New Wave / Old Wave juxtaposition (2 of ??) (Penetration versus Penetration)

 Resuming an early, barely-started series

from 1976 the year of punk

Pauline Murray's dancing here in this Electric Circus clip, is a kind of bodily rhetoric - "these be new times"

You have to feel sorry for performers in those days, the amount of liquids flying at the stage

Pauline has a good piercing strident / stringent voice (a contender inclusion in the category That Voice) but overall Penetration seem Pedestrian 

She was better served with the Invisible Girls 

That album cover could not be more New Wave - the grid

"Invisible Girls" almost calls forth the concept of this song by AC Marias, which seems to be in the same approx lineage

Angela Conway achieves her own unexpected collision of New Wave and Old Wave with a cover of a Canned Heat song

Penetration presumably got the band name from the Iggy and the Stooges song. 

Or perhaps they were just trying to come up with a slightly more clinical take on the Sex Pistols idea.

Well lookee here - a decidedly Old Wave zine from Manchester called Penetration

Surely Suicide does not refer to the band Suicide? 

"Cozmic Vibes"

I'm guessing this issue #14 is circa 1977 when Mahogany Rush played the Free Trade Hall in Manchester

However an earlier issue, #10, is already protopunky - indicating where the title originates too

The zine seems to have oscillated between Old and New, or comprehended both simultaneously for a while

Perhaps the Hawkwind / Motorhead nexus was the bridge

Magazine's creator Paul Welsh writes on  the Amazon page for the compendium of Penetration zine:

I began writing in the early 70's and produced my own 'arts' magazine entitled 'Purple Smoke'.

When that folded I created a rock magazine entitled 'Penetration' featuring many bands of the day, Motorhead, Hawkwind, AC/DC, Sex Pistols to name just a few.

I was the only person taking photos of the legendary Sex Pistols gig at the Manchester Lesser Free Trade Hall which have since sold worldwide featuring in Books, magazines, TV and Movie documentaries.

... All that and more has been documented in my book 'May Contain Flashing Images-Manchester, Music and Me!' 

I wonder if Penetration the zine ever covered Penetration the band.....

I wish to speak to the MGMT

 I suppose it's a pointer to the average age of people commenting at this blog that in the Inspirals-inpired thread about artists who take the name in vain of their heroes or heroes's work (as the Carpets did, ach, with "Bitches Brew" - the effrontery! the gall!), that nobody mentioned MGMT, who on a single album, 2010's Congratulations, have a song titled "Brian Eno" and another titled "Song for Dan Treacy". 

Eno and Television Personalities are are quite good pointers to their aesthetic, if you also factored in Todd Rundgren, Ariel Pink, Flaming Lips...

So they are Anglophiles but also Anglophile-philes, if you get me.

And maybe some Hot Chip is in there. 

Here's the Eno tribute. 

So tired, soul searching

I followed the sounds to a cathedral

Imagine my surprise to find that

They were produced by Brian Eno

Past the gates, quite stark

The roses trimmed and the windows dark

I see the walls through a limestone crack

Not red, not blue, not yellow but black

And all the spaces left for you

If the sky was synthesized you'd probably know

He taught me many things

The wisdom of oblique stratagems

The prophet of a sapphire soul

Presented through creative freedoms

And everything I say is true

'Cause if I was telling lies it'd probably show

I can tell that he's kind of smiling

But what does he know?

We're always one step behind him

He's Brian Eno, Brian Eno

When I was stuck he'd make me memorize elaborate curses

Tinctures and formulas to ditch the chorus and flip the verses

My whole foundation came unglued

When I tried to humanize by ambient light

Dipping swords in metaphors, yeah

But what does he know?

We're always one step behind him

He's Brian Eno, Brian Eno

He promised pretty worlds

And all the silence I could dream of

Brian Peter, George St. John

Le Baptiste De La Salle Eno

Well, all alone by the oldest stone

Where the shade trees grow

The creature by the water

Feature with a ghostly glow

Yeah, he's making sure that time's preserved well

We reap what we sow

We're always one step behind him

He's Brian Eno

Yeah, I can tell that he's doing well, yeah

But what does he know?

I'm always one step behind him

He's Brian Eno

Yeah, dipping swords in metaphors, yeah

But what does he know?

I'd like to see him plant a forest 'cause I don't know

Brian Eno

I can tell that he's kind of smiling

But what does he know?

I will always be a step behind him

He's Brian Eno

Yeah, he's making sure that time's preserved well

We reap what we sow

I'm always one step behind him

'Cause I don't know Brian Eno

And here's the Dan Treacy one

He spends his time or maybe half of his time

Or part of the time wandering

'Round the creeks and cobble stones

Of Hackney lanes

With a tear in his eye

As the children walk by, he's thinking of a song

Then stops to paint a picture of a frown

Walking around

Dan Treacy's smile, leaves you trying

To decide who's the victim, what's the crime?

No rest for the mind

That's seen it all before

And I don't know where he lives

But he's a myth of a man

And Texas Bob the cameraman

Is off to fix his seat before the show

Yeah, but where did he go?

To know when your time's up

You flip the glass and watch the hours quickening

Oh, oh, oh

In the back of the station

Fluorescent lights about to quit their flickering

Well, he speaks his mind

He says, "What is crime?"

Dan Treacy's eyes

Stop in the middle of the park

When the underground is dark

He's a poet, he's a lark

He starts thinking about a place that no one knows

And when the creeks run dry, he stays frozen in time

Strange lights in the sky start blinking

I can see the car outside but he's listening

Ooh, ooh, ooh, ooh

He's listening

Ooh, ooh, ooh, ooh

He's listening

Ah, ah, ah, ah

And he's making up his mind

He made his mind up

To get things done and overcome

He made his mind up

Yeah, he's gonna let it go

He made his mind up

In the park and at the station

He made his mind up

Yeah, he's gonna get it done

He made his mind up

Yeah, he's gonna get it done

He made his mind up

Yeah, he's gonna let it go

No matter the time, oh no

When the creeps run by, oh, no

He's making his mind up, oh, oh, oh

Yeah, he's gonna get it done, oh, oh

Yeah, when the creeks run dry, oh, oh

Said yeah, he's gonna listen to his soul

Said yeah, when the creeps walk by

"Come here, boy, look me in the eye"

Bow to the heart, back to the beat of Dan Treacy

I suppose it is the next logical extension of the TVP's own efforts like "I Know Where Syd Barrett Lives"

But it also reminds me of the Mighty Boosh... 

But yes I'm guessing nobody here listens to MGMT.... I only noticed these songs because a student did a presentation on the group and it reminded me how much I liked the radio hits and had always meant to check out the albums properly.

Nick S in comments points to the original EP version of "Time To Pretend" - more DIY fuzzy

Looking at the presentation, which includes these videos I'd never seen for the hits off the debut, the sort of DIY  retro phantasmagoria look of the promos and the sound and the Maus-y / mousy Angloid vocals did remind me of Ariel Pink. None of the students could see the connection but then I found that another favorite tune, "When You Die" was actually a (pre-disgrace) collab with AP, which would explain the dark lyrics maybe. It's another cool video involving trippy animation and Alex Karpovsky, the actor who plays Ray in Girls. 

I'm not that nice

I'm mean and I'm evil

Don't call me nice

I'm gonna eat your heart out

I've got some work to do

Baby, I'm ready

I'm ready, ready, ready to blow my lid off

Yeah

Go fuck yourself

You heard me right

Don't call me nice again

Don't you have somewhere to be at seven thirty?

Baby, I'm ready

I'm ready, ready, ready to blow my brains out

You die

And words don't do anything

It's permanently night

And I won't feel anything

We'll all be laughing with you when you die

sourced in this image from "The Heart of Man; Either a Temple of God, or a Habitation of Satan; Represented in Ten Emblematical Figures, an 1851 book by German religious figure Johannes Evangelista Gossner."

MGMT  are one of those groups I could never pick out from a police lineup. Like Phoenix or Foster the People (whose "Pumped Up Kicks" very much struck me as a cleaned-up radio-ready rip on Ariel P - bouncy catchy retro-y tune, twisted lyrics about a school shooter). Or the Swedish chaps who do "Young Folks" - Peter Bjorn and John. 

These are acts I know only from the rotation they get on modern rock stations in Los Angeles. Which was a lot in the first years we arrived here and were driving around, using the radio, whereas nowadays it tends to be Spotify or Tidal in the car.  But you still do hear "Young Folks" or "Lisztomania" on the radio now and then. 

Tempting to shove MGMT into the category of Clever Dick Pop just for the production obsession and the retro synth penchant, but I think there is some real feeling in there hiding behind the layered-ness. 

They do seem unAmerican  - I sort of imagined them being much more popular in France. In fact, Switzerland seems to have a thing for them judging by their chart placings - it was the only place "When You Die" was a proper hit. 

^^^^^^^^^^^^^^^

An earlier post on "bands from nowhere" aka faceless rockno bollocks

^^^^^^^^^^^^^^^^^^

update

Here's clever sod Momus with a newish song called "Life With Eno" off an album called Quietism

Off the map

Insofar as there is one

A film soundtrack by Eno

Plays in my ears

Events in Thick Fog

Is what it’s called

No singing 

Just a pleasant sense of being lost

As the fog of the real world

Starts to swirl

And Eno, I imagine him

As friendly

Like a guide for the blind

Showing the dead

The catacombs beneath the Panama Canal

At the airport

There’s a Chinese supermarket

And a briefcase synthesiser

Eno now unfolds

To play us sounds he’s made

From birds

I believe

He just wants his music

To sound like animals and birds

Fair enough

Every day is a good day

When nothing’s planned

I sink into my bath

In our hotel

And drown in these events

In thick fog

New Wavey as Anything

Glimpsed this (which used to get quite a bit of evening-radio airplay in the UK - kind of thing Radio One deejays liked) in the below, which is quite entertaining (the New Wave / punk / postpunk section of a long series on the story of Aussie rock)

Talking of Aussie things that are New Wavey as Anything

Surely there is none more Noo  - unless it's some videos of The Plastics - than various scenes in this film (but also the entirety of the film) 

Something I wrote on Starstruck for a piece on the worst and the best punk movies

STARSTRUCK (1982 – directed Gillian Armstrong)

A riot of primary colors and man-made fabrics, Starstruck might be the most New Wave looking movie ever. Focal figure Jackie Mullens, an aspiring singer in early Eighties Australia, has bright orange hair and carotene lipstick; her 14-year old cousin/manager Angus sports a skinny tie and a purple rinse.  The pair live with Jackie’s pub-owner mum, a mash-up of Margaret Thatcher and Edna Everage sluiced through the color-palette of a Split Enz record cover. The barroom and the domestic spaces adjoining seem plucked from the video for Cyndi Lauper’s “Girls Just Wanna Have Fun”  and the dance formation scenes in the Lizard Lounge nightclub are as jaggedly robotic as SNL’s sketch Sprockets. Jackie has no voice to speak off,  but sheer chutzpah makes her ascent to stardom seem irresistible. When the presenter of a TV show beguiles her into showbizzing up her act to win a talent show, her spunky spirit crumples – but only for a moment. She and her band smuggle themselves onto the soundstage and wow the audience with their true sound and style, which triggers the audience to synch up to Jackie’s herky-jerky dance like the teenyboppers in Devo’s “Girl U Want” video. Victory and a 25 thousand dollar check are hers. Spirited young women is a Gillian Armstrong specialty: see also My Brilliant Career, Little Women, and her documentary series that began with some teenage girls in Adelaide and followed them at intervals through their lives. Starstruck is a trifle in comparison but – atrocious tunes aside – is a charmer from start to finish. 

Well when it comes to Aussie New Wave there's this of course  -

The damped-strings rhythm-gtr chug, the sub-Sting vocal, the kooky video, the fact that underneath the style strictures they can clearly really play - it's all archetypally Noo

Talking 

the other Bitches Brew

 Well this is some nerve of the Carpets if you ask me

Completely missed this at the time - didn't even see the advert

The Egyptian artwork even seems to nod slightly to the artwork of the Miles album

I mean, not quite, but the Mati Klarwein artwork is a bit Nubian, ancient-to-the-future, mythscience vibed. 

Plus Miles did an album titled Nefertiti and "Pharoah's Dance" is the opening track of Bitches Brew.

So what other examples are there of bands heisting iconic titles and dragging them through the mire of their own mediocrity? 

I suppose there's "Wonderwall" but the original is not all that in the first place... 

New Wave Eyecandy - Unexpected Irruption in the Present

Was watching the hotel TV in NYC, a news channel with a report on the markets freaking out about the tariffs... and suddenly this figure materialized that seemed to be beamed straight from an early Split Enz or Oingo Boingo video... or perhaps an old VHS of a Cardiacs concert

Scott Shellady... some kind of MAGA-aligned financial pundit!

Decisively breaking with the smart, dark-hued business suit look you would expect from someone in the financial world, in favor of a parodic "this is showtime" look that is very New Wave

The Buggles style specs and the garish bow tie and the clashing colour scheme - that lime shirt! -  it all does remind me of the nexus of glam, prog and New Wave identified here

Shellady looks like he should be manically pounding a Farfisa while grimacing like a loon

Apparently the gimmicky look has something to do with cows...  he's known as the Cow Guy... 

Shellady also touts a line of merch

Race Invaders

 

The Greater London Council put on a ton of these cause-related music festivals, rallies-with-bands-playing, etc as a part of its big push to build a socialist culture in London. 

Back then, wild horses couldn't have.... 

(despite my political sympathies... and liking some of the artists.... perhaps this is a great failing, this flinching from the public demonstration of solidarity? Well, I've made up for it in the MAGA era - no squeamishness at all now about chanting along to "this is what democracy looks like" or singalonging with ol' Neil as he (and Joan Baez!) rasped "take America back" at that Bernie-AOC thing the other week here in LA).

But back to the GLC rally of 1984.... I must say I am mighty mighty curious about this "anti-racist computer game" advertised on the flyer.

What on earth can it have been like? 

What was the thinking? "We've got to reach the youth where they live..."

Apparently the GLC declared 1984 to be the Anti-Racist Year

The International Network for Hate Studies actually commemorated the 40th Anniversary of GLC's project only a month ago with some lectures

One of the peculiar things about the Tory party nowadays is that it has, I believe, more high-ranking Black Britons than Labour - including the Leader of the Party / Leader of the Opposition

However I think I am right in saying they are all of African ancestry as opposed to Caribbean... 

Well, and then if you make that people-of-colour, the Tories have already had a non-white Prime Minister and  a non-white Chancellor and a non-white Home Secretrary (two of them, in fact)

música de boca

 Well there was I,  thinking I'd heard pretty much all of the mouth music out-thereness worth hearing - and then I stumbled, in a second-hand record shop in the East Village, yards from where we used to live, on an artist I'd never ever come across before: Carles Santos. A real polymath, it appears. But this particular album Voice Tracks, from 1980, contains a "Starsailor"-level voicescape titled "Autoretrat". 

Now I'm kicking myself I didn't pick up the LP.  It wasn't even insanely priced. 

It can be found at YouTube and on the streamers. 

Another fab repository of mouth music is 1989's Five Voices - an abstract-vocalese quintet involving vaguely recognised names like Ann Homler, Shelley Hirsch and David Moss as well as Santos. 

This next one ultra-sibilant and edging into avant-asmr territory

This next one is madcap - ludic yet alarming

Bit of recitative amid the crone babble here

Voice-only stuff crops up again in his variegated output