Nanaimo’s punk-rock band The Body Politic has definite plans to continue touring following the release of their latest album, Contr:addiction. After a small and successful Vancouver Island run last month following the launch on November 17th, plans are not being stalled as Christmas nears. A larger show to play throughout Canada is planned and it should start as early as Spring 2018. For people who can not wait, the holiday season is here to offer to those rockers a digital download of this album. Holiday shoppers can ‘Send as gift’ this album on their webpage here.
Trying to discover this Japanese punk rock scene has been described by some music journalists as hard to penetrate and it’ll take a documentary like Danger Boys: Punks in Osaka to penetrate.
By Ed Sum (The Vintage Tempest)
Murahachibu and Zuno Keisatsu are two Japanese punk rock bands who helped form the punk rock music scene during the 70’s. Although the former shifted focus, and the other remained, to consider how their sound evolved to what is heard today, trying to discover what works has been described by some music journalists as hard to penetrate and it’ll take a documentary like Danger Boys: Punks in Osaka to break down this scene.
Theis world, according to a 2014 article in the Japan Times, is “notoriously difficult to penetrate. What’s there is said to be tucked away in the basements and upper floors of anonymous buildings, often in seedy parts of town, where the neighbours will be less likely to raise complaints against noise and loitering, with websites that update schedules only a few days before the actual events and that rarely link to any of the artists performing, live venues are like a hidden world open only to those who know the secret handshake.”
Seattle-based pseudo-punk band Tennis Pro entered this realm when they hit the road less travelled to gain recognition in their documentary Big in Japan (2014), but to penetrate Japan’s current scene within a world buried in another one is just as tough to uncover. Enter Danger Boys: Punks in Osaka, a documentary by Nick Romi (director) which is set to release December 11, 2017. This video can be pre-ordered at foreverunholystore.bigcartel.com and early birds will get a limited edition poster for a fantastic price of $10. This video will also be available on select streaming video services on the same day.
By Ed Sum (The Vintage Tempest)
To be published in an upcoming issue of Absolute Underground Magazine
The Damned: Don’t You Wish That We Were Dead is a fascinating documentary that looks at the rise, decline and resurrection of the United Kingdom’s seminary lords of the punk rock scene. They helped give rise to it mid to late 70’s, and the people they influenced included Chrissie Hynde of The Pretenders — who played with The Damned albeit briefly before finding her own road to success.
Although I would have liked to hear more from her brief stint, many well-known names were interviewed about the influence this band had back then. They were very introspective. Appearances from Billy Idol, Lemmy, Son Letts, Nick Mason of Pink Floyd, Mick Jones of The Clash and Clem Burke of Blondie are just some of the names who lend their insights to what this group represented. Although they never attained the global success that bands like the Sex Pistols attained, that may be in part to the image the founding members — Dave Vanian, Brian James, Captain Sensible and Rat Scabies — wanted to project. They seemed rather schizophrenic early in their inception.
In 2014, the Albertan punk-metal-country band The Smalls reunited for a true farewell tour and for directors Trevor Smith and John Kerr, they nicely captured the rawness and love Western Canada has for this group in their documentary The Smalls: Forever is a Long Time. Through candid interviews with the band and industry observers, viewers come to understand where each member has come from, where are they now, and why they decided to perform one last time. Whatever the reason was behind the break-up, the explanations are alluded to instead of spelling it out point-blank.
This documentary does not focus on the negative. It sweetly looks at the positive. This product also nicely works as a primer to those who have not grown up with The Smalls. Not everyone was exposed to their music when they were at their height in the 90’s and to follow the scene means being a die-hard enthusiast.
In what this movie presents is a very great look at their work from their rise to their sudden disappearance in the scene. A few conversations include why they did not do as well in Eastern Canada, and as for whether they had a world-wide influence, that’s for the fan to decide. Not every detail is spelled out for viewers to take note of, but at least in terms of how they ended it, the framing of this narrative is on the nose. The Smalls were indeed a phenomenon and when the music ends, what they have given are fantastic, lasting memories. That’s no easy feat.
