pop punk

If It Ain’t Cheap, It Ain’t Punk: Fifteen Years Of Plan-It X Records

annette — Fri, 07 Jan 2011 08:00:00 +0000

Directed by Joe Biel

If It Ain’t Cheap, It Ain’t Punk is a sweet, well put together documentary film that captures the spirit and feel of the do-it-yourself, underground punk scene that has grown up around Plan-it X Records in Bloomington, Indiana. The film began as part of a filmmaking workshop at Plan-it X’s weeklong festival in Bloomington in 2006. In sixty concise minutes it documents the fifteen-year history of Plan-it X records and of the growth of the do-it-yourself, underground punk movement that it has helped foster. The film includes live footage of bands such as Operation: Cliff Clavin, Ghost Mice, Defiance, Ohio; Against Me, Soophie Nun Squad, Japanther, and This Bike Is a Pipbomb. It also includes interviews with important figures in the Plan-it X universe such as Chris Clavin, who runs the label, and Hannah Jones from Ghost Mice and Operation: Cliff Clavin, as well as many participants in the Plan-it X festival.

The tone of the film is positive, light, and respectful. It showcases the relaxed, friendly atmosphere created by the bands and fans and their commitment to the politics of do-it-yourself economies, punk community, and radical activism. It is clear that the filmmakers are a part of the scene and close to many of their interviewees. They capture the scrappy aesthetic of patched shorts, wild hair and silk-screened t-shirts and the sense of playfulness that infuses the scene through kickball games and quarry swimming, as well as participants’ dedication to freely exchanging skills, ideas, and resources.

The filmmakers also make a conscious effort to explain the scene to those who may not be familiar with it. They try to contextualize its emergence within the history of do-it-yourself hardcore, pop punk, and the ease of communication and information dissemination facilitated by rise of the Internet. While this makes for a balanced documentary, it also is where the film falters. It’s unclear whether the film is made for an audience that is already familiar with Plan-it X and will thrill to seeing their community captured on camera or if it aims to explain this sub-culture to a wider audience.

Because it is unsure of its audience, If It Ain’t, It Ain’t Punk’s only fault is that it does not analyze the scene very deeply. While the range of commentators includes men and women in nearly equally numbers and the filmmakers are sure to include some voices over the age of forty, including a very sweet dad who has come to the festival with his son, there is a lack of analysis about who exactly is able to participate in this sub-culture and feels welcome. Most of the faces are white and most of the bands are male and the demographic of participants is overwhelmingly young, most under twenty-five. While this is unfortunately inevitable in many rock-oriented scenes, because the filmmakers are so seeped in the culture of do-it-yourself punk, they would be in a good position to critique it while not loosing what makes it so special: the friendship, fun, and political commitment that the film highlights so handily.

Written by: Eleanor Whitney, January 7th 2011

Ghosts

admin — Fri, 12 Mar 2010 01:00:00 +0000

By Nakatomi Plaza

Ghosts is a gripping, ten song, posthumous love letter from Brooklyn’s Nakatomi Plaza. Aptly named for a record released after the band’s break up, the album comes with a booklet of liner notes filled with blurry black and white photos and reflections from each of the members about their time in the band. Reading these, one might assume that Nakatomi Plaza was just another idealistic punk band trying to keep their teenage, DIY-revolution zeal alive in the face of New York City and the challenges of adulthood. However, this is too hasty of a conclusion. Nakatomi Plaza made high-energy, pop punk for years, and they have produced a slick record that will appeal to the lovers of homemade recordings and kids who have grown up on mainstream “emo” rock production alike.

Any listener for whom the discovery of punk rock helped them survive their formative years will relate to Nakatomi Plaza’s fervent songwriting and passion driven performance. After close listening it’s also clear that playing music also was a formative experience for the band members and this album serves as a tribute to their years together.

The songs are fit for dancing and the lyrics for soul searching. The guitars crunch and twang with references to 1990’s bands like the Promise Ring and Jawbreaker, but the sound stays down to earth. From the road anthem of “Bomb Shelter,” to the melodic, catchy emotional rock of “Artificial Light” to the driving beats and desperation of “Guards,” Nakatomi Plaza knew how to construct a song and capture a moment in their music and in their lives. It’s rare to find a punk record on which each song is distinctly crafted and committed to tape. Ghosts underlines that Nakatomi Plaza’s break up is a loss for Brooklyn’s rock scene, but at least they have left this record.

Written by: Eleanor Whitney, March 11th 2010

Deflowered: My Life in Pansy Division

admin — Tue, 27 Oct 2009 19:07:00 +0000

By Jon Ginoli

Cleis Press

As I was reading Jon Ginoli's retelling of the rise of pop punk's first openly gay band, Pansy Division―from his perspective as the lead singer―I found that whenever I left the book on the table, with its bright pink cover labeled with stickers reading “promote homosexuality” and “sexual anarchist,” I could only imagine there were a few raised eyebrows in the small town Northeast Ohio coffee shop where I read. And I can imagine that these raised eyebrows and perked ears listening to the unabashedly queer lyrics―something they were most likely not accustomed to―was one goal. It is hard to be ignorant and hateful in the face of authenticity and irreverence. It is hard to resist the fearless and ribald celebration of being a member of a minority forced for so long to cower on the margins of a supposedly free and egalitarian society. This is what I suspect is the enduring legacy of this band that “came from a somewhere” in the middle of America.

But let's be clear. Pansy Division did not simply trail-blaze through punk rock as the first openly gay pop punk band. It was also a group of friends and the harrowing tales of the varied reactions and accommodations to Pandy Division through the US and Canada; it was as good a read as Ginoli's portrayal of his activity with ACT UP and the homogeneity of the gay club scene. Ginoli's Deflowered is as much a story about the love of independent music as it is of a band with lyrics that combine humor and relatability in a way that many gay and straight listeners to punk and rock could only speculate concerning other well-known acts.

By the time I had reached the last page, my iPod had several Pansy Division songs, specifically “Bunnies” and “The Cocksucker Club.” It seemed an appropriate way to support and celebrate their time on stage.

Written by: Brandon Copeland, October 27th 2009

At Home We Are Tourists

admin — Mon, 05 Oct 2009 21:07:00 +0000

By Settle

Epitaph

At Home We Are Tourists is the first full length album from this eastern Pennsylvania band. These four guys have been together for a while though and have a fair amount of experience, including winning MTVU’s “Best Band on Campus” competition in 2006. From the opening track of this album Settle establishes themselves as a band with a knack for creating fun, danceable pop tunes.

A quick look at Settle’s MySpace page reveals a die hard fan base, which isn’t too surprising as their music has that “my favorite little garage band” feel. Pop-punk influences like Alkaline Trio or Jimmy Eat World are clear in their music, but Settle’s sound manages to set them apart from the other dozens of bands that fall into this genre. Indeed, the combination of clear musical talent on their strings and percussion with solid vocals (yes layered, but layered well) creates a tight sound normally earned by more seasoned musicians who have been playing together for years. Some songs even boast their willingness to play with more electronic sounds, most obviously in “ISO: 49yr old M W/ Kids seeks 26 yr old F W/O Kids.”

Settle also escapes the often trite adolescent tones that one might expect from the first album from a band with such obvious pop punk sounds. The lyrics and themes are curiously insightful. In one of two slower songs on the album, “Sunday, Morning After,” lead singer Dave Goletz’s deep, full voice appropriately croaks “I used to think I’d have to stay a while, but I don’t think you know who I am.” A nice whistling accompaniment follows and completes the nonchalant sentiments of the morning after a one night stand: emotions relatable and not often discussed in music without heavy brokenheartedness.

One can also catch glimpses of softer, echoed vocals more associated with good '80s pop in “On the Prowl,” and they dabble with noise rock chaos in the track “Dance Rock is the New Pasture” just to shake off, or beat off, any accusations of easy pop melodies. Check out their MySpace page to get a better sample of the songs from their current album, which establishes them as a band whose ability to write good pop songs matches their clear musical talent.

Written by: Sara Custer, October 5th 2009

Plunt

admin — Fri, 11 Sep 2009 00:14:00 +0000

By Plunt

Bongo Beat Records

From the get-go, Plunt prejudiced me in their favor. They dub themselves "Montreal indie pop punk"—all promising adjectives, even if "Montreal" isn't really an adjective, but a beautiful city filled with friendly people. Then the group adds adorable cover art, bilingual credits, and band photograph that's the very opposite of a glamour shot. Look, they didn't even comb their hair! The quartet is evenly divided male and female, giving both sexes a crack at vocals—yet another point in their favor.

Alas, the album doesn't quite live up to expectations. True, the songs are short and poppy, but the album feels almost schizoid. Many tracks feature a slow tempo and mellow mood. It's a matter of taste surely, but those tracks just did not grab me the way the faster, edgier songs did. "Rider," for instance, takes more from twangy country-western music than punk. The reverb on the vocals is interesting, but I am not sure what it ultimately adds to the song as a whole.

These slower songs do make the observational lyrics audible to the listener who has time to ponder them and respond to the images they evoke. References to the female singer's weight, for instance, and the mundane ("Do you want milk in your coffee?") paint a picture of average folks finding words for their music as they go. There is also wordplay that can be clever, such as in "Ménage-A-Trois," an English song using French loan-words, whose chorus asks the listener to "Pardon my French." Or it can be annoying, as in "Pointe," which seeks to use every possible connotation of "point," until I wanted to scream, "Ok, I get the point!" Ultimately, these tracks feel like intellectual experiments.

The faster, better tracks make known the group's punk influence, featuring jangling guitars and choruses half-shouted in unison. "Chapi Chapo" is an infectious homage to the Ramones' "Blitzkrieg Bop." "Ho Hoho" is a near perfect bit of teenage angst laid over banging drums. My number one pick of the album, "Barbie," is a clever commentary on the marketing of political ideology to children. The song describes (fictional) Disaster Relief Barbie, who wears camo, drives a hummer, and dates Army Ken. Sure, Barbie is an easy target for dissidents, but you just try to keep from clapping along with the chorus. "Catfood Face" unites the two modes of the album: it moseys through an ode to the singer's cat, full of amusing observations and questions: "What have you done to the squirrel?" For the final chorus, the tempo and volume leap and the song becomes a headbanger. Entertaining, but inexplicable.

The album opens and closes with instrumental numbers, two variations on the same theme that make good use of horns and keyboard. Indeed, the overall instrumentation and arrangement throughout the album is skilled. I suspect that Plunt's second album, when they have had more time to settle on a persona and sound, will be well worth a listen.

Written by: Charlotte Malerich, September 10th 2009

Lower Bounds

admin — Sun, 26 Apr 2009 10:20:00 +0000

By Only Thunder

Bermuda Mohawk

The band Only Thunder consists of a lot of rumble and electricity. Generalized stylistic terms like “post-punk,” “mall punk,” and “emo-punk” get thrown around a lot and can often be harmful to an album if applied. Though, I must say, all of those labels can apply to the sounds of Only Thunder and have probably been applied to them in the past. But don’t let that discourage you from giving the band a listen. It’s evident from listening to their tunes that Only Thunder is greatly influenced by the likes of Hot Water Music and Black Flag. However, unlike many other followers of these punk staples, Only Thunder actually does some justice to their predecessors.

Lower Bounds sounds strangely self-assured for a debut album. Their stylistic aim is clear from the opening song, "Tapestries, Candles, Zima," and is executed by their hardcore guitar riffs and doubled drums throughout. It’s a classic punk equation with simple repeated chords and varied rhythm. The drums are dry and fast. It’s not too polished, but approachable enough for all types of music fans. Layered vocals round out their sound and could arguably be the weakest part of their music.

Their broken heart blues are nothing new and Only Thunder doesn’t give it a different spin either. Despite that, one can appreciate that the words aren’t delivered in a nasally self-entitled whine or a meek whimper. Rather, the lyrics are presented in a strong, solid and, most appropriately, loud way that makes you feel apart of the music‘s emotions.

All in all, Only Thunder is the kind of music that makes me imagine a band that might play in the basement of a rundown bowling alley in Cleveland. The ceiling is water-stained, the stage is small, and the air is thick with smoke. The dance floor is full of dudes sweating, pushing, jumping and not missing one word. And if you remember closely, you can even see a few chicks getting into the storm as well.

Written by: Sara Custer, April 26th 2009

Because I’m Awesome

admin — Fri, 13 Jul 2007 23:09:00 +0000

By The Dollyrots

Blackheart Records

Confession time: I’m a child of the '80s, but I never listened to Madonna, Prince or even the Talking Heads. I like to think I came of age with Gwen Stefani, Tori Amos and, well, Ani Difranco. Even when I was younger, lyrics took precedence over sound, substance or production, and I think these are the reasons why the first riff of The Dollyrots new album, Because I’m Awesome, was instantly appealing.

With quick guitars, a girl singer and short, snappy songs, I was immediately hooked. The Dollyrots call themselves a punk band, but I hear similarities to Liz Phair, Sleater-Kinney and, of course, Joan Jett, especially when these three artists were at the pinnacle of their success. There is a formula here, but there is nothing watered down about The Dollyrots. These are very radio-friendly songs about dangerous crushes, best friends, heartache and leaving town (specifically L.A.).

Speaking of L.A., The Dollyrots hail from the City of Angels. This is their second album, and it’s distributed by Blackheart Records, the label owned by Joan Jett. I don’t hear anything new here, but I’m okay with that. Working within the pop punk genre, The Dollyrots have mastered the call-and-response chorus, and I love singing along hoping their next album will channel Liz Phair. Don’t miss the title track!

Written by: Courtney Ham, July 13th 2007

Ladyfest South (January 25-28, 2007)

admin — Fri, 13 Apr 2007 23:30:00 +0000

Various Locations

Atlanta, Georgia

Ladyfest South is always a blast because it is back to back lady talent for a good cause. Ladyfest South 2007 happened over four nights at four venues in Atlanta and featured over fifty music and spoken word acts. This year’s beneficiaries are The Rock N’ Roll Camp for Girls and The Fund for Southern Communities.

Thursday January 25, 2007 - Eyedrum Art Space

Phat Man Dee from PA is amazing and fun to see. She sports interesting costumes and sings cabaret camp and pop. Julia Carroll is a "hard folker" from Gainesville Georgia, an Ani inspired, in your face young lesbian who sounds a little like Suzanne Vega, and whose style is a la Johnny Cash talk/sing. Julia’s songs are fast paced and socially conscious. Julia has really grown in her voice, stage presence and guitar work. With her high cheek bones, thin frame, high energy and jeaned attire Nashville’s Steff Mahan slightly resembles Michelle Malone. Steff is country folk, plays guitar as hard as Amy Ray, and really blew the crowd away with her impassioned performance and songs from hard time experiences. "God, Are You Mad at Me?" was about a lousy 2006.

This writer always loves to see Renee Mixon, from Rome, Georgia. Renee is a teacher with a fresh, clean, look and attitude. Her songs of love and loss are timeless, have rhythm, and are always interesting. The Morgan Rowe Band from Decatur was in top form as usual. Morgan is an amazing talent with a great band who deserves a wider audience. Morgan is a great, undiscovered talent.

Friday, January 26, 2007 - If Coffeehouse

Sabrina is a folk singer with a sixties style, powerful voice and message songs. Sabrina has a strong, commanding presence and gives advice in "Say So," and, "What R Y Waiting For," a fast paced diatribe against materialism. Atlanta’s Barb Carbon is intimate folk. Barb draws us into her world. "I am not ok… the mystery of life is wearing me down.” "Start Again" is haunting. Rana, from D.C is philosophical folk and like Mary Chapin Carpenter has a dry sense of humor. There is something expansive about Rana’s style. Her voice reaches out with strong emotion and her guitar playing is clear, strong and simple.

Tiny Nicole Reynolds from Pittsburgh looks like a young Bob Dylan. Reynolds has a sweet, striking and very soft voice - like a whisper. Reynolds majored in jazz guitar in college, but her style is pure folk. She left her audience wanting more and "Wondrin," was amazing.

Friday, January 26, 2007 - The Earl

Box, a rock band from D.C. describes themselves as: “Really pissed off lesbians who drank a half gallon of whiskey… a pack of monkeys.” Box has a lot of fun onstage. Their sound is strong and clean, one can hear the lyrics, and the song, "Holier Than Thou" is awesome. The vocalist can be a little off, but their sense of humor is right on. Also performed was "Lezzie’s for the Lord," and "Mullet Head Girlfriend," all just right for the party atmosphere of Ladyfest South.

Oriflamme, from Gainesville, Georgia is a girl band with poppy punk electric guitars and two bass guitars. Their words are hard to hear, but the music is textured, interesting and not too hard. Atlanta’s My Siamese Self, is rockabilly and punk garage rock, and featured some great guttural singing by the bass player. "Shrug Shoulder Hero" is a fine example of their unique style.

Saturday, January 27, 2007 - The 5 Spot

Easyell was a last minute fill-in, who really grabbed attention. A soul and folk singer, Easyell’s voice and songs were haunting. Spoken word artist Ryka Aoki de la Cruz from Los Angeles also performed. Her poems address issues, such as abuse, and offer hope.

Sunday, January 28, 2007 - Eyedrum Art Space

Mare Wakefield from Nashville on guitar and vocals performed with her bassist. Wakefield is alt country with an attitude, as a mix of Natalie Merchant, Shawn Colvin and Dolly Parton. Wakefield blends sophisticated bluegrass, country and jazz with funny stories. Mare’s voice is good and has rhythm, and her playing complements her singing. Wakefield performed "Love vs. the USA" and a break up ballad, "You’ve Done Enough." David and Roselyn from New Orleans performed with the rumba box, banjo, harmonica, trumpet and tambourine. Small Framed Boy from Atlanta, "Experimental, Psychedelic, and Progressive," closed out the night and the fest with their blend of noise, funk, rock and Middle Eastern elements.

The call goes out to other strong women who will step up to the plate and organize this amazing festival next time.

Written by: Katie Klemenchich, April 13th 2007

Venus

admin — Fri, 30 Mar 2007 12:27:00 +0000

By We are the Fury

One Big Spark/East West Records

The opening and strongest tracks on Venus. “Venus” and “Now You Know,” from this five-piece band from Ohio are catchy, energetic and fun, setting the atmosphere for the rest of this pop-punk album. As the title implies, the songs are about love, but so much so that it delivers a kind of monotony, which drives the listener away at times.

“Blue Coat, Black Hair” reminds me of Billy Talent with its faced-paced, hardcore sound and screaming vocals. Songs switch between slow ballads and music that has a definite ’70s glam-rock feel - like that of “Still Don’t Know Your Name” and “Hey Love,” which makes me think of David Bowie.

I find myself wanting to hear more variety in the over-the-top upbeat vocals and its melodramatic consistency. “So Physical” is probably the weakest single, with an overly polished quality that’s reflected throughout much of the 12-track CD. Singer Jeremy Lublin’s voice dominates, as do the drums; the electric guitar pieces are pushed to the background, but its openings are great, especially in “Camera Tricks.” I prefer the slower melodies like “Close Your Eyes” and “You’re My Halo,” which you can imagine being a soundtrack to a musical like Grease!

Overall, if you like Hot Hot Heat and enjoy listening to a playful, dance-y, glam-rock sound then you may find Venus quite infectious.

Written by: Payal Patel, March 30th 2007