“How
Low Can A Punk Get?”
Written in 1983,
this song was released on Bad Brains’ 2003 release, I & I Survive. Though a little more hardcore in nature, this
song would never fail to be recognized as another fine example of punk rock.
With its fast tempo, loud guitar, and rushed vocals, the song is completely
unapologetic in nature, and doesn’t fail to fill the listener with the
undeniable urge to throw a T.V. through a window and light something on fire.
An abrupt change
of pace from the reggae-influenced sounds that Bad Brains is known for, we are
given a raw vocal-delivery from lead singer H.R. that tells a frustrated
account of a punk in peril: I didn't mean to rip off / I thought it was a get
off in mine / I tried to make the scene off / The plan was doomed to set off on
time.
Though they
themselves object to the term, Bad Brains was one of the very first hardcore
bands on the scene. Hardcore, an offshoot of punk music is much darker,
thicker, and faster than the classic punk music of The Ramones or The Sex
Pistols; no doubt the kind of music Jack Rabid disliked within the punk
culture. After all, the song is enough to send any group of young anarchists
into angst-fueled body-slam frenzy.
One thing I found
unique about Bad Brains is the fact that, besides putting out totally hardcore
music, they’re avid followers of the Rastafarian movement. Upon looking at the
album cover of I & I Survive, you
can tell that they aren’t really aiming to intimidate like their contemporaries
Black Flag. The album cover features no form of mutilation, gritty-looking
artwork, or the like. They’re also much more technically proficient than most
punk bands (they originally formed as a Jazz-Fusion ensemble), which could also
be upsetting to “Punk Rock Conservatives” such as Rabid.
Bottom line: “How
Low Can A Punk Get?” is a great example of hardcore music from true pioneers of
the genre. They may not be four kids from New York in leather jackets singing
about sniffing glue, but it’s some of the most punk rock sounds you’ll ever
hear.
“Bruitist
Pome #5”
A
complete change of pace from the last song, “Bruitist Pome #5” is every “true
punk” fan’s nightmare. Filled with electronic instruments, a complete lack of
vocals, and the incredibly rare use
of a vibraphone, this song embodies the avant-garde, artistic side of punk
music.
Released
by Swedish group Refused on their record The
Shape of Punk to Come in 1998, this puts an emphasis on the next generation of hardcore punk bands
(yes, contrary to this particular song, they are a hardcore band). Like Bad
Brains, we see a much more mature approach to punk music, with an even greater
emphasis on technically advanced, well thought-out material. This could be seen
on their album cover, which features a clean-cut, professional approach, as
opposed to earlier album covers such as Never
Mind the Bollocks, Here’s the Sex Pistols or The Clash.
“Bruitist
Pome” refers to a type of sound poetry, which is, as the name suggest, poetry
without words, instead focusing on the sound
of the words, instead of the words themselves. So, the fact that an
instrumental song is called a “Bruitist Pome” makes sense.
Though
it’s incredibly odd for a punk band, “Bruitist Pome #5” is indeed a great
example of the shape of punk to come. It’s different, it’s avant-garde, and it’s
just one more exploration of the punk genre as an art form. However, once
again, most would not see it as a “punk song,” but instead a prime example of
post-hardcore or art punk.
“Pan
Opticon”
Moving
even further forward, “Pan Opticon,” by contemporary punk band This Moment In
Black History was released incredibly recently. In fact, most of their material was released around 2005-2008. The song features an even more hardcore approach, even coming close to
the border of the likes of heavy metal. With a heavy guitar riff and the
apparent sound of menacing darkness, this song represents just another step (or
a giant leap away) in the land of punk rock.
The
song is more likely than not a reference to a panopticon, a type of prison,
which would definitely account for its dark nature. This is only further
stepping away from the mindset of listening to punk to ignore the problems one
may face in day-to-day living, as the song is incredibly dark, and not really
humorous whatsoever.
As
in the other two songs, this is also a great example of a punk band with
technical ability that greatly surpasses that of their influences, “Pan
Opticon” features a guitar solo, complex rhythms, and vocal harmonies. Once
again, it’s plain to see that this song was very well thought-out and planned.
However,
the group still represents a large amount of the punk “message.” They make
numerous references to the government, even featuring president Barack Obama on
one of their album covers. Also, they embody the DIY attitude of many punks
that came before them, producing and distributing albums all by themselves.
However, that seems to be where the similarities end. True to form, I’m sure
Mr. Rabid would be quite displeased with this particular group.
The
reoccurring theme I found within these groups is the fact that they all seem to
embody the hardcore mindset, as opposed to the clowning earlier punk mindset of
the late 70’s. They all push the envelope, and they all bring something new to
the table. While Jack Rabid may not like it, I personally think it is a shining
example of punk moving forward, even if that means taking on a few new forms.
