I know of cyberpunk and steampunk, though I couldn’t tell you if they’re called that because of the music or because somebody came up with “cyberpunk” and now “-punk” is the new hotness. Most of my punk knowledge comes from the periphery of punk culture. I don’t even really know what punk music is, man. The upbeat stuff is when your grandkids come around for playtime and you stand up, stretch your back, and then you show them youngins how to do some pushups. It’s old man music, the sort of album you listen to while chilling on a recliner or on a porch somewhere. Minutes from previous meetings of the Society: The Beatles – “Eleanor Rigby”, Tupac – Makaveli, Blur – 13 (with Graeme McMillan), Blur – Think Tank (with Graeme McMillan), Black Thought x Rakim: “Hip-Hop, you the love of my life”, Wu-Tang Clan – Enter The Wu-Tang (36 Chambers), On why I buy vinyl sometimes, on songs about places, Mellowhype’s BlackendwhiteĪnother giveaway! Tell me something I need to know about punk in the comments (meaning: tell me something you like that I probably don’t know and will probably like), and you’ll get a free copy of Gil Scott-Heron’s I’m New Here (mp3s, obviously). I don’t know anything about punk, so both albums were eye-opening. I’ve been experimenting with punk music lately, and I think I might have something interesting to say about The Clash and the Sex Pistols, or, more specifically, their albums London Calling and Never Mind the Bollocks, Here’s the Sex Pistols. This is the tenth, a milestone number that I am going to completely fail to celebrate. The Damon Albarn Appreciation Society is an ongoing series of observations, conversations, and thoughts about music.
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