Mills’ solo work took that sound international: rough and ready, tight as a drum but urgent and raw, it was punk in spirit if not in sound. Phase 4 is a perfect example of his ability to create a relentless, high-energy track that pushes boundaries and defies genre conventions. It’s a reminder that punk isn’t just a sound or a look, but a mindset of rebellion and pushing against the status quo. Both songs use punk rock as a tool to critique capitalism and consumer culture. Kim Gordon’s Air BnB is a modern take on this theme, highlighting the dark side of convenience and idealization in our society. The song challenges listeners to consider the impact of their choices and the true cost of convenience.
Louise Gordon’s song stands out not only because of her nod to the latest version of capitalist chaos – a key element of punk’s essence – but also because she released it at the age of 66, at the onset of a solo career that began almost 40 years after her band Sonic Youth made their debut. This came after the dissolution of her marriage. She embraced a bold new sound that combined her background in noise with contemporary trap music, and her second solo album proved to be just as sharp, fierce, and humorous. Gordon continues to be a refreshingly abrasive antidote to a culture that is increasingly geared towards being easily digestible.
Thee Headcoats’ “I’m Hurting” from 1996 is a song that resonates with Laurie Vincent, guitarist/bassist/vocalist of the UK punk-metal duo Soft Play. Vincent sees punk not just as a sound, but as an ethos and ideology. He recalls being introduced to Billy Childish and his bands, including Thee Headcoats and the Buff Medways, by Isaac Holman’s father, who was a big garage-punk fan. This song’s rawness and authenticity epitomize punk in its purest form, according to Vincent. It delves into personal values, as well as the struggles of Billy Childish with alcoholism. The song holds a special place for Vincent, as it reflects the roots of their music and serves as a piece of history he would pass on to future generations.
Huw Baines, a music writer, chooses “Pleased To Meet You” by Trapped Under Ice from 2011 as a standout punk track. Justice Tripp, the frontman of the band, embodies punk ideals through his commitment to disruptive creativity and reshaping modern hardcore. The song captures foundational punk sentiments while showcasing the genre’s evolution. Tripp’s powerful vocals and intense musicality on this track highlight the genre’s ability to adapt and thrive, while maintaining its core principles of self-expression and community.
Safi Bugel, another music writer, selects “Turn Me Well” by Micachu and the Shapes from 2009 as a representation of punk’s enduring spirit. The band’s unconventional approach to creating music using homemade and found instruments, along with their DIY ethos, harks back to the subversive nature of punk from the late 70s and 80s. Bugel praises the band’s ability to blend classical training with punk sensibilities, creating a unique and nostalgic sound that captures the essence of the genre.
Josh Clayton, guitarist of Australian hardcore band Speed, picks “Banned in DC” by Bad Brains from 1982 as an influential punk track. Bad Brains, with their blend of hardcore and reggae influences, have left a lasting impact on the punk scene. The song reflects the band’s experience of being blacklisted from venues and their determination to spread their message regardless of obstacles. Clayton admires the band’s resilience and spirit, which he sees as a core element of punk ethos – the refusal to be silenced or stopped.
In summary, these diverse selections highlight the multifaceted nature of punk music, from its raw and authentic roots to its evolution and resilience in the face of challenges. Each track embodies the spirit of punk in its own unique way, resonating with different artists and writers who appreciate the genre’s ethos and impact. Hello! How can I assist you today?