A snapshot of a band as well as an era as it was heaved up out of the reconstruction of the bohemian/art-attack via power chord beatdown after the hippie thing.
On Halloween night, 1986, Midwest’s hammering punk legends Dead Boys showed up to collect their beer money. In the ’80s, we called this “good bootleg quality.”
Stomping rocker punk growl jammed thru Motörhead’s dirt metal. This guitar ethos has been defined by the great Fistful of Rock series. Look’m up, great stuff.
Pure hard rock riff action without Soundgarden/Alice In Chains’ metal, Mudhoney’s salt blast garage howl, or Pearl Jam’n’Nirvana’s classic rock balladry.
The Godfathers of the German industrial movement perform in a palace that serves as the seat of parliament. Demolition is underway; the hall is empty and cold.
Bleeping honking and farting sine/cosine waves that fell from the art-inflected U.S. pre-punk underground’s soft, white underbelly via rusty knife c-section.
We called it drug folk. Now, it be freak folk. It’s got an eye-rolling approach to its “genre” that keeps the “revival” tag at bay using “ethnic” instruments.
A bootleg with bad sound and shaky footage. Once past that, it’s pretty enjoyable. Contemporaries of Joy Division, Sigue Sique Sputnik, and Sisters of Mercy.
The Jesus Lizard was rhythmic, sweaty, loud, and sexual. Singer David Yow gyrates, howls, and flails, molesting the audience at every available opportunity.