Joined: 07 Jun 2004
|Posted: Sat Feb 10, 2007 7:10 pm Post subject: A Portuguese perspective
|Taken from www.carcasse.com, and translated by Google:
"In 1978, at a time where although everything punk still implied authenticity and attitude, an adolescent of the English city of Luton if unhaired in frustrate attempts to learn to touch guitar. To mount a band was necessary, urgently. Its nickname was Abbo and, before exactly to dominate first riff, it was come across with young that looked a stock exchange operator. No matter how hard a guitar only arranhasse and a low one never had at least insured, Abbo presented e readily, either as it has been, nobody found odd its ineptitude, what it does not mean that technique was necessary much so that those “noisy barriers” were raised. For terms an example of this, is enough to remember that the first show of the Siouxsie and the Banshees was, coincidently, its first serious assay.
The band soon ruiu, but Abbo persisted until integrating the band The Resistors, composed for people a little more experienced. In first the great presentation of the band, the vocalista looked at for the auditorium and simply it did not sing, what it took the Abbo guitarist to assume the microphone. Of this form, in 1979, without the old rebaptized vocalista and as UK Decay, single with the Pneumania band launches one split. The trio consisting of Abbo (voice and guitar), Steve Harle (battery) and Segovia (low) functioned well in studio, but Abbo soon perceived that it could touch without knowing, that it could sing without knowing, but that it would not be capable to make the two things at the same time. With this in mind, Spon invited (guitarist of the Pneumania) and the formation if it completed.
Soon in the following year, already integrated to the scene - Abbo edited zine The Suss and directed a store of accessories punks called Matrix - the EP The Black 45 had launched (1980), in which its style already brought the general traces by which until they are today remembered: rhythm to the times slow in relation to the bands who then took punk to an aggressiveness each time more caricata, letters marked for the thematic terrífica of literary matrix (it has songs on Dorian Gray, lobisomens, stories of Poe etc.), beyond mentions the macabros subjects (either with the Record debauch “Romance”, either with the urban paranoia of “Unexpected Guest”) and pacifists (vide the antinationalist “Will be My Country”).
The UK Decay could be proud of not looking like itself no band that knew e, to the few, hundreds of people had started to attend its presentations. Its prensagens vendiam as water and members of bands as Bauhaus, Siouxsie and the Banshees and Sex Gang Children presented it they and talked of equal for equal: Peter Murphy, of the Bauhaus (whose compact Beautiful Lugosi' s Dead, of 1979, marks the beginning of the gótico rock), invited them for one turnê national; integrant of the Siouxsie band and the Banshess (that they considered its “gótico” work since the Join Hands (1979), of which “Premature Burial” is based on Poe), were figures stamped in the auditoriums of its shows; Andi Sex Gang, of the Sex Gang Children (that it liveed in the building “Torres Visigóticas” and had therefore the nicknames “visigótico lord” and “gótico gnomo” and whose fans - for derivation - were called “godos”) presented them it the musicians of the The Southern Death Cult and the Blood & Roses as “behavior models” (Abbo already affirmed that to its twenty and few years already vovô of the group was felt)… At last, although each band of the then scene after-punk being easily distinguível of excessively, had an atmosphere that she propitiated the complicity.
Obviously, each one of these bands started to influence the others e, after to launch some compact ones, the UK Decay gave in Brussels an interview on continental its turnê. The interviewer, withholding the information contained in the answers, wrote a substance in the Sounds magazine of February of 1981 where macabra of Abbo cited the burlesque setting and affirmed that the band, next to the Bauhaus, pointed to a new direction, that it alcunhou of punk gotique. Some years later, in an interview the Mick Mercer, Abbo confirmed that it had exactly raised the term. He had certain pressure in the questions so that it of this a name what already he was not more “punk, was not dances, or alternative, or new pop, or mod”. Its reply he was something as: “we are interested in all this launches gótico” and to follow he played on the bands to launch records in form of gárgulas, to touch in churches and things of the type. It did not only wait that the joke was taken the serious one. Two months later, in an interview to the American magazine Flipside, pparently intimidated for the repercussion of its proper definition, went off: “now our letters half that are based on sex and death, in the gótico místico… are as we call it in England”.
The Joy Division made the romantic atmosphere of the one after-punk being called gótica, the Bauhaus launched the hymn that would take the hollywoodiano gótico to the rock, integrant of the Siouxsie and the Banshees had been the first ones to affirm that they made góticas songs… later, Abbo would suggest - almost without wanting - a name to that scene. Later, it was alone the friends of Andi Sex Gang to call its fans “godos” and the Specimen to open the Batcave in London of eye in the new public, who the birth of the concept of the gótico while subgenus of the rock was assured.
The stock exchange operator Eddie Branch started to integrate the group when Segovia abandoned the band, who still launched some compact ones, the album Will be Madmen Only (1981), the EP Rising From the Dread (1982) and the K7 to the living creature the Night will be Celebration (1982), a register of the last show of the band who hung the coturnos already tired to touch between four and five times per week, having almost always of aturar hordas of skinheads of the National Front that gradually its made use events invaded the agrediz them and destroying its equipment. Also it had problems with the Spon guitarist, that, I banish, would form in Excelsis next to deriving musicians of the Ritual band.
In 1983, demonizado on the part of its old fans after having dissolved one of the biggest alternative bands of the time - whose lendárias presentations were opened by bands as The Sisters of Mercy, Southern Death Cult, Play Dead and The Dark - Abbo decided to moderate the amount of shows and passed some months ripening a new musicalidade that relegated a little terrífica the anarchic print/to add elements of the black music of U.S.A. Without a defined name, the trio that had touched in the UK Decay, that is, all the band with exception of Spon, counted on a called guitarist Patrick to launch two songs in true monuments of that time: the coletâneas Batcave - Young Limbs Numb Hymns (1983), in which they had appeared as Meat of Youth, and in the coletânea The Whip (1983), in which they use the Slavedrive name. In both the headings of its bands coincide with the names of the bands.
After these experiences, Patrick is substituted by the guitarist Albie DeLuca, former-Gene Loves Jezebel, and, now steady, the formation is baptized of Furyo. The new hard band little, and Abbo passes if to concentrate in its career of producer, while the stock exchange operator Eddie starts to touch in the band of Peter Murphy and makes turnês with the Americans of Kommunity FK.
Thanks to the work of critics as the English Mick Mercer (that it included the excellent “Testament” in the coletânea Gothic Rock), the legacy of the UK Decay to the few came back to be valued. Although to be a basic part to the understanding of the beginning of punk gótico, to say that the band “created it” it would be an error. The fact of them to have suggested the term that appraised something that happened has about three years them does not become “intentional architects” of that fantasmagoria in which punk flirted with with the shades. That they had been pioneering does not have doubt, but they were not alone in the process, nor had planned it. For some, the UK Decay was a “veteran of anarchopunk”, for its militancy politics; for others, its style became them “ancestor of positive punk”. This, is clearly, beyond having baptized the scene that, after as many years, comes back to look at to its origins."