It's not that......
......todays music is shite, god knows I loved the Strokes album and the Yeah Yeah Yeahs singles, but there's no revolution, no new-ness, nothing unique. When was the last EXCITING movement? Britpop? Acid House? fuck knows. Dug out my records last week, plugged in my old Dual deck and rediscovered NO Wave/Post Punk. It wasn't much of a movement I know but, for me, contained as much excitement as Punk. No Wave music reasserted the original anarchy and amateurism of punk rock while rejecting the formulaic rhythms of rock and roll, and the structure that came with regular chord changes and verse/chorus organization. These musicians explored the extremes rhythm and the textures of noise that could be produced with garage band equipment. As raw and fresh as it was, no wave sounded like an amalgam of weird 60's experiments, a blend of Sun Ra, the Velvet Underground, Yoko Ono, and Captain Beefheart, with echoes of disco thrown into the mix.
Amazon delivered to me today two vinyl albums; A South Bronx Story by ESG and In The Beginning There Was Rhythm by various artists. ESG were formed at the start of Hip-Hop. They became the most sampled of groups ever among their contemporaries such as Public Enemy, LL Cool J, Marley Marl and Grandmaster Flash. Shortly afterwards they were adopted by the underground dance scene. ESG are indeed the only group to play at the opening night of Manchester's legendary Hacienda and the closing night of New York's equally legendary Paradise Garage where they shared the night with Larry Levan. Originally signed to Factory Records in the UK their first album was produced by Martin Hannett and recorded at the same time as A Certain Ratio's classic To Each album. Current artists such as Le Tigre and Peaches constantly cite ESG as inspiration. In the early '80s, ESG inspired the new wave scene from dark and moody to dance-y, quirky, and all-around more inspired by black music, when they found themselves opening for acts like the Clash, A Certain Ratio, Public Image Ltd., Liquid Liquid, and Gang of Four.
ESG
Dancing at Club Soul Kitchen in Newcastle (later to become the top geordie label Kitchenware) on a thursday night in 1982 to ESG's 'Moody' followed by 23 Skidoo's 'Coup' was always one of the highlights of my week. Flat-tops, tartan shirts, Levis red tabs, Doc Martin loafers with tassles, lager 'n' black, girls with french plaits and 50's blouses, smoking while dancing then storming off the floor because the DJ was playing Theatre of Hates 'Westworld' for the third time that night. Memories. Fading fast.
How raw do you like your dance music? Does modern techno feel like a soft blow to your skull? There used to be a better way. In the Beginning There Was Rhythm is a compilation of British post-punk bands, including the Slits, Gang of Four, Throbbing Gristle, and Cabaret Voltaire. Lots of drums and wires, knife-sharp scratchy rhythm guitar, crappy synths, and old funk and reggae samples. Men shouting political slogans and naked women covered in mud. It may sound old, but it sure as hell isn't dated.This stuff is primal, made by people who were finding new ways to move us. Picture early man banging animal skins with sticks and that's your average live Slits show.
These songs came out of the bleak setting of industrial England in the late 70s and early 80s. The Thatcher administration came into power, and skinheads and members of the National Right roamed the streets. Against this climate, bands emerged embodying a new racial, sexual, and musical diversity. DJs spun reggae records at punk shows. Tape loops and synthesizers joined the guitar as lead instruments. Funk, dub, and experimental music were bigger influences than the Velvet Underground.
If there's anything's wrong with 'In The Beginning There Was Rhythm', it's that it's too short; the story of post-punk could take up several box sets. Many bands got left out, and it would also be interesting to hear how the bands developed-- for example, to watch the early Human League with its craptronic keyboards and all-guy line-up grow into the band that created the synth-pop masterpiece Dare. But the problem with big anthologies is that they inevitably use tracks that are important but aren't fun. This album, on the other hand, doesn't have a single limp tune. So, imagine you are in a cold, crowded warehouse in Deptford, rigged with neon-lights and heavy amps, people look like they are members of the Nazi Youth yet wear anti-nazi-league badges, Johnny Lydon is starting a drunken brawl in one corner and somewhere on a stage a heroin-addicted drummer is banging away like there is no tomorrow. You get the idea.
A Certain Ratio (which one d'ya wanna fuck most?)