Snobbin: Beautiful Trash in the Pop Culture Gutter

Crimpshrine and Fifteen songs often interpolate or play with the idea of reworking/reusing lines from earlier famous songs within the lyrical and musical framework of songs, Ott's and Jack Curran's melodies are deceptive because they bury them in layers of distortion. However, just as their lyrical ambition often tells complex stories through the framework of deceptively simple choruses, the lyrics hide Easter eggs within simple love and relationship songs. Crimpshrine's "Tomorrow" borrowed lyrics from "Tomorrow" from  Annie , but Ott has continued to include popular lyrics in interesting ways. Pop melodies were common in many of the bands that played with Fifteen at 924 Gilman Street in the 1990s, but Ott's hardscrabble songs stand out because of their wordplay and insistence on melodic invention.  Other bands that played with them reveled in wordplay and definitive walking East Bay basslines, but generally fitted into different frameworks. While th...

  When I was a young and impressionable punk rock kid in the 1990s, I went down a lot of paths. I was indoctrinated into the fold like many a naïve youth of the time by Green Day and then after pursuing their earlier albums and the Lookout Records catalog, I stumbled on to Fat Wreck Chords and Epitaph before disappearing ever further into the underground and classic hardcore. I flirted with many labels and have moved into other genres practically entirely, but I never forgot my love for those earlier records. The Shit Split , the joint collection from Bay Area crusty bands, Blatz and Filth, was one that was stamped indelibly on my mind, and I wish I had been in the scene when it was released in 1991. I made up for lost time when I got it later on CD, but I now I wish I had invested in the vinyl. I do have the 7 inches because I scoured every bin for Lookout releases for years. Blatz's “Cheaper Than The Beer” has been a longtime turntable favorite, but I was always partial to t...

Green Day has maintained a low profile since they released three full albums of music, ¡Uno! , ¡Dos! and ¡Tré! , in 2012, and now return with a collection of demos from the same recording sessions. The aptly yet not originally named, Demolicious , clever portmanteau notwithstanding, is slight, yet infectious. Released on Record Store Day 2014 the collection purports to give fans what bassist Mike Dirnt wrote on his instagram account: how ¡Uno! , ¡Dos! and ¡Tré! would have sounded if we were still on Lookout Records!" The record is certainly more immediate than what the band has been doing in recent years. "99 Revolutions" kicks it off with a poppy burst of inspiration that is more stripped down than the version on ¡Tré!, but sounds more like it would fit nicely alongside Insomniac's "Stuart and the Ave." one of that album's more melodic songs. The intro of "Angel Blue" sounds like the Clash before Billie Joe Armstrong's vocals shif...

Gilman Street bootlegs are a funny thing. Many times the sound quality is bad because they were recorded by audience members by any means necessary. For example, Lint Rides Again , which chronicled the last Operation Ivy (interestingly enough they played with an embryonic Green Day) show has fairly poor sound quality, but is listenable. Most sound better than earlier hardcore bootlegs, especially if they were taken from the soundboard. Regardless of sound quality, the energy level and enthusiasm at these shows makes them worth a listen. Songs are debuted, loose sloppy versions of early songs are auditioned for an enthusiastic audience, an errant cover song will slip out as if by chance or happenstance. Green Day shows are no exception. The between song banter is as interesting as historical chronicle and the list of later fan favorites that the band plays is exemplary. The crowd knows many of these songs, even as Billie Joe Armstrong continually plugs Kerplunk . The album had be...