C86 Show - Indie Pop

Gregor Gall in conversation with David Eastaugh 

Molly Tie in conversation with David Eastaugh 

https://omnibuspress.com/products/rebel-grrrls?srsltid=AfmBOopJhSAnhQq9LIB3NO8T9zN9PSlNCL7axjGdFHoXKjLVSHFm7RNP

From the gritty streets of 1970s London to the sun-soaked beaches of 2000s California, Rebel Grrrls: The Real Story of Women and Punk is a raw and exhilarating exploration of rebellion and identity, seen through the eyes of its fans. This book goes beyond the musicians, spotlighting the women who defied small-town limitations, challenged family expectations and shaped the scene from the inside out.

Molly Tie examines what the movement has meant to millions of fans, setting their experiences within a wider cultural and political landscape. What is it like to be a woman at a gig? Which bands and songs truly reflect the female experience in a male-dominated space? And how does our connection to alternative music change when powerful figures face allegations of abuse?

Spanning every era from the British explosion and American hardcore to riot grrrl, pop-punk, emo, ska and today's activist revival, Tie reveals how women in the movement have fought to be heard, proving that, at its best, punk is about refusing to stay silent.

Jesse Rifkin in conversation with David Eastaugh

https://walkonthewildsidenyc.com/about

https://www.amazon.co.uk/This-Must-Be-Place-Community/dp/1335449329

Take a walk through almost any neighborhood in Manhattan and you'll likely pass some of the most significant clubs in American music history. But you won't know it--almost all of these venues have been demolished or repurposed, leaving no record of what they were, how they shaped music scenes or their impact on the neighborhoods around them.

Traditional music history tells us that famous scenes are created by brilliant, singular artists. But dig deeper and you'll find that they're actually created by cheap rent, empty space and other unglamorous factors that allow artistic communities to flourish. The 1960s folk scene would have never existed without access to Greenwich Village's Washington Square Park. If the city hadn't gone bankrupt in 1975, there would have been no punk rock. Brooklyn indie rock of the 2000s was only able to come together because of the borough's many empty warehouse spaces. But these scenes are more than just moments of artistic genius--they're also part of the urban gentrification cycle, one that often displaces other communities and, eventually, the musicians themselves.

Drawing from over a hundred exclusive interviews with a wide range of musicians, deejays and scenesters (including members of Peter, Paul and Mary; White Zombie; Moldy Peaches; Sonic Youth; Treacherous Three; Cro-Mags; Sun Ra Arkestra; and Suicide), writer, historian and tour guide Jesse Rifkin painstakingly reconstructs the physical history of numerous classic New York music scenes. This Must Be the Place examines how these scenes came together and fell apart--and shows how these communal artistic experiences are not just for rarefied geniuses but available to us all.

bob Bert in conversation with David Eastaugh 

https://therealbobbert.bandcamp.com/album/beach-bongo-bloodbath

Many music gourmandizers know the name “Bob Bert” from his stint as drummer for Sonic Youth in their formative years. He also beat car gas tanks for Pussy Galore. In the years since, Bob has recorded albums and toured the world with Bewitched, Action Swingers, Chrome Cranks, Knoxville Girls, Five Dollar Priest, and in more recent times Lydia Lunch Retrovirus, coming full circle playing metal percussion with fellow Pussy Galore alumnus Jon Spencer in his HITmakers. 

With Beach Bongo Bloodbath Bob finally steps out under his own name with his first true solo album. For this outing he mixes original material with extensive re-workings of a number of covers to create a veritable soundtrack for the B-movie of his life. 

Surprisingly for a guy who has slammed away for some very noisy guitar outfits, this album has absolutely NO guitars; once you hear his beat-centric take on Mountain's "Mississippi Queen," you will never hear that song the same way again. Bob creates a new world of sound utilizing a variety of drums and percussion as well as a diverse array of keyboards and theremin. The results suggest Sandy Nelson playing with the Flying Lizards on their greatest hits collection of Kraut Rock influenced Cramps covers! 

The six originals and eight covers play to his love of campy teenage horror flicks, art damaged punk fuk-u-ness and Warholian underground groover vibes. In fact, let’s cue up some tracks from the album to help tell the Bob Bert story. 

Janet Housden in conversation with David Eastaugh 

https://www.facebook.com/janet.housden

A fixture in the earliest days of the LA area punk scene, Janet Housden played drums with Redd Kross and was a member of several other bands, while also appearing in classic cult films. 

Janet Housden has been a creative force for decades in Southern California’s punk scene. She grew up alongside many of the South Bay scene’s iconic punk pioneers, including members of Black Flag, the Descendents and Minutemen, and played drums in the renowned Redd Kross (1982-83) and was a multi-instrumentalist in several other rock & roll bands. (Quote from Please Kill Me) 

Tim Blake in conversation with David Eastaugh 

http://moonweed.free.fr/

English keyboardist, vocalist, and composer, who is known for working with Gong, Hawkwind and his synthesizer and light performances as Crystal Machine, with the French Light artist Patrice Warrener.

Blake met Daevid Allen at Marquee Studios, where the latter was recording his first solo album Banana Moon in 1971. At the end of the sessions, Allen had invited Blake to be Gong's sound mixer, but Blake preferred to work on his own music. He eventually joined Gong full-time in September 1972 as the band's synthesizer player, being among the first to bring the synthesizer out of the studio and on to the stage.

He appears on all three albums of the Radio Gnome Invisible trilogy; Flying Teapot, Angel's Egg, and You, in fact Blake is the only composer, apart from the Allen/Smyth partnership, to have written for all three of the "Trilogy" Albums, making him one of Gong's most important composers. He left Gong in early 1975.

Richard Langston in conversation with David Eastaugh

https://feralhouse.com/the-clean/

https://www.amazon.co.uk/Clean-Dreamlife-Need-Rubber-Soul/

In 1978 in Dunedin , New Zealand, the Kilgour brothers, Hamish and David, and their schoolfriend Peter Gutteridge, got together to form a band called The Clean. When Robert Scott joined in 1980, the band found a combination that endured for nearly forty years.

The Clean profoundly changed alternative music: hitting the New Zealand charts for months with a single made for 50 dollars, 'Tally Ho!'; helping establish Flying Nun and a music scene independent of the big labels; pioneering a low-fi, do-it-yourself approach to rock music; and touring internationally to influence bands like Pavement and Yo La Tengo.

Raw and immediate, this is the story as told by members of The Clean and their inner circle - fellow musicians such as Chris Knox, Martin Phillipps, Graeme Downes and Ira Kaplan, friends and family, pub promoters and sound engineers, and their good friend, Richard Langston. From teenagers in a Dunedin practice room to New York City on 9/11 - this is the band's history as it unfolds.

Gina Volpe in conversation with David Eastaugh

https://www.youtube.com/watch?v=NbZBwi0Y3Ao

https://www.lunachicks.com/

Theo Kogan, Gina Volpe, and Sydney "Squid" Silver were students at New York City's Fiorello H. LaGuardia High School of Music & Art and Performing Arts when they decided to form a band. Sindi Benezra, an acquaintance of Silver, was asked to join shortly after. They rehearsed and wrote material in Gina's bedroom for about a year. Their first composition, the lengthy "Theme Song", was about killing Kogan's and Silver's English teacher. The band played their first show in 1988 with Theo's then-boyfriend Mike on the drums.

Roddy Bottum in conversation with David Eastaugh 

https://www.amazon.co.uk/Royal-We-Memoir-Roddy-Bottum/dp/1636142699

THE ROYAL WE is a poetic survey of a time set in a magical city that once was and is no more. It is a memoir written by Roddy Bottum, a musician and artist, that documents through prose his coming of age and out of the closet in 1980s San Francisco, a charged era of bicycle messengers, punk rock, street witches, wheatgrass, and rebellion. The book follows his travels from Los Angeles, growing up gay with no role models, to San Francisco, where he formed Faith No More and went on to tour the world relentlessly, surviving heroin addiction and the plight of AIDS, to become a queer icon.

The book is an elevated wallop of tongue and insight, much more than a tell-all. There are personal tales of historical pinnacles like Kurt and Courtney, Guns N' Roses, and recaps of gold records and arena rock - but it's the testimonies of tragedy and addiction and preposterous life-spins that make this work so unique and intriguing.

Bottum writes about his dark and harrowing past in a clear-eyed voice that is utterly devoid of self-pity, and his emboldened and confident pronouncements of achievement and unorthodox heroism flow in an unstoppable train that's both captivating and inspirational. A remarkable portrayal of a creative individual in emergence, a gay man figuring out how to be a gay man, and a detailed look at the nuance of 1980s pre-tech boom San Francisco, The Royal We will be greatly appreciated by people who loved Kathleen Hanna's Rebel Girl, Patti Smith's Just Kids, Hua Hsu's Stay True, and other memoirs about the artist's life.

Richie Stotts in conversation with David Eastaugh

https://www.richiestotts.com/

New York City born musician who began writing and performing in a fledgling 1970s NYC band named “The Numbers”. Richie’s songwriting skills and lead guitar playing experience ultimately lead to him becoming one of the founding members of the groundbreaking and inimitable punk/metal group, Plasmatics.

In 1978, Richie was among the earliest musicians to sport a Mohawk, taking inspiration from the Travis Bickle character in the movie Taxi Driver. 

Guy Mankowski in conversation with David Eastaugh 

https://iknowhowtolive.substack.com/p/welcome-to-i-know-how-to-live-the

Dorothy Max Prior in conversation with David Eastaugh 

https://www.roughtrade.com/product/dorothy-max-prior/sex-is-no-emergency-adventures-in-a-post-punk-wonderland

Further adventures in psychedelic rock, ballroom dancing, performance art, and parenting in 1980s Britain. Further adventures in a post-punk wonderland from the author of the acclaimed 69 Exhibition Road.

In this new volume, focusing on the 1980s, Dorothy Max Prior recalls her days as a ballroom dancing tutor in South Kensington, drumming and touring with infamous experimental pan-sexual psychedelic rock group Psychic TV, exploring London and New York City's queer clubbing undergrounds, the tangled worlds of the UK’s indie music scene at the height of its influence, performance art, and parenting.

Paul Marko in conversation with David Eastaugh 

https://punk77.co.uk/

https://www.facebook.com/punk77UK/?locale=en_GB

A history of UK Punk Rock from 1976-79: Featuring bands, fashion, Club & Pubs, history, fanzines & features 

Gail Petersen in conversation with David Eastaugh

https://www.thecatholicgirls.net/

The Catholic Girls are a hard rocking all female band from New Jersey. The Catholic Girls are: Gail Petersen (lead vocals/rhythm guitar) Roxy Andersen (lead guitar/backing vocals) Doreen Holmes (drums and percussion)

Bob Bert in conversation with David Eastaugh

Based in Hoboken, New Jersey, Bert initially came to prominence as drummer for the experimental rock band Sonic Youth during the early to mid-1980s. Bert played on the Sonic Youth releases Confusion Is Sex, Sonic Death, and Bad Moon Rising. After Bad Moon Rising, Bert quit the group.

Bert contributed during the last half of the 1980s as percussionist for noise band Pussy Galore. 

In the early 1990s, Bert drummed for the Chrome Cranks (which also included Peter Aaron on vocals; Jerry Teel on bass; and William Weber on stun guitar).

After the dissolution of the Cranks, Bert joined forces with guitarist Kid Congo, guitarist Jack Martin, bassist/vocalist Jerry Teel and organist Barry London in the rootsy New York City band Knoxville Girls.

Patrick Dougher in conversation with David Eastaugh

https://www.godbodyart.com/new-page-3

https://www.hachettebookgroup.com/titles/patrick-dougher/concrete-dreamland/9780316571043/

https://lionsgatesound88.bandcamp.com/album/algorhythm

Born in Brooklyn in 1963, Patrick Dougher grew up in some of the most turbulent and culturally impactful periods of NYC's history. Often neglected as a child by his parents-a father who struggled with alcohol addiction and an overworked mother who struggled to make ends meet-he learned to fend for himself. Now a renowned visual artist, musician, actor and writer, Dougher brings to the page his memories, struggles, personal revelations, and a life intimately tied to the realities of growing up Black and disenfranchised on the streets of one of the most remarkable cities in the world.

Concrete Dreamland is tragic and triumphant, gritty and hard, poetic and outrageously funny. Told in Dougher's brutally raw and courageously honest voice, these stories act as snapshots of a life lived in extremes: from gangsters to God, street style to sexuality, to recovery from drug addiction and alcoholism. He tells of his adventures as a pre-hip hop "hard rock' and an original Black punk rocker surviving during the dangerous days of the crack and AIDS epidemic in NYC, while also sharing tales of racism, homelessness, and his many brushes with fame and death.

Ben Devenezia in conversation with David Eastaugh

The Story

"Where the Kids Still Scream" explores the evolving spirit of New York City's punk scene and asks:

Does punk still hold true to its roots?

Has the ethos of the '70s–'90s been diluted or reshaped in the internet age? Is it still possible to live a punk lifestyle in 2025?

Through interviews with legendary voices from the past and present, this documentary dives deep into what punk meant, what it still means, and where it might go next.

Kickstarter: 

Robert Darlington in conversation with David Eastaugh

https://translatorlive.bandcamp.com/album/beyond-today-live-at-the-farm-san-francisco-july-12-1986

https://www.youtube.com/watch?v=_NhHVZ-320c

A celebrated group of the new wave era, Translator has announced details of their first live concert release. Beyond Today: Live at the Farm – San Francisco 1986 arrives May 9 on LP, CD, and download from Liberation Hall. The vinyl LP will feature eight tracks from the final show of the group’s period at Columbia Records (1982-1986). The CD and download will include an additional four live tracks, including the previously unreleased “Puzzles,” as well as two brand-new songs mixed last year by renowned producer Ed Stasium. All formats are distributed by MVD Entertainment Group (USA) and Wienerworld (UK).

Nancy Barile author of 'I'm Not Holding Your Coat: My Bruises-and-All Memoir of Punk Rock Rebellion' in conversation with David Eastaugh 

From Catholic school girl to glam maniac to organiser of classic early 1980s East Coast hardcore shows, Nancy Barile made her place behind the boards and right in the front row as SSD, Minor Threat, Bad Brains, Dead Kennedys, and Black Flag wrote new rules. In the dangerous early years of punk, she rebelled, fighting for fair space as she found her purpose.

Justin K Broadrick in conversation with David Eastaugh

https://jesu.bandcamp.com/

https://avalancherecordings.bandcamp.com/

https://www.facebook.com/officialgodflesh

Best known as the lead singer and a founding member of the band Godflesh, followed by Jesu.

He was briefly in the English grindcore band Napalm Death when he was a teenager in the mid-1980s, writing and recording guitar for their debut album, Scum. Broadrick has also maintained a parallel career as a producer, producing records and remixes. Since the 1990s he has worked with Kevin Martin as Techno Animal an electronic music project based in a fusion of industrial, dub, ambient and hip hop, which disbanded in 2001 and was reactivated in 2017 under the new name Zonal. Since 2012, he has been releasing hard techno music under the solo moniker JK Flesh. Broadrick has set up record labels such as HeadDirt, Avalanche Recordings, Post Mortem Productions (briefly renamed Uprising Productions), Lo Fibre and Heartache.