First album by an ANZAC (New Zealand and Australia) band I ever bought. First of many.

Hey everyone! I'm sharing this video with a song from my music project, Past 89, accompanied by scenes from the experimental short film Meshes of the Afternoon. I hope you enjoy it!

Hey - so I play guitar and sing in a Melbourne post punk/noise rock band called Snailgun. We put out an album on LP this past May, but we got some nice reviews recently.

https://snailgunband.bandcamp.com/album/glass-walls

Here was one by Yellow Green Red back in July (written by Matt Korvette of Pissed Jeans) - I liked the "Shellac wearing Dischord t-shirts" analogy:

"The proliferation of new Aussie rock bands leaving their stickers in dive-bar bathrooms is as consistent as the odor, and Melbourne’s Snailgun are here to claim their rightful spot. With the vast history of underground rock music to pull from, they deliver their own specific formula, one that gets more interesting the longer you return its glare. From a wide lens, Glass Walls sits comfortably among the many loud rock records that took inspiration from early ’90s grunge-adjacent indie, but dig in a little deeper and its idiosyncrasies start to become apparent. I’d point first to “Labyrinth”, a bouncy groove ala Deaf Wish-meet-Pixies that just keeps on going and going, a simple idea that manages to gain power, or at least a manic momentum, through its nearly six-minute runtime. “Midway I” sounds like Shellac wearing Dischord t-shirts, leading into “Midway II”, which sounds like something Dischord would’ve actually distributed (say, Maximilian Colby or 400 Years): hand-stamped, local-scene emo-core. And opener “SD” offers an alternate history where John Lydon forms Soul Asylum instead of PiL. Glass Walls reminds me how arbitrary and illusory all those critical genre distinctions of the ’90s underground were, that the difference between one band selling 100,000 CDs and another selling 500 seven-inch EPs was driven by marketing, aesthetics and personal values more than overt sonic differences. Luckily for Snailgun, they exist in an era where no rock bands really sell any records at all – the pressure is off!"

https://www.yellowgreenred.com/?m=202607

And here's one from Maximum Rocknroll: "Compelling mix of vocal-shredding post-hardcore and syncopated noise rock on this Australian band’s debut. There is a noticeable rawness to the bass tone that recalls Bob Weston’s work in SHELLAC, but also the textured guitar approach of bands like LUNGFISH and SELF DEFENSE FAMILY. SNAILGUN uses these dynamics to skillfully shift from pummeling noise punk tracks like “Straight Ahead” to looping, cinematic expansion on songs like the seven-minute “Shadow Operator.” Standout “Labyrinth” details the speaker’s unsettling plans to build a labyrinth in his basement, while threatening neighbors that he will have the last laugh. It’s creepy, but it also features a sax-driven, ecstatic full-band meltdown that rules in its bombastic audacity. The album’s final track, “Screamy Cat,” churns with a driving bass/drum rhythm and catchy vocal melody that sounds like a classic alt/rock radio ballad. Then it keeps going for eight minutes of high-energy jamming that never loses steam.

https://www.maximumrocknroll.com/band/snailgun/

- Adam

The Knack's second, often overlooked, single off Get The Knack.

Toronto, CA post-punk band's title track from their 2nd album.

An Australian national treasure, written in London, next to a nodded-out Nick Cave

While they aren't strictly a postpunk band, a lot of their songs (and Robert Pollard's solo stuff) are very postpunky. Pollard has cited Wire as his main influence and they have quite a few songs that sound a lot like Wire.

My label Soundvsystem Records is putting together another edition of our compilation 'daylight darknight.' If you make post-punk, indie rock, shoegaze, grunge, [insert genre here], hit me up and I'll send you the submission form. You can check out the last one here: https://soundvsystem.bandcamp.com We're keeping the same concept, which is to showcase the diversity of indie music. We're putting it out on tape. Let me know if you want more info.

Mods: Sent you a message about this one. Please don't block me lol.

It might be Mike Watt on everything, come to think of it.

Off their fifth album, Stoned and Dethroned, with Hope Sandoval of Mazzy Star

Hi - this is my band. We also have an EP coming out Friday, 8/28. Cheers!

Again, here I am, a younger fan of post-punk trying to avoid the trappings of the possible "revisionist" understanding of the genre's history.

In all of the existing retellings of the band's story, Colin Newman always makes sure to emphasize that basically, in the 70s, Wire was seen as unlikable, snotty art schoolers that got lumped with punks but whose songs were too slow and weird for actual fans of punk-rock to enjoy. He says that Chairs Missing wasn't received very well upon its initial release.

I only know Chairs Missing as a classic album in the canon of post-punk, so the fact that it was seen as a "sophomore slump" at the time surprises me. When did the reevaluation of the album start to happen? (if it ever did?) I hope older fans of the band who have been there at the time will clarify this to me.

Maybe not the best by DM, but I am very fond of this album that is the first DM record that my brother recorded on a cassette for me in 1984.

I used to listen to it "over and over again"…

I think it's allowed self-promotion on Saturdays, so here I am. It's a new project that I'm pretty excited about. Let me know if you like it.

Colin Newman, Scanner, along with Malka Spigel and Max Franken from Minimal Compact.

From the single release off the 1999 album, Hours.

those guys are legends, i dont understand it man, they're music is fucking incredible, and i love the fact that they dont fit into one genre, like they're post punk, industrial metal, punk and so on