A while ago I happened to talk about this book with another old fart like me and he came out with: "that's the hardcore era we experienced"...holy shit!! That's one of these sentences that makes you feel like you've become a dinosaur and your next option is extinction! So "What will remain?" to quote a good old Strife anthem...memories and retrospective analysis and that's what Brian Peterson has collected and sewed together in this book. Peterson has probably cut the majority of the interviews into small interventions through which he speaks about the main topics and all of the peculiarities of the hardcore scene of the nineties. The end result is a composed portrait painted thanks the voices of some of the protagonists of the U.S. scene of that period and I think many of you have already heard names like Kent Mcclard, Vic Dicara, Ray Cappo, Robert Fish, Aaron Turner, Mike Heartsfield, Freddy Cricien, etc. As you may already have guessed, the book intentionally covers the U.S. scene and some of the of the most significant bands (but not all them) of the decade and I'm sure you'll find some interesting profiles for bands such as like: 108, Coalesce, Unbroken, Inside Out, Downcast, Integrity, Strife, Heart Crisis, Guilt, Groundwork and many, many more. Being more or less a coeval of the author and having witnessed the period and having experienced many dynamics related to the hardcore scene of those days, I was looking forward to checking if it was some sort of revaluation of the past. Unfortunately aging you see how everybody has to face the "old days nostalgia" and the side effect of it is that most of us tend to re-depict their past erasing the bad things, but I can guarantee even if the global atmosphere gives the picture of a scene less divided if compared to the present time and where spirituality, politics or ethics still meant a lot, that's not the case. I can assure you Peterson never falls into pathetic overestimations of the past, the only possible remark to his "historical reconstruction" could be he mainly focused on a great variety of muscular bands you can easily label as hardcore (even if it includes uneasily categorizable bands like Deadguy, Guilt, Rorshach) and even if he didn't forget to include combos like Swing Kids, Spitboy or Chamberlain there's no trace of forerunners like Iceburn, Junction, Engine Kids or labels like Art Monk Construction, Doghouse and so on. Please don't get me wrong, this' not sterile criticism, since I believe "Burning Fight " is an intense and interesting reading and I'm sure if some of you have experienced that scene, here and there you'll feel a sort of homecoming. I also understand the book was already huge (almost 500 pages), I just think despite their musical style, some of these "weird" unconventional-hardcore bands with people with a punk/hardcore background proved/prove how, despite its roots, for a short period the nineties hardcore community has been enlightened by an incredible open mindedness that later has slowly disappeared. I don't mean that "these were the days!!" and now the scene sucks, come on!! Those who have experienced the punk-hardcore scene from the eighties could have said the same thing about the nineties. I just think it all has happened because every-once in a while, above all when things are still far from being both categorized and segmented and above all far from becoming more "economically organized" and more "business oriented", curiosity and a genuine interest for self expression may bring some people "beyond the border". For me that's the point, that crossing the Rubicon and that search for self expression are what sometimes become lowest common denominators that link different generations of punks; many define it as a genre of music (and I can't deny I myself sometimes adhere to this kind of classification) but in general I think it's "just" a matter of attitude. I'm sure many of you will easily identify with the words of this or that scenester, above all when you'll read during the teenage days the hardcore scene was a safe place where you finally had the chance to feel surrounded by people like you, "a club for misfits" who were not able to feel comfortable in the "normal" society. Hard to say what's left of these days beyond the musical influence or beside the living inheritance of people like Converge, Sunn O)))), Gentry Densely (Ascend/Eagle Twin), The Locust. It's hard to judge the present objectively and I'm not exactly the right person to do it, after all there's "no time like the present". Differently from "All ages: Reflections on Straight Edge" this book goes to the core of its subject avoids superficiality by expressing a true involvement. "What will remain?"...good question Watson!.
I can't remember when was it the first time that I've read/heard a report about the war in Sierra Leone, but if my memory doesn't fail me, I've come into that subject something like one year ago. I was assisting to an open debate focussed on ethno-psychiatry and this psychopathologist started discussing about the whole problem of re-education of child combatants, about the myth of "magic/secret-societies", "initiation rites" and he closed speaking about war-crimes, violence and the psychological effects of it. I think if you ever had the chance to read, hear or see Meira Asher, you probably won't be surprised by the fact she's been confronting with such a touchy and uneasy (or I’d better say "uncomfortable") subject. This book is the "instruction manual" accompanying the installation Asher's been bringing around for quite a while and it also include an amount of pictures and informations to make everything clearer. "Face_WSLOT" could be appealing also for those who don’t know anything about this young artist, infact it includes a series of interesting essays from Guy Harries, plus several interventions written by experts and by some aid co-operator and so on.
The words of Yekutiel Gershoni (University of Tel Aviv) enlighten and makes intelligible the intricate political/economical dynamics that brought Sierra Leone into the abyss of such a tragic conflict. The most of the other articles discuss about the social impact of violence and about the abuses on females (indirectly showing how the weakest in general are always the real victims of the war).
The most copious section of the book and also the core of the performance itself is represented by the biographies of three women from there. The choice of translating the words of these women but at the same time of leaving it also in their original language, is meant (according to the discussion of the author with Guy Harry) to emphasize the fact recording, transcribing and translating a report implies a sort of reinterpretation. The books comes with a load of information about the post-war situation in Sierra Leone and various kind of appendixes. I will avoid to speak about the cd just for the fact you’ll read about it in the cd reviews but as you can easily imagine the music is complementary to the images of the performance and it gets clear while reading the written text. I guess if I say people like Meira Asher deserves your attention should be cheap and easy, but I think she embodies perfectly the fighting spirit of "angry women" like Lydia Lunch or Diamanda Galas but at the same time she’s able to remain personal and far from a cheesy clone. Some of the income generated by the sales of this cd-book is directed towards the support of third level education for Sierra Leone’s women. I think this book/project is definitely worth of of your attention.
- Music Industry (Biographies & Memoirs, How To...) Counter-Culture & Dis-Information (Social, Political, Economical, Cultural, Alternative) Mythology (Babylonian, Celtic, Mythic Studies, Norse, Sumerian, Welsch) Metaphysics (Chakras, Runes, Astrology) Spirituality & Religion (Comparative Religion, General, Occultism, Wicca/Witchcraft) Fiction (Historic, Sci-Fi & Fantasy, Vampires) History (Archeology, Alternative, Criminology, Social & Technical) Paranormal (Aliens, UFOs, Ghosts, Spirits)
Samuel Morningstar (rocker, mystic, author), has finally released a novel that has been highly anticipated by those who knew this was coming and what it might be about. Shadow Kingdom combines elements of a psychological thriller, crime investigation, horror, esoteric mysticism, and "sci-fi" to create the world which contains the events which unfold in his tale. The characters are humans, rock stars, soldiers, martial artists, cops, angels & demons, monsters, and extraterrestrials to name a few. The story begins with a private investigator hired to research the brutal ritual murder of an exotic dancer and takes us into a realm of wonders and nightmares beyond the realm of sanity and into conspiracies involving ancient immortals. Buth this sort of thing could never happen in "reality" as this is just a creative work of fiction right, or could it? Samuel created his dark fiction from the real life research of minds like David Icke, Whitley Strieber, and William Henry. I've never in my life read a fiction novel with so much truth and so many questions. I say truth because the esoteric principles conveyed within are the same as those taught in mystery schools the world over and throughout history. Samuel Morningstar is an intellect of unusual talent that makes great story tellers like Clive Barker look like child's play! He's also a talent in the music industry and member of the band Eternal Twilight and knows the rock scene well. This book will appeal to anyone interested in Ancient History, Mythology, Esoteric Mysticism, UFOlogy, Conspiracy Theories, Rock-n-Roll (including the Goth subcultrure), Martial Arts, Meditation, "Energy" Work, Dark Fiction, and Horror - a thinking person's fiction.