DesireJones

Taylor Swift's 1989 is a saccharine, capitalist pop machine, churned out to exploit the Obama-era optimism with hollow anthems that scream privilege while masquerading as empowerment. Its glossy veneer is as authentic as a politician’s campaign promise

In 1977, at the absolute peak of the British punk wave, the noisy music in The Roxy and 100 Club was exploding in chaotic bursts. The Damned were riding the wave of this era I love so much, burning bright as a standalone spark.

Their debut album, Damned Damned Damned, starts with the filthy cream on the cover and Dave Vanian’s dazed expression, screaming raw, rough, and chaotic energy. Compared to their peers, there’s no in-your-face political jab at society, nor are they shouting ... read more

Fox’s guitar riffs strike a balance between punk’s raw, forceful texture and a layer of complexity; Segs’ bass lines add their signature deep, oppressive atmosphere; Ruffy’s powerful, crisp, and clean drumming; and, most unmissable, The Ruts’ iconic sound defined by Owen’s angry, heavy, and raspy vocals. Thanks to Mick Glossop’s professional production and his adept use of effects, all these elements come together to form the short-lived yet brilliant ... read more

The second album, overall, is noticeably more melodic and smoother than Another Music. While it’s hard to pinpoint obvious progress, it retains its melodic and pop elements, still largely centered on the artistic expression of somewhat painful love (that is, the image of a desperate virgin), yet it’s clear the band has matured musically. They’re no longer content with their earlier sound and have begun experimenting with style fusions and more experimental music. The pop-punk ... read more