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Toughskins – Crack Some Skulls

“Crack Some Skulls” off the Toughskins “Keep The Faith” EP.

Co-released by Randale Records and Rebel Sound Music.

Featuring different cover art for the European and American release. 1000 copies were pressed with 800 on black vinyl, 100 on red vinyl (USA) and 100 on blue vinyl (Europe).


American guy called Dave, emo vaporwave audio?


Sudden Sway, Solo – Store Detective Man (1988)

Track 2 from the 1988 album “’76 Kids Forever” by the brilliant Sudden Sway.

Sudden Sway were a pop group from Peterborough, England, formed in 1980. They recorded two sessions for John Peel and released three albums before splitting up in the early 1990s.

The band was formed in 1980 by Mike McGuire (vocals) and Steve Rolls (Guitar) after disbanding 1st generation punk band The Now. They recruited Pete Jostins (Bass), Shaun Foreman (Guitar & Keyboards) and Colin Meech (Drums), with various others contributing in their early days. They were initially influenced by bands such as A Certain Ratio and Shriekback. Their first releases were two self-financed singles, “Jane’s Third Party” and the To You, With Regard EP, in 1980 and 1981 respectively. The latter was sufficiently successful to attract major-label interest from CBS and Virgin Records, but after a further single on their own ‘Chant’ label, and with guitarist Simon Childs added as a permanent member, they signed a deal with Warners subsidiary Blanco y Negro, debuting on the label in 1986 with eight versions of the single “Sing Song”. After releasing the Spacemate package – a double LP, book, poster, set of cards and instruction manual, packaged together in a soap box container and designed by Jon Wozencroft, the band moved on to indie label Rough Trade Records, where they would stay for the rest of their career. Their fondness for remixes was evident on their first Rough Trade release, a 7-inch EP featuring eight, 1 minute songs and titles “Autumn Cut Back Job Lot Offer”, released in early 1987. The following year, they released their second album, ’76 Kids Forever, which they described as a “soap opera musical”. With Childs departing, the band continued for one final effort, 1990’s Ko-Opera album, before splitting up.

The band recorded two sessions for John Peel’s BBC Radio 1 programme, in 1983 (Let’s Evolve, Relationships) and 1984 (A Walk in the Park, Problem-Solving Broadcasts 1-3, T Minus Tranquility), the first released as an EP in 1986. They also made an appearance on Whistle Test, performing “Packet of Vacuum”.


Eskizofrenia “Brindemos por el Punk-Rock” FULL ALBUM

Grabado entre 2005-2006 en la habitación de franchu con un sólo micrófono, con la asistencia de Rodrigo Santillán.

Franchu Carena – Batería
Pato Eskizofrenia – Bajo y voz
Kabeza Rey – Guitarra y voz

1) 0:03 Hola
2) 2:11 El chico castor
3) 3:49 Bush
4) 5:53 El ballenato color calabaza
5) 8:17 Técnicas políticas
6) 10:08 Doble cara
7) 12:33 Desastre familiar
8) 15:01 Punk
9) 16:28 Infierno
10) 19:20 Libre
11) 20:30 Final
12) 22:48 ¿Quién sos?
+Bonus track



live concert video of the band DIRTY FONZY in PARIS the 27 SEPTEMBER 2012 playing the song with popolar songs like RADIO N°1 or HERE WE GO AGAIN or THE WORST similar to the band SONS OF BUDDHA or DIRTY FONZY or JUSTIN(E) or LEPTIK FICUS

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#Peacock! No Punk Blues, @AnnesEmbroidery +TheAgrarians @FreeMusicArchive

Freehand drawing and digitizing of a peacock, photographed and pieced together with great music by The Agrarians, “No Punk Blues”, found in Free Music Archive. I do not monetize my videos, ever, and the sound is only to enhance the viewing experience.
This one, in particular, really makes the art!
The point of these videos is to show how embroidery designs flow when sewing out, and art for the sake of art..!
I hope you will enjoy it.. Anne’s Embroidery digitizing and embroidery videos…




Source: article, adapted under license.

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The Australian New Wave (also known as the Australian Film Revival, Australian Film Renaissance, or New Australian Cinema) was an era of resurgence in worldwide popularity of Australian cinema, particularly in the United States. It began in the early 1970s and lasted until the mid-late 1980s.

The era marked the emergence of Ozploitation, a film genre characterised by the exploitation of colloquial Australian culture.

The Australian film industry declined after World War II, coming to a virtual stop by the early 1960s. The Gorton (1968–71) and Whitlam Governments (1972–75) intervened and rescued the industry from its expected oblivion. The federal and several state governments established bodies to assist with the funding of film production and the training of film makers through the Australian Film Television and Radio School, which fostered a new generation of Australian filmmakers who were able to bring their visions to the screen. The 1970s saw a huge renaissance of the Australian film industry. Australia produced nearly 400 films between 1970 and 1985, more than had been made in the history of the Australian film industry.

In contrast to pre-New Wave films, New Wave films are often viewed as fresh and creative, possessing “a vitality, a love of open spaces and a propensity for sudden violence and languorous sexuality”. The “straight-ahead narrative style” of many Australian New Wave films reminded American audiences of “the Hollywood-maverick period of the late 1960s and early ’70s that had just about run its course”.

Several films of the Australian New Wave are regarded as classics of world cinema and have been ranked among films considered the best. Published in 2004, The New York Times Guide to the Best 1,000 Movies Ever Made includes Walkabout, Mad Max, Breaker Morant, Gallipoli, The Road Warrior, The Year of Living Dangerously and Dead Calm. In 2008, Empire magazine chose The Road Warrior and The Year of Living Dangerously as two of the 500 Greatest Movies of All Time, ranking in at #280 and #161 respectively. The 2011 book 1001 Movies You Must See Before You Die features Walkabout, Picnic at Hanging Rock, The Last Wave, The Chant of Jimmie Blacksmith, My Brilliant Career, Mad Max and Gallipoli.

Since its re-release in 2009, Wake in Fright has been assessed as one of, if not the greatest, Australian New Wave film.


*SpoonDoctorO* – Wet Cat | Unprofessional Broadcasting Network

The band’s got everything what it takes to fill the musical void emerged after the death of Luciano Pavarotti.
Spoondoctor O
live in the airballoon
Artspace Rondeel Maastricht (ARM)
go to:
filmed by Electro Hydrogen Yoga master Roel Aerts for the Unprofessional Broadcasting Network

The term underground music has been applied to several artistic movements, such as the psychedelic music movement of the mid-1960s, but the term has since then come to be defined by any musical artist/band that avoids becoming a trend/mainstream. Other early “underground” bands include the Velvet Underground, MC5, The Grateful Dead, Patti Smith, and the Stooges. Frank Zappa tried to define “underground” by noting that the “mainstream comes to you, but you have to go to the underground.” In the 1960s, the term underground was associated with the hippie counterculture of young people who had dropped out of college and their middle class life to live in an off-the-grid commune of free love and cannabis. In modern popular music, the term “underground” refers to a performers or bands ranging from artists that do DIY guerilla concerts and self-recorded shows to those that are signed to small independent labels. In some musical styles, the term “underground” is used to assert that the content of the music is illegal or controversial, as in the case of early 1990s death metal bands in the US such as Cannibal Corpse for their gory cover art and lyrical themes. Black metal is also an underground form of music and its Norwegian scene are notorious for their association with church burnings, the occult, murders and their Anti-Christian views. All of extreme metal is considered underground music for its extreme nature.

Shlomo Sher’s “philosophy for artists” argues that there are three common misconceptions about the “underground”: that it refers exclusively to the rave/electronica scene; that it can be described with a vague, broad definition of “anything which is not mainstream”; and the myth that underground music is kept secret; he points out that no band or performer “exclud[es] virtually anyone or anything” using “secret passwords and hidden map points”. Instead, Sher claims that “underground music” is linked by shared values, such as a valuing of grassroots “reality” over music with “pre-wrapped marketing glossing it up”; sincerity and intimacy; freedom of creative expression is valued over commercial success; art is appreciated as deeply meaningful fashion; and the Underground “difficult to find”, because the scene hides itself from “less committed visitors” who would trivialize the music and culture.

In a Counterpunch magazine article, Twiin argues that “Underground music is free media”, because by working “independently, you can say anything in your music” and be free of corporate censorship. The genre of post-punk is often considered a “catchall category for underground, indie, or lo-fi guitar rock” bands which “initially avoided major record labels in the pursuit of artistic freedom, and out of an ‘us against them’ stance towards the corporate rock world”, spreading “west over college station airwaves, small clubs, fanzines, and independent record stores”. Underground music of this type is often promoted through word-of-mouth or by community radio DJs. In the early underground scenes, such as the Grateful Dead jam band fan scenes or the 1970s punk scenes, crude home-made tapes were traded (in the case of Deadheads) or sold from the stage or from the trunk of a car (in the punk scene). In the 2000s, underground music became easier to distribute, using streaming audio and podcasts.

Even some musical styles that eventually became mainstream, commercialized pop styles started out as underground music. Late 1970s disco is often considered to be a very commercialized type of pop music. However, before disco’s mainstream adoption in 1977 and 1978, disco records were underground music created by nightclub DJs for the gay dance club scene. Similarly, hip hop began “on the streets”; in the early 1980s, rappers did beatboxing and made up rhymes for tiny underground labels. Genres such as New Wave, no wave, noise, noise rock, alternative rock, grunge, various forms of heavy metal, grindcore, electronica, outsider music, and experimental music, also trace their roots to underground scenes.

A music underground can also refer to the culture of underground music in a city and its accompanying performance venues. The Kitchen is an example of what was an important New York City underground music venue in the 1960s and 1970s. CBGB is another famous New York City underground music venue claiming to be “Home of Underground Rock since 1973”.


#009 Useless ID “Misconception” @ Punk Rock Holiday (08/08/2016) Tolmin, Slovenia

Este tema forma parte del concierto que Useless ID ofreció el primer día del festival Punk Rock Holiday que tuvo lugar el 8 de agosto del 2016 en un entorno paradisíaco como son las inmediaciones del Soča River en Tolmin, Eslovenia.

PlayLIST [All-IN] x150: “nrK7 (Punk Rock Holiday): Viaje al paraíso del Punk Rock”

“Misconception” es el tema 09 del disco “The Lost Broken Bones” (2015)

Shout. Make them hear us out.
Haven’t we seen enough?
Rights? What it’s all about
They won’t let us be a part.

Our lives, one minefield
There’s more to this than two nations burning up.
No one can save us once it’s done.

They’ve got an urge to ruin
Every step they’re taking leads to worse
It’s time we all take action,
Because every word is a misconception.

Out. Keep the soldiers out.
The enemy is wearing a suit and tie.
Doubt (DOUBT!) what they preach about.
We heard it all and see it now.

Resist, our nation
Hides the past and makes the same mistakes again.
We didn’t vote for war.

They’ve got an urge to ruin
Every step they’re taking leads to worse
It’s time we all take action,
Because every word is a misconception.

If we’re all born divine to a place
Thats not really yours or mine,
Should we never wonder why?

They’ve got an urge to ruin
Every step they’re taking leads to worse
It’s time we all take action,
Because every word is a misconception.

Every word is a misconception.
Every word is a misconception.
Every word is a misconception.
Every word is a misconception.

Useless ID es una banda original de Tel Aviv, Israel, donde empezaron una carrera musical que durante más de dos décadas, les ha llevado a escribir, grabar e ir de gira por todo el mundo, haciendo lo que aman y compartiéndolo con el mundo. Tras siete discos de estudio y mucho camino en su espalda vuelven a sus raíces publicando “State Is Burning” (2016), una carta de amor al punk rock que transmite su frustración, ira, amor y esperanza.

Useless ID:

Punk Rock Holiday:
*The best Punk Rock party on the most amazing location in the World!

1) Registrado – Sony MV1 (Audio)

1st Day *Recording Memories (RecME 73):
2nd Day *Recording Memories (RecME 73):
3th Day *Recording Memories (RecME 73):
4th Day *Recording Memories (RecME 73):
5th Day *Recording Memories (RecME 73):