Welcome to the blog of a new punk music podcast, MULTINATIONAL MOSH. This will be the best place to find production updates, new episodes and bonus content for the show.
Since we will not be spending six hours of the show’s one-hour runtime describing what it is and what its ramifications for global punk rock and hardcore are, it’s probably better if we do that here (jk).
But no, seriously. There’s going to be a lot more hand-wringing about the show here than in the actual product itself, and that’s by design: each episode is supposed to include, within its allotted hour, as much of a given region’s music as it is humanly possible to stuff into. That means minimal talking and minimal down-time.
I’m not a music historian. I’m just a nerd that’s fed up with the music press only ever focusing on America or the UK when it comes to punk. It irks the living fuck out of me to read another “40 Best Punk Acts EVER!” list in Rolling Stone every six months, or read a shitty review of an international band in Pitchfork or wherever while they praise literal fucking trash fire domestic bands. I’m pretty tired of watching fans of punk from Brazil or South Africa or Indonesia pour their hearts out to their favorite (Western) bands and we never give fuck-all back. When was the last time you DEMANDED Olho Seco to play in the United States? Can you name a South African band? (Can I?)
Face it: no matter how worldly you are when it comes to punk music collecting, the fact that you and I live in the US, or Great Britain, or Canada means that the only music we likely ever expose ourselves to organically is relatively local. Or, at most, we “diversify” by listening to bands that still reside in current or former domains of the British Empire. We’ll throw the occasional Swedish band in there just for fun.
But because I’m not a music historian and just a pissed off sometimes-writer, that means that I’m not going to inundate you with a whole heap of probably-factually-wrong bullshit about what x or y band means for another hour on top of the music. If I find a verifiable fact that I find relevant to the music or movement of a featured region, I’ll talk about it. Otherwise, I’ll let the music speak for itself.
Hopefully you’ll enjoy listening to this shit as much as I’m enjoying making it.
(June 2016, one month to release)