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      ‘I’m journalling, just like Taylor Swift’: Kim Gordon on TikTok, motherhood and her revealing new album

      news.movim.eu / TheGuardian · 4 days ago - 11:55

    The alt rock pioneer has earned social media adoration for her trap-infused new song Bye Bye. Now she’s following it up with a ‘realistic’ new record , as well as a collection of her late brother’s writing

    The Daft Hunks are two twentysomething YouTube influencers who don’t review music so much as react to it (their most-watched videos see them listening to Olivia Rodrigo and Lana Del Rey in real time). On their latest video they check out the new single from Kim Gordon. “She’s 70 years old and still doing it,” says one of the Hunks. “That’s crazy,” says the other.

    They begin playing Gordon’s new single, Bye Bye, its dread-inducing hip-hop beats scraping against each other as Gordon intones a scribbled to-do list. “Buy a suitcase, pants to the cleaner,” Gordon raps threateningly. “Call the vet, call the groomer.”

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      Sum 41: ‘Pop-punk was seen as paint-by-numbers nursery rhyme music. But there’s a lot of creativity’

      news.movim.eu / TheGuardian · 7 days ago - 11:15 · 1 minute

    The Canadian band have weathered shocking attacks, alcoholism, collapsing popularity and being papped with Paris Hilton – so why are they breaking up amid their genre’s resurgence?

    For a generation raised by Napster and MTV, the video for Sum 41’s Fat Lip is up there with 9/11 news broadcasts and Sonia Jackson’s surprise baby on EastEnders among the definitive footage of the turn of the millennium. Backing one of the band’s sweetly snotty pop-punk songs, handheld cameras capture teens skateboarding with fireworks; girls get Chelsea haircuts; crust punks taunt the police. Strung together like every early 00s Saturday flashing before your eyes on your deathbed, Fat Lip – still with one of the brightest choruses in punk history – preserves the feel of a subculture gone mainstream.

    It was included on 2001 debut album All Killer No Filler, but Sum 41 actually formed back in 1996 in Ajax, a small town just outside Toronto. They were still teenagers when they signed with Island Records, following the same path that catapulted Green Day and Blink-182 out of their local DIY scenes as A&R guys searched for the next poster kids for disaffection; All Killer No Filler’s songs were propagated everywhere from MTV and video game soundtracks to teen dramas and superhero blockbusters. At the band’s commercial height, frontman Deryck Whibley was a paparazzi magnet, dating Paris Hilton then marrying (and later divorcing) Avril Lavigne, prompting relentless tabloid gossip about his personal life.

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      Idles: Tangk review – a return to joy as an act of resistance

      news.movim.eu / TheGuardian · Thursday, 15 February - 11:33 · 1 minute

    (Partisan)
    It doesn’t all work, but there are plenty of smart, intriguing ideas as Idles prove they don’t just do howling fury

    The pitch for Idles’ fifth album is very straightforward. “This is our album of beauty and power,” wrote frontman Joe Talbot on social media towards the end of last year. “All love songs.” Indeed, it’s so straightforward, you might question the value of announcing it at all: writing love songs is hardly a hitherto-unprecedented move in rock and pop history.

    But context is everything, and this is Idles we’re taking about: authors of I’m Scum, Rottweiler, White Privilege and Never Fight a Man With a Perm, they of the guitarist given to performing onstage clad only in a pair of Y-fronts, who rose to fame on the back of debut album Brutalism, essentially a 41-minute long howl of grief and confusion at the death of Talbot’s mother and fury at the state of the UK. It was the right album for post-Brexit 2017, the year of Grenfell Tower, the Manchester Arena bombing, and of the Red Cross describing the state of Britain’s hospitals as a “humanitarian crisis” – so Idles did not seem like a band terribly likely to release an album of love songs, even one titled Tangk, in an onomatopoeic attempt to describe the impact of its sound.

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      Wayne Kramer: a complex and influential musician, dogged by lucklessness

      news.movim.eu / TheGuardian · Saturday, 3 February - 16:37

    The musician, who has died aged 75, co-founded MC5, a band that for all its undoubted brilliance, lurched from one disaster to the next

    Wayne Kramer used to tell a remarkable story about the first time he realised how influential his music had become. It was 1976, and he read an article in Billboard magazine about the Ramones and the burgeoning New York punk scene, which “kept saying that these kind of bands were inspired by the MC5”. Kramer was so horrified, he tore the magazine up and flushed it down the nearest toilet.

    He was in a federal prison in Kentucky, serving a four-year sentence for drug offences and, as he put it, “from where I was sat, ‘punk’ did not have a good ring to it”. “In jail, a punk is somebody that they knock down and make their girlfriend, you know: ‘I’m gonna make you my punk’,” he recalled. “That kind of talk could get you killed, right?”

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      Second Russian performer detained for sock-on-penis stunt

      news.movim.eu / TheGuardian · Tuesday, 9 January - 11:20

    Incident involving Shchenki singer Maxim Tesli follows imprisonment of rapper Vacio for doing same at Moscow party

    A Russian singer has been detained for appearing before a concert audience wearing nothing but a sock on his penis, weeks after a rapper was jailed for doing the same at a Moscow party that caused a national scandal.

    Maxim Tesli, the frontman of a band called Shchenki (The Puppies), was detained at a St Petersburg airport, the state news agency Tass reported. The local news outlet Fontanka said he had been charged with petty hooliganism.

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      ‘I regret punching Lennon’: Terri Hooley on his wild life in the Belfast punk scene

      news.movim.eu / TheGuardian · Tuesday, 2 January - 12:04

    He belted a Beatle, launched the Undertones and foiled armed kidnappers. Terri Hooley explains how he kept Northern Irish teens kicking as the Troubles escalated

    ‘What’ve I done? Made an eejit of myself?” Terri Hooley snaps when I praise his myriad achievements. “I’m fed up being called The Godfather of Punk – I’m not. I’m just an old hippy and punk was hippies’ revenge, cos you didn’t listen to us first time round!”

    I had been warned Hooley might be cranky due to the dialysis he undergoes thrice weekly, combined with a busy schedule that involved DJing at recent gigs by the Northern Irish punk bands he brought to light – the Undertones and the Outcasts – and promoting the just-published biography Terri Hooley: Seventy-Five Revolutions, by Stuart Bailie. Turning to this biography makes Hooley perk up. “I think it’s wonderful,” says the man whose championing of punk during the Troubles gave the region’s youth hope. “When Stuart first told me about it, I thought he was mad!” Hooley’s now all charm, happy to relive his extraordinary life.

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      Green Day: ‘If you want to experience British culture, go to see Millwall play’

      news.movim.eu / TheGuardian · Wednesday, 27 December - 13:00

    Ahead of a UK tour and the release of their 14th studio album, Saviors, the trio talk conspiracy theories, being lost and what makes a good political song
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    Green Day are celebrating 30 years of Dookie and 20 years of American Idiot on a stadium tour this year, and their new album Saviors (out 12 January) straddles those era-defining releases. Covering inequality and the alt right, it’s as political as American Idiot, while references to dating apps and free weed chime with Dookie’s slacker vibe. Saviors also reunites them with longtime producer Rob Cavallo for the first time since 2016. “It was crazy. I texted Rob one day and he replied saying ‘you wanna make rock’n’roll history again together?’” frontman Billie Joe Armstrong explains. “I was like, I was just texting to say hi … but fuck yeah, let’s have some fun!”

    You recorded most of Saviors at RAK Studios in London. What’s your favourite thing about the city?

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      From Britney to Germán Bringas: the best old music our writers discovered in 2023

      news.movim.eu / TheGuardian · Tuesday, 26 December - 18:00

    Our belated discoveries included some giant hits of the 80s and 90s as well as little noticed Moroccan genius and Polish post-punk
    More on the best music of 2023
    More on the best culture of 2023

    Slapp Happy’s 1972 debut album is a curious thing. It was recorded at Faust’s Wümme studios, with the krautrock legends acting as backing band, but it sounds absolutely nothing like krautrock. It was intended as a joke – a sarcastic response to experimental musician Anthony Moore’s record label demanding something more commercial – but carries no audible trace of the smug condescension that implies. Instead, it exists in an unplaceable space of its own creation. Its melodies stick with you – the fabulous Blue Flower was covered on Mazzy Star’s 1990 debut album She Hangs Brightly – its air of oddness feels unaffected, Dagmar Krause’s voice is a plaintive delight: pop music made by minds untethered to accepted notions of pop. Alexis Petridis

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      Jaimie Branch: Fly Or Die Fly Or Die Fly Or Die ((world war)) review – last post from a psychedelic warrior

      news.movim.eu / TheGuardian · Saturday, 19 August, 2023 - 13:00

    (International Anthem)
    The punk-jazz trumpeter died last year without star recognition but this posthumous album is testament to her inventiveness and commitment to ‘make music into the void’

    When an artist dies young, it often feels as though their passing is especially hard to bear. “So full of life,” is a phrase we reach for. However rote, that sentiment is pretty much unavoidable when you hear the surging, posthumous album by trumpetist, band leader and arch-collaborator Jaimie Branch, who died this time last year aged 39. Branch had very nearly finished this third outing under her own name with her Fly Or Die quartet: percussionist Chad Taylor, acoustic bassist Jason Ajemian and cellist-flautist-keyboard player Lester St Louis. Two groundbreaking, energetic studio albums precede it: 2017’s Fly Or Die and 2019’s Fly Or Die II – Bird Dogs of Paradise .

    As the band name suggests, there was a breakneck, YOLO verve to everything Branch did that goes double here. Wolf-like howls punctuate these tracks, vying for primacy with scything, bowed strings. Rhythms drive, tumble and sashay. In the liner notes, her band speak of “longer forms, more modulations and more noise”.

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