of the punk trio Omission and has also been in numerous other bands in the northwestern Pa scene, including Paint Thinner, TxSxOxDx, Made Not Born, Wydell, and Choke The Bastard (now Vermin Warfare). He has a Bachelor of Arts from the University of Pittsburgh at Bradford and majored in Broadcast Communications with a minor in Public Relations, if that has any merit to it anymore. While at college he hosted a few radio shows at the campus' student radio station WDRQ1620 AM, most notably the Underground Vault, which played local music, and also covered the Biological and Health Sciences department while writing for the student newspaper The Source. Stahlman is currently unemployed, in debt, and has gotten to embrace even more of his nihilistic punk rock view of life.

Reviews | Sam and Whiskey's Drunk Listening Party, Vol. 1

ANC staff members Sam Sinister and Whiskey got together one day over drinks to listen to some Cleveland punk bands' digital releases on Bandcamp. These reviews are the result.

Party Plates - s/t 7" (2014)

Sam: Okay, so I guess these guys are kind of angry about something. Is this crust? The recording quality reminds me of old black metal, but I think it might be crust or d-beat. It's not unlistenable, at least not for me, but I don't think I'm in the mood for it at the moment. And trust me, this is music I would have to be in the mood for. Dichordant, quasi-metal guitar riffs and hoarse, unintelligable vocals. It's just monosyllabic sounds.

Are these words? There's also a lot of snare drum. The best part is the part right after the intro to the third track, before the singer starts barking again like a yippy little dog whenever the mailmail shows up.

This all sounds really negative, but honestly I like it. Or, at least, something about it. If it didn't seem like these guys thought they were an awesome band, I'd like it even more.

Whiskey: kidnapping quatro: robotic drums, sloppy guitar solos, & proto screaming vocals. needs to come with a lyrics sheet - totally unintelligible (is that kind of the point?), wow, you’re so pissed.

disforeplay: again, i need the lyrics. do punk/hardcore bands ever have lyrics when the singer is actually screaming? doesn’t his voice hurt after a while? there has to be vocal classes for screamers, right? more sloppy guitars but that obviously doesn’t matter since the rhythm is fairly tight. ah & now we get to the sludgy outro & “discord” false ending.

intro/galloping ghost: chugchugchugchugchugchugchugchugchugchug. “WOOOOOOOORDSSSSS.” chugchugchugchugchugchugchug. “IM SO EROJHLEJSDSLLHFOSHDGLJSBIKWE.” higher tempo chugchugchugchugchugchugchug. it’s like if between the buried & me & a pile of sludge metal shit had a baby.

the one thing i will give these guys credit for is that they obviously don’t take themselves too seriously. super serious hardcore punk bands lately have often have their heads up their asses in regards to their “talent & vision.” the discorded vocals, overdone snare, & choppy guitar riffs definitely lead one to invest in the name: party plates.

Perverts Again - All Over Again (4-track EP, 2014)

Sam: Decent snotty mid-tempo punk rock, SST-style. What's with the flanged, demonic vocals, though? At first I thought it was a gimmick for the opening track, but it's in every song! Overkill, guys! I like the lo-fi approach to the recording, though, and the simplistic guitar/bass/pounding drums formula never fails, at least not for me.

I will say one thing: If these guys never heard of Nirvana I'd be really fucking surprised. Whether or not that's a selling point is entirely up to you, but it reminds me of high school kids who formed bands back when I was, you know, in high school.

Replay value: Not much. Originality: Not much. Listenablity: Sure, why not. The good news is that these guys seem to have a good sense of humor: With song titles like "Bald Spot Boys" and "Outhouse Countdown", you'd have to. They also have "Charged" plastered across the top left corner of their logo, so bonus points for the referential irreverent stuff.

Whiskey: Outhouse Countdown: very simple, straightforward punk groove & lyrics, very silly & campy, the use of the actual countdown is clever. i admit i snickered at some of the lyrics. “brute in the bathroom” chorus is fun & could definitely be screamed while drunk at a show. so far, i’m liking this much more than Party Plates if only for the camp factor & lyrics that are actually understandable.

You’re Not Taking Me to Prom: this song is definitely making me wonder what these guys are like live. the stage show would ideally be pretty outlandish & possibly with a dash of crossdressing & stage humping. (fingers crossed!) drums are incredibly solid & head-nod worthy while the strings are tight. i’m just now noticing the underwater effect on the singr’s voice & it’s giving me a Jabberjaw meets the creature from the black lagoon vibe.

Bald Spot Boy: the same vocal effect is on the singer’s voice that’s definitely intentional & Jabberjaw-ish. so far i’m not blown away by this track because it’s very safe & typical of newer punk bands but it is a decent song with good arrangement. the drummer holds the line down & the guitarist hasn’t overstayed his welcome.

Hunt and Gather: my fear is confirmed: they’ve overdone the underwater effect on the singer’s voice. *yawn* the final track is a dud, limp & lifeless like a lost lamprey. i was pretty into this EP at the beginning but the schtick has worn thin by track 4. still, an okay song.

i do dig the vibe these guys were going for: surf rock meets punk meets garage with overlays of vocal tweaking but it does get tiresome after a few tracks. maybe i will revisit this & come to a different conclusion but for now, it’s an okay effort.

Cruelster - Potatoe Boys LP (2014)

Sam: Old school! Instantly reminds me of Circle Jerks, Black Flag, and Government Issue.

Lots of downstrokes on the guitar, in a Greg Ginn/Johnny Ramone style, and all songs clock in at around a minute or less. Tons of yelling, in a way that doesn't sound contrived. Just pure energy and aggression. Minus any of the metal influences and tough guy posturing typical of most modern hardcore—this is just good ol' fashioned '80s style punk. Mostly mid-tempo fare (for hardcore, at least), with a few double-time circle pit numbers thrown in for good measure.

Not a bad effort; no sir, not by a long shot. A+

Whiskey: i’m not going to bother doing the song titles because they’re less than 90 seconds long.

the recording is what strikes me off the bat; incredibly lo-fi, gritty, & sounds like shit but that’s kind of the charm here. although the vocals are very loud, the lyrics are still comprehensive. high energy & frantic.

the tired trope of using movie quotes is overdone by track 3. but by track 4, i’m back on board for more fist swinging & energy expulsion through the intense guitar churning, tight drums, & call to arms oi inspired lyrics.

these guys are definitely not everyone’s cup of tea but there’s definitely a passion for yesteryear’s punk rock formula: Keep It Simple, Stupid.

Ultra Ultra - Swag Ultra (2011)

Sam: No wave/heavy indie rock stuff. The opening track, "Culture Vultures" is decent: angry, snotty, occasionally off-time vocals and heavy, fuzzed-out guitars with a bit of dissonance here and there.

Track 2, "The T.I.V.", whatever that means, has a bit of hardcore/post-hardcore and emo influences (the latter is especially pronounced, unfortunately). Really not my thing.

The third and final offering, "Chimera (Reprise)", starts out sounding sort of like a bad attempt at garage punk, but quickly goes back to being an awful emo/shoegaze hybrid, this time complete with time signature changes and an answering machine message at the end that was aparrently supposed to be funny, but I couldn't tell what it was even saying, so the joke was lost on me.

I wouldn't recommend this release to my worst enemy.

Whiskey: this seems like the most post punk entry that we’ve sampled so far & it’s going down smoothly so far in track one. there’s definitely a mewithoutyou/tiger’s jaw/glassjaw influence here or at least a band i would have seen on warped tour in the late 90s, early 00s.

there are some chunks to gulp through (typical lyrics, predictable riffs, an overall yawn fest to be honest) but it’s incredibly easy to digest. the biggest saving grace is in the tightness of the bass & polished recording.

this band definitely has similar influences of what i grew up enjoying but doesn’t have much edge to their music. i have to admit that i enjoy it if only for the nostalgia factor (much like a warm yoohoo) but it is unremarkable.

Columns | Why Punk Rock Feminists Tend to Be Better Feminists Than the Other Idiots Who Claim the Title

By Mondo Carnage

Feminism: The word has come to have a ton of definitions according to the person's opinion on the movement. One person can view it as a positive movement, made to improve gender equality; another to expand specifically women's rights; a "dangerous" movement, used to promote sexism
against men; or a complete and total joke (if you're a misogynistic asshole).

I personally view feminism as a movement to promote equality amongst the sexes and for all genders. Although it started out to improve equality for women, my belief is that this goal can never be reached without focusing on equality for all, so the definition should therefore expand. This, therefore, is why I make the claim that punk rock feminists are the ones that actually got feminism right.

(Disclaimer: This is based entirely on anecdotal evidence, so it could be total bullshit, but I'm making the argument anyway, even if only for the sake of writing).

From my own experience, people who listen to punk rock and are feminists actually want equality for everyone. They don't spew some anti-sex bullshit message, nor do they support the idea that the male sex is filled with rapists and are, for some reason, subhuman. This is probably due to the diversity of ideas that punk rock creates, and widens the paradigm of individuals who see the world in shades of gray, instead of black and white (with a few exceptions). I've seen punk rock feminists support men who've been raped by women, and stood by men who've been sexually harassed. I've also seen punk rock feminists fight for transgender rights as well.

However, on the other side of the spectrum, within the realm of YouTubeland, it seems this type of feminism—unfortunately—has not expanded outside of punk rock. For some reason, I end up running into videos of women in their 20s ranting like they've read the S.C.U.M. Manifesto way too many times. I've heard things from them saying that all sex is rape, women should be modest because men treat women who wear skimpy outfits as objects (this is true only if the man is a fucking asshole; most men know there's a damn human being in that outfit), and men should be put into certain classes that expose how shitty we are, because a few select individuals of the male sex are terrible human beings, so the majority must be, too.

That logic reminds me of uber-conservative ideologies like "all Muslims are bad," and so they should have to wear markings to identify themselves as Muslim.

Not only this, those internet feminists refuse to acknowledge that women can also rape men, and the fact that men are subjugated to the same victim blaming as women. Because we all know, if a man has a boner, he must be asking for sex, or even if a man is intoxicated he still wants sex, because men just want sex, right? So therefore, no one can rape a man, according to this mentality.

Which is why I say, "thank you," to the punk rock feminists that expose the world to what feminism really is, and tell the internet plague of pseudo-feminists to go fuck off. Because the punk rock feminist fights against the double standards that those sexists spew from their mouths.