by Chris Jarvis
In the early 2000s, American punk music underwent one if its periodical renovations on the underground scenes. Bringing together punk rock’s anger, pace and aesthetic and meshing it with the instruments, skill and stories of folk music, folk-punk shifted the goalposts of what it meant to be a punk band. While Against Me! are probably the most famous, Defiance, Ohio the most innovative and influential, Mischief Brew are probably the best. A decade after their first full-length release Smash the Windows they continue to produce rebel rousing and exciting music, with last year’s This is Not for Children shows their ongoing versatility and eclecticity endures.Continue Reading
By Chris Jarvis
Bringing together anarcho punk aesthetics and lyrical themes with dub and ska sounds, Manchester based Autonomads are the ultimate sound clash. Their releases move seamlessly between genres. 2012 EP No Man’s Land exemplifies this at their best, drifting from aggressive growls of ‘No more GMP, get out of our city!’ to the bouncy ska singalongs like Supermarket Sweep, before toning down for mellow moments such as Dubbing Up the Downfall, no song sounding suddenly discordant or out of place. Throughout all of their music is an obvious and explicit political underpinning. On Conditions of the Working Class, they declare ‘our oppression’s still the same, as it used to be’ and on their anti-green washing anthem 2000BP they make clear ‘ethics for profit, that’s treason’.
by Chris Jarvis
For anyone of my generation who group up in the Midlands with a taste for alternative music, Johnny Doom is something of an icon. Tuning into Kerrang Radio (when it was still broadcast on FM), it was the dulcet tones of this Brummie legend that would really excite, much more so than even the anarchic Tim Shaw or the esoteric Nick Margerisson. Unsurprisingly, he has won accolades for his wry radio conversations, being named Brummie of the Year in 2008.
But Johnny has a long history within music outside of his radio work. Becoming active initially in the late 1980s in the influential Crust Punk band Doom, Johnny went on to form the less acclaimed, but equally important Police Bastard, who fuse a raw and brutal aggression with thrash metal riffs and hardcore compositions. Encapsulated within that sound is an anti-authoritarian politics which is evident even from the band’s name. Because of this, we decided to talk to Johnny Doom about his politics and the role it plays in his music as part of our series Music That Matters.