We’ll be in Chapel Hill, North Carolina on June 30, 2012 with Cro-Mags, Pietasters, The Queers, Patriot, Hub City Stompers, Ducky Boys, Antagonizers ATL, Unit Six and Bad Idea. And that’s pretty cool.
TAKEN FROM SPIN MAGAZINE: http://www.spin.com/articles/eternal-rebel-gavin-mcinnes-7-life-changing-records
March 26 2012, 1:01 PM ET
by David Marchese
As one of the founders of the Vice publishing empire, Gavin McInnes has had a hand in defining a certain type of irony-drenched, filthy-minded, urban-hipster attitude. Since parting ways with Vice in 2007, the Montreal-bred, New York City-based provocateur has taken his sardonic sensibility to the fashion, politics, and dick jokes Street Carnage website and written the just-published memoir, How to Piss in Public: From Teenage Rebellion to the Hangover of Adulthood. To help trace the development of his uniquely irreverent mind, McInnes, 42, shared with us the seven albums that changed his life.
REBEL YELL, Billy Idol
I was always obsessed with music. When I was a kid, I’d put a small tape deck up against the speakers of the radio and if it was a good song, I’d keep it and if it sucked, I’d rewind the cassette to the last good part. This was all fine and dandy until I heard the song “White Wedding” after going to get groceries with my mom in 1982. I was 12-years-old and I’d never heard anything like it before. It was on the car radio and after we pulled into the driveway, I asked my mom to leave the keys in the car so I could hear the whole thing. I’d never heard a song that wasn’t just cool to listen to but took over your whole existence. This was the beginning…
KISS ME DEADLY, Generation X
After getting Rebel Yell and learning everything there is to know about Billy Idol, I discovered he was involved in this thing called “punk” and used to have a band called Generation X. They were the ones who did that “Dancing With Myself” song that was even better than “White Wedding.” After getting all their records, I decided I was going to become a punk rocker.
BEST BEFORE, Crass
I bought some Crass records first because I was sure I wanted to be an anarchist and told myself to like them no matter what they sound like. This was challenging because their albums are 45 rpm’s and I didn’t realize that so I played them as 33′s. What I thought was Crass was actually an incredibly slowed down version of the band that sounded like a depressed toad moaning at the world.
PLASTIC SURGERY DISASTERS, Dead Kennedys
I had heard American punk was easier to listen to than the sad toad dudes above so I bought this album. Again, I was determined to like it no matter what it sounded like so I put it on and braced myself. The first song on this album is a fucking cacophony on purpose with drums and screeching guitars and some woman’s voice saying, “Why are you such a stupid asshole?” This was worse than Crass. After that noisy intro however, a real song kicks in and it blew my mind.
WHEN THE GOING GETS TOUGH THE TOUGH GETS GOING, Bow Wow Wow
In Canada, we didn’t really pay attention to American hardcore outside of maybe Minor Threat. It was all about British punk. I had finally figured out how to play Crass records at the right speed and loved them so much, I tattooed them on my arm. Other bands like GBH, Chaos UK, and the Exploited were also loveable but they were all so angry. Bow Wow Wow were one of the few punk bands who weren’t afraid to embrace pop. This song (which was a single not on the album mentioned above) is about stealing music off the radio and making cassettes. “I don’t need no album rack, I carry my collection on my back.” They were talking about pirating music two decades before Napster.
STRAIGHT OUTTA COMPTON, N.W.A
After being a born again punk rocker for about ten years, the whole thing started falling apart. American hardcore had become Californians in baggy shorts making jokes about being white trash and British punk had morphed into dogmatic crusties yelling at everyone about everything. At the same time, rap came out with “Fuck da Police” and it spawned a whole exodus of punks leaving pedantic punk for irreverent rap. This was liberating for me and I later graduated to electronic music and all kinds of other shit I was too snobby to listen to before like a band from England called “The Rolling Stones.”
BLACK THORN, Flatfoot 56
After getting heavily involved in everything from intelligent drum ‘n bass to Ani Difranco to Bert Jansch to Shy FX, I became very old and got married and had kids. When this happens, you tend to go full circle and get back to the music that was there first. I feel like these kids from the Southside of Chicago do the music of my adolescence even better than it was the first time around. It’s healthy to move on from your various obsessions as a youngster and try new things but when you get old, you can stop scoffing at the past and accept that those old tracks aren’t just a bunch of old tracks. They’re what made you who you are today.
We’re going to Canadia with The Hypnophonics, ey. It’s going to be Moose bratwurst and root beer, hosers. Ya come and listen, ya.
3/21/2012 – London, Ontario @ Call The Office
3/22/2012 – Montreal, Quebec @ Petit Campus (w/ The Hypnophonics)
3/24/2012 – St-Therese, Quebec @ Monte Cristo (w/ The Hypnophonics)
3/25/2012 – Ottawa, Ontario @ Cafe Deckuf (w/ The Hypnophonics)
3/26/2012 – Sherbrooke, Ontario @ Saloon (w/ The Hypnophonics)
3/27/2012 – St-Hyacinthe, Quebec @ Zaricot (w/ The Hypnophonics)
3/28/2012 – Trois-Rivieres, Quebec @ Cafe Nord-Ouest (w/ The Hypnophonics)
3/29/2012 – Toronto, Ontario @ Hard Luck Bar (w/ The Hypnophonics)
Photo by Chad Sengstock - ishotphotography.com
Chicago, IL — January 27, 2012 — After spending almost a month in the sanctuary of Matt Allison’s legendary, Chicago-based Atlas Studios, FLATFOOT 56 has finished the recording stage of its still-untitled new album. The Celtic punk group recorded with Johnny Rioux (of Street Dogs, Social Distortion and Bruisers fame).
“Recording with Rioux was awesome,” said guitarist/vocalist Tobin Bawinkel. “He coaxes us out of our comfort zones and inspired us to write music that pushes past the boundaries we thought we had as songwriters and musicians, and it was truly an invigorating experience to work with him.”
This isn’t the first time Flatfoot 56 has teamed up with Rioux – the same partnership resulted in the band’s critically lauded LP, Black Thorn, in 2010. Among the new songs that were recorded were crowd favorites that Flatfoot has been playing on the road for the past year, like “I’ll Fly Away,” “6’10”’ and “Toil.”
While recording the album, Flatfoot 56 was sure to keep close to its fans. The band uploaded studio updates, sharing them with fans on Facebook and Twitter.
Flatfoot 56’s new record is slated for a summer release on Paper + Plastick Records. The album is now in its mixing stages while Flatfoot is on a month-long tour in Europe and Russia. Despite not hitting the studio for over a year, Flatfoot 56 kept busy in 2011 – playing over 220 live shows in nine countries.
Exit 384 Media will be handling all of Flatfoot 56′s press through the release of the new record this summer. To request any content with Flatfoot 56, please email exit384media@gmail.com.
Flatfoot 56 Label Discography:
Knuckles Up (Flicker/Provident/Sony) 2006
Jungle of the Midwest Sea (Flicker/Provident/Sony) 2007
Black Thorn (Ollie Mob Worldwide/Old Shoe) 2010
Untitled (Paper + Plastick) 2012
Paper + Plastick Records is proud to announce it will be releasing the fourth label-backed full-length from Celtic punk band Flatfoot 56. The band will be heading into the studio to record their new record in January. To celebrate the announcement, head to www.paperandplastick.com/flatfoot56 to download a free Flatfoot 56 cover of an old folk/gospel song called “I’ll Fly Away,” originally written by Albert E. Brumley. The track is a preview song and will not be included on the new record.