Music Reviews: Punk

Sub-genres aside, Green Day can be considered one of the elder statesmen of punk. The Bay Area punk rockers have been in the game for 35 years and are marginally responsible for bringing the DIY aesthetics of punk into the mainstream forefront. Albums like Dookie, Insomniac, and Nimrod established Green Day’s unique sound of power chords, melodic vocals, and fast tempos. Instead of the group growing with only its core audience, they crossed a musical threshold with... Read More

The turn of the millennium was a promising time for The Donnas. Churning out an album a year, consecutive tours and placements in film soundtracks established a respectable platform for the Palo Alto female rockers fresh out of high school. The steady productivity, both on and off the road, allowed the girls to evolve. The female Ramones stylings of their self-titled debut and the sleazier glam rock sound of American Teenage Rock ‘n’ Roll Machine are almost total... Read More

Grunge was the leading musical movement by the turn of the 1990s; its successor emerged from the Bay Area punk scene. Green Day became a household name around 1991 with a sound merging the intensity of hardcore punk with melodic power pop twists. Local label Lookout Records released their first two albums 39/Smooth and Kerplunk, the latter becoming the label’s best-selling release. Independent, limited distribution labels didn't typically sell out of initial 10,000 copy pressings in one day. Green Day started to outgrow its reach; a bidding war arose amongst major labels wanting to sign the band. Free meals, trips to Disneyland, and A&R reps tattooing the band’s name on their ass wasn’t enough to entice them. Producer Rob Cavallo devoured the band's demo and understood the group better than anyone; Green Day signed with Warner/Reprise in 1993. Frowned upon in the eyes of the punk establishment is the idea of "selling out." In Green Day’s eyes, it was merely an exercise in seeing how far they could take their artistry to a larger demographic. Signing with a major label helped the band bridge the gap between the DIY aesthetics of punk and the mainstream.

By the time the 1980s rolled around in Japan, rock music had gone through numerous cycles of boom and bust, starting with Beatles-inspired pop in the 1960s (aka “Group Sounds”), to Hendrix-tinged blues covers, to the Japanese language folk rock movement active in the mid 70s. The youth of Japan, now beginning to feel the downstream effects of the postwar economic miracle were clamoring for a new creative artistic movement to supplant the faded glory of globalized... Read More

In his liner notes for the new Vinyl Me, Please reissue of Iggy and The Stooges’ 1973 album Raw Power, Andy O’Connor says it’s “not a record for audiophiles.” Then why give this record a sumptuously packaged all-analog reissue?Because despite the somewhat rough recording quality, few records are as historically important as Raw Power. It’s not even the best Stooges record, but it’s inarguably their most influential. Forget proto-punk; Raw Power was the first punk... Read More

Within the musical landscape of the 70s, the Ramones came out of the woodwork like a brutal attack. Their style of downstroked three-barre-chord songs about sniffing glue, sedation and lobotomies was the antithesis of the overproduced pop and self indulgence prevalent at the time. The band’s first several albums released from 1976 to 1978 (Ramones, Leave Home, Rocket to Russia and Road to Ruin) are, as far as I know, the punk rock bible that every future punk band... Read More

Kyoto’s four-piece, all-female, Japanese punk sensation Otoboke Beaver are probably the most talented live band I have witnessed in years. My favourite rhythm section in punk rock? No doubt about it, with Hiro-Chan’s bass effortlessly interlocking with the incredible drumming of Kahokiss. Is Kahokiss the best drummer I have ever seen? No question - she can stop and start on a pinhead and hammer out multiple time-signatures in one song at a tempo and force that... Read More