Categories
Classic Album Review

Album Review: “Wax Man” by Harry Permezel

Harry Permezel is a singer songwriter from Melbourne, Australia. He wrote, recorded, and produced this album himself. The album “Wax Man” was released on May 4, 2018. You might like this album if you like Elliot Smith, Sufjan Stevens and/or Wednesday.

His songs often feel calming yet driven, and more often than not have moderately sad subject matter.

“Wax Man”

This track is my favorite on the album. The guitar, drums, and vocals are closely unified in rhythm which makes the song feel driven, but not quite upbeat.

One of my favorite features of Permezel’s writing is exhibited well in this song; His lyrics often seem less like an interpretation of an experience and more like the an account of what happened. This kind of writing leaves room subjective interpretation which is often a mark of good songwriting.

The song begins with these lyrics:

“Trying to stop the little hand of the clock
With all the bills you have got
A fair while outside of the city
You drove that car so fast”

“Wax Man” Lyrics by Harry Permezel

The lines establish clearly that there is someone in the speaker’s life who wishes to pause time, and does the closest thing possible (driving out of the city and ignoring their problems). The speaker then elaborates more about this avoidant character and establishes that their is trust between themselves and the character.

Eventually the song ends with this lyric:

“Trying to stop the little hand of the clock/
Will not do anything”

“Wax Man” lyrics by Harry Permezel

The first half of this couplet duplicates the first line that appears in the song while the second half modifies the first lines original meaning. This is a creative way to end the song and could possibly be described as a humorous as the advice contradicts the listener’s expectations.

“Bonehead”

In this song’s lyrics, the speaker clearly feels distant and indignant, but the musical aspects of the track feel almost peaceful. This juxtaposition is opposite of the experience of the speaker in the song. The speaker recalls:

“Scary sounds drowning out the thoughts I thought would make me feel better”

“Bonehead” lyrics by Harry Permezel

In the speakers life, sound drowns out attempts at positivity, but in the song, negative thoughts are drowned out by sound.

One of the coolest production moments on the album occurs in the first chorus of the song. The section begins with a straightforward harmony in which there is a main vocal and two more other vocals alongside it, but soon after, the voices are panned left to right and sing single words one after another. This use of stereo audio makes it sound like the vocals are bouncing from one ear to another which creates an interesting listening experience.

Conclusion

This is one of my favorite albums, which makes it difficult to to give it a rating. The songs on the album are very well written and were produced in an intriguing and memorable way. I will admit though that there isn’t really anything groundbreaking about the album, but that is not to say that every musical project needs to be.

I’ll give the album an 8/10

-Daniel Turk

Categories
Band/Artist Profile Blog Music Education

Dead Kennedys and Archetypal Punk Ethos

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.”

Photo by Evgeniy Smersh on Unsplash

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.

Categories
Weekly Charts

Top Charts 8/15/23

Top Charts

#ArtistRecordLabel
1PARTY DOZENThe Real WorkTemporary Residence Limited
2BEN FOLDSWhat Matters MostNew West
3HOME IS WHEREthe whalerWax Bodega
412 RODSIf We Stayed AliveAmerican Dreams/Husky Pants
5MAGAZINE BEACHConstant SpingtimeSelf-Released
6SQUIDO MonolithWarp
7PURRWho Is Afraid Of Blue?Anti-
8STEADY HANDSCheap FictionLame-O
9ALLEGRA KRIEGERI Keep My Feet On The Fragile PlaneDouble Double Whammy
10MAN ON MANProvincetownPolyvinyl
11BONNY DOONLet There Be MusicAnti-
12A AND T’S WINNERS CIRCLEOn TopSelf-Released
13DEER TICKEmotional ContractsATO
14NUR-DCrushFairplay
15SUDAN ARCHIVESNatural Brown Prom QueenStones Throw
16ALFA MISTVariablesAnti-
17FEEBLE LITTLE HORSEGirl With FishSaddle Creek
18YES YES A THOUSAND TIMES YESSupertinyinfinitedansReally Rad
19JADASEA AND LARONThe Corner: Vol. 110k
20SIGUR ROSÁTTABMG
21GAL PALThis And Other GesturesSelf-Released
22WOMBOSlab [EP]Fire Talk
23ARIESMARICAEverything After The Debut Is Gay [EP]Self-Released
24JPEGMAFIA AND DANNY BROWNScaring The HoesPeggy/AWAL
25KARI FAUXREAL B*TCHES DON’T DIEDrink Sum Wtr
26ALTERNATE LIFE FORCEA.L.F. – The Initial Transmissions [EP]Self-Released
27BLACK MILKEverybody Good?Mass Appeal
28HAVIAH MIGHTYCrying CrystalsMighty Gang
29KASSA OVERALLANIMALSWarp
30KILLER MIKEMichaelLoma Vista/Concord

Top Adds

#ArtistRecordLabel
1BIG THIEF“Vampire Empire” [Single]4AD
2STUMIK BUGStumikviolenceSelf-Released
3BLUEGILL[EP]Self-Released
4SMILE, THE“Bending Hectic” [Single]XL
5CATARACTSYou’ll Never Find It If You’re Looking For It [EP]Self-Released
6FAST COLORFeels Like DivasSelf-Released
7SHARKSWIMMER“Glue” [Single]Self-Released
8WANDERING SUMMERWandering Summer [EP]Safe Suburban Home
Categories
Weekly Charts

Underground Charts 8/15/23

Underground Charts

#ArtistRecordLabel
1SLY5THAVE AND JSWISSSomebody’s Gotta Do ItTru Thoughts
2PARIS TEXASMid AirParis Texas/The Orchard
3SKIIFALLWOIIYOIE TAPES Vol. 2 – Intense CityRCA
4BLACK MILKEverybody Good?Mass Appeal
5HAVIAH MIGHTYCrying CrystalsMighty Gang
6KARI FAUXREAL B*TCHES DON’T DIEDrink Sum Wtr
7KASSA OVERALLANIMALSWarp
8ALTERNATE LIFE FORCEA.L.F. – The Initial Transmissions [EP]Self-Released
9WAX TAILORFishing For AccidentsLab’oratoire
10TERENCE ETC.V O R T E XBrainfeeder
Categories
Weekly Charts

Chainsaw Charts 8/15/23

Chainsaw Charts

#ArtistRecordLabel
1JUDICIARYFlesh + BloodClosed Casket Activities
2STATIC ABYSSAborted From RealityPeaceville
3NECROFIERBurning Shadows in the Southern NightSeason of Mist
4KARRAS“Roland Doe” [Single]M-Theory
5WAXENDie Macht Von HassenMoribund
6KNOCKED LOOSE“Deep In The Willow” b/w “Everything Is Quiet Now” [Single]Pure Noise
7ACACIA STRAIN, THEStep Into The LightRise
8MOUTHBREATHER“You Try To Die” [Single]Self-Released
9MEURTRIERES“Rubicon” [Single]Gates of Hell
10ZULUA New TomorrowFlatspot
Categories
Weekly Charts

Afterhours Charts 8/15/23

Afterhours Charts

#ArtistRecordLabel
1GEORGE CLANTONOoh Rap I Ya100% Electronica
2DEATH’S DYNAMIC SHROUDThe Lunar CurtainGhost Diamond
3DISCLOSUREAlchemyApollo/AWAL
4NIGHT TAPESPerfect Kindness [EP]Nettwerk
5BIZCAS 10: TEN YEARS OF BUSINESS CASUALVARIOUS ARTISTSBusiness Casual
6KINOTEKIdemos + edits (21-23)Self-Released
7JPMachine CityCyan Sun
8WTF IS TRANCE?VARIOUS ARTISTSClub Kiitzuna
9HCMJRabbit Cradle (Ultimate Mix)Ghost Diamond
10ATLASair(#)Self-Released
Categories
Blog Music Education

What is Breakcore? A Genre Field Guide

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.

Major players in the early breakcore scene included Sickboy, UndaCova and Venetian Snares.

2020s Revival

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.

Additional Reading

Categories
Weekly Charts

Top Charts 8/8/23

Top Charts

#ArtistRecordLabel
112 RODSIf We Stayed AliveAmerican Dreams/Husky Pants
2ASHER WHITENew Excellent WomanBa Da Bing!
3BEN FOLDSWhat Matters MostNew West
4BILLY WOODS AND KENNY SEGALMapsBackwoodz Studioz/Fat Possum
5FLY ANAKINSkinemaxxx (Side B)Lex
6KARI FAUXREAL B*TCHES DON’T DIEDrink Sum Wtr
7YVES TUMORPraise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)Warp
8CASTLE CHAMPNo We GoSelf-Released
9HAVIAH MIGHTYCrying CrystalsMighty Gang
10KASSA OVERALLANIMALSWarp
11MOKA ONLYIn And Of ItselfUrbnet
12PLANET GIZAReady When You AreNSVG
13SQUIDO MonolithWarp
14SUDAN ARCHIVESNatural Brown Prom QueenStones Throw
15ALTERNATE LIFE FORCEA.L.F. – The Initial Transmissions [EP]Self-Released
16ANGELO DE AUGUSTINEToil And TroubleAsthmatic Kitty
17KAMAUULacuna & The House Of MirrorsAtlantic
18KILTROUnderbellyONErpm
19MAMALARKYPocket FantasyFire Talk
20MAN ON MANProvincetownPolyvinyl
21MCKINLEY DIXONBeloved! Paradise! Jazz!?City Slang
22MOON BLAZERSspring [EP]Self-Released
23NUR-DCrushFairplay
24PARIS TEXASMid AirParis Texas/The Orchard
25SIGUR ROSÁTTABMG
26SKIIFALLWOIIYOIE TAPES Vol. 2 – Intense CityRCA
27SOL MESSIAHGOD CMPLXRhymesayers
28SWAMP THINGNoise MachineUrbnet
29WAVEFORM*AntarticaRun For Cover
30ALEX GGod Save The AnimalsDomino

Top Adds

#ArtistRecordLabel
1DISCLOSUREAlchemyApollo/AWAL
2PRINCE JOSH“Moth” [Single]Hand Drawn Dracula
3GOLDEN FEATURESSisyphusForeign Family Collective
4SOFIA KOURTESIS“Si Te Portas Bonito” [Single]Ninja Tune
5GEORGE CLANTONOoh Rap I Ya100% Electronica
6ALLEGRA KRIEGERI Keep My Feet On The Fragile PlaneDouble Double Whammy
7TRUTH CLUB“It’s Time” [Single]Sipsman
8BLUE CACTUS“Stranger Again” [Single]Sleepy Cat
Categories
Weekly Charts

Underground Charts 8/8/23

Underground Charts

#ArtistRecordLabel
1KARI FAUXREAL B*TCHES DON’T DIEDrink Sum Wtr
2SKIIFALLWOIIYOIE TAPES Vol. 2 – Intense CityRCA
3KAMAUULacuna & The House Of MirrorsAtlantic
4MAUVEYBefore The Album 2: A Brief Overview604
5MOKA ONLYIn And Of ItselfUrbnet
6BLACK MILKEverybody Good?Mass Appeal
7HAVIAH MIGHTYCrying CrystalsMighty Gang
8MCKINLEY DIXONBeloved! Paradise! Jazz!?City Slang
9FLY ANAKINSkinemaxxx (Side B)Lex
10PARIS TEXASMid AirParis Texas/The Orchard
Categories
Weekly Charts

Chainsaw Charts 8/8/23

Chainsaw Charts

#ArtistRecordLabel
1ASTRALBORNEAcross The AeonsProsthetic
2WAYFARER“False Constellation” [Single]Profound Lore
3TERROR GARDEN“The Party’s Over” [Single]Self-Released
4SUBSUN“Doomsday Clock” [Single]Self-Released
5NECRONOMICON EX MORTIS“Crypt of the Gorilla God” [Single]Self-Released
6NECROFIERBurning Shadows in the Southern NightSeason of Mist
7KNOCKED LOOSE“Deep In The Willow” b/w “Everything Is Quiet Now” [Single]Pure Noise
8CURRENTSThe Death We SeekSharptone
9DRAINLIVING PROOFEpitaph
10MOUTHBREATHER“You Try to Die” [Single]Good Fight