At this point, I’m sure most people who use the internet on a regular basis are familiar with the song “Goo Goo Muck” by The Cramps.
The song, featured in the 2022 Netflix adaptation “Wednesday,” gained something of internet (specifically TikTok) virality in the months following the show’s release.
Photo by Nate Isaac on Unsplash
With jilting vocals and a twangy guitar, “Goo Goo Muck” was perfectly strange (some may say kooky) and prime fuel for a littany of TikTok dances.
But while The Cramps may distinguish themselves in the contemporary sphere for their feature in the series, they’re also musical pioneers.
Lurid Fusion
Psychobilly, a rock fusion genre blending elements of rockabilly with punk rock, often with a horror-themed twist, is largely attributed to The Cramps.
Originating in the punk underground of New York City in the 1970s, psychobilly defines itself lyrically with references to sci-fi, horror, exploitation films and often taboo subjects.
The music is campy, shlocky and typically apolitical, often presenting themes satirically and in a tongue-in-cheek fashion.
The genre’s style draws from a wide pool of influences, with some groups presenting a distinct rockabilly slant while others experiment with elements related to new wave, heavy metal, hardcore punk and others.
The Cramps
According to a staff writer for the Washington Post, the (now defunct) official website for The Cramps described frontman Lux Interior as “the psycho-sexual Elvis/Werewolf hybrid from hell.”
The Cramps formed in 1976 and are largely credited as the founders of the psychobilly genre, their widespread popularity heavily influencing the work of other bands.
The band remained together for nearly four decades, touring until 2006 when Interior passed away at the age of 62.
Interior’s seemingly unending zeal for performance, subversion and stimulation largely underscores the energy of the psychobilly genre, with his work still casting a broad light upon contemporary artists.
Rezurex is one of the most influential psychobilly bands to rise out of Los Angeles, with their 2005 debut landing them a partnership with the “Home of Horrorpunk.”
Formed in Southern California in 2001, Rezurex describes themselves as “…equal parts ’50s rockabilly, punk rock and Catholic mysticism.”
Today, Rezurex works hard to keep psychobilly alive, producing new music, participating in live performances and collaborating with other bands within the scene.
Discography
Rezurex self-released their first EP, “Beyond the Grave”, in 2005.
The following year, they re-released “Beyond the Grave” as an LP under the FiendForce Records label.
Moving forward with FiendForce, Rezurex released their 2008 album “Psycho Radio.”
The album, remastered in 2013 with Live Dead Records, produced some of the band’s most popular songs, such as “Walk On the Edge” and “Dead World.”
Following the band’s 2008 release, they released the mini-album “Fiesta De Los Diablos” under Eastern Storm in collaboration with the band Hi-Hopes.
Rezurex continued to release music, with their most recent album, “Skeletons,” coming out in 2020 with Cleopatra Records.
The band’s most recent release, “Yakety Yak,” came out in March of 2023. The single is a vibrant collaboration between Rezurex, The Brains and The Coasters.
Bat Music for Bat People
A compelling aspect of the psychobilly community is its strong culture of collaboration.
Bat! is a “masked supergroup” featuring members from Rezurex, Nekromantix, The Brains and Stellar Corpses.
Formed in 2019, Bat! is, at its core, a group of passionate musicians making music and having a good time.
With campy noir aesthetics and dramatic lyricism, the group’s debut album, “Bat Music for Bat People,” translates into a type of musical theatre.
Final Thoughts
I found Rezurex while putting together a psychobilly set for my radio show, and I can definitely say that they’re a band I will continue listening to.
Perusing their discography illustrates a progression of style, with their newest tracks demonstrating a distinct sound that blends classic rockabilly, romantic rock and Latin American rhythms.
For individuals interested in psychobilly and looking for a band that marches ahead with energy reminiscent of The Cramps frontman Lux Interior, Rezurex is an excellent listening candidate.
I like school, I really do; and I’m glad to be back at it.
But there’s something about the loss that’s involved — the loss of free time, the loss of beachside hang-outs, the loss of schematic summer-ness — that’s always painful to swallow.
Not only is it always an adjustment starting a new semester, but this fall sees a particularly vexatious surge of extra freshmen. The resulting collapse of the sanctity of college common areas weighs heavily on the psyche.
As a self-identified Person Who Listens to Too Much Music, music was a vital tool for me this week.
Below is a compilation of tracks I, as well as others, have used to soften the proverbial blow of our returning academic responsibilities.
Good luck out there!
The Playlist
If you’re anything like me (combination hyperactive-inattentive), then you tend not to stick with one particular flavor of auditory stimulus whilst weathering the tribulations of back-to-school season.
While I primarily market myself as a goth, I’ve got a real soft spot for Carhartt-Marlboro-septum ring-type garage/art/post-punk rock.
Weird songs that sound like the way cigarette smoke smells and mansplaining feels touch me in the most deepest recesses of my calcified English major heart.
It really takes the edge off.
Here are some highlights:
“Troglodyte” – Viagra Boys
The third track on their 2022 album “Cave World,” “Troglodyte” tickles my brain with its silly, borderline-industrial beats. The melody reminds me of “Frogstrap,” another beloved track from their 2018 album “Street Worms.”
What I like about Viagra Boys is how vocalist Sebastian Murphy always seems to be just on the cusp of madness. I think you can extrapolate the overarching relevance of that concept.
Not a new song by any means, but a similarly brain-tickly one that I find I can easily get lost in. The beats are rhythmic but unobstrusive, fading into the background or punctuating the present at the listener’s behest. It’s pleasant, easy listening for someone who so desperately needs to distance themselves from the half-dozen new syllabi they just acquired.
IDLES is like Viagra Boys but from an alternate universe. This cover of a Gang of Four classic also sounds like it’s from an alternate universe, which is great when you yourself wish you were from an alternate universe where you were already finished with college.
These are Black Midi’s two top songs for a reason. Pulled from their 2022 album “Hellfire,” these tracks occupy a strange dimension between the 1940s and the 2020s. I can still remember seeing this band live and witnessing throngs of hipsters emphatically mosh to a quirky jilting guitar.
I was Jockstrappilled by the former GM of WKNC, DJ Cow Ball. She caught me at a particularly weak moment in which my ADHD was unmedicated and I was in an introductory film class. As one can expect, I quickly amassed over 100 streams.
I never know how to describe Jockstrap to people. Deeply experimental, enigmatic and hauntingly sweet, every Jockstrap song is a multilayered amalgam of sounds and sensations that will surely take your mind off the terror of The Future.
Closing Thoughts
When writing blog post playlists, I tend to keep them short. This is because I prefer to offer little morsels of stimuli rather than formidable hours-long chunks of obscure tracks.
By Rodrigo Curi on Unsplash
It’s also because I tend to listen to songs like people chew gum, mashing them obsessively between my teeth and squeezing out every last modicum of flavor. I’ll listen to a single song for hours until I’ve fully exhausted its capacity to generate dopamine.
I’m sure, in some broad and abstract way, this theme applies to the college experience.
I didn’t even know Omerta existed until December of last year when I and two other WKNC DJs took the drive to Greensboro to see Loathe at Hangar 1819.
Though they weren’t headliners, their captivating stage presence and savage energy riveted me. Following the show, I immediately went home and listened to their entire discography.
Five times over.
America’s Most-Hated Boy Band
Based in Houston, Texas, Omerta fuses 90s metalcore with vaporwave and cybergrind whatever those words mean to create a uniquely hardcore sound.
With a website still under construction and an enigmatic style reminiscent of 2010s tumblr-era “girlcore” aesthetic, Omerta is an up-and-coming brand bringing an air of innovation to the scene.
“Hyperviolence”
Released as the band’s debut album in 2020, Hyperviolence is vicious and vile in all of the best ways.
With a runtime of just under twenty minutes, the album passes by in a feverish haze.
The album’s multiplicity of styles serves as a testament to the band’s experimental nature. Each song has a distinct sound and draws from a combination of stylistic methods.
The album’s opening track, “Payback,” has a trap metal slant while the final track, “Hyperviolence,” leans towards a metalcore style.
“Garbage,” the 4th track on the album, has clear contemporary emo influences.
This blending of styles makes each track particularly engaging.
Every time I listen, I notice something new.
“Antiamorous”
Omerta’s most recent single, “Antiamorous,” is a testament to the band’s stylistic metamorphosis.
Featuring former Spider Gang member JOHNNASCUS, the song hints at an interesting new direction for the band’s discography.
Aptly described as genre-defying, the 3-minute song is almost epsodic in nature.
A mix of metalcore, trap metal, emo and other niche influences, “Antiamorous” literalizes the term “listening experience.”
It was sometime in the winter when I heard Dead Kennedys for the first time. I was living in the passionless coastal town I’ve mentioned in posts before, friendless and freshly eighteen and so bored it hurt.
I was sitting on the floor of my bedroom with the screen door open, letting the cold winter air spill in.
My phone lay on the floor beside me, playing music from some strange YouTube ripoff app, the kind that you can’t find for free anymore after YouTube started its own subscription service.
I hadn’t yet surrendered myself to the trendy green music subscription that all the other cool teens had, so this was my only option. The app operated similarly to the company it was spoofing, only on a smaller scale that allowed for simultaneous watching and browsing.
I can’t remember what exactly I was doing at the time, only that I was letting the app cycle through random songs, not really listening, until a certain turn of phrase caught my attention:
We’re sorry, we hate to interrupt But it’s against the law to jump off this bridge You’ll just have to k– yourself somewhere else A tourist might see you and we wouldn’t want that
Dead Kennedys, “Soup is Good Food”
Maybe it was the irreverence of the statement, but something about it struck me particularly hard. I immediately paused the song and restarted it, this time listening intently.
Up until that point, I didn’t know music could be that way: unabashed, unapologetic and unrestrained.
You Made a Good Meal
“Soup is Good Food” was not the first Dead Kennedys song I heard, but it was the first I really paid attention to.
“Jello Biafra – Dead Kennedys” uploaded by catharine_anderson to Wikimedia Commons, licensed CC-BY-SA 2.0
Released as part of the band’s 1985 album “Frankenchrist,” the song describes (quite blatantly) the plight of the working man in a post-industrial society.
Not only is the working man disposable, but society punishes him for resenting his condition, all the while remaining cheerily apathetic to his misery.
Depression, exhaustion and poor working conditions are socially acceptable in this dystopian society. In fact, this corrupt “system” is fueled by other disenfranchised and disposable workers.
We know how much you’d like to die We joke about it on our coffee breaks But we’re paid to force you to have a nice day In the wonderful world we made just for you
Dead Kennedys, “Soup is Good Food”
This situation isn’t foreign to us. It’s a reality, perhaps even made worse by the innovations of the internet and artificial intelligence.
Killing the Industry
In my opinion, Dead Kennedys is one of the most archetypally punk bands to exist.
Formed in 1978 in San Francisco, Dead Kennedys debuted with their first recorded single, “California Über Alles,” the following year.
The song, a sardonic attack on California Gov. Jerry Brown, was succeeded by the release of “We’ve Got A Bigger Problem Now” about President Ronald Reagan.
Both songs likened the two politicans — one a liberal, the other a staunch conservative — to fascist dictators, highlighting the invariable corruption of power when married to a politican’s ideals.
Cover for “Give Me Convenience or Give Me Death” by Dead Kennedys
While Dead Kennedys frontman Jello Biafra eventually conceded that he was “off-base” with Gov. Brown, he levied criticisms regarding Brown’s apparent hesitance to “stand up to the rich people and the land owners who don’t think they should have to pay taxes for the public good.”
Biafra’s readiness to disparage any politican or public figure he felt deserved it, regardless of their political affiliation, colored the work of Dead Kennedys for the remainder of his career.
With the influence of Biafra, Dead Kennedys became a vital cultural force against the social and political climate of the 70s and 80s.
The band was also brazen in its condemnation of the music industry, illustrated with their track “MTV – Get Off the Air” in 1985.
How far will you go, how low will you stoop To tranquilize our minds with your sugar-coated swill You’ve turned rock and roll rebellion into Pat Boone sedation Making sure nothing’s left to the imagination
Dead Kennedys, “MTV – Get Off the Air”
Biafra took great issue with MTV and other similar companies, which he saw as merely the extra limbs of a larger, hegemonic entity.
For Biafra, music was a tool of insurrection. Fame and wealth were unimportant; what Biafra really wanted was to rile the masses, radicalize the youth and make the people in power uncomfortable.
“Riling the masses” is not a new concept for punk, but Dead Kennedys did it arguably better than many others.
*cough cough* Sex Pistols *cough cough*
Final Thoughts
Listening to Dead Kennedys and reading transcripts of Jello Biafra’s spoken word poetry leads me to beg a very age-old question:
Is punk dead?
Counterculture eventually manifests its own type of conformity and stricture. Fashion becomes a uniform and community becomes exclusivity.
Looking at how self-proclaimed “punks” navigate online spaces (Machine Gun Kelly), it can be fairly easy to lose faith in the grassroots core of “punk.”
But when I go to a punk show, I feel a lot different. There’s energy there, barely-restrained fervor that gives way to complete abandon as soon as the music starts.
There are people in studded battle jackets and crust pants, sure, but there are also kids in graphic tees and girls in dresses and fishnets. There are people standing at the edge of the pit and waving lost hats, glasses and wallets.
That’s what punk is to me: people who love wild music and hate the government crashing into each other in a whirlwind of cathartic kinesis.
So, punk isn’t dead. Not really. It just isn’t living on Instagram or Tiktok.
Cover for "RePorpoised Phantasies" by Machine Girl
It’s undeniable that social media has heavily influenced music.
From the recontextualization of the industry through new marketing opportunities to the pervasion of the infamous “tiktok song” phenomenon, the way we consume music — and the way certain artists rise to mainstream popularity — owes itself largely in part to social media.
Such can be seen especially in the realm of alternative music, with once underground genres permeating into the broader subcultural consciousness.
“Atari Teenage Riot 2010” This image was originally posted to Flickr by Libertinus, licensed CC-BY-SA 2.0
Of these genres, breakcore in particular stands out.
What is Breakcore?
A “normie” friend of mine once described breakcore as “electronic music for anime fans,” which is somewhat true in describing the genre’s contemporary sphere.
However, the “electronic anime” style many consider to be breakcore is actually far removed from the genre’s original sound.
Cover for “My So-Called Life” by Venetian Snares
Breakcore emerged in the 1990s as the “bastard hate child” of jungle, happy hardcore, gabba, speedcore, drum ‘n’ bass, techno, IDM, acid, ragga, electro, dub, country, industrial, noise, grindcore, classical music, hardcore, metal and punk.
This auditory hodgepodge arose in response to the rise of fascism — both figurative and literal — in mainstream society. The choppy, experimental and erratic styles of breakcore spat in the face of hegemonic consumerism, capitalism and white supremacy.
With no specific melodic style, the breakcore sound derives from a mixed bag of styles “cut and pasted” from different genres to produce elaborate beats.
Since its inception, breakcore exists as a plastic organism. Constantly in metamorphosis, breakcore is directly influenced by the time in which it’s produced.
In sociologist Andrew Whelan’s article “Breakcore: Identity and Interaction on Peer-to-Peer,” he asserts that the breakcore genre’s development is fueled by online and peer-to-peer distribution.
Thus, contemporary breakcore possesses a distinctly “internetcore” style with influences from anime, video games and pop culture.
Modern breakcore engages with a distinctly online space, often mingling with aspects of glitchcore, vaporwave and other internet-born genres.
Cover for “WLFGRL” by Machine Girl
Growing from the digital hardcore scene of the 2010s, contemporary breakcore is not only built on sound but aesthetic.
With the rise of online “aesthetic culture” and the dissemination of the “alt” label in subcultural spaces, artists like Machine Girl and goreshit capitalize on the duality of sound and presentation.
Some critics argue that this quality undermines the genre’s originally anticonsumerist convictions, with breakcore songs reaching internet virality through apps like Tiktok and Instagram Reels.
Perhaps I will cover the “tiktok song” phenomenon in a future article.
Final Thoughts
While I don’t think it’s necessarily vital to understand the history of breakcore, I do think it’s sociologically valuable.
Much like language changes over time, so does music. And for a genre as malleable as breakcore, it can serve as a sort of time capsule for the era in which it’s made.
Something about that is extremely cool to me, even if it means the genre is moving farther away from its original purpose.
This summer has been an interesting time for music.
In my personal life, I’ve dedicated myself to cultivating my baby brother’s blossoming interest in different genres. His journey began with a timid interest in trap metal and currently spans numerous metal subgenres, experimental music and classic punk.
He’s also acquired a taste for 2000s-era emo music.
It’s amusing — and existentially terrifying — to see my fourteen-year-old brother listen to the same razor-edged songs I listened to over eight years ago.
I guess good music (and teenage angst) really does transcend generational gaps.
In the name of broadening his musical horizons, I’ve started taking him to shows. Of these shows was that of Black Bouquet, a Raleigh-based gothic rock band, at Durham’s The Pinhook.
Unfortunately, COVID-19 necessitated the show’s cancellation. So while this article was originally intended to be a concert review, I’ll take the opportunity to shine some light upon an excellent (and underrated) local band.
Black Bouquet
Black Bouquet defines itself with many labels. Among these are “gothic rock,” “post-punk,” “jangle pop” and — what my brother most appreciates — “emo.”
Having listened to most of Black Bouquet’s discography, I definitely see the band as more emo than goth.
I largely attribute this to the work of lead vocalist Violet O, whose beautifully moody voice evokes the sensitivity and raw emotion that defines the emo genre.
Cover for “Haunt Me Once More” by Black Bouquet
The band’s gothic slant derives from their use of synths and melancholic string instruments, with their track “Footsteps” presenting a bass strain reminiscent of Lebanon Hanover’s “Gallowdance.”
However, where Lebanon Hanover delves deep into a cemetary-like gloom, Black Bouquet’s sound is upbeat and transcendent.
Discography
The band debuted in October 2020 with the single “Until You’re Gone,” an exuberant track with jangly instruments and a beautiful harmony between Violet O, drummer Michael Rumple and Violist Laura Mooney.
The EP consisted of “Until You’re Gone,” “Just Kids” and several new tracks.
Cover for “Until You’re Gone” by Black Bouquet
The band’s latest release, their 2022 single “Footsteps,” is another impressive addition to their lamentably short discography.
An energetic, rock-inspired guitar contrasts with a morose and cold bassline before the rhythm takes on a pop-like beat. O explores the harsher side of emo vocals with several evocative screams, which accompany a vigorous guitar and drum combo.
Though “Footsteps” isn’t my favorite Black Bouquet song, it demonstrates the band’s experimentation with different qualities of the genre.
This summer, many bands I listen to have been hard at work putting out new releases. Here are my thoughts on three new singles by three great artists.
Vandal Moon
Vandal Moon’s newest single, “Heroine Dancer,” came out on June 30. The six-minute track seems handcrafted for the dance floor.
Cover for “Heroine Dancer” by Vandal Moon
With weeping synths, industrial-style percussion and a sensual beat that thrums throughout, “Heroine Dancer” compels the listener to dance themselves.
A simple song about dancing and love, “Heroine Dancer” is something to get lost in.
Active since 2014, Vandal Moon describes themselves as “propagating our sound through the use of synthesizers, guitars, chant, tambourines, drum machines, vodka and psychedelics.”
While I don’t see “Heroine Dancer” as psychedelic or particularly enigmatic, it’s certainly a fun song.
The track certainly stays true to ULTRA SUNN’s signature style. With cold rhythms and echoing vocals, “Broken Monsters” is both danceable and sensual.
Cover for “Broken Monsters” by ULTRA SUNN
A contemporary EBM/coldwave duo from Belgium, ULTRA SUNN spearheaded their career with the release of the single “Night is Mine” in 2019. Since, they’ve released several singles and EPs.
While I won’t say “Broken Monsters” is their best work, as I prefer their second most recent release, “Kill Your Idols,” the track definitely succeeds in capturing the essence of ULTRA SUNN. I hope that as their career progresses, the duo experiment with other musical substyles.
Male Tears
Songs by Male Tears go one of two ways for me. Either I love them instantly, or they become something of an acquired taste.
Self-described as a “California synth duo,” Male Tears started their career in 2021 with their first self-titled album. Since, they’ve made waves in the darkwave scene with their uniquely camp style.
While I like the sweet melancholy of the song’s melody, I find that the vocals straddle a thin line between lo-fi and simply poorly executed.
Cover for “Sad Boy, Paint My Nails” by Male Tears
Songs by Male Tears typically feature stronger vocals. “sad boy, paint my nails” attempts to capture something more plaintive, which I appreciate in essence but find myself struggling to connect to.
While part of me likes the song, I’d probably skip it if it came up on my streaming feed. I anticipate that in the fall, which tends to turn my tastes towards the morose, I’ll have a greater appreciation for this track. However, right now I definitely see it as one of the band’s lesser releases.
It’s a common misconception, especially for those ill-acquainted with alternative music. People like to slap the label “goth” on anything even tangentially dark or edgy, even when it’s far from what goth actually is.
And while I don’t consider myself a purist by any means, nor find myself particularly bothered by the misattribution of “goth” by subcultural outsiders, I do think it’s interesting to explore what separates “goth” from “non goth” in terms of music.
Goth, like many others, is a music-based subculture. While the distinctive stylistics of goths are widely-known — all-black clothing, dramatic eye makeup, back-combed hair and intricate accessories — the music that inspired these looks is not.
“Goth” actually encompasses multiple genres of music. Several major genres are goth rock, death rock, post-punk and darkwave.
This week, I’ll be focusing on defining darkwave and recommending some excellent darkwave artists.
The Sound
Darkwave music is melancholic and gloomy.
With heavily synth-based sounds and a slow to moderate tempo, darkwave tracks put a depressive spin on the ebullient tones of mainstream new wave while maintaining the high energy of post-punk music.
At the time of its development, “goth” referred exclusively to the realm of gothic rock. While contemporary circles generally accept darkwave as “goth,” the subculture of the 80s necessitated a distinction.
Cover for “A Kiss in the Dreamhouse” by Siouxsie and the Banshees
As darkwave spread across the globe, it disseminated into various substyles such as ethereal wave, neoclassical darkwave and dark cabaret.
In the 90s, a second wave of darkwave artists emerged.
Artists from this period include Corpus Delicti, Lycia, Black Tape for a Blue Girl and The Frozen Autumn. Some of these bands drew inspiration from the otherworldly style of Cocteau Twins while others delved further into cultivating cold, deeply atmospheric sensations.
In the 2010s, bands like Drab Majesty, Boy Harsher, Void Vision and Kontravoid spearheaded another darkwave revival, building their respective sounds around the many substyles living under the darkwave umbrella.
Living in a coastal town was certainly interesting, especially at the end of tourist season. Watching well-off middle class families fill the beaches with garbage and watching long-time residents struggle under the brunt of property damage incurred by hurricane season definitely helped radicalize me.
It was a strange period. I spent most of it alone, and thus listened to an exorbitant volume of music. The following playlist is a compilation of some of my favorite tracks from my time by the beach.
Not all of these bands are actually surf punk, but they share a similar energy and style that embodies the experience of summers by the coast.
The Playlist
“Stay Close to Me” – Bad Brains
“I Luv I Jah” – Bad Brains
“I And I Survive” – Bad Brains
These three tracks certainly play on Bad Brains’ reggae influences, with softer vocals from lead singer H.R. and a slower, twanging melody. I personally recommend the “Omega Sessions” version of “I Luv I Jah” for its cleaner vocals and smoother audio quality.
“A.M.” – Beach Goons
“Choker” – Beach Goons
“Anirak” – Beach Goons
Based in San Diego, Beach Goons delivers surf punk music with strong Latin influences. Their music captures the often melancholic liminality of living by the coast, with a sound that reminds me of summer humidity and fogged-up windows.
“Pheromones” – Meth Wax
“Invocation” – Meth Wax
“Arachnophobia” – Meth Wax
With a distorted lo-fi style, Meth Wax’s songs are consistently dazed, lustful and unusual. Though based in Athens, Georgia, Meth Wax maintains an ebullient sound that leads many fans to consider them surf punk (at least in spirit).
“Smoko” – The Chats
“Pub Feed” – The Chats
“The Clap” – The Chats
The Chats are a pub-punk band from Queensland, Australia. Their chaotic, disaffected attitude and rocking melodies make them a fun and youthful band with a sound that pairs excellently with summer drives through congested tourist districts.
“Spanish” – Jurassic Shark
“Pacing Tigers” – Jurassic Shark
“Order” – Jurassic Shark
With soft, indie-adjacent punk music, Jurassic Shark captures sensations of yearning, ephemerality and youthful excitement. Smoky lo-fi vocals contrast with clear, artsy strains of guitar.
