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MMHC Blog: Brexit Playlist

Hi everyone! I’m sorry for the radio silence lately. I’ve been hard at work putting the first episode together, and, well… working. As I get ready to go do the latter thing, I wanted to drop this off real quick: a list of songs commemorating (though not celebrating) The United Kingdom’s imminent departure from the European Union.

One of this podcast’s aims is to showcase punk and hardcore music from countries that aren’t the UK or the United States. I’ve always found it super irritating that the “tastemakers” in rock journalism only look to the UK and the US for punk, whether it’s in retrospect or looking forward. The rest of the world has so much to offer in terms of punk, it’s amazing! But no one* ever looks to the rest of the world.

The spirit of this show is to smash the borders of what we talk about when we talk about punk and hardcore. It’s a resistance to petty nationalism in music scenes and tastes. The UK’s vote on #Brexit yesterday, in which over 50 percent of British** residents voted to leave the EU, by-and-large represents the opposing view. While some voters could have been said to be motivated by a desire to be unburdened by certain regulations the EU imposed on Great Britain, it seems a large percentage were motivated by the same irrational and ugly fear that drives Trump supporters and David Duke: nationalism, xenophobia and outright racist attitudes.

So today I offer up a short playlist of songs by British punks against British fascism and nationalism — against #Brexit.


*Maximum Rocknroll is a great notable exception to this.
**The entirety of Northern Ireland and Scotland voted to remain in the EU. Now they’re looking at their own Brexit – out of the UK.

MMHC Blog: A Roadmap

Okay, so how do I want to make this podcast work? I’ve already established it’s not going to be a history lesson about a region’s punk and hardcore (that’d be hella presumptive of me and I’m not that smart), but I don’t just want to throw this show into your face and go, “HERE IT IS. MUSIC. BYE.” either.

The model I have for this podcast is somewhat based on the incredible MAXIMUM ROCKNROLL RADIO show. Each week on that show, a few folks each play a set bound together by a loose context: sometimes they’ll have a set of new releases/arrivals, sometimes they’ll do a set of older shit, and so on. Each person who does the show is responsible for making their set work. Sometimes each set is only a couple of songs. Between each set the producer reads off the songs. So there’s enough time in the space of an hour to do both.

I kind of want to do something like that. But like, with some added context.

Anyway, here’s my basic skeletal breakdown for Episode 1:

Intro: PAINTBOX – Hedgehog [ヤマアラシ] (2:14)

Set 1: 1970s-1980s (traditional punk/hardcore punk)

Set 2: 1980s-1990s (Burning Spirits/Visual Kei)

Set 3: 1990s-now (advent of post-hardcore and pop-punk)

Outro: ????

 

MMHC Blog: Why Monthly?

So, one of the things I expect we’ll get at least a couple questions about (you know, once the first episode airs and disappoints all of you) is why we’ve decided to push these episodes out on a monthly, instead of weekly or twice-monthly basis.

First of all, despite my liberal overuse of the royal “we,” the only sad fuck working on this podcast is me. I produce, edit and say the four or five lines of non-music that will feature in each episode. And I want to get it right. This is something that someone with a cursory knowledge of Audacity and an iPhone could throw together in 45 minutes, and in the course of my semi-professional-but-really-actually-amateur audio production career, I have indeed done shows where I’ve thrown some songs in Audacity and recorded a couple of voice memos on my iPhone and called it good.

That was five years ago, and I don’t want to do that kind of thing again. (And like, truly nothing against folks who do that kind of thing. Everyone starts somewhere, but I want to get past the starting line.)

So I want to get this right, and I want there to be some moderate production quality here. But I also work, and I have other projects going (including one I’m already running far behind schedule on), and I do freelance writing for a community magazine in my town, and a million other things that carve out parts of my 24 allotted hours per day without even trying. You can see where this becomes super fun.

If I committed to a weekly or twice-monthly schedule, I’d not only be shooting myself in the foot quality-wise, I’d be setting myself up for failure. I’d be letting you down before I got going. Especially in the first couple of episodes. I mean, who knows? I may not commit to the current show format. I may decide that I can take on two episodes per month, or more. Anything is possible when you don’t know what the fuck you’re doing.

So for now, this show comes out monthly. Each month we’ll choose a different nation or region to highlight, and then we get to work.

Enjoy,
-Trevor
(June 2016, one month to release)

Coming Soon…

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.

-Trevor
(June 2016, one month to release)