Panda-Moanium
by Pickled Dick

💿 https://album.link/i/209570919

#NowPlaying #Punk #PunkPop #PopPunk #GreenDay #PickledDick #Music

La canción que se transformó en un himno para su gente: Estoy Bien estrena video para «Frente a Frente» | vía #NaciónRock

https://www.nacionrock.com/la-cancion-que-se-transformo-en-un-himno-para-su-gente-estoy-bien-estrena-video-para-frente-a-frente/

#estoybien #punkpop #videos

Winona Fighter - My Apologies to the Chef
(Punk / Rise Records)

"Die drei von Winona Fighter bezeichnen sich selbst als Punks. Ja, Pop-Punks! Schwerer Bass mit Zerre, angezerrte Vocals,[...]"

Und mehr berichtet Felix in der Review.
https://vinyl-keks.eu/winona-fighter-my-apologies-to-the-chef

#winonafighter #myapologiestothechief #punk #punkrock #punkpop #debut #grunge #nashville #bmg #riserecords #vinyl #review

Vielen Dank, liebe @Kitty, für den Hinweis auf #DeutschsprachigerDonnerstag von @loewe! Tolle Idee!

Wir nutzen das mal schamlos für Eigenwerbung, auch wenn der Song nur mit etwas gutem Willen als #punkpop durchgeht.

Der Song war eine Auftragsarbeit für die Bremer Initiative „Einfach Einsteigen“ für fahrscheinfreien Nahverkehr. Die wunderbare Imke Burma hat den Text geschrieben.

https://song.link/s/2ulARlkrgIWY4SOGZ9cCdj

#PunkIsNotDead

https://youtu.be/-mLA37A0LpU?si=ruV4AtQ1prPDIUkt

La meva #CançóDelDia per al dimarts 25 de març és aquesta de les #Senses #California #PunkPop #Emocore 🧷!

I hear songs that are not simple power chord punk pop, and my mind invariably makes them that way after some point. Anyone else do this?

Latest victims are "All I Want For Christmas" by Mariah Carey and "Foux du Fafa" by Flight of the Conchords.

#music #punk #punkpop #powerchords

Sleater-Kinney Play “You’re No Rock ‘n’ Roll Fun”

Listen to this track by incendiary Pacific Northwest punk rock power trio Sleater-Kinney. It’s “You’re No Rock ‘n’ Roll Fun”, a cut from their landmark 2000 record, All Hands on the Bad One. From 1999’s The Hot Rock, the band were on a path away from their riot grrrl associations, moving toward more complex and nuanced musical territories. They did this in part by making key additions to their core sound. This included more prominent backing vocals from drummer Janet Weiss and lead guitarist Carrie Brownstein’s expanded role as co-lead vocalist on some cuts as a companion and foil for rhythm guitarist and lead singer Corin Tucker.

This tune helps to solidify their developing sound, bursting with pop charm and balancing the abrasiveness of the past with a kind of new wave-meets-Sixties-pop sensibility. Brownstein and Tucker’s guitars are fiery, fizzing with immediate energy, while Weiss’ drums are a primitive pulse throbbing behind them. The song’s lyrics suggest subject matter common to rock n’ roll songwriters; life on tour playing shows and hanging out with other bands on the bill afterwards. The old adage of write what you know applies heavily here.

This song is indeed about what it’s like to be on tour. But it goes deeper though, suggesting something about the social environment of the times that still didn’t quite take girl bands all that seriously as artistic equals. What’s a tight, highly competent, and unique sounding rock ‘n’ roll band to do in that kind of atmosphere? Well, write a song that sends all of that up, for one thing.

The turn of the 21st century was the age of macho-rock’s return in the form of bro-centric rap-rock and also of post-grunge po-faced frontmen with messiah complexes. In the Nineties, female-fronted bands gained significant ground in North America and in Britain. Male allies like Kurt Cobain decried sexism and toxic masculinity of established rock acts coming out of the 1980s. Things were changing by then on a social level as well as on musical ones. But by 2000, things seemed to be changing back.

The mainstream rock world was awash with furrowed brows and dour expressions of dudes with a purpose. Of course, that purpose had little to do with anything outside of their own images of themselves as either self-important Jesus figures or bacchanalian gods of a golden nature. There was a lot of performative anger and put-on anguish in mainstream rock music as a kind of thrift store version of the grunge days. By 1999 and into 2000, it was reduced to a prop to serve an image more so than to communicate personal struggles or political issues with any level of authenticity.

For many bands, the legitimate anger of the past became nothing more than a piece of theatre, a texture and an aesthetic to be commodified and integrated into a musical style and approach to stage presentation. Because at that point, what did any rock star celebrated in the mainstream genuinely have to be so angry about, anyway?

Actually, there was plenty.

Rampant inequality in the industry was still very much in place across racial and gender lines, for one. And violence against women continued to be a mainstay and of specific concern. During musical events, women and girls were still not safe. Some were assaulted at high profile rock shows of the era. In the end, theatrical anger isn’t so volatile as the real thing and it’s much easier to sell. Very importantly, it’s not something anyone has to examine or do anything about.

The band who wrote this fun-loving song had proven themselves time and time again as eloquent communicators of serious subjects including the complex natures of sexuality, gender, and social change. They certainly expressed the appropriate anger that arises because of those issues in other songs, having done so more authentically than most by 2000. Since there was no need for them to put on rock airs as serious artists, “You’re No Rock ‘n’ Roll Fun” wears a smirk, not a scowl. It’s full of humour, not anger or bitterness. This only adds to its charm, and sets it well apart from what was happening in music by the kick-off to the 21st century.

It knows something we don’t know.

With that knowing sense of humour in place, it makes an important roundabout point about what a rock ‘n’ roll attitude is and what it is not. And very importantly, “You’re No Rock ‘n’ Roll Fun” really is fun. This is at least in part because of that knowing quality; that for all their pretentions, the rock star too above it all to hang out with their girl band tourmates is comically missing the point and/or demonstrates that they don’t know who or what they’re dealing with when it comes to rock ‘n’ roll. That this song is a lighthearted pisstake instead of an enraged missive only contributes to how well it skewers the object of the comedy, and also how adeptly it understands the gravity of its own subject matter.

You can hear the sympathetic smile and the affectionate shake of the head in it, knowing the score far better than any aloof rock star at the top of the bill stricken with an inflated ego and never mingling with the hoi polloi of opening acts. Who could react to any kind of above-it-all attitude with anything other than bemusement at best?

You’re no rock n’ roll fun
Like a piece of art
That no one can touch

Your head’s always up in the clouds
Writing your songs
Won’t you ever come down?

– “You’re No Rock ‘n’ Roll Fun”, Sleater-Kinney

At it’s core and in the middle of how much fun and full of cheekiness it is, “You’re No Rock ‘n’ Roll Fun” communicates a very important idea; that the whole point of rock ‘n’ roll is to communicate the ideals of openness and inclusion for musicians and fans alike. There’s nothing that makes music scenes or any single artistic event more fun and more socially significant than when people of various backgrounds, experiences, and identities can easily, safely, and respectfully find their way in and have a positive experience once they get there no matter who they are. This means helping to create an environment where this can happen for everyone concerned while having the most possible fun together at the same time.

For rock ‘n’ roll, the fun of it is a large part of why it’s been so important. Rock ‘n’ roll is supposed to be open, not closed off. In a lighthearted and very effective way, “You’re No Rock ‘n’ Roll Fun” suggests a solid point that frames rock music as a force that’s all the more vital; that snobbery, self-importance, prejudice, bullshit gatekeeping, and violence against women are the least rock ‘n’ roll attitudes and practices that ever were.

After a break and and extended hiatus period as a band from 2006 to 2014, Sleater-Kinney are a going concern today, active as a duo between founding members Carrie Brownstein and Corin Tucker. You can keep up with them at sleater-kinney.com.

For more on the band and the social and musical environment around the time that “You’re No Rock ‘n’ Roll Fun” and All Hands on the Bad One came out, read this article from Far Out Magazine.

Enjoy!

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#2000sMusic #alternativeMusic #PunkPop #RiotGrrl #SleaterKinney

#ReddKross tonite. Esa banda que te hace sentirte como si vieses a un grupo local, y que en sus 45 años de trayectoria ha generado capazos de himnos como éste:

#PowerPop #PunkPop #HighEnergy #Psychedelia