The News Review:
- The Ataris | Music Artist | Videos News Photos & Ringtones | MTV
- A link to Toronto’s punk past
- From Willy Mason’s political folk to !!!’s disco punk.
- American Hardcore
The Ataris | Music Artist | Videos News Photos & Ringtones | MTV
MTV.com – Feb 20, 2007
The album’s July release was consequently delayed though the band pressed on label-less with various South American tour dates. They eventually created their own label Isola Recordings and through a partnership with Sanctuary finally issued Welcome the Night a darker more rock-based effort in February 2007. setNGrp(1);lsConf. setNKw(10);lsConf.
A link to Toronto’s punk past
Toronto Star – Feb 20, 2007
Now the east-end Toronto resident is working with Genie Award-winning director and producer Colin Brunton whose lengthy credits include Highway 61 Hedwig and the Angry Inch and Puppets Who Kill. Brunton’s current project The Last Pogo Jumps Again Chacha Cha Cha! is a follow to his 1978 documentary The Last Pogo. It captured a fateful night in Toronto’s music history on Dec. 1 1978 when the Horseshoe Tavern held its last punk show before temporarily reverting to its country roots. That concert featured The Scenics The Cardboard Brains The Secrets The Mods The Ugly The Viletones and Teenage Head and ended with a riot. For the film’s sequel Brunton hopes to track down all 500 people who were there that night. Working with an established Canadian filmmaker isn’t lost on Paputts.
From Willy Mason’s political folk to !!!’s disco punk.
Free with registration – Europe Intelligence Wire – AccessMyLibrary.com – Feb 20, 2007
From Willy Mason’s political folk to !!!’s disco punk. (20-FEB-07) Europe Intelligence Wire.
American Hardcore
Filmcritic.com – Feb 20, 2007
The fact that a relatively small number of people reading this will even know the difference is just one sign of how far the long-moribund sub-genre has to go before even approaching mainstream recognition. In the meantime Paul Rachman’s encyclopedic and exhausting American Hardcore will serve as a decent chronicle of hardcore’s sharp short years festering in the American underground. Though punk was a reaction to the safe staid cash-register mentality of the ’70s arena-sized music scene it found itself all too quickly co-opted into the industry. Groups like the Sex Pistols disintegrated The Clash morphed into an adventurous roots-rock pseudo-ska outfit that started playing radio-friendly hits in arena gigs of their own and The Ramones well they just stayed doing what they always did never more or less popular than when they started. When the 1980s dawned music seemed just as escapist as ever only now many of the outfits were New Wave punk’s bastard offspring retaining some of the adventurous musicality and edgy fashion sense but little if any of the antiestablishment anger. With a clenched-fist conservative like Reagan in charge and a mainstream culture just as lobotomized as that of the previous decade American punks realized there wasn’t going to be another Clash coming around and if they wanted more music of its raging ilk they’d have to create it on their own.