All Ages: Boston Hardcore DVD Review

All Ages: Boston Hardcore

This documentary focuses on roughly 1980 thru 1984; it dives into the history of the scene, the clubs the bands played at (perhaps most notably the Rat), the straight edge scene in Boston, the iconic flyer art-- as well as the influences of Black Flag, and other bands outside of the area-- perhaps most notably the D.C. scene and Dischord Records is discussed in relation to the early EP's released (Teen Idles, "Minor Disturbance" EP, S.O.A., "No Policy" EP, Government Issue's, "Legless Bull" EP, etc.. The film expresses Boston was particularly known for being a scene that took hardcore, and tried to take it to the most extreme level possible; after the influence of the first wave of punk rock (particularly that of the Ramones) and the their peers in D.C.-- they took their own spin on punk and tried to make it yet even faster and harder than their predecessors.

The film features interviews with key band members as well as active participants of the scene. SSD (Society System Decontrol) is the first band talked about in detail on the disc. The stylistic influence of Minor Threat, combined with the unique and somewhat clashing personalities of Al Barile and Springa. The back-story of the creation of, "The Kids Will Have Their Say" and its influence during the creation of Boston's hardcore-punk scene.

Jerry's Kids is the second band thoroughly examined in this tribute to Boston hardcore. Known for being a highly energetic band always jumping around; a nice selection of both reunion footage as well as early live footage of Jerry's Kids appears throughout the film. Their iconic record "This Is My World" is touched on in the film as well as a highly influential and notable album for the Boston hardcore sound. D.Y.S. is also covered a bit, along with Gang Green, and others.

Though Boston is full super fast bands of it, Gang Green and the Freeze were probably the two most musically proficient groups; both fast and on-point. Gang Green briefly talks about making the, "Pre-School" EP in an 8-track studio.  The "This Is Boston Not L.A." compilation is discussed too; it taps into the exclusion of S.S.D (as Al Barile's policy was no compilations), the inclusion of Gang Green being an obvious choice for their sheer speed alone, and explores the different opinions on its portrayal of the scene. The film also has some reunion footage of D.Y.S. (Department Of Youth Services) sprinkled in the both the beginning and the end.

Boston was a unique scene in both the records and the type of bands that it produced in this time period; hardcore became faster, tougher, and exploded into a new movement of bands releasing incredible and iconic albums that would influence further generations of punk bands to follow. This was a really interesting film and a neat glance into the early Boston hardcore-punk scene, and a fairly informative look into its sound and the groups within it.  One can only hope it offshoots further films on the individual groups and cover Boston hardcore in more depth.

A diamond in the rough.... from my vinyl vault: Bill Costa's, "La Bella Italia"

Bill Costa's, "La Bella Italia".

I picked up this little gem off of Ebay. It's definitely a straight forward album and what you see is what you get: classic Italian folk tunes arranged for tradtional accordion instrumental versions. This is a highly affordable record-- you can usually find a perfectly well functioning copy of it for $3 or $4 online-- and the material itself is a steal for that price. It's a cheap one, but a good one!

The record kicks off properly upbeat with one of  the most famous Italian tunes ever, "Tarantella Napolitana" and then into the lovely, "O Sole Mio"-- a beautiful song that has been reinterpreted countless times by so many artists (Rachid Taha's is perhaps my favorite-- his style mixes Raï and world combined with elements of rock, and he covered it and gave it a very middle eastern feel that is really unique and definitely worth checking out!)-- but when it comes to an accordion instrumental take on it, this one takes the cake.

The backing band consists of gentle acoustic guitar, light bass, light percussion, and vibraphone-- some tracks boast an occasional pinch of jazz, but overall this record keeps it in a traditional pocket for these italian standards. Additional highlights of the album take place on side B with the gorgeous soaring of, "Sorrento" and the fun bouncy folk of, "Funiculi Funicula", and the wonderful version of, "Arrivederci Roma".

Back of, "La Bella Italia".

As for Bill Costa himself he has a few other similar records available, such as, "Holiday And Rome", "Bill Costa and His Accordion", and one or two others I've seen online out there. Surprisingly, other than the records themselves on Ebay and Amazon-- I can't really find any other information on him. Luckily the back of this record alone clues us in a bit: he went to Julliard, worked and appeared on both NBC and ABC television, appeared in a decent list of jazz quartets, recorded with: Sammy Kaye, Dorothy Collins, Ben Selvin, and Jerry Jerome-- that sums up a decent chunk of the bio on the back of the album.

All in all, this is a great affordable fun album of authentic Italian folk tunes as accordion instrumentals-- it'd be an excellent addition to the collection of anyone interested in collecting specifically Italian, world music in general, could slightly interest some jazz fans perhaps, accordion enthusiasts, or even just if your looking to branch out your collection with something new of this caliber that you didn't dabble in before; in which case, this would be a perfect starting point.

A diamond in the rough.... from my vinyl vault: Mayhem's, "De Mysteriis Dom Sathanas"

Mayhem's, "De Mysteriis Dom Sathanas"

I picked up this incredible reissue of Mayhem's debut black metal classic today at Skinnie's Records. It was re-released a little while back by Back On Black records in 2013 on 180 gram and on a limited 500 copy press of purple splatter vinyl.

This album came third in line after Burzum's first two albums and Darkthrone's first three albums; and the Mayhem debut along with these albums are the three quintessential bands that created the second-wave black metal sound that would spawn countless of other bands to follow in their footsteps and make it known beyond the borders of Norway and as a new subgenre of its own.

Mayhem have always had lots of controversy surrounding them with the suicide of their original vocalist Per Yngve Ohlin (better known by his stage name, "Dead") and the murder of Øystein Aarseth (a.k.a, "Euronymous) by Mayhem's own Varg Vikernes, whom is also the one-man band behind the Burzum moniker. However, plenty of media coverage/silly hype and documentation is rather over-saturated on this angle. This review, and the reason for my personal interest in the group is strictly for musical purposes only and for its historical importance within the context of heavy metal.

Back of, "De Mysteriis Dom Sathans"

There are a lot of interesting things happening musically around the creation of this album, and there was virtually almost nothing else quite like it with the main exceptions of Burzum and Darkthrone (of course some first wave black metal such as Bathory also applies-- the bottom line is that its a very short list of a small handful of groups mostly in Norway all contributing to an entirely new extreme form of metal).

Key characteristics of the album and of Mayhem's early sound are part of what made this album and the early era of the second wave of black metal so unique. Hellhammer's drumming is arguably totally the most impressive display of talent up to this point within the genres early releases; effortlessly blastbeating away, excellent tom rolls, with pummeling double bass on the kick drum. The fuzzed-out guitar effects created the icy distortion the genre is so known for-- the tonality of it was so distinct and different from the classic death metal tones of the time, particularly from that of the Swedish death metal scene. Tremolo picking pulls and breaks apart minor chord progressions, along with thrashy pulverizing riffs, coupled with melodic chunky bass lines. Varg Vikernes (though not a permanent member of Mayhem's lineup) did fill in to play bass on the album, the bass lines are well executed-- but its the drumming and the guitar work that takes the spotlight on this record. I would argue the most addicting track is the legendary, "Freezing Moon"-- the song showcases an incredible riff and a sense of memorability to it, while also displaying all the trademark characteristics of the bands sound.

Attila Csihar took over vocal duties after their original vocalist Dead shot himself. There are recordings of demos and live concerts with Dead--- but this was the groups first studio/official LP recording, and Attila took over after Dead's suicide. His style is unique to the genre at the time-- he intentionally did very strange moans and deep eerie chant-like voices, he sets a very haunting atmosphere appropriate for Mayhem, and his performance matches the music well. 

Reissued on purple splatter colored vinyl.

Originally released on Euronymous's Deathlike Silence label, the record has now been re-released a total of 31 times on various formats. An original copy of the first LP pressing (cataloged as Anti-Mosh 006) has up to date sold at the highest at $453.14 on Discogs (too rich for my blood-- I will just enjoy this reissue!). So the reissue of this historically important and also timeless classic of the Norwegian black metal scene is now affordable and a neat addition into the collection of diehard metal fans. I imagine it will only be a short time before it gets reissued time and time again, as a record so ahead of its time is bound to have people looking back and listening to it over and over; as black metal continues to evolve, and even the newest and most groundbreaking bands within the genre carrying the torch today are undeniably influenced by Mayhem.